architectural portfolio 07

PART 01_URBAN DESIGN portfolio number: 07 publish date: 070217 title: COMMON GROUND

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IT’S A JUNGLE OUT THERE - GUIDEBOOK

urban designers: STUDIO BW & STUDIO TTK edited by: A0111169M site: JURONG EAST CENTRAL - INTERNATIONAL BUSINESS PARK VIA SUNGEI PANDAN, SINGAPORE

THE NOMADIC ZEITGEIST

welome to the biodiversity

Common Ground x It’s a Jungle Out There - Guidebook For Part 01: Urban Design (The Nomadic Zeitgeist) Published on 07 February 2017 AR4101 Design 07 | Mobility + Urbanism Undergraduate Year 4, AY16/17 Department of Architecture School of Design and Environment National University of Singapore Studio Leaders: Associate Professor (A/P) Tan Teck Kiam, Adjunct A/P Wong Chong Thai Bobby Reviewer: Professor in Practice Richard Ho Guest Critics: Mok Wei Wei, Tan Szue Hann Urban Designers: Common Ground by Studio BW/ Billy, Chien Yu-Han, Hong Huiwon, Jefferson Jong, Zakhran Khan, Hayashi Kohei, Barbora Koprivova, Geoffrey Neo Jie Hao,Yuan Yijia, Zhang Siqi It’s A Jungle Out There by Studio TTK/ Heng Bang Hao, Paul Holmes, Kim Heewan, Lee Mei Ying Shirley, Lin Derong, Ng Chloe, Maria Tsvetkova, Tu Wen, Umar Yusof.

Editor:Lin Derong (A0111169M)

COMMON GROUND X IT’S A JUNGLE OUT THERE: GUIDEBOOK JURONG EAST X NEW ECONOMY | STUDIO BW & STUDIO TTK Both projects, Common Ground and It’s a Jungle Out There, are the results of the Urban Design research done by Studio Bobby Wong (BW) and Studio Tan Teck Kiam (TTK) respectively under the theme The Nomadic Zeitgeist. The intention of this edited book is to re-consolidate both results and urban design into one coherent scheme, which are similar and complementary in many aspects — including their shortcomings. This edition thus serves as an urban design guideline for speculative architecture to be designed in AR4102 Design 08.

I find it diffcult to put my feelings for this semestral project into words.

It was ridiculously meandering, frustrating, and unintentionally sleepless.

I am forever grateful to Studio TTK & BW for surviving the hours long studio sessions and finding our way out of confusion together. None of these would happen without all your talents and fervent efforts.

To prof Tan, thank you for all your patience in pushing us towards architectural transgression; and Bobby, your intellectual firepower is extraordinary.

CONTENT

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Studio BW & Studio TTK

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Synopsis

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Background 1. A Very Competitive Economy 2. Creative and Nomadic 3. Latent Territories

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Approach 1. Short Stories / SCALING DOWN 2. Water | Columns | Site

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Urban Design Urban Block Urban Frames 1. Infra-Structural 2. Tinkerbar 3. Le-park/ Bak Choy!

4. Conclusion

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Model Plates

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Appendix A -References

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Appendix B - Site Analysis

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Appendix C - Preliminary Site Data

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Appendix D - Narratives

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Common Ground

SYNOPSIS

This project aspires to be a coherent and imageable urbanistic form in a highly irregular and fragmented urban landscape. Bigness and coherence is assumed, as the site is being located in Singapore where centralised planning and organisation is continuously perpetuated. The project desires to prepare for an incoming, new and restructured society that is based on effectiveness driven by two major trends observed in the current Post-Fordist economy.

Firstly, a society that is experiencing the collapse of hierarchical structures is seeing more integrated and interconnected flows of capital and information, flattening nuances and differences created by the order of previous Fordist economy. Secondly, the affective and the emotive induced by play is increasingly integrated into the production of value, resulting in a seamless integration of work and play that is defined by characteristics of ephemerality and indeterminacy. As such, this project has assumed predications through the flattening of the sits. It strives to accentuate and emphasize networks through connections; and through these connections, latent activities, connections of the new society, white collared workers and most importantly, the other, are expressed. It is in hopes of this expression that it facilitates the creation of a new “language” that is yet to come.

Geoffrey Neo Jie Hao Studio BW

MULTITUDE [ˈməl-tə-ˌtüd, -ˌtyüd ] noun.

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1. a great number of people; crowd; throng.

2. the state or character of being many; numerousness.

3. the multitude, the common people; the masses.

Common Ground x It’s a Jungle Out There

It’s a Jungle Out There In the advent of technological sophistication1, Singapore’s current service-based economy endeavours to morph into a new “creative-economy” which entails a continuum of knowledge production, sharing environment and the bespoke. As our government charts our society towards new economies2, ambitious programmes have been embarked to anticipate emerging ethos to enable a thriving economy, specifically in Jurong-East. However, these efforts met an impasse. Challenged by current material infrastructure and building practices – isolated monolithic blocks, institutionalised working environments, air-conditioned shopping boxes – existing spaces are controlled within highly regimented clusters.These internalised environments in tropical Singapore lead to an outdoor space devoid of conviviality and walkability. Such outdated modes of physical planning is evidently insufficient to cater to the new creative economy.

Furthermore, as our society faces an unprecedented mobility of the nomadic creative class, our physical planning would then require an entire new mode of thinking about knowledge and spatial production, to cope with the shift.

Set amidst this backdrop, this project searches for new urban forms which respond to the changing economy. It would embody physical typologies which enables exchange of knowledge between people and our human desires to use spaces our own way.

Juxtaposing government’s vision of Jurong-East against individual desires and struggles, this urban design methodology uses narratives as a central thrust to construe the existing and becoming 3. It is a bottom-up approach to negotiate individual perceptions and meanings associated with this larger national ambition. Unpacking the conditions for a “creative” economy, the methodology investigates the “everyday banalities” in knowledge and spatial production. It delves into intimate scale activities and the outdoor leftover spaces to create a space and place for every individual in the city.

Stretching 2km from the junction of Jurong-East Central to Sungei Pandan, an urbanroute emerges from these narratives4 which frames the multiplicity of programmes developed. Its architectural concept taps into the leftover spaces beneath elevated train tracks to form a vertebrate organisation. A set of skeletal frames would then creep inbetween the train columns to form a physical infrastructure around them. This results in three spatial divisions. The leftover spaces beneath tracks, re-established as pedestrian connectors with lofty “ceilings” from the tracks. Skeletal frames in the second division forms an outdoor follie-like condition for potential programmes. Thirdly, furthest from the tracks, the frames morph into a building envelope with a typical GFA of 20m x 30m.

Straddling between the inside and outside, programmes could spill-out into external streets.

1. This project would include information analytics, robotics, and internet infrastructure.

2. Kong, Lily. Ambitions of a global city: Arts, culture and creative economy in ‘post-crisis’ Singapore.

International Journal of Cultural Policy 18 (3): 279-94.

3. The existing is loosely referred to site context, while becoming anticipates the potential development. Heidegger, Martin.

Being and Time. New York: Harper: 1962. Similarly this is also shared by Henri Lefebvre and Gilles Deleuze “to see the world as a ’becoming’”.

4. Much like a dérive which Guy Debord described as “a mode of experimental behaviour linked to the conditions of urban society: a technique of rapid passage through varied ambiances.

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JUNGLE [ˈdʒʌŋɡ(ə)l ] noun.

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1. an area of land overgrown with dense forest and tangled vegetation, typically in the tropics.

2. a situation or place of bewildering complexity or brutal competitiveness.

Common Ground x It’s a Jungle Out There

This single set of modules are designed as new typologies of temporary dwellings, workspaces and urban sanctuaries. As they proliferate across the 2km stretch to form a bare infrastructural system and an urban connection, the design incorporates tropical sensitivity as well. Running beneath the tracks, is an artificial landscaped waterway crafted as a meaningful strategy to tie the multitude of programmes. Flowing from the heartlands, this waterway returns life to the ground and the greenery to the city. As we examine the latent connections between water infrastructure and the built environment, this waterway became an imperative offer to create an open environment that is cooling, shaded and befits us as a tropical state.

Embedded within this urban design is a robust system and infrastructure for adaptability. As a planning parameter, these bare frames and envelopes allow for physical programmatic changes in line with changing economies. It becomes an agent to do something. A distinctive strata of urban living rooms is thus created as a myriad of contrasting programmes nestle within these frames and envelopes; as such, resurfacing the multi-faceted urban culture residing in Jurong-East.

For instance, extensive sanctuaries located along the route provides individual needs, social amenity and urban solace. Encapsulating the desire for “slow-ness” under the urban morass, the frames houses greenery and extends the ephemerality of each stay. This is juxtaposed with the “fast-ness” at existing IBP5 down the route. Pockets of decentralised workspaces latches themselves along the frames of information highway. Extending out from the main vertebrate, these are spaces to tinker, invent, make, test and generate idle-ness into production. The infrastructure thus anticipates the becoming, instead of an over-prescription.

5. International Business Park

The route’s essence is to embrace the diverse and a pluralistic society where the city becomes a place and space for every individual. In the investigation of what constitutes the “creativeness” of Singapore, it lies in optimising both public and private spaces to fulfil people’s desire to spatial appropriation. This resulting new urban form is a counter-narrative which reacts to emerging spatial practices in context of tropical Singapore. As a phenomena we observed bottom-up, the design is a value-added system of typologies that has sufficient flexibilities to accommodate growth and the massive scale programmes – bringing continuity to the tropical city and stitching Jurong-East through repetition of frames and envelopes. / Lin Derong Studio TTK

I. [Opposite]: Short Stories.

Vignette. Drawing by Lin Derong.

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BACKGROUND

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Background

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BACKGROUND

1.1 A Very Competitive Economy

“When conditions are good and the sun is shining, we should go for it, as fast as we can, as much as we can. Get the growth, put it under our belt, put it aside a little bit, so when the thunderstorm comes again, we will be ready.”

– Lee Hsien Loong’s speech at National Day Rally, 2006 It has been 51 years of relentless building. As Singapore positions herself as a strong global economic competitor, our government charts us towards new economies and rides the waves of technological advancement. Singapore wants to be a creative and smart nation. Produce, Produce Produce! In times like this, such mantra fills the mind of every Singaporean worker and enterprise. However, with every attempt to raise our labour productivity, campaigns to promote innovation, training and creativity have been met with interruptions – 1985 recession, 1997 dotcom bubble, 2003 SARS epidemic, 2008 global financial crisis et cetera. Our jobs and spaces are in perennial crisis.

1. Chia,Yan Min. “Mismatch of skills hurting labour market: MAS.” The Straits Times, October 26, 2016.

Today, technology has evolved to a capacious state where jobs are gradually replaced by automation. A decade ago, it would be hard to imagine the ubiquity of digital tools as the way we work change with the internet of things. This economy is evolving and job skill requirements are changing. Albeit the world class education system, it has led to the extent where the demand for skill set cannot meet the shifting paradigm1.

II. [Above]: Singapore Economic Growth Composition.

III. [Below]: Productivity Growth Source: Singapore Department of Statistics and Manpower Research & Statistics Department, Ministry of Manpower.

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However, the issue is not to be preoccupied with the tyranny of technology, but instead it should focus on humans utilising technology. If we want to survive the technological meteorite, it is paramount that we reinvest in ourselves as human capital. The emerging economy will be driven by technology and digits, but it is the unique individuals with arts and creativity who constitute it. Therefore, our mind-set must change and the way we plan physically for this economy must also change along with it.

IV. Singapore Developmental Morphology. Studies by Studio TTK for It’s a Jungle Out There.

[Top Left]: 1963 UNDP Plan Employment Housing & Population Plan.

[Bottom Left]: 1971 URA Concept Plan.

[Top Right]: 1991 Concept Plan Capital Intensive.

[Top Left]: 2030 Land Use Plan More Lands, more Homes, More Greenery. Singapore Port to shift to Tuas - further intensifying industrial activities in west Singapore.

Background

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Background

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1.2 Creative and Nomadic

2. Jeremiah Owyang, Report: Sharing is the New Buying, Winning in the Collaborative Economy.

March 3, 2014.

The creative economy comprises of three main characteristics: “Sharing”, “Knowledge Production” and “Bespoke Manufacturing”.2 The aspect of “Sharing”, in particular, takes emphasis in the global economic shift. With ubiquitous platforms like Uber, AirBnB, Etsy, and Kick-Starter, we begin to usher into an economy of collaboration, exchange and self-expression beyond purely capital gains.

3. Richard Florida, The rise of the creative class: Revisited (New York: Basic Books, 2014), 2.

Within this creative economy, Within the creative economy, a creative class emerges3. In this investigation, we extend beyond the term “creative” without being too affirmative.

The creative class is not an elitist notion, it is not pre-ordained nor assumed for the privileged few. All humans need arts and creativity to survive and it applies for every job industry. The creative economy is one that drives each individual in the city towards a humanised environment in the impending technological meteorite. It is about investing the individual as capital, instead of capital for capital where the individual drives its creativity. Therefore, the definition of creative class is not to be taken as an absolute, but loosely to describe the people in this creative economy, i.e. creativity empowered in every citizen.

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Studio BW & Studio TTK

The composition of the creative economy is enabled by infrastructure for physical mobility and virtual connectivity. These new practices have spatial and territorial implications. Within the economy, mobility, distribution and spatial production challenges the tradition notion of spatial boundaries. For instance, the creative class can work anywhere as long as there are power sockets and a good internet connection. The city becomes a place where people collide and disperse at break-neck speeds. People are no longer required to stay at a fixed place to perform specific actions as the society is organised by virtual infrastructure, i.e. they are always physically on the move from place to place. Such nomadic behaviours thus become characteristics of the creative class.

V. [Previous Spread]: Problematising the Creative Economy. Drawing by Studio TTK for It’s a Jungle Out There.

VI. [Opposite]: “They trudged to work, thinking they will lose themselves, but found each other connected through another dimension”.

Collage by Lee Mei Ying Shirley.

VII. Epiphyllum Fields, Agora.

Collage by Lin Derong.

However, conventional physical planning cannot meet cater for such practices of the new economy. Current spaces provided are oftentimes controlled within the security of the clusters and bounded by bureaucracy. This is unfavourable to foster creativity as collaborative participation is impeded. Albeit the high demand for the “common spaces”, designing for such spaces is not one that is straight forward, especially under a neoliberal capitalist society. Therefore, the “creativity” within the goal of a creative economy has been met with an impasse.

Background

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1.3 Latent Territories

4. Richard Florida, The Rise of the Creative Class: Revisited (New York: Basic Books, 2014), 2.

Jurong East will be the basis for investigation as it has been a test bed for development.

The project will examine the emergence of the creative class4 and its multi-layered urban cultures which are challenged by our existing material infrastructure and bureaucratic system located in Jurong East. This idea of the “creative” conjures a certain image and it is fraught with all sorts of assumptions. However, as mentioned in chapter one, it seems to be stuck in the creative doldrums as our productivity decreases. This chapter will explain the observations made during the preliminary site studies – that current building models and spatial praxes are incompatible. The site approach is thus based on a reflection Jurong East with an understanding in relation to its larger physical planning.

There have been ambitious programmes embarked upon to anticipate emerging ethos to enable a thriving and creative economy in Jurong-East. Developed from a swamp land, the site has been largely an industrial area, echoed from the 1963 UN Ring Concept Plan and the appropriated 1971 URA plan. Through time, it has gone through industrialisation and late capitalist globalisation in the 1990s. Today, the government narrative has intentions to transform it into a second Business District, dominated by large corporations and a high speed railway. Jurong-East is now caught in a transitional development period. It is big, segregated and banal. Crowds that appear to traverse ambiguously turn out to move with well-choreographed intent. The experience of the urbanscapes can almost be collapsed into a single monotonous entity as throngs of humans weave through the sky bridges and narrow pedestrian walkways towards J-Cube. While this bridge networks extensively throughout the new cluster, this “new” Jurong East gradually reveals itself to be exceptionally functional. Distances which seem vast experientially turnout to be geographically compact. One will always end up where they want to be. IMM shopping centre is now walkable via J-Walk while buses and trains arrive at precise punctuality.

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This resulting spatial experience is exemplified in the Nolli plan during the preliminary site studies. Under the morass of its complex and seemingly chaotic organisation, the streets are in fact very well-organised and orchestrated within the interiors of the elevated ground. One reads a very legible sense of the street within the interior of the air-con boxes.Within these air-con boxes, it emulates outdoor spaces that are conducive for capital gains and internal cooling i.e. streets have ironically been brought into the comforts of the air-conditioned malls.

VIII. Hand drafted cross-section of Jurong East depicting spatial sequence and elevated connectivity of J-Walk, demarcated in blue.

Drawing by Lin Derong.

On the contrary, the spatial legibility on the ground is not that clear anymore. This seems to be the prevailing development model not just for Jurong East, but for other Singaporean urban projects. By lifting pedestrian spaces upwards, it leaves a ground environment devoid of conviviality and walkability, only catered for cars.

Therefore, instead of importing outdoor conditions into the interior, we strongly believe that cities should be experienced directly from the outside, straight off the ground – because this ground is important5. It is a continuous plane and a stable reference point for cultural life of both the residents and the urban voyageurs. It is on this very surface where urban tensions occur; the public and private, the informal and planned, the stasis and transition. Jurong East, at a postulated rate, is risking the elimination of this reference point to ground altogether with its three-dimensional connectivity.

5. Solomon, Jonathan et. al., Cities Without Ground, A Hong Kong Guidebook. (Oro Editions: 2012).

Is Jurong East gradually becoming a city without its ground and losing its tropicality? The preliminary site studies conclude with a criticism towards a ground surface devoid of life and developments self-contained within the “bigness� of air-conditioned boxes. These building practices are outdated and insufficient to cater to the new economy in terms of facilitating exchange. Therefore, situating Jurong East back to the emerging creative economy in the topics, we begin to question our observations which are challenged by these current conditions.

Background

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IX. The existing CBD is studied.

Drawings depict the undesirable characteristics for an inclusive and flexible new CBD. Car-oriented traffic with very little street activities and walkability. / Exclusiveness, the “others� are excluded with no spaces provided for the group. / Segregation, with autonomous blocks developed individually, connections are minimal.

Existing Jurong East has the following characteristics identified: High level of connectivity by J-Walk. / Fragmentation due to diverse building typologies which requires a common spatial language for the development of a coherent, imageable urbanistic form.

Shenton Way

Jurong East

Studies by Studio BW for Common Ground.

Background

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POPULATION PROJECTION: SATELLIE DISTRICTS.

POPULATION PROJECTION: CURRENT CBD

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POPULATION PROJECTION: CALCULATIONS

X. Population Projection. Studies

by Studio BW for Common Ground.

Background

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NO MAN’S LAND

SUPPORTING STRATEGIES

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HUMAN SCALE

Common Ground x It’s a Jungle Out There

XI. [Opposite]: Site. Syntax.

XII. Site observations. Drawings

by Studio BW for Common Ground.

Background

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APPROACH

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Approach

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NARRATIVE

6. Alexander R. Cuthbert, Understanding Cities (Oxfordshire: Taylor and Francis, 2011).

7. De Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 198.

2.1 Short Stories - Scaling Down Set amidst the backdrop of Jurong East and the “creative”, this project searches for new urban forms which respond to fast changing economies. We feel that the architect has inherited too much autonomy in planning and thus, taking a step back from a top-down perspective, we put ourselves into the people’s point of view. The narrative is adopted as an urban design methodology, or rather meta-methodology6 to construe the existing and becoming of Jurong East before imposing a design. Personal recounts and narratives become central thrust to our design process and a resource for human performance and actions in the social field.7

10. Hyndman, Jennifer, “Critical geopolitics,” Progress in Human Geography 39 (5): 666-667.

Parallel to site studies, each of the nine studio members interprets a personal narrative based on the site and identifies an issue. Urban design within a city goes beyond mere improvements. It has to transgress8 the limits and expectations which society has set.

As Jurong East heads towards a “second CBD” under the government’s directive, conventional notions and spatial boundaries are questioned within these narratives.

The nine fictions become an exposing ground for knowledge production9 and they are imbued in the embodied ways of knowing and seeing10. Mixed-media from other nonarchitectural milieu is used to seek to understand the human performance of urban design. These narratives render speculations and are manifested in words and collages.

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8. Rachel Sara and Jonathan Mosley, The Architecture of Transgression (New Jersey: Wiley, 2013), 226.

9. As of Foucault and Derrida’s definition.

Studio BW & Studio TTK

Representational art, comics, science fiction et cetera are referenced without resorting to an existing architectural style.

Juxtaposing the state’s ambitions, nine individual narratives overlap to form a larger urban design narrative. Though each of these narratives deals with different issues, they hinge themselves on the idea of individual empowerment and return of tropical ground to its people. By tapping into narratives at an intimate scale, the city becomes both spatial and atmospheric. We begin to understand human practices before performing urban design. The design hence suggests a dialogue between the phenomenological and physical11 as we investigate how people interact with their environment. At this intersection of people and space, we refocus on the banal “realities” of the individual and how power operates across scales.12 Covering a wide range of different practices, these narratives do not become a rhetoric.13 Instead, alluding to de Certeau, they address the everyday as a form of practice. Spaces are conceived as recording forms of action and rehearsal; of potential activities; experiments and traces of collective memories.14 Therefore, mapping the intangibles of the site, this urban design approach helps us interpret and take into account first-hand human experience of our intervention.Within the collages borne from these narratives, we feel that the fictional entity, alongside these quasi-tangible situations, captures the complexities and temporalities of the site.15

11. Borrowing Edmund Husserl’s term, we take into consideration and study the human experiences and consciousness borne out by actions performed in spaces.

12. Massaro and Jill, “Feminist Geopolitics”, 567-577.

13. According to Roland Bathes, “narratives is almost coterminous”.

14. De Certeau, The Practice of Everyday Life, 184

15. Naja & deOstos, Pamphlet Architecture 29: Ambiguous Spaces , 37.

XIII. “...Tucked between the lines, it hides one of the most energised spaces in the city. Trees, Tools, Chairs, Machines, Laboratories, Atelier, Storage Spaces - the travelling monkeys who carry their deployable homes on their backs could seek sanctuary before reaching the agora via the vertebral column...” Collage by Lin Derong.

Approach

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Hence, straddling between fiction and the real, we begin to explore the spatial and programmatic experiences.

Our explicit goal ultimately is to provide an alternative urbanity and usher people into a possibility of future living. In line with the emerging new economy, the design should allow for spatial flexibility, self-expressions and embrace the idiosyncrasies of each individual. Programmatic derivations from the individual narratives would then begin to distil itself onto the site.

XIV. Instantaneous response from the screen which are irrespective of the distances and the categorisation among interlocutors, abolishes the traditional perception of distance and time.

XV. [Opposite]: Roots / Behind these well-choreographed movements, lies a boundless underground territory where an immense proliferation of data servers and complicated service pipes nestle themselves. Like an army of disciplined soldiers, it is these systematic server spaces and fiberoptic cables which set the invisible rule that govern the seemingly chaotic and haptic contemporary habitat above ground.

Collages by Lin Derong.

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Approach

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XVI. [Opposite]: Events, Ghosts, Phantoms. “...an empire of signs from the towers emerged from the clouds as dawn breaks. He was in awe.

This feeling soon turn into a haptic sense of lost as he could not figure out the meeting point. There was no address given except a barcode. He couldn’t ask any passersby as they all seemed to be in a rush and busy on their screens.”

XVII. Bio-philia Theatre. “Parties were thrown night after night as it spills outside to encompass Jurong East and the surrounding landscape.

People living on social fringes exposes themselves in the dark of this night, celebrating the turn of a new era. The agora occupies a drastically different world in Jurong East, forming a nocturnal agora for the young, the creative, the sleepless and the night-walkers.”

Collages by Lin Derong.

XVIII. [Overleaf]: Initial collage for a postulated urban route by Studio TTK. Approach

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Approach

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Approach

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2.2 Water | Columns | Site

STRATEGIES

As the site is not based on a Tabula Rasa, the narratives begin to creep into the existing.

Three elements are identified as contextual engagement to translate the narratives into tangible design: water, green and leftover spaces beneath elevated tracks.

First, water as an architectural element becomes clear with the two river bodies flanking the site – Jurong River and Sungei Pandan. Across the years, the natural river network has drastically decreased in the name of modernisation and progression. Natural streams and rivers are transformed into canals and concrete drains. The original water system was replaced with artificial draining system in the urban fabric. Although Jurong River and Sungei Pandan still remain, they are heavily manicured.

While we begin to examine the latent connections between water infrastructure and our built environment, it becomes a meaningful strategy to tie the various programmes on the site instances. This implies the potentialities of water being manifested in different ways and used within the urban route to facilitate a humanised and a creative environment. It acts as the connecting infrastructure appearing in various forms that loops Jurong River, Sungei Pandan and the sea. Water in this context becomes a form of continuity and contextual engagement. As an architectural gesture to return the ground to the people, the waterway is then used in various guises to link the terminals, reestablish connection with the sea and also create opportunities for new public commons and promenade.

Next, as we expand the potentialities of urban leftover spaces, spaces beneath the elevated MRT tracks provide design opportunities. Taking advantage of the existing MRT columns, they double up as an urban structure and an organisational grid. These spaces also create lofty ceiling conditions which allow for spatial potentialities.

These three contexts become both a backdrop and an operational device to create another cultural reference point as a continuous planar transition on the ground. By running a waterway and having an extensive green plan beneath the tracks, it adds value to residual spaces which are awkward for current development practices. As a form of tropical sensibility, this also explicitly return a public commons and greenery back to the city – turning it into an imperative offer to create an open environment that is cooling, shaded and befits us as a tropical state.

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XIX. [Previous Spread]: Tropes or Tropics? The vignette explores the building of interstitial spaces in the climatic conditions of Singapore.

XX. [Opposite]: Intervention creeps between spaces beneath elevated MRT tracks.

XXI. [Above]: Parti. Tangent lines with MRT columns introduced as an urban stitch.

XXII. [Below]: Final abstraction sketch to uban form.

Drawings by Studio TTK for It’s a Jungle Out There.

Approach

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XXIII. [Above]: Water flow analysis to test suitability for waterbody across the site.

XXIV. Waterbody studies:

morphology

[Top Left]: 1932 [Bottom Left]: 1958 [Top Right]: 2015 XXV. [Opposite]: Design strategies for It’s a Jungle Out There.

Studies by Studio TTK for It’s a Jungle Out There.

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Approach

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XXVI. Elements towards a spatial expression of the design vision coherent, imageable and urbanistic form. Drawings by Studio BW for Comon Ground.

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XXVII. Design strategies Common Ground.

for

Bringing back the commons in the new CBD, the site is flattened by imposing a virtual lin tangent to the MRT track in every 80 meters interval. Structural grid of 20 meters column grid is further introduced inbetween the tangent lines on which girders and other developments grow.

Pedestrian network in the form of fingers and spine permeates in-between the structural grid, conection the site from one end to the other.

The ground plane is returned to the commons. Spaces for communities are proliferated here while vehicular circulation is restirctred at specific sites to maximise pedestrian spaces.

Approach

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URBAN DESIGN

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Urban Design

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URBAN BLOCK

Urban Design

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XXVIII. [Previous Spread]: Ground Plan.

XXIX. [Above]: Section A-A. 1:2000.

XXX. [Below]: Section B-B. 1:2000.

Drawings by Studio BW for Common Ground.

Urban Design

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XXXI. Land Parcellation. Drawing

by Studio BW for Common Ground.

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XXXII. [Above]: Finger and Spine.

XXXIII. [Below]: SME Parcellation.

Drawings by Studio BW for Common Ground.

Urban Design

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TYPICAL URBAN BLOCK (WITH DRIVEWAY)

LEVEL: 0M - 3M

3M - 6M

6M - 9M

3M - 6M

6M - 9M

TYPICAL URBAN BLOCK (WITHOUT DRIVEWAY)

LEVEL: 0M - 3M

MNCs CORE & SERVICES

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GREENERY

CORE STRUCTURE LEADING TO COMMONS

SMEs

Common Ground x It’s a Jungle Out There

XXXIV. Urban block guidelines by Studio BW for Common Ground.

Urban Design

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PRIVATE DEVELOPMENT

DOUBLE GIRDER STRUCTURE

EVENT SPACES & ACCESS

FINGER & SME XXXV. [Opposite]: Urban block guidelines for Common Ground.

PUBLIC SPACE

XXXVI. Axonometry of 1 typical urban block.

Drawings by Studio BW for Common Ground.

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XXXVII. [Opposite Above]: Overall Masterplan. Shared facilities above girders. Shared spaces between girder level and sky pavillions.

XXXVIII. [Opposite Below]: Main public spine beneath MRT tracks.

XXXIX. [Above]: Green Verge.

Main public spine beneath elevated MRT tracks.

XL. [Below]: Ground floor interior.

The common ground opens for colonialisation by the puglib. Mny facilities such as futsal, eateries, playgrounds and others are scattered around the site.

XLI. [Overleaf]: Axonometry.

Drawings by Studio BW for Common Ground.

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URBAN FRAMES PROGRAMMATIC INTERVENTIONS

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XLII. [Previous Spread]: Urban form. Configuring an alternative urbanity.

XLIII. Sections showing spaces and multi-scalar interventions.

Drawings by Studio TTK for It’s a Jungle Out There.

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3.1 Infra-Structural

“Life is not just eating, drinking, television and cinema. The human mind must be creative, must be self-generating; it cannot depend on just gadgets to amuse itself.” – Lee Kuan Yew, First Prime Minister of Singapore

16. Much like a dérive which Guy Debord described as “a mode of experimental behaviour linked to the conditions of urban society: a technique of rapid passage through varied ambiances.

17. Easterling, Extrastatecraft, 2.

18. “As much as we acknowledge the difficulties in providing a radical challenge to existing structures of power. We imply our ambitions to change the way in which the current society is being built (which is incompatible with our spatial practices). Using of action and architecture as a catalyst of change – or to facilitate change.” Rachel Sara and Jonathan Mosley, The Architecture of Transgression (New Jersey: Wiley, 2013), 226.

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Stretching two kilometres from the junction of Jurong-East Central to Sungei Pandan, an urban-route emerges from these narratives16 which frames the multiplicity of programmes developed. A set of bare skeletal frames then creep in-between the train columns to form a physical infrastructure around in a vertebrate-like organisation. This results in three spatial divisions. Firstly, the leftover spaces beneath tracks, re-established as pedestrian connectors with lofty “ceilings” from the tracks. Secondly, skeletal frames in the second division form an outdoor follie-like condition for programmes in flux.

Thirdly, furthest from the tracks, the frames morph into a building envelope with a typical GFA of 20m x 30m. Straddling between the inside and outside, programmes spill-out into external streets.

This urban route emerges as an infrastructure that behaves like a spatial software. It is conceived by its users as an agent to do something. This becomes our urban design parameter17 where mobile and nomadic people are flexibly and actively appropriating spaces for their own uses. Programmed for live, work and play, the infrastructure of this route behaves as a system for Stay, Production, Consumption, Distribution and Care. This route is envisioned to be a vibrant part of the city where it extends outwards to reach Jurong East and beyond. Sitting in this transitional era, people become the capital in the new economy while infrastructure becomes an agent for appropriation and facilitates flux.

In order for architecture to remain relevant, it has to position and re-invent itself in changing times on such a latent site.The “transgression”18 is built entirely on conventions

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of the existing, in relation to the temporal and cultural context. Exposing the site potentialities, previous chapter discusses the three elements as contextual engagement for the narratives. From the ubiquity of technological apparatus, information surplus and changing spatial praxes, it emerge a new urban form. This alludes to Althusser’s Ideological State Apparatus19 where we investigate the cultural/socioeconomical production of emerging rituals in this collaborative shared economy. It exemplifies a transitory moment in which the paradigm shifts into a new distribution of workspaces, demand for the sublime and new forms of social connectivity.

XLIV. Series of typomorphology studies done on Urban Frames at various site instances at It’s a Jungle Out There.

19. Althusser, Louis. “Ideology and Ideological State Apparatus (Notes towards an Investigation)”, in On Ideology. Verso: 2008 (1971), pp.

1-60.

Moving beyond a construed society of factory enclosed in air-conditioned boxes, the interior spaces spill out and extend into the public spaces to allow public participation.

This treatment of the exterior space as interior is in fact nothing new – Hertzberger’s Central Baheer with their porous structure, Cedric Price’s Fun Palace with its idea of an anti-building, Bürolandschaft with their modern open plan offices today. This theme of facilitating urban commons and participation has been a constant endeavour, albeit the way we use the space and streets is different today.

In the context of Jurong East, the urban intervention postulates a nomadic dwelling/ workplace amidst the “fastness” of the new economy – an emerging architecture for a creative future. On the other hand, this is juxtaposed by the “slowness” of the sanctuaries which provide solace under this giant urban morass. Through a myriad of contrasting and fragmented programmes plugged onto the route, the multi-faceted urban culture residing on site is resurfaced. The route’s imperative is to embrace the diverse and the pluralistic society where the city is a place and space for every individual. Wringing the extraordinary out of the everyday and leftover spaces, an adaptable and responsive intervention in the form of an urban route is proposed to frame all of the encounters; and whose impacts are global in scale. This proliferates across the two kilometres stretch to form a bare infrastructural system and an urban connection.

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In essence, the two kilometres stretch of frames and envelopes translate narratives and issues tangibly and materially – to affect the way people live, work and play. The vertebrate organisation beneath elevated tracks makes the leftover spaces legible for traversing and create space pockets that can be appropriated by the public in unexpected ways. The resulting design is a robust system and infrastructure for adaptability where the structure performs as the programmes itself. It becomes an agent to do something.

This meant that the architecture only takes form when the everyday, action and movement populates in20. A distinctive strata of urban living rooms is thus created as a myriad of contrasting programmes nestle within these frames and envelopes; as such, this system of typologies would provide sufficient flexibility to accommodate growth and the massive scale of programmes – bringing continuity of the city, stitching the route through repetition of small buildings.

20. An example would be Bernard Tschumi and Peter Eisenman’s 1989 follies at Parc de la Vilette, Cedric Price’s 1961 Fun Palace and Junya Ishigami’s 2010 Kanagawa Institute of Technology.

Therefore, in this space of flux, there exists only an infrastructure.

a.

c.

XLV. [Opposite]: Studio TTK’s guide to Jurong East.

XLVI. Axonometry of specific programmes nestling within urban frames. Drawings by Studio TTK for It’s a Jungle Out There. a. Food Market b.Community Kitchen c. Craft Studio d. Venting Room

b.

d.

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m.

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e. Water Playground f. Performance Stage g. Recording Studio h. Showcase Gallery i. Urban Living Room j. Mass Aerobics k. Skate Park l. Buildering m. Pet Park n. Outdoor Movie Screening o. Graffiti p. Nap Pod q. New Tech. Testing Playground r. Bazaar s. Incubators t. Tinker Spaces

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A.

B.

C.

XLVII. Embracing programmatic flux: Typo-morphology of urban blocks, grames & public space beneath elevated MRT tracks.

[Y-Axis] A. Urban Allotments at Jurong East Central.

B. Urban Sanctuaries Beneath Tracks.

C. Urban Sanctuaries by Jurong East MRT Station.

D. Urban Sanctuaries by Big Box. E. Tinker Pods and Business Incubators by International Business Park (IBP).

F. Maker Space by new IBP Waterfront + Information Highway.

[X-Axis] 1. Basic Infrastructure.

2. Volumetric Alteration.

3. Structural Expansion.

4. Programmatic Proliferation.

Drawings by Studio TTK for It’s a Jungle Out There.

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IBP/ BIG BOX/ JURONG EAST CENTRAL

C.

EC ONOMIC

SH IF T AND IT S SPAT IAL EV OL UT ION Fordism - Specialisation

IF T AND IT SOLSPAT EC ONOMIC SH ECIF ONOMIC T AND IT SHS SPAT IAL EV UT IAL IONEV OL UT ION Post-Fordism - Assembly-Line Bürolandschaft - Typical Open Plan Office with “Chaotic” and “Busy” visual elements

EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION Bürolandschaft - Typical Open Plan Office with “Chaotic” and “Busy” visual elements

B.

EC ONOMIC

SH IF T AND IT S SPAT IAL EV OL UT ION Fordism - Specialisation

EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION Post-Fordism - Supervision EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION Neoliberalist - Bürolandschaft (Office Landscape 1950s) EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION EC ONOMIC (Office SH IF Landscape T AND IT 1950s) S SPAT IAL EV OL UT ION Neoliberalist - Bürolandschaft Post-Fordism - Supervision

D.

3.2 Tinkerbar

EC ONOMIC

SH IF T AND IT S SPAT IAL EV OL UT ION Post-Fordism - Assembly-Line

EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION Fordism - Aesthetics of the Mass Ornament EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION Neoliberalist, Open Plan Office - Johnson Wax Headquarters, Frank Lloyd J. Wright 1974 EC ONOMIC SH IF T AND IT S SPAT IAL EV OL UT ION ONOMIC SH Wax IF T Headquarters, AND IT S SPAT IALLloyd EV J.OLWright UT ION Neoliberalist, Open Plan EC Office - Johnson Frank 1974 Fordism - Aesthetics of the Mass Ornament

Through the narratives, we have an understanding of state-development from the human perspectives. As each of these instances on the two kilometres route becomes a site for individual situating themselves around the larger context of changing environment and development, each part of the route begins to morph with its programs and physical site conditions.

XLVIII. Economic Shift and Its Spatial Evolution.

Drawings by Lin Derong..

[Top Left]: Fordism and Specialisation.

[Bottom Left]: Supervision.

[Top Right]: Bürolandschaft Typical Open Plan Office with “Chaotic” and “Busy” visual elements.

[Bottom Right]: Neoliberalist, Open Plan Office - Johnson Wax Headquarters, Frank Lloyd J. Wright 1974.

Setting as the core of the creative economy, the additive reuse of the desolated International Business Park (IBP) as a tinker space explores new spaces for business practices. As we anticipate increasing informal use of space given the devaluation of the physical public realm and widespread building obsolescence, the rapid development and convergence of software, businesses and consumer in the new economy will provoke a collapse of the existing strict functional typologies. This result in major shifts in both occupancy and emergence of new business spatial practices.

This part of the route is envisioned to house the new cybernetic work organisation and a spectrum of other domains such as the robotics, computer science, augment reality technologies et cetera. It has three main characteristics: structural flexibility for programmatic flux in the frames, an information highway extending to a new waterfront and an extensive underground data center.

XLIX. [Opposite]: Central Pod Station. Collage by Lee Mei Ying Shirley.

The infrastructure is an agent for altering space. The frames and envelopes are appropriated as a torn down decentralised work space in the advent of new knowledge economy. Whereas information resides within the invisible, activities determine how

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object contents are organised and circulated. Modes of distribution, production and consumption align with the practices of start-ups, makers and new generation of industrial workers. Within the frames, undifferentiated spaces result on the ground, creating a field that is open on an extensive plan and yet not functionally determined.

Temporary pods for personal activities (incubating, and tinkering) begin to grow and proliferate whereas envelopes provides spaces for SMEs and larger scale incubating and tinkering activities.

Extending beyond the tracks, an information highway stretches into the IBP site for laboratories, making, and testing spaces. Contrary to the frames, this information highway is a secured private space. It provides an ancillary structure for growth to meet with the demand for greater flexibility and mobility. Complementing this gesture, water floods across the existing empty field in the middle of IBP, creating an artificial waterfront for cooling and opportunities for developing public amenities.

This part of the intervention sets in mind the mobility of the new creative class and their nomadic culture; opposing the current spaces which are closed, static and clustered. It is thus an alternative to remain relevant in the current and future economy as it constantly changes and adapt to user needs.

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L. Building residues, Information highway and data rock cavern at IBP. LI. [Overleaf]: Metabolic growth beneath elevated MRT tracks for SMEs and anticipatory informal activities. Drawing by Lee Mei Ying Shirley, Lin Derong.

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LII. Metabolic growth along Information Highway.

Drawing by Lee Mei Ying Shirley, Lin Derong.

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LIII. Common Grounds/ Girder/ Big Box. Drawing by Studio BW for Common Ground.

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LIV. [Above]: Shared facilities above girders.

LV. [Below]: Girder interior. A space where businesses big and small can exist and define a difference on a flattened site.

Drawings by Studio BW for Common Ground.

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LVI. Adaptative resue proposal for Big Box as entertainment centre + Ramp up factory. Drawing by Studio BW for Common Ground.

LVII. [Opposite Above]: Frames creeping into Big Box. Photograph

by Studio TTK for It’s a Jungle Out There.

LVIII. [Opposite Below]: Big Box from inside. Photograph by Studio TTK for It’s a Jungle Out There.

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3.3 Le-park/ Bak Choys!

Traversing forth, one would encounter a series of urban sanctuaries that are nestled within the busy spine as a space of solace and comfort. This is paramount because in the era of creative economy, we posit a future whereby live, work, play become intertwined as one. Thus the notion of rest and respite grows even more crucial.

The urban sanctuaries emerge as a subliminal space amidst the capitalist spectacle of the “big and beautiful”. Alluding to Kant, whereas such constructed “beautiful” is limited, the sublime is limitless. The bare infrastructural frames begin to create undifferentiated spaces that relates to sublimity. Through small interstitial spaces, an avenue for haptic, self-expressions emerge for people to escape and hide within Jurong East with sprouting towers.

LIX. [Opposite]: Articifial waterway along It’s a Jungle Out There. Drawing by Ng Chloe, Tu Wen, Kim Heewan.

LX. Adaptive reuse of Big Box. Girder interior, a space between the structural girders, filled with businesses big and small. Drawing

by Studio BW for Common Ground.

Beyond a shelter or spectacle, the architecture of the urban sanctuaries seeks to create a creative environment to empower all citizens. Water emerges more than just a connecting tool and it begins to play a dynamic role and an agent in the spaces themselves.

They function as places of and for artistic visions and expressions. For example, water playgrounds, water for urban farming, relaxation tool in sensorial meditative spaces et cetera.

Through this multitude of programmes occurring within the frames, the intervention allows for Release, Respite, and Recharge. In spaces of Release, it allows emotional venting, screaming, shouting, smashing, kicking et cetera. Individuality is central as one gets in touch with one’s own emotions. Spaces of Respite allow for places of rest, solace, and comfort away from the city that serve as spots of self-introspection and selfreflection. Lastly, spaces of Recharge allow for individuals to refuel for the “jungle out there”. The individuals within these urban sanctuaries are almost narcissist, indulging and seek joy through actions performed in spaces. This is where its beauty to emerge – where self-joy, pleasure, and happiness take centre stage, oscillating between the sublime and narcissist.

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4. Conclusion In all, this project brings about an alternative urbanity based on anthropological studies.

The intervention is a reflection of how we situate ourselves in the larger society and our ambition to traverse across the city as a new class of creative nomads. Through an analysis of the new creative urban culture, it drives us towards an interpretative and a non-prescriptive plan. Simultaneously, this is narrated through the architecture of our collages as we mediate the complexities of individual idiosyncrasies and the everyday banality. The resulting set of dynamic programmes, distilled from the nine narratives is then used to constitute a loosely configured map to anticipate the becoming of Jurong East. Essentially in Sigmund Freud’s term, it become a site of memory trace21 where memories accumulate into a language and experience, both constantly challenged by the people’s desire to transgress and penetrate into the unknown.

LXI. [Opposite]: Urban sanctuaries along It’s a Jungle Out There.

Drawing by Ng Chloe, Tu Wen, Kim Heewan.

21. Sigmund Freud, Beyond the Pleasure Principle (London; Vienna: International PsychoAnalytical, 1920), 13.

As Singapore moves towards an efficient productive society in the new economy, the creativity of every Singaporean is paramount. Through this 2km stretch, the route is envisioned to usher Singaporeans into a new way of living, new attitude, new thinking and a new mode of knowledge production and exchange; etched deeply in empowering people through optimising the public commons and to fulfil people’s desire for spatial appropriation. /

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LXII. [Previous Spread-Left]: Detail 1:400 Model of 2 Urban Blocks. Photograph by Studio BW for Common Ground.

LXIII. [Previous Spread-Right]: 1:2000 model of the urban route.

Photograph by Studio TTK for It’s a Jungle Out There.

LXIV. [Opposite]: Overall site model - Common Ground.

Photograph by Studio BW. LXV. Overall site model.

Photograph by Studio TTK for It’s a Jungle Out There.

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Selected Bibliography Althusser, Louis. “Ideology and Ideological State Apparatus (Notes towards an Investigation)”, in On Ideology. Verso: 2008 (1971), pp. 1-60

A. REFERENCES

Chang Kyung-Sup, Ben Fine and Linda Weiss. Developmental Politics in Transition. The Neoliberal Era and Beyond. Palgrave Macmillan: 2012.

Coates, Nigel. “Radical Territories.” In Narrative Architecture, 25-40. New Jersey: Wiley, 2012.

Cuthbert, Alexander R. Understanding Cities. Oxfordshire: Taylor and Francis, 2011.

Deleuze, Gilles. “Postscript on Control Societies.” In Negotiations, 177-182. New York: Columbia University Press, 1995.

De Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1984.

Easterling, Keller. Extrastatecraft: The Power of Infrastructure Space. New York: Verso, 2014.

Florida, Richard. The rise of the creative class: Revisited. New York: Basic Books, 2014.

Fischer, Ole W. “From Liquid Space to Solid Bodies, Architecture between Neoliberalism and Control Society.” In Is there (Anti) Neoliberal Architecture?, edited by Ana Jeinic and Anselm Wagner, 14-31. Berlin: Jovis, 2013.

Ford, Martin. Rise of the Robots: Technology and the Threat of a Jobless Future. New York: Basic Books, 2015.

Freud, Sigmund. Beyond the Pleasure Principle. London; Vienna: International Psycho-Analytical, 1920.

Grosz, E. A. Architecture from the Outside: Essays on Virtual and Real Space. Cambridge, MA: MIT Press, 2001.

Hays, Michael. “Michael Foucoult “Space Knowledge and Power” Interview with Paul Rainbow.”

In Architectural Theory since 1968, 430-439. Cambridge, MA: MIT, 1998.

Highmore, Ben. “Literature, Narratives, Voices.” In Michel de certeau: Analysing culture, 126133. New York; London: Continuum, 2006.

Hyndman, Jennifer. 2015. “Critical geopolitics.” Progress in Human Geography 39 (5): 666-667.

Kong, Lily. 2012. “Ambitions of a global city: Arts, culture and creative economy in ‘post-crisis’ Singapore.” International Journal of Cultural Policy 18 (3): 279-94.

Koolhaas, Rem. “Junkspace.” In Content, 162-171. Koln, London, L.A., Madrid, Paris, Tokyo: Taschen, 1995.

Koolhaas, Rem. “Singapore Songlines.” In S, M, L, XL. New York: Monacelli Press, 1995.

Krätke, Stefan. 2010. “Creative cities’ and the rise of the dealer class: A critique of Richard Florida’s approach to urban theory.” International Journal of Urban and Regional Research 34 (4): 835-853.

Lefebvre, Henri. “The Rights to the City.” In Writing on Cities, 147-159. Cambridge, MA: Blackwell, 1999.

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Lefebvre, Henri. “Production of Space.” In Space, Difference, Everyday Life: Reading Henri Lefebvre, edited by Kanishka Goonewardena. New York: Routledge, 2008.

Massaro, Vanessa A., Willians, Jill, “Feminist Geopolitics”, Geography Compass 7/8, Department of Geography, Department of Women Studies, The Pennsylvania State University, Department of Geography, Clark University: 2013, pp. 567-577 Mayer, Margit. “Post-Fordist City Politics.” In The City Reader, edited by Richard T. LeGates and Federic Stout, 229-239. New York: Routledge, 2011.

Jackowski, Nannette and Ricardo de Ostos, Pamphlet Architecture 29: Ambiguous Spaces, Princeton Architectural Press: 2008.

Ooi, Can-Seng. 2008. “Reimagining Singapore as a creative nation: The politics of place branding.” Place Branding and Public Diplomacy 4 (4): 287-302.

Ooi, Can-Seng. 2010. “Political pragmatism and the creative economy: Singapore as a city for the arts.” International Journal of Cultural Policy 16 (4): 403-417.

Purcell, Mark. “Excavating Lefebvre: The Right to the City and its Urban Politics of the Inhabitant.” GeoJournal, vol. 58, no. 2/3, 2002.

Rumpfhuber, Andreas. “Framing the Possible, Cybernetic Neoliberalism and the Architectuer of Immaterial Labor.” In Is there (Anti) Neoliberal Architecture?, edited by Ana Jeinic and Anselm Wagner, 32-45. Berlin: Jovis, 2013.

Sara, Rachel, and Jonathan Mosley. The Architecture of Transgression 83 (6). New Jersey: Wiley, 2013.

Sklair, Leslie. “Iconic architecture and urban, national, and global identities.” In Cities and Sovereignty: Identity Politics in Urban Spaces, edited by Diane E. Davis and Nora Libertun de Duren, 179-195. Bloomington, IN: Indiana University Press, 2011.

Solomon, Jonathan, Clara Wong and Adam Frampton. Cities Without Ground, A Hong Kong Guidebook. (Oro Editions: 2012).

Spiezia, Vincenzo and Marco Vivarelli. “The Analysis of Technological Change and Employment”, in The Employment Impact of Innovation. Evidence and Policy. Edited by Marco Vivarelli and Mario Pianta. London: 2000, 13-25.

Vidler, Anthony. “Photourbanism: planning the city form above and from below.” In The Scenes of the Street and other Essays, 317-328. New York: Monacelli Press, 2011.

Virilio, Paul. “The Overexposed City.” In The Lost Dimension, 25-185. Cambridge, MA: Semiotext(e), 2012.

Articles Au-Yong, Rachel. “PM Lee Hsien Loong seeks to rally youth amid slowing economy.” The Straits Times , October 25, 2016. http://www.straitstimes.com/singapore/pm-lee-seeks-to-rallyyouth-amid-slowing-economy Channel NewsAsia. “Upgrading skills must become ‘a way of life’: PM Lee at G20 Summit.”

November 16, 2015. http://www.channelnewsasia.com/news/business/upgrading-skillsmust/2264604.html 100

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Chia,Yan Min. “Mismatch of skills hurting labour market: MAS.” The Straits Times, October 26, 2016. http://www.straitstimes.com/business/economy/mismatch-of-skills-hurting-labourmarket-mas Chia,Yan Min. “Shedding light on slowing growth: What ails Singapore’s economy?” The Straits Times , October 30, 2016. http://www.straitstimes.com/business/economy/what-ailssingapores-economy Goh, Kenneth. “Why S’pore needs to slow down to go fast.” Today, September 29, 2016. http:// www.todayonline.com/commentary/why-spore-needs-slow-down-go-fast Ho, Olivia. “Job woes part of transition to quality growth: Lim Swee Say.” The Straits Times, September 24, 2016. http://www.straitstimes.com/singapore/manpower/job-woes-part-oftransition-to-quality-growth-swee-say Koh, Nicholas. “Higher productivity, the only option left for Singapore.” IPS Commons, August 3, 2015. https://www.ipscommons.sg/higher-productivity-the-only-option-left-for-singapore/ Kuan, Chris. “Job mismatches in Singapore reaches highest since 2008/09 while govt initiatives continue to fail in creating the right jobs.” The Online Citizen, October 26, 2010. http://www. theonlinecitizen.com/2016/10/26/job-mismatches-in-singapore-reaches-highest-since-200809while-govt-initiatives-continue-to-fail-in-creating-the-right-jobs/ Lim, Jessica. “Six ways to lift Singapore out of the retail doldrum.” The Straits Times, September 29, 2016. http://www.straitstimes.com/lifestyle/six-ways-to-beat-the-retail-blues Velloor, Ravi. “Shedding light on slowing growth: Trade threats and bad debts.” The Straits Times, October 30, 2016. http://www.straitstimes.com/opinion/trade-threats-and-bad-debts

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B. SITE ANALYSIS SITUATION - BOXES It is big, segregated and banal.

This is an urban site in perpetual flux.

As its physical plannings layer on top of its past, the people’s idiosyncrasies transgress the spatial residues.

The camera becomes our primary instrument for resistance aganist any construed narratives and visions of Jurong East. Beyond a recognition of the physical and social, This study attempts to map its tangible and intangible aspects in photographic form - of what configures the space and what constitutes the existing.

Photographs by Lin Derong.

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- RESIDEUS

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- ACTIONS

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C. PRELIMINARY SITE DATA Drawings by Studio TTK

Topography

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Nolli -Ground The interface of public and private realms at the urban scale is important. This diagramme maps public access on site.

The public-private boundaries are revealed through this nolli on the first level. Public pathways interlace through the couryards and front yards of shopping centers. However, beyond the shopping cluster, wide roads and the disjuncture between the residential estates makes spatial traversing on ground floor unorchestrated and ambiguious.

Nolli - Interior Streets These interior streets mark the walking spaces when one exits the station gantry on the elevated ground. Interestingly with the “J-Link� bridge connector, it establishes an orchestrated walking experience and brings the exteriority of streets back to the interior.

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Road Network The main MRT station occupying the site is Jurong East MRT station which is an interchange because it is where the East-West and North-south line intersects.

This results in a huge density of people especially during the peak hours. A series of public buses serve the residents living in this area where all these areas are acessible to the Jurong East interchange via the prescence of a high number of bus stops. ain Roa & igh a Secon ar Roa s inor Roa ater Bo

Bus Accessibility Service to Jurong East Central: Residents living in the Toh Guan Estate - Bus 105, 990 and 41.

Residents from the Yuhua East estate - Bus 107 and 333.

Residents from Jurong East HDB flats - Bus 66 to the central area.

From International Business Park - Buses 99 & 105, Bus Station Train Station Train Track Bus Route to Jurong East Bus Route to Yuhua & Toh Guan

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Informal Public Spaces They are scattered around Jurong East - both formal and informal ones. Informal public spaces are mainly defined by urban furnitures/ shared boundaries with existing grocery stores and cafes, while some act as an extension of existing bus stops.

Many spaces around residential areas are observed to be unused during most part of the day.

Formal spaces set aside by urban planners are also observed to be appropriated and altered by users.

Walking Accessibility Point 1 to 2: 1.4km Point 1 to 3: 1.2km Point 1 to 4: 1km Point 1 to 5: 700m Point 1 to 6: 1.2km

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D. NARRATIVES EPIPHYLLUM FIELDS Text by Lin Derong.

Issue Statement When the International Business Park (IBP) was set-up in 1992, it was the first cluster of buildings oriented for commercial needs. These were built upon and catered for the previous late-capitalist economy which lauded for a centralized system. However, with the advent of technology and ubiquity of cloud spaces today, a cybernetic workforce emerged. This questions the current status of IBP today as a business park, notwithstanding that it is a nocturnal barren land.

Furthermore, as our Prime Minister has repeatedly emphasized since the 2000s, we have moved towards a knowledge based economy, and knowledge is our capital. However, with the example of IBP, we have seem to reach an impasse. This is perhaps because spaces provided for are oftentimes controlled within the security of the clusters and bounded by bureaucracy. This is not favourable to brew creativity; and creativity is of paramount as it forms a continuum of knowledge production which negates the generic in the age of mechanical reproduction.

On this note, the thesis builds upon this emergence of the creative class and the new economy of technological sophistication; which is challenged by our existing material infrastructure and bureaucratic system. From the spatial perspective, how do we thus allow buildings and spaces to adapt effectively with time and changing spatial practices? Existing monolithic blocks and institutionalized working environments is inefficient and not sustainable. How could urbanscapes like IBP regenerates itself adaptively without it growing towards decay?

In light of a city’s resilience and adaptability, Henri Lefebvre has advocated for the Rights to the City where he had astutely called for a restructuring of the relationship between the social, political and economic, whereby (spatial) power control shifts to its urban inhabitants. Similarly in his Production of Space, Lefebvre pointed out that “space is neither static nor preordained, it is a continuous production of spatial relationships, encompass multiplicity and co-existence – which is build upon an existing structure.”

With every shift in economic and business models, it has shaped the way we demand for, plan and occupy space.This is evident when the Bürolandschaft (Office Landscape, 1950s) revolutionized the workspace during with the neoliberalist movement. It broke away from its precedent of compartmentalized modes of work governed by post-fordism – walls were torn down and interior spaces became flexible and an exercise of inter-surveillance.

In this vein, the behavior of a city and our idiosyncrasies in it are intricately linked and they affect each other.

With the resulting class of creative workers and decentralized workspaces, business models and practices change. Spatial requirements now demands for an even greater mobility across the city, spatial flexibility and large support infrastructure. Additionally, with systematic cloud spaces governing the way we travel, it abolishes the traditional perception of distance and time which potentially give rise to an organic urban behaviour.

In line with this new revolution of spatial praxes, it thus goes beyond paying lip attention to create a creative and conducive working environment while still adopting traditional building practices. It is even more important now to provide for this physical infrastructure to brew an environment for creative work and to facilitate its nomadic nature.

This thesis thus postulates a new form of spatial organization and planning in concurrence with the new technological savvy creative class. It imagines a flexible moving system which focuses on the material infrastructure supported by an army of data servers. It includes: nodes scattered around the site to provide a datum of ideas and knowledge exchange, making and collaboration; server, cable and cooling systems tucked away from view. This moving system borrows the visions of the Situationists and appropriates itself towards a sustainable economic model for today and the future. This would further extend its connection to the Jurong East Interchange and upcoming Singapore-KL terminus.

The Architecture would then become an operating system which facilitates the emerging economic forces towards a creative and humanized economy.

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Air / Events, Ghosts & Phantoms The old train station stood still as it prepares itself to witness another day of light. The distinctive red paints of its roof trusses are gradually fading while server modems leeches themselves onto the roof’s physical network.

The magic is still there. The sounds of flipping billboards echoes through the busy terminal as drones and endless throngs of people traverse through the vast arrival hall. Under the morass of this big city, this magic has survived a long time since Jurong East’s development in 1980s. The precinct by now is a major stronghold for knowledge and business opportunities. After the recent economic bubble, the urban spaces were regenerated and new economic regulations were laid in place. Transformable ships began to invade the old office towers and tulip-bulbs could be found drifting around the fields.

As Oliver’s tulip-bulb cruises down the highway at 180 km/h, he prepares his drawings and wax bars for a meeting with a group of makers and producers in Jurong East for the upcoming Singapore art festival. From his window, he could catch a glimpse of the city through the retina of the hurried eye. Upon his arrival at the train station, an empire of signs from the towers emerged from the clouds as dawn breaks. He was in awe.

This feeling soon turn into a haptic sense of lost as he could not figure out the meeting point. There was no address given except a barcode. He couldn’t ask any passersby as they all seemed to be in a rush and busy on their screens. The meeting place is located at a specific power-point in the agora. As he hovers his bulb and wonders around, he saw drones cruising at break-neck along the old train tracks, fascinating ships dock and transform on the office towers and many tulip-bulbs like his in various colours, converge and diverge as they shimmer in the glorious luminance of the morning sun.

Ground / Field of Field Agents The agora embraces every sort of the idiosyncrasies and anomalies. No one else in this space appear the same, not even their tulip-bulbs. Once Oliver’s tulip-bulb entered the busy agora space, Siri promoted Oliver to set his bulb into auto-pilot mode. This would then automatically lead him to the specific power-point within the shortest time. Amidst all the other vehicles, his tulip-bulb, which also doubles as his atelier and office, deploys once it is plugged into the power-point. The corolla opens and unfolds to reveal the bud of his vehicle. His other two collaborators were already discussing except for the wax maker, who met a little accident coming by the Pandan River.

Within this agora, it was bustling with activities. No one stays at a permanent place for long. This would be the first and last time which Oliver’s blub deploys and blooms at that power-point – which changes location itself from time to time. Upon the wax maker’s arrival, the 4 bulbs forms a mega-bulb by a specific form of connection in the bud and their corellas. This would enclose them to prevent distractions from the haptic world outside while other innumerable ships and tulip-bulbs hover everywhere.

As the design team goes deep into their long discussions and drawings, they would then travel to a nearby prototyping center to test out their ideas. The mega-bulb then latches itself onto a track which brings them automatically to their set location. This series of tracks transports these tulip-bulbs from one node to another and up to the office towers. As the team nears the prototyping center located within one of transformable ships docked in the office towers, the large bulb splits back into 4 to travel back on wheels. As Oliver enters the prototyping center, he could smell a mélange of scents diffusing through the air; combined with the heavy dusts from the outside. He was excited to test out how these machines could stretch the materiality of wax.

Being born in a family of candle makers, Oliver is always fascinated by how wax could turn into other forms of objects and complex art works. Once the testing were in order and documents sent over Google Drive, the 4 of them parted the tower in different directions.

For Oliver, he still had some refinements to do. He then parked his tulip at the nearest power-point and grabbed his copy of Difference and Repetition. He needed to recharge and purchase more data space at a nearby café. Soon, it began to rain. From the window, Oliver witnessed water collected from the various ships cascade onto the tower’s glass panels. All the tulip-bulbs appear to teem ambiguously, but they turned to move in a well-orchestrated way to seek refuge under the protection of the agora. These murky columns of streams Appendix

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from the towers juxtaposed to the cosmic sky is almost a celestial and a surreal sight. Oliver sketched the scene on his moleskin and perhaps somewhere it might spark a new inspiration. He then decided to stay for one more hour to explore city, or perhaps for a moment he felt like he could settle here forever.

Roots / Rule & Control Beneath the complexities and seemingly chaotic organization of the ground surface, is a drastic new wonderland. Expanded from the towers’ old car parks and Jurong Caves, these underground chambers networks across the entire city. While Oliver enjoys his coffee on the ground, his drawings and materials dive deep underground via satellites which coat the atmospheric surface of the Earth. Behind these wellchoreographed movements, it lies a boundless underground territory where an immense proliferation of data servers and complicated service pipes nestle themselves. Like an army of disciplined soldiers, it is these systematic server spaces and fiber-optic cables which set the invisible rule that govern the seemingly chaotic and haptic contemporary habitat above ground.

Nocturnal Bloom / Biophilic Theatre In the day, the agora and towers bustles with activities and transactions for people like Oliver and his team.

When dusk falls, this scene disappears. The ships decked between the building frames detaches and leaves behind a skeletal tower with its lofty core. No one knows where they would go. Perhaps they are all parked in the underground chambers, or maybe on their way to the next precinct.

In its nocturnal existence, this precinct takes on another role.The new young urban creatives would creep into the tower and bulb-tracks as a retreat from the day’s work. These are the only places in town where there are no surveillance cameras. Parties were thrown night after night as it spills outside to encompass Jurong East and the surrounding landscape. People living on social fringes exposes themselves in the dark of this night, celebrating the turn of a new era. The agora occupies a drastically different world in Jurong East, forming a nocturnal agora for the young, the creative, the sleepless and the night-walkers. /

Postscript Working primarily with Foucault’s controlled society and Henri Lefebvre’s writings on Production of Space and Right to the City, the narrative enquires into the urban regeneration and infrastructure in concurrence with new modes of and business models and spatial praxes. It is interested in the behaviours of a city, how it adapts with time and how buildings negates itself towards decay. Where architecture emerge. Epiphyllum personifies a certain temporality during bloom, whereas Fields spatializes the narrative set in Jurong East.

Throughout the narrative, it suggests an architecture of urban infrastructure which emerge from the economy and the people themselves. /

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Jurong’s Historical Context When Jurong was constructed as an industrial estate in the 60s and 70s, social and labour activists saw the importance of the area and recognised that they need to monitor the workers. They offered their help to organise these workers who were bused into the area every morning. Even religious groups got involved - they set up Jurong Industrial Mission administered by a Community Organiser called Ron Fujiyoshi from Chicago.

GETTING ORGANISED! Text by Lee Mei Ying Shirley.

These activists were organising these workers together to campaign for their rights, including for public bus routes to come in.These activities incited the ire of the government, who was afraid that these activities would undermine their power over the workers and worse still, promote an nexus between labour rights movement and religious groups.

After the clamp down in the 1970s, Jurong continued to become the powerhouse for manufacturing and industrial activities, which required a compliant, skilled, workforce that was measured by its ability to produce homogenous products for the global market.

But now, as we approach the third decade of the 21st century, the government recognises that they need an adaptable, flexible workforce that has the capacity to innovate and see new opportunities in global trends and new technologies. Yet there has been little effort to embrace any form of infrastructure that will attract creative minds and individuals with great initiative to work, play and live in this area. Ironically, what the new economy requires harkens back to the early years where the community was organising themselves, considering their own needs, and making it known to the government.

Chapter 1_ Regulation/ Isolation It is morning at exactly 8am. Charlie drowsily looked out his HDB window at the sprawl of monolithic blocks, like tombstones set before him, beckoning him to another banal day of work.

His days melted into each other in their similarity, just as the reinforced concrete buildings outside melted into each other in their modularity. The repetitive rows of tinted glass wrapped in the same aluminium frames shone in the glaring sunlight, mocking him.

He knows his schedule - he will walk to the MRT, change stations and then walk again to the office - all the time alongside a crowd, but not speaking to a soul. The train is packed, but everyone’s eyes are half glazed, averted.

He walks to work, like a drone, well-timed to reach the office block punctually, floating along the other drones around him. They reach the grid of square office cubicles, two by two metres, like prison cells, but smaller. The grey grid is padded, to stifle conversation carrying across for more than a few metres, any bright colours only poorly camouflaging the sameness and isolation that has descended on their lives. He wants to maybe start talking to his colleague to his right about life, but they are separated by a padded wall that just covers his line of sight. In this grid, he is truly alone.

He looks down and starts work, receiving by email his To-Do list for the day. He switches off and becomes a gear in the system, clicking away on the ‘office-provided’ desktop, away from any the outdoors and people, until right before nightfall when he is released.

The drinks stall Elderly in the eatery downstairs wants to tell someone of a time when he handmade the flute, but he cannot think of anyone who would listen. He knows everyone from the office blocks have a To-Do list for the day - what he says has no relevance. He continues robotically to brew the drinks, as he has done for the last few decades.

Over time, Charlie settles into the rhythm of doing To-Do lists, and giving cursory nods to his colleagues. He forgets who he is sometimes. He has flashes of a time long ago when he yearned to create, reminders of those yearnings taunting him when they come, but he has received and delivered tasks for so long that he does not know what else to do.

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Chapter 2_The New Age The sun rises, rays licking red steel beams in the light. A tower of bare infrastructure stands out like the spine of the city, holding on to the silver threads that run to it. These silver threads cross the horizon of monolithic buildings dotting the skyline, connecting two areas where they did not meet before. Up further north, those who live, those who play, and those who come into the area just for work. The infrastructure starts at the old industrial area, spreading out to the areas near by, an unafraid army, each following the flame of his heart in the darkness, pushing further the silver web. They write the rules that governs their day, living by the vision of their creation. Others echo the rhythm of another city far away, sleeping when others are awake and awake when the night falls.

This army they live in small, highly personalised pods, the steel cocoon that encases them concaving and protruding to their needs. They courageously push against the society that has pressured them to conformity, and finally the government has heard them. Taping on a screen, they give their earnest suggestions to the government.

“A new bridge connection to the elderly residences” (many ‘Likes’ for this one), “let us have access to hospital resources” (the reply: possibly too much paperwork involved but we can direct you to hospital experts), “more pop-up areas to test-sell our products to the locals” (most popular request post with a few thousand “Likes”).

These requests have driven the map of connectivity nodes across the city the industrial area to the residential, schools and hospitals where there was none before. The government has installed the inconspicuous electrical plugs and ‘cocoon hangers’ around; in nooks and crannies, the heartlands.

One can walk to a mall and see a plug at the entrance, protruding off the adjacent wall. Others fall into cracks of disused space, or the middle of a pulsating heartland. Some cocoons move from plug to plug, riding waves of change and trends, changing the space it inhabits overnight. Others are built to be fixed, organically and fluidly filling up spaces others have once shunned.

These cocoons they beckon towards metamorphosis; inviting the Sleeping ones around to reach towards them. The Sleeping ones, initially going around in their daily lives suddenly stop - sometimes in curiosity, sometimes in bewilderment, sometimes in loneliness - and there they watch and talk to the army busying in their cocoons as they furiously create; and the Sleeping ones themselves awake from the Sleep, entering the cocoons and making new cocoons as they undergo the process of creation, excitement and self discovery.

Charlie drifts into a cocoon parked in the green of his office one lunch time. He see what others are doing, his dreams of creation not the faraway longing he has thought it was. There, others just like him busily work on their vision, unchained and free. His eyes open, and he takes one hesitant step forward… and Charlie awakens from his slumber. /

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NEW BUSINESS MODES IN SINGAPORE Drawings by Lee Mei Ying Shirley & Lin Derong.

Sustainable Living Lab - 111 Middle Road NEW BUSINESS MODES IN SINGAPORE Sustainable Living Lab - 111 Middle Road

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Sustainable Living Lab - 111 Middle Road

Mettle Work - 50 Lorong 17 Geylang

NEW BUSINESS MODES IN SINGAPORE Sustainable Living Lab - 111 Middle Road

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NEW BUSINESS MOD Mettle Work - 50 L

APORE DES IN SINGAPORE ng Lorong 17 Geylang

Blk 71 - 71 Ayer Rajah Crescent NEW BUSINESS NEW MODES BUSINESS IN SINGAPORE MODES IN SINGAPORE BLK71 - 71 AyerBLK71 Rajah Crescent - 71 Ayer Rajah Crescent

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Š Studio BW & Studio TTK, 2016-2017 All content and images used in this publication are owned

by Studio BW and Studio TTK. Reasonable efforts are made to ensure that the contents of this book are accurate and external references are duly cited.

All rights reserved. Unauthorized use is prohibited; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the editor and studio leaders. All opinions expressed in the book are of the authors and do not necessarily reflect those of the National University of Singapore.

AR4101 Design 07 | Mobility + Urbanism Department of Architecture School of Design and Environment

institution: DOA.SDE.NUS

AR4101 AY16/17