WITHIN WALKING DISTANCE explores the future of public-private configuration based on past traditions. How can privacy be thought of as a spatial condition that produces conflict?
Pre-colonial Singapore predominantly featured Malay kampung villages, a typology characterized by traditional post-tie wood construction. The agrarian Singaporeans built incrementally, responding to the environmental context. A tropical climate called for air flow, and the idiosyncracies of life required adaptability.
The project acknowledges the needs of public housing in Singapore but embraces occupants’ agency. Avoiding the state’s prescriptions, the proposal for mass housing revives the adaptable systems of the Malay kampung houses to foster a sense of authorship. Rather than demolish and build anew (as the government did with kampungs), this proposal employs casual, permeable relations among intimate families and neighbors, where the humid-tropical climate supports a humanist lifestyle.
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01
FULL CAPACITY explores the consequences of a space that is always full. How can capacity be thought of as a condition that requires maintenance?
The traditional practice of making Alentejo wine involves the laborious mixing of grapes in large terracota amphoras, done so to prevent pressure build-up and the subsequent breaking of the container. This process of maintenance led to the development of a nightclub with a wine storage area for the Portuguese community of East Providence.
The project is a collection of rooms for a nightclub that allow for a variation of capacities. Rooms are enclosed by circulation, by the underside of the bridge, and by carving out topography of the site. Separated by circulation, rooms can be combined to increase their capacity over the course of the night, such that "overflow" is a celebrated condition.
Process >
The traditional practice of making Alentejo wine involves the laborious mixing of grapes in large terracota amphoras, done so to prevent pressure build-up and the subsequent breaking of the container. This process of maintenance led to the development of a nightclub with a wine storage area for the Portuguese community of East Providence.
The project is a collection of rooms for a nightclub that allow for a variation of capacities. Rooms are enclosed by circulation, by the underside of the bridge, and by carving out topography of the site. Separated by circulation, rooms can be combined to increase their capacity over the course of the night, such that "overflow" is a celebrated condition.
Process >
02
IN PASSING explores my experience of strangers through street photography as a performative act. How does one inhabit a public space privately?
Kennedy Plaza, arguably the heart of downtown Providence, is a bus-stop terminal of which more than 40 000 people pass through daily. Not everyone is here to go somewhere else. In going from bus-stop to bus-stop, every stop became a destination dependent on the flow of people.
These photos are taken with a 35mm camera, and processed in a darkroom. The final installation of photos is displayed on drying racks, repurposed into frames. Photos are mounted back-to-back, inviting multiple perspectives for viewing, where one can look through the photos to the observer on the other side.
Process >
Kennedy Plaza, arguably the heart of downtown Providence, is a bus-stop terminal of which more than 40 000 people pass through daily. Not everyone is here to go somewhere else. In going from bus-stop to bus-stop, every stop became a destination dependent on the flow of people.
These photos are taken with a 35mm camera, and processed in a darkroom. The final installation of photos is displayed on drying racks, repurposed into frames. Photos are mounted back-to-back, inviting multiple perspectives for viewing, where one can look through the photos to the observer on the other side.
Process >
03
IN THE THICK OF IT explores the repetition of the mono-type printing process. How does the repetition of chaos create order?
Fragmented paper strips act as the matter for transferring ink, and as a structure that holds the fragments in place. The paper fragments are further fragmented as different portions vary in saturation based on the movement of pieces between re-inking prints.
Over multiple presses the paper fragments no longer need to be held down, and yellow ink is introduced as a way to track areas of change.
Process >
Fragmented paper strips act as the matter for transferring ink, and as a structure that holds the fragments in place. The paper fragments are further fragmented as different portions vary in saturation based on the movement of pieces between re-inking prints.
Over multiple presses the paper fragments no longer need to be held down, and yellow ink is introduced as a way to track areas of change.
Process >