inhabitable in-betweens

The project aims to create an installation that can redefine the stigma of no good spaces which are often seem as use- less and allow the hidden value in them to be uncovered. The project will highlight such undiscovered micro spaces in Sin- gapore, letting the public view and reflect on the possibilities of inhabitation in such in-between spaces.

The installation draws parallels with Studio Akane Moriyama’s installation by adding a subtle touch to the site. What I did with the porosity and lightness of the Amaike Super Organza fabric is to balance out the user’s ‘territory’ in the space, creating a new sense and perception of scale. What makes the installation ephemeral is the lighting conditions. The different shadows casted through the fabric (faint, overcast and harsh light) sets unformatted bound- aries for inhabitation – the inhabitations are temporal, creating moments that are slightly fleeting.

The heightened bodily experience keeps us aware that such spatial typography can be design opportunities. The project is a tool to identify such spaces; to use the methodology as a lens to make aware that such no good spaces exist and the opportunities it has.

By marking _____________ out the traces of inhabitation noticed, the relationship between our bodies and the space is displayed. The displaying of unscripted inhabitation reveals of the hidden value of in-between spaces.

POSTER

The intention of a poster manifestation is to assume the read- er to sense the spatial quality of narrowness through in-be- tweenness. By doing so, I could then sum up the findings. It should inspire the outcomes, reflect how the space will feel and guide the developments ahead. For the A1 poster deliverable, the dimensions were challenged (without compro- mising actual surface area) for a physical portrayal of in-betweenness. The void left white is torn out on the printed copy, which gathers the reader to what is in inside the in-betweenness. This creates a visual focus on the in-between space, which is the focused limit of the project. The poster mimics a fisheye lens, drawing the attention from a top to bottom and left and right scope. The intent of the poster, marrying the narrowness of the designed poster, assumes the viewer to compare its in-betweenness and narrowness with a bodily comparison with oneself.

UNKNOWN INHABITATIONS

These signs displayed the act of traces left behind by humans that inhabited the space. The kind of activities will respond to the site, vice versa the site will show signs of inhabitation. Such a force between space and the people inhabiting in it creates a relationship between the both, which is vital in space-making.

AMAIKE SUPER ORGANZA

Amaike Super Organza is an extremely light fabric invented in japan. It is a very fine 7 denier polyester organza thread, about one fifth or sixth the thickness of hair. The unique and highly advanced processes enable the manufacturer to produce this very light fabric weighting just 10 grams per square meter. The unique and highly advanced processes enable the manufacturer to produce this very light fabric weighting just 10 grams per square meter. The porosity of the materials balance out the user’s ‘territory’ in the space, also creating a new sense and perception of scale.

URBAN INTERIOR BENCOOLEN

These signs displayed the act of traces left behind by humans that inhabited the space. The kind of activities will respond to the site, vice versa the site will show signs of inhabitation. Such a force between space and the people inhabiting in it creates a relationship between the both, which is vital in space-making.

URBAN INTERIOR MODEL

The model shows a longitudinal perspective of the many design moments that is speculated to happen within – people gathering, individuals doing activities on their own or merely passing by. The installation draws parallels with Studio Akane Moriyama’s installation by adding a subtle touch to the site. What I did with the porosity and lightness of the Amaike Super Organza fabric is to balance out the user’s ‘territory’ in the space, creating a new sense and perception of scale. What makes the installation ephemeral is the lighting conditions. The different shadows casted through the fabric (faint, overcast and harsh light) sets unformatted bound- aries for inhabitation - the inhabitations are temporal, creating moments that are slightly fleeting.

PANORAMIC SECTIONAL PERSPECTIVE

Inspired by Situation Normal’s quirky methods of expressing their ideas, a panoramic sectional perspective representation fits the project as it shows both the narrow quality of the site and the surrounding elements. The walking human (bottom right) cut-out at feet is the section cut point of the panoramic section.