Ambivalence: The Unseeing of Spaces
Programmes are assigned boundaries and it has an impact on how we interact with our spaces. With pre-defined functions, it’s hard to break out of that box.
While Noguchi relied on his art training to sculpt his landscapes, I wanted to sculpt mine like an imaginative child. Based on the inspiring adventures of my childhood, this particular scene was reflective of the atmosphere I wanted to emulate.
An intuitive creation of landscape, drawing from the abstract, nonsensical structures of Dr. Seuss’ to fit into my void deck.
Wondering how to translate into a cohesive landscape by mimicking the childlike wonder of experiencing the environment in the landscape through;
(1) peering over something from a greater height and
(2) a sense of scale of how huge the world could be.
Without the familiar objects that makes for rather structured and mundane interaction, it requires for imagination and made-up rules for activities to work. Hence, activating the imagination of people in this space.
It isn’t a design to be build, but to help us wonder about the limitations we have set for ourselves. How would a landscape as a void deck perform?
Types of Play
This landscape provides for varying levels and intensity of play from quiet to active, and interactive. The organic forms provide for differnt ways of engaging and manipulating.
Different age groups can also utilise these forms to carry out their own activity and inhabit in harmony.
This abstract exploration is rather encouraging for me as I can imagine the endless possibilities of its use. However, it appears that in spite of its flexibility there is a clear gap in how much people are willing to engage freely as we’re still conditioned by the conventions of these spaces.