How does one design for the humid environment at the human scale? In documenting the joints of the traditional Malay house, I found that even major structural elements were designed to account for the movement of air and rain, which generated consequences concerning privacy for both the inhabitant and the passerby. In designing for an alternate model of public housing, the first challenge was to create a common passage without relying on the linear corridor. Since acts of inhabitation practiced by Singaporeans (hanging clothes, playing soccer) are constantly in conflict with the passageway, unit components were designed as a collection of parts, to be experienced without a set sequence. The one-bedroom unit, once associated with social failing as opposed to the “family-sized” multi-bedroom unit, is reimagined as a flexible space, where it can also function as an additional room for the surrounding units, or as a shared space for outdoor activity.

The next challenge was to extend notions of family to neighbours from across the block- unit parts are assembled and repeated to inform configurations for an amphitheatre, gym and cafe. I found that it was in designing cross-ventilated public spaces that provided shelter from heavy rain, strong winds and harsh sunlight, while still encouraging social gatherings, that the experience of the humid tropical environment can be comfortably inhabited. 

Process: Research and documentation, Hand-drafting, Wood-working, Rhino rendering, Illustrator diagrams, Photoshop collage

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What are the spatial consequences of extending the night? In mapping the steps taken in the process of maintaining wine in amphoras of Alentejo wine, and transitioning to mapping areas of the streets of Evora where people congregate after bars and clubs have closed, I wanted to create a container with a constantly “overflowing” capacity. My first iteration was conceived as a single container divided into multiple rooms, but this placed the limits of its capacity on the outermost layer.  

The main challenge for the nightclub was to create a condition of multiple rooms that could still be understood as belonging to a single container. Floors are offset to encourage movement from one room to another, stacked to amplify the edge condition, and extended to mediate between its location between the river below and the highway above. In this loose arrangement of private spaces, one can still experience the riverside long after the establishment has closed.

Process: Mapping, Hand-drafting, Material studies, Wood-working, Photoshop collage

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How does one capture the relation between the observer and the subject? In documenting the life of strangers in Kennedy Plaza, I found that it was as much about my involvement with the subjects as it was about my observations and framing of scenes. This process of realisation took place in four parts:

The first was the physical act of me documenting the life of strangers in Kennedy Plaza, where I shifted between observer and participant in approaching these strangers to ask to take their photograph. The second was the act of processing and editing photos in the darkroom, where I explored how the variation of textures in an image can inform the atmosphere of a scene. The third was the installation of these photos in frames- to retain the paper-like bend of the photographs such that they functioned both as “object” and “image”, photographs were glued back to back, held up by the mesh surface, allowing one’s gaze to pass through the photographs to those viewing them.

Process: Darkroom photography, Exhibition design
Documentation of exhibition by Enrico Giori

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What is the relation between the printing surface and the act of trasfering ink? In exploring the retention of ink in the monotype printing process with linear, planar and granular materials, I was confronted with the ever-present potential for mess inherent in the printing process. I wanted to express this messy potential- in using tissue paper to make prints I was able let the ink through with varying translucency, but the paper was so thin and difficult to remove, that it would break apart and could only be discarded after each print. To reject this notion of disposability, I set out to create a series of prints that could achieve a density of ink through repetition. My previous tests with the torn tissue paper led me to deliberately shred paper- thicker, more absorbent paper, that would only need to be be inked once but where the ink itself would “last” multiple prints.

Upon multiple presses the shredded paper became structurally sound enough for me to weave a strip of colored paper through to transfer yellow ink, hinting that the shredded strips all belong to the same field.

Process: Monotype printmaking, Material studies

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