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The Only Daughter

Summarizing a full year is a mission many would cringe at upon first thoughts, which is exactly what I did when I was asked to write this. It is literally impossible to keep record of life in pseudo peaceful, slow-paced England while being a true Singaporean at heart. Especially since I just took five minutes to generate the last two sentences! I see how this could become one great long-winded bedtime story, so I shall tackle this at best.

Just like most years, I started this one without much expectation of many things changing drastically. Myself being the least of that, despite my New Year’s resolutions perpetually at the back of my mind. Like everyone, I didn’t think they would last, primarily because I knew I wouldn’t have the vigilance to keep them for a whole 365.25 days.

The start of a new year doesn’t mean much except the need to rummage around for another badly designed calendar. I was in a relationship, and being close to the end of college education, striving toward the best university I could get into, I appeared happy to most. Deep down, I longed for a stronger walk with God. I looked around and saw so many adults at that degree and just couldn’t see my little self there, after all I was better than most at my age. With my seemingly “joyful” life at hand, I didn’t see much need to try hard anyway.

By February, I was single again and it was just me and God, although that was far from my focus. I always viewed university as the final type-of-education, thus the only one that really mattered. Bred in a culture where education was the only thing most people lived for, it was absurd how the people I had been plunged into had other focuses. It made my average, Singaporean-drive to “do well in school” seem so much bigger than it really was. As far as I was concerned, our family came to England for a sole practical reason, and I didn’t want to disrespect that. I remember the rest of college this year comprising of breaks and lunches spent in front of a computer doing work of some form. I didn’t appreciate why my life should suffer for the sake of “wasting” time with the friends made in school, since I was heading to university soon; and was going to make new friends anyway. Besides this, I earnestly looked forward to my ritual summer holiday planned to be spent in Singapore, in accordance with the two years afore.

As soon as I had begun revision, my ‘A’ levels were over and I flew off the day after my last paper. I had anticipated this for months and with absolutely no holiday homework, I was convinced this Singapore holiday was going to be the best yet. I was right; of course, apart from how I thought I didn’t need God at that point in my life. Regardless of all the “fun” things I got up to over the 49 days I had, a void grew within but I chose to ignore it. With every holiday back in Singapore, I learn who my true friends are. And each time I return back to my second home, I discover who my best friends are. In this day and age, time seems to be the most valuable thing you could ask of anyone.

While I wasn’t paying attention, God was working behind my back. I received my results back with an A in Maths, a B in Physics and another B in Graphic Design, the last being the most shocking. Nottingham University had been my first choice, on the condition of achieving AAB. My 2 years of persistent hard work hadn’t paid off; even worst to know I was less than 1% off a grade A. I had prayed for a B in Physics, which was my main concern, with the objective of going to my first choice University. God had other plans.

As hard as I tried to appeal and avoid Plymouth University at all costs, God tried His best to shove me to my second choice University. I had chosen it without even visiting the place or formerly reading the course description, let alone accommodation and travel. I didn’t even know where Plymouth was! Before going I had told myself that I’d try and like the place, but on first impressions, there wasn’t a single thing I found I could approve of. I was convinced that I was going to Plymouth by accident and even tried to get into Kingston University, London; through clearing.

Due to problems with accommodation, it was fairly clear that Plymouth was where God truly wanted me. So I gave in to God and headed to University with no expectations. Having been through a whole term, I can look back and say that the ride so far has been more arduous than I had even imagined. I thought I’d cope with being away from family but I completely forgot that I wasn’t going to be around any friends this time. Without anyone who knew or loved me around, all I had was God. For once in my life, He was the only One I had to rely on.

Not being as strong as I had first convinced myself I was in my faith, it was almost as good as chucking me in the deep end of a wave pool. I began the term full of complaint and ungratefulness, as most close friends I spoke to were unfortunate enough to be witness. That was probably the most testing time of my faith, my moulding into something God knew I was capable of; despite myself already content with the state of my heart for years now. Growing up in a Christian family has its pros and cons. The Bible knowledge you gain throughout life is beyond rich. At the same time, it’s so effortless to develop arrogance and think God can’t possibly want to change you into anything better. What could be better than being “born a Christian”?

I had grown a secret arrogance in my heart, which is why refinement was painful. Before that, came self-pity, complete with tears at night and lots of pouting. So much has happened that I really can’t go into. All I can say is that I thank God for not giving up on a conceited girl, through prompting of the Holy Spirit, relationships developed through my Christian Union, messages through church and Joyce Meyer sermons, and genuine friends that God has placed in my life (only you know who you all are) that have kept me on track.

In a single word, this season has been humbling. And for once in my life, I can honestly say I am content. I never knew what that meant until now, and I can only see everything getting better than what they already are. I can’t apologise for involving God so much in this article, because it’s only because of Him that I have ‘survived’ university life and am experiencing joy that I have never established before.

Christian Weekend Houseparty article

Coast to Coast, our God stays the same

The annual ‘Houseparty’ was immensely anticipated by many in the University of Plymouth Christian Union (UPCU). Planned weeks in advance, it promised to be a weekend of fun and rich fellowship with God. Everyone who came had the heap of work awaiting them back home at the back of their minds. But now I am convinced everyone felt the procrastination was worth it.

Travelling at peak hour traffic on Friday 3rd December to the obscure village of Georgeham, we arrived at St. George’s House in darkness. A Georgian abode managed by Christians for Christians who wanted a weekend getaway with God. That was us!

Each evening and morning of our weekend we spent worshipping God and studying each chapter of the book of Jonah, with talks from Kenny _________. In between sessions were a lot of food, giant Jenga, surf, pool, and plain chillin’ out. The cold but sandy beaches provided emancipated space for us restless things to play on Saturday afternoon, like children on an English summer’s day. Picture a game of Rounders with almost fifty people sprinting about damp sand.

Besides the sheer delight of ignoring work for 2 days, I personally found more joy in the deepening of my spiritual walk. We all know how work overwhelms us each day that forgetting about God is effortless. Being at one coast as to another really served its purpose of distracting me from the hustle of Plymouth, focusing on God for most part. I heard the word “Christian” so many times I could probably competently spell it backwards at a moment’s notice.

I never thought a story involving a big fish and a rebellious man would ever challenge and teach me as much as it did with each session we studied Jonah. To realise how God stubbornly chases our hearts regardless of how far we turn away from Him, rooted a reverential fear in my heart that I convinced myself I had before. His graciousness, something I had never appreciated previously. His transcendent authority I easily forget each time I pray, asking Him to fulfil the desires of my flesh. His patience, when I realise afterward how selfish I had been all this while to ask in the first place.

Just when I thought I’d had it all figured out, God came along and humbled me by revealing how little I truly knew of Him.

Essay 1: Architecture and People

Architecture: The art & science of designing and erecting buildings. The definition of architecture explains so plainly what it is yet can be so easily interpreted into innumerable, opinionated adaptations. I believe this is the consequence of people’s upbringings and the ideas they have been presented with throughout their lifetime regarding architecture. The outcome is that everyone has something to say about architecture regardless of how much they genuinely know. Clearly, architecture affects people in the world so much so that they feel they have the right to affirm their conjectures of it.

If such an issue influences that many, it is surely eminent; although I feel it is usually forgotten and has often failed to be given due credit. Architecture facilitates my aspiration in a way that I feel is within my aptitude, where I can make an impact on the masses. I believe architecture is about constructing resplendent space with full respect to the environment of the site. Although some buildings may seem to be incongruous within certain surroundings at first glance, I feel you need to give a building time and experience it so it can justify its place.





A good example of this, which also happens to be one of my favourite buildings, is the Curtain Wall House by Shigeru Ban. Situated in the heart of Tokyo, in Japan, it caught my attention at first sight. As it suggests in the name, two walls of this structure are made of brilliantly oversized flawless white curtains that grow with each passing breeze. These, however, are hung from both sides of the pointy corner of the house, which is ironic. The invectiveness of the arrow shape conjugated with the benign curtains evokes a strange yet wonderful mix of feelings. Surrounded by worn, box shaped buildings, this minimalist structure immediately appears to be out of place, yet bequeaths such an uplifting atmosphere to the site.

Japanese architecture of late, in my opinion, can be summarized into that building. And I am convinced that this is the result of the recent generations in Japan driven by the idea of being contra distinct in any form of design. On the other hand, architecture in England, and Singapore; where I am from, exhibit such a contrast to this, even between one another. English Architecture brings the word ‘rich’ to mind, kudos to the palatial history of the country and the many cultures and people who developed it. Over in Singapore, the architecture is a denouement of the circumstances and people in history. People have been forced to build high-rise apartments aplenty due to the sore lack of space, and the continually growing population.

All this goes to show the inseparable relationship between Architecture and People. The architecture of a country is limited solely by its people and they determine the style of architecture produced, based on the backgrounds of respective populace. This is probably why people constantly want a part in architecture, especially me.

Essay 2: The Impact of Space and Form

Space is something we will experience for as long as we exist. Architecture has the capability of manipulating space, on account of the people who experience it. People are more powerful than architecture itself because it is simply what they construct in their minds.

Having researched the Renaissance movement, I can only imagine what buildings were like when they had been freshly built. A building at present only serves as the closest form left for us to add to the mental contrive we cultivate in our minds for every building we experience. To elucidate this more effectively, I have chosen a building from the Renaissance period to relieve my attempt in considering the effect space and form have on the perspicacity of a building.

I found the St. Mary Le Bow to be an exceptional example because identifying it, as a building from that movement is facile. Imagining the experience of a space will be challenging because you have to be at a place to experience what it has to offer because no amount of images can do justice to what you sense through the architecture of a building. Ref. 5 "This is one of the fifty-one city churches that Sir Christopher Wren replaced following the Great Fire of London in 1666. For the sake of economy, he in some cases made use of old foundations, ingeniously adapting the elevations to create interesting and varied effects." — Deborah Fritz from Sir Banister Fletcher. A History of Architecture, p1034. The quote above by Fritz portrays the background of the building well, stating its reason and her impression of what Wren has designed. Keeping the building’s history in mind, I see how this was a major building in the history of English Renaissance. I have observed it as a very balanced style of architecture, taking into account characteristics of classicism, portraying extreme harmony between all the elements within the structure.

To start, it is located in lively London city, surrounded by busy-ness and modern buildings. Yet among various other rich examples of architecture within the city, it stands out, providing a sanctuary to its church and the people of that area in London. It marks itself as an important building with its façade design and unique classical style steeple kept white through all these years. It has smooth brickwork at its base that persists upwards, the décor developing with the height.

At the base, four possible entrances are easily identified with half round arches hanging over each door, with two columns on either side. This style of marking an entrance is typical of classical architecture, reinforced by the technology of that day. Around each entrance, bricks line the outline with an outward spread just like rays emitted from the sun. Enticing you into this mysterious space, there is no way of picturing the interior of the building, without penetrating the exterior. Before that, your eyes are led upwards to the tip of the steeple where your gaze turns into awe as you feast your eyes on beautiful classical décor. A circular drum with a half round dome, lined with smaller columns in the style of classical temples (the drum and dome very typical of renaissance architecture). This leads even further upward to a smaller version of this, a steeple taking you the tip with a white bird at the highest point. This amazing height growing form prepares you for an incredibly grand interior.

I imagine the sound within the building being a complete contrast to the world beyond the building’s sheltering walls. Like most churches, the atmosphere within is peaceful, undisturbed by the surrounding environment. This is done through encapsulating people within a cell, made up of walls, a roof and the ground, to distinguish it as a separate space from the rest of the world.

The floor is a mix of black and white polished tiles in a robotic, almost pixelated fashion. This is a vast contrast to the white walls with columns bordering the space, metres apart from each other. But unlike the exterior, the leaves of the Corinthian tops have been plated gold, as are various other elements of the interior, just to add a touch of luxury to the space.

The half round arched ceiling has been spilt up rather geometrically, with various sections of the grid coloured sky blue, bordered white and gold. Windows along the clear storey and on each side of the main sanctuary are transparent enough for light to stream in, illuminating the space within on a very balanced level, not too bright and not at all dark. But at the front of the space, a complex array of tinted glass provokes your attention to gaze upwards for more than a moment, looking through the glass but not actually seeing what is on the outside. In fact, despite all the windows placed in this structure, none of them allow distractions to creep in from the busy outside world. The clear windows are even high enough, allowing only the sky to be seen. So much concentration has been made on evoking harmony within the design that it seems that every single outlet has been capped with a half round arch support. Circles have been inputted where possible, because this shape was believed to be the most Godly of that time.

In conclusion, I imagine the general experience of the St Mary Le Bow to be extremely pleasant and harmonious, in keeping with the theme of the Renaissance. The form of each character is responsible for evoking this, its inspiration drawn from classicism, affecting the experience of the space defined by the building design.

Essay 3: The Significance of An Architectural Concept

Regardless of the simplicity or multi-layered construct of an idea, I think it is the key to any form of growth or development. When we use this notion in regards to architecture, it becomes clear how pivotal a single concept can be especially with different movements through architectural history. My intention in this essay is to establish the significance of a theory in an architectural period. By referring to written sources in books and on the internet, I want to analytically compare two movement’s ideas in architecture. This, however, provides the limitations of my scope, as I would probably need a wider range of sources; before drawing any worthwhile conclusions on this issue especially when I investigate manifestoes of the International/Bauhaus and Post-Modern movements. I expect to conclude that the significance of an idea is the driving force and root behind such influential movements, since a product always stems from a primary source.

The International/Bauhaus theory struck me as a much focused one like many others, apart from it having no bonds to the movement before itself. The politics and affairs of that time; with the advancements in technology and materials, ensued this, portraying a fervent need for order throughout the whole period. The First World War and the Russian Revolution of 1917 changed internal order and another war (1939-45) followed in Europe. This stirred mass culture – of production, consumption and communication. Architects are forced to work within the issues at hand, as their products are chiefly for the masses of that time, not the past. Thus, as the designers of this new society, they tried intensely to identify themselves with international themes. They wanted to put architecture back on its real plane, which is the economic and social plane. They also felt specifically that the most efficacious production is derived from rationalization and standardization. Standardization is probably the word I feel best describes the buildings born of this movement. It does not speak of neither distinctiveness nor discreteness but of an orthodox approach to gain acceptance.

To understand how the movement came into character and became a global influence, we must recognize that the mainstream architects of that time saw themselves as leaders of a social revolution and creators of a new society. Charles Edouard Jeanneret-Gris (1887-1965), better known as Le Corbusier, was the most pervasive influence on modern architecture. Therefore, a good comprehension of his work will denote a fine understanding of the concepts of this advance. Corbusier is not just remembered for his mastery of form and light, but also for his radical outlook of reinforced concrete. It was a new material that Corbusier had understood under the influence of Auguste Perret, who regarded this new concrete as the modern structural material par excellence. Corbusier, however, “saw it as a means towards the industrialization of the building process”. (Colquhoun, 2002:143)

This idea was first exemplified in the Dom-ino frame Fig1. (1914), designed with Max Dubois’ help. The building’s skeleton was made up of columns and a floor plate that established a prefabricated system independent of walls and partitions. It was designed in response to World War I, with simple framing as the basis of low-cost housing.

Fig1. Dom-ino frame (source: http://www.usc.edu/dept/architecture/slide/ghirardo/CD3.html) It is also one of two houses (the other being the Villa Savoye at Poissy) by Corbusier that encapsulates the five points of new architecture. They are: 1. free-standing supports (pilotis) that are spaced regularly, calculated precisely 2. the flat roof or roof garden 3. the free plan 4. the ribbon window, made possible by the support system, assuring illumination from wall to wall and admitting eight times more light than a vertically placed window of equal area 5. the freely composed façade

Fig2. Villa Savoye (source: http://www.cambridge2000.com/gallery/html/PC1913149.html) As with the Villa Savoye Fig2. , the pilotis free the ground on one hand and recapture that land in the air via the roof garden. Although some of these features do not seem logical, they defined a new aesthetic for building design used altogether, by Corbusier in most of his projects up to the mid 1950s.

Another concept Corbusier held was how he saw a structure’s internal space as a big cube which could be divided both horizontally and vertically, so that volumes within this cube could be taller, shorter or smaller than the rest. As observed in the plan of the Dom-ino House, its plan is somehow independent of the structure as the walls and windows can be put where the designer wants them. This stands as a complete contrast to the intact of architectural history, where walls were critical in supporting the roof and floors of buildings. This helps explain the trait most obvious and abhorrent of modern architecture, freeing a plan, making the design process convenient. Unlike pitched roofs, a flat roof does not need to rest on a wall, liberating the arrangement of these defining components.

I observed that buildings from this movement look attractively repetitive. Corbusier’s next notion would clarify why this is so. He created the Modular Fig3. , which was a scale based on the human body and the golden section for satisfactory architectural proportions. I believe the precise combination of these characteristics contributed to the unique base theory behind the International and Bauhaus movement, the fusion of function and aesthetics; science and art.

Fig3. The Modular by Le Corbusier
(source: http://www.surrey.ac.uk/~pss1su/lecturenotes/
sun/LectureNotes/city/city.html)

The movement that evolved from the International/Bauhaus set out to reject the theories from that period. Despite this, Post-Modernism like the Bauhaus, had an affect on fields other than architecture, although sharing the same principles. The theory behind this period was to combine new ideas with traditional forms, primarily to satisfy the building’s purpose for the delight of people or if the architect was trying to make a statement. Thus, post-modernism is often referred to as neo-eclectic, having such a rich concoction of concepts, contradictory to orthodoxy, austerity, and formal absolutism.

Historical features tended to be widely exaggerated or simplified (rather than replicated as the period styles did) and were mixed up into an incoherent, illogical jumble of a building. These historical components were incorporated in a hybrid instead of their pure form. It was born mainly to identify a new direction in architecture after modernism. Its reason for birth seems to source from a sense of disorientation and apprehension in science and humanities. Therefore, it did not describe what directions there were, but what they were not.

The attributes of post-modernism, defined by the architect and architectural historian Robert A.M. Stern (born 1939), were contextualism, allusionism, and ornamentalism. The attempts of post-modern architects to “link their buildings to established patterns, geometries, and possibilities for future growth, instead of conceiving each design as an isolated object in the landscape” (Moffett 2003:549) is the main reference of contextualism.

Besides an unpredictable blend of ideas during post-modernism, many unorthodox materials were starting to be used by architects, in an endeavour to be as different and unconventional as possible. Attempting to appeal to as broad a public as possible is what post-modernism also sets out to achieve, providing understanding and appreciation concerning both the elite and the layman. But in my opinion, post-modernism was birthed from desperation of some form of direction, which then grew into a movement where things were done without much deep, meaningful purpose.

Although the two movements I have discussed contrast each other in their theories and developments, they share similarities in the sense that their history proves the substantiality of an architectural idea. In the International/Bauhaus movement, there was a clear trend of concepts unique to that time in cultural, political and architectural history. On the other side of the spectrum, post-modernism based itself on the opinion of negative space. Stating what was not to be, instead of what was. The fruit of both these dissimilar approaches was exactly what was sown. An array of buildings fashioned and reflecting the architectural ideas established in respective periods of architecture.

In closing, I want to summarize my argument; and draw a conclusion from my readings. The object of this essay was to prove how noteworthy an architectural idea was, which I established through quite contrary movements in architectural history. Noting their differences, the strongest similarity they shared was how much their beliefs directly controlled their evolution with time. It led people to design, live and think in ways never undertaken before. It seems that regardless of the presence or absence of a set of clear guidelines, there must be an ambition that steers people toward something, arguably better or worst than the former.

As further study, I would not only like to explore each movement in greater detail, but to add a third comparison to prove my argument farther. My research would be in a greater variety of literature written at the times of the movements and more up to date pieces.

Despite this, I believe I fulfilled the intentions of this essay, even instituting a surprising difference between the International/Bauhaus and Post-Modernism movements. Although the argument was not complex in the first place, I believe I have adequately shown how much theoretical ideas impact something as prominent as architectural movements.

Introduction

a collection of jem's essays/articles
written with very specific purposes
with the help of a thesaurus.

people who have inspired my literature.
you know who you are.

get comfy in your chair, feet up and enjoy!

Introduction

a collection of jem's essays/articles
written with very specific purposes
with the help of a thesaurus.

people who have inspired my literature.
you know who you are.

get comfy in your chair, feet up and enjoy!

Articles

Summary 2004

CU Houseparty

Essays

Essay 1

Essay 2

Essay 3

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