Studio 13 Bathing 2.0 Journal

LAUREN NGUYEN 913286

S T U D I O 13

B A T H I N G 2.0 JOURNAL

CONTENTS Week 01.

04

Week 02.

12

Week 03.

18

Week 04.

22

Week 05.

29

Week 06.

37

Week 07.

45

Week 08.

52

Week 09.

59

Week 10.

62

Week 11.

66

JOURNEY TO THE FINALS.

76

PAST PROJECTS.

88

2

W E E K. 0 1 02 - 08 March

4

02. 03. 20

REFLECTION By forcing myself to use my left hand, it emphasised how when I sketch normally, I’m fixated with how neat I want it to be. I want things to fall perfectly into a corner or for the thickness of an outline to be consistent. There is something endearing about the artistic wobbliness of my left hand and how I’m trying to convey scenes from my onsen experiences.

For once, I’m not careful about my lines, I’m more careful about the idea that I want to show which is something I lack.

Group work is most definitely a weakness of mine but by getting someone else to interpret my work, it allows me to practice how I describe my thoughts and their interpretation is able to give me more ideas simultaneously. I would definitely want to try that in more group projects I have.

all left handed! tenzan tohji-kyo onsen

groupwork

02. 03. 20

STUDIO1 5

04. 03. 20

REFLECTION My previous design process has always been influenced by my tutor, and then I conclude the semester by picking the parts that worked best for me. I know I like to be methodical if possible but looking at my timelines, I have the tendency to stick to one idea or one design stage for a long time. I found myself adapting a lot to whatever my tutor would want me to do even if I didn’t like part of the process, which were usually the speedy design exercies (such as producing 9 design ideas in 9 minutes). It stresses me out but the one thing that I did enjoy was that I wasn’t allowed to make anything perfect. I also usually need to force myself to move on, or talk to a crit/tutor to decisively make a choice on the best approach to a project.

It also shows me that I need to keep my mind engaged for shorter periods of time, and get out of my headspace and do something that doesn’t require thinking. Like rock climbing. I have a habit of working for hours upon hours non stop which definitely decreases the efficiency and quality of the content I produce. So it would be good to divide my time more wisely. I want to be excited about my ideas from the get go so I don’t overthink later on in the process. spatial experiences lecture

04. 03. 20

BEFORE STUDIO 6

7

8

9

watercolour + graphite + ink 05. 03. 20

REFLECTION The greatest enjoyment of today was being able to experiment freely, and learn from others. I haven’t been able to play around with media in previous projects due to time constraints usually.

There is something so exhilirating about accidentally discovering that watercolour separates naturally on oil pastels to create water sprays. I didn’t have a process of how I wanted to layer each media when I got to each mini workstation, it was the one time where I actively tried not to care if I made a mess.

This studio has been the first to push me out of my comfort zone of watercolour. I’ve felt with every other project previously, I was encouraged to keep refining my watercolour presentation so it was intriguing to be allowed to try new media. I remember visiting the museum of western art in Japan and seeing one of Le Corbusier’s paintings. I want try emulate that thought process whilst using mixed media. Then from that collection of ideas, translate it into form and atmospheres. It’s one process that I’ve yet to try.

posca + charcoal + watercolour

watercolour + graphite + ink + marker + posca + pencil

MIXED MEDIA EXPERIMENTATION oil pastels + pencils + water

graphite + posca + pencil

05. 03. 20

ink + graphite + smudge stick

STUDIO2 10

presentation preparation/research

https://tenzan.jp/tenzan/ 06. 03. 20

REFLECTION I rely heavily on mindmaps because it allows me to follow my previous train of thought. I don’t always trust my natural direction of thought because sometimes it’s too bizarre. Hella made a comment about how no one else in studio does mindmapping which was really interesting to me since I’ve been doing since primary school.

As helpful as it is, it does raise the possibility that I can go too far from the main idea and land in some unknown territory. In my research about onsens, I found that sketching mini scenes of my experience made me more sure of my thoughts because it was tangible. I definitely need to be sketch more in conjunction with the words I jot down. Also need to research my design exercises since last year I tried a few and I’ve yet to find one that suit me.

Comparing my sketches to the actual onsen that I visited, I realised that I take small snapshots of my surroundings rather than the larger picture which has appeared in other projects since I often get fixated on really small details. I think it’s because the smaller things evoke more interest and feeling for me.

06. 03. 20

BEFORE STUDIO 11

W E E K. 0 2 09 - 15 March

12

28. 04. 20

copic + fineliner

10. 03. 20

REFLECTION

I enjoyed the watercolour and copic drawings because they’re well known to me, rather than pastel and acrylic where the lack of control made me question how I was applying it.

bottom - watercolour + fineliner + washi paper

I always severely underestimate how long it takes to paint or draw. I’m still struggling to let go of my tendency to ensure every line is straight. I have found the best solution to that is either not using a ruler or choosing a medium that I cannot erase. I often think of Bob Ross when I paint, especially the whole “no such things as mistakes, only happy accidents”. I want to become that adaptable to changes I don’t expect so I can make it better than I envisioned. It’ll also stop me from being so indecisive because I want everything to be perfect.

09. 03. 20

I think I like knowing that I could replicate the technical details, it hasn’t been until this class where I’ve really honed in on how the space depicted should feel. Rather than how physically it should be built. The interim presentation made me learn when things were good enough and when I should stop adding or tweaking an image. I think it also helped that it was an interim so I was ready for feedback that would help me improve my drawings in a way that I might not have thought of.

MULTIMEDIA BATHING SPACES

watercolour + fineliner

pastels

arcylic paint

FUTURE REFLECTION

STUDIO1 13

balsa + dremel

foamcore + blue iridescent paper

tissue paper + washi paper

ATMOSPHERES 01 TEKTONICS 14. 03. 20

REFLECTION This really made me do things with a purpose, I had to concentrate really hard on my one choice of tectonic for each model. I think I’m the type of person that requires a really clear objective in mind otherwise I get really overwhelmed which has happened in the past. It was really good to be able to see how others approached the task. I think they were able to mix multiple tectonics together more comfortably which I need to work out how to achieve.

Maybe I should focus less on the tectonic itself and focus on atmosphere and how I want the space to function. It’s this balance that I need to keep practicing so I can achieve both simultaneously. The sketch models are definitely out of my comfort zone since my previous sketch models were daiso foam hacked into several shapes. I also actively avoided sketching too many ideas beforehand because I wanted to learn the limitations of each materials which was super useful. Like foil paper needs to be scored several times before use. balsa + gold pebble paper

foil paper + mountboard

foil paper + mountboard

12. 03. 20

STUDIO2 14

Tentative atmosphere sketches based upon my readings.

15. 03. 20

REFLECTION Readings from this week allowed me to discover that I understand things far better through an image rather than super concise descriptive text. I struggled to imagine lighting concepts when they were told to me, I can’t really see it in my mind. I think that means for my own further research, I’ll try to draw out those scenarios. Light feels too ethereal to be pinned down by words. I’m more drawn to the moodier, dim light and shadow heavy imagery as that sparks more tranquility for me if I were to be in a bath house.

As part of my presentation research on Japanese bathing, it was important to find out about specific rituals that were unique to that cultural bathing. Two terms cropped up, yuagari and yusuzumi which I want to research further as contenders for my final concepts. I’ve been considering biomimicry as well and it’s a theme that keeps popping into my projects. I do wonder whether it’ll be good to become more experienced in it or to push past my comfort zone. I’m inclined to staying in what I know best so this could be a good oppurtunity to research other ideas.

15. 03. 20

BEFORE STUDIO 15

Leonardo and I’s presentation on Korean and Japanese Bathing. Information on the jjimjilbang

16

17

W E E K. 0 3 16 - 22 March

18

foil paper + foamcore + balsa

balsa + washi

ATMOSPHERES 02 TEKTONICS

mountboard + acetate

balsa + crushed cork + washi

17. 03. 20

foamcore + mountboard

REFLECTION Lighting was particularly difficult this week, I was trying to incorporate pools of water in my designs in an effort to emulate the feeling I wanted in my baths. I ended up not focussing on one tectonic in particular and used techniques to create atmosphere that interested me instead as that was what I felt lacked in my previous sketch model iterations.

The decision to select triangular planes for the next set of iterations seems to come the most naturally to me, and it’s something I haven’t explored in prior projects since it didn’t suit the brief. Although I do feel like it’ll be difficult to repeat the same set of triangular planes for the whole bath house as I’m emulating different landscapes. The difficulty feels like it would come from the abstract nature in which I’d form the massing, if I followed a tesselated pattern then it could be easily repeated on the site. But I’d want to be able to shape my massing to suit the function of the space.

16. 03. 20

STUDIO1 19

ATMOSPHERES 03 TEKTONICS trace paper + washi tape

satin plastic + foamcore

foil paper + balsa + foamcore

19. 03. 20

REFLECTION Settling for one tectonic was much easier than trying out several types when we were doing the first rounds of iterations. Instead I may have gone too far in simplifying my design to be constructed out of triangular planes but it has led me to a design concept that I’m happy to explore further.

I mentioned in last week’s reflection (15.03.20) that I didn’t want to keep instilling biophilia or biomimicry into my designs. Instead, Joo offered up the idea of an artificial nature, one that focuses on capturing natural landscapes using man made materials. This sparked so many oppurtunities for me. So I’m definitely glad that I went to studio and got feedback, it’s a tried and true method that always helps me expand my concepts.

19. 03. 20

STUDIO2 20

foil paper + balsa + foamcore 22.03.20

FUTURE REFLECTION I want nostalgia to play a key role in my creation of an artificial nature because I believe it’s a universal feeling to be connected with nature through memory.

And bathing goes hand in hand with that, my best experiences with water have always been surrounded by a landscape. I’m still not too sure whether to derive it based upon the Australian landscape or other landscapes from around the world.

One problem is that I’ve left days between studio to when I’ve started my new concept consideration so I definitely need to start writing down notes as I get home.

21

W E E K. 0 4 23 - 29 March

22

11.05.20

FUTURE REFLECTION Looking back on how I developed my concepts from this point in semester, it’s really amazing to me that I was able to combine something so far away from architecture into a plausible idea. Especially at a time where I’m unable to go out and keep up with my climbing, my architecture is able to reflect the enthusiasm that I can’t release.

24 03. 20

REFLECTION I was somewhat more drawn to vibrant colours instead of looking into a more natural palette as I’ve done in prior projects. I’ve never been that adventurous before since I worry that it’ll be too overwhelming. I think by selecting the idea of an artificial landscape, it pushed to find the boundary of colour that I could implement in my bath house.

1A and 1D really make me excited to take on a more natural palette however, 1D reminding me of this glacier crevasse where the walls feel slick and icy. Would it be too messy to have each bath reflect a different water based landscape?

23. 03. 20

STUDIO1 23

1A

1C

1B

1D

COLOUR STUDIES 24

2A

2B

2C

2D

COLOUR STUDIES 25

Material list: • cast concrete with exposed aggregate • recycled timber • split faced brick/blocks • cast aluminium bronze • iron bark timber • cast glass panels

https://www.e-architect.co.uk/australia/hepburnbath-house-and-spa-in-victoria

Design Thoughts: • mineral water is corrosive therefore the select patina needs to be able to withstand it and weather appropriately • site is situated within a creek gully • historical building is denoted with low level glazing for a sensitive division between the two buildings • choice of local materials for low embodied energy • continuous use of glazing opacity to allow for multiple levels of privacy throughout the building

01. HEPBURN SPRINGS BATH HOUSE General Information: Architects: COX Architecture, 2007 Budget: $9,600,000 Area: 2000sqm Location: Hepburn Springs, Australia 26

https://www.jsa.no/Therme-hotel-Bad-Gleichenberg

Design Thoughts: • 50 different rooms for medical treatments, 4 star hotel, restaurants/cafes and public thermal bath • waiting areas have been placed sporadically as well as close to open park land to “feel like waiting in the park itself” • shape is based on organic paper cutout, reaching and stretching to become part of the landscape • it’s intriguing how this project combines a recreational bath house as well as a medical facility that uses water as part of the healing process, it manages to feel less institutional by site placement and material choice • the displaced stacking of floors could be used in this bath house project since it creates this organic void between each layer, and suddenly you can blend between the interior/ exterior seamlessly.

02. GLEICHENBERG THERMAL BATH General Information: Architects: Jensen & Skodvin Arkitektkontor, 2008 Budget: 80,000,000 euro Area: 17500sqm Location: Austria 27

Design Thoughts: • ‘the heart facing the heart’ • ‘I seek the design which enables to embody the miraculous aspect of human’s heart, and give everyone a sense of continuity of life, a peace of mind, and a hope for the future.’

• natural materials such as Japanese Cyrput/Chestnut wood, washi, volcanic ash and charcoal • traditional Japanese half timber construction and joinery • it is composed of a tearoom ‘the space of zero and one’ and a bathroom ‘the space of clear mirror’, and a pair of gates in a washroom set in the middle of them forms a correlation between those two heterogeneous spaces.

• ‘the space of zero and one’= users unfetter their mind from all thoughts of everyday life • highlights the beauty of connections, reminds me of a structured tree canopy especially with the roof system • this idea could revolve around a central courtyard, like a modular system with gaps in between to create alley spaces

03. BATH HOUSE OF FIREFLIES General Information: Architects: TAKASAKI Architects, 2015 Budget: Undisclosed Area: 92sqm Location: Otsuka,, Japan

https://www.archdaily.com/777998/bathhouse-of-fireflies-takasaki-architects/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user

28

W E E K. 0 5 30 - 05 April

29

When heat leaves the body, where does it go?

What form does it take? What does it carry with it?

By performing yuagari after a bath, it restores the body to an equilibrium, but the process of yuagari varies from person to person. I want to be able to have each bath accommodate a moment for someone to go through yuagari at any stage of the bathing schedule. The release of tension and thought can be thought as steam leaving the skin, how can I translate that into architecture?

Yusuzumi intertwines with yuagari, the individual experience of internalising thoughts after a bath is usually accompanied with a ritual to achieve maximum relaxation.

hhttps://light.toptanbeybi.com/choreographing-experiences-in-space-olga-viso-interviews-jim-hodges/

YUAGARI & YUSUZUMI

https://www.dezeen.com/2013/05/05/urban-stories-naturescape-by-kengo-kuma/

https://www.amayori.com/blogs/the-amayori-sento/asa-buro-themorning-bath

THREE BIG IDEAS

ARTIFICIAL NATURE We find solace in the places within nature that remind us of home or experiences we’ve had.

Directly combining water and manmade structures, is it possible to recreate a rendition of landscapes that a person can recognise subconsiously? I want to be able to narrow in on an element of a landscape and magnify its effect. It’s just the question of what landscapes I want to recreate.

ENERGY OF WATER There’s something so beautiful about the power and intensity of water and it’s ability to gain so much energy that it shifts forms. It can cut through stone and metal at a certain velocity. I want to be able to embrace that power and use it throughout the bath house. It can control the senses, inspire safety and danger and heal simulatenously. It interacts with minerals and becomes carbonated, polishing the body and the stone that holds it.

“If you hit a body of water from a certain height, it’s worse than hitting a slab of concrete.”

I draw strongly from my hikes and climbs as well as media in which I’ve been researching climbing area.

It’s probably the strongest connection I have to landscape so I’d be using that imagery and emotion to drive the project.

25. 03. 20

BEFORE STUDIO 30

https://www.archdaily.com/168642/boathouse-tyin-tegnestue/5015aff128ba0d5a4b0009f3-boathouse-tyin-tegnestue-photo

http://diyarchitecture.selbermachendeko. com/10-forward-thinking-buildings-by-snohetta/

PLASTER RENDER

WEATHERED TIMBER WHITE MARBLE

WHITE CONCRETE

POLYMER SHEETS

https://www.behance.net/gallery/68311161/concept477 https://nbkterracotta.com/property/kantonschule-trogen/ https://www.archdaily.com/280395/ban-pavilion-orproject/orproject-ban-1463?next_ project=no

https://i.pinimg.com/originals/b2/ b2/e9/b2b2e93c715c9a6cbb04a2f85c0918d0.jpg

TILES

https://www.thewhiteroom.co.in/garden-room/

TEXTURED CONCRETE

MATERIALITY MOOD BOARD

TERRACOTTA PANELS 26. 03. 20

TINTED GLASS

BEFORE STUDIO 31

MOSAIC TILES

TIMBER

PLASTIC RECYCLED BRICK

TREATED TIMBER

CAST GLASS https://www.floornature.com/blog/hariri-pontarini-architects-tempio-baha39i-cile-14747/ https://www.ignant.com/2016/12/14/reader-shelter-in-estonia/

https://mobile.twitter.com/iIovenature/ status/714627956954370050?s=09

RECYCLED STONE https://www.flickr.com/photos/poisonbabyfood/3176479067/in/album-72157612306706777/

STONE

https://www.flickr.com/photos/96687961@ N02/9142736225/

https://freshome.com/inspiration/walldecor-ideas/ http://www.interiordesign-addict.com/2018/06/interior-design-addict-steven-harris-architects-casa-finisterra-amazing-contrast-of-man-vs-nature-very-well-thought/

https://urrea.mx/blognota/120/Los%20 ba%C3%B1os%20m%C3%A1s%20extravagantes%20del%20mundo

https://miss-mary-quitecontrary.tumblr.com/ post/26178980988/onishiyasuaki-reverse-of-volume-acg2010-glue

GLASS

MATERIALITY MOOD BOARD 32

31 03. 20

REFLECTION During Delta (2019), my site collages were whimsical, vibrant and complex. But when I was working on the composition for 129 Elgin Street, I realised that I didn’t want to make it better than it seemed. I wanted to convey how morose and stale it felt to me. The cool red brick with the bluestone coupled with vast amounts of asphalt feels very industrial. I think I wanted to create a site collage that I can look back on and think that my intervention made that site more inviting.

I did however struggle a lot with the composition of this, which has never happened before. I’m usually able to imagine clearly how I’d want to present the collage beforehand. The only solution I found was to rely on techniques that I’ve used previously and just hope that it would work. Maybe I should have found another technique and tried that?

It was good seeing work by others in class, I have a tendency to not include the historical elements of sites so that was a good reminder. I’m rarely interested in the history of sites, I wonder if that just an insensitive part of my personality.

30. 03. 20

STUDIO1 33

text from site collage: a cold site. devoid of height. open up to the heavens. vast streets. the tall sliver illuminates the circle beneath it. a spotlight. a person. drawn to the lunes of the building adjacent. the day has drained the life from the limbs. blood sluggishly running through tightened veins. a long day of sitting with brows furrowed and crumpled. but the eyes are still aware. caught by something moving. a ripple. a dapple. the slight waft of minerally water across dissolving tiles. the lapping against the wall. the softest of gasps as it collides against skin. a heavenly blue then white, then grey, then green. the carressing wave as someone surfaces. that dissapates. there’s no form. no moment where you can hold it. there’s a memory of a breathe, the nostalgia of bubbles. a gasp, a sigh, a tilt. there is a deap heat rising to the surface before drifitng off into an effortless wall of steam. the same steam that lifts itself off an arm, a leg, a face. it takes a moment to settle before drawing out the stress of teh day. the one that clings to the office worker, the student, the professor. like a weighted blanket lifted off the shoulders. thoughts float and dissolve. moments or maybe hours later, the tall sliver is illuminating the space once more. has the fog lifted?

34

03. 04. 20

REFLECTION It was somewhat easy to generate a few ideas using my bubble diagrams because in my mind, each bathing space lends itself to its vague position due to their respective temperatures. The models were fairly difficult to construct because I looked at them like just abstract forms instead of taking each space as a volume and then carving it down, which seemed like a logical process done by Joo and Leo. The one thing I completely overlooked was how the building would interact on site and its impact on the surroundings. I’ll need to do a complete site analysis again.

02. 04. 20

STUDIO2 35

GROUP INSIGHTS

36

12

W E E K. 0 6 06 - 12 April

37

06. 04. 20 STUDIO1 38

ESD 01. SHRIMP

https://www.archdaily.com/162116/split-bathhouse-bao-architects/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user

ESD 02. SPLIT BATH HOUSE

https://www.archdaily.com/779995/shrimp-uid-architects/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user

08. 04. 20

REFLECTION The one constant with all of these projects is the emphasis of passive strategies vs. active strategies especially with ventilation. The only thing that concerns me for this project would be the temperature control as I’ve found in previous projects that it’s very difficult to do in a passive way.

The one thing that is the hardest to track or rarely mentioned is embodied energy throughout a building’s lifespan. I do want to be able to integrate a large part of that into my project, I feel all other passive strategies are just standard for construction nowadays, in my eyes it would be careless to not consider it essential.

39

40

ESD 03. MARUHON RYOKAN

https://www.dezeen.com/2015/10/09/kubo-tsushima-architects-bathhouse-maruhon-cedar-interior-gunma-japan/

09. 04. 20

REFLECTION

added notes: wall heating, filling up site with structure, verandah created with folds using tectonic

I hit a mini roadblock after the last studio when I decided to find a harmony between my geometric landscape form with the portal frame structure. And then I also decided that it was a good idea to somehow fit my designated program in as well. It became overwhelming really quickly because I’ve never really made anything as complex as this before so I got worried that it was too ambitious. It took a lot of convincing myself to finally pick up a pen and just sketch, no matter how bad it turned out.

I found the positive and negative points of my bubble diagrams and settled on a very rough program before moving to a finding a structure that felt translated comfortably into my concepts. The triangular planar elements felt right for this idea, it mimics that artificial landscape concept and for once, it feels the most natural to me to use.

09. 04. 20

STUDIO2 41

Contrast Water Therapy (or Contrast Hydrotherapy) defined by US National Centre for Biotechnology Information is: “Contrast Water Therapy (CWT), alternating cold and warm water immersion, is also been offered to athletes as an alternative to cryotherapy and is commonly used within the sporting community [37]-[39]. It has been suggested that CWT may reduce oedema by alternating peripheral vasoconstriction and vasodilation [40]. This theory is commonly referred to as a “pumping action” within the literature. Other physiological effects of CWT that may assist athletic recovery include alterations in tissue temperature and blood flow; reduced muscle spasm and inflammation; and improved range of motion [41], [42]. However, the exact mechanisms by which CWT may improve athletic recovery have yet to be established and presently there is little evidenced-based consensus.” https://www.ncbi.nlm.nih. gov/pmc/articles/PMC3633882/ Based on this, it wouldn’t make sense to go for option 3 that focuses on hydrotherapy as there needs to be substantial evidence that it wouldn’t be harmful with generic use.

BATHING SEQUENCE RESEARCH

11. 04. 20

BEFORE STUDIO 42

https://www.archdaily.com/902744/todoroki-house-atelier-tsuyoshi-tane-architects

A narrow space, the first gate of the bath house.

The tectonic frames the reception, light at the very end of the corridor. Slits of sky guide person towards the beginning of the ritual.

https://www.archdaily.com/893530/sky-tea-house-dcdesign More mini portals lead down towards the changing room and lockers, solid walls encompassing the person as they descend into removing the layers of everyday thoughts.

https://www.estliving.com/outdoor-showers/

https://thatkindofwoman.tumblr.com/post/46507061310 timothygreig-photo

https://www.archaic-mag.com/magazine/classics-the-brion-cemetery-by-carlo-scarpa

DESCENT

ENTRANCE

TEAROOM

Adjacent to the reception is the tea room, a double height cafe that has access to a private garden and verandah for relaxation before or after bathing. Light, uplifting and centred.

SHOWERS

Required before bathing, a light wash in a sunken shower is necessary for sanitary reasons. Natural light pours from the ceiling, creating a sense of openess and vulnerability.

11. 04. 20

REFLECTION

https://www.vogue.com.au/?international

It was a eureka moment of sorts when I realised that my concept of ‘artificial landscape’ lended itself to how I should design my baths. The decision to give the bathing spaces names was the catalyst to that as well. Before that, I didn’t really have a vision for what the bathing spaces would look like, I assumed that it would be somewhat monogamous throughout the building with my abstracted landscape tectonic.

MASSAGE

A mellowed, soft space softly illumninated with skylights. Separated rooms for utmost privacy when receiving treatments.

The only problem I forsee is being able to abstract that natural formation precedents to be made into a habitable space. All of my past projects have been rectilinear so they have been relatively minimalistic and functional. But my aim for this project is to be more poetic and expressive whilst presenting a plausible design. In Delta (2019), I was poetic but it was purely conceptual and could never be built. Without that constraint, it was very easy to be whimsical and free, so now I’m questioning the difficulty of what I’m asking myself to design.

CHANGE ROOM

Surrounded by enough light to celebrate the human body with considerations for those who may not be comfortable. Sense of enclosure without it being restrictive.

SPATIAL EXPERIENCE BOARD 11. 04. 20

BEFORE STUDIO 43

GLACIER

CORE

Lava striking water, the luminescence comes from the beneath the surface. The room blends with the layer of steam coming from the Geyser Bath.

https://theouternationalist. com/2019/01/13/12-mind-blowing-photos-of-yosemite-valley/

CAVERN

https://fairyqueentravel.com/

GEYSER

The intricacies of the room are hidden, many folds and planes meeting and disappearing with the movement of the steam. There is a path guiding through and around the space.

VALLEY

Textured and reaching, panels echoing the body and sound. Pockets of light and shadow. A voice would tremble or sound hollow against a wall, the ceiling dipping into the water to reveal more.

The celebration of infinite space held by solidity, the pool at the base reaching into a wealth of garden space and cool air.

https://www.ajwallpaper.com.au/products/bamboo-forest-7

Crevasses are terrifying when experienced in surprise, but the mirror reflections of ice and glimpses of escape at the end pays for a submersive experience.

https://society6.com/product/geyser-in-yellowstone1785858_print?c_kid=s6-10281487p4a1v45&sku=s6-10281487p4a1v45&utm_source=Pinterest&utm_ medium=Social

https://www.flickr.com/photos/striderv/3652812382/in/ photostream/

google define

https://www.istockphoto.com/au/photo/ice-archinside-a-crevasse-on-the-matanuska-glaciergm1167459883-321963513

http://enzpired.com/exquisite-concrete-glass-sculpturesben-young/

LOTUS

A sculptural piece that sits alone, water and florals cascading onto a sunken floor. Water falls, rests and embraces the user at difference places around the lotus boulder.

WATERFALL

Behind the valley bath, bathers can immerse themselves in an intense stream of water to rinse themselves from the prior baths. The sunken alcoves in the wall provide small sound chambers for those who need a moment of peace.

B AM B O O F O R E S T

A resting zone, designated for individuals to allow the heat of the baths rise from their skin and a time to reflect on the day. The screens of each area allows a labyrinth for the bather to explore and to find a place to rest.

44

W E E K. 0 7 13 - 19 April

45

12. 04. 20

STUDIO1 46

13. 04. 20

REFLECTION One of the design techniques I learnt in Epsilon (2019) from my tutor was to represent spaces as blocks and spent 20 minutes very quickly trying out different iterations of a plan. I used it as a block busting technique since I hit a bit of a hurdle when trying to transfer my form onto a plan. Plus it helped me understand the ratio of each of my rooms within the whole site.

I attempted to carve the plan down using triangular slits to see how it would look, but it was really difficult to imagine how it would be experienced in a 3D sense. Using a 3D model in rhino, I extruded the blocks with the floor to ceiling heights I wanted to try and then sketched over the top which felt a lot more natural. I find that setting ‘rules’ or a logic to how I design my form helps me control how I shape the flow of the mass. And then I usually set a ‘constant’ (which in this case, it was to use triangular planes), I try generate as many ideas as I can without any overlaps. I’ve noticed a pattern within this project that when I hit a problem, I’ll find a calculated and logical process to keep developing my ideas and somewhat guide my thinking.

47

48

INTERIM PRESENTATION PREPARATION

COLLAGE + INFOGRAPHIC 19. 04. 20

REFLECTION Alongside my site collage done back in Week 4, I wanted to be able to develop an opposing collage that represented my intention for the site. This worked really well with my site infographic as I was developing it and looking into who I wanted the bath house to be for primarily. WIth the majority of those in Carlton being in stressful jobs or study situations, I wanted to be able to reflect the effects of my bath house as a healing and tranquil safe space with an aura that radiated from the site itself.

The intention collage felt much easier and organic as opposed to the site collage. I had that image in my mind that I wanted to recreate unlike the previous collage. It’s interesting that I like working in a very methodical and precise way but when it comes to graphical representation, it’s far easier for me to produce abstract and flowing imagery. I suddenly have the idea of maybe reversing that process and seeing what I might achieve (adding that to the ideas to use in future projects), starting with the abstract and then rationalising it.

50

verbal aid for presentation Evaporation bases itself off the Japanese bathing rituals of yuagari and yusuzumi in which the bather immerses themselves in self reflection whilst the excess heat takes away the stress of the day. The process of heat evaporating from the body is accompanied by different forms of relaxation that is truly unique to the person. That moment in which that mental and physical equilibrium strikes is one that deserves to be encapsulated by the architecture in which they relax and reside in.

Form has been taken to new levels with the advancement of material beauty, flexibility and durability. The ultimate challenge would be to emulate the intricacies of naturally occurring landforms and translate that into something the bather can subconsciously recognise. Perhaps by using manmade materials, the effects from the landforms can be magnified and designed to evoke the same sense of awe, nostalgia and anticipation.

energy of water

artificial landscape

evaporation

Shifting forms of water requires an input of energy that can be exponentially soothing or damaging to the surface in which it strikes. With this it can control our senses, inspire safety and danger whilst healing us simultaneously. It can blend with other elements such as minerals to polish the body and the stone around it. By using that to mould, fill and define a space, it can elevate the atmosphere and adjust the clarity of a room.

CONCEPT LOGO DEVELOPMENT 19. 04. 20

REFLECTION Divising the logos was relatively straightforward since I already have a good description of each concept. The idea arose to somehow incorporate each symbol (not just each concept) into my massing for the site as well. The artificial landscape logo comfortably lent itself to the idea of incorporating the symbols since it already used triangular lines. The energy of water symbol gave me the idea of layering and blending of the spaces but I’ve yet to work out how to use the evaporation symbol. It does seem to be a little bit of a stretch between the connection of the two at the moment. It might just have to stay as a symbol.

51

W E E K. 0 8 20 - 26 April

52

53

PLANS REFLECTION

24. 04. 20

As much as I wanted to be able to use analog media (mainly watercolour and pencil) to create the atmosphere for my plans, I didn’t have enough time. Instead I took it as an oppurtunity to learn how to create atmosphere digitally using Photoshop which I was really happy with the end result. The layering of colour and opacity took some practicing before I found the right combination plus I wanted to compare it to my sections which I used watercolour to create the atmosphere.

The blending is not as fluid as I would have liked in the digital plans, the sections definitely had the advantage since I’m more accustomed to watercolours and how to blend them smoothly. For the final presentation, I want to be able to show that I can do both, so one of my goals is to learn how to blend in Photoshop so I can achieve both.

54

perspective Without a lightbox, it was really difficult to trace using my laptop as a light source, so I used this graphite trick to trace onto watercolour paper for this sketch before scanning it and editing.

This is the original watercolour background I painted for my sections before scanning them in and caving them down to fit into my linework from Illustrator

55

24. 04. 20

REFLECTION The split decision to redo my entire scheme 2 days before presentation and submission was one I didn’t regret, despite spending 48 hours fixing everything. My previous design and layout felt like it was impeding my design intent and it looked chaotic and messy since I didn’t follow my usual methodical design method of a ‘rule’ or ‘logic’. I was looking to design an abstract massing but the way I had carved my rhino blocks into triangular form looked amateur and unrefined. So I loosely based my new design on a carved module that I developed and then proceeded to carve down and add elements depending on the space within. To create continuity between spaces, I added the collision between the modules so they would blend with each other to form a landscape.

I much preferred the final iteration compared to the first few, I feel like I achieved the abstract flow whilst maintaining some consistency over the site. I still need to do more research about the formation of rocks to understand the structure of each space.

56

INTERIM FEEDBACK Lauren: Coalescence Vast and expansive quality around site, wanted my intervention to be more totally diverse Intent, affect visitors and residents, lack of energy on site, great collage Evaporation - yuagari and yusuzumi, Artificial landscapes, recreate awe and inspiration of seeing nature Energy of water, how you can add energy to water and how that could be contained in form and space Text is way too small Good target audience Great siteplan but context stands out more than building, could be dark Environmental bathing - warm to cold, heat to take away the stresses of the day stack ventilation, thermal mass, solar Circulation - cyclical with inner and outer circulation Abstract tektonic of boulders and rocks Beautiful plans, would have been great to spend more time on those slides Modular system Great perspective, different hues of concrete, heavy and transparent, Sections, fabulous Great bath names Sarah - clarity of concept is great, and I have to commend you for the difficult step of deconstructing your very big abstract concept of coalescence, well done! Gives you clear direction, graphics beautiful, step back and take a more rationalised approach to your architecture, those super acute angles, how much of those spaces really are alligning with your concept. There are different types of rock that react differently and have different geometries, if geometry is very repetitive you lose the contrast very quickly, and materiality Dhanika - so many good attributes, only have list of good stuff, love that you address the process and science of bathing and what it actually means, graphic curation makes all the difference, set of drawings that look like they were done by you. Good outdoor and indoor balance, find a bit more connection inbetween, not sure your openings are curated well enough, maybe another set of diagrams, powerful sections, baths are themed successfully, really differentiate the experience of the different baths by varying the tektonic Yui - section shows different ways you can get into the baths or inhabit them, well done! Materiality, concrete, I am not sure if that is the best choice. If you are trying to achieve a visual effect it’s important to describe the surface of the material, why not explore stone in elements of your project? One thing that applies to everyone, although it’s great to see the overall shot of the bath be great to see a location plan diagram on that page so we understand where this is.

Lauren, consistent graphic and verbal presentation, well done. Title page, make this more engaging, merge site response & intention, strong concepts, love the pictograms, key points, atmosphere in background, subtext under social + healing, revisit. Environmental bathing, reassess. Zoning, make this reflective of scheme, not flat levels. Circulation, integrate in axo zoning? All beautifully considered diagrams. Plans, show section diagram with sectionline for plan. Label spaces, don’t number. Stairs confusing, dashed for above cutting plane, that’s why you need a section diagram.

Start with GF, then go basement, first floor, could this be accessible? Elevation, a bit more variation in heights, this is quite restrained, increase scale. Section A fabulous, affordances to get into water needed. Do we see the geyser steam exit the building? How to generate cracks in the rocks to let sunlight enter strategically? Beautiful impressions of your interior baths, a bit more resolution of affordances here would have been good. Great clear and multi-layered concepts, try to interweave these more. How to enhance the abstract landscape experience more in plan and section, the depths of the pools create this underwater but the watersurface currently creates a very flat overall experience of the GF level. A great start, well done, Lauren! Can’t wait to see you take this to the next level!

57

INTERIM REVIEW 1. What did I do better this time around to past projects? What helped me achieve this?

• My graphical presentation has definitely improved since my last few projects completed in bachelor’s. I feel as though I was repeating a style (fonts, colour palette, layout) that I found to be convenient and it was aesthetically pleasing. It was usually due to time constraints that I would resort to that tried and true setup. But for this interim, I was able to break away from that safe place and experiment more confidently because the brief I gave myself forced me to look beyond my current skills. The result of that was something I’m really proud of and I want to be able to improve it for the final.

• Abstract forms have always been very difficult for me to try and form into a coherent design. More often than not, I’d just stick to rectilinear plans and sections because it was always very easy to design. But for the first time in a long time, I wanted to push the boundaries and be sculptural and poetic. I think I was stopped in the past from doing such abstract designs because I was scared it wouldn’t be resolved properly.

2. What past mistakes did I repeat and why?

• Making last minute decisions to redo everything because I wasn’t happy with my iteration up until that point • Test inconsistencies and size, I always forget that viewing it from my screen might not necessarily mean that it’s clear for others in a presentation 3. Where did I make important decisions? When & why (what prompted me to make decisions) did I make good decisions, when & why did I make ones that were not so good?

• All of my important decisions were done in the space of 5 days before the interim presentation, the decisions to continue with my chosen tectonic and plan layout. And even that went through two iterations. It was due to my perfectionist tendencies, if I kept going with that chosen idea I wouldn’t be proud to present it. I wanted a product that I could talk about with confidence.

Despite the 2 days that it took to revise everything and the lack of sleep, I wouldn’t call it a bad decision.

4. What worked well and what did not work well at this review? Are these reflective of strengths & weaknesses of my work in general? How could I improve this further?

• I agree with a lot of the comments (interim feedback page) especially with how the presentation came together as a whole suite of drawings that were uniquely done by me. There were some inconsistencies in the drawings such as text size issues and diagrams missing that I could have devised to further explain my concepts. In terms of form, it wasn’t fully resolved and affordances had yet to be detailed.

• The feedback I received is pretty consistent to the ones I’ve had in the past but are definitely less of problem than it has been in the past. I usually do my best for each new project to remember the weaknesses I had in the prior project and to work on that specific point and spending more time refining it. I think what I lack the most is experimentation with that refining process and trialling multiple ways of approaching that weakness.

5. What did others do that I wish I had done? What would help me to incorporate/achieve this?

• The development of concepts of some of my peers was a lot stronger than my own, especially with how they verbally expressed it. I think I need to brainstorm more ways I could evoke the feeling of my ideas more with the imagery I’m using as well as the way I’m communicating them during presentation. I felt like theirs had a better connectivity as well as solidity whilst I’m still trying to grasp the depth of my concepts.

• Keeping within the time limit, the only way I could fix this is rehearsing which is something I rarely do since I’m usually too exhausted from panic drawing and fixing my iterations last minute.

6. What did I do better at this review than others?

• I think my application of analog media was more consistent than others which helped me convey atmospheric differences throughout my scheme 7. What do I like about my project and what would I like to change?

• I like that my project pushes me creatively in every facet, presentation and form especially. It makes my brain explode because I have so many small ideas and concepts that I’m trying to incorporate simulatenously. But I like the fact that it makes me want to refine it properly and not give up on the end product. I’d like to change my detailing to make it more precise as well as add in more analog media to really sell my vision.

58

W E E K. 0 9 27 - 03 May

59

27. 04. 20

REFLECTION Based on comments and feedback from the interim presentation and studio, I ended up changing a good number of my sldies to a darker toned background colour and editing text to make it larger and more impactful. The only thing I’ve yet to resolve is the combining my two collages together without making it a mess and the my circulation and zoning diagram. I want to be able to have a good amount of information of each page without it being crowded.

Every time I make diagrams for a presentation, it’s always after my design has been drawn up/modelled. There was one lecture (or article) I’ve seen where it discussed that we should be developing our buildings using diagrams that are made beforehand. And that diagramming should be completed by the time the site intervention is starts. I’ve never been great at diagramming and it has always been difficult for me, so I do wonder whether creating my diagrams before I start modelling might be a better idea for me.

60

29. 04. 20

REFLECTION I’ve finally been able to combine two diagrams together and it looks a lot more cohesive. As part of my interim feedback, I was asked to create more diagrams so this experience has solidified that I should be using 3D diagrams instead of flat ones. It is also easier to read without using two separate pages to describe two idea which could confuse an audience.

61

W E E K. 10 04 - 10 May

62

04. 05. 20

After a lot of experimentation and another eureka moment (thanks to Olivia for suggesting I combine the two collage in halves) I finally found a middleground between the two. And I was able to represent the my cyclical idea within the concept collage too.

04. 05. 20

STUDIO1 63

06. 05. 20

REFLECTION A large part of my motivation disappeared after the interim presentation. I had (and still have) the worry that I’ve bitten off more than I can chew with this project since it’s become so abstract. I’m trying to rationalise a lot of concepts at once so it’s been very easy to become overwhelmed. I know that when this happens (it happens far too often) that I need to step back and look away for a bit. I’ve also decided that I need to go back and research more into my concepts since I feel like a large chunk of information is missing from that. It’ll also help me gather myself for reconstructing my current model.

I’m also hesitant about throwing away the design I had for interim, rather I want to recycle and adapt what I already have.

I’ve completely redone ideas that I’ve had within the same project before and it feels wasteful since I dedicate so much time to them, only for me not to pursue it 100%. I’m aware that it’s a bad habit, so I want to try break it for this project.

64

research in erosion for detailing https://www.nationalgeographic.org/encyclopedia/erosion/

65

W E E K. 11 11 - 17 May

66

STRUCTURAL + MATERIAL PRECEDENT 01.

Neviges Mariendom/Pilgrimage Church Architects: Gottfried Bohm, 1972 Budget: Unknown Area: Unknown Location: Velbert, Germany 67

References: 1. https://www.archdaily.com/92646/ad-classics-neviges-mariendom-gottfried-bohm 2. https://www.dezeen.com/2014/09/17/brutalist-buildings-pilgrimage-church-nevigesby-gottfried-bohm/ 3. http://karl-kiem.net/Neviges/english/english.html

68

69

STRUCTURAL + MATERIAL PRECEDENT 02.

Castle Cove House Architects: Terrior + Pascale Gomes-McNabb Design Value: $4.5 million Area: 510m2 Location: Sydney, Australia 70

References: 1. https://thelocalproject.com.au/articles/castle-cove-house-by-terroir-castlecove-sydney-nsw-australia/ 2. https://www.terroir.com.au/projects/articles/castle-cove-house# 3. https://architectureau.com/articles/castle-cove-house/# 4. https://www.archdaily.com/64948/castle-cove-house-terroir?ad_medium=gallery

71

72

STRUCTURAL + MATERIAL PRECEDENT 03.

Spomen Dom/Memorial Home Architects: Marko Music, 1976 Budget: Unknown Area: 3,200m2 Location: Kolasin, Montengro 73

References: 1. https://www.dezeen.com/2018/07/16/valentin-jeck-photographs-toward-a-concrete-utopia-architecture-yugoslavia-moma-exhibition/ 2. https://www.archdaily.com/508843/venice-biennale-2014-montenegro-to-present-treasures-in-disguise 3. http://treasures-in-disguise.net/ 4. https://www.spomenikdatabase.org/kolasin 5. https://dvarp.me/treasures-in-disguise-la-biennale-di-venezia-2014/

74

75

JOURNEY TO THE FINALS 18 May- 21 June

76

PLANS 01. 06. 20

R E F L E C T I O N: It felt like forever before I could finalise the plan linework. It took over 2 weeks before I was even satisfied with the overall shape, let alone refine the functionality portion of it. Looking back at my 06.05.20 reflection, I’m so glad that I was able to persevere with my chosen form. It’s the first time ever that I’ve been able to not radically change (basically start afresh) a project at the 6 week mark. Thinking about it, the only reason that comes to mind to why I could do it for this project was because I simply did not want to abandon it. Out of pure stubborness, I was determined to bring this abstract idea into some sort of fruition. This is partly due to a close friend of mine supporting me and pushing me to pursue it. This demonstrates to me that I really need to keep showing my ideas to more people that are able to push my creative boundaries, like architecture friends, tutors or mentors.

That isn’t to say that these plans came to me instantly. I intended to have these plans be the basis of any 3D form but it took a lot of going back and forth with both plan, section and 3D CAD model before I could create viable spaces since the triangular planes had a tendency to create really narrow and awkward corners in the building because of the way I positioned their origin point.

13. 06. 20

FUTURE REFLECTION Just read an earlier entry (24.04.20) where I expressed that I wanted the blending of my interiors to be smoother and I think I’ve improved for the finals! The wacom tablet that I purchased definitely gave me an advantage but also experimenting more freely without worrying with more commands helped immensely. Again it seems to be a matter of me just having to step out of my comfort zone.

77

first set of drafts showing initial design of structure and lighting aspirations

78

SECTIONS 03. 06. 20

R E F L E C T I O N: I wanted to be able to improve my skills from the interim of incorporating watercolour into my sections, since I was never able to recreate the texture that you get in analog watercolour paintings in digital form. And I’m satisfied with the end result. My biggest fear when painting these backgrounds was limiting my colour palette into just an array of blues as I feel safest painting blue tones and mixing them. I’m not exactly sure why it feels easiest, but when I look back at my thoughts when painting, colours like yellow, orange and pink become overwhelmingly quickly. It feels like if I just add a dash too much, the whole thing will be unbalanced. But blue is forgiving and I learnt to trust it. So a large part of this process was pushing myself (yet again) to keep pushing my creative boundaries.

I think I need to teach myself more to be ok with things if they go wrong, and it’s ok to redo something. I constantly aim to get it right on the first go, which is something that has been engrained into me from a young age from my parents. So I instinctively go for the safest, easiest or most convenient option. And I’ve only been happy with my progress when I’ve decided to experiment. And progress to me needs to be stepping out of my comfort zone.

79

LIGHTING 04. 06. 20

R E F L E C T I O N: Josie’s advice and drawings helped immensely when I was solidifying my structure choices for each bathing space. I could finally have some substance to what atmosphere I was trying to achieve for each bath because I could see how each space could be lit and decorated. I’ve never had a chance prior to talk to a lighting consultant and my only knowledge came from environmental design subjects that talked about the need for sustainable practices in lighting. So it was really exciting to learn more about the importance on generated lighting instead of only using sunlight. It also showed me how much I didn’t really pay attention to lighting previously in projects and sort of just assumed that it would be an afterthought if I could get to it but now I need to be able to integrate it early on in the design project.

A large portion of the exploration came from sketches rather than a 3D model, which is something I really want to try for my next project. It was a near impossible task to model my project with my current skills so I want to be able to improve that and then incorporate lighting simulations.

80

TITLE + CONCEPT 12. 06. 20

R E F L E C T I O N: These 6 pages were so incredibly difficult. I spent hours on them, even they were so simple in the end. The balance between having too much information and visuals was something that I just couldn’t crack this time. Even now, I’m not too happy with the final pages. But neither can I find any ideas to improve them. This has happened in prior projects where I’ve hit this major aesthetic roadblock and the only solution has been time. Is there a more efficient way to get ideas? I’ve tried pinterest, architecture websites, instagram and even prior works of mine but it hasn’t particularly helped. It’s a bit depressing getting stuck, and I feel demoralised. I usually switch to a different drawing when this happens to try look at it at a different angle but some days it feels like I’m relying on an eureka moment or a happy accident. Maybe it’s just a way of saying that these drawings are ‘good enough’ and I can come back after the presentation and make it into something that I can be proud of.

81

DESIGN DEVELOPMENT 13. 06. 20

R E F L E C T I O N: This is the first time I’ve ever really pushed my colour palette, I was stuck on earthy tones for 3 years and I finally found the courage to try bolder colours. It felt like my scheme supported the colours the I chose, plus the black background made it more dynamic and not glare-y. I also found more confidence in using polygons throughout this project instead of rectilinear forms because I wanted to prove to myself that I could achieve something more abstract.

82

DETAILS AND PERSPECTIVES 16. 06. 20

R E F L E C T I O N: One of the most satisfying parts of this project has been how I’ve been able to use more digital methods of drawings as well as improve my watercolour skills. Looking back at the mixed media explorations in week one, I do feel a bit sad that I wasn’t confident enough to do more mixed analog media for these drawings. I was worried that it wouldn’t work out and like my section drawings, I didn’t want to have to experience the failure. The fear of failure for me is unexpectedly a lot more than I initially thought. Combined with time constraints, it’s probably just a matter of better time management and prioritising to allow myself more time to experiment freely.

Digitally painting elements has been really rewarding so I’m really glad I had the opportunity to praise it for the finals. I wasn’t confident enough to completely dive into it and produce perspectives that were entirely digitally painted but the mixture of textures turned out a lot smoother than I thought. Using photoshop also gave me a safety net if one of my watercolour drawings had the wrong colour, shape or blending. But this project has taught me that I should be able to be confident in both areas, which is only a matter of practice and a lot of online learning again.

83

84

85

86

FINAL REFLECTION 21. 06. 20

This project has been lengthy, incredibly creatively challenging and somewhat scary. It’s made me face my weaknesses head on and forced me to look at my prejudices against abstract architecture. I’ve been able to identify that most of these ideas come from my cultural and familial upbringing, I’ve been taught to value simplicity and the beauty of function above all else.

At the same time, it has been a long standing hope of mine that I’d be able to branch out further and be able to complete something more poetic and thoroughly outside my comfort zone. Almost like I had to prove to myself that these prejudices of mine needed to be questioned and put in a better mindset. So this studio provided that very opportunity to do so and I’m more than elated that I didn’t give up after that interim presentation. It has tested me on my habits of perfectionism, fear of failing and obscene amounts of multitasking, and I genuinely feel more confident in tackling those issues in my future projects. There are definitely still parts of me that still worry that I’ll fall back into the same patterns but at least I’m now fully aware of my shortcomings.

Experimentation became a huge part of my progress, and I’m really glad that I was able to find more methods of designing that could evoke more ideas for me to refine. So thank you to everyone in the studio, the crits and Hella for not letting me stop making my work more dynamic and making me become more aware in my design thinking.

87

PAST PROJECT ANALYSIS

88

PRIOR PROJECTS

TECHNIQUES

POSSIBILITIES

•

too many ideas generated and unable to choose which idea/s to refine and extend (2019 Epsilon)

•

consultations with studio friends, crits with tutor and other students/architects

•

generate ideas through cubist paintings (or any style of painting)

•

chosen idea is very strong and eccentric but building outcome does not reflect that effectively (2019 Delta)

•

spend time to research processes, watch videos, look at mood boards and sketch aimlessly

•

abstract form finding in random sketch model design without planning

•

design dice

unable to demonstrate legitimacy of core idea due to lack of program knowledge (2018 DD)

look at similar drawings, learn techniques that were used to create them and experiment

•

•

•

opposite hand drawings

•

asking someone that isn’t familiar with architecture for their opinion to get a completely different perspective

•

mixed media collages (digital and analog)

•

sketch models with time limit and different materials

•

generate ideas through overlaying multiple different drawings (using trace)

•

struggling to find a suitable composition for a drawing due to a lack of inspiration/information

•

fixation on one idea causes issues in design process later on (2018 Gamma)

•

set up diagrams before launching into plans/sections/models

•

not pushing the boundaries on form and sticking to linear/90 degree shapes (2019 Epsilon)

•

looking at precedents, instagram, pinterest and architecture websites

•

spend too much time detailing insignifcant parts without developing solid concept

•

lighting simulations

•

weakness in diagramming

•

aesthetic roadblocks

PROJECTS BLOCKS FUTURE PROJECT IDEAS/INSPIRATION 1. Haunted house style bath house, capturing more of an anti-relaxation experience, more theatrical and intense. Implementing same ideas for atmosphere but more menacing. I quite like the idea of putting a spin on the brief and creating the opposite of what is usually thought of a building. Breaking convention?

2. Biomimicry inspired design with full commitment to the idea, instead of just adding select ideas from it. Fully inspired bee life inspired design with imposed living circulation 3. Adaptive facade to weather, changes layering for different opacities to dictate internal function (Kengo Kuma) 4. More experimental designs using acrylic, resin and polypropelene

89

90