Er Chen Wei Year 4

:/e. c. w. g. s. a.

x

s. i. t

2017 / 2018 16AAD015J B. A. in Interior Design

Manifesto Throughout my education in design I have got to understand myself more on how I looked at design. However, I am, still learning... As far as I am concern at this stage after learning the various tools and skills of design. I am interested in the critical thinking aspect of design decision. Having exposed to design history and theories has allowed me to better appreciate the evolution of design, allowing me to be critical on my own design and how it contributes to the design. Principles, theories and history of designs has been taught and learnt by students, many has been able to execute methods to produce aesthetically pleasing design. But I never felt I was the designer that design solely base on aesthetics whether is it on the vertical or horizontal pane of space. Currently, I believe in the critical thinking of design, to not be able to just design sensitively, maturely but also ethically as a designer. Through the manifesto project, it is the first time that I was immersed and experience in theorectical framework of a practioner to an extend. I wish I am able to understand and position my angle in design as i continue to learn. But as far as I am concern now, I am trying to design with open mind to stay curious in design while being sensitive and ethical. I hope to learn, explore and convey my rationale and thoughts through my illustration. I aspire to develop and hone my personal style of design and details to create symbiotic spaces to be appreciated by humans in a humble and modest way possible.

Content 1. Project Conceptualization

6 - 11

2. Theoretical Inspiration

12 - 17

3. Decay and Contrast

17 - 29

4. Alternate Gallery Zone @National Aerated Water Co.

30 - 43

54 58 60 62 66 68 70 74 76 78

6. Conclusion

- the yellow bar - the alfresco - the reception area - the wooden box gallery - visitor seating area - the wallside gallery - the showbox theatre - the walk thru corridor - the courtyard - artists residence block

84

contextualizing issues/ topic for personal project - potential site/ location/ alternatives - typology/ brief intent to develop - juggernaut variety - suite of similar/contrasting projects - programming - space allocation/ functions - exploration of discussions - exploration of processes necessary - satisfy intended learning outcomes

wild thoughts - abandoned spaces/ buildings/ leftover spaces - materials and details - social living/ living conditions - foreign worker dormitory - adaptive reuse/ revitalise

6

Project Brief: Personal Project Project Outline Personal Project spans a total duration of 26 weeks. It is an independent final year project for students to explore a particular area of interest or resonance on concepts or issue. Students would spent the first 6 weeks to draft a contact for a project proposal with a set of intended learning outcomes and time schedule set upon by the students which the students would follow throughout. At the end of the project, the student should have explored the themes/concepts, task and issues that is relevant to the project, documented in both portfolio and journal format for submission.

Students would have to effectively narrate the basis of this project and its intented learning outputs. Students would also determine its own potential sites and typology of the project. The project is further explored through necessary discussions or processes necessary determine by the student. This project should exhitbits exploration in both its depth and breadth of the concepts that surrounds the discipline of interior design.

Project Brief A personal project that tackles concepts or issues that is contextualize by the student. To prepare a contract with self establish intended learning outcomes, milestones and develiverables for the project. To develope a schedule to follow through the stages of the project and abiding to the task set upon.

To thoroughly conduct necessary studies of issue, site and directions for the project.

Foreword This is the first time that I am given the freedom and flexibility to conduct a self directed project, whereby, as the title suggests "Personal" is as up to me to contextulize what I am going to work on for the following months. First of its kind I will ever attempt, unlike previous project where I was usually given a brief to work on a site, client or typology of projects, I would have to contextualize the basis of my project on my own will. I had spent some time critquing my thoughts in the motivation for this project. I felt it is important to understand the basis of my beliefs and thoughts before embarking on the direction of the project.

Concept vs Issue As a designer, more often than never, we were taught that whenever we approach a project, we apply concepts into the project to give a depth of value that solve an issue. Up to the point when I recommenced my education in Interior Design from Environment Design, I never abandoned my roots of what I learnt. GSA encourages cross fertilization of discipline and experimentation in design which gave me great opportunity to experiment my thoughts and design. I believe and felt that design thinking is universal, transferable to excel in any field only that the scope and the scale of project is different.

At some point in time during the pursuit of my education, I began to cringe at the idea of concepts when it is exploited by designers. However I do believe in concepts just that it must be argued in the most genuine and modest possible.

From concepts I was introduced theoretical framework, this added a hierarchy of systems and beliefs onto understanding the key motivation of a project which I also sincerely believe in. So therein lies the situation, for this personal project, without a site or client to begin with, I was caught in a dilemma to kickstart the project, wrestling with my thoughts, either to tackle with a concept or an issue which choosing either side is a bias choice that lacks a element of empathy for a project. I decided that it must encompass both concept and issues that are real to me in our society.

I have always seen myself as a realist but not grounded as someone too pragmatic, afterall, I do have aspirations as such to dream and enjoys experimental work.

It was an intense 2 weeks of self critique process of thoughts to dish out what really speaks to me. The chosen concept and issues are particularly inspired, empathize and motivated through personal experience and interest, hence, is constructed to appreciate heritage, timelessness of space and identity as a society. The attempt is to contribute design to society rather than to commercialize design during the pursuit of design education. Probably the last I could ever attempt before diving into the reality of working industry.

7

The Concept of Abandoned Spaces personal resonance and understanding

Abandoned Spaces

Abandoned Space and its Significance

These abandoned spaces is defined as a space or building that is left deserted, neglected, lacks maintenance and often is in the state of decay. Most projects focused on a sustained environment, I remembered the forgotten and abandoned spaces that exist and often left unspoken of, this led me thinking and questioning the potential of such spaces. I attempt to investigate and challenge to shed perpectives on to essence of such spaces. What was their story and heritage? What is this taboo of abandoned spaces that exist in our society? What can be done? What are these spaces perceive as? Most importantly I wish to test the will of abandoned spaces with programs and designs while celebrating the touch of decay that are traces created through time.

In our land scarce nation, there are abandoned spaces that exist at different parts of Singapore. Some of these abandoned spaces are well known to many, while some are less known and left forgotten. The aim of the project is to explored and study abandoned spaces in our local context, to decipher its set of issues, ironies, tensions and controversy that lies within the abandoned space, then mediating the space with a set of renewed aspiration through materials and details without compromising the old and the new. The list of abandoned sites are compiled through research from online forums, of which, I would select a few sites to conduct my studies. Some of the key considerations that drives the selection of site are namely, heritage value, typology, controversy, structural conditions and accessibility to the site. The studies of the abandoned spaces will document the materiality, conditions of the spaces, environment of the spaces and impression of the spaces.

Materiality and Details Materiality that captures the essence of time through aging is a constant fascination for me, its existence, traces and decay is a piece of living tissue of the built environment. Designing details of spaces and construction is a deliberate intention and act that evokes and improves the quality of space.

The interest also focused in the metaphysical sense, to experiment and study design details of construction and spatial setting, in an attempt to design metaphysical interior details. Thus it is topic that interests me, I hope to explore and experiment this theme through this project.

Adaptive Reuse/ Revitalize/ Reinhabit Heritage buildings in Singapore are often caught in a controversial dilemma in which how it is being redeveloped for good use that enhances socio economic growth. There are both pros and cons of such commercialize redevelopment, in some cases it is a sluggish scene struggling to survive. There are successful cases which manage to embrace its architectural details and beautifully transformed the heritage building into a cultural node, also there are some cases which also strike an unprecedented controversial approach of demolishing and then reconstructing it in the name of conservation. The aim here is to attempt a twist in how we might perceive and reuse abandoned heritage spaces. Ultimately as a society progress, its urban scape is a manifestation of its identity. The goal is to experiment with typology of heritage buildings to reflect a societal trait and identity of being adaptive and progressive.

8

List of Abandoned Spaces in Singapore Bukit Brown Cemetrey Changi Commando Barrack Chee Guan Chiang House (Grange Road Art Deco House) Former CID Headquarters Former National Aerated Water Company Istana Woodneuk (Structurally unsafe) Keppel Hill Reservoir Lim Chu Kang Pier Neo Tiew Estate Old Changi Hospital Old Tan Tok Seng Hospital Old Upper Thomson Secondary School Sentosa Fort Serapong Tanglin Barracks Tanglin Hill Brunei Hostel View Road Mental Hospital

9

Abandoned Spatial Atmosphere the history, the tension, the ironies

Anarchitecture: Architecture is a Politcal Act, 1992 It begins by asking a rethorical question, 'what is an inconsistent pattern?'.

Woods said that the old cities are hierachical and within it exist the 'freezone' of hetearchical city, in which, there is a group of people who are unspoke of, those who do not fit patterns at all.

Woods proposed an analogy of architecture is a political act through a hierarchical pyramid, through several questions, who designs, who builds, who owns, who inhabits? This draws a relationship as to the politics involved at each stakeholder. To make the point that even in architecture, architect as a profession have a moral and ethical duty to fufil. Some deny, some succumb to the institutionalized systems of authorities. In which, he is againts all authoritarian regimes, only interested in authority of individuals acts and moments, to create a 'landscape of freezone'.

10

Decay and Materiality the cracks, the stains, the remains

Anarchitecture: Architecture is a Politcal Act, 1992 It begins by asking a rethorical question, 'what is an inconsistent pattern?'.

Woods said that the old cities are hierachical and within it exist the 'freezone' of hetearchical city, in which, there is a group of people who are unspoke of, those who do not fit patterns at all.

Woods proposed an analogy of architecture is a political act through a hierarchical pyramid, through several questions, who designs, who builds, who owns, who inhabits? This draws a relationship as to the politics involved at each stakeholder. To make the point that even in architecture, architect as a profession have a moral and ethical duty to fufil. Some deny, some succumb to the institutionalized systems of authorities. In which, he is againts all authoritarian regimes, only interested in authority of individuals acts and moments, to create a 'landscape of freezone'.

11

Concept Inspiration: Lebbeus Woods ethics and morality of design and history

Anarchitecture: Architecture is a Politcal Act, 1992 It begins by asking a rethorical question, 'what is an inconsistent pattern?'. Woods said that the old cities are hierachical and within it exist the 'freezone' of hetearchical city, in which, there is a group of people who are unspoke of, those who do not fit patterns at all.

Woods proposed an analogy of architecture is a political act through a hierarchical pyramid, through several questions, who designs, who builds, who owns, who inhabits? This draws a relationship as to the politics involved at each stakeholder. To make the point that even in architecture, architect as a profession have a moral and ethical duty to fufil. Some deny, some succumb to the institutionalized systems of authorities. In which, he is againts all authoritarian regimes, only interested in authority of individuals acts and moments, to create a 'landscape of freezone'.

Sharing a consuensus with Yeats writings, Woods investigated the possibility of improving the heterarchical city of the social and political through his projects. Of which are governed by several principles and focusing on "freespaces" for a small group of individuals. Woods believes the progressiveness of an heterarchical city compared to an hierarchical city, in which, "The difference between the hierarchical city and the heterarchical city is the difference between being and becoming.''

Heterarchical city promotes dialogue, an interaction between the people, with is an essential, allows one freedom to be isolated, unrestricted from authority.

Through dialogue with both the city and self, one is able to acknowledge 'flaws' and embrace system being incomplete. Architects designs should design the moral and ethical fabric of the society, to improves conditions of the living on the personal side. Ideally to bear in mind that, 'No system can be trusted, Any ideology is betrayal.' In a sense, to use contradictions and ironies to keep sanity in check.

Hence, 'Architecture becomes a politcal act of intensely personal meaning.' He believes architecture as an instrument of information embrances with equal intensity of feeling and thought all conditions of physically. It has no taste for metaphysical, but is relentlessly materialistic.

12

Architecture and war are not incompatible.

Architecture is war. War is architecture.

I am at war with my time, with history, with all authority that resides in fixed and frightened forms.

I am one of the millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no ‘‘scared and primordial site.’’

I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears.

I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then ‘‘melt into air.’’

I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette againts the darkening sky.

I cannot know your name, Nor can you know mine.

Tomorrow, we begin together the construction of a city.

13

War and Architecture, 1993 Following year after Arnarchitecture: Architecture is a political act, Woods published a phamplet on war and architecture, he had used the civil war of Sarajeva, Capital of Bosnia - Hercegovina in 1992 as a case study to illustrate his thoughts. Through Arnarchitecture, he brought over the concept of freespace that it should be returned to people who went through war.

The concept of war and architecture is closely related. In which, he believes, "Architecture must learn to transform the violence, even as violence knows how to transform the architecture.", at the end of the war its the duty of the people to carry out the task to acknowledge the history. The idea of restoration and erasure is ethically and morally wrong, that is to rebuild with no meaning and denying of the past. To counteract, we must build on existential remains and mediate critically what is used for the reconstruction of the building.

“The scar is a mark of pride, and of honor, both for what has been lost and what has been gained.", the scarring is an embodiment of acceptance and act of acknowledgement. "Acceptance of the scar is an acceptance of existence."

Through this process, the abandoned spaces can and should be returned as 'freespaces' to the people of crisis, those of knowledge, those of geography, those of conscience. In other words, those that does not fit in, those who dares to claim the space and use it. "Freespace" is a venue for those to contributes by knowledge and ingenuity, recycling and harnessing positive energy and creativeness that fueled the engines for the civilization.

"A space that has been abandoned, for whatever reasons, reverts to the common domain. There is justice in this, and the reality of an everrenewable beginning."

This deeply resonates with my intention of rejuvenating abandoned spaces as communal spaces (a common domain) for the people. The ultimate aim is, "To create a dialectic between timeless and timebound, a network of the unknown that inspires both dialogue and innovation." within our society, that is a young nation progressing.

14

Critical Thoughts: Three Principles of War and Architecture 1. Restore what has been lost to its pre-war condition.

2. Demolished the damaged and destroyed building and built something entirely new.

3. The post-war city must create the new from the damaged old.

A blog entry by Woods further discussed on the topic 18 later after the publication of its concepts on War and Architecture. Woods resummarized three principles on the topic.

The second principle almost contradicts his initial concept of being against restoration and erasure. But in essence, he still preaches the ethical and moral importance of preserving the ‘scabs’, ‘scars’ essential to the society for a diachronic awareness of history through architecture. The concept is still be considered unanimous with several academics through Fred Scotts’s book ‘‘On Altering Architecture’’ Frett Scott is a Visiting Professor of Interior Architecture at Rohe Island School of Design and Interior Design at Kingston

Critical Thoughts: Within the heterarchical city, it is necessary to have 'freespace', that these spaces are established on the principles of dialogue. These spaces belongs to a small group of people without any institutionalized authority. It is to be, "constructed by an individual or a small working group who see it in its inception as an instrument of transformation of 'self' and the 'world'.

"The range of possibilities of a given freespace's use is determined by the precisely defined configuration - the strong pressence - of its spaces and forms. In inhabiting these, precision must be answered by precision, pressence by pressence."

Woods compared characteristics and model of 'freespace' with the 'cartesian grid', as both being 'useless and meaningless'. The cartesian grid is considered 'As a spatial and formal construct, it has no character and therefore can be occupied without character a fact which many contemporary buildings testify.' Whereas the freespace is considered quite precise spatially, dimensionally and materially. For the people that inhabits them, one must be equally be concrete in one's thoughts and actions.

"The difference between these two has to do with the potential in creation through act of inhabitation - of new, values, purposes, wuses, meanings."

Woods does not consider his vision to be nihilistic, he refers to this 'as a potential that an individual must realise through acts of inhabitation, act of self invention.' This "self-invention inevitable draws upon and embraces the full scope of an individual's experiences. No one is born brand new each day, each moment. Much is draw from conception of past in the form of personal memories and reflections, as well as social consensus about what the past was and meant - history and tradition."

It is logical in understanding that politics involved in architecture, which some does not dare to admit, as they would want to earn the commision to build. In Woods’ point of view, the architects holds a scared task to not just design blindly, but also ethically and morally that contributes to the society. I believe its not just the job of an architects, but also as designers to design ethically and morally.

He preaches equity of a heterarchical city, in which he emphasized the importance of ‘freespace’, that this spaces help the society to progress, to develop a conscience through dialogue. Most of which is the motivation in creation of the spaces must be genuine, even the people that inhabits it must be strong in both thoughts and actions. In War and Architecture, he later refers to them as people of crisis, those that does not conforms to authority and does not fits.

There is also the added element of acknowledgement in imcompleteness in systems, that architecture is a political act. Ironies, controversy and contradiction are necessary to keep track of our sanity, consciences in order to progress.

15

Concept of Freespace

theoretical text, theories and concepts review Freezones, Freespaces and Freespace Structures

Critical Thoughts:

In both Arnarchitecture: Architecture is a political act and War and Architecture, Woods has heavily emphasized on the concept of freespaces, the criteria, in which defines the success of these spaces lies on the creation of the spaces and the users, who inhabits them, who owns them, who pays for the construction of the spaces. These spaces requires a very unique set of criteria, to which, how much can of it actually be fulfil in reality is a questionable. To test this idea within interior design is definitely a challenge.

Three Principles of War and Architecture 1. Restore what has been lost to its pre-war condition.

2. Demolished the damaged and destroyed building and built something entirely new.

3. The post-war city must create the new from the damaged old.

For the User/Peoples 1)

People from every social class inhabits freespace.

2)

People who do not fit into pattern and uncomfortable in hierarchical orders.

3)

Those who want to take their lives more fully into their own hands.

4)

To inhabit them, one must be concrete in one's thoughts and actions.

5)

The people of crisis, the crisis of knowledge, geography and of conscience.

6)

Not 'survival of fittest', but a form of comradeship, or compassion.

For the Freespaces/Freezones/Freespace Structures 1)

Useless and meaningless space - potential in creation through inhabiting,

new, values, purposes, uses and meanings.

2)

To exchange dialogues, to facilitate play on a broad field of an individual

knowledge and experiences, a type of free interaction - a dialogue - with

one's self that is in fact the beginning of all communication and community.

3)

To be considered quite precise, spatially, dimensionally and materially.

4)

Its precision lies in differences in between one freespace structures and the

next, between one spaces wthin that structures and the others, between

one surface, texture, colour, degree of newness or decay, degree of

lightness or darkness resulting from shifting conditions of illumination.

5)

Inhabiting these spaces, precision must be answered by precision,

pressence by pressence.

6)

Financed from below, not money, but the people of knowledge, ingenuity,

energy, and inventiveness that fuel the engines of civilization, selflessly.

A blog entry by Woods further discussed on the topic 18 later after the publication of its concepts on War and Architecture. Woods resummarized three principles on the topic. The second principle almost contradicts his initial concept of being against restoration and erasure. But in essence, he still preaches the ethical and moral importance of preserving the ‘scabs’, ‘scars’ essential to the society for a diachronic awareness of history through architecture. The concept is still be considered unanimous with several academics through Fred Scotts’s book ‘‘On Altering Architecture’’ Frett Scott is a Visiting Professor of Interior Architecture at Rohe Island School of Design and Interior Design at Kingston University, London.

Reconstruction Design for Electrical Management Building, Sarajevo, Bosnia, 1993

16

Woods’s Blog: The Question of Space

Critical Thoughts:

Lebbeus discoursed the concept of how spaces are perceived. Space is essentially a mental construct as defined by him. On contrary, he posed a thought proking question that if space is a medium and non material, what is our relationship with the world, in fact, directing the focus onto the idea and reality of architecture. He further challenged the idea of virtual space with criterias of how virtual space constructed versus what is real.

In which movies and other virtual spaces are perceived through senses and therefore proving its existence but rather these are "conceptual space." This created a dilemma in which senses is easy to fool and therefore the mind too. When it comes to spaces, the mental is as potent as the physical suggested by Lebbeus. But duly noted that we do have partial skepticism that impedes our ability to assess the question to which if our sensation and thoughts can be trusted. This orthodox perception of constructed space through sense and organs faces the opposite spectrum, to what extend are we capable of perceiving space as humans is acknowledging there are limits to what we can conceive.

To what extend are we really capable of perceiving space, to trust that what we are able to see visually is the real thing? Of which, I am interested to question what and how we perceive abandoned spaces. The elements and topics that surrounds these spaces are all ironic and controversial, so what can we actually make out of it? Can we tease our our acceptance and understanding of spaces that exist in the physical sense by metaphysical sense? And maybe make a kind of peace with it?

‘‘ Architecture is a political act, by nature.

It has to do with the relationships between people and how they decide to change their conditions of living. ’’ Critical Thoughts Woods' manifestos and concepts deeply resonates with my intention of design and looking at abandoned space. The principles and theories Woods presented show similar consensus with some academics essay in Fred Scott: On Altering Architecture. However, I do understand and acknowledge certain loopholes and differences between architecture and interior design. To what extend can actually be explored, pushed and materialized. The attempt to conceptualize the architectural theories within the field of interior design is definitely a challenge worth challenging.

The outputs might deemed impractical or rather nonsensical by some. The aim is to explore the possibilities and potential of metaphysical interior details, if it can be realised, be weaved in interiors and seeps into the soceiety's awareness and identity.

17

x

Development of Project juxstapositioning, narrating, experimenting

Project Inception : Concept v.s.. Issue

Case Studies : Abandoned Architecture and Spaces around the World

Singapore Case Studies: Old Changi Hospital Tanglin Brunei Hostel Chee Guan Chiang House Istana Woodneuk Neo Tiew Estate Old TTS Hospital Fort Serapong View Road Mental Hospital Changi Commando Barracks Keppel Hill Reservoir Tanglin Barracks Old Bird Cage Rd Houses National Aerated Water Co.

Decay Studies and Observations

Case Studies: Pripyat Town Hasihima Island Zaljava Airbase The Prora

Metal Concrete Wood Tiles Glass

Theoretical Studies : Lebbeus Woods Bernard Tschumi

Lebbeus Woods : Scars, Scabs, New Tissue Freespaces Against Erasure and Restoration Building on Remnants of War Injection Solid State/ Fluid State 20 Tactics of New Practice

Juxtaposition of Projects Project Theme and Criteria for Site Selection: Project 1 : Contrasting and Mediating of Decay and New Project 2 : Envision a collective Ruins and Decay of Freespace

Project 1 : National Aerated Water Company

Sub Projects The yellow bar The wooden box gallery The wallside gallery The showbox theatre The walk thru corridor The courtyard Artist residences Block

Bernard Tschumi’s 6 Concept of Architecture : Technologies of Defamiliarisation The Mediated ‘Metropolitan’ Shack Destructuring Superimposition Crossprogramming Events: The Turning Point

Albert Speer : Theory of Ruin Value

Project 2 : Benjamin Sheares Bridge @ Tanjong Rhu

Practioner Resonance : Peter Zumpthor Kolumbra Herzog de Meuron CaixaForum Madrid

Sub Stages The spatial design The envisioned future The interior details The freespace unit The sharedspace node

Carlo Scarpa Giardino delle Sculture

Site Details Conclusion and Future Direction

Most of which that is much engraved in the public's mind is its architectural facade. I faced difficulties in documenting the site due to accessibility and had to rely on imagery and visual documentation to create a digital model of the site. Some of its interior details of spaces are speculated in accordance to visual interpretation. Its dimension have been estimated and adjusted to figures that are easy to work with. The focus is on its detaisl of ruins and decay. I hope to prototye spaces and details that is able to capture appreciation for the essence of time.

19

Concrete

decay, stains and its essences of time

Cumulative Stains Concrete is one of the basic material for construction of structures. A common building material amongst civilisation. At its peak, it inspired a a new modern movement within design and architecture for its honesty as a material. Despite so, concrete like many other material enact as a canvas that captures the essence of time through traces left by prolong exposure and weathering. Exposure to rainwater and dust caused decay on the texture of concrete. Uneven concrete surface traps water, this is turn encourage the formation of algae on its surface.

Through time, any imperfection that was not visible would surface.

20

Wood

decay, weathering, stains and its essences of time

Desaturation of Wood Wood is a natural material that possesses beautiful texture and colour that is sought after for construction and ornamentation of objects or furnitures.

Wood in the external environment are exposed to weathering. Prolong exposure to sunlight's ultraviolet causes the material to lose its natural colour. Slowly, similarly to concrete, the grains of wood texture starts to collect deposits of dust and water.

Acummulating and encourage a layer of moss to grow on its texture. The severity of the moss and desaturation is a testament of time that it withstood.

21

Materiality

decay, cracks, stains and its essences of time

Materiality Relation Various different materials are use to construct one entity of structure or object. The durability of the material is a key driving factor during its designing. stage. The difference in material contrast the harshness and softness the environment. The details of texture becomes a complimenting design element towards the contrasting material in ocmposition. The stark motion in texture reveals the honesty in what it has went through. It recorded the traces of what it has went through.

A hole in a wood plank. Two different colour of paint peeling of a brick wall.

A crack on the concrete wall. A story for us to be consciously aware of its history.

22

Metal

decay, rust, stains and its essences of time

In Rust We Trust Metal provided strength and shelter to structures. Exposure to moist environment would encourage the process of rust. Rust stains its surrounding environment onto different materials. It could be fustrating and annoyance in some instance.

The motion of rusting stains is similar to that of other material in a vertical manner. In some instance, this phenomenon of rusting became a feature to be celebrated in design and architecture. This allows us to appreciate the beauty of colour and warmth it evokes to the surrounding environment.

23

Practioners Resonance theoretical and project inspiration Lebbeus Woods Carlo Scarpa Peter Zumthor Herzog de Meuron

24

CaixaForum Madrid (2008)

An experimental theorist in architecture that pushes the boundary beyond what we comphrehend on architecture. Woods was commissioned to design an experimental space. The ultimate intention was to create an environment for users to experience a walk through of the space itself that is entirely personal. Through his literature, I felt a resonance in his attitude towards art, design and spaces. To push the boundary beyond discipline, blurring what can be conventionally interpreted. Of which, the key driving force is to express design freely through sketches by envisioning an ideal vision. His works and literature overlaps some key area in which my project is developed. Rather, in other wards ,laying the ethics, morals and principles as of my project.

Lebbeus Woods

Envisioning and Creating

25

Giardino delle Sculture (1952)

Material Composition In Giardino delle Sculture, Carlo used simple minimalistic material and design to integrate into existing old structures and environment. To contrast the worn and the new in a humble manner without jarring the focus of the environment. He envisioned elements of time to be included in his designs.

From the use of natural vegetation to the acknowledgment in worn and the new.

Carlo Scarpa 26

Zumthor's usage of material, colour scheme and details to complement remaining ruin structure is a balance in terms of harmonic composition.

In order to draw attention and respect to existing old ruins, finer and smaller size grey bricks is used. From those grey bricks, small porous holes are punctured to be featured as a facade design. From the interior, these porous holes then becomes a beautiful lightplay. Simple elements were used sparingly.

Peter Zumthor

Lightplay

Kolumba Museum (2007)

27

Emotions An old abandoned electrical station turned museum design by Herzog & de Meuron, it is one of the most visiited museum in Madrid. To create a new volume of space tht is functional, Corten Steel is used for complementing the colour and texture of the bricks. A third element of the overall design to harmonize a symbiotic transition of public space and its harsh architectural colour and detail is its green wall designed by botanit Patirck Blanc. The whole building seems to be defying gravity, floating above ground level.

To an extend, it almost seems abit

CaixaForum Madrid (2008) 28

The interior of the museums uses minimal type of materials for its spaces. Although its usage of material is simple and clean in perceiving the spaces. It looks almost too modern to actually realised tha this used to be an old abandoned struture. Only its architectural facade is preserved for the rememberance of the building.

A 'texidermy' process in architecture.

Ideally, I hope that some of its most real existing element should be retain and integrated as a feature for public users to understand and remember about the spaces.

Herzog and de Meuron

Juxstaposition

29

Alternate Gallery Zone National Aerated Water Company (1954 - 1999) National Aerated Water Co Ltd, 1177 Serangoon Road (S)328231, Singapore 328231 One of Singapore oldest art deco styled factory faced the fate of being redeveloped. In December 2017, URA updated that this iconic L shaped building would be conserved and be integrated into its upcoming residential development. The site has accummulated elements and traces of time on its physical surface. This is inspired me greatly to retain these traces of time and reenvisioning into a purposeful venue that can be appreciated by public with useful functions.

NAWC Building is envisioned to be a new national design centre that is able to celeebrate both is architectural history and its ruins/decay details.

Through time, it is envisioned to continue and accumulate the traces of time. A distinctive facade and accent of space creates and evokes a sense of nostaglia for users.

30

31

Wong Wei Yuet, Blogger

Jerome Lim, Blogger

Understanding N. A. W. C. I had difficulty in accesssing some of the abandoned structures in Singapore due to the nature of the project. Of which, I fail to gain entry to some of the site. Fortunately, N. A. W. C. was one of the most ideal site that allows me to gather relevant information and data in understanding the site.

In order to increase the accuracy for the project, I spent a great amount of time gathering information that is limited on the internet. N. A. W. C. building currently belongs to Selangor Dredging, a Malaysian listed developer. which did not grant me the access to the site. Much of which has to be heavily relied on photography of bloggers such as Jerome Lim and Wong Wei Yuet. Their photography of the space gave me greater understanding of the interior spaces and external environment. I would like to thank the various owners for these photograhy that aid my understanding towards the place.

x

33

34

Yellow Accomodation Block

Open Courtyard

Partial Sheltered Wareouse

Key Plan

Kallang River

Main Office-Factory Building

Upper Serangoon Road

Interior Conditions The architecture facade is inspired through art deco of its time. Since abandonment, the interiors, materials and site has weathered through several decades and has accumulated these 'traces' that seems to be in ruins. Can these traces and decays be integrated or celebrated for usage without any stigma.

35

30

8

4 ‘L’ Shaped Factory Buidling Elevation A - A

B-B

12 7.5 A-A

Rear Factory Shelter Elevation B - B

36

Peeling of Wall Paint Moss and Paint Decay

Exposed to Prolong Weathering

Decaying Ground Wild Vegetation

Reclaim by Nature

Site Conditions and Significance The exterior and interior of the building have accumulated interesting decays, rust and vegetation on its physical surface. Whether or not this site intention of being left in an unmaintained manner, it has evidently shown signs and story that aroused curiousity of individual. So why not, test the idea of retain such 'traces' ?

Since its defunct in the 90s, it is left undisturbed. Often when I took bus home, I would noticed this piece of architecture and wonders what is inside and its history. Often wondering what can this piece of building be revitalise into for greater appreciation by the public.

37

Site Layout Study

Ground Level

38

Second Level

Site Observations

Site Layout Study

Since I was not granted entry into the building. I could only record my observations from outside.

Fortunately, I was able to have a good glimpse of the main interior spaces.

The details and conditions of the spaces. Subsequently, relying on the other photography online to aid in the digital visualisation of the space. The decay of interior of the ground level is evidently visible on pillars, walls, tiles and ground. It is well shaded and it generally well lit by natural sunlight.

39

40

30

45

35

14

5

4

12

Elevation C - C

Accomm

Courtyard

Factory Shelter

‘L’ Shaped Factory Building

Elevation D - D

Site Observations

D-D

C-C

NAWC spans approximately 30m in length and 75m in depth in the shape of a vertical rectangle. It is segmented into 4 main parts, its rear accomodation block independently, an open courtyard, a factory shelter and a two level 'L' shaped factory building.

The existing boundary wall separates NAWC from the adjacent motorcycle garage. Some parts of the site is invaded by wild vegetation without much maintenance since its defunct.

41

42

23 Room 2

4.85

Room 3

Restrooms

Room 1

Room 4

Stairs

Open Void Deck

Room 5

Open Yard

Elevation E - E

7.2

3

4.85

23

Elevation F - F

Site Observations F-F

E-E

The rear yellow iconic accommodation block stands out most for its bright color along with its state of decay condition it is in. There are very few piece of such raw and honest building left. Since 2015, the red roof shingles have been removed. It is currently without roof and is expose to weathering.

43

Concept Scheme

juxstapositioning, narrating, experimenting

Artists Residence Block

Linkway Shelter

Public Atrium

Kallang River

Exhibition Space 1

Bistro Bar

Exhibition Space 2

Upper Serangoon Road

44

Ground Plan

Roof Plan

Concept Scheme The partial divided spaces create a controlled environment of privacy for different volume of spaces for its functions. The concern is to separate the residence artist from the main public, allowing a more conducive environmnet for artist to focus on their work.

A unified scheme of connection from the artist block to the main warehouse building. But is designed with privacy in mind without compromising the comfort of both public and the artist. It encourage a more distinctive identity of NAWC as a whole.

One of the concept is to create an enclosed case environment for users to use the spaces, but limiting physical interaction to the original physical spaces.

This is to allow the continous aging of the space without interference of users. The users are still able to observe the decays of the spaces.

45

Concept Scheme 2

juxstapositioning, narrating, experimenting

Artists Residence Block

Linkway Shelter

Kallang River

Public Atrium

Accent Decay Alley

Public Atrium

Bistro Bar Outdoor Dining

Exhibition Space 2

Upper Serangoon Road

46

Timber Floor Tiles Glass Lighting Strips Existing Floor Condition

See Through Flooring Design Details

Curtain Wall Accent tree againts background of boundary wall from Gallery Space.

A Public Courtyard Experience

Courtyard as Transitional Space The roof of the accommodation block was removed sometime around 2015. Since then, the interior has been exposed, its removal of roofing is doned, for such renewed usage of the space, I proposed a new roofing would enact as a new tissue of the building but evidently be able to see the scars of the roof that was removed.

47

the boundary wall alley

48

Design Details Features juxstapositioning, narrating, experimenting

Boundary Wall Greeneries Glass Roof Gallery Event Space The warehouse is a indoor air conditioned event space. Envisioned for exhibition, functions and events to happened. Users are able to visually connects themselves with the interior space to the exterior environment.

One of the accent of the interior event space is the connected to the boundary wall. The wall becomes an accent and backdrop of the space from the inside.

The decays of the brickwall and paint is one visual attraction of the event space.

Most of which that is much engraved in the public's mind is its architectural facade. I faced Gallery Space

Exhibition Space 1 with Accent Alley

Most of which that is much engraved in the public's mind is its architectural facade. I faced

Most of which that is much engraved in the public's mind is its architectural facade. I faced

49

Final Schematic Development juxstapositioning, narrating, experimenting

Artists Residence Block - the living space - the studio - the rooms - the gallery Accent Water Feature Stage Tranquil Garden Scape Linkway Shelter

Kallang River

Tranquil Corridor Seats

The Walk Thru Corridor The Woodbox Gallery

Kitchen

Alfresco Seats The Yellow Bar The Reception The Wallside Gallery

Upper Serangoon Road The Worn and The New The final schematic development refines the programming of circulation and activity happening throughout the art zone. Identifying the key area that promotes the best experience in relation to the site condition.

Of which, key consideration is to minimize demolition but instead built upon the exisiting structures and condition. To use materials and design to complement existing conditions of NAWC.

50

Ground Level

Second Level

51

Artists Residence Block - the living space - the gallery Accent Water Feature Stage Tranquil Garden Scape Linkway Shelter

Kallang River

Tranquil Corridor Seats

The Woodbox Gallery

The Walk Thru Corridor Kitchen Alfresco Seats

The Yellow Bar

The Reception

Upper Serangoon Road

Ground Level

52

The Studio

Kallang River

The Showbox Theatre

Office

The Showbox Theatre

The Wallside Gallery

Upper Serangoon Road

Second Level

53

the yellow bar Kitchen

Booth Seating Food Drop off

Shelves Alfresco Area ( Non Smoking )

Bar Counter Bar Table Yellow Pillar Lightbox Feature

Exit Entrance

Booth Seating

Alfresco Area ( Smoking ) Group Seats

54

Existing Decay Wall Condition Cove Lighting Timber Design Feature Contrasting Decay and New

Design Concept The Yellow Bar is designed to allow users experience dining in an old decay styled environment. To dine in a clean and new timber styled interiors. engulfed by the beauty of the yellow wars that contains all the decay. This decay comes in various forms, algae stains, rust stains or dust stains. The peeling of its paint or even the dirt on the white tiles of the wall. It is presented with cast lighting, a feature that give this bar a different unique vibe original to the space.

Entrance

Pillar Light Box Feature By studying the existing layout of the site, I noticed the awkward position of the yellow pillars. Initial designs was to locate more seats near the pillars, but realised that instead of looking at it as weakness I would use it as a strength to be the lighting feature of the bar.

The yellow wall and colour scheme gave this area a very warm atmosphere that is rather nostagic. In hope to use this atmosphere to my advantage. The main theme would be use 3 main colour to set the mood of the Bar.

55

Food Collection Shelves Booth Seat

Bar Counter

Pillar Lightbox Feature Entrance

Booth Seat

Elevation of Bar Counter Existing Pillars Position

Existing Condition As wall feature of Bar New Setting to complement contrasting Old

Raised Timber Floor/ Partial See Through Retain Existing Ground

56

Feature Fenced Wall Separation Design

Section of Bar and Outfoor Alfresco Area

Design Development of Featured Wall Against Yellow Wall

Interior Atmosphere In essence, the concept is to float the space above exisiting condition. To design space within the volume of space, maximising what can be retain in its original condition. Creating a new volume of new space that is surrounded in an old and worn setting.

This would give users to dines in the bar to experience the authentic experience of what this piece of building got to offer.

CaixaForum Madrid, Herzog and de Meuron.

57

the alfresco corner Proposed Timber Ceiling

Cove Lighting Cast onto Decay Wall

Light Feature within Existing Wall

Site Observations Most of which that is much engraved in the public's mind is its architectural facade. I faced difficulties in documenting the site due to accessibility and had to rely on imagery and visual documentation to create a digital model of the site. Some of its interior details of spaces are speculated in accordance to visual interpretation.

Its dimension have been estimated and adjusted to figures that are easy to work with. The focus is on its detaisl of ruins and decay. I hope to prototye spaces and details that is able to capture

58

Existing Decay

Wooden Coffer Lightbeam Cove Light 2 Cove Light 3

Cove Light 1

Existing Paint Decay as Accent Feature

Cove light casting upwards

Light Feature within Existing Wall

Decay As Accent Feature Upon further deisgning around various corners of the bar. I closely studied the site through imagery. To design as base on what the site got to offer. In some instance, the design is actually v minimal, to jus propose various simple interior elements to curate an experience the users. Of which, ideally, the night experience would best showcase the vibe of the decay environment.

59

the reception area Cove Light

Timber Ceiling with Cove lighting

Window

Timber

Raised Timber Floor The woodbox gallery

Existing Decay Ceiling and Wall as Accent Feature

Polished Concrete Counter Reception Area

Pillar lightbox Entrance to The wallside gallery

60

1. Reception Area

Plan Reception Counter The reception counter is design to be the between the entrance of the two galleries at ground level. The counter is designed to be of polished concrete.

Section of Reception Area

Polished Concrete Counter

2. Transition of Spaces the yellow bar

3. Unifying Decay Motions the corridor

reception area

Timber Ceiling Design The ceiling is design with strip of vertical and horizontal timber strips and planks to mimic the motion of decay elements. The inspiration is to blur the edges of what is new with what is old. This draws the focus to what is recessed at the back, which is the existing old decay environment in which the users are in. A conscious awareness of environment constantly.

Pillar Light Box Feature The central walk thru corridor features an open space that allows various events to be held near the reception area. A functional space for formal and informal activity to happen within the old interior of NAWC. The pillars similarly is becomes one one of the lighting feature within the space.

61

the woodbox gallery

62

Woodbox Experience The Woodbox Gallery is an event space within the warehouse shelter. It is designed with visual connection to the adjacent boundary wall as a feature backdrop when the slide window blind is open. Its roof is puntured in accordance to existing shelter roof to receive natural sunlight into the volume of interior space. It is intended to feel light within this volume of box, that users would feel that it is a completely different place, but upon noticing small details such as glass flooring and the shelters pillar, they would realised they are within an eisiting structure.

Plan of Woodbox Gallery

CaixaForum Madrid, Herzog & de Meuron

63

Visual Connection Despite being a gallery or an event space. This space is not visually cut from the surrounding exclusively. It is intended that there will be ports that allows users to see what is happening behind these timber walls. This allows users to be situationally aware about the context they are in. Encouraging an better appreciation of NAWC.

64

Built Within. As Aware Small details has been design around the woodbox gallery. The glass flooring at various parts of the gallery with light casting from below allows users to know that the volume of space and how it is constructed. This calls for a greater understanding and appreciation of the new space consturcted within the old space.

65

visitor seating space

Plan of Second Level

66

Glass Recessed Beam Lighting 5

Visitor Seating Space

Decay Inspired Design 17

Gallery 1

Gallery 2

6.3

Gallery 3

Multipurpose

Concept Design of Wallside Gallery

Spatial Planning of Wallside Gallery

Four Gallery Spaces The Wallside Gallery comprises 4 segment of small spaces to allow different kind of small exhibition to happen or one function at once. The walls of the gallery space is offset inwards with respect to the existing walls of the interiors to be preserve. It is also design with uplighting casting from the foot of the wall, to showcase the conditions of the wall with pride.

A feature that the gives the Gallery space its identity.

Multipurpose

Gallery 3

Gallery 2

Gallery 1

67

the wallside gallery

Glass with Uplighting Recessed Beam Lighting

68

Cove Lighting

The Showbox Theatre The Wallside gallery also feature a auditorium called the Showbox theatre. This theatre adopts a similar concept that is designed to be constructed from timber, raised and offset within the volume of space. Following the similar design lanuage of decay and motion, the timber strips are design to mimic the stains on the wall.

Overall Concept Scheme

The Wallside Gallery Lighting The overhanging beams of the wallside gallery are recessed beam lighting and track lightings that accommodates to different type of lighting required for different kind of exhibitions and activity. The offset glass wall allows more users to observe the conditions of the wall without damaging the stains and decays of the wall.

Concept Design of Wallside Gallery

69

the showbox theatre

Concept Design of Showbox Theatre

70

Lighting Feature againts Wall Sliding Timber Blinds

Lighting Feature Between Wall and Seat Retain Existing Condition of Wall

Design Development of Showbox Theatre Lighting Feature againts Wall Seatings

Retain Existing Condition of Wall

Open Slide Timber Blinds Windows Seats

Closed Slide Timber Blinds

A Floating Deck Experience The deck is design to be simple steps like seating that allows flexible and informal seating environment for users to feel comfortable. The seats and its material is an excellent contrast to the worn and old ceiling and walls. The wall always becomes one key feature of the spaces.

71

Boundary Wall Alley

The Woodbox Gallery

Retained Existing Condition of Pillars Skylight Window

72

Lighting The Walk Thru Corridor

Pillar Light Box

Toilets

73

the walk thru corridor

74

A Permanent Installation Walk Thru Corridor The wall thru corridor is a public accessible space at all times. It allows public free installation to be held here or even permanent artworks to be showcase. It is also envisioned to be a ideal destination for people whom seeks quietness when night falls, a venue for relaxation at the bar or with a group of good company.

75

the courtyard

76

Concept Design of Linkway Shelter

Transitional Courtyard Between the Gallery spaces and the Residence Block is an open courtyard.

It is designed to be a humble transition of public to private space. The vegetation provides exclusiveness for the artist whom uses the living space for leisure. The courtyard is also a possible venue that allows small scale outdoor events to happen with a stage and water feature. The water feature enacts as an neutral element to complement the decaying boundary wall as a accent feature. When night falls, the decay becomes one piece of lighting feature with spotlight casting on to its beautiful decay.

Plan Central Courtyard

Kolumba Museum, Peter Zumthor

77

artist residence block

78

Corten Steel

Reycled Corrugated Zinc Sheet from Hoarding Fence

Proposed New Shelter Design

A New Shelter A new roof is designed provide shelter for the accommodation block. The intention is to recyle the hoarding corrugated metal sheet as the new roof. The roof is design using simple horizontal element consistent throughout NAWC. The overall look is supposed to focus on the yellow and decay of the accommodation block.

Capturing the Essence of Material Through Time

79

The artist accommodation block allows artist to work in a private environment.

It can accommodate up to 4 artist to work at any one time. The rooms are design in style similar to the woodbox gallery, a volume of wooden space within the interior space of the room with necessary puncture at various corners of the room where decay is happening, casting soft cove light to be on design feature of the room. It is kept to a minimal exposure due to the comfort of the users whom requires sensitive rest without being too jarring.

the rooms

the living space

80

The living space is located at the ground of the accommodation block at the corner of the boundary wall. It enjoys exclusive privacy surround by lush greeneries. A living room, a bar counter and dining area. The living space is a private space for artist to rejevenate, design in style of coziness in mind.

overhanging tiles lighting Volume of Open Space

Use of Old Roof Tiles as Lighting Feature

Reuse of Old Roof Tiles Since its roof was removed, it was kept at the yellow accommodation block. I had in mind to reuse the old roof tiles to be design as a overhanging lighting feature in the living space at the dining area. This allows some parts of the original roofs to be celebrated for a new purpose and not left forgotten.

A feature that could be celebrated and appreciated by the users residing there.

81

Plan of Living Space

Volume of Open Space Artist Room

Bar Counter Dining Area

Elevation Front Living Room Bar Counter The living room is bounded by an L shape yellow wall. This wall like other accummulated substantial decay and stains through its history. I was inspired to retain its scars and scabs and design new tissue on its surface to complement an appreciation towards the existing condition. The wall becomes one new feature of the living space tht does not requires any refurbishment. The only proposed changes would be an raise floor to official 3 different levels for the living spaces, the living space the bar counter space and the dining space.

82

Recycled Corrugated Zince Roof Dining Area

New Corten Shelter Artist Room Living Room Bar Counter

Elevation Right

the studio Room A 1 px Studio Space

Room B 2 px

Room C 1 px

Pantry

Plan of Living Space The Studio is an open concept studio that allows natural ventilation to cool the interiors of the space. It is located in right next to the stairs, sandwiched between the rooms. The interior is designed to have a pantry by the balcany that receives wind ventilation.

Plan of Studio Space

83

Conclusion In my pursuit of this project, i faced several difficulty in defining the project, later on, to gain entry to such abandoned spaces to document the project. I also spent great amount of time to understand the condition and accuracy of the site, to put myself in that space in order to design sensibly. The traces of time through materiality could be one fascinating style that could be further pushed in term of designing. But some other difficulty is to actually be on site to test out lighting, fixtures on the ground rather than designing on paper and digital model, because there is only so much I can imagine and envision which might not be entirely the best or works. I realised that because the nature of the project, i was not able to push the prototyping more. In hindsight, i do believe i pushed myself in terms of understanding what the site has got to offer in relation to the initial concept of freespace that i read about. This project may well be regarded in my point of view, a freespace of the arts and to the general public. Something that could be return to the society to further push the heart and mind of a nation and civilisation.

84

E

N

D.

Er Chen Wei 16AAD015J SIT - GSA