The thesis is interested in the manipulation of discretised architectural wholes: what becomes of a whole, enclosed architectural space once you discretise it into unfamiliar fragments? Does it retain its original function and meaning? Would manoeuvring and occupying it be the same as its original whole?
The genesis for this architectural question came from the summation of the lessons and takeaways during thesis prep whereby I looked at films as a point of reference to understand the manner in which architecture is described and perceived and whether embedded within the cinematic medium and its technical aspects, a criticism about our current thinking of architectural spaces.
A set of analytical methodologies were established to externally manifest the ‘lived space’ mentally constructed while exposed to the filmic spaces in the extracted film sequences. An assortment of drawings was made from each analysis and conclusions made, culminating in an architectural enquiry.
The thesis proposal sees the elaboration of the architectural enquiry in a hybridised mosque park extension of an existing kampong-style mosque, Masjid Hang Jebat.
By mapping out and extracting the embedded sequences and routines found within the mosque- specifically in its capacity as a gathering node for Friday Prayers- discretised follies attributed to the specific prayer sequence were amassed. Subsequently, I began rescripting variations of similar Friday-prayer-sequences by using the discretised mosque-parts (dubbed ‘spatial moments’). These 3 varied scripts result in the subtle 3 axis ‘paths’, all culminating to the newly positioned mihrab. A 4th path is contained within the minaret-mihrab-qibla-wall hybrid structure, aimed at orientating the congregants wherever they are in respect to the mihrab within the mosque park.
The intention behind the ‘park’ function, is to see if users unaccustomed to the spatial and embedded routines of a mosque would interpret these spatial moments as folly shelters in a park.
We often turn to movies to escape from reality, for alternative experiences of space and time. Using conventions and techniques from architectural representation to analyse some of these filmic sequences, Zul has created axonometric drawings where orientations, proximities, scales, and sequences produce readings of films that prompt alternative readings—and makings—of “real life” spaces. These new techniques are then explored using the mosque (arguably the quintessential “scripted space”) as a testbed, offering a critique of the architectural object as complete, whole and finite.- Assoc. Prof. Ong Ker Shing