STUDIO 41 (Yui Uchimura) Create | Curate Kiara M 1000569Rustaman Journal
Contents Week 1 Reconnecting Hand & Mind Week 2 Project 01: Craft + Concept Week 3 Planet XX Week 4 Rooting Craft & Concept in Site Week 5 Curating Spaces & Landscapes Week 6 Interim Submission Week 7 Interim Reflection Week 8 Design Development Week 9-12 Design Development
03 Week 1 Reconnecting Hand & Mind 1. Self Introduction: Abstract Physical Diagrams how would describe yourself/ personality ? Embodied Experience (output) like that of ink that stains everything in its way albeit does not completely indulges each one in eachentire-ity.stroke that keeps building and develop into one single masteful end.
04 what is your favourite building ? what is the craft you partake in ? what is your main interest / hobby ? one that focuses on the silencing gesture of light through its’ simplicity and aesthetic approach. the graze of charcoal is different in each hand resulting in dynamic differences in each as well; its’ process is long, abstract and with that of the shaking hand, impossible to create a straight line. that uncertainty of which becomes the personality. in that one time, exploring the depths of a topic without the worry. Week 1 Reconnecting Hand & Mind 1. Self Introduction: Abstract Physical Diagrams
05 2. ####’s Lookout Week 1 Reconnecting Hand & Mind image: a lookout designed for Kalli, one that intergrates meandering paths as per her interest, integration of light and shadows (in refer ence to Tadao Ando) and an elevated view towards the landscape.
06 Week 1 Reconnecting Hand & Mind Critial Reflection
On the creative exercise in class …
Upon examining my works for week 1, I concluded that I do not have strong, detailed model making hands. This unfortunately translates to models that seems like they are unfinished and needs a lot of improvement thus, the only way to counter this lacking skill is to practice more. Some pointers that might help with model making is using the appropriate materials and I have realised that I tend to make models out of too many types of materials. Other than that, with regards to my creative process, I also tend to think things not to the outmost detail and this then I realise would be detrimental to the model; that what I thought did not translate as well as it did on my mind compared to the physical finished progress. On the latest completed architectural project … With regards to digital model, I do believe that I do not represent the model up to the up most detail and this can be improved by exploring more softwares to support the design representation. As a self-proclaimed person who is relatively good at Photoshop, Illustra tor etc. I do believe that I have a lot more to learn that I thought. I would say that in this project, nevertheless, I have developed my skill in using some softwares like V-ray that made my digital model a bit better rendered. As an overall thought however, I have noticed that it is hard for me to come up with models that represent my thinking. I would have grasped the term of it but in the actual physical model, it might not or would not be as practical when someone were to inhibit the Therefore,space. it is to say that this semester, I will try hard to represent my abstract thinking, learn new softwares and improve my model making skills.
07 an introduction to chosen craft. Week 2 Project 01: Craft + Concept
08 Week 2 Project 01: Craft + Concept Graphic Craft Research a digital representeation of the crafts’ mastercraftspeople; most of which has developed that of aunique approach towards the craft and its’ application to everyday entities.
09 Week 2 Project 01: Craft + Concept Graphic Craft Research the typical kintsugi kit albeit in the more modern setting.
10 Graphic Craft Inventory Week 2 Project 01: Craft + Concept tools used to practice kintsugi performed by the experienced craftsperson (top); tools and materials used to perform the maki-e process or decorating with gold (bottom)
11 Graphic Craft Inventory Week 2 Project 01: Craft + Concept the simple traditional tools used to obtain urushi from the Toxicodendron vernicifluum or lacquer tree (top); the process of obtaining lacquer (bottom).
12 Graphic Craft Inventory_the process Week 2 Project 01: Craft + Concept
13 Historical Geographical + Environmental Research Week 2 Project 01: Craft + Concept the historical value of Kintsugi (meaning repairing with gold) is referenced to centuries-old tradition by artisans repairing ceramics using lacwuer and gold pigments. that of which is believed to start near the 15th century; discovered coincidentally by Shogun Yashimasa when he instructed to have his team bowl repaired.
14 Parti as Artefact: Philosophy (+ Aesthetics) Week 2 Project 01: Craft + Concept
15 Parti as Artefact: Philosophy (+ Aesthetics) Week 2 Project 01: Craft + Concept
the art of Kintsugi as well as Lacquerware are tied to the Urushi (lacquer) as the main component. in the practice of the craft, one may attribute it to the concept of impermanence, the pathos of things, acceptance embedded in the aesthetics of wabi-sabi. with these concepts in mind, in creation, it is called upon for the designer to celebrate the imperfections of entity in the utmost detail; those that crack would be illuminated and thus given a second life.
16 Week 2 Project 01: Craft + Concept Parti as Artefact: Philosophy (+ Aesthetics) Embodied environmentalGeographicalHistoricalMaterials(output)Embodied(process/technique)ExperienceExperienceManifestationRoots+relationships
17 Week 2 Project 01: Craft + Concept Contemplation on Creativity
As an attempt to improve my model making and abstract thinking, I tried to make models that presents a curious factor to it; those that could be interpreted differently for each person. Other than that, I strayed away from the too direct process that I usually have and gave the model shapes that are not directly borrowing from the actual craft. In terms of those that are successful this week, the materials sketching did help me through generating ideas and incorporate them into the model. However, it appears that I need to delve more onto the abstract philosophical ideas of the craft to produce models that convey the sensations of the process and manifestations of the craft; to experience it. As per said, the exercise did help me in terms of understanding the crafts more but it does need more polishing to do so I can further understand the roots of the craft. It also seems that the information I gathered might need to be understood to the detail rather than only on the surface; especially in terms of understanding the philosophical values of Japanese characters. In all, it is going to be very important in the future to understand terms not as an umbrella term rather giving them much thought and apply them on the everyday of life. To see how much it relates to the common.
18 Week 3 Planet XX in bringing one to understand the form of the land patch as well as performing the process of the craft, the first iteration explores the idea of journey and eshaustion. (left) with mind, the play of shadows, the second iteration manifests the irregulalrity of the craft in form of cracks on the ceilings. (middle). as tribute for the traditional courthouse that encouraged communality albeit in enclosed form as well as overlapping simple forms, the third iteration attemped to bring negative space into the site boundary. (right)
the first iteration in overall section showing the dynamics of the landscape that mainfests a slope.
19 Week 3 Planet XX
20 Week 3 Planet XX a plan view of the space
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Reflection
Based on some of the feedback acquired from the third week, it appears that I lack the full understanding of scales. This might be because I lack the complete under standing to the site context and overestimated my skill in judging the gigantic area of the site as well as projecting the surrounding site context into the drawings. Some other areas that I may have to focus on would be the use of materials on site and how to better represent them on site.
Though I wanted to accentuate the shape of the site, I learned that it is not always the case for every site (drawing a perimeter line and taking that language into the buildings mass) and sometimes it might be better to locate the buildings into spaces that are appropriate in levels. In terms of the projecting of ideas, I also learned that I borrow and directly place physical attributes more than taking the essence of the craft into the site. Therefore, in the future, taking the feeling of how one experiences the craft would be better than merely applying directly the shape of the craft as it makes the representation too literal.
22 Week 4 Rooting Craft & Concept in Site Immediate Context: Our Site
23 Immediate Context: Our Site Week 4 Rooting Craft & Concept in Site a contextual plan showing surrounding entities in site.
24 Immediate Context: Our Site Week 4 Rooting Craft & Concept in Site a diagram showing how space might be organised into the site.
25 Week 4 Rooting Craft & Concept in Site research: to the traditional Japanese plan.
26 in attempt to preserve view of the landscape, the massing of the site would be centralised and further enhancing the slope, a body of water dividing the land into two, resembling that of a ‘crack’. Week 4 Rooting Craft & Concept in Site
27 Week 4 Rooting Craft & Concept in Site
Reflection Reflecting from the feedback gotten from class, it is important to put more detailed emphasis on the use of materials, how the materials will be sourced and how the materials would bring the feelings of the space into the structure. Since the craft centres on broken ceramics, pottery and/or glass as materials, it would also benefit to implicate how these materials can be crafted into the building structure.
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In a broader sense, when talking about lacquerware as an umbrella term for the manifestation in architectural materials to be used on site, it is important and beneficial to use those that are sourced from the surrounding context as it is to generate structures that are integrated into the landscape: in this case is the courthouses that lines the mountainous regions. On the individual exercise, it is also beneficial for in terms of economic value to further shrink the areas to a volume that is needed for the craft.
a looked upon sensibility in architecture is the entrance, be it one that fatigues the eye in its’ massiveness or one that strains the mind with its’ intrinsic symbolisation to detail; all of which would come in unison welcome people in its’ own iconicn welcoming way.
Part 1
Apprentice’s XX-House: Spatial Curation
29 Week 5 Curating Spaces & Landscapes
30 Part 1 Apprentice’s XX-House: Spatial Curation Week4 Rooting Craft & Concept in Site
31 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House: Spatial Curation
32 Week4 Rooting Craft & Concept in Site Part 1 Apprentice’s XX-House: Spatial Curation
33 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House: Spatial Curation
34 Week4 Rooting Craft & Concept in Site Part 1 Apprentice’s XX-House: Spatial Curation
35 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House: Spatial Curation
36 Week4 Rooting Craft & Concept in Site Part 1 Apprentice’s XX-House: Spatial Curation
37 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House: Spatial Curation
38 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House an attempt in integration of the courtyard housing as to centralise entities into the site.
39 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House
40 Week 5 Curating Spaces & Landscapes Part 1 Apprentice’s XX-House
41 Part 1 Apprentice’s XX-House Week 5 Curating Spaces & Landscapes
42 Week 5 Curating Spaces & Landscapes a study for the compact linear housing unit for the accomodation.
43 Week 5 Curating Spaces & Landscapes a study for intergation of glazing albeit literal into the mass.
44 Week 5 Curating Spaces & Landscapes
45 Week 5 Curating Spaces & Landscapes a study for entry, examining the traditional Tori gate
46 Week 5 Curating Spaces & Landscapes a study for bath/cleanse, examining ways in which to keep privacy in an largely glazed bathroom.
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Upon the attempt to represent the Japanese aesthetics and/or introducing them to the landscape, this strategy have proven to become too literal. In example, the mani festation of the Torri Gate would seem to be too literal and might be wrongly repre senting the cultural values. Other than that, the massing of the structures was made too close to each other and was not properly maximising the use of the site. Other than that, appropriating the traditional practices (sitting on the ground) might not be the best for the site’s context. This also goes to say that the context manifestation into the plan and section is lacking and needs to be further emphasised. Furthermore, details like north point, scale bars and legend might be better to explain the drawings. All in all, abstract thinking and research should be further implicated as well as the understanding into the values of the craft rather than it’s physical representation. This goes in line with ‘blending’ the values of the craft into the cultural context of the site (it’s needs and requirements) and rather than duplicated, the craft would be better off extracted. Week 5: Reflection
48 Week 6 Curating Craft and Concept in Site_Mid Semester SCALE0 1:500 4 8 16 32 SHOWROOMAREACOMMUNAL+CAFECRAFT APPRENTICE’SSTORAGEGALLERY+(SMALLER)WORKSHOPKINTSTUGIWORKSHOPSTUDIO SCALE0 1:250 52 10
49 Week 6: Reflection Which drawing &/or design feature you think was the strongest part of your presentation ?
I do believe that the sectional detail have been embedded with that of an adequate amount to show how the constructability of the spaces work. Other than that, the starting explanation of the presentation as well as the sketches convey what is needed to progress through. Which was the weakest ? However, the detailed plans and sectional drawings for the overall site as well as the overall flow of the presentation could be more thought through. This, could be devel oped along with strenghtening more of the concept and how it relates into the craft. Outline how you might improve on these ? All of which may be further developed through more rigorous research that will relate the craft, form and site more.
50 Week 7 Interim Reflection a study in the compact linear housing for accomodation (left). attempted dwelling for the household (right).
51 Week 7 Interim Reflection
52 a precedent study: workshop appproach and revelation Week 7 Interim Reflection
53 Week 7 Interim Reflection a precedent study: workshop entry/arrival
54 Week 7 Interim Reflection a precedent study: workshop work/study/focus space
55 a study for the teahouse and its’ component as purpose to abstract it into the studio. Week 7 Interim Reflection
56 the workshop should contain areas in which one may store the various results of the crafts and have view to the landscape. the shoji screen as a means to divide the space without entitling each zone to a certain function; in that it may have more than one purpose. Week 7 Interim Reflection
57 Week 7 Interim Reflection open towards the landscape to enable the exhaustion of the site (in attemp to celebrate that that is already there). as well as the intergation of these outdoor spaces to be communal gathering space may make one appreciate the landscape in its’ enteity.
58 Week 7 Interim Reflection a study for cleanse/clean.
the celebration of departure should be met with the feeling of final and content as if one is at the end of their journey. in which may be marked with an end through passages of corridors or openings or the final frame.
59 Week 7 Interim Reflection
60 Week 7 Interim Reflection spatial progression of workshop conveying the feel of each space.
The feedback given during the presentation looks upon how the architecture could be better manifested into the landscape. One of the many problems arise when the building is lifted from the ground to reveal the timber decking that mimics the aesthetics of the courtyard housing. This made is seem so the building to be detached from the landscape, even retracting away from it. Another might be the expression of the aestehtc language being too literal, for example in the roof lining. This serves to make the building stray away from the means of the Perhaps,craft. There might be a way to include the timber decking to keep the language of the aesthetics while still grounding the building into the sloping terrain ? and The form of the roof lining may be abtracted a bit more ? Upon reconsideration for each sensibility of each zone, there are much to change in terms of the structure of the building to relate it further to the craft without making it seem too arbritary.
61 Week 07: Reflection
62 Week 8 Design Development: Craftsperson’s dwelling the dwelling of the master would convey the sense of sugestion, such those that: signify the progression of each tasks; teases the visuals in each progressing moment; while incorporating the old landscape into the frames; all to be met with the fullfilment once arriving to the end scene.
63 Week 8 Design Development: Craftsperson’s dwelling
64 Week 8 Design Development: Craftsperson’s dwelling
65 Week 8 Design Development: Craftsperson’s dwelling
66 Week 8 Design Development: Craftsperson’s dwelling
67 Week 8 Design Development: Craftsperson’s dwelling
68 Week 8 Design Development: Craftsperson’s dwelling spatial progression of craftsperson’s dwelling integrating what would be incorporated into each space.
69 Week 8 Design Development: Craftsperson’s dwelling
70 Week 8 Design Development: Craftsperson’s dwelling various iterations of the craftspersons’ dwelling which focus on intergating the landscape into the indoors.
71 Week 8 Design Development: Craftsperson’s dwelling a study for masses designed embedded into the landscape to accentuate the slope of the site.
72 Week 8 Design Development: Craftsperson’s dwelling initial two storey dwelling design.
redevelopment of accomodation space to suit the dynamicity of the slope.
73 Week 8 Design Development: Rethinking the Accomodation
74 Week 8 Design Development: the Landscape as part of celebrating the entities that are already present on site, the design of the landscape calls upon the view towards irregularity in which is done by signifying the slope of site by embeding the masses into the ground as well as hovering; an emphasis on horizontality as to how the roofline may expanse the eye to the view of the landscape; and abstracting the boundaries of the indoor and outdoor by incorporation of subtle elements.
75 Week 8 Design Development: the Landscape
76 Week 8 Design Development: the Landscape instances of the landscape that may be incorporated into the design of each mass.
77 Week 8 Design Development: the Landscape
78 Week 8 Design Development: the Landscape
79 Week 8 Design Development: the Landscape
80 Week 8 Design Development: the Landscape
81 Week 8 Design Development: the Landscape + Workshop in attempt to maintain the viw of the landscape as well as integrating the mass into the site, the design focuses on access throughout the progression of each zone through a serries of integrated stairs/ramp.
82 Week 8 Design Development: the Landscape + Workshop
83 Week 8 Design Development: the Landscape + Workshop a preliminary design for the workshop.
84 Week 8 Integrating Lighting
85 Week 8 Integrating Lighting Week 8: Reflection With the landscape + lighting in mind, there are opportunities that may be taken in the form of each architecture. In terms of landscape, it is important to consider the use of ecology, how one may create ecosystem inside the architecture by developing green corridors, creating pockets of refuge etc. With lighting, it is important to think of the day-night changes and how the space would want to feel like when one is inhabiting it.
86 Week 8 Recalling reading
87 Week 9 Design Development
88 Week 9 Design Development
89 Week 9 Design Development
90 Week 9 Design Development
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Week 9 Design Development
92 Week 10 Interim Submission
93 Week 10 Interim Submission
94 Week 10 Interim Submission
Week 10 Interim Submission
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96 Week 11 Design Development
97 Week 10 Design Development
98 Week 11 Design Development
99 Week 12 Design Development
100 Week 12 Design Development
101 Week 12 Design Development
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104 Week 12 Design Development
105 Week 9-12: Reflection
The last few weeks of the design development has touched upon the importance of revisiting the theories that may come into design - such those that are signficant to the Uponprocess.revisiting, the design took a path in increasing the form and functionality of the space, the light and shadow that may transform the ambiance, the form of suggestion that one may experience inside a space looking outside as well as the overall form of the design.
These two crafts in conjunction creates significance in simplicity; in that the kintsugi craft is done with straight process and the lacquerware chose to showcase the intricate but base structure of the tree rings.
It finds values in the irregularity of the broken pieces and chose to signify the perishability of thing by dusting them with gold. The cracks may give the crafspersons’ the suggestions of where its’ surfaces may be glued to create entirety.
Final Design Proposal
This, however toxic liquid which comes from the natural bark of the lacquer tree, is celebrated in the art of lacquerware where it binds the grains of the tree and makes the average dinnerware increase in strength.
However that the golden fragments might appear to fill these gaps, they are merely decorations that attach to the lacquer or urushi; which comes in light to be the real value of the craft.
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Like that of day-to day progressions, the art of kintsugi lies on the essence of acceptance. It celebrates the imperfections and defects in the aged and would rather give them a second life through the mending and fixings.
This proposal aims to bring forth the irregularity and perishability of the landscape through the art of suggestion made within the architectural structures as well as attempts to attain the value of simplicity in its’ visuals.
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