D E S I GN P O RT FO LIO L EE W E N Y UN CLARI S SA JANE
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Contents Cu rriculum v i t ae
5
Pro je ct s ‘Archi tect ure’ 7 Casa v i a LPD M Plan i s t he Generator
8 22
Archi tect ure wi t h Ch a ra cte r, Arch i te ct ure t hat Bui lds Charac te r
32
The Fut ure i s Female
38
The Secret Li fe of Libra ri e s
42
Cast i ng Li ght
48
Alexandra & Ai nswor t h
56
Stockwell Hub St udent Hous i n g
60
Un dergraduate t hesi s
69
Ph otography Di gi t al 1 1 0 Di gi t al & 35mm
116
Mi scellaneous 1 4 9 Essays 160
Contents
The City & th e City: Perce pt i on a n d Pl a ce
p. 4
E XP ERIE NC E de si gn wo r ks h o p s Jo n atho n Jack so n (WeSh ou l dDoIt Al l ) Oc t 2018 1 Reima gined : Th e Fu tu re i s Fema l e s tore d i s p l ay fo r NikeL a b, SoHo, N Y Jim ene z L ai ( Bure a u Sp e ct a cu l a r) Se p 2 0 1 7 A rchitect ure wi th Ch a ra c ter, Arc h i tec tu re t ha t Bu ild s C h a ra c ter Lo re nzo Guzzini (Lore n zo Gu zz i n i Arch i tec t u re) Oct 2017 Ca s t ing Light , Sc u l pti n g Spa ce e mp l oym ent Arc h ite ctural d es i gn e r Ju n 2 0 1 9 – Pre s e nt De s ig n -Buil d p rojec t : Sha ding dev i ce fo r 23 Sig l a p V iew, Si ng a pore, SG P Te aching assistant + Ph otogra p h e r Ju l 2 0 19 Sy ra cus e Arch i tec t u re Mi ngde Prog ra m, Sy ra cus e , N Y, U SA Na rrator Apr 201 9 A RC TI C LiDA R (v ideo ins t a l l at i on), Da n i e le Profeta ( Al a m / Profet a Pra c t ice) E xh ib ite d at ACCel erate Fes t iva l , N M A H , Wa s hing to n, D. C. , U SA Fl o ri st (s m a l l s cal e bou qu et a r ra ngem ent s + l a rge s ca l e eve nt des ig n) Ju n– Au g 2 0 1 7 Peta l s a nd Le aves at Nyee Phoe Ga rde n a s i a , Si ng a p o re , S G P Buil d er Ju n 2013 Kamp un g Nata i Tel i pok , Ha bit at for Hu ma n i ty, Kota K in a ba l u , M YS Mus ician + b arte n de r/wa i t st af f Oc t 2 0 1 3 –Aug 2014 PRO FIC IE NC Y
LEE WEN YU N CLARISSA JANE email – www – issuu – behance – instagram
E D U C AT IO N Syra c u s e Un i vers i t y – Sc h o o l of Arc h i te c t u re ( N Y, U SA) Aug 2 014–May 2 019 Ba c h el o r of Arc h i tec t u re w i t h Un d erg ra d u ate Th es i s Mi n o r i n Ar t Hi s to r y i nvo l ve m e nt Un i ve rs i t y p e e r a d v i s o r Aug 2 014–May 2 0 1 9 Arc h i te c t u re s c h o o l u n d e rgra d u ate a m b a s s a d o r Aug 2 014–May 2 019 St u d e nt me nto r s q u a d ( Sc h o o l of Arc h i te c t ure) Aug 2 018–May 2 019 In a u gu ra l Co mmi t te e fo r Di ve rs i t y, Eq u i t y, a n d In c lu s i o n ( Sc h o o l of Arc h i te c t u re) Aug 2 0 1 8 – May 2 019 s c h o l a rs h i p + awa rd s Sy ra c u s e Un i ve rs i t y Sc h o la rs h i p of Ac a d e m i c Exce lle n ce Aug 2 014–May 2 019 De a n’s Li s t Awa rd ( Sy ra c u s e Un i ve rs i t y Sc h o o l of Arc h i te c t u re) Fa l l 2 017 Wi lli a m J. Sli ve rs De s i gn Pr i ze Ma r 2 0 1 6 s t u d y a b ro a d Flo re n ce , I TA Fa l l 2 017 Lo n d o n , G B R Sp r i n g 2017 An g l o - C h i n es e Inter n at i o n a l Sc h o o l ( Si n g a p o re , S GP ) Ja n 2 012–De c 2 013 Inter n at i o n a l Ba cc a l a u reate d i p l o m a l ea d ers h i p + i nvo l ve m e nt V i ce -p re s i d e nt Ja n –De c 2 013 C h e o n g Ko o n Se n g Ho u s e (C KS ) of 1 5 0 Orga n i s e r Jun –De c 2 013 V i s u a l a r t s c h a r i t y ex h i b i t i o n ( Od ys s ey)
U 18 Touc h Rug by Tea m Ja n 2012–De c 2 0 1 3
d i g i t a l s of t wa re Rh i n o 5. 0 + V-Ray, Adobe Su i te (Il l u s t rator, Ph oto s h o p , InDe s i gn , Li ght ro o m) , Au toC A D, Rev i t , Mi c ro soft Office , iMovie, Ga ra geba nd p hys i c a l m o d e l l i n g m e d i a Pa pe r, chip b o a rd , wood, a c r y l i c pl a s t i c s , w i re , fo a m, la s e r c u t te r, s h o p wo r k , p la s te r c a s t i n g , 3 D p r i nti n g , co ncrete, fa br i c , rope, ya r n, int a g li o p r i nt -ma k i n g (d r y p o i nt , a q u at i nt , a q u afo r te /etc h i n g ) , p a i nt (o il , a cryl ic, watercol ou r) s ki l l s (m i s ce l l a n e o u s) 2 D + 3D a rch ite ct u ra l draf t i ng (di g i t a l + a n a log) , h a n d -d raf t i n g, s ketc h i n g, p h otogra p hy/f i l m p ro cessi ng + e d itin g (di g i t a l + a na l og ), s c u l pt ure , p a i nt i n g, i llu s t rat i o n , f lo ra l a r ra n ge me nt (s m a l l + l a rge sc a l e) , s et d e s ig n + a s s em bl y, w r i t ing , pu b li c s p e a k i n g, d e s i gn , p ro b le m-s o lv i n g l a n g u a ge s En gl i sh ( 5) * , Ma n da r i n (普 通话) (2 )*, It a l i a n ( 1) * , C a nto n e s e ( 1) * *d ef i ned by I LR s c a l e
CURRICULUM VITAE: LEE WEN YUN CLARISSA JANE
+1 315 200 4959 | +65 90908282 phone 179 Pulaski St, 3, Brooklyn, NY 11206 address
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‘Arc hitecture’
CASA VIA LPDM
CASA VIA LP D M RE S I D E NTI AL
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p. 9
Bet ween V i a Lodovi co Pavo ni, 7 8 , and Via della Ma r ra nel l a, 137, Rome, It aly
CASA VIA LPDM
5 0 0 s qu are foot res i den ce in Pigneto , Ro m e
CASA VIA LPDM
p. 10
CASA VIA LPDM
p. 11
CASA VIA LPDM
p. 12
CASA VIA LPDM
p. 13
CASA VIA LPDM
p. 14
CASA VIA LPDM
p. 15
CASA VIA LPDM A 1
10’ - 0”
2
15’ - 11”
3
A
11’ - 8”
B B’ 8’ - 6”
B
C 7’ - 8”
D
GROUND FLOOR PLAN 1’ = 1/2”
A’
p. 16
p. 17 A
1
2
3
A
B B’
B
C
D
FIRST FLOOR PLAN
A’
CASA VIA LPDM
1’ = 1/2”
CASA VIA LPDM 0’ - 9”
9’ - 1”
8’ - 10”
9’ - 4”
SECTION B - B’ 1’ = 1/2”
p. 18
p. 19 0’ - 9”
8’ - 10”
19’ - 8”
9’ - 4”
SECTION A - A’
CASA VIA LPDM
1’ = 1/2”
CASA VIA LPDM
A
1 B 2 C
D
3
STRUCTURAL AXONOMETRIC
p. 20
1’ = 1/4”
p. 21 1’ = 1/16”
CASA VIA LPDM
EXPLODED AXONOMETRIC
PLAN IS THE GENERATOR
P L A N I S T HE GE NE RATO R FORM AL I NVE S TI GATI O N
p. 22
p. 23
A gg re g at i ng an d man i pu l ating the Plan to develo p
PLAN IS THE GENERATOR
vo l u m e and or nament
PLAN IS THE GENERATOR
p. 24
PLAN IS THE GENERATOR
p. 25
PLAN IS THE GENERATOR
p. 26
p. 27 PLAN IS THE GENERATOR
Pl an is t he Ge ne rator, di gi t al render.
PLAN IS THE GENERATOR
p. 28
p. 29 PLAN IS THE GENERATOR
Pl an is t he Ge ne rator, foam m o del (1 ’= 1 / 4 ”).
PLAN IS THE GENERATOR
p. 30
p. 31
i n g a n d di gi t al render.
PLAN IS THE GENERATOR
Pl an is t he Ge ne rator: Unfolded Elevation, line draw -
ARCHITECTURE WITH CHARACTER,
ARCHITECTER THAT BUILDS CHARACTER
ARC H I T EC TURE WIT H C HARAC T E R, ARC H I T EC T U RE T HAT B UILD S C HARAC T E R FORM AL I NVE S TI GATI O N
p. 32
p. 33
Wo r ksh op l ed by Ji menez Lai (Bureau Spectacular): Arc h i tec t u re wi t h C harac ter, Arc h i tec t u re t hat Bu i l ds C haracter
ARCHITECTER THAT BUILDS CHARACTER
ARCHITECTURE WITH CHARACTER,
An ex pl orat i on of arc hi tec ture and perso nalities
ARCHITECTURE WITH CHARACTER, ARCHITECTER THAT BUILDS CHARACTER
p. 34
p. 35 ARCHITECTER THAT BUILDS CHARACTER
C h aracte r, foam model .
ARCHITECTURE WITH CHARACTER,
A rch itect ure w i t h Characte r, Arc hitec ture that Builds
ARCHITECTURE WITH CHARACTER, ARCHITECTER THAT BUILDS CHARACTER
p. 36
p. 37 ARCHITECTER THAT BUILDS CHARACTER
C h aracte r, foam model .
ARCHITECTURE WITH CHARACTER,
A rch itect ure w i t h Characte r, Arc hitec ture that Builds
THE FUTURE IS FEMALE
T H E FUT URE IS FE MALE CO M M E RCI AL S TO RE D E S I G N
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p. 39
Wo r ksh op l ed by Jon at h on Jackso n ( WeSh oul dDoIt Al l ):
1
Reim aginged
at
NikeLab,
THE FUTURE IS FEMALE
SoHo , NY
THE FUTURE IS FEMALE
p. 40
THE FUTURE IS FEMALE
p. 41
THE SECRET LIFE OF LIBRARIES
T H E S EC R E T LIFE O F LIB RARIE S CI VI C BUI LD I NG
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p. 43
New Yor k C i t y Pu bl i c Li brary, 1 0 Ea st 40t h St reet , New Yo rk, NY
Pe r h a ps we don’t re al l y k now what buildings do
THE SECRET LIFE OF LIBRARIES
w h e n we aren’t l ooki ng c l o sely eno ugh...
THE SECRET LIFE OF LIBRARIES
communal personal
p. 44
p. 45 THE SECRET LIFE OF LIBRARIES
Th e Secret Li fe of Bui l di ng s, narrative illustratio n.
THE SECRET LIFE OF LIBRARIES FLOOR 10 Cafe/lounge
FLOOR 9 Study room FLOOR 8 Computer lab
FLOOR 7 Offices FLOOR 6 Conference rooms
FLOOR 10 Reading room, book stacks, and outdoor terrace
FLOOR 5 Reception & reading room
FLOOR 9 Reading and study rooms
H
ST
OUTDOOR TERRACE
39T
FLOOR 4 Outdoor auditorium seating FLOOR 8 Book stacks FLOOR 7 Book stacks
FLOOR 3 Reading room
FLOOR 6 Book stacks BENCH AS URBAN CARPET Drawing pedestrian traffic via back alley
FLOOR 2 Reading room
FLOOR 5 Book stacks
FLOOR 1 Lobby & lounge
FLOOR 4 Book Stacks
FLOOR 3 Book stacks
FACADE Ornamentally bare, but with “warped” walls in some places to imply where “inner” building butts up against the external wall STAIR CORE & BOOK STACKS
FLOOR 2 Book stacks
STORAGE
FLOOR 1 Lobby & lounge
URBAN WALLPAPER Drawing pedestrian traffic following direction of street traffic
40T H
ST
LOBBY & RECEPTION
BASEMENT 1 Outdoor & indoor auditorium
p. 46
LIBRARY AS CITY SANCTUARY Clarissa Jane Lee Wen Yun
THE SECRET LIFE OF LIBRARIES
p. 47
CASTING LIGHT
C AST ING LIGHT FORM AL I NVE S TI GATI O N
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p. 49
Wo r ksh op l ed by Loren zo Guz z ini (Lo renzo Guz z ini Arc h i tec t u re): C as t i n g Li ght
CASTING LIGHT
De s i g ni ng by c h oreographing light and shadows
CASTING LIGHT
p. 50
p. 51 CASTING LIGHT
Cas tin g Li g ht , pl aster c ast .
CASTING LIGHT
p. 52
CASTING LIGHT
p. 53
CASTING LIGHT
p. 54
CASTING LIGHT
p. 55
ALEXANDRA & AINSWORTH
A L E XAND RA & AINSWO RT H S H O RT F I LM (D O CUM E NTARY )
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p. 57
Al ex a n dra Road est ate i s a so cial ho using pro ject in t h e n o r t h wes t London boro ugh, Cam den, designed i n 1 9 68 by Neave Brown (architect fro m Cam den Co u n ci l ’s Arc hi tec t s Departm ent) and co m pleted i n 1 9 7 8. Th e al most ent irely uninterrupted 3 0 0 m l o n g es t ate s t retc h es adjacent to a segm ent of t ra i n t rac ks ser vi c i n g t h e West Co ast Main Line, p l a c i n g t h e “ bac k” of t h e building facing the no ise a n d g r i t of t h e h i gh t raf f i c train tracks and other ro a d s , an d hi ghl i ght i n g t he “interio r” of the estate w h i c h f u n c t i on s as a main public tho ro ughfare. Th at i s, t h e mai n axi s on which the estate sprawls a c ts a s a ki nd of hi ghway and place of co ngregat i o n , draw i n g t raf f i c f rom the street and pulling it t h ro u gh t h e est ate, wh i l e the “fro nt” and “back” of t h e bu i l di n g coupl ed with the ro utes of travel t h ro u gh i t enforces c l ear ideas of the interio r and
a n d fo r peopl e.
ALEXANDRA & AINSWORTH
ex te r i or w i t h c l ear c i rc u l atio n patterns fo r vehicles
ALEXANDRA & AINSWORTH
Cons t r u cted in site-cast, bo ard-m arked white, un pai nted, reinfo rced co ncrete, the estate ho lds 5 2 0 apar t ments, and also includes a scho o l, co m m uni t y cent re, yo uth club, heating co m plex, and parks c ape. Co nsidering the co nditio ns of the site, an d t he hi gh necessity fo r elim inating so und and v i brat i on fro m traffic and fro m the passing train s, a h i gher, eight-sto rey blo ck was erected alo ng the edge of the site clo sest to the railway, acting as a n oi s e ba rrier fo r the interio r po rtio n of the site. A l ower, fo ur-sto rey blo ck runs alo ng the othe r s i de of t he interio r walkway which serves as a cent ral pas sageway fro m east to west of the estate. A t hi rd row of apartm ents o ccupies the so uthern edge of the site, with a public park and recreation s pace n ested between this and the afo rem entio ne d fou r-s torey blo ck.
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p. 59
Lo o k i ng at t he h i ghl y mo dular and regularised fo r m s t hat compr i sed t h i s estate, we o bserved a p at te r n i n t h e fabr i c of t he built fo rm , and an atte m pt to “ i nh abi t ” or enl iven each repeated eleme nt ( i n di vi du al apar t ment) by perso nal deco rative c h o i ces . Eac h f ront garden was unique with flags, b a mb o o s c reens , an d fol i age. The separatio n of the d we l l i n g s pace al s o rei nforces the afo rem entio ned co n d i t i on s , proj ec t i n g t h e desirable (dry) spaces to t h e “ f ront ” al ong t he cent ral tho ro ughfare, and rece s s i n g t h e u n desi rabl e (wet) spaces to the “ back” w h e re i t i s h i dden. The estate is designed to be h i g h l y porous , al l ow i n g easy passage while pres e nt i n g i t s el f as n ot real l y belo nging to the public s p h e re. An d s o, t here i s very little sense of perm an e nt ow ners h i p, an d even on a m o re tem po ral tim e f ra me , t here i s n o ess ent i al o r highly enfo rced dist i n c ti o n bet ween homeowners and visito rs who are j u s t p as s i ng t hrough . No t y pe of “public” is unwelco m e , except i n t he h ome. Our video chro nicles a
e l e m e nt s of i nterest i n a sequence of still fram e a n d p an s to presen ce an observatio nal do cum entat i o n of t h e proj ec t .
ALEXANDRA & AINSWORTH
d ay i n t he l i fe of t he est ate, do cum enting separate
STOCKWELL HUB POD HOUSING
S TO C K WE LL HUB P O D HO USING M IXED USE: R ESI D E NTI AL + TRANS P O RTATI O N HUB
p. 60
p. 61
Re n ovat i on for Stoc kwel l Bus Term inal,
STOCKWELL HUB POD HOUSING
Bi nf i e ld Road, Stoc kwel l , Lo ndo n, UK.
STOCKWELL HUB POD HOUSING Scale in metres 0
5
1:200 10
15
p. 62
Scale in metres 0
5
20
1:200 10
15
20
STOCKWELL HUB POD HOUSING
p. 63
STOCKWELL HUB POD HOUSING
Sto ck we l l Hub Pod Housi ng Mo dule, i s o metr i c and pl an vi ews .
p. 64
STOCKWELL HUB POD HOUSING
8’ - 6” 11’ - 0”
p. 65
STOCKWELL HUB POD HOUSING
p. 66
STOCKWELL HUB POD HOUSING
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p. 68
p. 69
Un dergraduate thesis TO O LS & PROJECTIONS
70
P ROJ ECT: BETW EEN HIGH & LOW RE S OLU TI ON
76
T HE VAGINA MONOLOGUES —RE PRI S E
104
UNDERGRADTUATE THESIS
B IB LIOGRAPHY 1 0 6
UNDERGRADTUATE THESIS
TO O L S & P ROJEC T IO NS B ET W EEN HI G H AND LOW RE S O LUTI O N
p. 70
p. 71
Th i s proj ec t i s par t of a wider investigatio n that fo c u s es on tool s to s pec u l ate o n the futures of o ur b u i l t envi ronment . Predi c ating o n a m etho do logy of re s earc h t h rough prac t ice, to o ls are offered as
UNDERGRADTUATE THESIS
ways to l ook at , and operate within, the wo rld.
UNDERGRADTUATE THESIS
p. 72
p. 73
A s a researc h group, we were interested in to o ls a n d th ei r potent i al s, c h allenging the param eters t h at d ef i n ed w hat was and was not a ‘to o l’ as a p rovo cat i on for extendi n g the ever-expanding and h i g h l y vas t knowl edge base of what co nstitutes Arc h i tec t u re. I began by researching t he develo pme nt of t h e rel at i vel y new advent of 3 -D printing (d eve l o ped i n t he l ate 1980 s– 1 9 8 3 ) and its increasi n g l y si gni f i c ant rol e i n manufacturing and design. 3 - D p r i nt i n g i s l auded for its speed and precisio n, a n d i ts u s es h ave been found acro ss a pletho ra of ex a mpl es, f rom s i mpl e kn ick-knack m aking to the mo re ‘s er i ous’ appl i c at i ons like bio -printing livi n g b ody par t s or pr i nt i n g who le structures—such a s t i ny h omes or mi l i t ar y barracks. The news surro u n d i ng 3-D pr i nt i n g i s incredibly exciting, bu t s ti l l i s n ot f ul l y rel i abl e. 3-D printing was invented a s a rapi d protot ypi n g tec hno logy, and despite the p rovo cat i ons of i t s prac t i cality, it still is prim arily
UNDERGRADTUATE THESIS
o n l y u s ef ul for protot ypi ng.
UNDERGRADTUATE THESIS
Ou r general excitem ent when it co m es to new tec h n ol ogies like the 3 -D printer is undeniably just i f i abl e, particularly co nsidering the idea of alm ost l i mi t l es s po ssibilities that it brings us. However, at wh at po int do es it begin to leave us blindsided ? 3-D pr i nting is allegedly a viable m etho d fo r fabr i c at i on acro ss a m ultitude of scales and even appl i c abl e to vario us m aterials such as steel, co ncrete, an d ceram ics, am o ng others, as variants to the gen er i c polym er plastic that is typical. 3 dp presents u s wi t h a “great perhaps� of seem ingly endles s pos s i bi l i tes in design, but as we jum p scales an d c han ge m aterials, the unchanging m etho d of 3 - D pr i nt i ng often co m pro m ises certain known param e ters rel evant to scale and m aterial (to lerance). Th i s i s t r ue acro ss vario us types of 3 -D printing, but fo r t hi s research, I lo o ked specifically at 3 -D printing t hat wor ks by extruding a certain spo o led m aterial , an d bi nd ing this m aterial to itself. This co m pletel y c han ges how the m aterial m ight perfo rm relative to i t s or iginal state, and so in designing with 3 -D pr i nt i ng, this is an often overlo o ked m assive sho rtcomi ng w hich pro duces highly significant effec ts on material perfo rm ance.
p. 74
p. 75
Fu r t h er more w i t h regards to jum ping scales, as the me c h an i c al met h od of productio n is adjusted acco rd i n gl y, we al so encounter changes to the scales of to l eran ce at w hi c h we o perate. Given these are a s fo r potent i al margi ns of erro r, we find that 3 -D p r i nti ng i s n ot t he per fec t m eans fo r fabricatio n, a l t h o ugh i t does appear to co m e clo se. Thus this i d e a of 3-D pr i nt i n g as a type of ultim ate so lut i o n i n t he real m of fabr i catio n is in truth m erely a fa rce. Thi s i s es s ent i al l y a critique o n the exces-
UNDERGRADTUATE THESIS
s i ve l y l au ded 3-D pr i nt i n g.
UNDERGRADTUATE THESIS
p. 76
p. 77
Th i s proj ec t i nvest i gates the range of reso lutio ns i n fa b r i c at i on . Resol u t i on is bo und to info rm atio n a n d s pace (area). Th at i s, the reso lutio n of a given ‘ t h i n g ’ i s deter mi ned by t h e am o unt of info rm atio n t h at i s cont ai n ed w i t hi n i t s bo undaries. Fo r exam p l e i n i magi n g, resol u t i on is typically m easured in d p i (d ot s per i nc h). Th i s determ ines the ability fo r t h e i mage to be resc al ed and o bserved with greater d eta i l . In ot h er words, a higher reso lutio n o r dpi
UNDERGRADTUATE THESIS
p ro d u ces a more prec i sel y captured im age.
UNDERGRADTUATE THESIS
p. 78
p. 79
Sta r t i ng f rom a h i gh res ol utio n m o del, this pro ject j u x ta p os es a l ow res ol u t i o n m etho d of pro ductio n (w ra p pi n g us i ng spool ed m aterials—sim ulating the 3 - D p ri nt i n g proces s as a m eans fo r co pying) to p ro d u ce i t s l ow resol u t i on co unterpart. This pro je c t p robl emat i ses t h e i l l u s io ns of perfect precisio n t h at h i gh resol u t i on proposes when the reality is t h at a margi n of er ror wi l l always exist. While erro r (o r t h e exi stence of gaps and m isfits) is generally u n d e rstood as mi s t ake, t his pro ject seeks to use t h i s ‘c rutc h’ as t h e dr i ver fo r investigatio ns of m ate r i a l i t y, for m, and space offered by the co py, and
UNDERGRADTUATE THESIS
t h e f ramewor k t hat s u pports its pro ductio n.
UNDERGRADTUATE THESIS
p. 80
UNDERGRADTUATE THESIS
p. 81
UNDERGRADTUATE THESIS
p. 82
UNDERGRADTUATE THESIS
p. 83
UNDERGRADTUATE THESIS
p. 84
p. 85
In e a r l y model s, I expl ored variatio ns in unravelling a n d b i ndi n g spool ed material alo ng the surface of a n o b j ec t . Thes e obj ec t s provided a high reso lutio n f ra mewor k for copyi ng and wrapping using spo o led mate r ial to c reate a l ow reso lutio n co unterpart, and t h e s el ec t i ve bi ndi n g of t he spo o led m aterial also p ro d u ced i r regul ar i t i es i n the wrapped co py which e n h a n ced t h e di f ferences i n the o riginal o bject and i ts co py. Thi s expl orat i on em ulates the spectrum b etwe en t hat wh i c h i s s m o oth and that which is s tr i ated proposed by Del euze & Guttari in A Tho us a n d Pl ateaus : C api t al i s m and Schizo phrenia. In sel e c ti vel y appl yi n g t h e bi nd ing agent to the spo o led mate r ial as i t u n ravel s al o ng the o riginal o bject, t h e p rodu ced copy c an be designed to o ccupy a ra n ge of posi t i on s al ong t his spectrum , being static
UNDERGRADTUATE THESIS
i n at some poi nt s an d f l ui d acro ss others.
UNDERGRADTUATE THESIS
p. 86
p. 87
Between t he Scal e - ful l and Scale-less, photograph,
UNDERGRADTUATE THESIS
t a ke n 20 Marc h 2019.
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p. 88
p. 89
Th e o mn i pres en ce of arc hitecture often allows it a p o s it i on of s u bversi ve co m plicity. Thro ugh my e a r l y mater i al expl orat i ons, I noticed how sm all c h a n ges to t ac t i l e proper ties of o bjects affected t h e i r al l u re. Th e pl as t i c c u p, when wrapped in yarn, b e co mes t rans l ucent an d soft. When the glue is a d d e d to bi nd t he mater i al together, this softness t u r n s into s t i f f n es s , and as it hardens, the surface b e co mes bumpy, but br i t tle. The fo rm of the disp o s a b le pl as t i c c up i s ret ained but its ico nicity is d i mi n i shed an d i t s i dent i ty is rem oved. Fro m an a r tefa c t wi t h fai r l y s pec i f ic asso ciatio ns and purp o s e s , t h i s mater i al t ran s fo rm atio n reduces it to a
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s c a l e - l ess but al s o sc al e-f ull am biguo us o bject.
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p. 90
p. 91
Wh i l e t h e for ms are fami l iar, other tactile pro pert i e s of t h e wrapped copy are not, and thus create a ce r tai n c u r i osi t y and appeal towards the o bject. Tra s h is t u r ned i nto t reas u re, and these changes all ow u s to devel op af f i ni t i es towards otherwise und e s i ra bl e obj ec t s . Th e for m of the wrapped plastic c u p i s no l onger ass oc i ated as a dispo sable o bject t h at meet s an i mmedi ate and singular need. The o b j e c t i s commemorated by the wrapped co py as a n i m pres s i on or a t ype of m em o ry of the o bject. It ’s f u n ny h ow we are of ten m o re fo nd of m em o ries
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t h a n the Real i t s el f.
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p. 92
p. 93
I t h o u ght abou t obj ec t s t hat deserved to be celeb rate d i ns tead of n egl ec ted and shied away fro m . I h ave some t roubl e expl aining my affinity fo r this c h o i ce of ar tefac t , but u l tim ately I wanted to use t h e m et h od of fabr i c at i on that I had applied to t h e d i spos abl e pl as t i c c u p—co pying the o bject and re - ex pres s i ng i t s for m to be understo o d as beaut i f u l —to t h e vagi n a i n h opes that we m ight begin to ce l ebrate i t an d be i nterested in it, and m o re ge n e ral l y t h e w i der conversatio n abo ut o ur perce pti o n s of women . We say we love wo m en and the fe m i n i n i t y t hey represent , but why are o ur co nver-
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s at i o n s abou t t h em so con sistently ugly?
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p. 94
p. 95
I p u rc has ed a model f rom a 3 -D file sharing webs i te , dec i di ng on i t bec au se it had been used fo r me d i c al demon s t rat i on s and training, as well as h av i n g good rat i n g an d reviews. It sho uld not be d i s re g arded t h at t h i s model was idealised and not n e a r l y t h e most hyper-precise, exact co py of a real
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va g i n a.
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p. 96
p. 97
I t h e n began to i terate vario us levels of reso lutio n i n a n egg-c rate model to find the m o st ideal level of re s o l u t i on for produ c t i on of both the fram ewo rk a n d w rappi ng t hat woul d fo llow. I fo und the fo rm of t h e vagi na and t he c h o sen m aterials m utually co m p l ement ar y, an d t h e ultim ate pro duct of the
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w ra p p i ng an d t h e f ramewo rk enticing and pretty.
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p. 98
p. 99
It wa s i nterest i n g to obs erve how my pro ject was re s p o nded to, and espec i a lly in the largest versio n of t h i s t wo-par t model l i ng explo ratio n. The softn e s s i n bot h mater i al an d fo rm , and the lustre of t h e ro pe t hat i s ‘or n amented’ by the undulating l i n e s of i t s smal l er f i bres co ntrast prettily with the s h a r p edges and s ol i d for m of the plywo o d lattice s tr u c t ure. Th e wei ght of the ro pe sitting against i ts f ra m e s peaks of s ki n and structure and how and w h e re t h ose mi ght come into co ntact. It was inv i ti n g to touc h an d feel , and I had m any co nversat i o n s about w hat t ype of object it was— furniture... Bo at . . . A s c al ed dow n pav illio n..? My respo nse to t h e s e was t h at i t was a s c ale-less but scale-full arc h i te c tural obj ec t . “. . . It ’s a vagina… not really, but i t’s model l ed af ter one”. What I fo und quite bewild e r i n g was t he n ot i ceabl e changes in other’s deme a n ou r and han dl i ng of the architectural o bject t h at I expl ai ned as a ‘vagina’. I co uld have said it wa s f u r ni t u re, and maybe it m ight be. It is curio us
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h ow we are s o del uded by asso ciatio nism .
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p. 100
p. 101
I have always been deeply m ove d by Eve En s l e r’s Th e Va gin a Monologu es. There are m a ny re a s on s w hy t h i s sto ry i s st i ll hi ghly relevant today. Am on g t h e s e ri e s of na rrat i ves, t wo scenes left de e p i mpre s s i on s on m e : o ne re gardi ng a ‘proper ’ lady be i n g i nte rv i ewe d a n d exp erie nci ng severe di scomfort w h e n t a l ki n g a bout h e r va gina, referri ng to i t as a t y pe of El s ew h e re t h at wa s fo reig n to her alt hough i t wa s pa rt of h e r; t h e ot h e r scene surrounds a much dar ke r conve rs at i on —t h e exp erie nces of female geni t al m ut i l at i on (FG M) a n d ra pe . I f ind t he at roci t y of FGM compa ra bl e to t h e a l m os t cele b rated process of vagi nopl a s t y. We s e e t h i s mut i latio n of t he or i gi nal artefact j us t i fi e d by of a de s i re to co nfo rm to cert ai n i deals of h ow i t m i ght be pe rce i ve d, a nd of ten v i a i mage. The i ma ge i s s t at i c, un ch a n ge d— striate d by fi lteri ng processe s of h ow we con s t ruct i t s view, s o t hat w hi le i t can be m a de s e n s e of at va ri ous p o ints, ult i mately t here st i ll exi s t s a s i n gul a r, pe rfe ct e d , id eal poi nt of v i ew. FGM is j us t i fi e d by t ra di t i on a n d familia l pi et y, whi le vagi nopl a s t y i s j us t i fi e d a s re pa i r-
is u nnecessary and car ri ed o ut pri m a ri l y a s a re s ul t of id e o logi c al i nfluence and i t s a ge n cy a s a pol i ci n g tool . They capi t ali se on shame and expos e n on -conformi t y a s inab ility. Thi s i s t he zone of t h e s t ri ate d.
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ing co s met i c i mperfec t i on. In bot h ca s e s , t h e mut i l at i on
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p. 102
p. 103
Th e ro pe medi u m, a s poo led m aterial, is co ncept u a l l y ‘smoot h’— mal l eabl e and fluid to the fo rm it w ra p s arou n d, or “di s t r i bu ting itself in o pen space” ( 1 4 4 0 : The Sm oot h and t he Striated, Deleuze & Gutt a r i ) . From t he i deal i s ed 3 -D m o delled vagina, I a d j u s ted t h e resol u t i on of the fo rm using a grid sys te m of rel at i vel y hi gh to lerance, reducing and i n c re a si n g i t to deter mi n e the final reso lutio n of t h e fo r m t h at t he s pool ed ro pe wo uld wrap. Late r, I expl ored sc al es and changes to m aterial that p o s i t i oned t h e proj ec t at an o perable hum an scale to p ro duce t h i s arc h i tec t ural o bject that is both s c a l e - l ess an d sc al e-f ul l , sm o oth and striated. Th i s f i nal produ c t al l owed m e to generate a co nve rs ati on su r rou n di n g t h e o bject both during and p o s t- produc t i on , al l ow i n g us to understand how we mi ght vi ew i t , an d al s o helping us talk abo ut u n co mfor t abl e t h i ngs i n s afe and welco m ing ways. It s s h oc k val ue c reated by asso ciatio nism , co upled w i th i t s seduc t i ve mater i al lustre pro duce a type of
s o me l evel of per manen ce and inso do ing enco ura ge u s to con s i der more carefully how we m ight p e rce i ve an d see.
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af te r- image, or a romant i c ised idea, that aspires to
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The Vagina Monologues — reprise Thank you to everyone who attended the Vagina Dialogues hosted by yours truly. Thank you to all the people who were part of the journey that led us here. Most of all, thank you to all the people I’ve come to know or not know along the way, who showed me in a plethora of ways how you might perceive or imagine the Feminine– you were the biggest part of it all. Our story began in the early 20th century with the Suffragettes, and is still a work in progress today. Just over two decades after The Vagina Monologues premiered on Broadway, the stories and issues raised remain potent and relevant to us all, Woman or not. For those who attended our conversation, I hope the Vagina Dialogues stay with you in some way– maybe quietly, in your demeanour and thoughts, but hopefully loudly, in how you advocate for new ideas and attitudes surrounding the Feminine. This was but one conversation, and I hope it was poignant enough for us to all want to pursue more dialogues about vaginas. We are worried about vaginas... are you?
p. 104
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p. 105
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Bi bl i og ra p hy
Won g Kar-wai, “2 0 4 6 ” (2 0 0 5 ). Edi ted by Pino Brugellis, Gianni Pettena, Alberto Sal vadori, Radical Uto pias, (Italy: Industria Grafic a Bi ef fe 20 1 7 ). Laozi . Chapter 8 0 , Dao de jing (http:// www.acmul l er. n et/co n-dao /dao dejing.htm l# div-8 2 ) Max Hi rsh, “Transbo rder Infrastructure,” Airpo rt Ur ban i sm , (Minneapo lis: University of Minnesota Press , 20 1 6 ), p. 5 1 – 7 4 . Hi do Steyerel, “Duty Free Art,” Duty Free Art, (Lo n don an d New Yo rk: Verso , 2 0 1 8 ), p. 1 3 4 – 1 7 7 . Mi c h el Fo ucault, “Of Other Spaces: Uto pias an d Heteroto pias,” trans. Jay Miskowiec (Octo ber 1984). Jos é Esteban Muñoz , “Gho sts of Public Sex: Uto pi an Lon gings, Queer Mem o ries,” in Cruising Uto pi a: The Th en and There of Queer Futurity (New Yo rk : New Yor k University Press, 2 0 0 9 ). C at h ar i n e Ro ssi and Jo chen Eisenbrand, “Introduc t i on ,” in Night Fever: Designing Club Culture, 1960–Today, ed. Mateo Kries, Jo chen Eisenbrand, an d C at harine Ro ssi (Weil am Rhein, Germ any: Vi tra Des i gn Museum , 2 0 1 8 ). Lawren ce Chua, “The City and the City: Race, Nat i onalism , and Architecture in Early Twenti et h -Century Bangko k,” Jo urnal of Urban Histo ry 40(5) (20 1 4 ).
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p. 107
Ara n d a, Jos é L. , Marcel o F. Jim énez , María Ro dríg u e z, an d Gonzal o Varel a. 2 0 1 5 . “Tridim ensio na l Ti t an i um-Pr i nted Cus tom -Made Pro sthesis Fo r Ste r n ocos t al Recons t r u c t i on”. Euro pean Jo urnal Of C a rd i o -Thorac i c Su rger y 48 (4 ): p.e9 2 -e9 4 . Fra ntz Fanon, “ Con cer ni ng Vio lence,” the Wretched of th e Ear t h, t ran s l ated by Co nstance Farringto n ( New Yor k: Grove Press , 19 6 3 ), p. 3 3 -4 3 . Beye rsdor f, Fr i edh el m. 201 4 . “Three-Dim ensio nal Bi o p r i nt i n g: New Hor i zon Fo r Cardiac Surgery”. Euro p e a n Jour nal Of C ardi o-Tho racic Surgery 4 6 (3 ): p . 3 3 9 -341. Ka s s a bi an, Pau l , Grah am Cransto n, Juhun Lee, Ralph He l m i ck, an d Sarah Rodr i go . “3 D Metal Printing as Str u c t ure for Arc hi tec t u ral and Sculptural Pro je c t s ,” Fabr i c ate 2017, (Londo n: UCL Press, 2 0 1 7 ), p . 1 9 6 - 201. Pr i ce , Cedr i c and Joan Li ttlewo o d, “The Fun Pala ce ,” Th e Drama Revi ew: TDR 1 2 , no . 3 (1 9 6 8 ): 1 2 7 - 3 4. Royte , El i zabet h. (2018). What Lies Ahead fo r 3 -D Pr i nti ng?. [onl i n e] Smi t h s o nian. Ke l l y Bl ai r, K r i st y Bal l i et , Adam Fure, Kyle Miller, “ Bo d i es ,” Poss i bl e Medi u m s (Actar D: 2 0 1 8 ), p3 7 – 41.
Eve En s l er, The Vagi n a Mo no logues. (New Yo rk: Dra mat i st s Pl ay Ser vi ce, Inc., 2 0 0 0 ).
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De l e u ze, Gi l l es , an d Fél i x Guattari, “Chapter 1 4 4 0 : Th e Smoot h an d t h e St r iated”, A Tho usand Plate a u s : C api t al i s m an d Sc h i zo phrenia. (Lo ndo n: Athl o n e Press , 1988), p. 474 - 5 0 0 .
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Ph otography DIGI TAL
Landsc apes & found pla ce s
Por t rai t s
110 116
Archi tect ural ‘Port rai t s’
134
A Ti me Capsule for Si n ga pore
140
PHOTOGRAPHY
DIGI TAL & 35MM
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p. 110
p. 111
So u th Cam pus Quarry , photograph,
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t a ke n 15 Oc tober 2018.
PHOTOGRAPHY
p. 112
p. 113
So u th Cam pus Quarry , photograph,
PHOTOGRAPHY
t a ke n 15 Oc tober 2018.
PHOTOGRAPHY
p. 114
p. 115
So u th Cam pus Quarry , photograph,
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t a ke n 15 Oc tober 2018.
PHOTOGRAPHY
p. 116
p. 117
p h otograph, t aken November 2 0 1 5 .
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Rau l , Chi cago, Il l i noi s, USA,
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p. 118
p. 119
p h otograph, t aken Jun e 201 9 .
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Tal a, Sy racuse , NY, USA,
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p. 120
p. 121
p h otograph, t aken Jun e 201 9 .
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Tal a, Sy racuse , NY, USA,
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p. 122
p. 123
Tal a, Sy racuse , NY, USA,
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p h otograph, t aken Jun e 201 9 .
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p. 124
p. 125
Pr iv il e ge i n t he Im age Age (a response to This is what In e qu al i t y Look s Li ke (Teo Yeo Yenn)),
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p h otograph, t aken 13 March 2 0 1 9 .
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p. 126
p. 127
p h otograph, t aken Febr u ary 2 0 1 9 .
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Oh Narci ssus, I am so t i re d. ..,
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p. 128
p. 129
p h otograph, t aken Febr u ary 2 0 1 9 .
PHOTOGRAPHY
Oh Narci ssus, I am so t i re d. ..,
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p. 130
p. 131
Go n e sw i m m i ng !, photograph,
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t a ke n 24 Marc h 2019.
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p. 132
p. 133 PHOTOGRAPHY
C MK Y , ph otograph , t aken 3 0 March 2 0 1 9 .
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p. 134
p. 135
t a ke n November 2017.
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Mu s ée de l ’Orange ri e , 35mm photograph,
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p. 136
p. 137
t a ke n November 2017.
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Mu s ée de l ’Orange ri e , 35mm photograph,
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p. 138
p. 139
t a ke n Ju n e 2016.
PHOTOGRAPHY
Os l o Ope rahuset , Osl o, Norway, 3 5 m m photograph,
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p. 140
p. 141
t a ke n Augu s t 2018.
PHOTOGRAPHY
Th e H e e re n, Si ngapore , 35m m photograph,
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p. 142
p. 143
t a ke n Ju l y 2018.
PHOTOGRAPHY
Sig l ap Road, Si ngapore , 35m m photograph triptych,
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p. 144
p. 145
Raf f l e s Pl ace Fi nanci al Di st ric t, Singapore, 3 5 m m ph otograph , t aken August 2 0 1 8 .
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Trad in g ‘Kacang’ Pe anut s (Fine Dining),
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p. 146
p. 147
5 Em e ral d Hi l l , Si ngapore , 3 5 m m photograph,
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t a ke n Augu s t 2018.
p. 148
MISCELLANEOUS
p. 149
Misce l l aneo us
MISCELLANEOUS
p. 150
p. 151
A xo n o m et ri c draw i ng ,
MISCELLANEOUS
p ro d u ced 5 December 201 8 .
MISCELLANEOUS
p. 152
p. 153
Pl an , sect i on, obl i que , drawing,
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p ro d u ced 6 December 201 8 .
MISCELLANEOUS
p. 154
p. 155
A xo n o m et ri c draw i ng , e xpl oded, drawing
MISCELLANEOUS
p ro d u ced 10 December 20 1 8 .
MISCELLANEOUS
p. 156
MISCELLANEOUS
p ro du ced 7 De cemb er 20 18.
A xo n o m etr i c d ra wi ng : c h ro no log i ca l undressing (grid),
p. 157
p. 158
ESSAYS
p. 159
Essays
ESSAYS
T H E C I TY & THE C I TY P E RCE P TI O N AND P LACE
p. 160
p. 161
Th i s p roj ec t references The City & the City, a novel by Ch i na Mi ĂŠvi l l e. The n ar rative takes place in two s e p a rate c i t i es t hat are described as o ccupying the s a me or a s i mi l ar l oc at i on. The Kafkaesque tale exp l o re s t hemes of bou n dar y/territo ry, identity and i ts p hys i c al man i fes t at i ons, internal po licing/a po l i ce s tate, as wel l as t h e po ssible relatio nships of p a r ts , t hei r w hol es , an d t he interstice of the two . Arc h i tec t u ral l y, t he c i t y and the city im plies a kind of co nt i n u ous c i t y t h at has co m partm entalised its e l f a nd i n c l u ded grey areas of between-the-lawn e s s as u n avoi dabl e but also necessary fo r the
ESSAYS
wo r ki ngs or growi ng s u ccess of the sub-cities.
ESSAYS
The n ovel presents the cities as each claim ing var i ous fo rm s of experience and m aterial repre s ent at i on as intrinsically tied to their respective i dent i t i es, witho ut ever explicitly describing th e di f feren ces in full to the reader. In the interest of l ooki n g specifically at how spaces belo nging to e i t her c i t y are arranged acro ss a certain neighbo urh ood w i th cro sshatches of vario us degrees and tot al areas, this pro ject uses its own co de to repres ent an abstractio n of the bo rders between BesĹş an d Ul Qo m a. This pro ject aim s to highlight the us e of codi f i catio n to explain ownership/ identity, and i s dr i ven by interests in perceptio n and perceived real i t i es . By presenting this pro ject as a generi c c i t y drawn as a series o n shapes within a bo undar y, t hi s h opes to co nvey that o bjects are just o bjec ts u nt i l t hey are claim ed by an Idea (o r Ideas) to become a Thing.
p. 162
p. 163
Ke e p i ng i n mi n d t h e n onlinearity of the im plied co n d i t i on of l ayer i n g, adjacencies, and intersect i o n s i n t h es e t wo c i t i es, we also know that o bjects of/i n space an d enc l osed vo lum es can be m arked a s b e l ongi ng to one c i t y or the other due to the p hys i c al pres en ce of boundaries (planes and edge s) , a nd t he exter i or rel at io nships between m ultip l e o b j ec t s i s di st i n c t f rom the independent interio r e nv i ron ment s of eac h object. Objects and ico ns, a s we h ave s een i n var i ous exam ples in histo ry, can re p re s ent di f ferent mean i ngs while taking o n the
ESSAYS
s a me for m.
ESSAYS
p. 164
p. 165
Th i s s pec i f i c s et of drawings is fo cused o n the a p a r t m ent s of t he t wo detectives lo cated in a cro ssh atc h ed resi dent i al area. The determ ined arrangeme nt i s spec i f i c to i t s surro unding enviro nm ent, co n s i der i n g fac tors s u c h as degree of cro sshatch o r p roxi mi t y to and rel at i onships with other co nd i t i o n s . Di agrammat i c al l y, the landscape of Beszel a n d Ul Qoma over l ap an d pass over each other in a co nvo lu ted system of ambiguo us relatio nships. In re a l i ty however t h e c i t y l andscape is scarcely diffe re nt f rom mos t c i t i es i n o ur m em o ry, a showcase of p l u ral versi on s of arc hitecture placed in so m e ki n d of organi si ng n et wor k . In chro no logical o rder of p re sent at i on, t h e drawi ngs show an overall plan of th e i mmedi ate n ei gbourho o d, an elevatio n of t h e s et of bui l di n gs wh ere Inspecto rs Tyado r Bo rlĂş a n d Qui ss i m Dhat t l i ve, a co rrespo nding diagram mati c sec t i on, an d a pers pective. The drawings fo ll ow a col ou r code t h at begins to explain the co m p l ex system of l ayer i n g and intersectio n of the two c i ti e s as ext raneous l y c l aim ed territo ries latched
ESSAYS
o nto th e s kel eton of a c i t y.
ESSAYS
p. 166
p. 167
n eigh b o u rh o o d p lan Th e pl an depi c t s t he cro sshatched residential n e i g h bour hood w i t h i t s l argely shared streets and b u i l d i ngs represented i n b lack. Circled in the m idd l e of t h e page i s t h e set of buildings that we are a n a l ys i ng, ren dered wi t h so m e transparency (co nt ra s t i ng t h e hardl i ne col our co ded zo ning of the ove ra l l drawi ng) to al l u de to the m anner in which t h e s e c l ai med ter r i tor i es exist aro und each other i n s e c t i on as wel l as pl an. While neither co m pletely i r re g u lar n or regul ar, t h e layo ut of this sectio n of t h e w ider u r ban pl an al l udes to the co m binatio n of c i ty gr i d t ypes, w i t h s treets that appear to be t r yi n g to c reate a square grid beginning to bend a c ro s s t he page towards different no dal po ints in e a c h di rec t i on . Th e ar ray of blo cks them selves is a n at tempt by t he c i t y to co m partm entalise itself n e at l y, al t h ough t hi s i s debatably successful. The mo re regu l ar i sed areas w i th fairly standardised cub i c b l o c ks bel on g to t he relatively m o dern Ul Qo m a w h i l e t he haphazard zi g-zag building o utlines m ark
ESSAYS
t h at of Bes ź’s arc hai c c i t y.
ESSAYS
p. 168
p. 169
s treetfacin g elevatio n Th e c ross h atc hed c i t y i s shared acro ss m o st eleme nts of pu bl i c c i rc u l at i on and infrastructure such a s s tai r/el evator cores and pedestrian walkways. In e l evat i on, t h e s et of buildings that m ake the Ins p e c tors’ resi den ces are depicted as cro sshatched. Th u s , t he fac ade becomes a cro sshatched display of t h e c han gi ng i dent i t y of the spaces inside, im p l yi n g as s oc i at i ons of codified info rm atio n rather t h a n expl i c i t l y and def i n i t i vely showcasing the co n-
ESSAYS
t ra s t s bet ween t he res pec tive styles of each city.
ESSAYS
p. 170
p. 171
diagrammatic section The proposed division of space between the two cities across the three buildings with shared party walls is better understood sectionally, where the privately owned housing units vary in their decided described geographic location (Besźel or Ul Qoma) based on degrees of “modern-ness” of living as reflected in certain fixtures visible on its facade such as air conditioning units and balconies (small examples of modern housing luxuries). In this set of drawings, the top floors of these buildings are declared ‘dissesnsi’, places of no return – places that everyone knows not to go, but without real reason. The story explains dissesnsi and Breach in similar ways without explicitly confirming or denying their relationship, thereby setting these forces up as being versions of Big Brother, existing everywhere and also in a type of “nowhere” simultaneously. In a crosshatched and “safe” residential area it seems only natural that if they are present, dissesnsi or Breach areas would be such that people who enter are doing so deliberately, moving outside of what are considered normal spaces and routes. The ground floors of these crosshatched buildings are treated as an extension of the street and are crosshatched for the most part, relating to the housing units stacked above them with similar rules to that of the crosshatched city landscape and the rest its tightly
where you are not expected to.
ESSAYS
defined Besź or Qoman tributaries: do not enter or look
ESSAYS
p. 172
p. 173
p ers p ective d rawin g Fi n a l l y, t he perspec t i ve vi ew shows the pro ject in re l at i on to i t s su r rou n di n gs that have been rend e re d coarsel y as gen er i c m asses. Unlike the prev i o u s drawi ngs , t h i s presents the buildings (the p ro j e ct and t hose adj acent) as slightly irregular o bj e c ts produ ced by a col l ectio n of vario us m asses, i m p l yi ng t hat t h e non-l i n ear aggregatio n of space ow n e rs h i p ref l ec ted i n t he diagram m atic sectio n (p . 7 ) wor ks i n mu l t i pl e di m ensio ns and takes vario u s fo r ms. Whi l e t he bui l dings each read as singul a r o b j ec t s w i t h i mpl i ed h ard bo undaries that m ove t h ro u gh and ac ros s wh ol e faces of the building, w h at i s propos ed i s t hat this city/these cities is/ a re h i g hl y gen er i c i n aest hetic but o rganised nebul o u s l y i n spat i al ar ran gement. The City and the City a re f u ndament al l y t he sam e place, each reflecting s o me versi on of a gen er i c city that we understand f ro m m emor y. Ess ent i al l y, all cities are the sam e: n etwor ks of f i n an ce and co m m erce put into real s p a ce . What c han ges a c i ty then is not the built wo r l d bu t t he i deol ogi es which o ccupy it and the p ro j e cted meani ngs t h at tangible o bjects inherit
w h i c h we u n ders t and i t .
ESSAYS
a s a res u l t , ul t i matel y develo ping the sem antics by
ESSAYS
El ement s and o bjects are generic, acquiring m eani ng bas ed o n ideo logies that can m anifest thems el ves i nto highly co dified physical o bjects an d ar ran gem ents that co m prise o ur experienced env i ronment s. This pro ject aim s to represent how a city c an be organised acco rding to m ultiple versio ns of gr i ds i n 3 -dim ensio nal space, creating o ppo rtu n i t i es fo r co nceptual co m plexity while rem ainin g fai r l y generic in term s of o ur aesthetic expectat i ons of a city.
p. 174
ESSAYS
p. 175
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2019
LEE WEN YUN CLARISSA JANE
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