Tuesday, March 18, 2008

life = education = life

Here's an excerpt from the article Hann wrote about in the previous post regarding the work of the Population and Community Development Association's work in building schools in the rural areas of Thailand. The account was written by Jessica Shortall, CEO of Catalyst Strategy Advisors. Jessica is making the trip as one of the first Population Development International fellows, whose task it is to learn about PDA’s work and share that knowledge in their own communities and with others working in social enterprise.

“If you know how life works, you know how to educate.”
- Khun Wichean, headmaster, Lamplaimat Pattana School

Lamplaimat Pattana School (LPS) is calm. This is the first impression I get upon approaching and entering this beautiful village school (grades K – 5). It’s a private school (with startup funding from a wealthy British businessman) with working farm plots, shaded outdoor spaces, rabbits hopping around the grounds, indoor and outdoor plants, and high ceilings. The children, sitting in stockingfeet on the floors of their classrooms, are just so…calm. They laugh, call out answers, and play games, but not in that manic, over-sugared and low-attention-span way.

We soon delve into the complex system that is contributing to this calm atmosphere. School starts every day with a 20-minute meditation, in which the children and their teachers do simple yoga, coordination exercises to focus the mind, and low-brain-wave meditation. The children’s attention is then drawn along throughout the day and the whole semester by a 10-week curriculum centring on a single subject of study. Students decide the subject with their teachers – this year one group is studying fish, another electricity, and a third, clothing. Through this ongoing project students write stories (improving their writing, language, and thinking skills), learn English, do science experiments, study history related to the subject, learn skills (like sewing, for the clothing project), create art and music, and gain digital literacy by doing research through the school’s bank of internet-ready computers. What about testing and government benchmarks, I ask Khun Wichean, the headmaster. “I don’t take government tests seriously,” he replies. “We use authentic assessment here.” At LPS this means the teachers assess students across all categories (what most of us would put into silos and call “subjects” like reading, maths, etc.) in each project. The children do in fact do well on the government tests but this is more of a box to tick than a goal in itself.

Drawing from any thinking it finds useful for its paradigm of life-as-education (from Montessori to Steiner, neohumanist thinking to Eastern philosophy), LPS sees its students not as “boxes we must fill with knowledge”, but as humans who need to decide for themselves which knowledge is important, and who need tools to go and get that knowledge. “Everyone doesn’t have to know the same thing,” he notes. True: that’s not how life, and good old Adam Smith’s specialisation and division of labour, works.

Read the entire account here. You will find at the same link, her experience with the PDA. I studied the PDA for my dissertation and was very inspired by the work of Meechai. Read Jessica's blog posts for a better idea of what they do. You can also the link to PDA's website at the bottom of the sidebar on the right.

Sunday, March 16, 2008

Of seeds sown, and seedlings grown

(Kindly pardon the Dr Seuss-esque subject for this post, I was just entertained by a full-length version of one of his scripts earlier in the evening.)

I bought a camera recently, and found that one of the pixels on the LCD was inactive. A technology-enthusiast would call that a hot or dead pixel, which shows up as a bright spot on the LCD screen, regardless of whether an image has been captured by the camera or not. Now, what's one pixel out of 230 000, you say, but the net effect is somewhat similar to a bright-red pimple smack in the middle of the temple of Helen of Troy. (Call this obsession an occupational hazard if you might.)

Nevertheless, I was thoroughly impressed by that particular manufacturer's after-sales service, and their willingness to replace this with a new product (of the same model of course). Thus, Helen of Troy, post-adolescence. This was particularly impressive as company (and product) policy dictates that a unit can be replaced only if there are at least five such hot pixels.

...

I had a bit of a think about programmes like last year's DMP (Design My Place, an "architecture- and urban-awareness" workshop geared towards upper-secondary and pre-university level students) and more recently, the roaringly successful YUP (Young Urbanist Programme, a similar workshop for primary-school students), and what it might give birth to.

The YUP programme, by virtue of its objectives (or maybe by virtue of its acronym!), is somewhat reminiscent of a programme that some of us might have participated in in primary school, called the Young Scientist's Award. It's the programme where you research on bugs and achieve an Entomology badge, sort out some waste and achieve an Environmentalist badge, and so on. After x number of badges - and therefore, x number of ticks on a checklist - you'd become an eponymous Young Scientist.

What these programmes have done is that they inculcate a seed (possibly more, depending on their response to various conditions) of interest and participation in architecture and urbanism (I use the term rather loosely here) in this case. There are, the cases of DMP and YUP, projected plans of continuing and sowing similar seeds (how's that for a Seussian alliteration?) in a larger pool of schools, across multiple levels of education preceding higher learning (at this point, primary, secondary and pre-university students have already been involved). More sites in Singapore would be covered, concomitant with more ideas, greater ideas, and unbridled visions of what the city could be - perhaps even more unbridled at primary-school level than at pre-university level, but that's a discussion in another room.

In essence, the seeds are thrown over a larger hinterland, with one constituent area being responsible for - or accountable towards - another.

Yet, with the passing of the programme, though, what becomes of the participating students? The sowing of seeds (I apologise for the poor metaphor in the earlier paragraphs which has been taken up to this point) over a larger area might (and likely) lead to a lapse of attention, a lack of nurturing, in the previous seeds which have just begun to grow. While having an interest in architecture and urbanism (again, don't philosophise too much on the word in the context of this blog entry) inculcated in them by having participated in the workshop, it might be very soon before the interest gets superseded by the more daily demands of having to survive the many other obstacles of pre-planned academia - the PSLE, O and A Levels, plus the multiple variations of secondary and pre-university baccalaurates and integrated programs that could well snuff out that interest in architecture. Case in point - I might have participated in that young scientist award programme, but it didn't make me a scientist.

While I'm definitely not arguing that every (current or future) DMP and/or YUP participant should aspire to become an architect at some point, what I'm championing is the nurturing of the now-seedlings that have been planted in them. The idea is to be able to engage previous workshop participants at a higher level of involvements in future workshops, and this can be two-prong:

1. To engage the participants of the previous workshops as facilitators - and eventual veterans - of future workshops.

2. To enable them to participate in workshops that are now more in-depth, and thus engage their thinking and creativity (for lack of a better synonym!) at a level that is now in tune with their maturity, and

(Point number 2 would work out when there are workshops that sufficiently bridge the various levels of formal education, but given the current infrastructure, a YUP participant at primary-school level could well benefit from the DMP programme when he/she is at the upper secondary/pre-university level.)

Now all that rant above simply elaborates on this - the long-term vision for these workshops could include the possibility of inculcating a long-standing commitment with various schools and curricula, beginning as an "attache programme" to the existing curriculum, and possibly assuming greater involvement in formal curriculum in the future. That is to say, good "after-service service", for the sake of bringing this point of the discussion back to the initial thought about the good follow-up service rendered in the replacement camera scenario.

Which leads to the next point.

How would a structure like this fit, and feed back, into a larger, longer canvas? How would the curriculum host programmes such as DMP and YUP if they are taken into the long haul, and thus involving greater labour, more resource and higher levels of commitment by the personnel of participating schools?

Taken several steps further, wouldn't it be ideal if the students, through these programmes, have direct involvement in the spaces that they learn in, and/or the softer aspects of their curriculum (akin to what students of certain liberal-arts universities might relate to)?

A conversation with Tay Kheng Soon, at some point in a very enjoyable semester last year, one highly successful - and one can only hope is contagious - example came up. Kheng Soon was closely involved with the planning of one such school together with Mechai Viravaidya - Thailand's Condom King might ring a louder bell - the latter having launched the now-renowned Cabbages and Condoms chain of restaurants and resorts. That school is the Lamplaimat Pattana School in Thailand (see a write-up of it here, by Catalyst in Thailand), and for the sake of brevity (and trust in you having read that Catalyst article), the students across six primary-level grades are genuinely involved in their learning spaces and curricula. Some students have even set up their own radio station, broadcast to students of the school alone. (How many of us would even think of doing that at any point in our lives? We are taught to "pass with flying colours", except that those colours come from a very limited palette.)

The administrators have administered, and remarkably, stopped at that. They have allowed for room to grow, without any semblance of an overbearing hand in controlling the child's destiny, so to speak. They have facilitated, and in that process, nurtured the growing seed.

...

Programmes such as YUP and DMP could be that which tills the land, at the very first step of that long-drawn, and often endless, process of learning.

Comments, refutations and anything in between are very much welcome. ;)

Saturday, March 15, 2008

Ongoing Exhibitions at URA

Here's a bit of publicity for URA - definitely worth taking a look, especially since there're three of them, all under one roof!



How to Get There

The URA Centre, 45 Maxwell Road

Nearest MRT Station: Tanjong Pagar




Singapore 1:1 ISLAND

16 November 2007 - 11 April 2008

Singapore has been likened to a 1:1 scale, life-sized gallery ofarchitecture and urban design. "Singapore 1:1 Island" highlightsSingapore's architectural and urban design uniqueness through a selectionof architectural projects completed island-wide, outside of the citycentre, over the past four decades. For more information on the exhibition,please visit http://www.ura.%20gov.sg/spore1_%201/island/


President's Design Award 2007

15 February 2008 - 11 April 2008

The President's Design Award is Singapore's most prestigious award for itsdesigners and designs. It recognises the significant achievements andcontributions of the nation's design talents. The Award entered its secondcycle in 2007 and was conferred on seven Designers of the Year and sevenDesigns of the Year. This exhibition showcases the works of the 2007 AwardWinners. For more information on the President's Design Award, please visit http://www.designsi%20ngapore.org/%20pda/award.%20html



The National Art Gallery of Singapore

7 March 2008 - 28 March 2008

The National Art Gallery of Singapore (working title) is a new visual arts institution which will contribute to building Singapore as a regional and international hub for visual arts. To seek the best design concepts for theNational Art Gallery, the Ministry of Information, Communications and the Arts (MICA), in association with the Singapore Institute of Architects (SIA), launched a two-stage architectural design competition in Februarylast year. This exhibition showcases the three winning entries. For more information on the National Art Gallery, please visit http://www.national%20artgallery.%20sg/

The exhibitions are open Monday - Friday, 9am to 7pm; Saturday, 9am to 5pmand are close on Public Holidays. Admission is free.

Lego Architecture

What do you get when you bring a group of architects together, throw them a pile of white lego bricks and ask them to just have fun and engage spontaneously with the materials? Loads of creativity!

The Building Asia Brick By Brick project done in collaboration between Andrew Maerkle of Art AsiaPacific and Wei Wei Shannon of People’s Architecture seeked to to promote awareness of architectural preservation in Asia where much urban development occurs at the expense of historically significant or unique buildings. In raising awareness, the project hoped to get people to look at their environments critically.

I was personally quite impressed with the end results of many of the projects. It just proves that we can certainly come up with more creative alternatives to the heavy-handed tear down and rebuild approach that many developing countries are taking, in the name of economic growth. I also noticed that the goals of the Building Asia Brick By Brick project was very much similar to what we do in re:act! Perhaps we could get Lego to sponsor the next Design My Place or YUP project? That would be great wouldn't it?

Read more here

Friday, March 14, 2008

Young Urbanist Programme (YUP)

Fun, great, cool, creative, interesting, crazy, scary, brain wrecking, spectacular, challenging, the best, excellent, shiok, record breaking, oh my gosh… This was how the primary 5 students had described the pilot YUP workshop completed on Monday, 10 Mar 08. Held at URA Centre, the workshop was attended by 31 participants from Radin Mas and River Valley Primary School. The programme was really packed – it was like the 3-day Design My Place workshop (for JC students) compressed into 1 day! But somehow, it was still magically manageable.

Enjoy the photos!















Friday, March 07, 2008

RICHARD SERRA & THE MATTER OF TIME



corten stairs


corten sculpture

corten steel and rusting compliments phenomenological ideas of time, impermanence and emotions. if anyone is familiar with the telok ayer stairs of WOHA, climbing up and down a phenomenological object for two years, some say, may take away some of its aura and bring it back to the reality of everyday. thinking back, i actually enjoyed climbing up and down that circular corten stairway. it was a place to stop and chat (it echoed a lot in the stairwell), the lights were soft, and every step you take goes bong-bong-bong-bong.

phenomenological everyday.

sigh, nostagia descends.

anyway, read the article "In Praise of Rust: Technics and Poetics of the Ferrous Patina" by Cheah Kok Ming in Singapore Architects 242. It is a well researched article with many examples of corten use in various ways. one of my favourite examples in his article is Gigon-Guyer's signal box in Zürich (Stellwerk Vorbahnhof) which is, ironically, NOT made out of corten but concrete with iron oxide pigments.

a rare well-written article in a magazine. i pored over it assiduously.

Friday, February 15, 2008

Really Ar? at Night & Day Bar

And so our first session of Really Ar? came and went. In all, I must say we were quite pleased at the turn out, though it is still a constant struggle trying to get some serious discussion about issues started. I guess it's just the mood that people are in after a long day's work. Still, it is a start! The next time we do this, we will probably have a more specific theme and find speakers accordingly. That would help steer the discussion a lot more.

Thanks to all the people who came to share with us your projects - Adib, Wai Hon, Ker How and Lin Hao. It was most enjoyable. Our gratitude goes especially to Randy who allowed us the use of his place and for supporting us in such an initiative. You have our heartiest appreciations! Of course, also to all who turned up, we hope it was at least remotely meaningful for you. Do let us know how we can improve in the coming sessions!

Enjoy the rest of the photos!










Wednesday, January 23, 2008

LIVING IN A GLASS HOUSE: CHAREAU'S MAISON DE VERRE IN THE TWENTY-FIRST CENTURY









(except for the third picture the rest represents the current condition of the building, taken from flickr.)

Berlage Institute Lecture Series (Netherlands)
-Robert Rubin, current owner of Maison de Verre. (Also restored Tropical House by Jean Prouve)
Tuesday, 22nd January 2008, 7pm


Either I was in an lucid and clear frame of mind, or Robert Rubin was extremely precise in his presentation. The running I did to catch the train to Rotterdam was well worth the short moment of breathlessness on the train.

Trivia aside, I found his lecture well worth the effort to spend some time to blog about. Mr Rubin buys the house with his wife, Stephane Samuel (who incidentally is a landscape architect) and proceeds to restore it and live in it. It was clear that the dwelling component on the onset was important to him as he more than once stresses the idea of restoration as being divergent when it comes to restoration for living in, or restoration as a museum piece.

The site context was interestingly restricted by this old lady who lived in the top floor or the building, who could not be evicted. Hence, the decision was to carve out the two bottom floors, make them into three, and slide the whole thing in. The building was occupied by the Dalsace/ Bernheim/ Vellay family till the 1970s. Dalsace was a gynaecologist so gynae artifacts are still preserved.

The building did not come into attention until Richard Rogers wrote about it in the 60s. Then Frampton picked it up in 68 and his writing was of course widely circulated so Banham took note of it as well. Mr Rubin compared Le Corbusier's aesthetic of the machine with Chareau's, noting how Corbusier's aesthetic preceded form while Chareau's starts from function. Banham describes the Maison de Verre as a techno-surrealist masterpiece, and thus qualified surrealism "as a permitted response to the machine".

Mr Rubin's concept to take possession of the home slowly, and live in it, became evident in the choices he made in altering the building. Firstly, he selected the period in which the house should be restored to, and after the removal of the art deco furniture by the previous owner, the house closely resembled its original condition before occupancy. Hence his choice was to restore the house to its condition of 1932. Mr Rubin also decided to restore the house beyond the plastic condition (the surface) and thought about how to change the building system so knowledge of the house is not skin deep.

And skin deep it is not, as his restoration involved things like rewiring the house so that it functions like how it does in 1932, remove 180 kilos (or thereabouts) of dust from the heating system, and hunting for the period lights in the flea markets that would light the building from the exterior. (they have dummy ones now, yet to find the period pieces). The furniture he chose were also low key so they did not interfere with the space. The only luxury he permitted himself was to restore a really contemporary shower in the laundry room.

Mr Rubin's obsession with habitation and precise documentation of the entire process is perhaps driven by his view that the house was a cultural project, and that the documentation of the house (a student is doing a PhD on this house) would be valuable addition to our understanding of modernity. I think he mentioned that he is in the process of understanding how modernism (or was it Chareau?) moved from French modernism to American Abstract Expressionism. Walter Benjamin was meant to give a talk at the place but apparently Dr Dalsace was ill on that day. He did mention how the fact that the house was going to house a talk by a political dissident (Benjamin) touched on the cultural richness of the situation but I think he was still formulating this part of his lecture.

Funnily enough, I did an analysis during year two on Maisson de Verre, and also visited the memorial of Walter Benjamin in Port Bou, Spain. I happen to love Benjamin's writing "The Work of Art in the Age of Mechanical Reproduction." Read it 5 times before I understood it.

So in conclusion, I really enjoyed this lecture for the clarity and new insights it brought to my understanding of restoration- that to restore something, you had to decide which period to restore it to, that every part of the house had to be restored in the same intensity or else it would be set off by the other parts, that restoration was part of a broader cultural project, and in this case writers, political figures and multiple avant gardes. What I really liked was the idea of habitation in restoration, and how, according to him, that was the "least violent form of restoration". The only contention I had for his comment was that he mentioned how the building was out of the political limelight, and hence he had the creative freedom to alter without much political pressure; yet he talks later about a whole slew of advisors that would give him "talmudic" advice on what he should and should not do. I could have clarified this but then I was sitting to far back and only formulated the disjuncture when the mediator said thank you guys.

Good time spent. Plus good company.

Tuesday, January 22, 2008

Really Ar? Design Sharing Session

And so we kick off this year's activities with our very first Design Sharing Session of 2008! As you would have probably noticed, we have given a name for all our future sharing sessions - "Really Ar?" I thought it's a cool name. Local, contextual and also a play on the words, Really Architecture! It's inquisitive, dynamic, and has an addictive ring to it. For those of you who need a crash course on the nuances of the Singlish language, the word "ar" normally spelled "arh" is commomly uttered at the end of a question to express enlightenment, as in

"This building was built by Foster."
................................................................."Really arh?"

When exclaimed out loud, it can also be taken to express astonishment or disbelief, as in

"The new national stadium is going to look like tissue paper."
..............................................................."Really arh?!"
(Of course we now know that it will be a bald headed dome instead.)

I could go on, but admit I have digressed. I am easily distracted. Anyways, we really hope you can join us for our opening act of 2008! We've got some interesting projects lined-up for you. Come and give your 2-cents worth on what you think about them. Almost anything is up for discussion. Mark that date down in your calendar now! 31 Jan (Thu) 2008. 7.30-9.30pm. Venue is at the Night and Day Bar. In fact, why don't you do one better and bring a friend along. See you there!


Joshua Teo

Saturday, January 12, 2008

CANTILEVER


OFFICE IN FUSSACH, AUSTRIA
by Baumschlager & Eberle

The brilliant thing about this cantilever is the lever arm is hidden under ground.