City of Subtle Seduction by M. Anshar

City of Subtle Seduction T W O

STUDIO

- W A Y

D I A L O G U E

ephemerality

MANIPULATIVE CONFUSION

conceal & reveal

defining the city

THIS JOURNAL IS A RECOLLECTION OF MUHAMMAD ANSHARUDDIN'S WORKS FOR STUDIO MODULE IN TERM 1 SEMESTER 2 OF YEAR 2.

CONTENTS

F O

29 35 59

M E E T S

P L A Y

The Spatial Designer I Aspire to Be

1 . M Y

S L I C E

introduction

2 . T W O

- W A Y

D I A L O G U E

Quality Spaces

3 . S L I C E

P R O F I L E

10 Categories of Observations

4 . C I T Y

O F

C O N C E A L M E N T

Defining the City

5 . C I T Y

O F

S U B T L E

Defining the City

6 . W H I T E B O X

A Space for Collaboration

S E D U C T I O N

E L B A T

3 5 6 19

D E S I G N

WHO

SPATIAL

DESIGNER? 2

D E S I G N

M E E T S

From the perspective of a design student, I think it is safe to say that designing things in general is tough. Not only can it be physically exhausting at times, it can also be mentally draining too. Without doubt, I believe most design students or designers in general would agree with me. We try to put so much empathy to understand our users and sometimes it is excruciatingly stressful. By the end of the day, we just want to get things done when we are too tired to think of it. And that, what I personally think, is a pitfall as to why we are often stuck when designing things.

P L A Y

But as time moves on, as I am really settling and adapting to this reality, I eventually realised that design, sepcifically spatial design, is fun when we do not overthink about it. Not that we should not focus on the result, but it is really about enjoying the process that helps to create that fun environment while working. Sometimes having a mind of a child, think of the project or assignment as a playground, makes me have more freedom to design. I think that is what Studio has given me thus far, to think critically yet playfully, it is as if there are no boundaries as to how far I can take my imagination to. In my opinion, a space should create moments of delight for the people who occupies it. There is no steadfast rule as to what is simply delightful. Delight can come in different forms for different people, this is where empathy comes in, but most likely it is a mix of form, function and value that creates that often intangible emotional connection to a well designed space - a space where people can exchange values, ideas and knowledge.

AND FOR THAT, I ASPIRE TO BE A SPATIAL DESIGNER WHO IS UNBOUNDED BY RULES AND AN OPPORTUNISTIC ONE, A CATALYST OF CHANGE AND A CREATOR OF EXPERIENCES.

My Slice My slice starts from Robertson walk and ends at Coleman Street, cutting across the famous Fort Canning Park. It is home to unique buildings, some are old, some are new. They display a range of influences and styles from different places and periods. My slice allows me to converse with spaces where some of them I am already quite familiar whereas most of them are rather quite foreign to me, to a certain extend I felt alienated. Walking the slice exposes me to a lot of spatial qualities that are rather intricate, providing me with opportunities to uncover the mystery behind them. These are spaces that I deem as good spaces. Good spaces hides their identities where I am not able to see all the way through, thus a journey paves out as I take on the challenge to explore and try to understand them.

TWO - WAY Good spaces are quality spaces.

Quality spaces are spaces that allow for two way dialogue to take place. This means that they communicate to their occupants through their forms and aesthetical images.

They influence how we behave in the space. By walking towards, retreating from, walking around the perimeter or simply staying stagnant, the space responds differently.

DIALOGUE

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

QUALITY

SPACES

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

SLICE PROFILE SLICE PROFILE SLICE03 PROFILE SLICE PROFILE SLICE PROFILE The profile illustrations of my slice will aid me in breaking it down into milestones. I can then further narrow my findings into 10

different categories of observations of different depths. By breaking down my slice

into segments, I will be able to segregate my

time and focus span on certain spaces prior to my next few visits. This way, I am more aware

those

that

require

deeper

exploration to better understand them.

CATEGORIES OF OBSERVATIONS

Smell (strong & weak) Colour (mono & bright) Texture (smooth and rough) Memories (distinct & vague) Temperature (high & low) Open & close spaces Light (bright & dark) Symmetry & Asymmetry

P R OF I L E

S L I C E

Sound level (high & low)

S L I C E

P R OF I L E

Emotion (positive & negative)

Heavy presence of vehicles of different colours.

Presence of commercial buildings with variety of colours.

The spaces are very open throughout that plot of area.

The UE Square Shopping Mall has quite a distinct symmetrical look. From the side of the building, it is actually asymmetrical.

The ITS centre is asymmetrical on all sides. However a glance from afar gives off the illusion that it could be symmetrical due to its repeated aesthetic features. Though I must say the cross junction right in front of it speaks symmetry as well.

The spaces in this particular area tend to open up gradually, exposing many of the existing elements present.

Despite the presence of tall buildings and trees on site, the area is well lit up with natural lighting during the day. The presence of businesses and street lamps flood the area with sufficient lighting during the night as well.

The absence of trees in the cross junction area is what makes the area bright throughout the day. I can say the same for evening time because of the great number of vehicles on site.

Heavy present of vehicles on the road.

Numerous human activities present.

P R OF I L E

S L I C E

The commercial buildings on site are rather symmetrical. So is the roadside that stretches out across the middle. It is as if I was seeing a duplication of buildings on both sides.

S L I C E

P R OF I L E

The buildings present use a variety of different materials, mostly rough.

Calm, intrigued

Area is home to several eateries.

The buildings in this area have distinct features that I fondly remember of.

The starting of this slice was rather cooling. During the time of visit, it was cloudy and arguably breezy.

Heavy presence of vehicles of different colours.

Heavy presence of just natural elements.

Many of the textures present are very "collected".

Construction works.

S L I C E

The wide spacious spaces narrow down to pathways that are rather narrow and tight. Curious The natural lighting in this area is more spread-out because of the tall trees and mainly the bridge.

S L I C E

The entrance of Fort Canning Park is relatively quiet as there is little to no one present.

There was hardly any elements that were blocking the sun path. However it tend to be more spread-out as well.

Because of spread-out the sun path was, this area heats up pretty quickly.

It was rather more humid as compared to the areas before this.

22 Intrigued, a little bit anxious.

Fragrance smell.

P R OF I L E

Even with all the construction cloth being put up, it is still noticeable that the building is asymmetrical.

I was exposed to many different materials, majority are smooth.

The aesthetic features speak minimalism thus one might mistook it for a rather symmetry building. However from afar, it's roof actually is slanted thus contradicting the initial impression.

This area host spaces that are rather open thus it is always well lit.

The spaces present (entrance of Fort Canning Park) on site are generally narrow.

Loud,construction works.

The narrow shared pathways gradually open up to accommodate the human activities in the park.

The temperature around this area remains stagnant.

P R OF I L E

The temperature around this area remains stagnant.

S L I C E

P R OF I L E

The booking office is asymmetrical on all sides. I can say the same for the existing elements in its surroundings.

Starting to feel a little bit uneasy Calm, a little bit anxious

Heavy presence of park facilities and natural elements.

As I was hiking up the terrains, I encountered several obstacles along the way - some of which are big whereas other are relatively small and subtle.

Exhausted, disturbed, confused Despite the presence of some of the tallest trees, most were relatively small. As I was hiking up in this area, I noticed that the natural lighting is even more spread-out because of the gaps between the trees. During the evening, it is a fairly lit area because of the great number of lamps presents.

This area has the most number of tall trees amongst the other areas thus that explains why this area is relatively dark both during the day and night.

S L I C E

The temperature starts to gradually increase. There were little to no trees present.

Noise level remains low.

Uneasy, sense of discomfort

As I was passing by park visitors going on about their own activities.

As I was reaching the peak of the terrains, the path was squeezy due to how isolated it is with the existing elements around.

P R OF I L E

Serene, area is rather isolated.

Even with presence of more trees, the sun hotter during this time of visit.

S L I C E

P R OF I L E

Natural lighting in this particular area tend to be subtle yet widely spread-out.

Heavy presence of park facilities and natural elements.

Colours seen are repetitive.

Textures present are both intricate and pronounced.

Nothing about this particular building speaks symmetry. That goes the same for its surroundings.

Just as the temperature was about to cool down, it starts to spike up.

Intrigued, ambitious

This was rather memorable as I was having mixed reactions.

The temperature starts to fluctuate but remains high.

S L I C E

The path that builds up towards the building at the peak of the terrain was wide and lengthy.

As I was hiking down the terrains, the grounds were becoming more irregular.

This was memorable because I spent most of time here just observing different things even for the visits before and after this day. A lot of human interactions.

P R OF I L E

Increase in human activities present.

S L I C E

P R OF I L E

Very pronounced smell of nature.

The great number of both big and small trees allow for the penetration of natural lighting into the space to be subtle yet crude. It was rather interesting to see how light is visible from the biggest to tiniest gaps in between the trees. During the evening time, this area is actually the darkest.

Colours seen are repetitive.

Presence of man-made elements are scattered.

Very pronounced smell of nature.

It is pretty obvious that this facility is symmetrical.

II was exposed to many different spatial qualities and potentials.

I encountered probably the most narrow set of steps that leads up to the Lewin Terrace.

I find the whole architecture of it rather mysterious and attractive. I can say the same for its surrounding elements.

Majority of the spaces at the perimeter of the fire station are wide and spacious. As much as there was a number of tress, most of them were relatively small.

P R OF I L E

S L I C E

This particular area hosts quite an array of open spaces thus the heavy exposure of natural lighting.

There are a lot of things that make up this fire station. Yes, from certain angles, some of its features may look symmetrical, but the intricate details say otherwise.

Curious, ambitious

Low human activities, area is isolated.

Its windows, stairs, roof and fences gave it away as being a asymmetrical building.

Just as the temperature starts to cool down, it starts to increase yet again.

S L I C E

P R OF I L E

Temperature starts to cool down a little bit.

Uneven, bumpy textures.

Range of bright colours seen.

Striking colours seen.

The temperature remains high at this point.

Stony irregular textures.

This area is mainly made up of downward slopes, wide pavements and minimal trees. As one walks down towards Hill Street, they will be gradually exposed to more natural lighting. There is also a sufficient number of street lamps present to light up the space during the evening.

The existing elements present on site are of smaller in scale. .

Heavy presence of vehicles on the road.

Low human activities presence of vehicles.

and

Clean "innocent" smell.

Calm

This particular area that stretches across Hill Street is probably the most open in comparison the other areas of the slice.

Apart from its history, its aesthetic features make this Heritage Gallery a rather memorable spot.

P R OF I L E

S L I C E

The side of fire station speaks symmetry mainly due to its wide facade that stretches across one end to another.

the elements seen right in the middle acts as the line of symmetry. So to say, the symmetry of this building is quite pronounced.

S L I C E

P R OF I L E

Because there is lack of elements to block the sun path, this area is relatively the hottest throughout the slice visit.

The open spaces in this area stretches across till the end of my site.

Hill Street is home to wide pavements and shared walkways. There is little to no trees present. That explains why this is one of the brightest areas of the slice.

S L I C E

P R OF I L E

S L I C E

Familiar distinct smell.

CITY OF

CONCEALMENT T H E

C I T Y

defining the city

T H A T

H I D E S

I T S E L F

How is the city a City of Concealment? 30

defining the city

CITY OF CONCEALMENT

confusion confusion

There

were

multiple

subconsciously

walked

times

when

beyond

the

perimeter of my slice, wondering around spaces that were even more foreign to me. I did not have a clear answer as to why I went off-trail for most part of the slice. Was

Throughout the first few visits of my slice, I was feeling rather confused. Aside from the spaces being simply foreign, I was not feeling any form of connection to the space. It is as though I was alienated - not welcomed.

I being intentionally led astray? Was I not

looking deep enough? Could the spaces be hiding something from me? Am I being blinded? I got frustrated.

All I seeing was the bare

minimum, just the surfaces of the spaces. Nothing speaks out to me in a way it calls for further exploration. No matter how long I invested my time trying to understand and have a "dialogue" with them, I barely got anything out of it.

frustration frustration

cONfusinG d i s t r a c t i n g

delusional

Nothing speaks "concealed" more than these spaces.

S E C R E T I V E

This was the lens I was seeing through from

However, the following visits after the 6th one contradicts the

slice visit #5 onwards. I imagined my slice to be

conclusion mentioned. As much as it felt like my slice was

an emotional tool that reads what I am feeling

concealing itself from me, I realised I was intentionally blinded -

and then reconfigures itself in a way to

the failure to notice a fully-visible, but unexpected object

communicate to me.

because attention was engaged on another task, event, or object. There are certain areas in my slice that for some reason, they attract the masses.

WHAT Aside from feeling confused and

CITIES

For example the Fort Canning Park.

COULD SENSE AND

Despite its dark history and eerie stories

frustrated for most parts, I was also

RESPOND TO OUR

pretty intrigued as to how the spaces

E M O T I O N S ?

were "playful" in a sense.

that come with it, there will always be human activities no matter the timing. No matter how deep into the park, without exception there will be people.

It is as if they are being seduced in a subtle Because of how manipulative and discreet

and manipulative way, to keep coming back. I

certain elements in my slice are, it feels like

also find the city to be seductive in a way that

the city is hiding itself over and over again

it deliberately pilots you away from your

from me, thus that gave me the conclusion

destination and then exposes you to never-

that it is a ‘City of Concealment’.

seen-before things.

With the use of this sunburst, I am able to narrow down my thoughts and findings further. It also helps to justify

according to my findings from the slice profile. 2. Next, I expanded those

two initial words into 4 different words each that interpret the same definition, differently. 3. With all the 12 words

present, I then segregate them into two groups. Each group serves different meaning. By 4. Lastly, looking at the 2 words that contradicts each other, I thought about a phrase that aligns with them but in a more vivid manner. Also observations and findings from my vsits thus far.

defining the city

narrowing them down in this manner, I will then be presented with an interesting finding, a form of contradiction.

S U NB U R S T

DE F I NI T I ON

of 3 words that best describe my slice

taking account of all the research,

1. To start off, I thought

DE F I NI T I ON

S U NB U R S T

as to why I should not settle with 'City of Concealment'.

CITY OF SUBTLE S E D U CC TT II OO NN defining the city

05 35

How is the city a City of Subtle Seduction? 36

defining the city

CITY OF SUBTLE SEDUCTION

anticipation It is already evident that the coronavirus outbreak has brought and will continue to bring social consequences which will radically change both our human relations and the spaces these inhabit.

I was constantly seduced to imagine a lot of things. The spatial qualities of certain spaces in the slice gave me the impression that they were playing "hide and seek" with me. They conceal yet reveal themselves in a very subtle manner.

imagination 37

SUBTLE SEDUCTION DEFINING

DESIGN STATEMENT

How my slice might help to revitalise the forgotten bonds between my slice's occupants and its spaces to avoid being prisoners of the past ?

DEVICE - FRAME SPACE

To allow users to capture memories momentarily by seeing through different lenses of perceptions

THE CITY

SLICE The slice starts from Roberston Walk and ends off at Coleman Street. I believe the main highlight of the entire slice has to be the Fort Canning Park. Standing as an iconic hilltop landmark, it has witnessed many of Singapore's historical milestones. Today, it hosts multiple historical gardens and trail guides that allow visitors to plan their own trail and explore the hill at their own pace.

FRAME A DEVICE THAT CAPTURES SPATIAL MEMORIES MOMENTARILY

SPACE

"In one study, students were told to take photos of objects at a museum — and they remembered fewer of the overall objects they had photographed."

- Linda Henkel, a professor of psychology at Fairfield University in Connecticut, studied how taking photos impacts experience and memory.

We tend to use photos as a "memory

CAPTURING MEMORIES

never fully embracing any of the

Cameras, as amazing as they are, they

When we become so preoccupied

cannot be compared to what the

with capturing the perfect picture,

harming our memory of it.

experiences we are having

brain is capable of with input from the

are we really present?

eyes and ears.

When we are busy snapping

capturing devices, we lose the ability

The pictures that are hung in picture frames at home

not only to closely observe but also to

are photographs taken with the least genuineness,

concentrate, to pay extended attention.

slice device

never really living in the moment.

photographs, we would not be able to give the spaces around us, the empathy and attention it requires and deserves.

S P AC E

a constant stream of what is next,

F R AME

TRADITIONAL PRACTICE OF

quick pic of something, we are in fact

Whenever we fish out our image-

The problem is that we are always in

F R AME

aid", however each time we snap a

CHALLENGING THE

HEADSET

TRIPOD

As the name suggests, it is to be times. It is secured in a way that

can put on or remove the device easily. Also,

it strictly follows the movement

the rope allows more free range of motion.

of the user's head, ensuring that everything they see is through the lens.

VEST LENSES HOLDER

This vest is responsible for keeping everything attached to

The holder does not only allow users to temporarily store the other lenses, but it also allow users to switch

the user, allowing the device to be worn with hands-free.

S P AC E

F R AME

tripod with the use of jute rope. With this users

F R AME

S P AC E

worn around the head at all

The headset is actually suspended from the

from lenses to lenses. This is so that with the smooth transition of lenses, users can note down their observations with little to no wastage of time. Plus, they can also use this as an opportunity to compare their observations between the lenses should they notice any interesting findings of their own.

slice device

PERCEPTIONS PERCEPTIONS People perceive things differently. We all engage selectively, choosing some thing that makes more sense to us while ignoring others. Our physical characteristics influence how we perceive and choose to respond to information. Our psychological state also influences what we read and listen to, and why we do things in a particular manner. Our perceptual set involves our attitudes, beliefs, and values about the world.

The lenses that I have created for my device allow my users to see through a "different set of eyes". These lenses are equipped with filters, filters that temper with our naked eyes, forcing them to see things differently.

Ultimately, my device will aid in extending the perspectives of my users in many ways, both positive and negative . With this I am able to see that understanding their perspectives takes on new analysis and observation. Ultimately, it allows me to see things very differently and thus question myself why are some things not the way I deem them to be.

LENS1

COLOUR - BLIND

LENS 2

BLURRED LINE

LENS 3

CONSTRAINTS

LENS 4

STRAIN

LENS 5

CHRONO - FRAME

LENS 6

WOUNDS

BLURRED LINE

; to allow certain colours in my slice to be hidden to expose the others

; to allow users to question what is real and what is not

S P AC E

F R AME

S P AC E

F R AME

COLOUR - BLIND

slice device

STRAIN

; to allow thoughts and vision to be narrowed down further

; to reconfigure users' vision to allow them to see different things

S P AC E

F R AME

S P AC E

F R AME

CONSTRAINTS

slice device

WOUNDS

; to allow users to capture motion in frames

; to allow more flexibility of interpretation, to play around with the regularities and irregularities of lines and surfaces

S P AC E

F R AME

S P AC E

F R AME

CHRONO - FRAME

slice device

WEAR THE DEVICE WITH THE MIND OF AN OPPORTUNIST I want my users, with the device on, to rely to a degree on intuition and chance.

F R AME

HOW TO USE THE DEVICE?

WEAR IT WITHOUT PUTTING GREAT DEPENDENCY ON IT

I want my users to keep in mind that the device is just a guide. It should not influence how they move from one place to another nor should it forcefully push any "pre-conceived" thoughts to the user.

slice device

S P AC E

F R AME

S P AC E

experience the slice with an open mind, and

FINAL OBSERVATIONS AND FINDINGS WITH THE DEVICE ON BRIEF

BRIEF

BACKGROUND

Muhd Anshar, 20 160 cm

Jonathan Soo, 20

PUTTING MY

179 cm

DEVICE 62.8 kg

TO THE

75 kg

TEST Currently studying

Currently serving his

Diploma in Spatial Design

National Service

in Nanyang Polytechnic No experience or background Year 2

in any design field For the final two slice visits, with the device on, I put my device to the test whereby I gave a friend of mine the opportunity to be my first ever actual user in using the device to see if my device is successful in upholding my design statement.

slice device

JONATHAN'S GENERAL OBSERVATIONS

(based on the 6 lenses)

DULL LINES

SHORT

BRIGHT

GREENISH

SMALL

DARK

SLOW DOWN

BLUR

IRREGULAR

STOP

WIDE

OUT OF PLACE

PAUSE

CONTRASTING

BARE

BRIGHT

SQUEEZY 48

slice device

NOT OBVIOUS

TALL

SHADES

JONATHAN'S FINDINGS

(based on the 6 lenses)

"The different lenses give out different experiences. Whatever I see

compared to my naked eye is different. For example the red lens (STRAIN), it shows a very scary and gives you the vibe that you are currently in an abandoned place...like an apocalypse setting...the lens that has the blue, green, yellow, it shows you different vibes...for example the green one kinda shows that the world is a lonely place. And the lense with the holes (CONSTRAINTS), it allows you to focus on small little things that you can't actually see with your naked eye because...you are able to focus on small things...(this device as a whole) allows you to see the world in a different perspective instead of us taking a picture of a certain area and then putting a (virtual) filter...like seeing a filter on picture and actually walking with one is a whole different experience."

slice device

MY GENERAL OBSERVATIONS

(based on the 6 lenses)

DEBATING

HIDDEN

CONTRAST

DEFINING CORRUPTION

BLUR SIMPLEST FORM

HIERARCHY SEPARATION 50

slice device

BRIGHT

EXCLUSION

EXTENSION

PROCESS

PRONOUNCED

OCCLUSION

DARK

FUSE

BARE

CONTRADICTING HIDDEN

TALL

MY FINDINGS

(based on the 6 lenses)

I think for me personally, what I find interesting about my device is that it allows me to see the ephemerality of some spaces. It taught me that not everything that we value or deem to be of significance, has to be a material or a certain aesthetical images. I must say in which some were subtly seductive in the sense where they made me imagine things. It also shows me the impermanence of certain things in my slice, be it due to intervention of nature or human interaction, that these are momentary and never permanent. The only way for us to experience is to be involved both physically and psychologically.

slice device

OUR INTERPRETATION

(based on the 6 lenses) We felt as though the occupants of the slice - members of the public and existing elements on

Based on our collective observations and findings, we came up with out

site, were conspiring with each other in a way that they were involved in a two-way dialogue.

interpretation of what the slice is about based on that particular visit.

We saw a lot of transitions of spatial and human activities. At the same time we felt our movements and thinking were

On that particular day, the

controlled - seduced in a way.

slice was neither hectic or serene. It was a balance of both. Despite that, we were able to witness quite a number of interesting

We felt like we were an audience in a musical play. The thought of people conspiring with the existing

things.

elements are like the script of the play. The lenses we were looking through are the different plays. The slice is the

stage.

slice device

CONCLUSION

(based on the 6 lenses)

In conclusion, I believe my device is successful in aiding users to capture spatial memories momentarily by providing them with lenses in which they can see things in different perspectives. To aid them, is also to challenge the way they think and perceive the spaces. I am confident that should there be subsequent slice visits, I will be able to observe a lot more things and have a completely new set of findings. However, I must say, there is potential to be even more successful. One being, my device's lenses could be more purposeful and site specific. Also, aside from just providing visual aid, my device could venture into aiding our other different senses. All in all, I can confidently say that this was rather a good attempt. With the help of my device, I am sure it is just enough to help revitalise the forgotten bonds between my slice's spaces and its occupants, to avoid being prisoners of the past (Design Statement - Objective), through subtle seduction (Definition of City - Process).

slice device

CITY OF SUBTLE SEDUCTION

MAKING

THE

4 METRES RESEARCH AND FINDINGS

MODEL

RESEARCH & FINDINGS

WHAT IS SUBTLE SEDUCTION? Seduction is often referred to enticing a person to engage in a relationship or to induce to engage in a sexual behaviour. It is the act of manipulating a particular someone based on physical attraction and desire - winning their the love or sexual favour. However, seduction can also simply mean to have a form of engagement and collaboration with the spaces around us. Just like an artist who reveals his own process of creation to his audience, giving up a measure of control over his works, which in turn allows viewers to have their own understanding and definition of his ideas, spaces can do the same too - a two way dialogue, a straightforward yet complex engagement. To do so, the space needs to have a pulling factor that attracts occupants to do so. It needs to lure them in a subtle way such that they are "trapped" in this "push and pull game". The space could also playfully conceal and reveal its spatial qualities, inviting them to explore the space in a more intimate manner. This is where our 5 senses could be involved - manipulating our sensory information.

4m Model

CITY OF SUBTLE SEDUCTION

RESEARCH & FINDINGS

SETTING THE MOOD-PLAYING WITH THE HUMAN MIND For a space, or in this case my model to seduce its viewers, it needs to set a mood right from the beginning. A mood that slowly builds up slowly rather than nakedly. It needs to have a storyline, it needs to be subtle, it needs to be purposeful. I will be setting these points of seductions all around the model. As mentioned, I will be triggering and playing with the 5 human senses in forms of distraction and retaliation. Also, in such a way that it corrupts their concentration, deterring them away from the linear arrangement of my model. From what I am anticipating, viewers will view the model from Point A to Point B just as how the slice should be experienced. However, I would like to challenge that in a way the end of my model ends off somewhere in the middle, closer to Point B. This means that they will be going back and forth, distracted by the elements of seductions built into the model. During this entire process, viewers will feel manipulated and confused.

4m Model

CITY OF SUBTLE SEDUCTION

OUTCOME 57

4 METRE MODEL

Front View

Back View

Top View

CITY OF SUBTLE SEDUCTION

WhiteBox

a space for collaboration.

RESEARCH & FINDINGS

What does it mean to be a space for collaboration? 60

A space for collaboration

WhiteBox

RESEARCH & FINDINGS

The word collaborate is so overused and overhyped. It is becoming meaningless. Even with the launch of intranet software, video technology, and other collaborative tools, some people still suffer from, and complain about, poor collaboration. This forced me to contemplate the true nature of collaboration and explore its many dimensions. By looking into the existing collaborative spaces from across different fields, I will be able to further understand what a unique and truly a collaborative space would look like. Eventually, coming up with a design that challenges the people's perception and understanding of space whilst providing them with shared intimate spaces to exchange values, opinions and knowledge with others.

A space for collaboration

WhiteBox

RESEARCH & FINDINGS

AMPLE SPACE

ACCESSIBILITY

BIG SPACES COMFORT

PILLARS OF A

OPTIONALITY

COLLABORATIVE SPACE

FLEXIBILITY ACCOMMODATING

SMALL SPACES 62

A space for collaboration

OPEN

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RESEARCH & FINDINGS

COLLABORATIVE SPACES OF TODAY

Live

A space for collaboration

Work

Play

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DESIGN CONCEPT

LOOKING BACK INTO MY SLICE

The site that I will be choosing has to hold potentials that allow for collaboration to take place seamlessly. It needs to have an exiting pulling factor that would attract people to come to the area, possible an area where there are already crowds on the daily. The site also needs to be accessible yet secluded in such a way that the space I will be designing is exclusively for my target users.

A space for collaboration

WhiteBox

DESIGN CONCEPT

SITE CHOSEN

UE Square (Office Tower) Kenzo Tange 81 Clemenceau Ave, Singapore 239917 UE Square is a 18-storey office building with 2 basement carpark levels, 15-storey block comprising serviced apartments and serviced offices, as well as 4-storey shopping podium located at 3 Clemenceau Avenue Singapore 239918 in prime district 09. The office tower is home to WeWork (Singapore) and 12 private offices and 1 virtual office. The site is surrounded by hotels, residential buildings, commercial buildings and eateries.

A space for collaboration

Clemenceau Avenue

Robertson Walk

River Valley Road

Fort Canning Park

Coleman Street

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DESIGN CONCEPT

BEING SITE SPECIFIC (REASONINGS)

1. Potential of Space As seen from the map, the site is situated in the central area of the office tower. And as mentioned it is surrounded by buildings that host various types of businesses. From my observations, many would it as a transitional space to go from one point to another. The space is vastly packed from 7am to 10am, 12pm to 3pm and 6pm to 9pm. Therefore it goes without saying my proposed design can be experienced by a lot of people. 2. Presence of Light Since it is situated very closely to the side opening of the building, natural light can effortlessly flow into the space in which my proposed design is required of. On top of that, as the sun sets, the existing lighting management system will be switched on. 3. An Everyday Space The site chosen can be taken account as one of our everyday spaces because of the high traffic human presence on the daily. And the site happens to hose a seating area for the public. Not to mention, in line with my design concept, the space is perfect.

A space for collaboration

WhiteBox

DESIGN CONCEPT

TARGET USERS

Business Owners

Office Workers & Investors

Startups

To provide them with a space where they can promote their businesses, providing them with the opportunity to work with business owners of the same field.

To provide them with a space where they can hold their casual meetings during lunch or working hours.

To provide them with a space where they can be realised and founded by entrepreneurs and potential investors on site.

A space for collaboration

WhiteBox

SKETCHES OF IDEATIONS

PART 1 The series of sketches in Part 1 of Idea Generation is a creative process of developing spatial forms of the exterior.

These sketches are my way of expressing my thought processes. Also, a mean of verbalising and communicating my design intent during consultations.

IDEA GENERATION

attempt on generating forms that speak subtle seduction using loose wavy lines (scrapped)

A space for collaboration

WhiteBox

IDEA GENERATION

attempt on generating forms that speak subtle seduction using straight lines, modular forms to blend in with the surrounding existing buildings on site

A space for collaboration

WhiteBox

IDEA GENERATION

attempt on generating forms that speak subtle seduction using straight lines, modular forms to blend in with the surrounding existing buildings on site

A space for collaboration

WhiteBox

IDEA GENERATION

attempt on generating forms that speak subtle seduction using straight lines, modular forms to blend in with the surrounding existing buildings on site

A space for collaboration

WhiteBox

IDEA GENERATION

attempt on generating forms that speak subtle seduction using straight lines, modular forms to blend in with the surrounding existing buildings on site

A space for collaboration

WhiteBox

IDEA GENERATION

rough plan as to how my space can be built onto the chosen site

A space for collaboration

WhiteBox

SKETCHES OF IDEATIONS

PART 2 The series of sketches in Part 2 of Idea Generation is a creative process of developing spatial forms of the interior.

IDEA GENERATION

coming up with plans as to how the different spaces can be segregated according to the activity(s) they host

*chosen

A space for collaboration

WhiteBox

IDEA GENERATION

conceptual ideas on how the interior spaces can influence the occupants' movements subtly - subtle seduction

A space for collaboration

WhiteBox

IDEA GENERATION

conceptual ideas on how the interior spaces can influence the occupants' movements subtly - subtle seduction

A space for collaboration

WhiteBox

IDEA GENERATION

conceptual ideas on how seats can be built into the space, developing a concept that changes the way we sit

*2nd floor of the main space of WhiteBox

A space for collaboration

WhiteBox

SOFTWARE-GENERATED DESIGN CONCEPT

BUILDING THE SPACE Based on all my research, findings and ideation process, I have come up with the space for collaboration - WhiteBox.

DESIGN CONCEPT - PLANS

FRONT

BACK SIDES

A space for collaboration

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DESIGN CONCEPT - PLANS

TOP

UE Square Residences

A space for collaboration

UE Square Office Towers

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DESIGN CONCEPT - FLOORPLANS

1st Floor

2nd Floor

Fluid rigidity.

A space for collaboration

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DESIGN CONCEPT - PERSPECTIVE VIEWS

Entrances

A space for seekers, aspirants and the curious.

A space for collaboration

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DESIGN CONCEPT - PERSPECTIVE VIEWS

1st Floor Central Area

A space for speakers, thinkers, doers, and idea-generators.

A space for collaboration

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DESIGN CONCEPT - PERSPECTIVE VIEWS

1st Floor Corner Areas

A space for dreamers, opportunists and potentials.

A space for collaboration

WhiteBox

DESIGN CONCEPT - PERSPECTIVE VIEWS

2nd Floor

A space for teams, colleagues, members of the public.

A space for collaboration

WhiteBox