{"id":16079,"date":"2018-04-17T12:55:06","date_gmt":"2018-04-17T04:55:06","guid":{"rendered":"https:\/\/server1.webstudio.com.sg\/~staging\/ypsg\/?p=16079"},"modified":"2018-04-20T12:51:11","modified_gmt":"2018-04-20T04:51:11","slug":"inside-the-home-of-the-duo-who-documented-over-100-hdb-homes","status":"publish","type":"post","link":"https:\/\/server1.webstudio.com.sg\/~staging\/ypsg\/inside-the-home-of-the-duo-who-documented-over-100-hdb-homes\/","title":{"rendered":"This Japanese Couple Documented Over 100 HDB Homes, Now We Take A Look Inside Theirs"},"content":{"rendered":"

It usually takes a fresh pair of eyes to bring a new perspective to a well-worn situation – that is what Ms Tamae Iwasaki and Mr Eitaro Ogawa set out to do when they started documenting Housing Development Board (HDB) flats across Singapore in 2013 with Tomohisa Miyauchi. I visit them in their Bukit Panjang flat just half over half a year after their book <\/span>HDB: Homes of Singapore<\/span><\/i> was published, wanting to turn the lens on the duo this time.\u00a0<\/span><\/p>\n

The Japanese couple, who have lived in Singapore for 17 years, were once daunted by the prospect of moving into an HDB apartment, which looked \u201csterile and uniform.\u201d Knowing that a majority of the Singaporean population (about 80%) inhabited these massive structures was unfathomable to them. <\/span><\/p>\n

\u201cIt looked like one of those dystopian sci-fi movies,\u201d Eitaro laughs.<\/span><\/p>\n

In 2008, the family had to move out of their semi-detached house in the Seletar Airbase area due to development (now rebranded as the Seletar Aerospace Park) and were searching for a new place, but were incredibly reluctant to move into an HDB flat due to their impression of such housing.<\/span><\/p>\n

\"\"

Eitaro beside a glass door that they salvaged from their semi-detached house at Seletar Air Base.<\/p><\/div>\n

It was only when their newly-married Singaporean friend invited them to his new place that the couple realised they could renovate HDB apartments to their taste.<\/span><\/p>\n

\u201cThe moment we knew we could renovate our own flat, the whole situation changed. It became a very exciting opportunity – we can do as we want. We never imagined that!\u201d Tamae recalls with exuberance, in contrast to the more soft-spoken Eitaro.<\/span><\/p>\n

This realisation also pointed to the huge gulf between the excitement they felt, and the attitudes they had borne towards HDBs – eventually, this led to a desire to create a book that documented the interiors of HDB flats. \u201cWe wanted people to think of their HDB flat as something special,\u201d says Tamae.<\/span><\/p>\n

\"\"

The living area is separated from the kitchen by a custom-made metal grill and is intended to mimic the window grill designs of old HDB flats.<\/p><\/div>\n

Could their experiences with Japanese public housing have shaped their impressions of Singapore\u2019s HDB flats?<\/span><\/p>\n

Tamae and Eitaro explain that while Japan\u2019s public housing gives a much wearier impression – the flats are smaller, with little choice in appearance and arrangement, and are allocated to residents by the government – their since-remediated aversion to HDBs had been borne mainly out of the sheer visual magnitude and uniformity of the blocks.<\/span><\/p>\n

Perhaps, though, they had not thought to consider renovating an HDB in Singapore as it is not a norm in Japan. The husband and wife go back and forth, arguing about why this is the case: Tamae suggests that the cost of renovation in Japan is too high, that people do not set aside the five-figure sums needed as homeowners-to-be in Singapore do. Eitaro insists that the Japanese don\u2019t renovate because of the inconvenience created. <\/span><\/p>\n

Eventually, they compromise, as Eitaro summarises, \u201cThere is no budget because nobody has the intention to do it. Nobody has the intention to do it <\/span>because<\/span> in the apartment, hacking the walls will be crazily noisy. In Singapore, you just put up a paper notice, and everybody accepts that it will be noisy for a few months.”<\/span><\/p>\n

“There is that kind of common understanding and acceptance in Singapore.\u201d<\/span><\/p>\n

\"\"

The couple repurposed old bookshelves as kitchen shelving. According to Tamae, having all their crockery on open display means that the family is aware of how much they have (or if they have too much), and helps them ensure they only keep what they need.<\/p><\/div>\n

Through their project, the impersonality of public housing has been reshaped into a vibrant representation of \u201cSingaporean culture.\u201d Eitaro explains, as he leafs through pages of their\u00a0photo-book, \u201cThis project is something that represents our impression of HDB flats, and variety of things we couldn\u2019t see. [It] fulfils our need to show that the inside of these houses are very unique, and everyone is like an artist, creating their own forms, of culture, creativity.”<\/span><\/p>\n

“Everything starts from home. I very much believe that culture is not about things we have to go out to see, but things that happen in the home, and that\u2019s the very core of who we are. Where we don\u2019t pretend who we are and what we like.\u201d<\/strong><\/p><\/blockquote>\n

The couple had teamed up with Mr Tomohisa Miyauchi (or \u201cTomo\u201d), a senior lecturer at the National University of Singapore\u2019s (NUS) Department of Architecture, and the Singapore representative for Architecture and Urbanism (a+u), one of Japan\u2019s leading architecture magazines. <\/span><\/p>\n

Their meeting was fortuitous – what Eitaro describes as a \u201cperfect match.\u201d Tamae elaborates, \u201cHe had just arrived in Singapore, and for him, this was the perfect project to get to know Singapore. He didn\u2019t have any contacts or networks, but we did. We didn\u2019t know how to publish a book, but he did.\u201d<\/span><\/p>\n

\"\"

Handprints on the bedroom wall of their daughters’ bedroom. Tamae and Eitaro encourage their children to express themselves by drawing or painting on the walls as a record of the full range of their emotions and time passing.<\/p><\/div>\n

According to Tamae, the ensuing documentation of 118 HDB homes was a very organic process. <\/span><\/p>\n

They didn\u2019t discuss how many flats they would shoot, how long they would stay at each place, and so on. Instead, she would arrange two to three visits each week for the next three years.<\/span><\/p>\n

Many of the residents were surprised at their homes being the subject of photographic documentation at first, but once they warmed up to the idea, were enthusiastic about showing off their homes. While Tomo usually started taking photographs of the homes immediately upon entering, Tamae and Eitaro would sit with their hosts and ask questions. They also asked their homeowners if there were any special features about the house they wanted to talk about. <\/span><\/p>\n

Tamae shares, \u201cI think the really nice part is that we got to sit down and talk to them, to get to know them, their character, which was instrumental to writing the description of the home.\u201d<\/span><\/p>\n

\"\"

Curtains soften the light entering Tamae and Eitaro’s bedroom.<\/p><\/div>\n

The couple also brought HDB: Homes of Singapore<\/em> back to Japan, where according to them, the image of Singapore revolves predominantly around landmarks such as the Merlion, Marina Bay Sands, Sentosa, and other touristy cliches. <\/span><\/p>\n

\u201cUnless you are friends with people in Singapore, you cannot step and look into HDBs. So this book really shows [them], \u201cSingapore is like this, you know,\u201d Eitaro says. He leans back in his chair and chuckles cheekily, \u201cI think, simply looking at somebody\u2019s life like that is very fun. Like sneaking into somebody\u2019s room.\u201d<\/span><\/p>\n

\"\"

Trinkets line the bookcase in their dining area. Many of their furniture items are purchased from an antique shop Tong Mern Sern at 51 Craig Road. Pieces from their\u00a0Pameran Poskad project are framed on the wall.<\/p><\/div>\n

Eitaro adds that he feels more welcomed in Singapore due to the diversity that exists in our society. Tamae interjects, \u201cThere is no template on how to be a person here. In Japan, if you are an artist, you hang out with artists all your life. But in Singapore, we meet lawyers and doctors, and there\u2019s that surprise in meeting people – I really enjoy meeting someone I\u2019ve never met before.\u201d<\/p>\n

While I argue that Singaporean society can be quite stratified, Eitaro muses that being in art has made it a lot easier to access different types of people. \u201cWe realise doing art attracts people from many different types of professions. There are bankers, lawyers, accountants, academics, students, teachers – all people like to connect through art. It is a universal language that all sorts of people can enjoy.\u201d<\/span><\/p>\n

\"\"

The couple’s workstation.<\/p><\/div>\n

Their belief that art and culture should be removed from its pedestal (as with their HDB project) is aptly represented by their latest endeavour, <\/span>Pameran Poskad<\/span><\/i>, a participatory project open to anyone who wants to draw, make paintings, sculptures, or any other object that fits into a postcard-sized plastic slip. <\/span><\/p>\n

The items will be put up for sale at the exhibition, and the profits go to the charity and \u201cartist.\u201d The duo intend for members of the public who don\u2019t usually \u201cmake art\u201d to participate as creators, collectors, and appreciators.<\/span><\/p>\n

\"\"

Eitaro leans back in his chair to consider a question.<\/p><\/div>\n

To end off the afternoon, I ask Tamae and Eitaro if there are other aspects of Singapore\u2019s culture that projects similar to <\/span>HDB: Homes of Singapore<\/span><\/i> could uncover, Eitaro suggests that a closer look is taken at hawker centres. \u201c[They are] already commonly done, but can be done better. Like documenting the recipes, the people who are working there, or it could be done from the customer\u2019s point of view. Maybe if they talk about the shop [design], it also speaks about the shopkeepers.\u201d <\/span><\/p>\n

He also points to Singlish, which should be better documented. \u201cIn Japan, we don\u2019t talk about \u201ccorrect\u201d Japanese. We have dialects. Tokyo people think their accent is standard, and other areas have their own intonations, but we don\u2019t see accents as wrong. Each has charm – when we use the dialects, we can express ourselves better. Singlish can do things that standard English can\u2019t. Like <\/span>can, can, can!<\/span><\/i> Not the same as \u201cIt\u2019s possible.\u201d\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

It usually takes a fresh pair of eyes to bring a new perspective to a well-worn situation – that is what Ms Tamae Iwasaki and Mr Eitaro Ogawa set out to do when they started documenting Housing Development Board (HDB) flats across Singapore in 2013 with Tomohisa Miyauchi. I visit them in their Bukit Panjang […]<\/p>\n","protected":false},"author":200623,"featured_media":16219,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":""},"categories":[150,149],"tags":[],"yoast_head":"\nThis Japanese Couple Documented Over 100 HDB Homes, Now We Take A Look Inside Theirs<\/title>\n<meta name=\"description\" content=\"\u201cIt looked like one of those dystopian sci-fi movies,\u201d Eitaro laughs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/server1.webstudio.com.sg\/~staging\/ypsg\/inside-the-home-of-the-duo-who-documented-over-100-hdb-homes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"This Japanese Couple Documented Over 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