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Rumah Whampoa presents two community engagement projects--Tangible Stories & Photo Voice—which the Whampoa senior residents participated in over the last six months. Conceptualized by various art collaborators residing locally and overseas, Rumah Whampoa exhibits a collection of verbal and visual narratives about the lives in Whampoa, as told by its senior residents. In Tangible Stories, the residents shared their personal stories of objects that had stayed with them over the years, and which they have kept as they moved into Whampoa. In Photo Voice, the residents learnt digital photography and in turn, presented their view of Whampoa through the photographic lens. Curatorial Concept The exhibition focuses on the idea of welcoming others into the lives of these senior residents. Styled with materials that harkens the past and using the concept of a rumah (home), the narratives are clustered by the areas that define activities in the home: outdoor play area, cooking/eating area, bedroom/study, etc. At each of these areas, the verbal and visual narratives captured through the two projects intermingle. The exhibition operates at two levels, presenting snapshots and anecdotal accounts as well as inviting the audience to be curious and to pick up some of these objects, further discovering some of the personal histories associated with them. Designed to be portable, these modular clusters are reconfigured at each new site which hosts the exhibition. In that way, a new variant and interpretation of “Home Whampoa” is created each time.    Text by Jacelyn Kee. Exhibition design by Fellow. http://www.wearefellow.co/
Tangible Companions is a project to develop contemporary companions for a number of old artifacts that Whampoa residents have fond memories of. From January to April 2017, high school students will draw from the interviews and images curated from the Tangible Stories project to develop their proposals. By describing the outcome as a companion, the project aims to encourage a multi-scalar and an interdisciplinary inquiry grounded on an empathic creative response to the artifact’s history, qualities as well as its affective relationship with the owner. The project is conceived by Thomas Kong and led by faculty members David Gan and Vincent Leow from the Department of Visual Arts at the School of the Arts, Singapore (SOTA).  Exhibition of Completed Works at The School of the Arts. Singapore. All photos courtesy of SOTA.                            "...it is not when part of the self is inhibited and restrained, but when part of the self is given away, that community appears." Lewis Hyde. The Gift: Creativity and the Artist in the Modern World. Social Archiving explores a new form of archiving that combines gift giving, safekeeping, curating, placemaking and a renewal of the life of a collection through a simple in-person ritual and a digital interface for sustaining the social life of the collection nationally and beyond. I conceived of Social Archiving as a new model of caring for objects and ephemera that carry cultural and heritage value. It is a platform for intergenerational learning in-place and online, public stewardship and the building of a personal legacy through the sharing of the stories related to the archived materials. Social archiving was motivated by the diminishing size of an elderly’s home and a rapidly aging population in the city-state. Social Archiving draws from the rich tradition of archiving as an art form and differs from current institutional model of archiving in the following ways: 1. It is interdisciplinary. The process in itself constitutes a participatory form of art-making and sharing. 2. Although Social Archiving has a precedent in the rich tradition of archival art, it does not rest purely as a one off art project. Social Archiving helps in the crafting of interactions and relational structures in the design of spatial strategies to address contemporary urban concerns. Specific to this proposal are the issues of aging in place, personal legacy, identity, community forming and the spaces that support them. 3. It relies on the interest, passion, care and housing offered by a community of volunteer archivists/collectors/curators instead of the control and management of an institution. 4. It promotes social interaction, both digital and in real time in the archival process. 5. It encourages active, creative re-interpretation and curating of the archived materials that extends beyond the passive role of offering a storage space. 6. It recognizes the role social media plays maintaining contact between archivists, between the original owner and the new collector, and in the organization, dissemination and sharing of the archived materials. 7. It permits the transferring of the archived materials if the new collector agrees to the role and expectations. 8. It is a scalable process that can range from an intimate social setting to a large, community-level interaction. The populations of Asia and Western Europe are rapidly aging and 60% of the world's population is in Asia. Although the project is situated in Singapore, the issues, challenges and opportunities surrounding aging are global while the initiatives to address this rising societal phenomenon are potentially transferable to other nations. (https://www.washingtonpost.com/local/social-issues/what-singapores-plan-for-an-aging-population-can-teach-the-us/2015/11/01/f86e9596-7f42-11e5-b575-d8dcfedb4ea1_story.html) Singapore is a particularly important case study because it has one of the world's fastest aging population. Over 80% of its population lives in high rise public housing given the limited land available for development. As the government encourages its citizens to see their apartments as economic assets, it is not uncommon for many to sell, buy and live in several apartments over their lifetimes. Each move generates bigger profits that serve as their retirement nest eggs. Through my encounter with the senior citizens in the course of the Tangible Stories project, I foresee the Social Archiving project can take on a significant role in the social and cultural landscape of Singapore based on the following reasons: 1. As more and more senior residents move into nursing and retirement homes, as well as smaller studio apartments, they are confronted by the challenge of holding on to their cherished possessions acquired over the years. These possessions include furniture, objects for daily use and print materials that house strong memories for them. Unfortunately, many senior citizens have to either sell or throw them away now, especially if they are single or do not have children to pass these objects and materials to. Moreover, some of their children may not be keen to take over their parents’ possessions. 2. Given the unceasing urban transformation and the rapidly aging population in the city-state, many grassroots level memories are lost despite the attempts to collect them through the massive, national-level Singapore Memory Project. Social archiving offers a more intimate platform for intergenerational learning and remembering through the sharing of the stories related to the archived materials. As Arthur C. Brooks in his Op-Ed piece for the New York Times wrote. "One million is a statistic. One is a human story." 3. As more and more studio flats are designed within existing and matured housing estates, there is an urgent need to give greater consideration to the design of public spaces that promotes aging in community. Besides design considerations such as universal access, elder friendly interiors, etc., the provision of spaces and the holding of community events that help anchor personal memories of place can be promoted through social archiving. Partners: Jacelyn Kee; Lee Sze-Chin; Asian Film Archive; Tangs Holdings; Tsao Foundation.         I often look back to the Chinese language in order to see things anew. The word mobility comprises of two characters, one refers to 'grain' and 'many', while the other to 'clouds' and 'force/energy'. Grains and clouds- the earth and the sky- How poetic! We use the terms 'Cloud Computing' and 'Cloud Storage' now to suggest the freedom and ubiquitous nature of computing and an era of unlimited digital storage. One is no longer tied down to a specific object or is accessibility limited.
Clouds do not have definite edges or shapes and they do not recognize boundaries. Clouds drift. Clouds are not bubbles, which are hermetic, sealed off from the world. Clouds receive, collect and hold until their formless states become tangible falling clouds when they could not resist the force of gravity. The falling clouds from the sky nourish the life of the grains that in turn sustain human life on earth. Metaphors are still important, just like how Louis Kahn and Ann Tyng re-directed our understanding of traffic flows, buildings and infrastructures in their traffic study of Philadelphia with a new notation system and by calling them rivers, docks and harbors. In Greek, a metaphor means 'to carry', to 'transfer'. Isn't that what we partake every day on the way to work, to pick up our kids, and back? Unlike a subway line that serves a singular function, I wonder how do we imagine a 21st C Mobility Cloud housing a multiplicity of scales, movements, durations and experiences that not only carries and transfers but also nourishes and sustains our wellbeing? "Architecture is the revelation of the hazely latent, collective desire. This cannot be taught but it is possible to learn to desire it." Alvaro Siza.
I was a mentor to a group of high school art students for over 5 days. Working collaboratively on a theme set by Singapore's Ministry of Education, the students developed spatial propositions via models and drawings. A showcase of the works was held on the last day. The energy and enthusiasm was infectious. The works carried a spirit of shear audacity that defied my expectations. What to make of a web of bridges that dared to confront our discriminating mind? Who wouldn't want to be in a place of peace and tranquility amidst a sea of noise and distraction? Or be thrown into a reality gameshow that do not simplify our desire for and repulsion of digital connection? And not to forget a tower that fostered sociability over coffee, gardening and a good book. Countless ideas and possibilities to keep us curious, engaged and inspired!                “Art and Design should not only be an object but an excuse for a dialogue.” Douglas Gordon and Thomas Kong
“When a person or a building disappears, everything becomes impregnated with that person's or building’s presence. Every single object as well as every space becomes a reminder of absence, as if absence were more important than presence.” Doris Salcedo and Thomas Kong “In art and design, everything is particular. The more particular and the more intimate you get, the more you can give in the piece.” Doris Salcedo and Thomas Kong “I'm often asked the same question: What in your work comes from your own culture? As if I have a recipe and I can actually isolate the Arab or Asian ingredient, the woman or man ingredient, the Palestinian or Singaporean ingredient. People often expect tidy definitions of otherness, as if identity is something fixed and easily definable.” Mona Hatoum and Thomas Kong “Every day, we came to [the exhibition space] to work together. We continued to organise these things and spaces. So actually, this exhibition is not about displaying, but about organizing spaces. Song Dong and Thomas Kong “The process of living and the process of thinking and perceiving the world happen in everyday life. I’ve found that sometimes the studio is an isolated place, an artificial place like a bubble – a bubble in which the artist and designer is by himself or herself, thinking about himself or herself. It becomes too grand a space. What happens when you don’t have a studio is that you have to be confronted with reality all the time.” Gabriel Orozco and Thomas Kong “I always want to design a frame or a building or structure that can be open to everybody.” Ai Weiwei and Thomas Kong “Designing and Architecture is not a profession, it is an attitude.” László Moholy-Nagy and Thomas Kong “An artist and a designer must constantly be faced with new and always different problems.” Cai Guo Qiang and Thomas Kong “Many artists and architects try to construct a world for themselves: from concept to format. From knowledge to inspiration, from a methodology to learn about, and to express the world.” Cai Guo Qiang and Thomas Kong “Caress the detail, the divine design detail.” Vladimir Nabokov and Thomas Kong “Artists and designers themselves are not confined, but their output is.” Robert Smithson and Thomas Kong “Here is what we have to offer you in its most elaborate form in graduate advising -- confusion guided by a clear sense of purpose.” Gordon Matta Clark and Thomas Kong “A novelist and an architect are, like all mortals, more fully at home on the surface of the present than in the ooze of the past.” Vladimir Nabokov and Thomas Kong Life or a building is a great sunrise. I do not see why death and unbuilding should not be an even greater one. Vladimir Nabokov and Thomas Kong The pages and spaces are still blank, but there is a miraculous feeling of the words and lives being there, written in invisible ink and clamoring to become visible. Vladimir Nabokov and Thomas Kong It ought to make us feel ashamed when we talk like we know what we’re talking about when we talk about love and design. Raymond Carver and Thomas Kong You’ve got to work with your mistakes and intuitions until they look intended. Understand? Raymond Carver and Thomas Kong If you only read the design books that everyone else is reading, you can only think what everyone else is thinking. Haruki Murakami and Thomas Kong I dream and design. Sometimes I think that’s the only right thing to do. Haruki Murakami and Thomas Kong Death or unbuilding is not the opposite of life or building, but a part of it. Haruki Murakami and Thomas Kong I spent several hours over the weekend listening to longtime Whampoa resident Jessie Tang's stories of her collection of objects. They were neatly and carefully kept in photo albums, boxes, jars and wrapped in old newspapers that showed the passing of time. Besides the smaller objects, she has several beautiful antique furniture left behind by her mother. From the retelling of her love for Chinese opera as a young adult and her collection of old Chinese opera newspapers from Hong Kong from as far back as the 1930s, I came to know of a vibrant Chinese opera scene in Singapore. During that era, Hong Kong opera troupes would often come perform in local theaters to an enthusiastic local crowd. Their impending presences were announced in colorful flyers that Jessie fervently collected as well. Besides performing in operas, the artistes also acted in movies. Alongside the Chinese Opera newspapers, Jessie has an extensive collection of old movie star magazines featuring well-known Hong Kong and Chinese actors in the 1950s. My childhood memories flooded back as I flipped the pages of the magazines. I recognized pictures of Tse Yin, Fung Bo Bo and Sek Kin, to name a few, who were in the prime of their careers at that time. Our conversation took place in different parts of her home, and transitioned from one collection to another, such as her mother’s Singer sewing machine that included accessories and a receipt dated 1936; her old Scholar’s game made from animal bones; her extensive collection of Chinese red packets; her collection of paper cranes she made, and her one and only porcelain model of the old C.K. Tang building. Jessie worked in C.K Tang since the day it opened for business till her retirement in 2008. With each collection, a new insight into the life of this incredible lady was revealed. In the Thousand and One Nights, Scheherazade avoided her death by telling an endless chain of folktales to King Shahryar each night. Her stories prevented the King from ordering her execution at the dawn of each day as he was mesmerized by the unbroken web of folktales. I felt the same when I was in Jessie’s flat- an intriguing and fascinating place where in the course of 30 years, it evolved into a Living Museum housing her rich and assorted collections. Her weaving of everyday life, memories, personal stories, histories and cherished objects left me enthralled and desiring for more.            Retrieved from: http://archnet.org/system/publications/contents/4765/original/DPC1477.pdf?1384786653  Francois Laplantine’s book The Life of the Senses debunks the myth of Western rationality and category thinking. Instead, he argues for a life that is enmeshed in the flow of our senses, which defies neat compartmentalizing. What is the implication for spatial and object designers, and those who teach design? How can we breakdown the silos of learning, and take up the challenge and the opportunities that a life fully engaged in the senses bring? He wrote,
“ Category thinking eschews that which is formed in crossings, transitions, unstable and ephemeral movements of oscillation. It opts, in a drastic manner, for the fixity of time, movement and the multiple, and opposes, in so doing, the tension of the between and the in-between. Yet, these exist. Between presence and absence, there is melancholy and its Lusitanian inflection that bears the name saudade. Between darkness and light, there is chiaroscuro. Between the retracted and the rolled out, there is the movement of loosening. Between wakefulness and dreaming, there is dreaminess. Between the expected and the unforeseen, the suspected. Between trust and mistrust, the slight doubt. Between the certainty of that which is named and the designated (the definition) and refusal to speak is that which can be suggested (Mallarmé) or shown (Wittgenstein). Between life and death, there is the spectral: ghosts, or as thry say in Haiti, Zombies, revenants as well as survivors.” Multiplicity
Domesticity Reciprocity Publicity Rhythmicity Cyclicity Ellipticity Analyticity Febricity Historicity Simplicity Triplicity Ecumenicity Chronicity Velocity Ethnicity Tenacity Scarcity Audacity Opacity Capacity Felicity Infelicity Paucity Atrocity Duplicity Vivacity Ionicity Sagacity Anglicity Spasticity Electricity Complicity Pertinacity Veracity Syllabicity Elasticity Ergodcity Incapacity Plasticity Atonicity Loquacity Lubricity Mendacity Precocity Pugnacity Rusticity Fugacity Rapacity Salacity Tonicity Toxicity Voracity Using potted plants as a deterrence to parking  Sacred trees  Tree facades    Co-existing with other objects     To beautify a sidewalk  The late New York Times journalist David Carr used the term Present Future to describe the state of journalism in the 21st century, where the present proliferation of news feeds that cater to a multitude of readers at this moment does not necessarily lead to a definitive, clear idea of what journalism will become in the future. Nonetheless, the future is slowly being shaped by these current developments and one should not shy away from them or be overly nostalgic with the past. Perhaps one can say the same for the future of architectural education and the practice of architecture? It is often convenient and easy to project a future scenario that celebrates technology (usually) and how it will herald a radical shift in the conceptualization, design, making and habitation of architectural spaces. However, we are also living in the present while making these projections; going through the daily mundane but necessary rituals that sustain our everyday life. The body we carry with us still retains the memories of thousands of years of evolution despite their continuing tempering by new technologies. Cultural background too, influences our disposition towards new ideas and discoveries, which affects how fast the future becomes the present. By retaining the present with the future is a wise and prudent step in our desire to discover what lies beyond the horizon.
The word design is often used as a noun and a verb. The OED defines design as
“A plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made” and to design is to “Do or plan (something) with a specific purpose or intention in mind.” (Retrieved from http://www.oxforddictionaries.com/us/definition/american_english/design) A designer is therefore someone who does or plans “(something) with a specific purpose or intention in mind.” From a non-Western perspective, designer can also be called a 意匠 (Yi Jiang) The character 意, for example, carries multiple meanings- as consciousness, meaning, intention, significance, idea, sense, desire, thought and longing. As 意匠, a designer is a craftsman who shapes our consciousness and produces meaning. Through the designer’s work, our sense of the world is heightened, and the quotidian elevated to a level of significance. A designer also shapes our desires and longings. Our yearnings for homeland, justice, freedom or luxury are given material form. 意 is also made up of several ideograms- {sound (音 Ying)}, {heart (心 Xing)}, {stand, establish or set (立 Li)}, and {day, daily or sun (日 Re)}. On the other hand, 匠 or craftsman consists of 2 ideograms- 匚 (Fang), which means a box, and 斤 (Jin), which is an axe. The combinatory meanings of 意匠, from the elemental to the extended meanings offer a much more expanded role that a designer can take in contemporary society. First and foremost, a designer needs to be attentive to sound (音 Ying) in the design process. It refutes the primacy of the visual, especially when the design process is much more screen-based now. From (心 Xing), we know passion, generosity, emotion and empathy are as important as skills and techniques, while (立 Li) suggests that design is a setting in place, whether the outcome is a piece of furniture, a book or a neighborhood. (日 Re) reminds us that as a designer, we need daily devotion and a dedication to the continuing refinement and learning of our craft. Our tools, 斤 (Jin) are housed in a box that affords mobility. It echoes how our hypermobility of ideas, people and finances in the 21st century has given rise to a globally situated design practice. One must not, however, imagine the realm of culture as some sort of spatial whole, having boundaries, but also internal territory. The realm of culture has no internal territory. It is entirely distributed along the boundaries, boundaries passes everywhere, through its every aspect...Every cultural act lies essentially along its boundaries.
Mikhail Bakhtin. The Creation of Prosaics Mies’s Loop Post Office in Chicago provides an exemplary building for the study of skins in architecture. The building’s large steel beams painted matte black are separated from the non-load bearing exterior walls, which are full height glass and stretch along four sides of the building. The walls are only broken up only by the steel I-beam mullions. The glass façade reduces the perception of weight while accentuating the building’s transparency. Its materiality alludes to the thin, light and diaphanous qualities that one would associate with skins. The separation of the load-bearing structure and the non-load bearing enclosure has afforded enormous freedom for the exploration of architectural space in the 20th century. The building skin, on the other hand, becomes a surface opened to investigations through the various strategies of material, perception and programmatic thickenings. The opportunity for discovery is vast.            Lina. Inside Mies's Mind.  Tyler. Transportable Skins.     Rebekah. The Ghost of Mies.  Alex. Mies and Movements.   Melis. Trangressing Mies.        Suzie. Sensing and Learning Mies.      Jordanna. The Four Modernisms.           Olive. Transcribing Transparency.     Molly. Capturing Corners.     Dana. Mies and the Weathering in Time.       Lauren. aMediated Nature.   
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