YOUR SENSORY MACHINE STUDIO Design Decision Diary
edited for Design Approaches & Method
June 2011
LIDYA SUGIANTO
L: GREG MISSINGHAM T: BEATRIZ MATURANA
THEME
FIGURE 1 : SENSORY ORGANS
SPACES-SENSES
ATMOSPHERE As in the “Atmosphere” by Peter Zumthor. A building that speak to our feelings and understanding in so many ways and that possess a powerful and unmistakable presence and personality. ESQUISSE A preliminary sketch or design drawing showing the basic features of a project. ITERATION The act of repeating a process usually with the aim of approaching a desired goal or target result. Output from one iteration is used to inform the input to the next. In here, iteration is vigorously applied to ‘your sensory machine’ MACHINE Refer to ‘your sensory machine’ 1:50 scale model that is used throughout the design studio to investigate and experiment sensory design ideas. PARTII The big idea. The word is from a French language and is derivative of the verb for departure. In other words, a partii is a beginning. This beginning can take many forms. PHENOMENOLOGY A philosophical design current in contemporary architecture based on the experience of building material and their sensory properties.
“I experience myself in the city, and the city exists through my embodied experience. The city and my body supplement each other. I dwell in the city and the city dwells in me.� Juhani Pallasma, 2005
SITE Goods shed south, Doklands.
PROGRAMS Iteration 1 : Great Dane Workshop & Furniture showroom Iteration 2 : Olafur Eliasson Exhibition Space Iteration 3 : Trading Space Design Project : ACCA Docklands
DESIRED OUTCOME Physical model (1:50) (1:200) Section drawings (1:50) (1:100) Detailed Section (1:20) Floor Plans (1:200) Red Figure Narrative A3 design archive folio A5 visual note diary binded photographs
TUTORS Rennie Liffen & Alex Ray
MEMBERS Adelle Tan Amy Ang Benyatip Tew Manajitt Billy Voon Clive Chin Hui Jing Yong Hui Ying Yong James Cochrane Jaslyne Gan Jie Yun Zhu Lidya Sugianto Timothy Griffith Tristan Forward Xiang Ding
DESIGN DECISION DIARY
EXECUTIVE SUMMARY
This diary is to keep track of the process and decisions made on the current design project: “Your Sensory Machine�. Further reflection and analysis is done after each iteration and design project to reveal pattern of design working across the semester, as well as the sequence of decisions that led to the final design to be presented. The methodology employed is diary entries, which the data will be gathered, discussed and analysed at the end of each iteration/design project in the form of reflection writing. The scope of work involve this semester design studio. There are assumptions and limitation observed in this study, including limited number of data taken in the short time frame. However, it is assumed that the information collected in the diary entries are relevant and accurate. This study resulted in determining the design methods and approaches used during the designing period. Trend observed including the habit of starting the project with emotional contemplation, followed by rational deliberation and ended with emotional reflection. Also, at least one day a week is needed where no design work is done, to unblock mental clog. Delaying in making major decision to the last minute is noted. In addition, music has a huge impact on both evoking and being affected by mood, design activities and time. Furthermore, painting is found to be a useful starting point to begin a project. Thus, in order to increase design performance, better understanding on design process that the diary provides could lead to enhancement of successful method such as painting approach, and cutting back of bad habit such as procrastination in making major decision concerning the design project.
CONTENT PAGE
1.0 Introduction.................................................................................................................... 1 1.1 Background............................................................................................................... 1 1.2 Study Objective......................................................................................................... 1 1.3 Study Scope & Methodology................................................................................... 1 1.4 Assumptions & Limitations......................................................................................... 1 1.5 Diary Plan.................................................................................................................... 1 2.0 Calender Month............................................................................................................. 2 3.0 Design Decision ............................................................................................................ 6 3.1 Decision Classification............................................................................................... 6 3.2 Entries.......................................................................................................................... 7 3.2.1 Iteration 1.......................................................................................................... 8 3.2.2 Iteration 2.......................................................................................................... 14 3.2.3 Iteration 3.......................................................................................................... 22 3.2.4 Design Project.................................................................................................. 34 4.0 Conclusion..................................................................................................................... 52 5.0 References..................................................................................................................... 53 6.0 Appendix........................................................................................................................ 54
1.0 INTRODUCTION 1.1 BACKGROUND Design Decision Diary is one of the tool in ‘Design Methods & Approaches’ for designer to understand one’s design process better, thus enabling enhancement of successful methods while cutting back unecessary habits. 1.2 STUDY OBJECTIVE To reveal pattern in design working accross the semester.
1.3 STUDY SCOPE & METHODOLOGY The scope of the diary is limited to a semester length of design project. Methodologies used involve systematic tracking of decision, design process and music that accompany the process, in a diary. Datas from the entries will then provide the basis for analysis and deduction. 1.4 ASSUMPTIONS & LIMITATION Assumption is that the diary entries are relevant and accurate . While limitation of time of the study restrict the amount of data collected.
1.5 DIARY PLAN The diary entries will be shown systematically from iteration 1-3, then the final design project. For each section, decisions are noted-dated, explanation given, and each will also be accompanied by photos and illustrations of the design process .
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2.0 CALENDER MONTH
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3
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5
3.0 DESIGN DECISION
3.1 Decision/Task
Classification
Feel strongly about (emotionally involved) Through rational thinking accompanied by fast beat music (pop, soft rock) mellow music (pop, jazz, acoustic) instrumental music (classical, folk, world) silence
Note: The classification system is based on the presence/absence of ‘sense’ involved in making the decision/ doing the task. As the studio is about sensory architecture, it is only appropriate to classify the decision in such a way. However, it is by no means that one is better than the other. 6
3.2
Entries
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Iteration 1 DATE
EVENT / DECISION
3-14 March
Studio Introduction, Site Visit (Good Shed North and South) the production of genetic ‘Your Sensory Machine’ 1:50 base model, 1:50 base section. Brief #Iteration 1 given.
T, 15 March
Site Visit to Great Dane showroom & workshop. (Gathering datas about notable furniture showroom & workshop around Australia, editing photos taken on site).
W, 16 March T, 17 March
F, 18 March S, 19 March
S, 20 March M, 21 March T, 22 March
Presenting photos & visual notes. (Not yet sure what the studio is about, thus has not prepare any design proposition). Together with guest critic brainstorming on possible conceptual ideas, five emerged. Come to the point where the simplest idea appeared to be the best solution, which is to restore the shed to its former glory and use shed typology to plan the building functions. Start the morning by organizing the space in plan form. After satisfied with the planning, move on to make various paper model according to the floor plan.
Show Alex the model, a disaster. The representation is too literal. (Thinking the whole day on how to make the idea more abstract).
W, 23 March
Early morning, gather model making materials and start making (anything, random). Couple of usable design, but stick to the clean line balsa model. Planning of the space does not change much, except placing the column in the middle of the building instead of the other way around. (Following Alex’s suggestion on how building sit on Flinders train station). Try out watercolour for section drawing but fail miserably. Next, superimpose the watercolour with the photos taken from the model and photoshop. Layout the A1 board.
T, 24 March
Crit Iteration 1. Rennie encourage the drawing technique for the section, but the model has not been used to full potential. Has not narrate the presentation with any mention of ‘senses’. Brief #Iteration 2 given. 8
Starting off with site visit to the Good Shed North. Thought it’s a little depressing in there, the building itself only has high windows without connection to the outside world. The precinct around it is deserted, except for a number of people in the cafe. Thinking maybe the new good shed south can to be more open to the street.
Great Dane is, like its name, great. One step into the shop and already a wish-list is forming up. The workmanship is just excellent. It is a pity though that the workshop is tucked in the alley far away from the shop, because looking how they restore the furniture makes one appreciate it more. 9
After the much too literal version of the design proposal, maybe the best way to begin is by drawing the kind of atmosphere that is desired at the new Great Dane shop + workshop combined, taking a more abstract approach. To start drawing is not fun, it is only when one is in the middle of it that all of the sudden ideas start coming out and there is a burst of exuberance to expand that idea. On the left are few of the first attempt on atmospheric drawing. Notice how on each sketch, there is a scribble of notes . Those are the expansion of ideas from drawing the piece. Some writing goes into the construction of the furniture frame set, some self-criticizing the drawing itself and some has question marks for reminder that a particular idea needs further consideration. The next page is rough plan and sectional cut of the ideas proposed. Quickly sketching over and over before polishing it in the computer. The process is somewhat linear, drawing - analyze - self crit - drawing -analyze self crit - drawing ..........
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REFLECTION The first iteration really is a testing ground. As the studio is as much process as the final product, it has been interesting and illuminating to analyse the thinking process behind the decisions made, on top of keeping record on stages of progress. First, I noticed that at the start of the project, I like to have a lot of schemes, to keep the options open. Anyway, the first design proposal rarely get accepted, so it is okay to present many proposals with some wild or absurd ideas thrown in. Next, it is noticed that there is a certain order on how I make my decisions over the period of the project. At the beginning, I am more emotionally involved with the design. The concepts generally come out from what I know previously or from what I have experienced before or maybe from the feeling that I get from the site visits. Then only after discussions with tutor and studio colleagues do I really start to think rationally. In a way forcing to distance myself from the ideas at hand and really put on de Bono hats. This way it is more objective and the design can go further much quicker. Only later on, when the final scheme is decided that I allowed myself to fall in love again with the new revised design. I am not sure if this is what they called Apollonian thinking. The other thing is that I find music has a huge impact on my mood and even on the design itself. It is rather ambiguous whether the music is the influencer or whether the type of activity demand the selection of music, or maybe the time of day itself that dictates the choice of melody. In this past few weeks, I have discovered that fast beat music makes me works faster. But during the analysis or thinking part, mellow/ instrumental music helped to get the thoughts flowing. The silence is sometimes necessary too. For example, just before/ after sleep, lying on bed in silence, usually produce solutions to the problems that I have difficulty with the day before. However, all these data is from too short a period of time, it might not be the case at all, I will have to continue experimenting over the rest of the semester. Lastly, even though this studio is promoting the sensory aspect of the design, I am still having difficulty trying to think from the sensory perspective to design a building. I guess it takes time to change my habit and take on board this new approach of thinking.
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Iteration 2 DATE F, 25 March
S, 26 March S, 27 March
EVENT / DECISION Site Visit to ACCA, Southbank. (visit nearby Malthouse) (photos , visual note, data collecting of contemporary museum- trends and exhibition space composition). Research on Eliasson’s art works. Read #R1. (gratified towards larger scale nature projects: weather project, waterfall,mediated motion and green river).
M, 28 March
Afternoon, brainstorming with Adelle. Choosing 6 Eliasson’s projects to exhibit, those that we found inspiring and plausible in scale: lufthuller med lys, moss wall, mirror door, the weather project, take your time and frost activity. (working in pair for iteration 2).
T, 29 March
Lecture on Eliasson’s works. Discussion on #R1: “Eyes of the Skin” by Pallasmaa. (restricted to indoor installation, small scale installation) (Book discussion help to clarify the theme of the studio, collected a couple of interesting phrases , among others: supressed vision inviting unconscious peripheral vision and tactile fantasy.)
W, 30 March
Narrow project choices to 4 : lufthuller med lys, moss wall, mirror door and cloud room from mediated motion. (the last one we thought is appropriate to replace the weather project that we are passionate about but refrained from using, because they have similar effect.) Working on the machine and sketches, back and forth. (not taking photos of the process, as we find it distracting to our thinking process and make discussion difficult).
T, 31 March
Present our initial model to Catherine (guest critic) and Rennie. Both had different ideas and intakes. Decide to follow most of Rennie’s suggestions as it is respond better to the scheme that we have. However, we defend one thing that we felt strongly about: contextuality. Backed up with Eliasson’s own ideology of ‘not object or non-object, but how it sits in the context’. (guest crit only come once and does not really understand about the emphasis of studio, neither the process that we have gone through. Found it unnecessarily early for guest critic to comment on us at this stage.) 14
DATE F, 1 April
S, 2 April S, 3 April
EVENT / DECISION Divide the work between the two of us. Each in charge of making a section and one visual perspective of the space. We focus on the two most sense-evoking projects: the moss wall and the cloud room. Exchanging ideas and criticizing each other works. (the project progress much faster when there is a sounding board). Editing.
M, 4 April
Meet again in the afternoon. Show each other what we have done over the weekend, discuss, continue from there. (two different thinking processes complement rather than clash with each other).
T, 5 April
Present our draft to Rennie. Positive. Continue with model making and section drawing in the same direction.
W, 6 April
Revising our ideas and making small changes here and there (model and section drawing) to give it a better flow. Redo the first interstitial space between the exhibition spaces.
T, 7 April Red figure narrative, carried away and wrote half a page instead of 5 sentences. Present the scheme to the class. Main presentation using board instead of machine. (mishap). Alex commented on how the spaces lack hierarchy, the interstitial spaces is not clearly defined away from the main exhibition pieces. ( Alex has not seen our process along the way, his ideas of the space is a little different from what Rennie had. Not sure now whether having two tutors with different aesthetic will work). (This is definitely the time for guest critic, 3rd opinion is valuable at this point). Seen others’ works. Learnt the different methods and approaches that they used. Fascinating. Especially when we also seen how they progress from the initial ideas. (Keeping the class together for critic is useful to broaden the knowledge bank). Brief #Iteration 3 given. 15
Series of doodles to get the project started. Visual notes from ACCA and Malthouse visit. There are lots of exhibition organization and artwork display methods that can be observed. For example how a huge canvas painting is artistically rolled at the end and left hanging from the top, instead of putting a frame around it. 16
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Some initial organisational thoughts on the gallery space. The sequence and the intermediaries of the spaces. Working interchangeably from both plan and section. The diagrams show more of explanatory and exploratory representations, on the basis of spatial, temporal and scales.
On the next page is a red figure narration. Based on Tschumi’s three narrative sequences (space, events, movement), this one is a mix of both spatial and transformational movement sequence, exploring the sensory world. In addition, drama in the form of dare and enticement is imbued. Although it turned out to be too long a piece, but writing it has been a tremendous satisfaction. 18
Red Figure Narrative
Iterative 2: Olafur Eliasson Exhibition Space
Name
: Simon Jensen
Age
: 27 years old
Occupation
: Interior Designer
Current Activity : Sunday exploration
“Looking back, all I saw was an endless series of trusses enveloped by light and blurred by cloud. It was surreal indeed, and I was transfixed on the spot. Remembering back, through the moment I entered the dark passageway, my senses had been involuntarily awakened. The passage of time into a different world, that’s what I called it. I was a little unsure, the hard ground has melted away and it was pitch black. The only thing that enticed me forward is a soft waft of nature and a glimmer of light at the end of the tunnel. It was a moss wall! Stretching towards the ceiling and thicken the air with moldy moist. A flicker of colour suddenly stopped me from stroking the green lush. Beyond was the strangest phenomena I had seen. Colours, light and large spheres were dancing. Every angle I turned, different combination of rainbow tickles my senses. Just then, I saw the dark hole, daring me to participate in Eliasson’s games. I was once again thrown into the darkness, but it was worse, the tight space and low ceiling made me hardly breathe. I was disoriented through mirrored doors one after the other, reflecting only the darkness beyond. After a few wrong turns, I saw the tiniest amount of smoke coming from somewhere. I thought the building was on fire, my hands spontaneously shoot up to the walls to brace my panic self. The roughness of the stone scalded my fingers. A moment passed. Maybe, it was not a fire afterall. Dragging myself forward, I found an entry to heaven! Billowing white cloud effortlessly framed a lighted doorway. Stairs shooting up to the trusses of the roof, and I walked among the cloud. I am now at the other end of the bridge, the green exit sign blinking nearby. I hate to leave now, so afraid not to be able to feel this way again. This bursting tingling sense under my skin.”
Lidya Sugianto & Adelle Tan. Master Studio E: Sensory Machine. T: Rennie Liffen & Alex Ray
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REFLECTION In iteration 2 we are in a team of two. It change the dynamic of my thinking process a little. Instead of taking a step back and self-analyse the concepts, there is a sounding board that is constantly questioning my thoughts and ideas. And I actually quite enjoy that. During the process, we focus our energy more on creating a prospect-refuge environment for the users. Also on how the spatial and environment that we create will affect behaviour of both individual and groups of people. At the end of which it over-whelm the tectonics of the architecture and create a confusion. I am not sure at what precise period that we are tipping the balance between those two elements above. It reminds me of Berlin Jewish museum, which has a similar dilemna. Despite that minor mishap, we managed to work together efficiently and learnt a lot from each other. First, we discussed the issues and limitations of the project. Moving on to brainstorming ideas, which we narrow down using elimination process. Next is trying out several schemes together and see which works best,there are a lot of productive debates going on. After we have decided on the best possible approach, we divide the works into two separate parts, considering our strength and weakness, for eg in terms of using 3d modelling software. Then at the end we re-analyse the whole project together, making final tweaks and composing it as one entity. So really, most of the decisions made are based more on compromise. As an individual we are also more involved emotionally, defending and at the same time promoting one’s idea to the other person. It is only during the production period that we take the necessary cool-headedness that is needed to churn out drawings and model at warp-speed. There is not enough instances here that could be made into a study of the influence of music. Most of our discussion is held without any music playing, because it distract our conversation . Once, we have tried (or maybe I tried discreetly) to turn on the music during our meeting, even though it is the mellow type and not loud, it still make us somehow unfocused and every few moment we just lost our train of thought. Nevertheless, I noticed one thing during these past weeks, I love hearing fast beat music on Sunday when working on my project!
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Iteration 3 DATE
EVENT / DECISION
F, 8 April
Site Visit to Queen Victoria market, 6am. (visual note taking)
S, 9 April
Read #R2: “Atmosphere” by Peter Zumthor.
S, 10 April
Site Visit GPO. (visual note taking) Research on trading architecture precedents. (wet market vs shopping malls vs craft market)
M, 11 April
Painting the ‘senses’ that is received from the site visits. Another painting to illustrate the ‘sense’ of space that is desired from iteration 3 ( the combination of both victoria market and GPO).
T, 12 April
Lecture on Glenn Murcutt. Discuss #R2: “Atmosphere” by Peter Zumthor. (The ‘Magic of the Real’, describing 9+3 essential elements that Zumthor tries to implement into his architecture. The sound of space is probably the most thought evoking. one can almost feel the aura that he is describing, ‘the feeling that there is something else in the space, a tone which is not caused by friction’).
W, 13 April
Model making. First using newspaper to imitate the amount of space needed for each program. Failed, there is not much space available, compression badly needed. Next sheets of yellow paper are layered on top of each other, creating 2nd floor space. Excess space is discovered. Drawing and re-draw composition of the spaces. The courtyard typology kept coming up. It seemed to be the most suitable for the space. Different types of courtyard is tried and experimented on the model, to see how it fits into the existing building. A decision is made to leave a gap between the old and the new, respecting the heritage shed. Put the courtyard typology aside and delve into circulation. Making circulation model and tested which is the most efficient pattern, considering the unpredictable nature of human habitation. 22
DATE T, 14 April
F, 15 April S, 16 April S, 17 April
M, 18 April
T, 19 April
EVENT / DECISION Layering courtyard typology with circulation model. The result is a geometric space with triangular building in the middle, to give 2 point perspective when user stands at any point in the building. Some sketches to show the material and construction in more details. Feedback from Rennie indicates that there is a lack of consideration on the potential offered by the different programs. Not sure about the preference on central passageway instead of the square, will investigate further. Model up the space in skp, to show rough 3d perspective of the space and give some indicative on the atmosphere of the spaces. Final project brief is given. Studio session. Disaster. The 3d perspective does not communicate enough to illustrate the atmosphere of the space. The triangular building is too obstructing and serve no purpose. Rennie is not convinced about the graphic representation of the spaces and the absence of intersection between pedestrian and bikers circulation. The thick floor as storage space is okay. Decide not to start from the beginning, but continue on from where I left off. The triangular buildings in the middle definitely does not work. Putting in another square as a stage, creating intermideate platform for pedestrian and bikers to mingle. By sinking it a little and make the thickness different from the storage floor, it adds depth to the architecture composition. Ramp is used rather than stairs to connect the intermediate platform, so as accessible for both bikers and wheelchair users. Sketches, drawings, sections, modelling took place almost simultaneously. Going back and forth between media.
W, 20 April
Start the skp model to illustrate the possible scenarios in the spaces. Photographing physical model. Editing. Beginning to research for the final project. Start by looking at artist for the exhibition space, get excited about the project. Tomas Saracend will be perfect. Precedents on art galleries. Conceptual ideas. 23
DATE
EVENT / DECISION Back doing Iteration 3. Going into detail in some of the sections, decide to draw the section by hand to save time and find that it actually make me think twice on what to draw.
T, 21 April
Printing A1 posters. Prepare for presentation. Present work in atrium. Words come out more smoothly after I prepared on what to say. Alex and the guest crit ( Anthony) liked the intervention to the shed. However, there are a lot of interesting recommendation that will benefit the project if time is not an issue. For example, the physical model could be more realistic and depict the description that is mentioned; the columns will be a lot better to be thinner and serve more purposes;etc. Seen others’ works. Hand drawing seems to be preferred. Organized and consistent preparatory works highly regarded. Shall look into developing some techniques of section and model representation that I am comfortable with.
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Establishing the project this time around an artwork that is done after the site visits. The main painting illustrate the desired outcome of iteration 3, which is a combination of the other two paintings (upper- GPO illustration, lower - Victoria market illustration). Each stroke, colour, its composition and the geometry of the material and structure of the paper fold inform the type and organization of functions, spatial sensory profile as well as material and structure of the building. 25
Some of the iterative model-making attempts... 26
Courtyard typology derived from the context and the analysis of various elements. Many versions of courtyard typology is tried on the site and repeatedly revised. On side note, notice how the shadow created by the design correspond to the paper fold of the ‘desired’ painting, unintentionally. 27
Above: circulatory model using ribbons, showing passages of bikers, pedestrians, staff. Translated into plan. Below: Further iteration on the function organization and space distribution. 28
Spatial sketches showing the quality of spaces, with diagrams on how the building changes between day and night, details, connection, materials as well as the tectonic of the architecture. Preliminary model exploring the idea of the ‘gap’ and perforated floor plate. 29
Partial model exploring the potential sensory experience of the users. The soft light reflected on the floor, the beam of light towards the courtyard, the overall impression of lightness of the structure. 30
3d model showing the realisation of the conceptual design. It is devoid of material and proved to be a poor representation of the spaces. The final design is a further iteration on this model. 31
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REFLECTION By the end of iteration 3, it is confirmed that my thought process is always following a certain pattern: emotional involvement at the beginning ,a rational approach in the middle, and back again towards the end. I find this to be working well for me, will continue doing this way. The one different factor in this iteration is that I started with paintings. I remember I had done paintings several times before in few of the other studios. However, as they are not really interested in the design process, the paintings do not actually make it to the panels. Nevertheless, i always find comfort and useful reference point from doing it. For example, the shadow drawing that I sketch during the design process unintentionally resemble the paper fold of the painting. Should be the subconcious mind keeping track of the design intention! I wonder now whether this is another method that has potential to be developed. The kind of painting that i made is always some kind of abstract minimalist. Like Selenitch’s describtion: ‘one form, one material, no scale, static and no transitional quality. And like ‘haiku’ tactic, it seemed very simple and diminutive, yet contain layers of informations, meanings and associations, at least to myself. So perhaps, it will be good to incorporate this technique again in the final project. Model iteration is proven to be a quick reductivism method in finding an appropriate conceptual design proposal. With just scraps of paper, I can quickly and approximately deduce the scale and the spatial quality of each idea. Yet, it is a little limiting at times when one want to try a rather complex idea or maybe some organic form to play with. Seeing the iteration 2 diary entries, there is one small thing that keeps bothering me: on Sunday 17th, the music is not up-beat. This destroy my previous analysis, but then again it might just be an anomaly, extended period of time is needed. Next, I am rather curious if the 3 classified design thinking is actually linked to the 4 music types. I started drawing chart and counting. To my surprise, most of the design process (both emotional and rational) is on silent mode! And decisions is mostly made either in silence or when listening to mellow music. This is quite a revelation. I imagine now that maybe my actions can be dictated by for example the simple act of turning off the music. That will be the next experiment that I am going to try. One last observation is that important decision is mainly made on Wednesday. I suspect because it is the day before presentation day. 33
Design Project DATE W, 27 April T, 28 April
EVENT / DECISION Site visit to some galleries in the city. Read #R3: “ The Thinking Hand ” by Juhani Pallasmaa. (Especially provoked by his many thoughts and statements, in a good way. Few stand-out quotes: “Artistic images expose us to images and encounters of things before they have been trapped by language. We touch things and grasp their essence before we are able to speak about them” ; “In any creative field the process of un-learning is just as important as learning, forgetting as important as remembering, uncertainty as important as certainty”.
F, 29 April
Painting the essence of the project. Doing red figure narrative. (Both as a starting point of the project).
S, 30 April
Re-visit the site. Site analysis.Esquiesse.
S, 1 May
Read #R4: “ Thinking Architecture ” by Peter Zumthor. (“Beauty.....is the most intense when it is born of absence”).
M, 2 May
Model making. Sketches. Decided that the best way to bridge the gap is by zig zagging ramp that has functions underneath and slices of void here and there.
T, 3 May
Show the scheme to Rennie. Not a good response. Prefer something more subtle. Brainstorming on other possible schemes. Look again at all previous sketches, iterate on some.
W, 4 May
Iterative model-making. Working out how each design would correspond to the site, the shed, the bridge , the function and importantly whether it correspond to the initial ‘essence’ painting.
T, 5 May
One final scheme is chosen. Start to think into more details, the circulation, the joints, how people are going to experience the spaces,etc. Show guest crit (Aaron Roberts) and Rennie the conceptual design. Aaron suggests some kind of screening device at the entrance and exit, otherwise good. Rennie is more concern about the circulation. It is rather planned haphazardly. 34
DATE F, 6 May S, 7 May S, 8 May
EVENT / DECISION Making changes to the plan and sections. Doing 1:50 sketch model. Further drawing. Site visit.
M, 9 May
Layer drawing with shadow diagram. Edit photos of model, playing with light and shadow. Few alternatives of partial model, showing how the light will be affected by the different cut of windows.
T, 10 May
Today is different. We are sitting around a big table and discuss each of our project one by one. Anybody can give critic and the project owner can ask questions or suggestions for a particular problem that he/she is facing. More like in real architectural practice. Actually prefer this way , one would be able to get more feedback. Presenting to the whole group. In the middle of the talk, the model crumble down, the structure of the building is questionable. The red overlays on the plan and section is a little too much for Rennie, plans need to be drawn properly in large scale. A suggestion is made to create fin walls as lateral bracing as well as structure of the building.
W, 11 May
Taken suggestion further, incorporating fin walls for all the services, including all the vertical cabling and piping.
T, 12 May
Model up the service walls and staircase, 1:50. Sturdy and seems to work well. During tutorial, it is commented that plan drawing is too simplified, with only word to describe the space. Maybe it could be imbued with activities or atmosphere.
F, 13 May
Iterative section 1. Decided to do the section cutting through the information foyer and public square below. It will be the most activated space with all the auction or festival going on in the public square. First iteration: day section during the winter, showing how the winter sun can get into the cafe area inside the shed.
S, 14 May S, 15 May
Model up sketchup 3d. Debating whether the height of the studio space is too much. Not sure on how to deal with the facade of the shed, the interface, but it has to be clear glazing. What about the structure for it? Using the same channel glass could be an over-kill. Maybe a different type of glazing system.... A perspective render on the main gallery space. 35
DATE
EVENT / DECISION
M, 16 May
Attempting to do a perspective plan to give it more depth and decided that putting in floor covering texture is just too literal, making it look like the flyer on some developer’s magazine. Alternative is shading it to show the spatial quality of the building. Colour is not an option, it looked tacky. Black and white it is.
T, 17 May
Were shown some examples of past students’ work and Rennie’s. His hand drawing were just exquisite, wish can do half as good. Inspired to hand draw one of the section, maybe 1:20 section cutting the studio space, it looked horrible. Throwing it away. Rennie suggested maybe the section iteration can be timebased, good idea.
W, 18 May
Making another hand-drawn section drawing, better. The human figure is not quite there yet. Section iteration 2: night time, when the auction is happening.
T, 19 May
Mini model to 200 showing the whole scheme. Another revision on planning and section. The 1:20 section is not really up to standard yet. Were shown a quick and easy way to make model,using double sided tape. Bow wow section drawing were shown, they are incredible, though the scaling is weird.
F, 20 May S, 21 May S, 22 May
Section Iteration 3: festival time. Section 1:50, not sure what to show. Collage of the surrounding area. Watercolour? Decided to try a new wash-out technique. Final modification on plan.
M, 23 May
Drawing up detail joints of the typical channel glass. A small gap is allowed on the floor and ceiling line, think it will give a nice shadow line.
T, 24 May
Printing the 1:20 and 1:50 section. Blow up on paper is rather different than on computer screen. The section drawing looked dull and lack of ‘liveliness’ (a term used in Chinese garden to describe the spiritual liveliness without which a work of art will be dead - Kwo 1981,p74). The interface is questioned, not yet resolved. Missing out good opportunity for not using the ceiling of the gallery. Not enough elements shown. 36
DATE
EVENT / DECISION Seen others’ works. Amy’s hand drawing perspective section is approaching that of Bow wow section drawing. Tim’s physical model is using real steel! Feeling both discouraged and encouraged.
W, 25 May
Brain storming on the 1:50 section, it should convey more than it currently is. A study on temperature analysis last semester pop up. It should be a section analysis on the temperature across the building. Layering and layering, trying out to give the best outcome.
T, 26 May
Researching on glazing system. Decided to use the spider truss system on the interface to hold up the glazing, it will appear light and has beautiful bracing system. The upper glazing should be custom cut to follow the line of the roof. Waterproofing it will be a nightmare, but not worse than the one for UK Pavilion in the Shanghai expo. Two steel beam to hold up the glazing structure. Timber will be too bulky. Final brush up on the section drawings.
F, 27 May
Final touch up on plan, section details. Compiling the works on cd. Submitting. Finish, for today. More works till the presentation day...
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Painting 1
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Painting 2
39
40
41
42
Some of the model iterations. The ones using wire are depicting flowing shadow, reflection of southern cross station and the proximity of the site to the water. The tower idea is quite powerful too, except that towering over does not really respond well to the idea of respecting the heritage-listed shed. Few alternatives on the spatial atmospheric quality. 43
44
One of the first few sketches drawn. Opposite page: diagram on the relationship of the functions as well as various sections and perspective illustrating the spatial possibilities of the architecture. First attempt is making a straight ramp down from Collins st bridge, or stairs, but both covers too much ground. Then the zig zag comes along and fit perfectly. This page: The scheme of the ‘zig zag’. The structure will act as a ramp as well as the ceiling for the studio spaces below. As one goes down the ramp, one can glimpse into the studio and vice versa. Daylighting and cross ventilation is made possible by the narrow width of the ‘zig zag’. 45
46
Alternatives schemes. Opposite page: series of little cube hold up by slender columns, the staircase wrapping the outside of the cubes. Another one is 5 rectangular boxes govern by the city grid. Etc. Doodles make thinking flows. This page: The overlay on the plan and sections. This is the early iteration on the final design. The sketch model that crumbles down during presentation. 47
48
Final scheme iteration. Opposite page: the model for the service part of the building, involving 2 fin walls with stairs and lift in between. Note how on the top of the stairs one can see through the void straight down to see passing people below. Glass lift will enable people to view the shed while moving up / down. This page: partii of the building. Number crunching to proportion the spaces, as well as determining the thickness of materials chosen.
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50
REFLECTION By the end of the final project, there is a clearer pattern emerging. Big decisions are indeed made mostly on Wednesday, or more correctly the day before critic/submission, could it be a form of procrastination I am not sure. Saturday is rest day for design, I suppose this is my way of clearing mental clog. I find site visit and doing the visual notes somehow help as well. Painting prove to be an excellent starting point for my design project, it guides and monitor my design thinking subconsciously. Biggest influences to my design come from tutors and colleagues, not so much from guest critics. Maybe because they are there from the beginning to the end and know each stage of the progress that I am making. New discoveries are that the biggest proportion of ‘emotional thinking’ is at the second half of the month, whereas the ‘rational thinking’ is at the first half of the month. So it is unclear whether, the rationality of my thinking is governed by the time of the month or by the stage of project I am at. In this case, because the two coincide, it is hard to determine. But I am leaning towards the later. Model making mostly happen on Monday, followed by Thursday/Sunday. Deducing from the interval, it might be to bring about the project to a start or resolving something three dimensionally towards the end. Carrying out what I set out to do, on the 2nd of May, I experiment listening to rock music while doing my model and sketches. And voilà, I am making a decision, not a major one though. However, it feels a little upsetting to be manipulated. Hence, it is ambiguous whether the decision is made out of contempt or the rock music itself. Definitely not doing this anymore. One and a half week before submission, it become unbearable to listen to anything except some instrumental tune. After not much sleep and stress level reaching the peak, it is logical that one is more irritable and sometime music with words can become noise instead of melody. So I guess it proved that music worked both way. It can influence one’s behaviour and yet can be affected by the type of activity at that period or simply the time of the day/week. Looking out at the sun today after so many gloomy days energize me to do so much more. I wonder now whether the weather is as influential as the music. But that analysis perhaps can wait until next semester.
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4.0
Conclusion In conclusion, the design decision diary has achieved the objective that it set out at the beginning of the study,that is it reveals pattern in design working across the semester. The trend discovered in design process indicates the strong tendency to start the project with emotional contemplation, followed by rational deliberation, ended with emotional reflection. Furthermore, there is at least one day a week allowed for clearing mental clog, happen mostly on Saturday. Also, where big decisions mostly occur on the day before critic/submission, model making take place both at the beginning and towards the end of the project. Next, the biggest influence on decisions is from tutors and colleagues, but in the case of group work: our group mate. In addition, music plays an important role in design process, it both evokes and is affected by mood, design activities and time. And most importantly, painting is found to be the best starting point to guide and focus the project intention along the design process. Thus, in understanding one’s design process better, successful method, such as painting, can be enhance; whereas unnecessary habit, such as leaving big decision making until the last minute, can be cut back. Hopefully by doing so, it leads to an increase in design performance.
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5.0 REFERENCES -http://www.medicalook.com/human_anatomy/systems/Sensory_organs.html -Kwo Da wei. 1981. Chinese Brushwork in Calligraphy & Painting : Its history, Aesthetics and techniques. NY : Dover Publication, 1990. -Alex Selenitch on Minimalism -Greg Misingham lecture series -Juhani Pallasmaa. 2009. The Thinking Hand. UK:John Wileys & Sons. -Juhani Pallasmaa. 2005. The Eyes of the Skin. UK:John Wiley & Sons. - Peter Zumthor. 2010. Thinking Architecture. Basel: Birkhauser. -Peter Zumthor. 2006. Atmosphere. Switzerland:Birkhauser.
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6.0
Appendix
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ITERATION 1
UNTITLED PHOTOGRAPHS BY MUSEUM OF VICTORIA
A professional restoration furniture company and a significant site means that re-establishing goods shed south as it was is the most appropriate way. Hence, the shed will be refurbished to its former glory, while the interior will mimick past use with contemporary reinterpretation.
The main theme is time suspension.
DESIGN IDEAS
Main purpose of the the project is to facilitate ‘Great Dane’ showroom and workshop. ‘Great Dane’ especially restore and retail classic Scandinavian furniture.
PROGRAMME
The building is heritaged listed, it is architecturally significant. The style is those of rustic-Italian architectural style.
Goods shed south is located in Docklands. The 385 metres length of the goods shed was built in 1889, but ceased operation on the mid 1990s. In 2001, nine bays in the centre were demolished to facilitate the extension of Collins st, the goods shed was thus seperated into northern and southern sections.
LOCATION
SUSPENSION OF TIME E
FLOOR PLAN
SECTION 1-1
DISPLAY UNIT
TEMPERATURE-CONTROLLED WORKSHOP
1:50
1:200 FLEXIBLE WORK BENCHES WITH WHEELS
E
Red Figure Narrative
Iterative1: Great Dane Furniture Showroom & Workshop
Name
: Martin Westwell
Age
: 60 years old
Occupation
: car salesman
Current Activity : buying a new 3-seater sofa for his living room
“When I went into Great Dane, my mind was immediately taken back into the year when I first landed on Australia. The shed has its former glory, lights and shadows play with each other like they did in the past, before all those curtain wall come into being. The smell of old timber, bricks and shellac reminded me of my young days working in the Victoria dock, moving furniture from the temporary storage at the shed to the delivery truck, back and forth, back and forth…It is as though I can taste the saltiness of the sea yet again. Drawn to the sound of buzzing activity, I glided through, caressing the soft curves of the Scandinavian furniture framed by the beautifully crafted rosewood. There is only one word that can describe my feeling at that moment : nostalgia .”
Lidya Sugianto. 237989. Master Studio E: Sensory Machine. T: Rennie Liffen & Alex Ray
1 : 50
1 : 50
Section A-A
Section B-B
A
ITERATION 2
B
1 : 50
Intermediate Renders
1
Sectional Diagram
Section B-B
A
A
2
2
1
3
B
B
3
‘your sensory machine’
. adelle tan and lidya sugianto . exhibiting : olafur eliasson . week 6 : crit iteration #2 . tutors : Rennie Liffen and Alex Ray
ITERATION 3
small enclosure for group activity
on 1st floor looking down to ethnic food hall
balcony overlooking entrance and aurora lane market below
ground floor reserved for bikers
Red Figure Narrative
Iterative 3: Trading Space
Name
: Robert Mersh
Age
: 22 years old
Occupation
: Architecture student
Current Activity : Looking to buy a second hand bike Lights filtered through the trusses. There is a hum in the air, the proximity vibration between the old and the new. A waft of rainbow present itself before objects materialized. Layers of landscape so different yet familiar.
Lidya Sugianto. Master Studio E: Sensory Machine. T: Rennie Liffen & Alex Ray
FINAL PROJECT - ACCA DOCKLANDS
2ND FLOOR
1ST FLOOR
GROUND FLOOR
ITERATIVE SECTIONS NOT TO SCALE
CHANNEL GLASS WALL DETAIL NOT TO SCALE
NOT TO SCALE
TEMPERATURE ANALYSIS
FOYER
STAIRWAY
ALUMINIUM FOREST
ON COLLINS BRIDGE
GALLERY WITH OPERABLE OCULUS
HIGH CEILING GALLERY
VILLAGE ST FRONTAGE