INTERIOR PORT 2020

ABOUT ME

An aspiring interior designer that hopes to leave traces of her own notions of aesthetics in her designs - raw and minimal.

content

last seen

‘LAST SEEN’ deals with the sense of awkwardness through the space created. Being alone in an empty space within the proximity of many others dining with their group of friends brings a feeling of discomfort - hence awkwardness in the situation. This is due to the fear of getting judged and getting our personal dining etiquette noticed. The space tackles the issue of being seen alone, eating with being unnoticeable yet partially knowing that their presence is there. Furthermore, the space gives room for a plus one, in a similar plight, to decrease the sense of awkwardness, paying close attention to the proximity of two solo diners in the space.

Last seen

Public (3.7-7.2m)

Social (1.2-3.7m)

Personal (0.45-1.2m)

Intimate (0-0.45m)

PROXEMITY OF THE HUMAN INTERACTION

Proxemics is the study of the invisible bubbles that we humans ourselves have created subconsciously that affects our interaction with others. The study of this varying bubble spaces helps us understand the limits of interpersonal communication that can occur within the given cube. With the cube allowing up to social space, the cube allows a max of two people to be in it while maintaining their own intimate and personal space.

Starting with a humble cube, the aim is to create a cube that creates curiousity yet goes unnoticed by most passrbys.

While the front holds the imgae of a cube, the other side gives a gateway to a cosy curved space that caters to one or two solo diners.

The cube itself subtracts and reduces a part of it to provide as a table element to the solo diner. This also helps in giving leg space and space to place belongings.

Bullnose trim are given to all edges to provide comfort to the users. Cove lighting is introduce to diffuse the space softly, creating an airy and bright ambience.

Last seen

lucent

“ Mirror image, which posssesses the special dignity of images, & this awareness prevents then from succumbing for a single moment to chance & forgetfulness.” Based on this text which elaborates the dignity of the reflected images and how it makes one cautious and miss opportunities in moments due to being judged or seen, Lucent is a F&B project that is spatially designed such that it allows one to indulge in their guilty pleasures in anonimity. It inverts the darkness in guilty pleasures to a space filtered with light; the material and colour palatte are kept light, muted and layered to have the essence of the lightness and allow this light to penetrate, reflect and blur. This play of light allows the juxtaposition of what is seen and not seen, where it is intimate or open.

Lucent takes advantage of existing natural lighting from its facade by having large windows. This helps to create the diffused atmosphere that was intended. The play of layers and fabric and other transcluscent materials aids in maintaining the privacy of the customers while evoking curiousity in passerbys. Moreover, the circular elemants of the interiors could be seen as reflected throughtout the space from the exterior. These circular forms is then mirrored as the texts say “point to point” but “never the same.” Hence, both the levels retains similar elements but never the exact same.

In level 1, upon entering, customers are greeted by the reception area which warmly envelops them in, to navigate through the space. These curves helps to soften the space. As they meander through these curves, two prominent voids are observed as they are given the main hegemony with the abundance of luminance created with a lightbox, as if light was given a form. As the facade uses huge windows, it allows more light to permeate the space. This saturation is then diffused with varying materials and nature introduced in the space to create a soft, dreamy ambience - that elevates one to an oeuvre of light for a transient moment as they enjoy their meal. These spaces blurs identites and creates invisible boundaries through the light diffusion and materiality.

In level 2, upon entering, there’s more warmth as more nature elements are used to differentiate the spaces. The whole of level 2 is dedicated to solo diners who would want to indulge in their guilty pleasures without being disturbed or obviously noticed. Therefore, the space is articulated such that the seats are not directly facing each other so as to allow one to be immesed in ones own desire. The polyphony of the circular elements is then carried through out the spaces of the level 2 as well. The tables follows the curves of the voids which then elongates to the perimeters of the space - as if it is one long continuous piece of plank that undulates with the curves of the space. The atmosphere of level 2 is more cozy to provide diners a sense of comfort while still having lightness as the primary focus.

into

The aim of the project was to create a pavilion that is self-sustainable yet holds a strong emotional connection to its context and time. The structure is easy to construct as it is built from modular polycarbonate pieces. The slots in each of the modules allows the components to fit and gain rigid form. With the way it is fit, there are pockets of spaces created in between the modules that allow light and air to penetrate, enabling the user to feel his surrounding nature. The light structure, Ethereal, then acts as a place of “pause” and visually disrupts from the scenic green grass-field of the botanic gardens, without causing any negative impact on the ecosystem.

The pavilion is broken down into smaller particles in modular form. This allows to strip the solid form into something more light and airy. The modular elements then are slotted together to form this porous white pavilion which with act as a place of stop/awe. The modular slots oso makes it easier to be built and undone, then shifted to as and where.

ame

As most of these buildings are losing its longevity as they only operate at the wakes of occasion and necessity, they become dead spaces most of the time, becoming unsustainable. With Singapore’s heritage and culture stemming from these sacred buildings, it is vital to uphold and bring importancee to these spaces while matching with current secular notions of the present and future generations. Ame aims revive sacred spaces with the mediation between sacred and secular. This project explores the traditional and current notions on religion - mainly how architecture acts as the medium in holding this godly presence. Masjid Burhani is the selected site of revival, situated at City hall. Although it is situated at a district where a few other religious buildings are surrounded, it still fails to hold its sacredness. Being aligned in a commercial district, it fades away in the background and doesnt value add to the district at all. Hence, Ame is an sublime introduction to sustain this mosque and make it a new to match with our current notions on sacredness.

“How can I relate to somebody who doesn’t Speak? I feel like I’m just treading water.”

For a space that heals, it has become a concern that the current generation is denying its importance and seeking comfort of their own dwellings as their sacred space. With religious architecture dying due to its traditional approach throgh symbolizm and rituals, it pushes us to rethink sacred spaces of the now and how to change with times notion on religion and other influences. Julio Bermudez’s collection of essays, Transcending Architecture: Contemporary Views on Sacred Space describes how “our contemporary civilization has exacerbated the feelings of existential emptiness and meaninglessness” and that the need for “spiritual” or “transcendent” space could not be more relevant. With consumerism and hyper-connectivity, where we are continually besieged by constant images, noise, and information, the need for spaces to reflect, to meditate and to feel silence is crucial.

Can my sitr/space itegrate this green urbanism trail (which the URA is planning to implement) as part of its programme to merge as the bridge between the two different district - blurrig the religious, etertainment and nature spaces through connectivity?

With 4 bus stop and mrt within 5 minutes of reach, the mosque is easily visible. YET, people miss out as it is not the centre of attraction or main “plaza”where people gather or transit across to, thus loses its importance.

Being placed in the commercial lane, How can my site benefit from this? Could my sit instill aspects of “breakout” or “entertainment” ?

The site benefits mostly from the sunlight as it directly hovers across the “axis” of the building. Hence, light could be further looked into as a means of deriving the “light is god” notion. However, the wind is not felt much as it is conjested. Thus, ways of ventilation could be explored along with the “axis”.

According to Burke: ‘A quick transition from light to darkness, or from darkness to light, has yet a greater effect. But darkness is more productive of sublime ideas than light. Shadow; anamorphic image of an object made out of darkness and created by light. A shadow is not like darkness the absence of light but a place where the light does not reach. Without light there is no shadow. This combination of ‘light creating and darkness created’ makes the shadow an ambiguous notion - a sublime concept.

“The belief that ‘light is God’ may have faded, and God as a numinous presence may have disappeared at an institutional level. Nevertheless an arrival of light out of darkness, and its evolution through time, continue to arouse a spiritual feeling of awe and wonder, reminding us of light’s daily miracle—to revive a sleeping world with signs of life, by setting it into motion.” The contrasting duality with order and ability to alter is where lies the unambiguous sublime.

Silence

sometimes silence is not the absence of sound, but it is one that is visually felt or one that resonates to remind us of silence or calmness.

White noise

“The whispers” “the trickling water”

Loud sounds

“Footsteps” “Chair dragging”

In the hopes of touching the sublimeI can’t see, I cant hear, I can’t smell.

But to feel its presence in the hidden tangible.

“Sensed atmosphere”

A space should instill an atmosphere that is multi-sensory - Since everything felt in a space is measured by the senses, it isnt the sum of the visual and audiable givens but as a “total of the being.” This atmospheres to obtain the totality should fuse natural, architectural, cultural, social and human ingredients into a singular experience.

Emphasis on the importance of the enmeshed perspective - the space shold be an embodiment of the details that has lead to it, overlaying of the tangible and intangible to be as a whole.

“The depth of being”

Peter Zumthor

Le Corbusier

“The poetics and narrative”

Focus on the nature to “speak”, while the spaces are the gateway to this narration through stillness and silence - the space to possess subtle qualities, which, at certain moments, permit us to understand something that we were never able to understand in quite this way before.

Light as the sublime and focus to bring out the experience/purpose of the space. - The sublime experience produced by architecture rests on a bilateral structure. A twofold; a carrier and a concept. Architecture and meaning.

“Light is everything”

Tadao Ando

Juhani Pallasmaa

Immensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests, but which starts again when we are . As soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of motionless man. It is one of the dynamic characteristics of quiet day-dreaming.

Construction Drawings

1. Basement Floorplan

2. Level 1 Floorplan

3. Level 2 Floorplan

4. Level 3 Floorplan

5. Section A-A

6. Section B-B

7. Facade Elevaation

“This scene is a long dream, bring me some colours”

“We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.”

- Gaston Bachelard, The Poetics of Space