Studio V 2017 process book

Liquidise

STUDIO V ENVIRONMENT AND INTERIOR DESIGN YEAR 3 2016/2017 CHAN LOK CHI DONALD 16089077D

TABLE OF CONTENT

INVISIBLE CITY

03

INVISIBLE CITY MODEL BIPOLAR

09

FILM ANALYSIS

19

HONG KONG INTERIORITY

31

SEQUENCE OF SPATIAL EXPERIENCE

37

SPATIAL EXPLORTATION

39

INTERIM

45

SPECIFIC SPATIAL EXPLORATION

51

EXPERIMENT

57

PROCESS OF FINAL MODEL

75

FINAL PRESENTATION

87

INVISIBLE CITY

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INVISIBLE CITY The book explores imagination and the imaginable through the descriptions of cities by an explorer, Marco Polo. The book is framed as a conversation between the aging and busy emperor Kublai Khan, who constantly has merchants coming to describe the state of his expanding and vast empire, and Polo. The majority of the book consists of brief prose poems describing 55 fictitious cities that are narrated by Polo to prove the expanse of Khan’s empire, but which are all actually just descriptions of one city, Venice.

INVISIBLE CITY

VALDRADA

ISAURA

The city was build between the two mountains which connected with numbers of string.The city develope downward

The city build positive and negative. Every thing are inverted. People are not realized they are in the dream or reality

The city was build under the floor where filled lots of drainage. People travel through the drainage tunnel inside the city

Selected Cities These are the cities that I felt fascinating. Three selected cities would be the inspiration for building the invisible city model. Some conceptual model will be created in the next step.

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OCTAVIA

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INVISIBLE CITY

CONCEPTUAL MODEL There are some conceptual model that representing the selected cities.

For example the connecting elements, the texture and the form of the cities. After few weeks tutorial, our group decided to focus on one city called EUSAPIA.

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EUSAPIA This is the city that we start developing the model.

The city divided into up and down development. People living in both city didnt know who is alive and dead. The both city are mirrored

01 BUILDING TESTING

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INVISIBLE CITY

The spatial quality & experience of the space.

2 opposite development cities.

The pathway are always blocked by obstacles.

Numbers of similiar space.

Confused to realized the space is the reality or dream.

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02

HALF FINISHED MODEL

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INVISIBLE CITY

03

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FINAL MODEL BIPOLAR

The model is divided into two parts the upper and lower parts.

There are consist of 3 types of form which are stairscase, repeated sqaure and rectangular form. We are using these basic module to build a space that is no continuity, confused, complexied.

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INVISIBLE CITY

INVISIBLE CITY

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THE CITY OF INCOMPLETNESS

THE CITY OF INCOMPLETNESS

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Reflecting on design process and design thinking by comparing the process to film making.

Practising spatial translation thinking. Throughout the project the translation in design practice like language to space, image to space, information to space and ideas to space will be practiced and discussed continuously.

Develop personal design methods by testing various composition ideas and explore mixed medium of communications.

Develop complex spatial thinking through film where the often neglected factors of space will be reflected and adopted in the design process. For example: time, light, shadow, sound, texture, colour and narrative.

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01

STAGE2 : Develop spatial complexity through sampling Hong Kong interiority.

02

STAGE3 : Develop spatial sensuality and materiality through modelling.

03

STAGE4 : Conclude spatial compositions with a film (5-8mins) or a drawing.

04

STAGE5 : Presentation production.

05

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STAGE1 : Define spatial composition logic and spatial quality through film study.

Define spatial composition logic and spatial quality through film study.

01 FILM STUDY

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LOST HIGHWAY Lost Highway is a 1997 French-American film written and directed by David Lynch.

It stars Bill Pullman as a man convicted of murdering his wife (Patricia Arquette), after which he inexplicably morphs into a young mechanic and begins leading a new life.

The movie, which has noir elements, features the last film appearances of Robert Blake, Jack Nance, and Richard Pryor, and the acting debut of Marilyn Manson.

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Basic Storyline When Fred Madison finds a video tape on his doorstep that shows the interior of his house, he’s convinced that someone has broken in and calls the police. Things get really complicated when he finds another videotape showing him killing his wife, and the police arrest him because his wife really was murdered! Then he disappears from the prison and we start watching the life of a young man who works in a garage...

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THE BEGINNING ECHOES WITH THE END

The scene of beginning are similar to the end of the movie. Called back the memory of the starting

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TWO STORIES

The story divide into 2 part. The first part is about the reality of the story. The second part is about the imagination of the character.

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TURNING POINT

This scene appear when the story change. Its always flash suddenly and rewind.

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FRAGEMENT

There are some flash scene suddenly appear.

These fragment of memories which means call back memory.

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INTERSECTION CONNECTION ANALYTICAL DIAGRAM The upper part of the diagram show there are 3 important thing happen in the story which connect with the background. The fragment of memory related to the important thing.

The lower part shows the sequence of the film. Representing which scene is the first which one followed by.

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ANALTICAL TIMELINE 4 parts of the story | The scene of reality and fantasy.

The connection of the scene | The turning point of the scene

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SEQUENCE & ELEMENT In this analysis, I took a part of the movie for analysis. The analysis classify by 3 elements. Sound, Spatial, Colour.

For the spatial, there are interior and exterior space.

For the colour, there are black, grey, brown and red.

For the arrangement, the imagination part are above the normal timeline.

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For the sound, there are silent, conversation and sound effect.

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Dream

07:00

12:00

Interior space Exterior space

Dream Reality

Interior space Exterior space

Dream Reality

Non Conversation Conversation Sound effect

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Reality

Non Conversation Conversation Sound effect

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Dream

18:00

This timeline shows the sequence of Spatial, Sound and Dream/Reality scene. From the timeline, I have analyse the intersection of the story. The layer of composition and non linear sequence of development

Dream Reality

Interior space Exterior space

Non Conversation Conversation Sound effect

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ANALYTICAL TIMELINE

Develop spatial complexity through sampling Hong Kong interiority.

02 HONG KONG INTERIORITY

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The reason I choose this building as the Hong Kong Interiority as reference is the space in the Building are similar, visitors are easily to be confused The interior space are intersected with elements.

The spatial experience keep changing because of previous space.

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RUN RUN SHAW CMC

The building is a typical crystalline design. Not only the appearance, but rough-cut diamond outline can also be found in the lines of structural beams, windows, doors and the linear lighting patterns of the ceilings.

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Run Run Shaw Creative Media Centre is an academic building on the campus of the City University of Hong Kong, which was built in 2011. It was designed by Daniel Libeskind

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Experience

Spatial Quality

Scared / Weird / Fear

Like an elevation when you look down.

Insertion of fragment

Much scared

Oppressed/Stressed

The geometric form staircase

Without courtyard space The light can’t enter directly

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Losted

Confused/Harassed/ Disturbed/Lost focus

Uncomfortable/ Confused

Released/Fascinating

Layering of staircase and wall Every spaces are too similar Crafted out pattern of staircase The illusion of window

The geometric line from starcase and light pipe.

The secret space connect with tunnel.

The space connect to everypart

Wired

Released

Can’t enter the space directly.

Interection with 1/F Fragment cut within the space Widest space in architecture

EXPERIENCE DIAGRAM The diagram shows the my feeling travelling each floor.

The spatial quality that affect my experience.

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Experience Sequence

9/F

First Time

Second Time

Third Time

Comfortable/ Released

Compressed/ Harassed

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Confused

Relaxing

1/F The diagram shows my spatial experience in different time. The box represent the space, bigger box represent a larger space.

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SKETCHING MEMORY After describing my experience of the space. I try to sketch the space from my memory. Some of the floor drawn with a larger space and some staircase are connected each floor.

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9/F

8/F

6/F

5/F

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7/F

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9/F

8/F

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7/F

6/F

5/F

ISONOMETRIC SECTION

SKETCHING MEMORY I drawn the isonometric and section drawing after the perspective. It is more clear to see the spatial of my memory.

On the right side. The hatch is sketching over the concrete in order to get the real material texture

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9/F

6/F

8/F

7/F

This is measurable plan drawing. It demonstrates the dimension, exact location of staircase and the window.

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5/F

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REAL TIME EXPERIENCE This drawing shows the real-time experience of my travelling in this building. It shows the lighting of each floor for example where is dark and light. Also it shows the spatial of each floor for example which part is larger.

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Conclusion of stage 1 and 2 PAGE 42

From the drawing of memory and film study. I discover that the space I visited is always overlapped since everywhere are similar.

When I standing on the 7/F of the building, I still experience the anothere floor.

When I travelling the space, the experience is continous. It didnt has a space classificationv

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This is the drawing that illustrate the model. From the drawing, the each spaces are connect into one.

Continous experience exist in the model.

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From the drawing there are some area overlapped which demonstrate the experience of one area may combined with another area in order to create continonity.

The form of the model is related to the spatial experience of each area.

PREPARATION INTERIM

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INTERIM PRESENTATION

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CONCEPTUAL MODEL

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Develop spatial sensuality and materiality through modelling.

03

03 SPATIAL SENSUALITY

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Using squeezing and twisting method on different material to see the spatial different. For example twisting the balloon to see the spatial inside. In this stage, I discovered different material will express different change

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TWISTING & SQUEEZING

Second, the sense of space keep changing, its affected by the previous space. For example.

When you squeezing of the balloon. The space will change because of the squeezing

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After INTERIM presentation, I am confused about the development of the project. I tried to recall the memory of travelling the architecture. When I look into the interior, all the space looks similar but the space keep twisting.

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REAL TIME EXPERIENCE These five clay represent the sense of space from 9/F to 5/F. The clay twisted when I felt the space is twisted. The sequence of the clay are display in horizontal.

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I used casting method to see the spatial quality of the space. Discovering how the twisting affect the real time experience.

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The model shows the spatial quality, however it is a 2D development. 3D twisting would be better to develope a twisting space

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TWISTING MODEL

This is the random twisting of the clay. In this stage, I am trying different method of twisting to see is there any details that I can focus on

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TWISTING MODEL 2

The model shows the spatial quality, however it is a 2D development. 3D twisting would be better to develope a twisting space

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CASTING CLAY Casting the clay is a method to see the spatial quality.

In this stage, I can see the interior space through eye and also experience the space.

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After making and casting the model, I was struggled in this stage.

Twisting is a random method which I can’t control. It is easy to off track of the direction.Therefore, I have documented the twisting method of clay.

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Reflection of stage 3

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Type A Twisting the edge

Type C Twisting the head and tail

Type D Twisting small area of the body

METHOD OF TWISTING After the experiment of twisting. There are 4 twisting method Twisiting the edge | Twisting whole body Twisting the head and tail | Twisting small area

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Type B Twisting whole body

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In this stage, I combined those 4 method of twisting in one sequence. In order to creat continuity space. I made a larger scale of the clay this time which may experience the space easily

TESTING MODEL

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INTERIOR SPACE

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Reflection

There is no logic to connect the 4 method in one sequence.

I should look into details of the twisting clay, how the positive affect negative.

How twisting generate continunity

Conclude spatial compositions with model

03

04 SPATIAL COMPOSITION

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TWISTING SPACE In this stage, I have to put myself into this space.From the study and exploration before, I am interested in the continuity of experience and twisting space. In the coming stage, I have to explore about how twisting affect the continuity.

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experimental model I have made five experimental model to demonstrate how twisting affect continuity. First, I use twisting clay for casting. The method is cast the positive (twisting clay) to see the negative (concrete).

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EXPERIMENTAL MODEL

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In this five models, I used two method of twisting which are twising whole body and twisting head and tail. The next page, I will explain the details of twisting.

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Twisting line leading people to move

Twisting line leading people to move

Twisting line leading people to move

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Casting the clay model. I can see through the interior space afrer taking out the clay. When you look at the interior, you will find that there are some line that leading you to move forward in order to create continuity in the space.

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TWISTING DETIALS

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Twisting line leading people to move

Twisting line leading people to move

THE CITY OF INCOMPLETNESS Twisting line leading people to move

In this five model, some of the line like leading you to move forward, some are failed. In the final stage, I would like to use all the successful line to build a model which is a whole continous space.

The photos on the right shows the details of the positive affect the continuity. The middle line start from the begin to the end which is the most effective details that leading people

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experimental model

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01

02

0

03

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05

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MODEL SUMMARY

Presentation production.

03

05 FINAL PRESENTATION

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FINAL MODEL About the final model, base on the experiment I did in the previous stage. I am going to make a twisting model which with limitless continuity in a larger scale. No matter how the space twisting it wont lost continuity.

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For the final model, I have to make a larger scale of twisting clay with long leading line. This is the one third of the clay model.

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TWISTING CLAY CONTINUITY / TWISTING The twisting clay is about 2.5m long. whole model apply the successful twisting line in order to create continuity in one sequence. There are two turn in the model. I will focus on one of the turn for elaboration.

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DETAILS CLAY MODEL

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FINAL MODEL PREPARATION Finished a long clay model, For the demonstration, I have to focus on one part of the model. The blacken part of the model is the selected part for casting.

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Preparation work of casting In order to see the model clearly, I have to make a sectional concrete model which can take out part of the model.

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The original clay will be destroyed after casting. Therefore I use vacuum forming to hold the original shape of the clay.

FINAL MODEL

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LIQUIDISE This project is questions how twisting affect the continuity of the space. Normally, the interior space are classify as one zone, another zone.My project is a space without clear zoning and also the space keep leading you to move forward.

Casting the overlapped model is to see the interior space clearly. You cannot see the whole tunnel without cutting it.

Therefore I cut it when people standing in a position that cannot see through.

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D C Positive casting of Concrete A

C

A B

D Selected part for casting

C

A B

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Positive casting of Concrete B

B

When you are travelling BCD There is a turn in area B, However you still experience the continuity to C because of the twisting line.

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CONCRETE A This is the sectional model of casting a clay. It shows the spatial quality of the continous and twisting space.

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CONCRETE B This is the sectional model of casting a clay. It shows the spatial quality of the continous and twisting space.

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Twisting line

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Twisting line

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Twisting line

Twisting line

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reflection

Besides the design methodology. This studio V train my logical thinking of design, In every process, the ideas and modeling must be undercontrol and logical otherwise it is easily to off track of the topic

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In beginning of this project, I have analysis and drawing to elaborate my thinking and ideas. After INTERIM, I start making models until the final stage. I discovered that the design methodology change from drawing to modeling. In the final stage, I didnt draw more that five drawing. I have leant how to create a continous of twisting space with modeling only.

Edit by Chan Lok Chi Donald Hong Kong Polytechnic University School of Design Environment and Interior Design Year 3 2016/2017 Studio V The city and imcompletness