Studio 41 Create Curate丨Sensory (Re)treat. The story of a leaf.

The story of a leaf Studio 41: Create & Curate Studio leader: Yui Uchimura Liam Zhang 950607

"While picking asters' neath the Eastern fence, my gaze upon the Southern mountain rests."

Tao Yuanming

Content

Week 01

7

Week 02

17

Week 03

49

Week 04

61

Week 05

81

Week 06

89

Week 07

101

Week 08

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Week 09

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Week 10

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Week 11

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Week 12

169

Appendix 1

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Appendix 2

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Appendix 3

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Week 1

WEEK 01

Reconnecting the Hand & Mind

Week 1

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Tectonics

8

Layers

Sensitivity

Week 1

Back on the feet

Airport...Skybus...Apartment...Eckersley's...MSD It has been a long journey, and more is to come

"This will be a quick creative exercise, so scraps from previous semesters or even food packaging will be adequate!" I would have grabbed enough materials easily within a minute, if it were two years ago. As someone who has taken three consecutive studios online, this sarcastic welcome is a perfect reminder of how long I've been detached from physical modelling.

Nostalgia occupied the mind when I first sat down in the studio, and before I could focus on the task sheet, the room was filled with noises of pen knives slicing through cardboards, I pulled out my brand new white foamboard, and started to manipulate the material with my clumsy hands.

Tectonics - I've always imagined how a piece of architecture would look like, if the formality aspect is completely lost, with only the functional aspect dictating the entire design process. Then throw it on the earth plane like a ball, the toilet might then become a beam, and the bedroom might become a column.

Layers - I painted in the Southbank campus back in 2019 and witnessed the screen printing actions just next door every day, the process of working with layers after layers was intriguing, it was almost like the photoshop software brought physically to the real life.

Sensitivity - This was a model describing my personality, sensitive to the environment, and gets carried away from time to time.

Week 1

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Week 1

Hoang's Lookout Huan?... Juan?... Oh, Hoang ...

It is evident in the fixings in the spelling of the name, that I haven't met Hoang before. We were supposed to have 45 minues to consolidate a breif, and produce a physical representation of a lookout for each other. We might have spent too long on the Q&A part, and left little time to work with the actual model, but at least we got to know each other quite well.

Hoang's lookout is located in a small village within an hour of drive from the CBD. Following a localised style on the surface, it secretly contains a private space below the surface of the earth, as a space for creativity and self-reflection. As designers, we share the same perception that creativity sources from connection with the outside world, but enhanced by concentrated self-reflections.

However a self-reflection space does not necessarily need to be hidden away, it still needs to engage with natural elements such as light, wind, and acoustic. The moment or the embodied experience can be private, but that does not translates to a dark or hidden space. I think this is why physical models are important in design, especially in the field of architecture. It is to visualise the transformation from mind to paper, identify, embrace and innovate from the flaws.

Week 1

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Week 1

Studio 22, capriccio, folly, city. 2022

Capriccio, Folly, City You hear it but you don't hear it clearly... You see it but you don't see it clearly...

It feels like I'm in the third dimension...

Above is a description of my experience for online studios. This was my first masters studio, and coincidently, I was the only online participant.

This project is a reinterpretation of the four iconic buildings on the museum island in Berlin, a long divided city that is still healing from its trauma. The Humboldt Forum, Berlin Cathedral, Altes Museum and Zeughaus represent the four powers of policy, religion, culture and military, which in turn form in essence of a city. Damages of a building should not be considered ugly, but as an opportunity to re-grow from a historical mark.

The biggest failure on the project is the component of connection, that I delved too much into the identity and culture of the four selected buildings, leaving little room to consider the overall effect of forming an inner city. I should start to develop a more critical way of digesting research information, extract only the portions that contribute to the overarching theme, and not get carried away with minor details.

Week 1

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Craft selection brainstorm

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Week 1

Week 1 reflection The design decisions The design decisions were mainly driven by instinct. Numerous physical exercises with a limited timeframe demands for a quick transformation from idea to form. In the lookout design exercise, Hoang's description on his personality gave me a good idea on how they could translate to a physical form.

The iterations For the quick exercises, the iterations existed shortly, in the mind.

Many things appear on top of the head, and it was necessary to believe in one of them and discard the rest, which never really existed anyway.

Some did survive on paper, however, for the lookout design, as I discarded the options of placing it above and on the ground plane.

Successful/unsuccessful In terms of a design, I do not consider any of them successful, they are not thought through and not refined. However, I embrace the flaws in the models, that it clearly points out my weakness of not able to transform ideas to physical form quickly enough, and it is something to be noted as the studio progresses.

Takeaway The main takeaway for me producing flaws are better than scared of flaws and have the thought slip away in mind. Any form made, any mark left are illustrations of some sort of intention, though it might not be realised at the time, it is building up steps towards a more refined project.

Next steps More iterations and more trials in the up-coming weeks, so that ideas do not get forgotten, and left in a physical form, which leaves opportunity for development when revisited.

Week 1

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16

Week 2

WEEK 02

Craft + Concept

Week 2

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picking

withering

rolling

disruption

drying

firing

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packaging

Week 2

2737 B.C.

TEA DISCOVERED The second empereor of China, Shen Nung, discovers tea when tea leaves vlow into his cup of hot water

400-600

Tea making Snapped off... broken... bruised... squeezed... heated... compressed...

Often when I make a phone call to my father, uncle or grandparents, the conversations are constantly interupted by a slurping noise on the other end of the phone. "You don't call a day complete when you don't enjoy a couple cups of tea" as words from my father, tea has become more than a beverage, but part of the daily routine, a celebratory moment, a retreat from the norm.

Images on the left are gathered from a serires of documentary titled "The story of a leaf", demonstratingd the process of tea production, from a natural product, to a man made product. Every story about a type of tea is intriguing, even undergoing the same procedure, a different output can be discovered with a different localised environment. I love how unusual methods are invented to use the body as a tool, hence body movements are totally responsible for the outcome of the product. A specific level of control is applied to each stage, with careful consideration to how the natural environment might change and affect the product.

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1368-1644

It has been thousands of years since the first discovery of tea, and until this day, still being the second most consumed beverage in the world, after water, and still being studied to invent new flavours, and more importantly, aid towards the improvement of human health.

1500s

1610

1664

1815-1831

1904

1908

1998

Week 2

ALL TEAS FOUND Green, black and oolong are found. The processes of steeping whole tea leaves in teapots becomes popular

1422-1502

1765

There is a dignified ritual and cultural background in tea making, an example would be the 'Brown' tribe from China, who still perform the same ritual ceremony from a thousand years ago, to pay respect to the 'tea soul' of their local region, in which they consider to be always protecting them from any harshness, and give meaning to their lives.

TEA SPREAD Japanese Buddhist sait and priest bring tea seeds from China to plant in Japanese temples

DUTCH BRING TEA The Dutch bring back green tea from China/Japan.

TEA TO ENGLAND Bride of Charles II, Catherine Braganza of Portugal, brings the culture of drinking tea to England

AMERICAN TREND Tea easily ranks as the most popular beverage in the American colonies

INDIAN TEA India remains unsuccessful in growing tea for more than 50 years until the discovery of the Assam tea plants

ICE TEA CREATED Englishman Richard Blechynden creates iced tea during a heat wave at the St Louis World Fair

TEA BAG INVENTION Thomas Sullivan invents tea bags when he sends tea to client in small silk bags and they mistakenly steep the bags whole

REVOLUTION TEA Revolution tea is founded on the idea of bringing premium, full-leaf teas to consumers

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Harvest

Wither

Bruise

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Week 2

Kill green

Five main steps It is not subtle, at all... It is treated forcefully, the leaves and the hands dance in the air, the hand is burnt, the leaves are bruised... But they quiet down, eventually, separated by a cup...

The five main general processes extracted are harvest, wither, bruise, kill green (fire) and dry. Notice the presence of the hand in every drawing, tea is a reactive product, enhanced by natural forces, and controlled by the strengths of the hands.

All of a sudden it becomes clear to my mind, we spent thousands of years to study the reactive nature of tea, and tea has spent the same amount of time studying the human body. A product that can be truly accepted and enjoyed by the human body is one that fully engages with the body itself through its production.

Tea is a medium that bridges nature and mankind. It grows from the land, circulates around the human body, and eventually decomposes in the soil. I wish I could interview one of the tea leaves, would you rather step towards an intense journey, being picked up by a hand? Or would you rather grow into a twenty metre tall tree, and become a silent watcher of the green field?...

Dry

Week 2

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The tea inventory

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Week 2

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Bodies in process

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Week 2

Hand vs machine There is an unfamiliar presence in the tea field, it is roaring, it is reflective, it is hard, and it is cold...

The existence of machine in the tea production industry purely serves the purpose of mass-production, the love and soul behind tea making all remain in the grip of the hands.

The machine can mimic the movement of the human body, but never to the full extent; it can control the humidity to produce a fixed type of tea, but that cuts off the conversation between tea and the natural environment it breeds in; it can also control the temperature, so spring tea can be forced out from the machines even during winter periods, but the warmth of the hand is something different can cannot be duplicated.

Hand craft tea always values much more than machine produced tea, amateur people can learn which button to press on a tea firing machine within minutes, but the knowledge behind hand craft tea takes years to master. It has never been a particular techinique, but it is about learning how to observe and comprehend the temporal quality of the natural environment, and how to adjust the technique or process accordingly to produce the desired type of tea.

Week 2

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Space

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Week 2

Week 2

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White tea

Green tea

Oolong tea

Black tea

Harvested

Dried

Withered

Most delicate tea, minimally processed. Name obtained because harvested before tea leaves open fully, buds are still covered in white hairs

Harvested

Fixed

Harvested

Withered

Bruised

Oxidised

Fixed

Harvested

Withered

Rolled

Oxidised

Dried

Fired

Dried

Dried

Also undergoing the process of oxidation, black tea is allowed to be fully oxidised before being dried, which gives the leaves a signature dark brown. Black tea tends to be bold and brisk, and it is often described as astringent

Pu-er tea

Harvested

Withered

Fixed

Rolled

Fermented

Pu-er tea has a unique pungent taste due to its special production process of fermentation, this causes the taste to change as the tea continues to age. Pu-er tea is known to have a medicine effect helping the circulation of blood of the human body

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Week 2

A tea workshop Subjects and objects, in context

Although there is a rough outline in the tea production streamline, the procedure is not necessarily linear. The product of tea remained fresh within the category of green tea for hundreds of years, it was only until the Ming Dynasty, around 1590s, that black tea is discovered as an alternative. This most famous type of tea was ironically not intentional upon discovery, but rather a mistake was made when a batch of tea was left in the dark corner of a house and forgotten for weeks, turned completely black even before engaging with the procedure of firing.

The freshness was gone, but the taste is much richer and mellow.

The discovery of the black tea was an eye opener, seasonal qualities of tea was then captured by tea masters, spring tea, summer tea, autumn tea and even winter tea were introduced, Camellia Sinensis - tea plant, is therefore studied and understood thouroughly.

While machines are afraid of outdoor weather conditions like the wind and the rain, the traditional method of tea making embraces those unpredictable aspects, and incorporate them into a type of tea that captures the moisture of the rain or dryness of the wind. Hence a tea workshop should not be totally enclosed, it urges that connection with its surroundings.

Week 2

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柴

R I C E

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F I R E W O O D

H A R M O N Y

W A

和

米

油

O I L

S A L T

盐

酱

S O Y

V I N E G A R

醋

茶

T E A

K E I

敬

P U R I T Y

J A K U

寂

R E S P E C T

S E I

清 T R A N Q U I L I T Y

Week 2

Cha yi vs Chado A little windy. About to rain. Turning cold.

I should take out the plum blossom drawing, and also my dark teacup...

Cha yi, the Chinese way of tea; and chado, the Japanese way of tea are similar in the overarching theme of calmness in the body and respect towards nature, however signified in very different ways.

"Firewood, rice, oil, salt, sou, vinegar, and tea", is a very humble Chinese saying of the essentials of daily lives. Whereas "harmony, respect, purity and tranquility are more generous and vague words describing the mental states of tea admiration.

The semiotics of architecture creation include the aspects of the signified and signifier. The pivot shifts between these two ways of expression, depending on the social, cultural, political and ritual backgrounds. This can lead to different creations based on the same sign or concept.

A comparison can be made between Chinese ‘Shanshui’ and Japanese ‘Zen’ architecture, both convey a sense of calmness linking humans to nature. The architectural language of tea is expressed more through locality and temporality in China, focusing more on the signified aspect of expression; whereas, in Japan, there is a more apparent hierarchy and level of control expressed through the signifier.

Wang Shuo’s interpretation of shanshui architecture, compares to Wolfgang Fehrer’s book of ‘The Japanese Teahouse’, one vaguely links the natural settings to open architecture, and the other writes about the precision in measurement and arrangements in a private Japanese teahouse.

Week 2

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Chinese traditional Northern enclosed teahouse

Chinese traditional Southern open teahouse

Tai-an, Kyoko

Jo-an, Kyoko

Kou-An (Light Hut), Tokujin Yoshioka

The Tea House, Kengo Kuma

Week 2

Architectural precedents From loud to quiet, from trees to walls, from thatch to glass...

Is tea adapting to us, or are we adapting to tea?

Through the lens of architectural language, the singular massing contruct, the overall compositional language, the surrouding environment, the engagement of natural elements all vary accordingly to cultural backgrounds and physical locations.

China occupies a vast land, and indeed the types of tea houses do not conform to a singular expression, but transforms dramatically from the Northern area to the Southern area. In the colder regions up North, the tea houses are utilized in the way of a warm gathering, with performances occuring on the central stage, hence becoming a space defined by enclosed walls. However in the Southern regions where the climate is more moderate, tea houses are usually open pavilions in a natural setting without any enclosure, there is no clear definition of threshold.

Traditional Japanese tea houses on the other hand, follow a very strict rule of design and construction, the functional areas are usually contained within a rather small physical form, with a lowered opening to make people bend upon entry, stripping away any social status or dignity, equality is shared between all individuals under the roof, as they all behave like devout followers of the almost religious-like tea culture.

The challenges are obvious, with a much more fast-paces contemporary life style, the rituals of tea admiration and culture behind tea making is being lost.

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Drinking tea is never a place-less practice, the mood, the procedure, and the settings all change accordingly to various seasons, various social circumstances, and in various regions. While skyscrapers compete for a winner in the tallest, the humble typology of tea house continues to serve its localized purposes. There is no universal rule for a tea house to have an overarching theme across the globe, nor should any other typology. Regional characteristics are praised and valued over any method of formal expression in a tea house, and it is the ultimate personal architecture. Lao She teahouse, a representative of one of the five main teahouse types, solely in the city of Beijing, the big tea house, with the other four types being the library tea house, the chess tea house, the feral tea house, and the secondary tea house. It is a generous and highly decorative room, with an elevated stage in the middle, it is a commercial entity that brings together tea and Peking opera, the two highly valued, but disassociated habits of the mundane. It creates this enclosed shelter for citizens, as a platform to gather and chat, and even better, drink their favorite tea and watch their favorite show at the same time, away from the piercingly cold wind and the scorching sun, which would otherwise keep people in their home shelters. Moving to the southern part of China with a more moderate climate, the Heming Teahouse in People’s park in Chengdu manifests a totally different spatial quality. Rather than having a defined boundary, built elements of the teahouse become supplementary to greenery, and simple timber structures form pergolas or pavilions, but most of the seats seem to be rather sheltered by branches than eaves. The performances, the intense conversations cease to exist, noises of chatting, leaves rubbing against the tiled roof, water dripping down the eaves, and the naughty birds in the background all weave into a beautiful symphony, even compatible with the remarkable Peking opera performed on the stage of Lao She Teahouse. There is an invisible frame that protects the sacred sensory experience of each individual. Obstruction of interruption is demonstrated by the introduction of a “brass long mouth teapot”, which serves the purpose of keeping the server distant from the guests, which would oppositely be welcomed in Lao She teahouse, in which they can promote other tea products. Kenneth Frampton once written “…regionalism seeks to complement our normative visual experience by readdressing the tactile range of human perceptions”, despite the limitations that regionalism might impose on the emergence of new typologies, it is a stepping stone that we must step on, for any humanistic architecture to improve in the future.

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performance at LaoShe Teahouse, Beijing, China.

Heming Teahouse in People’s park, Chengdu, China.

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Process

Output

Traditional vs modern Hand vs machine Outdoor vs indoor

Determined by the level of control Can stop at any point and obtain a distinct product

Week 2

Week 2

Tenacity

In-between

Locality

A leaf can take on all the forces of the hand and nature, not to be broken but to be enriched

Tea is the medium between individuals, and between human and nature

Other than the production process, the natural environment can have a great impact on the tea product

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Week 2

Week 2 reflection The design decisions Compared to the work produced in week one, a much more thought through delivery of idea is illustrated in both the composition of a tea making workshop and the concept models. Thoughts are translated into form a lot easier, because they are backed up with knowledgable research.

The iterations The process I went through was listing down the important bullet point ideas, translating them to drawings on paper, and eventually coordinating with the hand and producing physical models. During this process, one and a half physical model, couple pages of drawings and a lot of wording were discarded and crossed out.

Successful/unsuccessful The composition of the workshop need more careful consideration, not restrained by simply considering the programs it needs to house, but the body movements involved in specific steps, the circulation and nagivating between machines and woks, the positioning of walls and roofs to enhance either shading or lighting, etc. However I think the models are successful in delivering the main ideas of research.

Takeaway There is a complex and deep cultural background for tea, it is not a definition that can be found in a dictionary, nor a single saying that can convince everybody. In order to comprehend tea, one needs to go through a distilled process, learning about not only tea itself, but through the eyes and experiences of the tea masters and tea lovers.

Next steps The next step would involve more study, on the topic of the site and its context.

Week 2

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Week 3

WEEK 03

Rooting Craft & Concept

Week 3

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Week 3

A sneak peek into site Dry grass, green field, tall trees, blue sky, fluffy clouds And occasionally, roaring vehicles and howling wind

It was convenient that photographs and video recordings of the site is provided, a thourough set of images looking both from and into the site gives an idea of the surrouding context and the topography.

The creek that splits the site in the North South direction naturally into two parts, which is a very interesting terrian feature and it could be utilised in future design strategies, as the craft of tea itself is closely related to water and soil.

The video recording was also helpful in the way that it captured sound, which is surprisingly quite loud for a seemingly quiet and calm area. It also recorded the change in the level of shadows, for example when the camera turned to look at the existing dwelling, the tall trees immediately cast a great amount of shadow onto a considerable amount of area.

Week 3

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Harvest level 52

3 years without harvest

Left to grow...

Week 3

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Week 3

Daylesford Tea In one month time, you will crouch down and stare at it, in one year time, you will bend to touch it, in ten years time, you will sit under it.

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Week 3

A family run business Chen understands well that a tea farm is built progressively, just like how his beloved tea is produced over a long period of time. It is part of the environment, part of the life cycle.

The site will be turned into a family-run tea production business. Led

by Chen, a tea master from China, who moved to Australia fifteen years ago, together with his wife are keeping the tradition of the orthodox tea making process. Their son and daughter-in-law will also be contributing to making tea, but more interested in the machinery, which helps to speed up and allow more tea to be made at the same time, while being able to maintain a consistent temperature or moisture level, it lacks the temporal control by the human hand, and the leaves' subtle responses to the natural environment.

The father and son always have a debate over hand-made tea, and machine-made tea.

Week 3

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Week 3

Week 3 reflection The design decisions Not much of actual 'design' is involved in this weeks work, it is more of a linear process of researching about the site itself, exploring on relevant topics that can relate to the craft of tea making. It was such a relief when I discovered about the soil conditions being suitable for tea production, meaning the workshop can be one that produces distinct local tea rather than a manufacturing factory of delivered tea.

The iterations None. All research information was valuable, the only thing I would say, is the contemplation on the client profiles. Initially I had two tea masters on site who are strangers, after reading about stories on the local family run teashop business, I changed the client to a whole family, which sticks to the idea of ritual, roots, and passing on the torch.

Successful/unsuccessful The idea of growing local tea is ideologically proven successful, however it would be extremely challanging to actually test out the feasibility of tea growing in Daylesford.

Takeaway Despite the howling wind, the site in Muck Vale is a peaceful and calming area, with natural features such as the water body and creek to enhance the craft of tea making.

Next steps Now that is research chapter is partially complete, packed with information on the craft itself and the context, it would be important to find a guiding direction moving forward, to utilize the information to its extent, and not be distracted by minor details.

Week 3

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Week 4

WEEK 04

Creed of the craft

Week 4

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Week 4

An intensive exercise My brain is telling my mouth to slow down, my throat is telling my mouth "water please!", but it went on and on and on...

Time has never passed so slowly and so quickly at the same time. I slowly got into rhythm by explaining the same stuff over and over again, by the time I looked at the time on my phone, it was about time to conclude a three-hour studio session.

Even though this is a repetitive practice, surprised at the end by how much I'm getting from this excersice. First of all, I realise that my concept isn't strong enough to convince everyone, and everyone in the class has a somewhat different opinion and gives great insight to the project development. I am explaining my concept slightly differently through each speech that I gave, influenced each time by the feedback, by the end of the session I realised what I thought would've made a great project statement is merely a starting point. There is a lot more to work on.

Week 4

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Week 4

Week 4 reflection The design decisions With a good understanding of the context, a lot of the design decisions are driven by the landscape, and exploring more on the architectural language, with respect to the key words of sustain, journey and tension, which relates back to traditional tea production process. The involvement of the hand both compress and pull, the reaction between the tea leaves with the hand, tea becomes a medium which sustains the human and the natural forces, it connects human with nature.

The iterations Almost every piece of drawing, or model is utilized and kept, as I consider they all represent a certain idea, either well conveyed or not, the ideas are trapped in physical form, let's hope that they can also grow within that physical form, and when they are mature enough, I can go back and pick them up on my way forward.

Successful/unsuccessful The rigurous process of drawing and making helped me to pump out a great amount of ideas, however they are weakened somehow without 'an opening sentence', or a very strong singular concept. This might be bad for this stage but I think it leaves room for me to consolidate.

Takeaway I might have to talk to myself more constantly, just like how I changed the way of describing my project in the repetitive presentations, the more I think about a certain idea and talk about it, the more mistakes I discover and discard.

Next steps With all the fragmented pieces, it is time for them to be assembled in a sensible and logical way.

Week 4

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Week 5

WEEK 05

Celebration of Craft — Refinement

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Landscape as Protagonist : Excerpt Bruce Pascoe The main takeaway from the writing, is that architecture should not be considered as a stand-alone object.

One cannot deny the fact that a piece of architecture needs to sit on a substantial ground in order to have meaning, it is just so logical that the landscape, or in smaller scale, the soil, the plants, the habitat, all need to be taken into consideration, to make a space meaningful as architecture, and not just building.

"That central courtyard, or whatever it is, needs to be beautiful... Let it all grow and soothe the souls who come there." This sentence strikes me, in the way that I have such a strong intention in incorporating the natural setting into the building. From this sentence we can acknowledge the fact that, we all know a central space needs to be significant and aesthetically pleasing, but how to make it not just decorative with design elements, and rather introduce the natural landscape into the space. The co-existence of nature and built elements creates unexpected experiences for the users.

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Week 5

Week 5 reflection The design decisions With an understanding on the significance of environmental factors, and readings about the rituals of an ancient tea tribe in China called the 'Browns', I left a large tea tree to grow in the centre of the workshop, acting as a guide navigating through the ambiguous workshop houses that blend with the natural setting.

The iterations This week was not productive, illness always strikes at the worst possible time, iterations and rationaling concepts remain mostly in the brain while I was on bed, which is not a reliable place for idea storage, I felt like most of the ideas slipped away.

Successful/unsuccessful The overall composition for me is a desired form, although not much testing is involved, it is able to convey the accumulated ideas from research in previous weeks. The project is unresolved especially in section, where experiences are explored, and rather important for a craft that involves a lot of body movements.

Takeaway The orthogonal layout is hard to justify, the scope onto the craft should not be zoomed out so quickly, as I've started off the project by basically only looking at the hand movements, I should go back to those delicate qualities of production, manipulate the composition.

Next steps Delve into the individual workshop areas, take another look at all the involved body movements, design spaces that do not only allow them to happen, but aid towards them.

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Week 6

WEEK 06

Curating Spaces & Landscapes (Temporary Residence)

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Week 6

Simplify, simplif, simp.

Complicated things are not complex Simplified things are not simple

Sometimes it is extremely hard to sleep with a lot of fragmented by entangled pieces of ideas tied up in a mess in the brain, and without enough time to let it loose, it ends up a mess as output. I don't regret on doing different experimental design iterations , as everything together, condensed over time, will eventually come together. The only regret comes from the hair stuck in the shower sink.

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The eye of the skin Juhani Pallasmaa "A walk through a forest is invigorating and healing due to the constant interaction of all sense modalities" What a great sentence. When I read out this line, I thought to myself, isn't the experience I'm creating on site a walk through the forest?

If architecture tends to create atmospheric qualities contained in spatial voids, it will need to interact with human senses, which ultimately determines the one's atmospheric experience, hence whether a space is constructed successfully or not.

A quote by Gernot Bohme, that atmospheres are “spaces pregnant with a mood”, every person entering a building will have a distinct mood, and the collision between that individual mood and the mood set by the architect’s intention with the arrangements of forms is what eventually produces the socalled ‘spatial quality'.

So how to capture that 'mood'? Does the same tea master carry different moods while involved in different steps of tea production? I guess the answer is yes, considering the process is so closely related to touch, to temperature felt on the skin, to the aroma of dry tea, to the steam of brewed tea.

In 'The book of tea', by Kakuzo Okakura, "Quiet reigns with nothing to break the silence save the note of the boiling water in the iron kettle." The beauty about tea is, there is a repetitive and definite motion realated to both the making and the drinking, however the experience alters every time, whether due to the change in climate or drinking alone or with friends, there is so much space for imagination left in defined motion.

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Week 6

Week 6 reflection The design decisions Messy. Very messy. From the height of a person in comparison with floor and roof levels, to the sunlight angles especially in summer when the space is occupied the most, to the linearity of movements in tea harvest...

The iterations Just like the driven factors of design, there is a lot of iterations. But can they really be called iterations, if they do not explore on the same topic, but rather testing out possibilities on different scales from object to human to space to field...

Successful/unsuccessful I've fallen into the old tracks, too much experimentation, and exploration on very specific but detached moments, when the overarching concept is not a driver, it is hard to assemble all things together in a sensible manner. The good thing I would say is being able to turn around from complexity, which is extremely hard compared to sounds.

Takeaway The conversation with Yui started off awkward, as I did not have a strong stand point to deliver my ideas, however learning from mistakes, I find the conversation extremely helpful at the end, as Yui pointed out, simplifying things is very hard, and it is exactly what I need to do.

Next steps Simplify, simplify, and simplify. Not only in terms of form and composition, but distill the ideas down to one that is the strongest.

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Mid semester

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I n Ne r i O x m a n ' s w r i t i n g o f " M a t e r i a l Ecology", it can be understood that design and production of artifacts has been c h a r a c t e r i z e d by a g r ow i n g s e p a r a t i o n between form and matter. As history evolves towards contemporary, the phenomenon of compartmentalization in the aspect of form-making, is becoming detached and independent from its rituals in the knowledge of material. So what really is craft, and what does in mean in the contemporary world of architecture? Craft has been traditionally separated into two main aspects of design, and making. This translates to two separate and self-directed departments of knowledge, a fulfilling and successful design needs to address both aspects, while needing to be aesthetically pleasant in formality, for the case of designing a workshop for a specific craft, it absolutely needs to respect the knowledge, the culture, the movements, everything about the craft itself.

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Similarly, in Wes Jones' writing on "Can Tectonics Grasp Smoothness?" An example is made on Louis Kahn, talking to the brick, a certain level of interest is engaged when the brick is stepping towards its own disciplinary necessity and essencial elements, and transforms into a particular shape, entering as Kahn stated, "a realm of expression". What is grasped in this statement is the unavoidable essence, of the physically related aspects of either a material, or a craft. Buildings nowadays have skins that are decorative, hiding not only the internal layout, but hiding from the fact that physical related movements, gestures, materials, the touch, the smell, the sound all need to be taken into consideration while designing. Formalist projects loses value in the careful consideration of moments in section that contains either intensive or calming activities. Relative to tea making, the production process is forceful, is rigurous, but the brewing and admiration process is calming and tranquil. Finding an equilibrium between different spatial qualities will be the ultimate task to accomplish.

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Week 7 reflection The design decisions Although the drawings do not seem to have changed much, there is a lot more consideration going into each detail and aspect of the workshop and temporal residence, with a more careful attention towards the sectional experiences, how the senses of human interact with the space and the surrounding.

The iterations More refinement than iteration for this week, it is about making intuitive ideas consolidated, making ideas that don't work, work. There are iterations, however, in the planning of the temporal residence, I've tested out a lot of different internal layouts, but I guess it can be improved further.

Successful/unsuccessful The most successful thing is that the drawings and especially the model all contribute towards what I wanted to deliver, however, without a long sectional cut across the residence, the zoomed-in section is hard to understand without context.

Takeaway A lot of great points have been made by the guest crits, they have also suggested a lot of great precedents to look at in the future. When it comes to the cultural tieback in terms of architecrural expression, 'make it more Australian' is a question that I actually have not considered, so that is something to explore on.

Next steps Digest the feedback, be more thourough and complete on the client profile, in order to have a clearer vision for the up-coming design for the permanent residence.

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Concept consolidation

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The story of a leaf The sweetness of spring, the swelter of summer, the freshness of autumn, and the heaviness of winter, are all hidden in the leaves, and drips into a cup of tea.

A piece of tea leaf is a notebook, recording its experience from soil to cup, and tells that story as it eventually infuses with boiling water, and circulates through the human body. A slow but engaging craft like tea making manifests a way of regaining a fleeting moment of self finding in the contemporary hasting lifestyle. The quality of tea is expressed differently through seasons, acting as a medium for the human body to reflect on the seasonal qualities, and a key to unlock the romance of each season. Architecture is explored as device to enhance the relationship between the hand and the leaf, as well as providing sensible response to temporal qualities of natural elements.

How does/will your programme bestow value to the broader region and local community?

Being dedicated in producing a local tea is a subtle but diffused way of establishing the identity of Daylesford to a broader region. Local tea will be a product that celebrates the environmental qualities and seasonal changes in the local community. While locality is pronounced, it contributes to enrich the local culture in a long-lasting way.

Design features: introducing the species of camellia sinensis to the local context.

How does/will your site response bestow value to the neighbouring properties?

Neighbouring residential properties can benefit from witnessing the changes of a distinct landscape profile of camellia sinensis, and having the opportunity to experience and engage with the rituals of tea.

Design features: Built elements in the lower parts of terrain, partially displayed; tea plants in the higher parts of terrain, totally displayed.

How does/will your landscaping and architecture bestow value to biohabitats within and around the site?

The presence of camellia Sinensis adds an extra seasonal feature to the local bio habitat, and because of Australia’s strict pest control, pesticides are not required for the survival of tea plants, hence being environmental friendly to the local context. Camellia Sinensis grows into different forms throughout the years, enriching the local landscape profile of plane green field and dry grass.

The material selection of the architecture will base on natural materials such as timber, stone and thatch, becoming part of the habitat, enhancing the addition of new species.

Design features: Incorporate sloping to enhance growing of tea plants. Selection of natural materials.

How does/will your landscaping design / features bestow value to the craft, or amplify its craft roots and processes?

The landscape features are utilized to their extent, the contours sloping towards the middle of the site is utilized as a comfortable slope for tea plants to grow on. The ventilation through water body and the creek are important cooling strategies dedicated to the firing and kill green process of tea

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making which involves a lot of heat. The soil condition is also justified to be suitable for tea growing. The natural creek acts as the main point of tension, tying back the programs scattered around the site, amplifying the rooting and ritual aspect of tea culture.

Design features: Usage of water body and tea plant/tree as a ritual bond. Withering workshop positioned close to the tea field, firing workshop next to the water body.

How does/will the spatial progression or journey throughout your site bestow value to the craft, or amplify its craft roots and processes?

The spatial progression and journey is important in this project, as it activates each of the individual built form. The walking track bleeds into and out of the built form to underpin the links between each process, and enabling a constant interaction between circulation, built form and the habitat, as well as introducing a series of thresholds at different levels, contributing to spatial atmospheric experiences in each program.

Design features: walking tracks connecting the individual workshops, as well as the natural landscape and habitat, defines different qualities in thresholds.

How does/will the workshop bestow value to the craft, or amplify its craft roots and processes?

The workshop are separated and scattered across the site, each strategically positioned to allow full interaction with natural elements such as natural light, and ventilation. Just like how tea is interactive with the natural elements and the hand, the workshop as built forms are either activated by human circulation, or static and responds to the sun, the wind and the rain, with respect to the aspects of both liveliness and stillness of tea production and admiration.

Design features: Roof and openings direct natural light into certain areas, workshop embedded into the landscape to frame different views at different levels, tea tree as shelter becoming part of the architecture.

How does/will the residence bestow value to the craft, or amplify its craft roots and processes?

The residence celebrates the calmness and stillness of the craft, enhancing a subtle but progressive respond to the changing in seasons, considering the change in weathers, as well as the change in corresponding human activities.

Design features: collection of rainwater, cladding reaction to weather, threshold from fully open to sheltered to walls to complete enclosure.

How does/will the temporary residence bestow value to the craft, or amplify its craft roots and processes?

The temporary residence sticks to the essential program of a place to rest, designed specifically to accommodate seasonal workers on site. Considering the harvest workers perform repetitive and linear routines on a daily basis, the temporal residence tends to break the rhythm of repetition and linearity, at the same time incorporated with the contours of the landscape and planting of the tea plants, empowering the ambiguity between the built form and landscape.

Design features: curving of walls to follow the hierarchy of tea plant contours, inversion of positive and negative space in the tea field to break the repetitive and linear rhythm.

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Week 8 reflection The design decisions Although not much is reflected on paperwork, this was a really crucial week of taking a bit of time to take in the feedback from mid-semester, the pros and cons, there was a lot going on through the mind, and I've decided to discard the 'village' looking form and really dig deep into tying with seasonality and atmospheric qualities of spaces.

The iterations It was mainly about where to locate the focal point, is it onto the tectonics, or culture, or locality, or temporality, or seasonality, or...

Successful/unsuccessful This was a successful week, as the entangled thoughts are untied and I physically typed them out and turned them into a logical serires of statements, each specifically adressing a question that is important in driving the next design stages of the project. The unsuccessful thing is that a lot of the thought did not exist long before it had the chance to be recorded on paper.

Takeaway A great project or a great design cannot just emerge from the blue, there is no room for skipping steps, as a logical statement is the one and only origin that not only drives the project but pulls it back at the same time, constantly.

Next steps Since seasonality is now a pronounced, core concept in the project statement, there is more research to be done in order to tie the making process of tea, and its product, more to the changing seasons and therefore the changing context.

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Curating Spaces & Landscapes (Permanent Residence)

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A contemporary tea house Abode of fancy Abode of vacancy Abode of the unsymmetrical

The craft of tea making does not end in the workshop, it is separated into two parts: the dynamic and the still, the permanent residence transforms the traditional concepts of tea houses into a contemporary form that suits the modern lifestyle, whist keeping the spatial qualities of atmospheric responses to the surrounding landscape and changing natural elements, such as wind, sun and rain.

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Inagawa Cemetery Chapel and Visitor Centre Designed by David Chipperfield

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Your black horizon Art Pavilion by artist Olafur Eliasson and architect David Adjaye

Capturing light Let there be light and let there be shadow

In the Inagawa cemetery chapel, light becomes the most important element that activates the spaces, second to its form. The brightness guides visitors with a journey through the buildings and landscapes, the tectonics is there to capture and frame the lighting effects, and creating shadows at the same time to enhance the juxtaposition.

The pavilion of Your black horizon goes to an extreme, connecting a bright corridor with a patterned wall, to a completely dark corridor with a non-reflective enclosed wall. There is a different atmospheric quality expressed both by walking from the brightness into darkness and from darkness into brightness, what happens if the spatial experience is totally dominated by the singular visual sensory? What would otherwise happen if this most important sense is taken away?

How would people then experience the space?

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Quotes from The book of tea by Okakura Kakuzo “And, if a samurai, will leave his sword on the rack beneath the eaves.”

“Again the roji, the garden path which leads from the machiai to the tea-room, signified the first stage of meditation - the passage into self-illumination.” “eighty four thousand disciples of Buddha in a room of this size - an allegory based on the theory of the non-existence of space to the truly enlightened.”

“The roji was intended to break connection with the outside world, and to produce a fresh sensation conductive to the full enjoyment of aestheticism in the tea-room itself. One who has trodden this garden path cannot fail to remember how his spirit, as he walked in the twilight of evergreens over the regular irregularities of the stepping stones, beneath which lay dried pine needles, and passed beside the moss-covered granite lanterns, became uplifted above ordinary thoughts.” “ A cluster of summer trees, A bit of the sea, A pale evening moon.” “ Create the attitude of a newly-awakened soul still lingering amid shadowy dreams of the past, yet bathing in the sweet unconsciousness of a mellow spiritual light, and yearning for the freedom that lay in the expanse beyond.”

“The kettle sings well...”

“One of the first requisites of a tea-master is the knowledge of how to sweep, clean, and wash, for there is an art in cleaning and dusting.”

“Dipping water from a flower vase need not be wiped away, for it may be suggestive of dew and coolness.”

“There is nothing more to be done.” “Young fool, that is not the way a garden path should be swept,” shook a tree and scattered over the garden gold and crimson leaves, scraps of the brocade of autumn!

“Not cleanliness alone, but the beautiful and the natural also.”

Transformation of a contemporary Tokonoma.

“Abode of Fancy.”

“Abode of Vacancy.”

“Abode of the Unsymmetrical.”

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Architecture wishes to interact with the user and the surroundings to generate the desired atmosphere, however, that interaction does not need to be physical or gestural, but a gentle moment of affection between the user and the temporal elements experienced through the built form. This interactive built form, usually, isn’t a perfectly symmetrical layout, nor a flawless smooth shell, but one that is rather imperfect. “Quality architecture to me is when a building manages to move me”, a quote by Peter Zumthor in his book “Atmosphere”. The word “move”, whether it means in the physical manner or stirring of emotions, is a continuation of experiences, rather than an impression imposed spontaneously upon the first glance. This idea of a linear interpretation is deeply associated with time, an irresistible force that drives the changes in natural elements such as lighting, humidity, and temperature, which in turn react with the architecture, and therefore the human inside. Architecture needs to not reject these temporal qualities and their after effects, as if the shadows, the rainwater stain irritate faultless appearance. Embrace them, embrace the silhouette of a bird speeding across a white wall, embrace the noise of rainwater through the steel gutters, embrace them all, they are there and they are beautiful. This is exactly the centralized theme of Cha-Dao, that all things in nature are appreciated. As Okakura Kakuzo stated in his book “The book of tea”, “dripping water from a flower vase need not be wiped away, for it may be suggestive of dew and coolness”, the tea master may then drag the table back under the eaves, and allow the kettle to sing longer to bring the water inside to a complete boil, all of these interactive moments are driven by only a drop of dew, and that temporal element becomes a hint for a series of activities to occur, enriching the experience within that same space. A Japanese room is praised for its beauty of simplicity, it barely utilizes glass, and has a low ceiling that surrenders to the driving winds, not ideal for natural light, but perfect for the carnival of shadows. “The beauty of a Japanese room depends on a variation of shadows, heavy shadows against light shadows - it has nothing else.”

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interior of Tamamo park, Kagawa

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Week 9 reflection The design decisions The book of tea by Okakura Kakuzo really pushed the design decisions made this week, accompanied with the more in-depth research regarding the traditional tea house typology, as well as the atmospheric qualities of spaces, drove me to create a humble residence.

The iterations Once the programmatic elements are picked up, there has been a lot of iterations revolving how they are arranged, imagining and putting myself into the architectural diagrams, I can get a sense that although the same programs are housed, the experiences are totally different with different layouts.

Successful/unsuccessful The translation of traditional elements like the pre-entry gateway, the formal and informal tea room are successful, as well as the creation of key moments that innovates the interior spaces but also ties back to the craft itself. However although each moment might be compelling, there lacks an overall theme.

Takeaway The secondary part of tea making, the appreciation of tea, is a process that engaged all senses of the human body, the sense of sight is even not so important in this case. People experience a cup of tea, as well as experience space through all five senses.

Next steps Find an overarching theme for not only the permanent residence itself, but its relationship with the temporal residence as well as the workshop, be sure on the singular most important element that the permanent residence explores on.

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Interim presentation

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Back to the basics harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither, bruise, fire, dry, harvest, wither,

Going back to re-designing the workshop, it was needed that everything to be erased and start from scratch. Once a form sits in mind it is hard to turn away from it. Instead of thinking about the actual form of the product of tea, the leaves, and the hiearchy in the process, I went back to the basics of truly exploring how each step in the procedure is complete, with what kind of body movement.

I ended up designing five pieces of equipments for the five processes, and the workshop is an enlarged version of these tools. The five main processes of tea making require different conditions of lighting, humidity and ventilation, this is translated into the spatial design, that each working area has a different profile, suiting that particular step in the process, and at the same time responding to the context.

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Week 10 reflection The design decisions I spent a lot of time dedicated to researching the body movements of each step in the tea making process, due to taking on the feedback to remove all machinary production methods on site and focusing only on the manural way of making tea.

The iterations Changes have been made here and there when I first started to moderate the workshop, but it wasn't getting anywhere. Once I totally got rid of the original design and started from scratch, thoughts started to emerge, and completely new tectonics were introduced.

Successful/unsuccessful The series of design equipments are successful, as it deepened my understanding of the actual making process of the craft. However this made me respond less to the seasonal qualities as stated back in mid-sem to be the most important concept that the project should originate from.

Takeaway Thinking back, this kind of research should really be done by the first couple of weeks, now that time is dedicated to designing each portion of the workshop, aligning with the process, there is a lack of thought of how these different sectors should be connected and should sit within the context.

Next steps I comprehended that what I've done this week cannot shape the form of the workshop, they are strategies rather than concepts. Hence I need to keep in mind of these explorations and go back to how they can tie in with the seasonality aspect.

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“Architecture is basically a container of something. I hope they will enjoy not so much the teacup, but the tea.” quote Yoshio Taniguchi. Essentially, the purpose of the teacup is to withhold the formless liquid of tea, for the drinker to grasp on, and appreciate the experience of color, aroma, temperature, taste, and lingering fragrance.

Architecture is something similar, a circulation of flocks of human beings floods into a space defined by boundaries, they observe, they smell, they exercise, they consume, and they remember. It seems like architecture then becomes the teacup, whereas human beings become the tea. But, the qualities of tea are only realized upon experiences through interactions with the drinker, and if we human beings are tea, then who, or what is the ‘drinker’? The answer is us. Now the formula is re-written backward, the human being is the drinker, the experience is the tea, and architecture, is a level of consciousness, it is what raises the sensory experience, not solely the teacup, but from the temperature of water to the type of tea to the shape of the container to the setting to the weather, eventually to an extent as much as the drinker wishes to recognize. Nowadays, we no longer have the privilege to fully interact with the built form, the authority is too impatient to utilize architecture as a symbol, forgetting about the origin, which is the human body. Skyscrapers nowadays are literal stamps that pin ruthlessly into the precious ground of the Earth, and miraculously complex formal expressions become the norm. Architecture promotes experience, whether subtle or rapid, it should respond to the context, becoming a medium, a device that manifests locality and embraces imperfections.

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So what is, exactly, a cup of tea? We can describe it with the chemical content in the tea plant Camellia Sinensis and pH level of the soil it grew from, to how the liquid circulates through the human body.

In such detailed annotation, we still do not realize what this specific cup of tea in front of us, is. Alternatively, a cup of tea is cautiously sprinkling a pinch of dry tea into a ceramic container, slowly invigorating the leaves with hot water, steam fulfilled with aroma rises to the face, and the weight of the cup is felt as it is brought to the lips, a brownish liquid slowly sips into the body, comforting every single pore on the skin. This is how we perceive a cup of tea, in a completely subjective manner. If we were to deliberately spurn these subjective factors for the purity of the objective figure of a cup of tea, in the experience of a drinker, it means nothing, even though it is true, scientific, and accredited. This comprehension, is a step into the gateway of the philosophy of phenomenology proposed by Edmund Husserl, which he defined as “the science of the essence of consciousness.” A piece of architecture cannot be examined until one enters its certain level of threshold. A building in objective isolation is an accumulation of materials, what is true to oneself is not the photograph itself, but the experiential memory that emerges from that illustrated image. A tea master carefully selects the type of tea and performs various procedures of brewing under different circumstances, all aid in enhancing the ultimate experience of the drinker. These factors deliberately but subtly affect the sensory experience, rather than pronouncing themselves, they draw the drinker’s attention towards the environment, regardless of natural or built. As Juhani Pallasmaa said in “The Eye of the Skin”, “architecture is essentially an extension of nature into the man-made realm,”architecture shouldn’t create a context, but curate one. Perhaps Cha-Dao should be a compulsory lesson for architects, to learn that design decisions are transferred to a medium that enhances the experience, rather than a sculptural expression.

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Week 11 reflection The design decisions The extra design discussion with Yui was extremely helpful, as it simplified and distilled all the thought that I've gone through throughout the semester so far, and translated into a new form.

The iterations Rather than having the workshop split into sections of the five processes, it is now split into four blocks that houses the four seasons and the types of tea they produce. There has been a constant shift of these blocks, to create the suitable condition of lighting and ventilation.

Successful/unsuccessful The tectonics now make much more sense compared to before, seasonality is truly pronounced and manifested in the workshop design, everything so far is pushing in the right direction, but it is fatiguing to have three different design in three weeks, the brain gets a bit drained and the process gets a lot slower.

Takeaway The main takeaway is how meaningful and powerful a simple layout can be to express the core concept behind a project, I tend to jump into designing the details and key moments too early, without really taking time to think about the overarching idea.

Next steps Now that a new framework is set, it is a matter of really pushing and putting all the design decisions and knowledge about the craft into this framework, to come up with a comprehensive project.

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Week 12 reflection The design decisions Time has past too quickly, it is now upon the conclusion of the semester, however design decisions are still being made. The seasonal quality that is expressed in the making of four different types of teas on site is the main driver to finishing up the workshop design. For the permanent residence there is a different take on framing that view towards the soul tree on site, and utilising levels to create sensory experiences and respond to the opposing tea field.

The iterations There is a debate within my mind on whether to keep the permanent residence design or to change it completely, because I think the original design has little room for improvement, in the way that the framework is small. I still decided at the end to come up with a new design even though with little time left to refine.

Successful/unsuccessful The design for the workshop is coming together, and the design process has been smooth, with all the knowledge and information gathered about the craft in previous weeks of research. However, the form of the permanent residence need to be simplified further.

Takeaway Looking at test prints and presentation layout from my peers in class, with a head filled with thought still on the design of forms and concepts, again I realise how crucial it is to have the concept set in the earlier stage, so that there is more time left to refine, it was a shame to not have the chance to consolidate and show my presentation layout.

Next steps Work, work, work...

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Appendix 1 Side project - Box making

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Appendix 2 Ebonising timber

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Timber ebonised with four types of tea

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Appendix 3 Material board

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Bibliography: Chipperfield, David. "Inagawa Cemetery Chapel and Visitor Centre Designed by David Chipperfield". Walther Konig Verlag , 9 November 2021 Jones, Wes. "Can Tectonics Grasp Smoothness?". Log 30, Winter 2014, 32.

Oxman, Ner , "Material Ecology". In R. Oxman and R. Oxman, eds. Theories of the Digital in Architecture, 2013.

Koolhaas, Rem. "Bigness, or the problem of large," in S.M.L.XL. Monicelli Press, 1995, 510.

Towler, Solala. “Cha Dao: The Way of Tea, Tea as a Way of Life”. Jessica Kingsley Publishers, 2010.

Wrathall, Mark A. “The cambridge companion to Heidegger’s Being and Time (Cambridge Companions to Philosophy)”. Cambridge University Press, 2013 Gardenia. Camellia sinensis (Tea Plant). https://www.gardenia.net/plant/camellia-sinensis.

Smith, David Woodruff . Phenomenology. Stanford Encyclopedia of Philosophy, 2003.

Pallasmaa, Juhani. “The Eye of the Skin”. John Wiley & Sons Ltd, 2012.

Zumthor, Peter. “Atmospheres: Architectural Environments. Surrounding Objects”.

Birkhauser Architecture, 2006, 10.

Kakuzo, Okakura. “The Book of Tea”. Macmillian Collector’s Library, 2020, 58.

Tanizaki, Junichiro. “In Praise of Shadows”. Leete’s Island Books, 197, 17.

LaoShe Teahouse. Baidu encyclopedia. http://m.laoshehouse.com/jm.php?id=11.

Frampton, Kenneth. From “Towards a Critical Regionalism”. 1981.

Marser. overlapping (Tamamo park, Kagawa). flicker. https://www.flickr.com/photos/ marser/4014398496/ Nongjing. What is brass long mouth teapot? http://m.1nongjing.com/201712/214553. html.

LaoShe Teahouse. http://m.laoshehouse.com/jm.php?id=11 Chengdu Bao. People’s park of Chengdu Tea price. https://www.chengdubao.com/ article/48868.html

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