Showing posts with label high-rise. Show all posts
Showing posts with label high-rise. Show all posts

Louvre window



When I was a little girl, my dad's visit to the flat in Singapore was a once-a-year affair, for two days or so. I would know about the day he was coming in advance, and would station myself at the louvre window of the bedroom which opened into the public corridor on the fourth floor of the high-rise. The lower two or four leaves were metal, probably aluminum: for privacy, and never opened. The upper four or so leaves were the milky glass kind with a safety wire grid inside. Those would be open. Over the whole opening was a security iron grille with diagonal grilles. When I was a little girl, climbing these grilles was easy and fun. When I heard footsteps, I would spring up and climb on top of the grille to look out to see if it was my dad. The corridor was sunk 1 ft 6 in lower than the flat, so from my position I would see the top of my dad's head as he walked by. It was a grand and exciting affair.

Theorem 2015

Famously known as "Theorem 1909" in Rem Koolhaas' Delirious New York, each level is a different world, a phenomenon of the elevator; Full-page cartoon by A.B. Walker published in Life magazine’s “Real Estate Number” of March, 1909.

"Theorem 2015": the elevator is old news. The old is the new: horizontal 4-storey world space; Thesis in progress, October 2014.

Few and many



Every skyscraper is trying to be unique and iconic - in a densely built city it doesn't hurt because at the scale of the city they are all like perfume bottles on a dresser: the individual appearances don't really matter anymore, but rather the whole field is the impression. The more unique and impressive ones are admired individually in print (enlarged and singled out, reviewed for their merits, beauty and poetry- like perfumes) and in person.

In print, the criteria for critique is simultaneously zoomed in and zoomed out - zoomed into the engineering and architectural details and zoomed out into the object-form. It is primarily a critique of form and appearance that can be seen in print. What can be read (in words) in print is a critique of the space, but this is built on a personal experience of the space in person.

In person, the experience of the object-form is second place to the experience of immediate space. A small blank wall in print is a huge blank wall in person. In person, the sequence of rooms and the height of room ceilings, the color and texture of walls, circulation paths, the chance for encounters, the implied barriers and entries, the freedom or oppression, these become first place.

So, designing at two scales, 1) Object-form, 2) Space/function
Which is more important?
(In a small building, the two meld together much more, because there the form of a room and the sequence of spaces can actually determine to a greater extent the form of the building without contrivance, while in a large building with many rooms an over-arching form is needed (?) )

Pattern

Slits

Laundry poles

"Do not remember"

Before highrise


An earlier memory... Up till the age of ten I had lived in a house like this in Malaysia... "Zinc-roof house" they call it. The road that led up to it was covered with flattened frogs, because it was really a village. The path that led to the house was unpaved dirt, on rainy days it was just mud. There were two really shaggy looking dogs, one about to die. Flies abundant. Wasps and other insects. Mosquitoes for sure. In the monsoon season huge swarms of black flying ants. Sometimes snakes hide in the gutter and killing it was always a loud affair involving all the neighbors (mostly spectators.) One or two heavy sticks were kept in the house... for snakes and robbers.

The living room was so high we played badminton in it. There was an alter at one end, a typical Chinese altar, all red, with smoking incense standing in ash urns. Sometimes the shuttlecock gets lost among all the paraphernalia of the altar. We preferred the shuttlecocks that had real feathers, not the plastic ones - those are heavy and don't sail as well. I buried hand scrawled notes in the ash urns, I can't remember what I drew or wrote, possibly stick figures saying hello.

My dad's family (him, my mom, my brother, me) lived in one room on the right of the main entrance to the house. To the left (if I remember correctly) the great grandmother's room. Standing right inside the door to that room is an old full-size grandfather's clock, the real kind that worked with a real pendulum. My dad had to adjust it from time to time - though I never figured out what he did. My great grandmother used to eat rats as a tonic food, they said. She had real bound feet, the last generation. When my great grandmother died, the garden with all the flowers in the world was burned. The flowers were as tall as I was. Past the altar on the other side of the living room was the kitchen, and on one side of the kitchen was my aunt's family's room. I don't remember my cousins at all - except that they were older girls. What was the kitchen like? I think there were old fashioned stoves, or maybe gas cylinders. Big burnt woks of course. The bathroom is at the other side of the kitchen - a real wet place, with a big earthen jar filled with water and a couple of plastic scoops.

Have you ever heard rain fall on a zinc roof? It is the most soothing sound in the world. The roof may leak, we place buckets all around the house; but the sound is worth the rainy day.

Rubbish disposal

In the old block I grew up in, the rubbish chute opened into every home's kitchen. It ends up in a collection space on the ground floor, where the truck stops to collect.

A direct rubbish line.

In the second home I moved into at the start of middle school, the rubbish chute no longer opened into every home, but to one common location per floor.

High-rise urban legend

Living in a public housing block, everyone knows what you mean when you said you hear noises from the ceiling at night. Particularly the kind that sounded like marbles hitting the floor. Especially when we were kids, all sorts of legends were circulated - generally in the vein of there are inhabitants "in between the floors." It makes me hair stand even now.

Stuck lifts and rubbish from upstairs



When I was a child, one of my favorite activities was flying paper planes out of my 4th floor kitchen window down to the parking lot below. My mom turned a blind eye to that most of the time. She did not turn a blind eye to water dripping from our neighbor's laundry hanging outside the window upstairs onto ours. The remedy was to use a bamboo pole to hit the ceiling of our kitchen a few times as a warning to the neighbor upstairs.

My mom also kept an eye out for the "egg man". He would come in his truck, selling eggs to all the housewives in the area. I kept my eye out for the ice-cream man. Thinking about it, we were on the last or second last storey to be able to spot them on the street below. The egg man and the ice-cream man didn't worry about that. They shouted and honked their presence- and you would not miss them from the twelve storey.

Gangsters, mischievous children, bad neighbors, dirt, police



(Homes for the People: Study of Tenant's Views on Public Housing in Singapore, Stephen H.K. Yeh, 1969)

Where children play



(Homes for the People: Study of Tenant's Views on Public Housing in Singapore, Stephen H.K. Yeh, 1969)

Worrisome singles



(The Singapore Experience in Public Housing, Augustine H.H. Tan and Phanf Sock-Yong, 1991)

Amiens Cathedral to Office Building Morph


To study the effect of detail, ornament, filigree and form.