Coffee in the Clouds

Coffee in the Clouds How could a narrative hospitality space be created to shine a light on the sustainable future of coffee growing and consumption in the Tarrazu region, whilst poetically evoking the tangible and intangible cultures of coffee

Fig. 1 The Starbucks Visitor Centre, Costa Rica (Source: Starbucks, 2018)

farming, roasting and drinking in Costa Rica?

Emerald Herrick-Doyle Student Number: 19143812 MA Interior Architecture and Design Appreciative Design Inquiry - ARC7443A

Table of Contents

Introduction

chapter

chapter

1

2

VERNACUL AR ARCHITECTURE I N C O S TA R I C A

C U LT U R A L I D E N T I T Y IN THE TROPICS

The aesthetics, customs associated with the traditional Coffee Plantation and vernacular architecture that are particular to the coffee hills of Northern Costa Rica.

The innovative community of Artists, Designers and Architects, who are using semiotic narratives as an essential aspect of their praxis, in order to represent new perspectives about cultural identity in the Tropics.

COFFEE IN THE CLOUDS

chapter

chapter

3

4

T R A N S F O R M AT I V E CONCEPTS

DESIGN MANIFESTO

Two Conceptual Designs for a Narrative Hospitality Space which exemplifies the sustainable future of Coffee in Costa Rica

A combination of the philosophy, principles and design elements from concepts one and two culminating in a proposed design.

Conclusion

References

INTRODUCTION This speculative report aims to propose a narrative hospitality design that showcases the sustainable future of coffee growing in the Tarazzu coffee growing hills of Costa Rica and speaks of the cultural identity of the local community.

Costa Rica currently exports some of the highest quality coffee beans in the world (Englehart, 2003). However, an increased demand for this product has led to unsustainable farming methods, such as sun-grown mono-crops, being used to produce lower quality beans at a faster rate. This has had a disastrous effect on the environment, causing decreased biodiversity and increased pollution (Englehart, 2003).

There is currently an opportunity to change this by combining traditional shadegrown coffee with innovative processing methods. This involves communities and individuals using cooperative micro-mills to process their own beans using sustainable methods, earning the best price of beans for the farmers and ensuring sustainable communities. Encouraging eco-tourism to these areas will also help to generate an economy to fund the innovative practices needed to ensure this sustainable future (Englehart, 2003).

Using the research method of Appreciative Inquiry (Cooperrider, 1986) could uncover potential innovation in this field through design. An Appreciative Enquiry collaborative method could envision a future of sustainable farming methods being adopted throughout Costa Rica, with a focus on community farms and cooperative processing plants. This could incur a paradigm shift in the coffee processing industry to focus on the source of the coffee beans and the community that produces them.

Chapter One will examine the tangible and intangible cultures of Costa Rica, exploring the manifestation of these in architecture. Chapter Two will examine the innovative approach of designers who are using semiotic narratives to present new perspectives on cultural identity, specific to the tropical regions. Chapter Three will synthesise the key findings of the previous chapters into two transformative concepts. The research findings and transformative concepts will inform a design manifesto.

Taking an appreciative perspective on the research enquiry allows novel futures and unexpected discoveries to be explored and analysed, through approaching the field from a positive viewpoint. It takes the topic of sustainable coffee farming in Costa Rica and asks ‘What could make this situation even better?’, creating a space for experimentation. It is significant because it uses precedent analysis to appreciate what has already been done and to envision a better future, to “create not just new worlds but better worlds” (Cooperrider, 2013).

The creative approach taken during this synthesis of philosophies, concepts and principles will be informed by a combination of creative methods including the Experiential Learning Model (Kolb & Kolb, 2005): “There are two goals in the experiential learning process. One is to learn the specifics of a particular subject, and the other is to learn about one’s own learning process.” (Kolb & Kolb, 2005) The significance of this creative approach is that it emphasis reflective practice whilst enacting on a journey of discovery, allowing for the development of one’s own praxis methodology.

This potential project could contribute to the field of narrative design as an innovative imagining of culture through the use of semiotic narratives, whilst also promoting a political agenda about sustainable farming practices. The representation of the intangible elements of culture through this design method could contribute to a paradigm shift in the thinking about the representation of culture in design and its power to speak of futures, not just historic culture. The field of sustainable farming will benefit from being celebrated and publicised to a consumer audience who may consider purchasing sustainably farmed coffee.

Coffee farmers in Costa Rica will benefit from the creation of a hospitality space that shines a light on the region and this sustainable practices as it could encourage eco-tourism in the area bringing income and enterprise opportunities, as well as increasing demand for their sustainable grown and processed coffee.

Undertaking this Appreciative Research Inquiry could spark the development of my praxis to move away from attempting to solve problems and instead to dream of possible futures and design accordingly.

COFFEE IN THE CLOUDS

The research in this report will culminate in a design manifesto; a design recipe that will inform a future project. This statement of intent will consist of a persuasive concept, formed from the strongest ideas that have emerged from the transformative concepts in Chapter Three. The manifesto will a set out the design principles, philosophy and praxis that will form the fundamental basis of a future signature project. The concept will embody the philosophy and principles that come to light during the appreciative research process, to create a narrative hospitality space that speaks of the cultural identity of the community of Costa Rican coffee farmers, and highlight the future for the sustainable production of coffee in the Tarazzu region.

chapter 1

VERNACUL AR ARCHITECTURE I N C O S TA R I C A

The aesthetics, customs associated with the traditional Coffee Plantation and vernacular architecture that are particular to the coffee hills of Northern Costa Rica.

Definition Significance Current Theory Current Practice Future Focus Key Findings Fig. 1 Freshly picked coffee beans Source: E. Herrick-Doyle, 2018

Aesthetic

(n.) A set of principles

underlying and guiding the work of a particular artist or artistic movement.

Custom

(n.) A traditional and widely

accepted way of behaving or doing something that is specific to a particular society, place, or time.

Vernacular

(n.) A local style in which ordinary houses are built

Plantation

(n.) A plantation is a large piece of land, especially in a tropical country, where crops such as rubber, coffee, tea, or sugar are grown.

Definition Using the dictionary definitions as a guide, the field of this chapter can be understood as the appearance of the local style architecture that is associated with the coffee farms of Costa Rica, and the behaviours and beliefs which are held by those people that live and work in the coffee farm industry.

Source of Definitions: Oxford English Dictionary.

COFFEE IN THE CLOUDS

Fig. 1 Vernacular Style Scout Hut Source: E. Herrick-Doyle, 2018

Case Study

Primar y Research

SAN JERONIMO 150km from San Jose

Fig. 2 Vernacular Style Shop in San Jeronimo (Source: E. Herrick-Doyle, 2018)

Definition and Illustration of the particular features of vernacular architecture within the mountainous coffee growing regions of Costa Rica

Fig. 1 Vernacular Style Roof in San Jeronimo (Source: E. Herrick-Doyle, 2018)

Vernacular architecture here makes us of local and readily available materials: many homes are made from locally sourced timber or concrete breeze blocks.

Most roofs are corrugated metal and many are pitched, to allow rainwater to run off easily. Due to the minimal material choice, homes are often painted bright colours, reflecting their tropical surroundings. Due to the climate in the hills, many homes and community buildings have wall-less structures and covered colonnades. Glass is rarely used, perhaps because it is more difficult to get hold of and is not deemed necessary in the warm often sunny climate; open air rooms ensure better ventilation and no need for air-conditioning in a region with little infrastructure. Covered porches and roofs with overhang are common and provide shaded areas.

Fig. 1 Coffee Beans picked in San Jeronimo Source: E. Herrick-Doyle, 2018

The theory concerned with creating Sustainable communities and its connection to vernacular architecture From primary research conducted prior to this report, it has been noted that understanding that the processing plant is also part of the traditional homestead is fundamental to appreciating the vernacular architecture in Costa Rica. The integration of factory processing spaces and domestic living spaces is common in traditional coffee farming villages. A contemporary innovation of this is the co-operatively owned and run coffee bean processing instruments in San Jeronimo, which following the traditional model are integrated into the living space of the whole village.

This is significant because referencing and preserving the vernacular can be highlighted as a key principles for building a sustainable community, in an adaptation of ‘The Five Principles for Sustainable Communities’ (Green Building Council of Australia, 2014).

Fig. 2 Vernacular Style School in San Jeronimo Source: E. Herrick-Doyle, 2018

A nuanced approach to the study of vernacular architecture was conducted in 1997 by Paul Oliver, of the Oxford Institute for Sustainable Development, in ‘Encyclopaedia of Vernacular Architecture’.

This thesis argues that the study of vernacular architecture will prove essential to “ensure sustainability in both cultural and economic terms beyond the short term.”(Oliver, 1997). Applying this theory to the traditional coffee plantation of Costa Rica , it can be understood that this area of study is significant because it is important to preserve this tangible expression of a disappearing culture which is under threat from globalisation and the mass-production of coffee beans.

Fig. 1 Vernacular Style Plantation House in San Jeronimo Source: E. Herrick-Doyle, 2018

The Significance of Vernacular Architecture

Fig. 3 Vernacular Style Plantation Hut in San Jeronimo Source: E. Herrick-Doyle, 2018

05

Principles for Sustainable Communities

Enhance liveability Create opportunities for economic prosperity Foster environmental quality Embrace design excellence Demonstrate visionary leadership and strong governance (Green Building Council of Autralia, 2014)

COFFEE IN THE CLOUDS

Innovation Following Appreciative Enquiry Research

Integrate the vernacular the culture and customs associated with vernacular architecture the sustainable constructions methods and materials choice the adaptability to climate

Fig. 1 The cafe at Hacienda Alsacia Source: Starbucks, 2020

Case Study

HACIENDA ALSACIA

Starbucks Global Creative near San José 2019

“Everything needed to be authentic, everything needed to be contextual, and everything needed to be driven by creating a space for community” (Daniels, 2019)

Fig. 1 Hacienda Alsacia Source: Starbucks, 2020

Situated amongst the coffee hills of Pรณas Volcano, Hacienda Alsacia is a working coffee farm, farming methods research centre and an experiential visitor centre. The Starbucks Global Creative Design team, led by David Daniels, has used narrative design to speak of and reference the vernacular architecture of Costa Rica. These messaged can be decoded using Semiotic Theory (Sassure, 1916).

The wall-less communal areas echo the vernacular architecture of the region, and are practical in this tropical climate as they eliminate the need for air conditioning which contributes to a more sustainable design. However, a semiotic reading (Sassure, 1916) of this design feature could show that the designers have used one of the principles of the ethos of the coffee farm and Starbucks brand, of openness and transparency in regards to the coffee manufacturing and farming process. The Semiotic sign is the open wallless structures and removable glass panels and the signified message is The Principle of Transparency.

COFFEE IN THE CLOUDS

Fig. 1 Hacienda Alsacia (Source: Starbucks, 2020)

Fig. 1 Produce at Hacienda Alsacia Source: Starbucks, 2020

Fig. 2 Local Famers at Hacienda Alsacia Source: Starbucks, 2020

Fig. 1 The cafe at Hacienda Alsacia Source: Starbucks, 2020

The materials chosen for the project include concrete blocks, steel trusses and corrugated metal roofs. All of these elements appear locally in the vernacular architecture of the area. This has the effect of making the building become part of the Costa Rican landscape and fit in with the already existing vernacular architecture. It can be interpreted as making the building appear more authentically synonymous with the traditional coffee plantation.

A critical evaluation of this design reveals that it does not adhere to’ Principles for Sustainable Communities’ (GBCA, 2014) because the community is not self- sustaining. This is because it is reliant on the Starbucks brand to bring tourism, and whilst it provides research into farming techniques, there are no other ‘opportunities for economic prosperity’ (GBCA, 2014) of the community out with the Starbucks brand. Furthermore, the design is not an authentic interpretation of the vernacular architecture of the area because the homestead is not incorporated or referenced in the design of the plantation structures.

COFFEE IN THE CLOUDS

The connection between nature and the visitor in the building can be demonstrated by the inside-outside design, with glass panels in the café opening out onto the magnificent vista. Lead designer David Daniels says through this mechanism “the lines between inside and outside are blurred by the structure’s open expanse” (Daniels, 2019). This has the effect of bringing the visitor physically closer to nature as well as metaphorically through their experience at the farm, by removing the barrier. This integration between the building and nature was the fundamental design principle that the design team began with. The design team used the sun-path and topography to dictate where and how each element of the site should be constructed; “We listened to the site and the site told us what to do” (Daniels, 2019) according to lead designer David Daniels.

Future Focus The use of locally sourced materials and contemporary interpretations of the vernacular architecture of Costa Rica in the Haceinda Alsacia project, for example the fold away glass doors and roof covered wallless spaces, could prove inspirational for an innovative narrative hospitality space in this region. The principles of design used in this project include Principles of Sustainability and Principle Transparency, which will be applied to a new innovative design for a final major project design.

Key Findings This research has contributed to a paradigm shift; due to the significance of vernacular architecture as a tangible element of cultures that may be under threat, vernacular architecture should be considered a key principle for creating and sustaining sustainable communities.

This principle could be applied when creating an interior hospitality space that speaks of the local community it is designed to benefit. A new hospitality space should strive to provide more for the local community than solely that which benefits a global brand, and should reference the traditional coffee farms integrating the community and domestic space amongst the industrial coffee farming structures. This could manifest as a hospitality and tourist space to provide a diversification of income and job opportunities for the local community and those working within the coffee plantation.

Key Elements to be used in future proposal - The integration and fusions of the homestead domestic architecture with the industrial spaces for coffee production.

- Integrate vernacular architecture: Branches, corrugated metal, roof shapes, covered colonnades - The Principles of Sustainable Communities

COFFEE IN THE CLOUDS

chapter 2

C U LT U R A L I D E N T I T Y IN THE TROPICS

The innovative community of Artists, Designers and Architects, who are using semiotic narratives as an essential aspect of their praxis, in order to represent new perspectives about cultural identity in the Tropics.

Definition Current Theory Current Practice Evaluations

Fig. 1 House on Pali Hill by Studio Mumbai (Source: ArchDaily, 2012)

Culture

(n.) The ideas, customs, and social behaviour of a particular people or society..

Identity

(n.) The characteristics

determining who or what a person or thing is.

Praxis

(n.) Practice, as distinguished from theory.

Semiotic

(n.) Relating to signs and symbols.

Culture can be understood as ‘The ideas, customs, and social behaviour of a particular people or society.’ (Lexico, 2020) and so cultural identity can be defined in this context as those beliefs, ideas and customs that inform an individual or collective group identity.

Semiotic narratives can be understood as ideas and stories that are conveyed through the use of signs and signifiers (Sassure, 1916).

Source of Definitions: Oxford English Dictionary.

Fig. 1 House on Pali Hill by Studio Mumbai (Source: ArchDaily, 2012)

Definition

Fig. 1 Vernacular Style Scout Hut Source: E. Herrick-Doyle, 2018

Contemporary Theory on the Use of Semiotic Narratives in Design and its Relationship with Cultural Identity According to the Historian Larry Speck, architecture is imbued with semiotic messages to represent aspects of culture. Speck argues that “Buildings inherently and unavoidably document the everyday life of a culture. They are repositories of the patterns of activity, association and movement of a society or people.” (Speck, 2006) This approach by Speck is significant because it argues that cultural identity is fundamentally expressed though architecture, whether by design or not. This is important because these messages can be manipulated to express certain ideas and expressions of culture. Semiotic theory can be used to de-code messages about cultural dignity in design and can imbue a design with a deeper meaning and cultural significance.

This means that a design can holly speak of the culture in which it is designed for, if the signs are used correctly. A building can become a tangible expressions of the cultural dignity of a society or community, which has immense weigh and significance.

Using this approach to narrative design as part of a designer’s praxis enables the designer to have an authentic approach to designing for communities. It ensures that authenticity is a key design principle. Designers who have employed this method as part of their praxis in the tropics are often implying elements of the vernacular in their design, because the vernacular itself often speaks of cultural identity. This community of designers includes the innovative Geoffrey Bawa, and currently renowned design studios such as Studio Mumbai and Olsen Kundig.

Studio Mumbai has recently designed furniture that references the traditional craftsmanship of India, and through this language presents an aspect of India’s cultural identity to the rest of the world.

These could be adapted into design principles for sensitively representing culture using semiotic messages in design. There could be issues when representing a culture and cultural identity that is not one’s own.

COFFEE IN THE CLOUDS Fig. 1 & 2 Furniture made using traditional craftmanship techniques

by Studio Mumbai (Source: Deezeen, 2019)

Fig. 1 House on Pali Hill by Studio Mumbai (Source: ArchDaily, 2012)

“Architecture can be understood as a language or grammar, that uses symbolic communicates to construct built reality of its users and observers�

(Gawlikowska, 2013)

Fig. 1 The cafe at Hacienda Alsacia Source: Starbucks, 2020

Fig. 1 The Glass Room at Lunuganga, designed by Bawa during the 1980s (Source: Guralnick, 2018)

Case Study

LUNUGANGA

Geoffrey Bawa near Colombo 1949-1998

“To wander through Lunuganga is to be confronted with a palimpsest of influences, ideas, and memories.” (Bawa Trust, 2020)

Lunuganga is a country estate situated in the tropical climate of Sri Lanka, 80 km from Colombo consisting of a plantation house and a series of smaller villas clustered around the estate. Before Bawa began his architectural journey on the state, it was a derelict rubber plantation.

Previously Geoffrey Bawa’a Country Estate, the estate comprises a number of structured designed and build at different times in Bawa’s career. The former country home of Bawa was preserved after his death in 2003 and is now run as a boutique country hotel to allow tourists to experience the influential architecture of Bawa and the exception natural beauty of the site.

Fig. 1 Bawa at Lunuganga (Source: Sreekanth, 2011)

Geoffrey Bawa (1919-2003) was a Sri Lankan architect, globally acknowledged as the driving force behind ‘Tropical Modernism’. His own personal cultural identity was informed by his multi-ethnic colonial heritage, his British univeristy education and his extensive travel.

COFFEE IN THE CLOUDS

Fig. 2 The Plantation House at Lunuganga designed by Geoffrey Bawa (Source: Guralnick, 2018)

Fig. 2 The Interior of Plantation House at Lunuganga designed by Geoffrey Bawa (Source: Guralnick, 2018)

The Semiotic Messages in Lunuganga which Speaks of the Cultural Identity of Sri Lanka Sri Lanka’s cultural identity has been influenced my many different philosophies and religions throughout the centuries, each bringing their own architectural style. This is referenced through a number of signs and signifiers throughout the structures at Lunuganga. The pillars that frame many of the pavilions across the estate reference the ancient palaces in Sri Lanka, a key element of the cultural identity.

The wooden lattice windows and timber beamed roof is the sign that signifies the traditional vernacular in the local area. The terracotta roof tiles on the Cinnamon House have been preserved for an original dwelling on the rubber plantation and signify the previous industrial use of the estate. The antique furniture speaks of the colonial past of Sri Lanka, but presented in a modern setting signifies the integration of the old and new which are forming Sri Lanka’s current cultural identity. The mural on The Gatehouse by local artists is symbolic of the local craftsmanship that is a part of the cultural identity of of Sri Lanka, and the mural itself speaks of the influence of Hinduism and its part of the cultural identity of the island. Nature is central to the island’s cultural identity and Bawa signifies this by dissolving the boundary between inside and outside at Lunuganga through verandahs and open air courtyards, bringing nature closer.

Pencil illustration of Temple of the Tooth in Kandy, Sri Lanka (1870) by Nicholas Chevalier whcih shows the Classical and Buddhist elements of architecture incorpotatd into the same building. (Source: The British Library, 2020)

The blending of old and new elements of design in Bawa’s architecture and interior design itself speaks of the blended and rich cultural identity of Sri Lanka’s many influences. This is achieved through the Modernist design elements, such as large windows with Modernist proportions, and these signify the evolving culture of Sri Lanka, contain elements of the past and present, as well as referencing Bawa’a own ‘Topical Modernism’ architectural style.

Fig. 1 Columns at the entrance to a pavillion overlooking the lake at Lunuganga (Source: Guralnick, 2018)

Fig. 2 Wooden lattive windows looking onto the gardens at Lunuganga (Source: Guralnick, 2018)

Fig. 3 The Mural by local artistLaki Senanayake depciting a scene from Hindu scripture (Source: Guralnick, 2018)

Fig. 4 The vernacualr style roof at Lunuganga (Source: Guralnick, 2018)

Fig. 1 Vernacular Style Architecture at Lunuganga (Source: Guralnick, 2018)

COFFEE IN THE CLOUDS

Fig. 2 The barrier between outside and inside is dissolved at Lunuganga (Source: Guralnick, 2018)

Fig. 1 Pool at The Blue Water Hotel by Bawa (Source: Robson, D. and Posingis, S., 2016)

COFFEE IN THE CLOUDS

Bawa’s use of Vernacular Elements in Contemporary Design Bawa has used symbolic features in designs to speak of the cultural identity of Sri Lanka in a contemporary context. An example of this is The Blue Water Hotel (1996). Bawa has re-imagined the vernacular elements of a rectangular shaped courtyard and filled it with water to place it within the context of a Beach Hotel.

This has the effect of recalling the traditional courtyard shape of Sri Lanka but also serves the purpose of acting as a cooling mechanism and feature of the hotel reception. The water draws a visual link between the sea and the pool, also giving the illusion that the covered colonnade space that leads through to the reception is floating.

Future Focus for Cultural Identity in a Hospitality Design Bawa’a design enables Sri Lankan people to understand more about their own cultural identity, through identifying the influences on its national culture. The blending of the vernacular architecture and story of Sri Lanka’s culture with contemporary design elements is a technique that could be employed in a new design for a narrative hospitality space in Costa Rica. The references to Ancient culture, sensitively combined with colonial-era antique furniture and modernist design features traces Sri Lanka’s history through design and could be used in another tropical setting to narrate the history of coffee and its influence on people.

COFFEE IN THE CLOUDS

Fig. 1 Tropical Modernism at Lunuganga (Source: Guralnick, 2018)

Bawa’a approach of blending the vernacular architecture of Sri Lanka with contemporary design elements in the 1980s has been identified as a future trend in hospitality design, according to the trends forecasting website WGSN. The ‘Aesthetic Juxtapositions’ trend in hotels creates a ‘dynamic conversation between the past and the present (WGSN, 2020) and could be used as a method of narrating cultural identity through design.

COFFEE IN THE CLOUDS

‘Aesthetic Juxtapositions’ Future Trend

+ Bawa’s precednet of the combination of vernacular and contemporary design

= A future focused design that speaks of the historic past, present and future of the cultural identity of a local community.

Evaluations A key design features used by Bawa at Lunuganga that could be beneficial to a coffee-farming community in Costa Rica is the use of a local artists being incorporated into the design, which cements the design in its local surroundings, benefits the community financially and also speaks of the cultural identity of the community being designed for. Another element that could be impactful on a community in Costa Rica is the use of vernacular architecture by Bawa, which allows the structure to belong to its community, but the way Bawa’a signature Tropical Modernism has combined the vernacular within this to create a functional and aesthetically harmonious design.

Furthermore, the preservation of the original roof from the previous rubber plantation, as this speaks of the heritage of the site and honours the story of the community that lived there.

These elements used by Bawa can be used to form Three Principles that can be applied when using semiotic narratives in designs intended to benefit a community:

Intergrate the Vernacular

Preserve the History

Engage the Community

Since the vernacular speaks of cultural identity, ensuring this is integrated into a new design will allow the building to speak of the cultural identity of the community, through displaying semiotic signs.

Any original or historic elements of architecture that reference the previous use of a building should be preserved and incorporated into a new design, to speak of the culture and history of the site.

Commissioning local artists to design pieces for a piece of architecture has social and economic benefits for the local community, as well a having a physical part of the community being displayed in the design.

Studio Mumbai combines Indian and Western craftsmanship it its designs and uses universal materials. The furniture collection successfully expresses cultural identity through it references to global traditional craftsmanship techniques, which function as signifiers to a global audience about the cultural heritage of the design. This is an example of a designer successfully using semiotics to describe a cultural heritage different from their own, and can be used as a precedent for the design of a hospitality space in Costa Rica that speaks of the cultural identity of the local community.

Examining current theory and Bawa’s Lunuganga, it is apparent that a paradigm shift should occur in the understanding of the use of semiotic messages to present cultural identity. The community of designers and artists using semiotic messages to present cultural identity do so both consciously and unconsciously.

All architecture contain signs presenting ideas about culture, therefore this should be harnessed as a tool by designers to present ideas of cultrual identity that benefits the community they are designing for. In this way, using semiotic messages can be beneficial to a community because a building or design can authentically represent a community and the local culture.

COFFEE IN THE CLOUDS Fig. 1Furniture made using traditional craftmanship techniques by Studio Mumbai (Source: Deezeen, 2019)

Key Findings

COFFEE IN THE CLOUDS

If

then new designs should

“Buildings inherently and unavoidably document the everyday life of a culture. They are repositories of the patterns of activity, association and movement of a society or people.� (Speck, 2006)

Integrate the Vernacular Preserve the History Engage the Community

because

Fig. 1-3 As Previous

When a community is integrated into design choices, it brings economic, environmental and social benefits; it embodies their cultural identity.

Fig. 1 Coffee Fields in San Jeronimo Source: E. Herrick-Doyle, 2018

chapter 3

T R A N S F O R M AT I V E CONCEPTS

Two conceptual designs that explore the sustainable future of coffee region in the Tarazzu coffee growing region of Costa Rica, using semiotic narratives to speak of cultural identity.

Concept One

‘Coffee in the Clouds’ Concept Two

‘The Source’

Design Principles

Let the Design

1. Rely on natural energy flows Respond to the climate, use the sun/wind for benefit, harness their natural energy and bring this into the design, so that the design can regulate itself (Principles of Organic Solar Architecture, Dorn, 1993) 2. Introduce new non-local design ideas and principles i. Juxtapose these with the vernacular to exemplify the best of ancient design principles with benefits of modernity. ii. Introduce something new to the current design thinking in the area whilst still reflecting the local physical and cultural surroundings e.g. a piece of sky space 3. Come from the earth Use local or natural materials, embody its surroundings 4. Exist in the ‘continuous present’ and ‘begin again and again’ (Gaia Charter, Pearson, 2002) 5. Benefit the surrounding community financially and spiritually By creating opportunities for economic prosperity through employment, socialenterprise, or education 6. Eliminate the concept of waste (Hanover Principles, McDonough, 2000) 7. Be a meaningful space for anyone who enters 8. Celebrate the spirit of youth, play and surprise (Gaia Charter, Pearson, 2002) 9. Integrate the Vernacular Integrating the local vernacular architecture and the beliefs and customs that this is imbued with to speak authentically of the local community

Achieving the sustainable future of Coffee Production The future of sustainable coffee in the Tarazzu region of Costa Rica is contained in the micro-mill revolution. It entails shade-grown coffee grown on family farms and processed in small batches in co-operative coffee processing plants, which are integrated into the community. This ensures a fair price for farmers for their beans as processing their own beans eliminates the middle-man.

Allowing farmers to roast their own beans also allows them to create their own brand of coffee, harvested, processed, roasted and even packaged sustainably on their own individual farm. This ensures the farmer gets the profit for the sale of their coffee where unsustainable coffee production is allowing for much cheaper coffee to flood the market.

Through producing coffee using this sustainable method, which encompasses the traditional ways of coffee growing and incorporates new ideas about processing and roasting methods, the farmers can maximise on the growing global trend of focusing on the origins and source of products (WGSN, 2020). Using shade-grown coffee is a sustainable form of farming coffee because it utilises native tress and plants to provide shade, which sustains bio-diversity and also can provide produce for farmers, diversifying their income.

Fig. 1 Truck of coffee cherries in San Jeronimo Source: E. Herrick-Doyle, 2018

Concept One

NAME: COFFEE IN THE CLOUDS

Fig. 1 Coffee cherries in San Jeronimo Source: E. Herrick-Doyle, 2018

An immersive coffee tasting experience situated on a small family farm in the coffeegrowing hills of Costa Rica, promoting the future of sustainable coffee growing in Costa Rica and supporting the local community.

Fig. 1 Vernacular Style Scout Hut Source: E. Herrick-Doyle, 2018

L O C AT I O N The centre will be located on a farm in the Tarazzu region of Costa Rica, integrated into the coffee plantation. It will be situated nearby to the co-operative community micro-mill so that the processed beans can be transported to the centre to be dried and roasted.

Fig. 1 Map of Costa Rica showing the Tarazzu Region Source: (Herrick-Doyle, E., 2020)

Concept One

The Site

Fig. 2 Section of proposed site Source: (Studio Saxe, 2020)

Fig. 3 Sketch of site interior Source: (Herrick-Doyle, E., 2020)

Concept One

Benefits for the local community ‘Coffee in the Clouds’ will provide year round employment for local people, helping their sustainable community to thrive by bringing tourism to the area, which in turn will generate other enterprise and employment opportunities.

It will provide the facilities for farmers to roast their beans and to package their beans, creating a product ready to sell.

It will also increase awareness about micro-mills and the sustainable method to grow and process coffee, increasing the value of their high quality sustainably grown bean.

The community will also benefit from being able to experience interior architecture that speaks of their cultural identity.

Benefits for the visitor

Fig. 1 Montage of proposed site, Source: (Herrick-Doyle, E., 2020)

The visitor will have an immersive experience, experiencing first-hand how the coffee they drink is roasted and processed. They will gain knowledge about the sustainable farming and future of coffee growing and processing, and an understanding about its impact on communities.

The visitor will also have a memorable experience, drinking coffee whilst looking out onto the plantation in the hills of Costa Rica, experiencing the heat and smell of freshly roasted coffee, all whilst inside a sustainable interior that tells the story of Costa Rica’s cultural identity.

TA R G E T M A R K E T International Tourists interested in eco-tourism.

People interested in sustainability, the coffee process and the natural beauty of the coffee growing regions of Costa Rica, who wish to have an immersive experience when visiting Costa Rica.

According to research from the Costa Rican US embassy, the biggest international tourist market for Costa Rica is from North America, and Ecotourism accounts for 80% of all tourism in the country. (Costa Rican Embassy, 2020). Tourism is continuing to rise in the country, with 3.1 million foreign visitors last year, an increase of 4.1% from 2018 (Tico Times, 2020) Named as one of Lonely Planet’s best travel destinations for 2020 (Lonely plant, 2020) Costa Rica is famed for its national parks and vast bio-diversity, but the mountainous coffee growing regions are little explored by tourists visiting the country and so these mountain communities have yet the benefit significantly from the tourist economy in Costa Rica, which is worth $1.7 billion US dollars per year (Costa Rican Embassy, 2020).

Eco-Tourism

(n.) responsible travel to natural areas that conserves the environment, sustains the well-being of the local people, and involves interpretation and education

Source of Definitions: Oxford English Dictionary, 2020.

Tourism is the is a huge part of the economy in Costa Rica and so something the proved a reason for eco-tourism would be of great benefit to Costa Rican. Situating a tourist attraction in a location that is currently trying to encourage tourism to bring money to the area, a place that is yet to benefit from the financial gain of eco-tourism will significantly benefit local people.

“A quarter of our country is national park. But we need new approaches that support people, too” says Daniel Villafranca from Caminos de Osa, a community tourism initiative (The Guardian, 2017).

A coffee tasting experience centre in this Tarazzu region of Costa Rica will bring tourism and much needed income to the area, provision employment and a space for social enterprise.

Concept One

Fig. 1 Montage of typical proposed users, Source: (Herrick-Doyle, E., 2020) and (Lonely Planet, 2020)

Design Theory

PHILOSOPHY

The philosophical design approach being applied to this proposal is that of sustainable design focused on communities.

The design philosophy underpinning this concept focuses on creating something authentic and useful for the local community.

“Everything needed to be authentic, everything needed to be contextual, and everything needed to be driven by creating a space for community” (Daniels, 2019) The Green Building Council of Australia (GBCA) summarises this philosophy as: “A sustainable community is the one that has aspirations for the future that acknowledge the challenges brought about by change. It is liveable, resilient, diverse, and adaptable.” (GBCA, 2017) This philosophy has a focus on communities and a focus on the future, which encapsulates the core aims for this transformative concept.

REFLECTIVE THINKING

Focusing on local enterprise and communities, not multi-national corporations, encourages sustainable practices and economic prosperity for people, not profit for global organisations. why is this philosophy for design significant.

Ensuring a design is contextual and authentic allows it to speak of its community.

Concept One

PUBLISHED THEORIES + PRINCIPLES

Five Principles of Sustainable Design (GBCA, 2017): Enhance liveability Create opportunities for economic prosperity Foster environmental quality Embrace design excellence Demonstrate visionary leadership and strong governance Design Mindfulness Principles (Thackara, 2006) “We need to design macroscopes as well as microscopes to help us to understand where things come from. I belief that ethics and responsibility can inform design decisions without constricting the social and technical innovation we all need to develop ‘Design Mindfulness’” and a determination to: 1. Think about the consequence of design actions before we take them, paying close attention to the natural, industrial and cultural systems that are the context of our design actions.

2. Consider material and energy flows in all the systems we design.

3. Give priority to human agency and not treat humans as a factor in some bigger picture.

4. Deliver value to people – not deliver people to systems.

5. Treat place, time and cultural difference as positive values, not as obstacles.

6. Focus on services, not on things and refrain from flooding the world with pointless devices.

Fig. 1 John Thackara Source: (Service Design Days, 2020)

John Thackara is a British writer, public speaker, advisor and [hilosopher. He is an innovator in his field of designing for the future. He is also a senior fellow at the Royal College of Art in London.

POLICY

Drawing on the above principles, the policy of this design is to create a facility that benefits both visitors and the community, reflects the philosophy and culture go the local Costa Rican community, and is constructed using sustainable materials and practices.

DESIGN PRINCIPLES

1. Come from the earth Use local or natural materials, embody its surroundings 2. Benefit the surrounding community financially and spiritually By creating opportunities for economic prosperity through employment, social-enterprise, or education 3. Be a meaningful space for anyone who enters 4. Celebrate the spirit of youth, play and surprise (Gaia Charter, Pearson, 2002) 5. Integrate the Vernacular Integrating the local vernacular architecture and the beliefs and customs that this is imbued with to speak authentically of the local community

DESIGN CONCEPTS

Create a design that reflects the local community and meets their needs.

Create a design that integrates the everyday mechanisms of coffee production with an interesting experience for visitors.

The policy of this design will integrate elements of vernacular architecture into the design to ensure it is authentically part of its community. It will use sustainable materials to the fullest extent, making use of locally available materials first to embed the physical surroundings int he design and to reduce carbon emissions.

Concept One

PRECEDENTS

Fig. 1 Hacienda Alsacia (Source: Starbucks, 2020)

Fig. 2 Furniture made using traditional craftmanship techniques by Studio Mumbai (Source: Deezeen, 2019)

Fig. 3 A vernacualr style coffee roaster in Costa Rica, Source: (Herrick-Doyle, E., 2020)

Initial Sketches

Concept One

Fig. 1 Pencil sketches of initial ideas, Source: (Herrick-Doyle, E., 2020)

INITIAL C ONCEPT DEVELOPMENT

Fig. 1 Montage of proposed coffee tasting space, Source: (Herrick-Doyle, E., 2020)

Product selling space Coffee Tasting Space Coffee Serving Space Cloud-like ethereal colours

Concept One

Fig. 2 Montage of proposed coffee drinking space, Source: (Herrick-Doyle, E., 2020)

Coffee Drinking space Immersed in the plantation Vernacular architecture, local materials

CONCEPT DEVELOPMENT

Lighting used to create shadows for cloud-like atmosphere

Drinking coffee enveloped in clouds

Organic shaped furniture reminiscent of coffee beans Recycled aluminium used in innovative ways

Sensory Coffee Roasting Experience

Fig. 1 Montage of coffee roasting atmosphere, Source: (Herrick-Doyle, E., 2020)

Concept One

Coffee in the Clouds Drinking Experience

Fig. 2 Montage of coffee tasting atmosphere, Source: (Herrick-Doyle, E., 2020)

Aroma of different coffee roasts Tactile experience handling roasted and unprocessed beans Integrate the industrial coffee production with the user roastery experience - transparency of the process Incorporation of traditional roasting methods Display of different roasts available to purchase

Colour Story

Fig. 1 A rusted roof amongst the coffee plantations in San Jeronimo, Source: (Herrick-Doyle, E., 2020)

the good life

lush tropics

cloudy skies

warm rust

damp leaf

coffee berry blossom

pura vida

Pura Vida is a hello, a goodbye, and a phrase that encapsulates the culture and everyday way of life in Costa Rica.

Pura Vida takes inspiration from the coffee plantations of Costa Rica; the reddy brown of the earth on the hillside and the rusted metal roofs, the delicate pinks of tropical flowers and the rich brown of freshly brewed coffee.

The soft greys of the clouds are also represented in the palette, contrasted with the dark greens of the luscious trees and fauna and the paler greens of the leaves. The colours in this palette showcase the richness of Costa Rica’s natural surroundings and its vernacular architecture. Its simplicity mirrors the philosophy of Pura Vida, living the good, simple life.

It is a calming experience to be immersed in these colours and its muted tones allow the design to sit seamlessly in its natural surroundings. It is visually inviting yet understated, allowing the coffee experience to take precedence.

M A T E R I A L S PA L E T T E

Fig. 1 Montage of proposed materials palette, Source: (Herrick-Doyle, E., 2020)

Concept One

Recycled Aluminium Aluminium is strong, durable and infinitely recyclable, making it one of the most sustainable metals to use.

Clay Plaster (Locally Sourced Clay) Clay plaster is a sustainable material and it suitable for the tropical environment due to it being naturally breathable. By using locally sourced clay, the earth tones of this material echo the clay soil of the coffee plantation, allowing the design to become authentically placed in its environment, as well as being a sustainable source of material.

Cotton Mesh Cotton Mesh is a light tensile material and can also be sustainable sourced. Cotton has a natural, organic feel to it and is an inexpensive but effective tensile material. It will be used to stretch over an aluminium frame to form a cloud installation Bamboo Bamboo is used commonly in Costa Rica in designs on the coast, since its is readily available. Since bamboo grows rapidly it is a renewable source and a sustainable material.

Rattan Rattan is a highly renewable and sustainable material, made from weaving together dried plants. It is reminiscent of matriarchs on rocking chairs on porches, a common sight in the mountains of Costa Rica.

Locally Sourced Timber Local timber is a common element of the vernacular in Costa Rica. Using a locally sourced material reduced the carbon emissions needed to transport the material and it also ensures the design is an authentic representation of the place in which is it situated.

Coffee Plants + Local Plants Local plants will be incorporated into the design, adding texture and vibrancy.

U S E R N E E D S + FA C I L I T I E S

Building One ROAST A coffee processing, roasting and product packaging space

Bean packaging Area -prep tables -coffee + packaging storage

Bean Roasting and Cooling Area -Roaster with flow to exterior -space for beans to cool

Bean Processing Area -drying, sorting

Sitting/Waiting area -seating for 6 people

Follow path to

Reception -1 person desk

Toilets -1 toilet

Concept One

Building Two

Store room

CLOUDS A coffee drinking and retail space

o Building Two

Coffee Tasting Space -12 person seating

Retail Space -display space for coffee to purchase -till facilities

Key: Bean processing space Public Hospitality Space Private Staff Space Facilities

Office -staff relaxing area -desk

Coffee Preparation Space -water + electrics - space for 2/3 servers

Toilets -2 persons

Fig. 1-4 Floor plans in perspective of proposed design, Source: (Herrick-Doyle, E., 2020)

1: Roast

Ground Floor

First Floor

2: Clouds

Ground Floor

First Floor

1: Roast

coffee bean exploration area

bean roaster + cooler

reception

bean processing space product packing space

Fig. 1-2 perspective drawings of proposed design, Source: (Herrick-Doyle, E., 2020)

entrance

2: Clouds

plntation viewing deck + coffee drinking space

product retail space

coffee tasting space

office

buildings linked by suspended walkway

Fig. 1-2 perspective sections of proposed design, Source: (Herrick-Doyle, E., 2020)

2: Clouds

1: Roast

1: Roast

Fig. 1 Perspective sectionsof proposed design, Source: (Herrick-Doyle, E., 2020)

Concept One

2: Clouds

Fig. 1 Perspective section of proposed design, Source: (Herrick-Doyle, E., 2020)

Concept One

S E M I O T I C A NA LY S I S

The semiotic messages in the design speak of the coffee process and its relationship with the local community. The design uses fluid forms as a an abstract representation of clouds. These shapes are a focal point of the design and contain semiotic messages about the community dependence on the clouds for coffee growing; they are a focal point both in the design and in the local culture.

The use of sustainable materials such as recycled coffee grounds signifies the sustainable future of coffee farming in the region and shows the innovation of the farmers to use what they have to create something exceptional.

The aesthetic of the design combines the colour palette of the natural surroundings, exemplifying the Tico connection with nature and Pura Vida, which is so fundamental to the cultural identity of the local community. The colour palette also contains semiotic messages, the earthy tones of the roastery building signified the richness of the soil which grows the coffee, and the pastel ethereal tones of the clouds inspired space represents the dream-like location which sits amongst the clouds.

The transparency of journey of the coffee beans from soil to consumer is exemplified through the design. The coffee beans can be observed at all stages of this process and the path of the visitrs themselves moving though the space is symbolic of this. (see section drawing) This highlights the importance of the source of the beans, and brings the farmer and thei efforts in sustainable farming to the forefront.

Elements of vernacular architecture have been used in the design as semiotic messages. These messages speak about the local culture through using recognisable shapes and materials. The use of corrugated metal used commonly for roofs and some walls in vernacular buildings in the local area has been abstracted and the shape being used as a motif throughout the space. This has the effect of cementing the design in its location authentically, yet shows how innovation can bring bout new ideas using familiar materials. This is also symbolic of the way farmers are combining traditional and innovative techniques in the future sustainable farming methods.

A focal point of Space 2 is the coffee roaster. This has been designed using elements of the vernacular to create a conversation between the past, present and future of coffee farming in the space. The use of vernacular materials such as local timber and readily available bricks, and the familiar cylindrical shape are the signs that signify this incorporation of the vernacular in the design for the machine to roast the beans.

Concept One

D E S I G N A NA LY S I S

Design Outcomes This conceptual design provides a space for the processing and packaging of the coffee beans grown on the plantation in which the design site. It also provides a hospitality space for a coffee drinking experience and an immersive coffee experience, with visitors able to fully explore the coffee process viscerally.

The design offer a place of cultural significance since it embodies the local vernacular architecture, as well as incorporating the natural surroundings into the design through material choice.

The design embodies the principles of sustainability offering a a new innovative approach to coffee farming, combining this with a hospitality space.

Benefit by Design The design provides year-round employment for the local community who previously have only been able to work during the coffee harvesting season. It provides a tourism incentive to an area that serves to benefit from the growing trend of eco-tourism in Costa Rica. It also provides the opportunity for enterprise through coffee roasting and product selling, and a point of pride for the local community.

Concept One

Limitations Whilst the experience to some tourists may be memorable and thoroughly enjoyable, it may be difficult for the cultural importance and semiotic messages in the design to be understood by some.

Furthermore, the design relies on farmers and roasters interacting with tourists whilst going about their usual coffee roasting process, and so some farmers and other local people who work at the centre will need to learn English, which is not common in the Tarrazu region.

Unique Selling Points Coffee tasting and process exploration on site of coffee production resulting in an immersive unique experience.

Supporting a sustainable community financially and socially.

Concept Two

NAME: THE SOURCE A poetic installation for the Venice Bienale shining a light on the future sustainable production of Coffee in the Tarazzu region of Costa Rica. Drawing on a conversation between the past, present and future of coffee farming and the community’s connection and reliance upon the elemental factors of the clouds and earth which produce some of the most exemplarary and sustainbale coffee in the world.

L O C AT I O N + U S E R O F T H E P O E T I C I N S TA L L AT I O N

Location: The Arnsenale Building in Venice for the Venice Biennale architecture event User: The installation will be open to the public. It will be experienced by visitors to the Biennale, the demographic of which is usually adults, often tourists, who have an interest in art and design.

Fig. 1 Artigliere at the Arsenale Source: (La Biennale., 2020)

Fig. 3 Users experiencing installations at the Biennale, Source: (Dezeen, 2016)

About The Venice Biennale La Biennale di Venezia is an contemporary arts organization that holds an architecture exhibition every other year. It attracts half a million visitors each year.

Fig. 4 Users experiencing installations at the Biennale, Source: (Art Net, 2019)

Concept Two

Fig. 2 Artigliere at the Arsenale, Source: (La Biennale., 2020)

T H E T R A N S F O R M AT I V E CONCEPT

The Experience of the User When visiting the poetic installation, the user will be led by a suspended sculptural lighting path through an interpretation of a Costa Rican coffee plantation. They will pass through giant sculptural clouds which dwarf the user and cast playful and interesting shadows and will be led to a poetic reduction of a typical Costa Rican plantation house, that is illuminated from the inside.

Once they have been led inside the house, with suspended semitransparent fabric walls so that they can still see the clouds and plantation from the inside, they will be able to read information about the sustainable future of coffee farming in Costa Rica. The experience will be made more significant and memorable due to the design embodying the cultural identity of Costa Rica and the design itself being constructed in the most sustainable way using sustainable materials, so that the design and the political agenda work together harmoniously.

Fig. 1 Montage of initial clouds concept, Source: (Herrick-Doyle, E., 2020)

Concept Two

Design Outcomes The conceptual design aims to offer a space that is educational, engaging and playful. It aims to use narrative design to describe the coffee growing, farming and roasting process in a poetic way. The transformative concept will be a space that intrigues the user to discover more, to become invested in the sustainable future of coffee and to be a space that embodies the cultural identity of Costa Rica, holding importance for anyone that visits.

Benefit by Design The poetic installation provides an opportunity for users to experience the concept of sustainable coffee farming, rather than just reading or hearing about the idea. Experiencing this idea in a playful and memorable way ensures that the political message about shade-grown, locally processed coffee beans is more impactful. This stands to benefit the environment, the local communities who are currently growing sustainable coffee and also consumers, who will be able to purchase a higher quality coffee than those from non-sustainable sources.

B R A N D C O L L A B O R AT I O N

Union Coffee is a small-scale coffee roaster in East London. Their company values shares the same philosophy and principles as this project: sourcing sustainably grown coffee and supporting community initiatives in the places they buy from.

It has a focus on supporting sustainable farming through education and funding. Sourcing its beans must adhere to these principles of sustianable farming, and Union showcases the source of the bean on the packaging.

Unioc coffee would be an exciting and appropriate stakeholder and collaborator as they share the same purpose as the porposal: to showcase the sustianable farming of coffee, and champion the small farms that are doing so. Furthermore, it benefits Union coffee to progress the developemnt of micro-mills in Costa Rica and ecourage consumers to investigate the source of the coffee they are purchasing.

Key Principles Small batch, Micro-mills The Source and the Individual Farmer Investing in the Community The Union Coffee Philosophy

Fig. 1 Union Coffee Brand Philosophy, Source: (Union Coffee, 2020)

Fig. 2 Union Coffee founders Steven Macatonia and Jeremy Torz, Source: (Union Coffee, 2020)

Fig. 3 Community investment in Guatemala, Source: (Union Coffee, 2020)

Fig. 4 Union Coffee, Source: (Union Coffee, 2020)

Fig. 1 A co-operative processing micro-mill in San Jeronimo, Source: (Union Coffee, 2020)

Fig. 2 Coffee cherries being processed in San Jeronimo, Source: (Union Coffee, 2020)

Concept Two B R A N D C O L L A B O R AT I O N Case Study: Union Coffee in San Jeronimo, Costa Rica Costa Rica as a Key Player in the MicroMmill Revolution “Costa Rica has really made a mark on the speciality coffee industry. From its focus on producing high-quality coffee, its efforts to regain control over the coffee it grows and of course, its dedication to tackling climate change.” (Union Coffee, 2020) “Costa Rica is applauded for its efforts in reducing carbon emissions, regarded as one of the “greenest” countries in the world. The micro mill revolution can similarly be applauded for progressive environmental efforts. Here, the coffee is “mechanically washed”. This method is more ecological compared to traditional pulp-ferment and wash methods. Firstly it requires less water for the process, plus, the water can be recirculated for reuse after filtering of skins, resulting in less wastewater.” (Union coffee, 2020)

Community Collaboration leading to the Sustainable Production of Coffee in San Jeronimo Seven coffee producers from San Jeronimo formed a co-operative in 2005 when they invested in a micro-mill. Traditioanlly, the area has sold its coffee cherries to multi-national companies, who mixed these high quality cherries with other low-quality cherries grown at lower altitudes. It was more financially sustianable for the farmers to sell their premium coffee cherries for a premium price, so they collaborated in securing a loan to purchase the processing equipment and process the high quality coffee cherries themselves. (Union Coffee, 2020) Roy Solis, who leads the co-operative explains how the hard work has paid off: “Finding the capital to start the mill was not easy but once the equipment was established, experimentation and hard work resulted in delicious coffee”. (Solis, 2020) He also explains the change in picking practices to ensure the best quality coffee: “It has not been easy to convince producers to collect only the mature ripe cherries. We have been working hard at educating our neighbours about the correct collection methods and quality requirements of the mill”. (Solis, 2020) This is significant becuase it exemplefies the positve chnage that can be brought about by promoting the sustainable future of coffee in Costa Rica.

Fig. 3 Focus on the source in branding, Source: (Union Coffee, 2020)

Design Theory

PHILOSOPHY

The philosophy of this proposal is to poetically interpret an abstract idea whilst embodying elements of cultural identity.

It is to offer something with a political message in a way that engages its audience while also speaking of the place which it poetically interpreting. Use narrative to create a space that is meaningful to its users.

REFLECTIVE THINKING

Using narrative design can weave the story of coffee plantations and their history into the poetic installation. Focusing on the experience of the user will ensure that the design is engaging, and the purpose of the design will become realised. As Coates argues, narrative entials using elements from the environment around you, and so this could be adpated to use elemtns of the vernacualr arhictecture and cultural elements of coffee farming.

Furthermore, this narrative can be used as a tool to engage the user, according to Brandt.

Poetry can be used in this conceptual design, applying the theory of Zhu and Yu, to express tangible and intangible cultrual elements.

Concept Two

PUBLISHED THEORIES

Nigel Coates, Narrative Design (2012): Coate’s Narrative Architecture theory focuses on buildings being experienced: “Narrative can indeed set the design process in motion. Narrative is not an option selected from a pattern book or looked up on the Internet. It relies on your ability to draw on the world around you, and render it light enough to move into the territory of the imagination” (Coates, 2012).

Shangshang Zhu + Zhenzhen Yu, Design of Cultural Products Based on Artistic Conception of Poetry (2015) “If “poetry” can be projected into cultural product design and be used to explain the cultural content of the product, then the intangible cultural elements can be extracted as the basis for the ideas in designing.” (Zhu and Yu, 2015).

Stephanie Brandt, Narrative Design: Meaningful Places for People A Study on the relevance of Narrative in Spatial Design Education Brandt dicusses the use of ‘narrative’ to engage the user: “One of the greatest challenges for spatial designers, today possibly more than ever, seems the creation of meaningful places and gratifying user experiences.

And it is in this context that I would like to introduce some ideas suggesting that, although not commonly recognized in spatial design education, one relevant design tool engaging with user experience and the creation of meaningful places is ‘narrative’.” (Brandt, 2009).

POLICY

The policy of this proposal is to poetically interpret an abstract idea whilst embodying elements of cultural identity.

The policy will include using narrative design which embodies cultural identity as a design method to engage the user.

DESIGN PRINCIPLES

1. Be a meaningful space for anyone who enters 2. Celebrate the spirit of youth, play and surprise (Gaia Charter, Pearson, 2002) 3. Integrate the Vernacular 4. Ensure sustianable practices and materials are used

DESIGN CONCEPTS

Create an engaging immersive experience that is memorable for the user.

Create a design that is playful and informative.

Create a design that speaks of Costa Rica and its success in ensuring the sustainable future of coffee production.

Use poetic reduction to create an interpretation of the coffee plantation.

Concept Two

PRECEDENTS

Fig. 1 Hacienda Alsacia (Source: Starbucks, 2020)

Fig. 2 Thin Black Lines Chair by Nendo, (Source: Nendo, 2012)

Fig. 1 Thin Black Lines poetic reduction process by Nendo, (Source: Nendo, 2010)

Fig. 3 Manga Chair #38 by Nendo, (Source: Nendo, 2015)

Fig. 2 Thin Black Lines chair by Nendo, (Source: Nendo, 2010)

Concept Two

Precedent Analysis Poetic Reuction Method NENDO

Thin black lines Nendo

and

Manga chair #38 Nendo

2010

2015

Tokyo

Tokyo

A selection of chairs designed by Nendo from a selection of collections. None of the chairs can be used comfortably to sit on yet are still recognisable as chairs. “They are condensed expressions of meaning.� (Nendo, 2010) Nendo exemplifies the poetic reduction of a chair. The chair is reduced to is basic elements, and although the form is different it is still recognisable as a chair. Using Semiotic Theory (Saussure, 1916) it can be argued that the signs that signify the chair are intact, since the chair can still be understood to represent the chair.

This poetic reduction is significant because it can be used when attempting to signify elements of vernacular architecture in a poetic narrative installation.

Analysing the way Nendo reduces the chair to its chore characteristics and applying this to the plantation house can develop a poetic reduction of the plantation house, which is a core concept in Costa Rican coffee plantation culture.

INITIAL SKETCHES

Concept Two

Fig. 1 Pencil sketches of initial ideas, Source: (Herrick-Doyle, E., 2020)

C OLOU R STORY

warm rock

Fig. 1 A plantation home in San Jeronimo, Source: (Herrick-Doyle, E., 2018)

ivy

natural pink

deep forest

ag

Concept Two

casa de montana mountain house

Casa de Montana speaks of the everyday life of normal people in Costa Rica, through an unusual colour way constructed from everyday items.

Dominated by the luscious greens of the coffee hills, Casa de Montana showcases the weathered local timber of this hand-constructed home.

The blue, green and red shades clash strongly bringing vibrancy to the palette, balanced by the softer rose and aquas. The colours in this palette showcase the richness of Costa Rica’s natural surroundings and its vernacular architecture.

It is an engaging and invigorating palette capturing the essence of a normal workday in the coffee plantations.

ua

overalls dusty cola dusty cloud blue red earth

M A T E R I A L S PA L E T T E

Fig. 1 Montage of materials palette for proposal, Source: (Herrick-Doyle, E., 2020)

Semiotic Messages Bolon flooring in bespoke pattern, containing colours which are an authentic representation of every-day life in the coffee hills of Costa Rica.

Fig. 2 Flooring design for proposal, Source: (Herrick-Doyle, E., 2020)

The shapes in the flooring pattern are a abstract representation of the coffee beans, hills, and coffee plants grown in strips that form the plantation.

Concept Two

Recycled Woven Vinyl Flooring Bolon flooring will be used in a bespoke pattern. Bolon flooring has been chosen because it is made form recycled materials, so uses waste to create a new product, making it an extremely sustainable choice.

Recycled Aluminium Aluminium is strong, durable and infinitely recyclable, making it one of the most sustainable metals to use. It will be used to form a supporting structure and also to support lighting and electrics.

Cotton Mesh Cotton Mesh is a light tensile material and can also be sustainable sourced. Cotton has a natural, organic feel to it and is an inexpensive but effective tensile material. It will be used to stretch over an aluminium frame to form a cloud installation Cotton Gauze Cotton gauze is a light semi-transparent material that will be suspended from a wire frame and screen printed with branding.

Bamboo Bamboo is used commonly in Costa Rica in designs on the coast, since its is readily available. Since bamboo grows rapidly it is a renewable source and a sustainable material.

Rattan Rattan is a highly renewable and sustainable material, made from weaving together dried plants. It is reminiscent of matriarchs on rocking chairs on porches, a common sight in the mountains of Costa Rica.

Aluminium Wire light and durable, the wire will be used to suspend cotton mesh to form a house Recycled Coffee Grounds Recycled coffee grounds will be used to form a symbolic and tactile interpretation of a coffee roaster.

LED tubes LED tubes are light and versatile and will be suspended in a sculptural from weaving a path throughout the plantation installation.

INITIAL C ONCEPT DEVELOPMENT Ingredients for a Poetic Istallation

Fig. 1-5 Snapshot of every-day life in a coffee farming village, Source: (Herrick-Doyle, E., 2018)

Vernacular forms for houses and community buildings. Corrugated metal sheets, a vernacular building material.

Locally grown sustainable timber - an element of the vernacular.

Clouds that sustain the coffee production and the community.

Plantation house nestled amongst the clouds.

A traditional small-batch family coffee bean roaster. Speaks of the past informing a sustainable future.

Concept Two

Fig. 1 Montage of initial concept for proposal, Source: (Herrick-Doyle, E., 2020)

THE SOURCE A poetic interpretation of the traditional coffee plantation which incorporates the innovative micro-mill - a coffee processing facility.

CONCEPT REFINEMENT

Fig. 1 Montage of initial concept for proposal, Source: (Herrick-Doyle, E., 2020)

Design needs to speak of Costa Rica in particular, since location is so important to the philosophy of the project.

Design needs to be more interactive to engage the user.

Design needs to include ways to communicate message about sustainable coffee production through text.

Concept Two

Fig. 2 Montage of concept for proposal, Source: (Herrick-Doyle, E., 2020)

Use typically Costa Rican colour palette and vernacular roof structure.

Use lighting to guide user into the house structure and to cast shadows in unexpected ways.

Use cotton gauze to screen print information about sustainable coffee farming and project principles.

Concept Two

Fig. 1 Montage of concept for proposal, Source: (Herrick-Doyle, E., 2020)

C O N C E P T A NA LY S I S Design Analysis The installation will consist of a base, constructed from recycled aluminium. On the installation there will be abstract forms that signify clouds in a poetic way, dwarfing the user when they walk amongst them. They will also cast deep shadows on the space, inviting the user to pause for a moment and watch the shadows from amongst the clouds, providing the user with a memorable and joyful experience This shows the importance of shade and clouds in the growing of coffee.

Shade grown coffee is the most sustainable way to grows beans because it encourages biodiversity, prevents erosion of the land, protects water sources and ensures the elements in the soil remain balanced. In the coffee growing regions, clouds are important excuse they bring the shade and the water for the coffee, and since most coffee is grown at altitude, they run through the coffee plantations every afternoon, becoming temporarily a part of the plantation itself. They will be constructed from aluminium wire covered with cotton mesh, a tensile material.

In the centre of the installation will be a poetic reimagining of the traditional vernacular farmhouse.

It will be constructed from locally sourced timber, like the vernacular, and will be made of a reduction of the forms that comprise the vernacular houses in Costa Rica. Pillars and a sloping roof.

These are common forms, but displayed in a certain way they recall the vernacular architecture particular to the mountainous coffee growing regions of Costa Rica. The house will be surrounded by its plantation, represented poetically through the floor design Inside the house will be a traditional coffee roasting facility, re-imagined in a poetic distillation.

It will be made recycled waste coffee grounds and the form will be distilled so that it is a representation of the traditional homestead roasters. The roaster will have a tactile element to engage the user and show re-purposing potential of coffee processing waste products. The coffee roaster inside the plantation house is a sign to signify the integration of the home, community and the coffee processing in the sustainable future of coffee farming: that is continuing to support local farms growing coffee in the traditional style, but combining the plantation house with the processing plant micro-mill in the community. This allows individual farmers to roast and process their beans, create their own brand and sell this to export, emphasising the source of their coffee, which is the predicted trend for coffee buyers in the coming years’ the source and sustainability of the coffee will become for he utmost importance.

It is interesting to note that innovation in sustainable coffee in Costa Rica comes from protecting and encouraging the traditional ways of growing coffee, rather than large scale growing and manufacturing coffee corporations. This ensures the financial and ecological sustainability of the coffee growing culture of the area. This design speaks of cultural identity through the recognisable forms of the vernacular house, and the traditional materials, while also speaking of a sustainable future and its inextricable connection to tradition.

Concept Two

Structure

Aluminium Frame for structure support and lighitng and electrics.

Wire Frame suspended from support structure

Semi - Transparent Cotton Gauze suspended from wire frame and screen-printed with project logo, principles and educational information.

Recycled coffee grounds used to form poetic interpretation of roaster.

Fig. 1-2 Montage of structural elements of concept for proposal, Source: (Herrick-Doyle, E., 2020)

C O N C E P T A NA LY S I S

The Key Findings from Research that has informed the design The design has drawn on the key findings from Chapters one and two. The key finding in Chapter One, that integrating the vernacular architecture will imbue a design with cultural identity, can be seen to be incorporated in numerous ways in the poetic installation design. The use of local found materials is a fundamental element of the vernacular in this region of Costa Rica, this has been interpreted in the design by using sustainable and recycled materials, using recycled coffee grounds to form the floors and form bench seats. Local timber is a commonly used and sustainable material in the vernacular, often in the form of branches. This will be used to form the columns and roof shapes.

Corrugated metal roofs are a common sight in the vernacular architecture of the region, which has been interpreted in a different way in the form of bench seats, using the same shape but in a more sustainable material. This shows the future of coffee production uses elements of the traditional, but in a more sustainable way, the subversion f the recognisable corrugated shape from a roof structure to something the user will sit on, is an playful exempt of design which creates an atmosphere of joy and surprise, combined with the oversized clouds which will dwarf the viewer, this playfulness with scale and using recognisable shapes for a different purpose emphasises the adaptability and innovation that is being used in the sustainable future of coffee production. These elements are all signs which signify a specific geographical cultural landscape.

The key findings of chapter two have also been interpreted in the poetic installation. The tropical modernism of Bawa, which incorporates nature and vernacular architecture in innovative ways, has influenced the integration of clouds, plantation and structure in the design. Bawa’s use of the vernacular in contemporary buildings shows the narrative of cultural identity in a non-traditional setting, which has inspired the display of cultural identity, through recognisable forms and materials in a poetic installation setting. By using forms and materials that recall the vernacular, a design can show cultural identity but also create a new meaningful space. The design speaks of cultural identity but also speaks of a sustainable future for the community it speaks of.

Concept Two

Fig. 1 Elements of vernacular architecture incorporated into a new design at Lunuganga by Bawa (Source: Guralnick, 2018)

C O N C E P T A NA LY S I S

Potential The installation will shine a light on the sustainable production of coffee in Costa Rica and potentially raise this issue internationally. This could prompt innovation in sustainable farming in other areas of the world The installation may also cause consumers to consider the origin of the coffee they purchase and the farming methods use in the growing and processing of this coffee.

Highlighting the source of the product and bringing transparency to the process has the potential to showcase this for other farmed products.

Costa Rican vernacular architecture has had little international exposure, and the uniquely human elements that make-up this architecture moves people’s perception of Costa Rica away from the tourist-promoted ‘tropical idyl’. to a country of normal people, leading the way in sustainable coffee farming and innovation.

Limitations Many of the materials chosen can be expensive and the structure would be time consuming to construct and de-construct, making it less suitable for a temporary exhibition.

Additionally, it may be difficult to ensure users stay long enough to read the semiotic messages in the design and understand the cultural layers embedded in the design. This could be improved by added a seating area of other interactive elements.

Concept Two

Fig. 1 Montage of concept for proposal, Source: (Herrick-Doyle, E., 2020)

Unique Selling Points 1. Educational in an engaging and memorable way.

2. Has moments of joy, wandering through clouds installation.

3. Proposes an achievable sustainable future that ensures high quality coffee beans and sustainable communities.

4. Presents an authentic representation of Costa Rica.

Fig. 1 Structure of proposed design, Source: (Herrick-Doyle, E., 2020)

chapter 4

DESIGN MANIFESTO

A combination of the philosophy, principles and design elements from concepts one and two culmintaing in a proposed design.

Proposed Hypothesis Conceptual Brief Design Principles Philosophy Praxis

PROPOSED HYPOTHESIS

Elements of Concept One being used for Proposed Design:

Coffee Tasting Experience Elements of the local natural surroundings employed in design e.g. clay soil used to make plaster

+

Focus on the farmer Experiential Design e.g. roasting area Community Focused Fig. 1 Rendered section of concept one, Source: (Herrick-Doyle, E., 2020)

Proposed

IMMERS POLITIC INTERAC BRANDIN SUSTAIN

MANIFESTO

Elements of Concept Two being used for Proposed Design:

Poetic Interpretation of Coffee Plantation

+

Focus on the source of coffee product Plantation House focal point of Design Elements of vernacular architecture Collaboration with Union Coffee to promote sustainable future of coffee farming

Design

SIVE AL CTIVE NG NABLE

Fig. 2 Montage of concept two, Source: (Herrick-Doyle, E., 2020)

Proposed Design

Fig. 1 Montage of proposed coffee tasting concept at Venice Biennale, Source: (Herrick-Doyle, E., 2020)

MANIFESTO

DESIGN RECIPE

ORIGIN

tasting sustainably farmed coffee from the clouds of Costa Rica Emerald Herrick-Doyle Venice Biennale 2020

Design Principles Come from the earth Benefit the surrounding community financially and spiritually Be a meaningful space for anyone who enters Celebrate the spirit of youth, play and surprise (Gaia Charter) Integrate the Vernacular Champion Sustainable Design

Design Concepts Celebrate the micro-mill revolution Celebrate the small farms and their farmers playing their part in sustainable coffee farming Inform the public about the sustainable future of coffee farming Create a memorable and meaningful experience for visitors Create the feeling of being immersed in the plantation and clouds Provide a coffee tasting experience

A narrative hos of coffee in the design draws up connection and exemplary and

MANIFESTO

pitality installation for the Venice Biennale shining a light on the future sustainable production Tarazzu region of Costa Rica, using narrative and immersive design to engage the user. The pon on a conversation between the past, present and future of coffee farming and the community’s reliance upon the elemental factors of the clouds and earth which produce some of the most sustainable coffee in the world.

Fig. 1 Montage of proposed coffee tasting concept at Venice Biennale, Source: (Herrick-Doyle, E., 2020)

Conceptual Brief

Fig. 1 Montage of proposed coffee tasting concept at Venice Biennale, Source: (Herrick-Doyle, E., 2020)

Semiotic Narratives LED tubes in flooring represent the rows of coffee plants in the plantation, with Costa Rican sustainably sourced timber used to create benches and tables, represented the fruit trees that grow throughout the plantation, providing shade and bio-diversity for the coffee plants.

Coffee bar made form recycled aluminium echoes the corrugated metal roofs of the vernacular architecture in the Tarazzu region, but is re-imagined in a sustainable way. The coffee bar serves three types of coffee from three small plantations where the coffee is locally processed and roasted.

Wire structures represent the plantation house, the which is shown to be part of the plantation, with its recognisable roof structure and typically Costa Rican colour choice which link the generations of coffee farmers.

Unique selling points Users walk amongst the poetic interpretation, understanding the narrative of the origins of the coffee they are tasting. Through this they are immersed in the plantation experience poetically. It is both a narrative hospitality space and a poetic installation, so provides a service whilst also evoking a political concept simultaneously.

Potential Using the Appreciative Enquiry approach, this proposed concept has the potential to revolutionise the way coffee is farmed in countries around the world, and to bring about a change in the sourcing of coffee beans for small and large companies globally.

It puts small community businesses at the pinnacle of excellent coffee, moving away from huge multinational companies that focus solely on profit, and towards an approach to coffee farming that benefits communities and the consumer.

MANIFESTO

DESIGN ANALYSIS

PHILOSOPHY

The Application of Cultural Identity to the Proposal The philosophy of this conceptual proposal involves integrating cultural identity into a design, with a focus on sustainability. A future project will use the ‘Three Cultural Levels Framework (Lin, 2018) as a strategic design method to integrate cultural identity into a narrative design.

‘Three Cultural Levels Framework’ (Lin, 2018).

Fig. 1 ‘Three Cultural Levels Framework’, Source: (Lin, 2018)

Significance The significance of applying this framework to an Appreciative Enquiry is that is allows the designer to strategically define elements of culture they would like to represent and then apply this element in an appropriate manner. That is to say, the framework connects similar elements of design and culture - the levels are interpreted to the same level.

MANIFESTO

Three Cultural Levels Framework applied to Proposal in this Report

Culture Layers

Culture Levels

Design Features

Physical/Material Vernacular architecture: local materials, climate adapted design

Outer “Tangible” Level

Visceral Design Colour way distinctly speaks of Costa Rica, forms echoing traditional roof shape

Social/Behaviour Farmers striving for sustainability.

Mid “Behavioural” Level

Behavioural Design Design that encourages sustainability.

Collaborative farming practices.

Spiritual/Ideal Concept of Pura Vida, focus on sustainability, connection through coffee to past.

Design that engages the user in collaboration.

Inner “Intangible” Level

Reflective Design Design that connects to nature and brings a positive experience.

Design that connects to the history of coffee farming.

Fig. 1 Adapted ‘Three Cultural Levels Framework’, Source: (Lin, 2018) and (Herrick-Doyle, E., 2020)

PRAXIS

The Design Approach followed throughout this report Appreciative Inquiry This philosophical approach applied throughout this report is the Appreciative Inquiry method and process (Cooperrider, 1986). The framework has been adapted and applied to structure the research in this report. Appreciative Inquiry re-frames problems by taking a positive-central approach to a situation. It has been called “A Positive Revolution in Change” (Cooperrider and Whitney, 2001) because it takes a field of interest and examines the positive aspects of this field before asking “What could make this situation even better?”.

Evaluation This method has proven extremely fitting for this report and for the topic being researched.

It has been useful to approach the sustainable production of coffee by asking ‘What could make this situation even better’, rather than attempting to fix a problem in the traditional deficit-based method. The appreciative approach has allowed for experimentation within the concepts stage. Using the 4D model of Appreciative Inquiry has evolved my praxis to focus on bringing benefit to a field, rather than the traditional method of searching for problems to solve. I predict that the philosophy of Appreciative Inquiry, to “create not just new worlds but better worlds” (Cooperrider, 2013) will prove a useful and stimulating approach for the next project.

The 4D-Cycle

(Cooperrider and Whitney, 2001)

DISCOVERY “What gives life?” (the best of what is) Appreciating

DESTINY

DREAM

“What will be?”

“What might be?”

(how to empower, learn and adjust/improvise)

AFFIRMATIVE TOPIC CHOICE

Sustaining

calling for) Envisioning

DESIGN “How can it be?” (determining the ideal) Co-constructing

Fig. 1 ‘The 4D Cycle, Source: (Cooperrider and Whitney, 2001)

(imagine what the world is

MANIFESTO

The Experiential Learning Model The Experiential Learning Model developed by Roger Fry and David Kolb (1975/1979) uses concrete experiences to inform the design process.

“There are two goals in the experiential learning process. One is to learn the specifics of a particular subject, and the other is to learn about one’s own learning process.”

(Kolb & Kolb, 2005)

Applying this method to my approach has triggered a shift in my praxis to use reflective practice while researching to learn about my own learning process. Whilst it has not been possible to conduct primary research, the concrete experience of sketching, experimenting with scale and size has still been part of my praxis. By focusing on converging abstract conceptualisation with active experimentation through the sketching process, my praxis has evolved to incorporate the experience of learning and reflection.

The Experiential Learning Model (Fry and Kolb, 1975/79)

Accommodating Feel and Do Active Experimentation Doing Converging Think and Do

Perception

Processing

Continuum

Concrete Experience Feeling

Diverging Feel and Watch

Continuum

Assimilating Think and Watch

Abstract Conceptualisation Thinking Fig. 2 The Experiential Learning Model Source: (Fry and Kolb, 1975/79)

Reflective Observation Watching

PRAXIS

My Process Model My creative systems stems from an Appreciative Enquiry approach and embeds scrutiny and synthesis as essential part of the analysis stage. Scrutiny, Synthesis, Inductive and Deductive Reasoning follow each other in a continuous loop around the Dream stage of the process, allowing to envision what could be with the added aid of analysis of what has been discovered.

This loops continues indefinitely until a design emerges in the conceptual development stage.

After a design is formed the process can flow between Dream and Design during the process until a final proposal is delivered to sustain the future that has been envisioned in the Dream stage.

sc

ru

tin

y

APPRECIATE

DISCOVER

DRE

Inductive R Deductive

Research Inquiry

MANIFESTO

Future Focus When considering the impact that taking an Appreciative Design Inquiry approach may have during a future project, a strategic plan might include employing the Experiential Learning Model (Kold and Fry, 1975/1979) to ensure a positive and reflective design process, incorporating concrete experiences. This may impact on my own deepening philosophical praxis

sy th es is DESIGN

EAM

DELIVER + SUSTAIN

Reasoning Reasoning

Fig. 1 My Design Process Model Source: (Herrick-Doyle, E. 2020)

Conceptual Development

Appreciate

Fig. 1-3 The author exploring her praxis using the 4D model Source: (Herrick-Doyle, E. 2020)

Dre

MANIFESTO

eam

Design

C ONCLUSION

Chapter One explored the aesthetics and customs associated with the traditional coffee plantation and the vernacular architecture of the coffee hills of Costa Rica. The design of Hacienda Alsacia by David Daniels was inspirational through its use of semiotics (Sassure, 1916) to speak of place and people. “Everything needed to be authentic, everything needed to be contextual, and everything needed to be driven by creating a space for community” (Daniels, 2019).

Chapter Two examined the ways designers have used design to speak of cultural identity. Geoffrey’s Bawa’s re-imagining of vernacular elements of Sri Lankan architecture in contemporary designs proved particularly profound. “Architecture can be understood as a language or grammar, that uses symbolic communicates to construct built reality of its users and observers” (Gawlikowska, 2013) The principles for creating sustainable communities, integration of the vernacular, Bawa’s aesthetic juxtaposition of historic symbolism and innovative design, and integration of the community are all elements that informed the conceptual development of a potential proposal in Chapter Three.

The design principles applied to the conceptual development phase were refined throughout the project, and the manifesto is a reflection of the core design principles that will inform a possible future project and future praxis.

The design praxis evolved throughout the experimental conceptual development, as new concepts and ways of working were discovered during research. This involved using empathy to understand how to add benefit to the current situation, a technique that will be employed again in a future project.

The design manifesto can be re-defined as the following design question: How could an immersive coffee tasting experience be poetically imagined to promote the sustainable future of coffee farming, using semiotic narratives to speak of the cultural identity of this community?

The potential project will contribute to the field of semiotic narratives in architecture by providing an example of the intangible and tangible cultures of a specific community being imagined poetically for an immersive design experience. The stakeholders who could benefit from this potential project are coffee farmers whose sustainable practices will be explored and promoted, bringing investment into their communities through eco-tourism, and consumers who wish to drink higher quality sustainably sourced coffee. This project has the potential to change misconceptions about Costa Rica and its cultural identity, and encourage the sustainable production of coffee.

It is predicted that the Appreciative Inquiry approach will be strategically adopted in the next project because the positive perspective has led to a design that can induce positive change. The 4D design process model (Appreciative Inquiry Australia, 2010) will be followed and adapted to include extra layers of scrutiny and synthesis.

This design approach is significant because it allows room for experimentation and refinement within the design process, creating space for unexpected and creative concepts stemming from an appreciation of what has been, and desire to create something to benefit a community.

Employing the Appreciative Inquiry framework could have a positive impact on the stakeholders in the proposed design. Coffee farmers, the local community, coffee consumers and brand collaborators would all benefit from a design inciting positive change in the coffee farming and processing industry world-wide. Using a design approach which focuses on “A Positive Revolution in Change� (Cooperrider and Whitney, 2001), coupled with The Experiential Learning Model (Fry and Kolb, 1975/1979) could aid in the positive exploration and development of my own praxis, leading towards a career in designing to create positive change.

COFFEE IN THE CLOUDS

The proposed design in this report is for a temporary exhibition, so the materials used will all be easily recycled or re-purposed.

The atmosphere will be unique in its playful attitude to proportions and shadows whilst also being an interactive space for learning. A potential opportunity could be to re-imagine the design as a permanent space. This would allow more opportunity for the innovative use of technology to display educational information. A future project could also benefit from the exploration of new sustainable materials.

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