Nykligible by Eldon Ng

NYKLIGIBLE

N Y K L I GOF I BTRUTHS L E THE BOOK Why do we build, why do we design? Is there any meaning behind our foolish attempts to “contribute” or are we merely desperate to leave traces of our existence?

Perhaps one of the greatest mysteries of living is its ending. An unavoidable outcome that summarises our common insignificance.

It is in fear that we skirmish for remembrance.

The Book of Truth seeks to stand these emotions and fears norant as I may be, I propose to thoughts of my mind, the journey gone, and the lessons that I’ve

underand igyou the that I’ve learned.

Upon first glance, they are often misunderstood as morbid, dark, and even depressed.

They all seem to have a manifestation of death, loneliness, and despair. Yet I beg to differ.

Eldon Ng Yew Keong

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[C O N T E N T S PA G E ]

01 - THE LONG HOUSE

[YEAR 2 SEMESTER 1]

LEE HUI LIAN, FARM

02 - SEEING THE INVISIBLE

[YEAR 2 SEMESTER 2]

RANDY CHAN, ZARCH

03 - PROJECT: THE FARM

[YEAR 3 SEMESTER 1]

BOBBY WONG, ADJ ASSO PROF

04 - THE FACTORY

AYDA REGIONALS

MELVIN KENG, KAIZEN ARCH

05 - PEOPLE’S LIBRARY

[YEAR 3 SEMESTER 2]

ONG KER SHING, ASSO PROF

06 - THE BLACK MIRROR

BAUHAUS CAMPUS 2021

BOBBY WONG, ADJ ASSO PROF

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[ TH E LO N G H O US E]

“WHEN I DIE, I WANT SOMEONE TO KNOW.” - WEE YOK TAI (RETIRED CLEANER) THE STRAITS TIME 2016

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[ TH E LO N G H O US E] As Singapore’s silver generation continues to grow, we find our senior citizens in a season of never-ending loneliness. Such scenes are becoming more and more frequent as Mr wee describes, the foul stench of death becomes the only notification that these lonely residences receive. We should expect the situation to grow worse as our country develops for our generations slowly grow independent and not reliant on marriage and companionship. Will we all die alone? It is to this unfortunate story that architecture might propose a solution. The Long House is a columbarium designed to fit in the leftover spaces within the CBD. Its modular structure allows for quick deployment with little footprint.

A key concept of the design revolves around our hectic and work-oriented lifestyles. It begs a question as to where we locate our current columbariums and our attitude towards visiting. In Singapore, secular columbariums are located in the outskirts, which is extremely inconvenient in consideration of our schedules. Hence I propose the need to re-imagine the relationship of these spaces to the CBD. The site of selection was based on an explicit condition that our Tutor, Ms Hui Lian, had set for us. She requested that the site had to suggest a genius loci of ‘Expiry’ within the CBD. To which, post-investigation and exploration, I identified as this alley in between 2 rows of shop-houses (Mc Callum Street: Telok Ayer Arts Club).

My Project take on ‘expiry spaces’ classifies them to be ‘Spaces left in Silence’. Silence refers to the inability to express qualities and presence within society. Spaces that are in silence hence expire due to our eventual ignorance of its existence.

Being Forgotten has always been a fear to many like myself; one could only imagine having to leave this world without a trace.

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MODULARITY - SILENCE The Long House suggests a small palette of material needs, its construction is based only on concrete and timber with few glass finishes. The site in which it is located calls for this light construction and simplicity, not to mention, it desires to stay silent within this crevice. Its concrete facade provides a decent camouflage while its humbling pitch roof attunes to the surrounding shop-houses. As it hides between the gable end walls, receiving sunlight becomes an interesting design challenge, morning and evening lights become scarce, whilst the noon sun grows too intense. This further informs the need for a porous modular system that allows the penetration of light, not just for ease of construction. The spaces are hence orchestrated to create a rhythmic and dynamic environment, encouraging movement along with the interior that bleeds light, and moments of shaded silence. The experience is inspired by the modern-day columbariums that we might be more familiar with, which proposes a similar experience through the rhythmic shelving and seating areas in the vicinity.

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The silence found in the alley provides the perfect environment for contemplation and reflection. The nature of the alley also suggests a linear profile for the design as it does not seek to speak louder than its site, respecting the existing silence. For the design to coexist with the present function of the alley, it must be levitating above the ground. The design features an alternating series of spaces and materials. Concrete was used as the element of monumentalism, to which the names of the deceased will be engraved on, forming the modular frame of the columbarium design. Ironically, the thin modular frames of concrete result in rhythmic and porous spaces. The timber on the other hand was used to create private spaces for contemplation in between each series of concrete. Timber is also the main structural component that wraps around the design. An act of a transient material containing the immutable concrete. Much like our body and soul.

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[ T H E LO N G H O US E ]

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[ TH E LO N G H O US E]

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SECTION CUT 1 : 200 8

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[ T H E LO N G H O US E ] EXTERNAL URN DISPLAY

PROXEMITY OF NAMES VS URNS

The Long House proposes a familiar yet different spin towards displaying of urns and names. As we speak of the lack of identity and connection of these lonely deceased, I believe that their names and lives lead are of supreme importance in comparison to their physical remains. Hence, Instead of a typical display of shelves with urns hidden behind a stone, the urns are detached from the names and displayed on the exterior roof structure. The timber structure is the traditional Japanese joint; Chidori. The nature of the joint suggests light construction cost as it is not dependent on bolts and nuts.

Its ornamentation and repetitive nature are perfect for the allocation of shelving space for the urns and provides sufficient porosity to the building. Within the 5m wide alley, the names are instead carved on the interior walls where all are forced to acknowledge instead of neatly arranged shelves that one might find at a typical columbarium. All in hopes that this may bring an end to their insignificance.

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[ TH E LO N G H O US E]

One might hear the discussion of our elder relatives seeking to reserve lots at the graveyard or shelves in a columbarium.

Perhaps to ‘rest’ close to a loved one, family or friends. But how shall we sort these lonely souls; where shall they stay? The Long House proposes a solution to sort the rooms through time. As it is the lives led that matters most, the time in which they lived certainly matters. The era, the culture, the trend. All these could perhaps be the identity of these lonely souls.

The modular concrete frames which carries the engraved names steadily run out of space, leading to the addition of another, and another. This growth in the structure is perhaps how we better understand these disconnected lives, as we reminicse about the past in which the had lived in, these dates engraved at entrance of each segment, each era, each lifetime.

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[ TH E LO N G H O US E]

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[ T H E LO N G H O US E ]

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[ TH E LO N G H O US E]

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[ TH E LO N G H O US E]

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[SEEING THE I N V I S I B L E ]

SEEING THE INVISIBLE Randy Chan was an eccentric tutor. In this semester we are extremely grateful to have been guided by perhaps the most creative person I’ve ever known at the time. Randy was never bounded by reality and was constantly living in an imaginative world of creativity and ingenuous ideas. In this semester he guided us to express what he calls the invisible, to express narratives that we often find ourselves narrating with the spoken word but instead, with graphics. In this project, I explore the story of the humble ground weed that sprouts where there are cracks and faults within the pavement. Here I studied and identified the conditions at which these undesirable and in some way incidental plants grow.

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[SEEING THE I N V I S I B L E ]

TH E

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GR AVE YARD,

WH E RE

IDE AS

GO

TO

DIE .

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[ P R O J : T H E FA R M ]

I D E N T I T Y PA N D E M I C T H E Y E AR 2 0 50, H3 0 N 2 1 HAS TAKEN OVER, AND THE WORLD AS WE K NOW I T I S B UT C HAOS. AS THE D E ATH TOLL CLI MBS AND THE BODI ES PI LE , WE F E AR FOR T H E WOR S E . O UR M E DIC A L STA F F AND FUNERAL HOMES STRUGGLE TO K E E P U P. I S T H E RE N O H O P E LE F T. W HE R E LIE S OUR DI GNI TY AS THE HUMAN RACE ? H OW DO WE MAN AG E T H E DE C E ASE D, HOW DO WE BI D FAREWELL TO OUR LOV E D ONE S? AS T H E P O P UL AR COWA R DS IN F E AR, WE AS DESI GNERS SHALL RI SE TO T H E C H AL L E NGE .

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[ P R O J : T H E FA R M ] Amongst the pain and suffering that the pandemic has brought to us, it has also taught us lessons. It has also exposed our pathetic attempt at surpassing nature and the ugly truth of our society. That only in brighter days do we take the time to commemorate the death of our fallen members, only in beter days do we spend time to grieve. Should hell break loose in our reality, we are quick to cast their bodies along with our respect into dark ‘un-sanctuary’ containers and trenches. All for the sake of efficiency and safety of those who live on.

This project seeks to provide communal identity within the residential zone of Whampoa whilst addressing the current covid19 pandemic through the creation of a modern cremation center, infused with urban farms and columbarium.

Hidden within the shadows of the farm lies the truth of its structure. A factory as old as industrialization itself. The slaughterhouse is said to be the most efficient form of corpse processing and its ability still holds today. Nothing of value goes to waste as this process allows the human body to undergo a formal breakdown, ranging from washing, removal of hair, blood, and organs which can be sent for donation. The remains are then cremated via Aquamation, a greener upgrade of the former cremation, which utilizes alkaline hydrolysis to breakdown the body, leaving liquid remains and bones. The bones can be easily broken down into ashes to be mixed with concrete to form the shell of the urban farm whilst the liquidized remains can be purified to be used as fertilizer.

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[ P R O J : T H E FA R M ]

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The year 2020 has been trying, ever since the emergence of the Corona Virus (COVID19), the world and its progress has been put on hold, and rather a series of reflections were necessary. In these unprecedented times, we were awakened by the reality that our healthcare system of today is incapable of containing the rapid spread of diseases and viruses. The situation is humbling and it has set into perspective our abilities and flaws. This year, the brief naturally became pandemic-driven, in hopes that we students are pushed to design architecture that is capable of adapting to potential threats. The site was determined generically as the Sub-Zone of Balestier. Our task was to engage the site in both a macro approach whilst addressing the micro-needs of the specified area. To propose an innovative program or response to the pandemic. The site allocated to me is situated within the residential space of lower Whampoa. The area encapsulates a range of communal programs such as the famous Makan Place, the community center, small elderly care centers as well as the HDBs. I believe that this space was perhaps the identity of the Whampoa residence for it houses Whampoa’s most recognizable features. This informed me that the program should address the identity and communal spirit of this town. The program that struck me was, in fact, a columbarium/crematorium, the reality of death is the only common ground in society such that it is a phenomenon that we cannot avoid. Furthermore, the pandemic has also made ‘death’ more prominent and relatable as it becomes a primary fear and concern.

A modern-day columbarium, however, is not the answer to these unprecedented times. Many countries such as the United States are unable to manage the overwhelming body count. Sadly, these unaccounted bodies are tossed into mass graves or container freezers for preservation. Doctors and nurses are far more urgently needed at hospitals than managing death. We humans who once pride ourselves different from animals due to our ability to grieve and respect are suddenly behaving like savages as we hurriedly dispose of these unwanted bodies. Where has our compassion gone? Where is human dignity? Has the virus proven us to be just like any other animal? It is with this thought that my inspiration is born. Perhaps we aren’t that different after all. The virus has become the equalizer of mankind and animals. And perhaps it is time that we discard our flawed mentality of being above and beyond.

Through this understanding, I realized that there is perhaps a much quicker way to manage and discard bodies, a method much more efficient than modern-day funerals and cremation. It is something that we have been practicing for centuries, and that would be the slaughterhouse. For we are no long deem above the animals, the moral standards that we have set in the slaughterhouse should be acceptable to humans too, with this, the concept of a crematorium function as a slaughterhouse became the basis of my program.

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[ P R O J : T H E FA R M ]

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[ P R O J : T H E FA R M ] As mentioned earlier, amidst this unforgiving situation, humanity has come up with various quick fixes and temporal solutions to tackle the crisis.

The container freezer is one of the few applied solutions. However it is a poor improvisation with little concern for its practicality, in fact, its only value is its mere ability to store and does not render any further potential.

It then came to me that perhaps my design could potentially take advantage of this current solution. To design a container system that not only better store the bodies in a socially accepted manner, as well as aid with the process of corpse transporting and disposing of.

The design as seen on the left features improvements to the doors of the containers, as well as a hanger system that hastens the process of organising the bodies in a much more orderly manner.

It follows the rules of proxemics based on cemetery plots to ensure that the deceased are not placed too close to each other, in hopes to preserve some form of dignity rather than dumping and piling that is currently being practiced.

Most importantly, the design provides sufficient space for the movement of our healthcare workers and proper equipment for housing the infected bodies such as to prevent further spread of the virus.

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[ P R O J : T H E FA R M ] COLL AGE INSPIR ATION As we take our final breath, we request to the earth, soil for a grave, wood for a coffin, and mercy for our sins. Even in cremation, our death is one that pollutes.

We place great emphasis on providing a farewell worthy of human life, we grant ourselves this privilege as we pride ourselves above the animals and yet the pandemic has proven otherwise.

It seems as though we have misjudged our value and our capabilities. The farm is the stage for this equilibrium for it seeks to process and dispose of the human body in an “ethical” and “humane” manner, similar to that of a slaughterhouse. It provides the infrastructure and technology to give human death a new meaning by giving back to the community through a fusion of a communal urban farm and a communal columbarium.

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[ P R O J : T H E FA R M ]

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DISRUPTION

CLEANSING

GIVING

The farm sits silently only to resurrect should the death toll calls upon it. Its entry sits upon the bridge, its awakening disturbs, forcing all around to bare witness to its unwanted provocation.

As much as we hope for an opportunity to cleanse our souls and wash away our sins, we must acknowledge that that doesn’t exist. There is no soul but only a body. There is no shame, only biology. The farm cleanses the human body for what it is and not what it entails. We wash thoroughly in fear of the pandemic, we care not for human dignity.

It is as if we take throughout our lives, never to truly give without receiving. Just as a slaughterhouse is programmed to breakdown a corpse letting nothing go to waste, the giving proceeds to dissect the human body. Taking valuable material that could be reintroduced to society such as blood, hair, and even organs. The farm lets nothing of value go to waste, our one true moment of giving.

FAREWELL The farm’s factory elements are not opened to public witness however, we will not deny people the opportunity to witness the leaving moments of our loved ones. The farewell is an orchestrated event that we are familiar with in modern-day crematoriums where we witness the cremation unit transit into the burning chamber. The farewell however reverses this performance as the units are now presented to the public post experiencing the factory processing. The public then observes a symbolic spectacle of the units being lifted high up into the allocated shelves for the cremation process which happens within the units themselves.

REBIRTH Once cremated, the ashes will be mixed with concrete such as to become the material of the urban farm. The notion of community is enhanced as the individual’s ashes is insufficient to create the modular structure but rather only possible through batches. This results in a change in the identity of the individual to the community and grieving is thereafter no longer just a personal experience but one that can be shared and empathized.

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T H E CLE AN S IN G 39

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[ P R O J : T H E FA R M ] THE CLEANSING Cleansing of the body is perhaps the biggest difference between the processing of a human body in comparison to an animal. This is a process carried out towards the end of a slaughterhouse, however, in the case of the human, we find ourselves washing the bodies first.

Call it a ritual perhaps, yet it is truly one of the most significant aspects of being human. In this segment of the factory, the decease will receive their final bath just before being processed in the other components.

However, the bodies will be severed from their dignity as healthcare workers do not have sufficient time to provide privacy for the naked bodies. Instead, this process is situated in an open bathhouse manner, such that both genders are equal and there are no cubical for privacy. We are merely skin and flesh, no sexuality, no dignity.

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[ P R O J : T H E FA R M ] THE EXTRACTION The extraction room is an idea that is truly inspired by a slaughterhouse and perhaps the industry itself.

When dissecting a carcass, whether pig, chicken, or cow, we find ourselves being selective of the various parts, and even grading them in some areas.

Since we are to be treated like animals, shouldn’t our parts be mere by-products as well? Organ extraction and donations can perhaps be carried out in this very factory. That is the value of the extraction room.

As the bodies most past this venue, it is allocated an operation theatre for extraction. This process not only becomes beneficial to society through the recovery of valuable organs, but it also greatly speeds up the later process of cremation as few contents are remaining to be disposed of.

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[ P R O J : T H E FA R M ]

TH E E X T R ACT I ON 42

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T H E FAR E W E LL 43

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[ P R O J : T H E FA R M ] THE FAREWELL This final segment of the structure shall be the only venue of grieve. I believe that as much as efficiency is the ultimate key to survival in these unprecedented times, what meaning is there in life should we be unable to even feel grieve. It is in this space that the remains of the bodies as carefully tucked into individual Aquamation pods for the final step, aquamation. These pods are hoisted up and slot into shelves to allow the process to take place. The result from the aquamation process will result in a liquified substance which can then be processed as fertilizers for the urban farm. The process also leaves behind fragile bones that can be easily crushed to form a powder that can be mixed with concrete to provide the shell structure of the urban farms. This process is perhaps where the Whampoa residence might truly feel a sense of identity as the farms are quite literally constructed by their fellow residence, death from henceforth is no longer recognised as an individualistic experience but rather a communal process as these powder like remains are fused with other deceased to create a sufficiently sized urban farm pod.

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Farming shelves - porous metal mesh to allow water flow

Steps to access upper shelves, objects are often left to human interpretations and the dimensions ofthis step could potentially be interpreted as a seat

FARM POD DETAILING 1 : 100 The Urban Farm Pods, constructed only through the death of the residence of Whampoa, truly serves as a reminder of the deadly virus. As the Urban Farm grows in size, an outsider might assume prosperity and growth, yet it is in fact through a grave tragedy that the residents are facing. The farm pods are also seated on a track system that is interconnected with the entire Whampoa neighborhood. The idea behind this intervention is to allow the movement of simple food products such as vegetables around the town should Whampoa ever face an isolated lockdown.

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[ T H E - FA C T O RY ] IN CHAOS, WE FIND MEANING IN DEATH, WE FIND HOPE AYDA-REGIONALS&NATIONALS It was a great honor to have been able to participate in the annual Asia Young Designer Awards Competition by Nippon Paint (2020/2021).

The theme of the competition that year was ‘Human-Centered’, projects that are forward-looking and for the betterment of society. My project, initially titled The Farm, was the winning entry of the National Architectural Category, pushing me to compete in the Regionals held on the 23rd of June 2021. It was then the original school project undertook a new name and new perspective, entitled The Factory. The project is now driven to tackle global issues in a similar fashion with an improved graphical representation of the scheme. Being extremely driven by world events, the selected manner of presentation is the comic strip fashion in hopes that it better conveys the message behind the design. Here are the very presentation slides used in the Regional Competition presented over zoom.

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PEOPLE'S LIBRARY GROUND FLOOR SCALE 1:200

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[T H E P E O P L E ’ S L I B R A R Y ]

INCLUSIVE

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CAFE (OUTDOOR)

CAFE (OUTDOOR)

N/V CONCRETE

N/V CONCRETE

CAFE (INDOOR)

VEHICLE DROP OFF

A/C OAK FLOORING

N/V CONCRETE

GREEN SCREEN

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N/V CONCRETE

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BUS BAY N/V CONCRETE

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OPEN COURTYARD

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N/V CONCRETE FLOOR FINISH

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SKY TERRACE READING ROOM A/C STEEL FLOOR FINISH

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1105

50 MM THICK STEEL BAR COUNTER TABLE TO BEHAVE AS RAILING

RETAINING WALL SLAB THAT BEHAVES AS COMMUNAL EVENT STAGE

FFL +5200.000

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2850

5MM THICK WINDOW PANELS TO ENABLE OBSERVATION ON GROUND FLOOR BUS BAY

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25MM THICK GLASS WALL

STUDY ROOM A/C DARK OAK VENEER FINISH

STEEL COLUMNS TO SUPPORT ROOF STRUCTURE 50MM THICK STEEL PLATE TABLE

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BUS STOP (11481) QUEENSTOWN PUBLIC LIBRARY N/V POLISHED CONCRETE FLOOR FINISH

50 MM THICK PLYWOOD WITH DARK GRAY FINISH. DETAIL TO SCHEDULE

FFL +1500.000

1000

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Kiev

ENTRY TURN FROM ROAD

BUS EXIT TURN TO ROAD

FFL +000.00

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500 X 500 MM I BEAM

RETAINING WALL SLAB THAT BEHAVES AS COMMUNAL EVENT STAGE

COMMUNAL PROJECTOR THEATRE N/V ZOYSIA GRASS FINISH

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300 X 300 MM STEEL I BEAM TO SUPPORT BRIDGE STRUCTURE AND BOOK SHELVES 25MM THICK STEEL PLATE BOOKSHELVES

OUTDOOR STUDY N/V DARK GRAY TIMBER FLOOR FINISH

GRASS FOR SITTING AND LYING DOWN, SOFT GRASS FINISH TO DETAILING

COMMUNAL LIBRARY SHELVES A/C POLISHED CONCRETE FLOOR FINISH

CONCRETE TABLE

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RETAINING WALL SLAB THAT BEHAVES AS COMMUNAL EVENT STAGE

3-PIN PLUG POWER OUTLET

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3MM HOMOGENEOUS TILE FINISH

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600 50 MM THICK PLYWOOD WITH DARK GRAY FINISH. DETAIL TO SCHEDULE

LED STRIP LIGHT IN 20MM "C" CHANNEL

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PEOPLE'S LIBRARY SECTION CC' SCALE 1:200

“THE LIBRARY IS A CONCEPT, NOT A PLACE” -BILL PTACEK

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FFL -4000.00 50

STEEL L BRACKET 5MM THICK

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RETAINING WALL 250MM THICK WITH STONE FINISH

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OUTDOOR READING BLOCKS N/V CONCRETE BLOCKS

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[T H E P E O P L E ’ S L I B R A R Y ] A

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CAR DROP-OFF (OUTDOOR) N/V POLISHED CONCRETE FLOOR FINISH

CAFE (OUTDOOR) N/V POLISHED CONCRETE FLOOR FINISH

CAFE (INDOOR) A/C POLISHED CONCRETE FLOOR FINISH

CAR AND OTHER VEHICLES EXIT TURN TO ROAD

FFL +000.00

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SLIDING GLASS DOOR FACADE 50MM THICK GLASS PANELS

FFL -4000.00

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INCLUSIVE - EXCLUSIVE What is a library today? In a world where technology has torn us apart, where the internet can provide us nearly all the information we need, what significance does the library hold? What role does it take? This project seeks to address the changing programmatic needs of the library in today’s ironically disconnecting world. In the quiet yet steadily developing streets of Queenstown, it hopes to become a communal hub through the integration of the landscape, transportation, and circulation route. Using its openness and lack of boundaries, it becomes an unavoidable space as if melded onto the site.

Inclusivity is a concept that the brief hopes to explore. To which I selected 2 user types, the visually impaired, and the hypo-sensitive. These are to be addressed on top of the typical user. It is through my studies and understanding that both these user types thrive in the condition of substantial stimulation of the sense, this would include the sense of touch, hearing, and sight.

These conditions seem to contrast the current expectations of the library which promotes silence and stillness.

The typical library experiences suggest fairly isolated experiences where an individual’s purpose would determine the expected outcome of being within the library. This proposal seeks to break the library apart, stitching it into the site along with the circulation system. All to create a public environment that advocates for unexpected encounters and interactions. The simple act of being present is all that one needs.

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BAUHAUS 06 CAMPUS [THE M I R

BLACK R O R ]

2 0 2 1

Beyond revolutionary in its time, the Bauhaus was not merely a school but rather a movement that encapsulated modern values. It holds multiple ideologies all in the name of design and for a better world. Yet as we seek to understand all that the Bauhaus has stood for, we do uncover ironies and inadequacies within.

Bauhaus was a school of design that seeks mastery of overall art forms and hopes that its students are capable of honing their creative skills as artists and designers, yet it speaks of perfection and purification that blatantly contradicts the individualism found in creativity with a singularity in solution and expression. Hence we do believe that this could perhaps be a gap in which we could seal as part of the inspiration to our design.

The idea of creativity and individualism should be focused on and emphasized as a driver for competitiveness. Competitiveness as we may loathe is essential for propelling innovative solutions and hence in the prestigious school of the Bauhaus, it is perhaps necessary that we harness the power of good-natured competition.

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SOCIETY

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MEDIA

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DESIGNERS

06 [THE M I R

BLACK R O R ]

But then what does the architecture of the school do to facilitate this process? The school itself must be capable as a mirror to meet the demands of the world/ society. And hence we believe that the school’s education process shouldn’t be about arbitrary assignments and tasks but rather the facilitation of handling real-world problems. Teachers/tutors are no longer mere educations but actual guiding pillars and supervisors as a student take on, quite literally, the world.

Assignments are also no long distributed and distinguished by years and age group, but rather assignments are submitted by the city, for the city, and posted on billboard/information disseminating devices where students view daily, which they quite literally, pick their battles. Naturally, this element of reality will force students to question their abilities and choose rationally, however, this also helps highlight the dreamers and visionaries as they would be the ones likely to take on more impossible tasks and propose unique solutions.

How is one to succeed in the creation of a school ruled by meritocracy, perfect, and the pure desire for growth.

A strong sense of hierarchy in space is essential should we groom our students, nay, our designers to be people of the world; people for the world. Their goal and only desire should is to be of service to the world. They will be allocated working spaces base on merit and skills, not seniority. Anyone capable shall be rewarded not only with comfort of space, but the privilege of opportunities. Those who fail shall be left to struggle; fall out if you wish. There is no place for the incapable. Even those who are above, please find yourself at a pace, should you fail to keep up, you might ultimately lose your place. Only with this desperation for perfection should we find designers that our wholeheartedly at service. Only then will we find the best. A savage group of people to provide perfection for our world.

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N Y K L I GOF I BTRUTHS L E THE BOOK CLOSING Did I leave a thought behind? I sure hope I did. A memory or just a trace of my existence, I can only pray I did. Just as we all struggle to make sense of our lives, I too am finding my way. It seems that the question that is consistently on my mind would be the acceptance of leaving. That final breath that I am so unwilling to take. How then can Architecture provide a suitable closure to the life we all describe as sacred and precious.

And this perhaps has always been the course of my exploration, though I have yet to find an answer, I stay faithful to this bottomless pit. In this story beyond the end, what would this tale be? Perhaps there simply is no answer, that is probably what architecture is.

Though I do not believe that’s a suitable excuse for giving in. Instead, I believe that it is its boundless personality that gives humanity hope. We are not just problem solvers, neither are we mere designers, we observe, curate, and predict, we will never grow obsolete. We are thoughtful and hopeful.

Eldon Ng Yew Keong nyk0737@gmail.com 91198143

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