studio 41: weaver's tales: weaving narratives of memory

studio 41: create|curate

weaver’s tales mannik singh - 877805

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| contents

week 01

04

week 02

10

week 03

36

week 04

58

week 05

76

week 06

90

week 07

105

week 0-

116

week 08

130

week 09

144

week 10

170

week 11

190

week 12

201

3

01

| week one

self introduction: abstract physical diagrams

personality

multi-facated when i couldn’t think of my prominent personality type - i thought to myself, i am a different person to everyone, to myself when i am alone, to my parents, to my peers, my friends, and none of those versions are fake, they are different sides to a complex person. not every side is visble to everyone, not everything should be. perfectly summarised by a do-decahedron. where each facet of it fits perfectly to make a pure geometric form.

rhythm in music/weaving

hobby

musical rhythm and patterns in guitar playing. i abstracted the 6 strings of the guitar into a wave worm with a 1:3:5 harmonic ratio that is multipliable. rhythm or a repeating pattern is a common language in all the crafts - with things having a repetitive pattern used to keep things in order and to make them work.

place-architect-building

order of chandigarh chandigarh, designed & planned by le corbusier, has formed the basis of how i view and compare the architecture of the world around me. -is it better than home, is it as good as home, wow, its not like home at all! the chandigarh-mohali-panchkula tricity form a network of road network with interstial spaces forming sectors for human activities. a perfect woven urban fabric!

5

direction

zhong lei’s lookout: framed views into infinity

the components of the lookout were taken from 3 tenents of zhong lei’s self-introduction craft excericse • •

planimetric perspective

rules

•

folded simple forms that are quite dynamic represented zhong lei’s favourite building. the presence of rules - that give direction to a project rather than constricting represents his personality and what he prefers in his daily rituals chinese book making - an element of surprise and varied perspectives from different positions in the book.

the lookout involved using the folded language of zhong lei’s favourite building - sujo chapel. the folded forms direct the eyes towards the lookout while creating avenues for framed views. his wish to have framed, hidden views that involved discovery was another thing i thought about - depending on where one stands the infinity beyond is either fully blocked, partially hidden or visible in a frame within a bigger frame - element inspired by the craft zhong’s interested in. using black card for the excercise, i was able to emphasise the materiality of the construction powdercoated folded mild steel. the client seemed fairly happy with the form of the building although advised me for more creative exploration of the ideas and using a wide variety of material choices.

creative critical reflection - previous projects

what do you think are the weakest parts of your project?

• • • • •

spatial/functional layout is not thought out rigourously awkward spaces owing to sticking to the conceptual patterns resulting in proportionally wrong spaces very little diagramatic anlysis not very rigorous concept development

how would you like these aspects to be improved?

• • •

more rigour in conceptual development stage effective time management more rigour in spatial planning & discarding/adapting concepts where they hinder design development

what do you think was the most successful part of your project, and what was your creative/design process?

•

sticking to the pattern, pattern based design concept development really helped emphasise the dichotomy of the project brief

are there patterns you can identify in your creative design process that have proven to be particularly successful for you?

• •

constant feedback loop & workshop sessions with peers to gather critical feedback is essential for me to develop my ideas strong abstract concepts

what is your biggest overall weakness in architectural design? what is your biggest strength? acknowledging your creative patterns, weaknesses, strengths, what is your creative strategy for this semester?

• • •

weakness: failiure to transform abstract concepts into architectural designs and forms strength: ability to form strong ideas strategy: being decisive, compiling a library, and constant feedback loops. elimination or transformation of vague ideas into a core idea, proper research & sticking to a process.

7

weekly reflection

upon examining my models for week 1, it wasn’t hard to conclude that i do not have a god given talent of patience or the strong detailed model making hands that can work to the precision required for creating beautiful elements of art. being someone who has not been into making models, this exercise was challenging (in a good way) & helpd me attune my creative senses into creating something that was tangible and not wafty fluff of thoughts. the time limitations of creating models based on who i am, what i am into and what i like really inspired me to make quick decisions without being sure of the output. being a person who likes to know the desired output before commencing a task, it did raise levels of anxiety. whilst this experience was a good learning process, my models were average at best, with ideas more abstract and models, more often than not, flat & failing to show the desired ideas. the unfinished aesthetic, while romantic, only means that my skills in craft needs improvent - perhaps by practicing more.

9

02

| week two

french tapestry & persian rugs

weaving telling stories, weaving narratives

11

reading analysis eyes of skin - juhani pallasmaa

juhani pallasmaa crafts a beautifully argument for architecture encompassing all our senses rather than just on our sense of sight. the piece argues that there is a need to break down architecture practice prioritising one sight over the others and construct one with a more holistic approach to design which looks beyond just the visual. like the media rich environment that we live in, vision is the sense that is increasingly dominating in architecture. eyes of skin sets out an argument for the tactile feel in the experience and understanding of the built and curated world since touch is the core sense from which the others trickle. furthermore, social conditioning for the need to capture the visual aesthetic is aggravated and fueled by the hunger of likes on a medium focusing on the sense of sight. we are always hinged to screens which are inherently focused on the visual. the media we consume, more often than not, is all about the visual aspect of people’s lives. even architectural magazines fail to capture the ephemeral and temporal qualities of space that one might experience - olfactory, auditory and tactility, cannot be expressed in photos, drawings, instagram posts - it’s all about the pretty picture The quote below joins up these associated ideas and expresses them beautifully.

‘I confront the city with my body; my legs measure the length of the arcade and the width of the square; my gaze unconsciously projects my body onto the facade of the cathedral, where it roams over the mouldings and contours, sensing the size of recesses and projections; my body weight meets the mass of the cathedral door, and my hand grasps the door pull as I enter the dark void behind. I experience myself in the city, and the city exists through my embodied experience. The city and my body supplement and define each other. I dwell in the city and the city dwells in me.’

– Juhani Pallasmaa W there is an innate urge to feel fabric to test its quality, and thread count or feel which, usually, can not be percieved by the eye. the way fabric interacts with its environment is truly profound, flowing freely - or not, the way it weathers over time truly tells the story of its time. in this project i want to focus on the temporal qualities of the space that seem to get lost amongst the bigger, prettier picture. like the craft that i’ve chosen, i hope i can weave the visual, olfactory, tactile, auditory and time into the project proposal.

13

historical geographical + environmental research weaving

Weaving is a method of textile production in which two distinct sets of yarns are interwoven at right angles to form a fabric or cloth.

Weaving was known in all the great civilisations, but clear line of causality has not been established.

early illustration of silk weaving from japan

early illustration of cotton & linen weaving in ancient egyptian civilization left: the pazyryk carpet. circa 400 BC. hermitage museum right: example of weaving characteristic of andean civilizations Adam Jones, PhD - https://www.flickr.com/photos/adam_jones/4566548203/ sizes/l/in/photostream/

classical greek urn featuring vertical loom weaving

historical geographical + environmental research persian rugs

The beginning of carpet weaving remains unknown, as carpets are subject to use, deterioration and destruction.

The term “Persian carpet” most often refers to pile-woven textiles. Persian rugs of various types were woven in parallel by nomadic tribes, in village and town workshops, and by royal court manufactories alike. They represent miscellaneous, simultaneous lines of tradition, and reflect the history of Iran and its various peoples.

qom rug

qom bidjar

isfahan fars

bidjar rug

isafahan rug

photos from: Why Persian Rugs Are So Expensive | So Expensive: https://www.youtube.com/watch?v=-ECqbfX0IUA

15

historical geographical + environmental research french gobelin tapestry

the word tapestry derives from Old French tapisserie, meaning “to cover with heavy fabric, to carpet” tapestry is a form of textile art, woven by hand on a loom. tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike most woven textiles, where both the warp and the weft threads may be visible. a lot is unclear about the early history of tapestry, as actual survivals are very rare. gobelin tapestry is a type of tapestry made at the manufacture des Gobelins in France. the tapestry is named after a family of cloth makers and dyers who are credited with founding the dyestuffs business in 15th century Paris.

a “high-warp” (haute lisse) used at the Gobelin.

king Henry IV (1553-1610) established Manufacture des Gobelins in hope to set up a Tapestry industry to compete with businesses in Antwerp and Brussels. in 1601, he leased the Gobelins plant, inviting Flemish weavers to relocate to France to assist in developing a competitive enterprise.

modern, off the shelf Gobelin style vertical loom. http://www.leclerclooms.com/gobelin.html

Gobelin Low Warp Tapestry, Manufacture and Various Operations of the Workers Employed at the Low Warp Loom. Illustrative series: Tapisserie de basse-lisse des Gobelins https://artflsrv03.uchicago.edu/philologic4/encyclopedie1117/navigate/26/20/

process wool production

SPINNING THE YARN

sorting & cleaning

DYEING THE YARN

the wool is broken up into sections of different quality fibers, from different parts of the body. The lesser quality wool coming from the lower legs and is used to make rugs

scouring & cleaning to remove contaminants like sand, grease and suint, the wool is scoured in a series of alkaline baths containing water, soap, and soda ash or a similar alkali. fleece is then squeezed off of excess water and dried, often after being treated with oil to give increase workability.

STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

carding carding removes residual dirt and other matter left in the fibers. carded wool intended to place the longer fibers parallel to each other to create a roving for spinning the yarn.

spinning spinning the roving to create twist on the wool & puts the twisted yarn on bobbins.

17

process preparing for weaving

SPINNING THE YARN

DYEING THE YARN

PREPARING THE LOOM WITH WARPS FOUNDATION

cartooning & designing the design of the tapestry/rug is sketched on a graph paper (called cartoon). this helps the artisans to keep track of progress & colours.

STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

11

dyeing the yarn once the design is finalised, the yarn is cutom dyed to bring artist’s design to life.

preparing warp for loom warp strings are prepared to be braided and grouped using a wall mounted spinning wheel and bars.

preparing the wefts on bobbins

photos from: Art of making tapestry: https://www.youtube.com/watch?v=jIbudJuEh0 Why Persian Rugs Are So Expensive | So Expensive: https://www.youtube.com/ watch?v=-ECqbfX0IUA

process preparing for weaving SPINNING THE YARN

DYEING THE YARN

PREPARING THE LOOM WITH WARPS AS FOUNDATION

WEAVING THE WEFTS THROUGH THE WARP

braiding warp threads STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

11

groups of warp strings are braided making it easier to carry to the loom and setting up the warp foundation.

setting up warp on loom

adding tension to warp right amount of tension is added to the warp foundation which makes sure that the design is structural stable.

adding heddle bar & shed stick to warp heddle bar helps to speed up the weaving process by creating an opening between alternating warp threads.

19

FINISHING TH EDGE DETAIL

WEAVERS’ TALES

N S

process weaving weaving wefts through warps (tapestry) SPINNING THE YARN

DYEING THE YARN

PREPARING THE LOOM WITH WARPS AS

WEAVING THE WEFTS

FINISHING THE RUG/TAPESTRY WITH

FOUNDATIONwefts are the structural THROUGH THE WARP EDGEdesign DETAILS/TRIMMING in tapestries, element, as well as, the element that realises the artist’s vision.

weaving can be summarized as a repetition of three actions, also called the primary motions of the loom. shedding: separation of the warp threads by raising or lowering heddles for picking. picking: weft propelled across the loom by hand. battening: weft is pushed up against the fell of the cloth by the reed.

STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

11

WEAVERS’ TALES

NAME: MANNIK SINGH STUDENT NO: 877805

adding knots to warp threads (rugs) the knots form the overarching design of the persian rugs. for persian rugs - persian/assymetric knots are used.

weaving weft threads after each row of knots (rugs) the knots around the warp strings are non-structural. weft strings have to be provided for stability.

trimming the excess knots

process finishing & storing PREPARING THE LOOM WITH WARPS AS FOUNDATION

WEAVING THE WEFTS THROUGH THE WARP

FINISHING THE RUG/TAPESTRY WITH EDGE DETAILS/TRIMMING

releasing textile from the loom tapestries & carpets are released from the warp & loom & proceed towards the finishing stages.

WEAVERS’ TALES

11

NAME: MANNIK SINGH STUDENT NO: 877805

adding trimming edge to the carpet excess wool of the pile is shaved off and brought to an even height.

trimming excess weft/knot residue excess wool of the pile is shaved off and brought to an even height. tapestries are generally finished at this stage & may be used as wall hangings.

washing & drying the carpet the rugs are washed after polishing to remove wool, dust and pigment residues.

Sometimes, chemicals like lime are used for finishing which may added hues/tones to the finish of the carpet. after its washing, the rugs are thoroughly sun dried ensuring that colour pigments stabilise & the shape is retained.

21

GRAPHICAL CRAFT INVENTORY

TOOLS + OBJECTS + PRODUCTS GRAPHICAL CRAFT INVENTORY

TOOLS + OBJECTS graphical craft inventory

GRAPHICAL CRAFT INVENTORY tools + objects + products

+ PRODUCTS

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SCISS

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Project Name 300

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Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

CREATE|CURATE

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This wor Copyright copyright & cannot be repro All rights rese copied in any form or by &anc copyright (graphic, electronic orinmech copied any including photocopying) with (graphic, elec written permission of KATZ including pho Architecture Pty. Ltd. written permi Architecture

EQUIPMENT SCISSORS 1:20

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SHUTTL 175

75

SPINNING WHEEL GOBELIN LOOM FRONT VERTICAL ELEVATION SIDE ELEVATION

GOBELIN VERTICAL LOOM FRONT ELEVATION

Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

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SPINNING WHEEL FRONT ELEVATION

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A_1.0

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GRAPHICAL CRAFT INVENTORY

graphical craft inventory

TOOLS + OBJECTS + PRODUCTS

tools + objects + products

SPINNING WHEEL FRONT ELEVATION

GOBELIN VERTICAL LOOM FRONT ELEVATION

0

25

75

Copyright All rights reserved.

This work is Copyright copyright & cannot be reproduced or work is All rights reserved. This copied in any form or by &any means copyright cannot be reproduced or (graphic, electronic orinmechanical, copied any form or by any means including photocopying) without the (graphic, electronic or mechanical, written permission of KATZ including photocopying) without the Architecture Pty. Ltd. permission of KATZ written

GOBELIN VERTICAL LOOM SIDE ELEVATION

STUDIO 41

CREATE|CURATE

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PROJECT 01: CRAFT + CONCEPT

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SPINNING WHEEL SIDE ELEVATION

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EQUIPMENT 1:20 Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

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GRAPHICAL CRAFT INVENTORY

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Enter address here Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

STUDIO 41

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PROJECT 01: CRAFT + CONCEPT

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FS 1.10

graphical craft inventory spatial analysis

provision of spinning wheel

hanging rods + hot water hydraulic plumbing

separation of dry vs wet zones

provision of storage

natural ventilation

GRAPHICAL CRAFT INVENTORY

SPATIAL ANALYSIS

STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

provision of mobile bench units to wheel yarns

NAME: MANNIK SINGH STUDENT NO: 877805

provision of a wet space

design-desks

sink

outlook + natural diffused daylight

29

material research persian carpet making in detail

CLASSICAL GREE THE WEAVING PR

(How to pick out the perfect rug, 2022) 2nds.biz. 2022. How to pick out the perfect rug. [online] Available at: <https://2nds.biz/ rugTips.php> [Accessed 7 March 2022].

source: the insider

EARLY ILLUSTRATION OF COTTON & LINEN WEAVING FROM EGYPTIAN

Example of weaving characteristic of Andean

EARLY ILLUSTRAT WEAVING FROM J

The Pazyryk Carpe

material research materials of the craft product MATERIAL RESEARCH

FROM FABRIC TO DYES

STUDIO 41

CREATE|CURATE

PROJECT 01: CRAFT + CONCEPT

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WEAV T

parti as artefacts: philosophy + (aesthetics) essence of craft as:

architectural aesthetic

controlled transparency and opacity & flexibility depending on the the thread count and spacing of warp and weft, the transparency of the fabric can be determined which has its innate architectural manifestation. furthermore being a flexible material it can be wrapped in tension, be hung to interact with the wind or be tensioned around a frame to form a canopy or a wall system.

architectural aesthetic

linearity of process and progression the progression of process is very linear, however each process is cyclical, this can manifest in various ways depending on how the spaces are arranged

architectural aesthetic

flexible forms while the fabric has an innetate grid which making it adhere to a strict rule, it also has the tendency to be warped or strung or molded to form interesting spaces. the type of warp-wefts used makes a huge difference. here the structure is in high tension because the card used to make this model has innate hard structure with varied acting forces. different materials lead to different results.

parti as artefacts: philosophy + (aesthetics) essence of craft as:

embodied experience

rhythm rhythming patterns arent uncommon across various crafts. theres a repetition and that repititon manifests itself in a harmonic pattern akin to music. resulting in a calming sensation

embodied experience

interlocking of threads the inherent principle of weaving is centred around the idea of interlocking threads to create something robust and useable. the model tries to encapsulate this interlocking but in a different way, almost rings of fabric interlocked with each other to create micro-spaces for people to have a wide variety of experiences

material manifestation

cohesion cohesive forces are strong in fabric as they generally tend to be. while ripping apart the wool/yarn the fibres tend to stick together while creating opposing forces. this could form for an interesting architectural exploration

33

reflection

working under pressure usually hinders my creativity, specially when the timer is clicking in the background as i work. however, time constraints & deadlines help my creativity by forcing me to work. solitude vs collaboration: a fine line for me and my creative process, i don’t work well surrounded by people. having an attention disorder means that i am easy to distract. however, when it comes to ideation i really need a collaborative work space where there is a constant feedback loop. environment: having a movie/music/podcast running in the background helps me concentrate. with my adhd having another thing occupying my brain really helps, therefore studying in my own space where i am in control of my surroundings, noise, and where amenities ar at an arm’s length distance helps me with the resolution of my design process.

35

03

| week three

rooting craft in site

daylesford 2610 ballan-daylesford road

37

ÿ

broader context: history + culture + program general infrastructure

01234ÿ 2 01234ÿ678ÿ 2 4 1 4 9

ÿ

broader context: history + culture + program history of daylesford + hepburn regions

0123145637ÿ9 1 132 0123145637ÿ9 1 132

pre-collonial settlement - dja dja wurrung landscape

1838

area settled by the pastoral overlander, john hepburn - jim crow ranges

1851-1854

gold discovered near lake daylesford resulting in gold rush bringing swiss-italian immigrants

1857 an anglican school was opened in 1857. significant non-anglo saxon population came to the daylesford and hepburn digging

1859

1860s

0123415678ÿ 52 78ÿ123ÿ 22 5637ÿ9 1 132

first pasta factory in australia was opened in daylesford - old macaroni factory

Jubilee Lake was formed by damming Wombat Creek to form a reservoir in 1861 consolidation of quartz mining. catholic School was opened & wombat hill botanic garden began

1860s building of hospital and the court house (1862), st peter’s catholic church (1865) and some measures to protect the springs and spa waters which had unhappily co-existed with tunnel mining

1880s

railway was opened. tourism boost to daylesford -

1920s mining continued until 1923 (closure of last mine - ajax). the withdrawal of mining families’ female staff coincided with a gradual decline of spa centre patronage

1952

daylesford Highland Gathering Festival established by Dan McKinnon. occurs every year on first saturday of december

1957

wombat hill pioneer memorial tower built

1953- 1978 railway line was closed at the creswick end in 1953; and to woodend side in 1978. tourism industry hit

39

broader context: history + culture + program history of daylesford + hepburn regions

1982

Catholic convent school near Wombat Hill closed, and is now the Convent Gallery

1984 the hepburn bath house was restored with state government assistance.

1993 the first swiss italian festa was first staged. occurs every year in late october

1995 daylesford and glenlyon Shire was united with creswick Shire and parts of talbot and clunes and kyneton shires to become Hepburn Shire. daylesford is the shire’s administrative centre.

1997

first chillout festival was staged. occurs every labour day long weekend in march. recognised as a culturally important and nationally celebrated LGBTIQ pride event, supporting and representing queer pride for all regional people.

photograph - early banner of the Springs Connection Group, Virginia Selleck (photographer), 1997, Australian Queer Archives Midsumma Collection

52 78ÿ123ÿ broader context: history + culture + program natural landmarks, reserves, parks, trails & waterbodies

5

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312ÿ

012

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broader context: history + culture + program natural landmarks, reserves, parks, trails & waterbodies

6789 78ÿ8 ÿ 97 9 ÿ ÿ 8

8 9 8 7 ÿ ÿ ÿ 89 2 ÿ 7 ÿ 9 5

312ÿ

012

occupation sector

occupation

languages spoken

age bracket

ancestry

gender identity

broader context: history + culture + program

culture + demographics

43

broader context: history + culture + program indigenous culture - dja dja wurrung history & culture

•

dja dja wurrung landscape

systemic burning regimes were practices to maintain what setllers described as “parklike” landscape. the rich volcanic grasslands in the north of the shire supported one of the highest densities of aboriginal people in australia.

•

dja dja wurrung history & culture

dja dja wurrung territory extends from mount franklin and the towns of creswick and daylesford in the southeas to castlemaine, maldon and bendigo in the east. boort in the north, donald in the northwest, to rochester in the northeast to navarre hill and mount avoca making the south western boundary. the woiwurrung word daylesford is munal meaning “dust” in wurrung language.

•

mirrin’yong mounds

murrong was an important dja dja wurrong food resource. murrong also known as the yam daisy - still grows in places in the bush and on some protected roadsides. by mid-summer all that is left is the dried flower stalks and the buried tuber. they were washed and usually cooked by heating stones in the fire and covering them with grass & earth over the top.

•

ellen’s walk for reconcilliation

walk focused on reconcilliation the hepburn shire, including the role of the former loddon aboriginal protectorate originally based in the area around present day frankinlord. it is one of the many positive community led initiatives undertaken locally from 2018, as part of hepburn shire’s reconciliation plan (rap).

broader context: history + culture + program culture + economy

highland gathering

• • • •

•

chillout festival

• •

swiss italian festival

•

• •

occurs on the first Saturday of December, the scottish culture in the region is highlighted and celebrates scottish and celtic culture, especially that of the scottish highlands the gathering includes a street march in the main street of Daylesford & full day of drumming, piping & dancing at the Victoria Park. stalls selling scottish goods & clothes are also set up serving delicacies of the Scottish Highlands

fours days of performances, music, theatre, drag, community events, and local food and wine over the labour day long weekend. the diverse program includes visual arts and exhibitions, tours, wellbeing events, family activities, picnic days with DJ sets, the famous chillout dog show and a massive street parade it is recognised as a culturally important and nationally celebrated LGBTIQ pride event, supporting and representing queer pride for all regional people.

hosted every late october weekend, daylesford decks up to remind visitor of a bygone era caressing a landscape dotted with lavender fields, dry stone walls and italianate buildings, the festa pays homage to the past as well as looking towards the future. the festa includes traditional and artisanal food and wine, parades, performances, art shows, heritage tours, bocce tournaments, and fireworks. a community festival celebrating the contribution of swiss italian migrants who came to the daylesford region during the 1850s gold rushes

45

broader context: history + culture + program economy + effects of pandemic

tourism industry forms the major portion of local economy in daylesford.

• day-trips are • domestic overnight & weekend trips • corona virus pandemic has slowed down • day-trips are • domestic overnight & weekend trips • corona virus pandemic has slowed down • day-trips are • domestic overnight & weekend trips

source: victorian government

broader context: history + culture + program culture + economy + program

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broader context: history + culture + program

endota day spa

mineral spa

hepburn shire spa

culture - the spa retreat

having a rich exposure to excellent mineral water springs, daylesford is a top destination in australia for mineral spa retreats. it forms the basis for major tourism activity & economy in daylesford.

broader context: history + culture + program

local materiality

local materiality - sandstone

local materiality - bluestone

local architecture + materiality

daylesford, like its nearby treasure towns like cluens, malmsbury & newstead, are adorned with bluestone buildings which form the cultural fabric of daylesford & macedon ranges & hepburn shire region as a whole.

local contemporary buildings (like their older counterparts) have started exploring high thermal mass materials like sandstone with a wide variety of textures & finishes throughout the buildings. their muted colours against the backdrop of greens & reflective water brings an atmospheric quality that is unmatched.

most older buildings in the area are brick masonry with stucco/ rendered facades. reflecting the italianette buildings which the swiss-italians immigrants must’ve been used to when daylesford was settled and colonised. the muted creams and beige colours allow the history to seep into the buildings without being a centrepoint. they form a backdrop for the activities to happen as the time progresses

49

Address + Site Dimensions + Area + Title Boundary

Ridge Rd

Ba

lla

Ridge Rd

n-D

Ba

ay

lla

les

n-D

for d

Rd

ay les

for d

Rd

Address + Site Dimensions + Area + Title Boundary

Dwans Ln

Dwa

Topography

N

SITE PLAN Topography

0 5

site plan

25

50

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SITE PLAN

Create | Curate: Sensory (Re)treat

drawn by riley kilkenny-jones, tin yau chau, alice mao

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Create | Curate: Sensory (Re)treat

Rd

Sectional Diagram showing estimated slope of site terrain Sectional Diagram showing estimated slope of site terrain

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drawn by riley kilkenny-jones Notable Observations:

+ Existing home is situated on the highest point of the site + Gully clearly divides the eastern and western terrain of the site + High-Low rainfall can impact on the terrain substantially

5

lla

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section showing the undulation of terrain on the site

Ridge Rd

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sectional diagram

Notable Observations:

+ Existing home is situated on the highest point of the site + Gully clearly divides the eastern and western terrain of the site + High-Low rainfall can impact Dwans Lnon the terrain substantially

class site analysis notes

group 2a • • • • • • • • • •

existing 4 bed house + studio on site with stone masonry north side is inactive & could be activated, currently not in use. busy highway to west (80km/hr road )with potential impact on crafts requiring a calming environment access point to trails from the south of the site gully/creek runs from north to south and drains under the road into a basin south of dawns lane No fencing to west and south boundaries septic/wastewater treatment opportunities seasons affect the natural lake on site and the water course ducks call the aforementioned lake their home buses on ballan-dayelsford road

group 2b site model being developed by the group, uploaded on to the Microsoft teams folder. the physical model to be 1-1000 cnc milled laminated timber.

group 3 • • • • • • • • •

climate zone 7 - colder climate than melbourne average peak night and day temperatures with highh diurnal ranges. humidy is low may-september wet months high thermal mass/insulatory materials would be advised adjustable shading to manage humidity, cross ventilation should be encouraged soil type > medium - medium-heavy clay. which makes it suitable for horticulture with high acidity. area rich in biodiversity with multiple bio zones in close proximity exploration of biophilic - regenerative design to include native flora and fauna

51

reading analysis atmospheres - peter zumthor

“how do people design things with such a beautiful, natural presence, things that move me every single time. one word for it is the atmosphere. this is something we all know about.”

-

an excerpt from the book, page 10, atmospheres, peter zumthor

zumthor talks about how a person’s first impression is very important, and we’re taught not to trust it and to give others a chance. it’s the same way with architecture. when one walks into a place, one emotes in reaction to the space in a split second. the book sheds light on the interaction that occurs between a structure and its surroundings. zumthor stresses the sensory component of architecture by defining the concept of the environment by establishing nine key points that must be met in order to produce the optimal interaction between a structure and its surroundings. he begins his discussion with the “magic of real,” or how individuals see things in actuality. the first of the nine key things - “body of architecture” - discusses briefly how spaces are the assembly of various membranes and materials. zumthor stresses on the “capability of materials” to interact with one another which results in the appearance of space, i.e. true appearance. material interactions, each material has infinite possibilities. when discussing the tension between interior and exterior, he refers to the inside as private space and the outer as talking to the streets, square, and other buildings surrounding it. movement through anything that may be inside and outside is an unnoticeable shift from confinement to openness. which is something that i’ve been developing within my own scheme - the contrast between the tensioned heavy forces againist the softness of loose fabric. talking about these relationships, zumthor takes us to our next chapter, “level of intimacy”, which corresponds mainly to the size & scale of buildings & spaces with each other and with people. they can be too large at times, too little at others, or the same as oneself. these environments elicit emotions in us & its up to the designer how and what emotions to evoke. the last insight-”the light on things” asks us to reflect on the nature, location and manner in which the light & shadows are curated within the spaces and how the shadows & light interacts with the materials and structural tectonics. all of these have very interesting effects on the human psyche and helps in creating an atmosphere that begs to be discovered and felt.

reading analysis the imperfect beauty of handloom - amrapali boutique

handloom is an art and art is only beautiful in its imperfections - this statement forms the crux of the argument in amrapali boutique’s article. weaving embodies slowing down and appreciating the craft for what it is. each thread that has been woven has a story to tell. each imperfection or ‘so-called defects’ tells the story of weaver, weaving method, the object being woven, the loom, the machinery of the loom, the tools and the weaver’s embodied process of crafting the product. the sentiment is summed up perfectly by the quote from the article below.

‘The imperfectness of handloom is what makes it beautiful. You see those tiny holes are actually the pin marks, resulting from the saree being pinned to the loom. That small stain could very well be of the oil used to lubricate the loom, a drop of which, might have accidently gotten spilt over in an ill-timed moment and that extra black knot on that pristine white saree, could be a strand of lint or black thread that fell on the loom fabric due to the gushing winds that day, and perhaps gotten woven in the process too.’

– Amrapali boutique despite being an innate part of traditionalist cultures all around the world, the craft of handloom is fighting an uphill battle against the attraction and perfection of lower rate powerloom - the machine. the machine is at the centre of weaving industry today, with its quick turnover rate and perfect quality, many commercial and local weavers are voluntarily & involuntarily adopting the power-loom, fearing being out of work. project proposal seeks to revive and sustain what humans having been practicing since ages and not eliminating it fully from the ecosystem. weaving empowers the weaver and contributes to the survival of weaver’s families participating in keeping the ancient craft practices and heritage alive. furthermore, accepting imperfections into the architecture and planning of the project proposal.

53

craft as a creed religion of weaving

You are a ball of yarn. Spun to serve your purpose on this earth - tell your narrative, pass your identity and culture. It is your hope, that an essence of you remains and reminds those who are to come, of where you come from, who you are and what you need to be remembered for.

Every morning, you clear your mind, body and soul. You dip yourself in the holy water and release yourself from the constraints of society - you are free from the shackles of society that determine what you need to be ashamed of or be proud of. You are yourself.

You have lived and are living, experiencing all that life has to offer. Soak in it, meditate, concentrate. The outlook by the water calms you. The sun is sweet, yet intensifies your colour.

You know what story you want to tell. It is time for you to start your pilgrimage.

The temple is a series of spaces, each connected either by intermediary spaces or open to elements of the earth.

You prepare your yarn. Spun from the fresh wool delivered to you by the local farmers. The spinning wheel energises you. The bobbins are transferred to the dyeing room.

The palette of your chosen story has to be custom made. You collect petals and leafs from the temple garden, you find turmeric and other ingredients in the workshop kitchen, and you colour your yarn.

On the east, the drying yarn of your companion is casting a mystical light, tainting the colour inside the studio kitchen.

You walk through the glass ambulatory which opens into a big dumbbell space. Separating yet connecting the pair of spaces that is meant for you and your companion. The space spills into the same water that you meditated across from. the calming sounds of the water, light reflections and the smell are relaxing the tension you feel. The space is flexible, like the loom you’re working on. Positioned across the water. The space opens up, like the shed is created by the heddle stick and the shed stick you move in repeated fashion.

You work all day alongside your companion, your studio on one side opens into a space where your peers come from all parts of the area to share their stories. Those are the relics - the intangible that is woven into the tangible. Looped and knotted into it the experiences of your life.

The pilgrimage if you haven’t still realised is your journey of life.

tension controlling flow

flexibility

temporality of fabric

knotting and interlocking

interlocking

grid

existing in multiple planes

tensioned forces

prependicular axes

craft as creed

weaving as parti

55

weekly reflection

working with group members was a really fun way to practice peer focused practice and presentation skills. daylesford and surrounding areas have an interesting ecological, cultural, social and economical backdrop and weaving this into the site and the type of clientele will really help me develop my concept and scheme. critically thinking and presenting work was the biggest learning lesson which wasn’t strong for our group. specially the consolidation of time-zone and presenting the historical analysis with more rigour. interesting generation of concept ideas using craft as a religion. the amount of work started burning me out and as a result i could not resolve a lot of ideas for the second studio class however in class feedback and presentation amongst my peers - lincoln, nicole & shing really helped me think about ideas that i could look deeper into - tension and the idea of a loom.

57

04

| week four

artefacts in the landscape

workshop on site

59

reading analysis bruce pascoe - considering landscape - landscape as protagonist

in considering landscape - landscape as protagonist, bruce pascoe begs the designers to acknowledge melbourne’s history and landscape inclusive of its pre-colonial past. pascoe establishes a concern for inclusion of indegenous species while presenting a strong case for the same. he mentiones that local fauna and flora can only be preserved and the global climate change can be slowed only by understanding the inherent requirements of the native land pascoe advises the designers to examine the history and layers of landscape before developing a schedule for plants and any ground works to the landscape which can be done so in colaboration with the local, traditional custodians of the land. his anecdote about kulin root & grain crop being grazed to extinction by the parolist sheep & much of the history of the land being wiped by the colonial settlers is a shame. the records are non-existent as much of pre-colonial history is a folklore which has continuously attacked to wipe the indegenous history since colonisation. since wool is a raw material for carpet making, it will be interesting to bridge furthermore adding the narrative thread of pre-colonial history and weaving it into the landscape design - bringing back what sheep took is an interesting approach to connect the history of the land with the project.

61

clients profile

abdullah & mikaele are a middle aged, inter-racial couple. mikaele has grown up in north western suburbs of melbourne & has been taught dyeing with native plants by his grandmother who learnt the skills when she first arrived in australia. abdullah hails from tehran, iran. his family has been involved in making persian carpets for generations and has been taught the craft by his parents and grandparents. they are both middle aged, married and have lived in melbourne for most of their adult lives and want to retire in the small rural town of daylesford with their dog. they hope to pass the skills of their native crafts to the local public and hope to revive the economy of daylesford after pandemic. in doing so, they wish to have negligible impact on the environment and would prefer to extract natural dyes from their garden. they hope that they can create a safe space for their local community to pass their stories, the story of land and stories of their culture in a tangible form and wish to entertain 3 apprentices while they aim to exhibit their craft that they have practiced over several years. they would also like to host weaving & dyeing workshops on nicer days and would like to sell some of the products of their craft - dyed yarn & persian carpets in their gallery space

artefacts in the landscape project brief

DYEING + WASHING SPACE 108 m2

WEAVING WORKSHOP

SPINNERY

144 m2

72 m2

WASHING POOL MEDITATION SPACE 72 m2

MATERIAL STORAGE 36 m2

APPRENTICE STUDIO RESIDENCE 72 m2

APPRENTICE STUDIO RESIDENCE

RETAIL+EXHIBITION+GALLERY SPACE

CRAFTS PEOPLE RESIDENCE

72 m2

252 m2

252 m2

APPRENTICE STUDIO RESIDENCE 72 m2

A10

Unnamed

yright ghts reserved. This work is yright & cannot be reproduced or ed in any form or by any means phic, electronic or mechanical, uding photocopying) without the en permission of KATZ hitecture Pty. Ltd.

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artefacts in the landscape site organisation - iterations 1 & 2

using radial arrangement of spaces around the natural dam and anchoring the pavilions to the natural outlooks and views for inspiration. since water is used throughout the manufacture of fabric it will be interesting how i can highlight the process and what it utilises for view.

using radial arrangement of spaces around the natural dam and anchoring the pavilions to the natural outlooks and views for inspiration. path is linear yet circular like its craft. a linear process over cyclic periods. since water is used throughout the manufacture of fabric it will be interesting how i can highlight the process and what it utilises for view.

artefacts in the landscape site organisation - iteration 3

primarly outlook maintained towards the dam with the creek as a threshold separating the workshop & residences with a primary entry from the south east (existing). the original plan to maintain the existing structure and vegetation on the site as shown.

65

artefacts in the landscape site - landscape intervention

NATIVE AUSTRALIAN FLOWERING PLANTS & GRASSES FOR NATURAL DYES

USING THE LAKE WATER TO FEED WATER POOLS WITH NATURAL WETLAND GRASSES TO PURIFY THE WATER EXTISTING TREES RETAINED

DECK OVER THE GULLY TO RAISE THE BUILDINGS OVER THE WATER SOURCES

artefacts in the landscape precedent study

the fusion gesture between the building and the lush natural cork oak forest on the island. the architecture has divided spaces into a series of pavilions. the surrounding trees determine the boundaries of the building. the rules of core space and edge expansion are made. platform presents a rhythm of different heights to adapt to the terrain wherein architecture forms a landscape system with ductile and adaptable future outcomes. three types of wooden cabins evolves to show different structures, scales, and openness.

cabin fairy town parallect architects

interpretation of a traditional japanese zen garden. cascading stone contours formed a series of undulating curves with pools of water at the lowest parts and bamboo vegetation highlighted using interesting lightiing strategy. could be an interesting way to emulate step wells for dyeing pool

naturescapes kengo kuma

67

artefacts in the landscape precedent study

using decks as a lightweight construction system through landscape 18 planes, 36 points & 54 lines form the basis of this expressionist masterpiece by libeskind. its reflective luster accentuates the environmental changes and seasons around it. enclosure is achieved via large glass planes which virtually disappear. circulation throughout the home is seamless and free-flowing carries through in the nearly-nonexistent distinction between inside and outside.

18.36.54 house connecticut libeskind

the architecture of the individual buildings is defined by organic tectonic shapes originating from the mountains. the curvilinear shaped buildings are punched to frame views into the valley, bay window brings the user outisde and thick rammed earth or clay brick walls, clerestory windows for filtered natural light and ventilation, textured screening elements are provided to create enticing and playful spaces. green school, south africa gass architecture studio

artefacts in the landscape precedent study

daylesford long house brings the landscape inside the building and uses the muted tones of the rural country to site the building within daylesford. the revitalised pastoral shed vernacular and industrial superstructure challenges the extreme temperature variations, strong winds from all directions, lack of water, and ravenous local wildlife stainability underpins the project. timber and brick insertions are laced with foliage, planting beds, triffid-sized trees.

daylesford long house partners hill

heide healing gardens project seeks to rejuvinate overgrown series of garden beds that are sited between sunday reed’s original heritagelisted kitchen garden and the brick wall of the heide cottage. the project proposes a series of distinct clusters of different planting styles that each facilitate a variety of sensory activities. planting arrangement to be white-noise field, rather than clumps and clusters. the proposed plants are mid-height or groundcovers, so as not to detract from the existing tree canopies. heighten the experience of nature heide healing gardens openworks

69

artefacts in the landscape reflection & feedback

working with group members was a really fun way to practice peer focused practice and presentation skills. daylesford and surrounding areas have an interesting ecological, cultural, social and economical backdrop and weaving this into the site and the type of clientele will really help me develop my concept and scheme. critically thinking and presenting work was the biggest learning lesson which wasn’t strong for our group. specially the consolidation of historical timeline and presenting the historical analysis with more rigour. interesting generation of concept ideas using craft as a religion. the amount of work started burning me out and as a result i could not resolve a lot of ideas for the second studio class however in class feedback and presentation amongst my peers - lincoln, nicole & shing really helped me think about ideas that i could look deeper into - tension and the idea of a loom.

artefacts in the landscape workshop massing & layout

4 2 9

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1 MEDITATION-ART STUDIO SPACE 2 RAW MATERIAL STORAGE 3 SPINNERY 4 DYEING ROOM 5 WASHING SPACE 6 WEAVING WORKSHOP 7 GALLERY/EXHIBITION/RETAIL 8 WASHING POOL 9 WASHING/DYEING POOL

4 2 Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

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Copyright All rights reserved. This work is copyright & cannot be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying) without the written permission of KATZ Architecture Pty. Ltd.

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reading analysis peter zumthor - thinking architecture

zumthor’s memory is revealed in the book’s very first excerpt. his writings, like his architectural work, have an emotional aspect and a mystical experience that is perceived via the profundity of his words. he articulates his design approach as a result of his recollections and insights, reflected on his instinctive core, which he has had since the beginning. thinking architecture is an elegiac metaphor for the basic senses of touch, sound, smell, and sight and its resonance with a building. he discusses the similarity between “reality” and “living.” only through connecting the act of dwelling with the intrinsic features of materials and buildings, filled with imagination, can the full meaning of architecture be revealed. emotions and sentiments spread the essence of a concrete body, translating the boundary between architecture and life until it vanishes. zumthor criticizes the existing architectural methodologies and proposes a radical viewpoint in which the design process is an unending interaction of emotions and rationality. it experiments with visuals to produce a variety of atmospheres and observable shapes. as a result of the convergence of qualities of ‘design, function, form, and construction’, a humble setting is created that retains unceasing elegance and warmth for as long as there is a human to observe it. using one’s own experiences is how one designs and views the world - thinking architecture helps one in trusting the intuitions as a designer and in using all the senses of sight, vision, olfactory, auditory and tactile in creation of the design, much like his peer, juhani pallasama.

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curating spaces & landscapes

temporary residences & refinement

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reading analysis steven holl - intertwining

in intertwining, holl argues that architecture can shape a lived and sensed intertwining of space and time. divulging into the concept of phenomenology, the study of essences, he argues for an architecture that intertwines artistic and humanistic approach to designing buildings. much like his contemporary, peter zumthor, he reflects on the intrinsic importance of weaving form, spaces, light to create the fabric of architecture. akin to atmospheres by zumthor, he states experiences of mundane life can be bettered by focusing on the feelings the architecture evokes which is a direct result of the interaction of structure with material, light, scale and landscape. he argues for the need to create spaces that are critically regionalistic and intertwines memory, culture and nature to formulate the fabric of architecture and urbanism. an interesting read which helped me formulate my concept statement and will seek to ask me questions and provide resolutions at every step of my designing process

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artefacts in the landscape spatial curation - experiential diagrams

artefacts in the landscape spatial progression, circulation and concept sketch

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artefacts in the landscape 1-200 workshop organisation

artefacts in the landscape 1-20 key moment in workshop

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curating spaces & landscapes temporary residence - spatial experiences

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curating spaces & landscapes reflection & feedback

it had been hard trying to understand & develop the concept with one submission after the other which let to burnout and exhaustion + unyielding results of the work put into it. more time was needed to refine and develop the concept before jumping in headfirst into residential exercise. it was noted that some of the concepts of tensions vs relaxation could be explored within the residential areas to mimic the feeling of tent living. yui mentioned how the the looseness of fabric could be accentuated where the outside is opaque and taut while the interiors could slowly start to disentegated and become threads and the weave could become smaller. interesting ideas to start exploring for residential treatment of the scheme and project.

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artefacts in the landscape precedent study

the botânico is a plant nursery that provides a weightless & calm atmosphere for contemplation. the simplicity of the form and materials invites the users to rediscover life. the fabric panel facade is detached from the timber portal frame structure. the beautiful detail encourages elements of nature to seep in without affecting the fabric, which provides a clear canvas for user to paint their narratives on botanical installation-brasilia, brazil studio pippa

artefacts in the landscape precedent study

breathe is composed of loose stacks of porous realms with a variety of atmospheres and spatial experiences that are created via the manipulation of light, air and water. it is made of modular metal frame that forms the basic structure of breathe, and a flexible,translucent outer skin of fabric creates the boundary between inside and outside. breathe – mini living, salone del mobile 2017, milan so-il architects

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summary of work

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mid-semester review self-reflection

what works the best in the design process? constant feedback loop precedent research and understanding the design process and intent desk crits - with yui and peers - idea loop having a session with my mentor biggest weakness? time management models - need to spend more time on model making & thinking about the material qualities/ intent needed to be expressed with the model. perhaps using actual materials for models the next time. concept- conceptually all over the place. strong need to distill ideas into one strong concept with various sub-concepts and subsequent design strategies. diagrams: more diagrams to explain the translation of concept into architectural elements at masterplanning, architectural & detailing level. more attention to structural expression and elements required - sizes etc biggest strength? understanding of spatial requirements of space creation of compelling 1:20 atmospheric sections verbal presentation skills spatial which drawing and design feature you think was the strongest part of your presentation? the pool of water and the gallery were perhaps the strongest design features of my design proposal 1-100 workshop sections through the gallery & the pool of water were strong drawings. which drawing was the weakest? site plan: didn’t show much of the landscaping ideas - need to start reflecting, the position of the car park needs to be revised & integrated into the landscape proposal with more thought. stitching landscape with the main architectural proposal is another thing lacking in the design proposal. site section: did not show neighbouring lots and the in 1:100 & 1:20 plans need more detail and thinking. doors were missing, drawings need to be more atmospheric - especially section cutting through cafe and dyeing space.

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| week seven

concept & strategy

concept statement

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weaver’s retreat a home for the exploration & exhibition of pedagogical, material & temporal qualities of fabric.

weaver’s retreat forms the centre for exploration & exhibition of the material, temporal & pedagogical qualities of the fabric and its craft process. with the proposal, i hope to create tangible from intangible and to create opportunities for the tangible to flourish and manifest its intangible qualities. by exploring the avenues below, the proposal reveals the qualities mentioned above.

1. fabric as a building material -taught, tension and strength in contrast to softness, movement and suppleness.

-varying level of opacity depending on thread material, thread count/weaving pattern/ warp/weft spacing for privacy, aesthetics and pedagogy 2. craft and its inherent qualities as a tool for architecture - prependicular axes of the warp and weft are manifested in masterplanning layout -the idea of grid is loosely followed for the planning of the workshop and gallery -the grid will form -the horizontal/plan circulation is informed by a rough weaving stroke/movement -the undulating form of the ramps and teh stepwell further references the movement of hand in y and z axis.

- interlocking spaces and knots are created within the worksop precinct reflects knotting of people and memories akin to that of patterns being formed on the rugs 3. pedagogy & exhibition -exhibition of the craft process -exhibition of the craft proudcts and tools -using tools and products of the material to inform building typology -juxtaposition of completed fabric against the process helps in app 4. effects of memory, time, place & landscape - the building fabric and its state of tension(or looseness) reflects intangible interractions of the fabric with the environement and people - the drying dyed yarn and its dripping water on the deck reflects the movement of time and day and reeks of permanance versus impermanance -the light’s interraction with the above creates subtle instances for users to reflect in - the opacity of the fabric brings out the landscape behind it

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concept poem d.h lawrence - whatever man makes

whatever man makes and makes it live lives because of the life put into it a yard of india muslin is alive with hindu life. and a navajo woman, weaving her rugs in the pattern of her dream must run the pattern out in a little break at the end so that her soul can come out, back to her. but in the odd pattern, like snake marks on the sand it leaves its trail

weaver’s tales weaving narratives of memory positioning statement: weaver’s tales, like its craft, is an endeavour to weave the intangible narratives of memory personal, cultural, societal and landscape, together to form a participative space. the architecture embodies the intertwined intangibles and aids in preserving and passing the stories of culture down in their tangible form. a narrative is more than its central plot tenants. it is a woven tapestry of differing narrative threads and layers that weave together to create a cohesive whole. weaver’s tales deals with the concept of weaving at different scales: 1. weaving the site and place into the craft a. using the native flora of the land to activate and tie the site with its historical and local context b. using native plants and trees that can be used to extract natural dyes for the craft process • curating a pedagogical response to inform people of the site’s history & dye extraction by weaving circulation paths through the landscape.

2. weaving activities of people in space a. creation of ‘knots’ • planning intermediate spaces within the worksop precinct for people to engage • chance interactions & encounters by weaving circulation paths- weaving the fabric of our social culture b. creation of a journey through the site that weaves the sequential process of the craft • arrangement of spaces on the site reflecting the progressive order of the craft process (collection of plant and animal products for dyeing, washing and extracting dyes, dyeing, drying and weaving) 3. interweaving societal and clients’ personal narrative into the architecture a. clients cultural background informing building typologies & detailing • abstracting the iranian weaving houses typology to create the workshop layout • using persian carpets as a flooring material (where applicable) b. vernacular influencing material selection and form • local timber for structural tectonics • using simple secularised forms of scillion roof • fabric and corrugated iron for the building envelope 4. intertwining time, tectonics & landscape a. highlighting material and temporal qualities of fabric • intangible interractions of the fabric with the environment through its state of tension or looseness • interaction of building envelope against the landscaped elements of the site using fabric of varying levels of transparency • amalgamating the story of trees and site through its dye(s) with the fabric b. movement of time • highlighting the sequential process and the products and their relation to time - the drying dyed yarn and its dripping water on the deck reflects the movement of time and day • interaction of environment with the processes of the craft • appreciating the finished product while engaging with the process • using materials like fabric and timber that ages showcasing their narrative of time and use c. creation of different spatial configurations • strength of taut & tensioned fabric in contrast to the softness, movement and suppleness of loose fabric to highlight spaces of rest versus areas of activity • varying level of opacity depending on fabric material, thread count/weaving pattern/warp/ weft spacing for privacy and aesthetics

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| mid-semester break

landscape design & refinement

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research sally blake - eucalyptus dyes

sally blake is a canberra-based visual artist working across textiles, drawing and sculpture. she works with cyclic elements and processes and is in particular fascinated with cycles of death, renewal and regeneration as well as finding the points where transformations may take place. as a part of her research, she has developed a complex database and catalogue of eucalyptus dyes in collaboration with the australian national botanical gardens. a selection of the palette dye is referenced on the next page. she has also managed to breakdown the process of extracting the dye and dyeing the fabric. general safety when making eucalyptus plant dyes use separate pots, tongs and stove tops for making plant dyes it is good to simmer eucalyptus dyes outside where possible. wear kitchen gloves when handling the dyes and mordants. use a face mask when handling the dry mordants. project recipe the leaves- from each species leaves are removed from the stalks and flower buds. these leaves were placed in 3 litres of tap water and brought to the boil in a stainless steel pot. after simmering for 50 minutes and straining the dye liquor, equal amounts of the dye liquor was poured into 4 separate stainless steel pots. each pot has small samples of fabric added, - with the dye liquor only - with alum as a mordant - iron as a mordant - copper as a mordant for the project i only used fresh leaves cut from the trees and processed them within 3 days of collection. however, it is great to collect wind-fallen leaves to use as dyes when you see them. the barks- from each species sally placed 100 grams of bark in a glass jar with hot water to soak for at least overnight. the barks were then processed in the same way as the leaves. generally they used bark that was hanging over branches of the trees or loose at the base of the tree. great to collect eucalyptus barks as the trees are shedding in summer. used leaves and barks (that have been processed with water only) can be used as mulch in the garden.

research sally blake - eucalyptus dyes

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reading analysis andrew chaplin - the architecture of diagrams

andrew chaplin compiles a visual and written catalogue of architectural diagrams. in the book he suggests that there are 18 different kinds of diagrams within architecture. they help in representing ideas, usually, in a simple visual form. containing a wide variety of media forms lines, shapes, colours & even text to evoke a sense of clarity, atmosphere and/or idea. diagrams can be used prior to the start of the project to inform the outcome or after the completion of the project to help understand the outcome/ better & in similar forms. an interesting section within the book divulged into the diagrams of sensation where chaplin compiled a wide variety of diagrams expressing atmospheric sensation within the spaces. therme vals by peter zumthor was perhaps the most interesting atmospheric diagram. it’ll be interesting to see if i can make diagrams akin to those of peter zumthor’s atmospheric diagram for therme vals or part diagram as interesting as the canvas restaurant by nendo. both of which really feed well into my project.

landscape design development sketches

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| week eight

curating spaces & landscapes

spatial curation, creative living

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reading analysis seyed mohammad beheshti - introduction to persian interior architecture

seyed mohammad, much like tanizaki in ‘in praise of shadows, kicks off his argument by comparing the modern, western centred view with that of the traditional iranian elements. he mentiones that west views things very literally, and the architecture elements serve the prupose they’re meant for. in iranian architecture, the architectural elements take on an additional metaphorical dimension where in the elements like ceiling and floor can be interpreted in a more poetic and imaginative way. he compares ceiling to the sky and so on and so forth. naturally, he mentiones that a ceiling, which since the beginning should be designed within such a vision, putting a modern designer, educated in a different logic and view, into poetic constraints. in western architectural experience, the floor does not play any role in metaphorising the space; it is the interior designer who decides according to their own taste where to locate everything. in the iranian view towards space, the meaning of the floor is merged with the carpet. where activities of the domestic lives are free to be played out on. he mentions, “it is the floor, covered with carpet, which can draw the meaning of ‘silence at home’ close to ‘dwelling in a blooming garden’ more than any other element and it repeatedly reminds us of the eternal paradise. with my design approach to interior elements, specially for the house, i shall employ to convert intangible metaphorical sounds and activities for them to play out on the blank canvas that the architecture might be able to provide for the users. in essence, they’ll be able to dye their own colours of memory within these spaces and pass these stories on for generation to come.

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spatial design: creative living site plan

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spatial design: creative living precedent study

slender roof structure symbolic of a fabric being draped over a building is what kerstin did with the park house. the lighting design further highlights the steel as a continuous fabric element that wraps around the house as curtains and really helps it look like a lantern in the park park house kerstin thompson architects

sandy point beach house exemplifies the australian beach house vernacular - using timber cladded walls to frame the approach into the dwelling and letting the natural elements age the floor boards and timber to showcase use is much appreciated. sandy point beach house kennedy nolan architects

spatial design: creative living precedent study

-sheer curtains -element of privacy without compromising the quality of light - heat and glare protection textile spaces outdoor curtains sylvie kruger

“light is a major part of the design of spiritual spaces. the chapel at gethsemane is made of a mosaic of clear, translucent and colored glass to create a beacon of light.” –jim olson, faia, design principal highlights the coloured layered experience associated with persian homes gethsemane lutheran church olson kundig architects

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spatial design: creative living reflection & feedback

there was a general like for my concept and scheme development which was great! speed crits were really helpful in garnering feedback from a wide variety of perspectives and points of view and really helped me design. yui mentioned how i can use subtelty explore the vivid expressionisms of iranian architecture especially the stained glass window. using light and colour of foliage to imprint patterns on a a plain carpet. in a way forming a persian capret in its own right. showcasing the daily functions of a human lives & depicting ever changing, ephemeral, local flora & fauna. the bedroom upstairs couldve been brought down to the ground level for ease of access and because of the availability of space. generally materiality was well recieved. getting the hang of the concept and design development felt good and made me optimistic for the future design refinement.

reading analysis henry plummer - architecture of natural light

every orthographic drawing shows a single moment, the precise moment when the lighting concept is at its most potent. it’s easy to overlook the fact that it only occurs in incredibly precise and limited circumstances, such as a fully clear day with no clouds or rain. the other times of day might be entirely forgotten and overlooked. it is not possible to capture the range of outcomes of a project’s lighting concept at any time. however, as plummer points out, architecture has progressed beyond its instability and has come to see the ‘fourth dimension, a temporal dimension in which light and time are one and the same.’ architecture is now a multifaceted choice, all of which are dependent on a hypothetical feel and space quality. the bodily manifestation bends to the will of these decisions, while the outward expression may take a back seat. plummer’s greatest examples (pieces by tadao ando and alvar aalto, in particular) have all been able to choreograph the scattering aspects of light, and how they drastically alter volumes into a range of experiential spaces. this has made me rethink how much impact the lighting, the intensity, and the quality of both natural and artificial light has on the design and vice versa. all of a sudden , the project has become far more difficult, yet even more exciting, wherein each form choice, each lighting decision may have a positive or negative impact, and where i feel obligated to explain why things are the way they are - but i’ll count my odds

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09

| week nine

curating spaces & landscapes

key moments

131

spatial design - work review concept diagramming

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spatial design - work review workshop plan

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spatial design - work review residences plan

spatial design - work review site plan & site section - 1:1000

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Temporary Residence - Section 1 1 : 100

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spatial design - key moment review key moment in workshop

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spatial design - key moment review key moment in temporary residence

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spatial design - key moments review reflection & feedback

after having grasped on to the concept after weeks of strenuous research, the key moments started to flourish almost proactively. while there is a lot of work that needs to be done, mainly critically thinking about the location of key moments and what atmospheric and tectonic quality of the concept i’m trying to showcase. my 1:20 detail for the temporary residence showcased the same atmospheric quality i was showing in my permananet dwelling -which made me wonder whether something else could be highlighted over the moment. since integrated timber benches and joinery are such a massive feature of the iranian house typology and my own design, having a moment of removing the shoes before stepping onto the carpeted floor highlighted would be a great way to showcase different spatial moments - both critical and important. designing joinery has by far been the best and most interesting part of the project wherein elements like materiality and detailign really takes precedence. drawings at 1:20 really help understand the construction tectonics and minute details that get lost while trying to resolve the big picture.

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10

| week ten

curating spaces & landscapes

interim presentation

145

interim presentation clients

permanent clients - abdullah & mikaele (couple)

a. mikaele is a local dyer who dyes with native plants b. abdullah is from tehran, iran. he weaves persian carpets c. middle aged, married and want to retire in daylesford with their dog. d. they hope to pass the skills of their native crafts to the local public. e. they hope that they can create a safe space for their local community to pass their stories, the story of land and stories of their culture in a tangible form and wish to entertain 2 apprentices f. they would also like to host weaving & dyeing workshops every sunday and would like to sell some of the products of their craft - dyed yarn & persian carpets in their gallery space

interim presentation users a. short term residents b. require enough living space for their respective partners to come and share their accomodation.

short term resident- dyeing apprentice - flin

short term resident- weaving apprentice - alka

a. variety of people with myriad of needs (accessible) b. come on open days for weaving & dyeing workshops c. local tourist and locals come to purchase natural dyes, dyed yarn, rugs & for classes

visitors - people with disabilities, couples, small families, senior citizens

147

d. local businesses that require persian rugs come for purchasing rugs

interim presentation return brief - workshop

uawc communal kitchen/cafe 7 m2

dyeing studio 80m2

50 m2

weaving workshop

workshop

65 m2

gallery + reception & office 80 m2

shared areas (drying, workshop, etc)

30 m2

storage (material storage + loose furniture storage )

storage (product storage + storage for office needs)

interim presentation diagram - parti & form

prependicular axes representing warp & weft further rationalisation

formation of an interlocking grid

repetition of pattern

creation of a persian knot

permutation 1

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interweaving ramp with the landscape while functional rooms form the knot

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permutation 3

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blurring the functional boundaries

permutation 4

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N Diagrams - Permutations

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dwan

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interim presentation workshop plan

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interim presentation workshop - circulation diagram + process

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1. collection of plant parts

2. washing & cleaning

3. sorting & cutting

interim presentation workshop - circulation diagram + process

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4. extraction & mordanting

5. straining the dye

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interim presentation workshop - circulation diagram + process

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PROCESS

KEY STAGES

6. dyeing & drying of yarn

SPINNING THE YARN

7. spinning the yarn on the bobbins DYEING THE YARN

8. preparing the warp

PREPARING THE LOOM WITH WARPS AS FOUNDATION

WEAVING THE WEFTS THROUGH THE WARP

interim presentation workshop - circulation diagram + process

9. cartooning

10. weaving

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interim presentation workshop - circulation diagram + process

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washing the fabric

12

interim presentation sections

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interim presentation the dyeing courtyard - perspective

interim presentation key moment in workshop

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interim presentation residences - plan

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interim presentation courtyard - perspective

interim presentation key moment in temporary residence

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interim presentation 1:1000 site model

165

spatial design: creative living reflection & feedback

the main feedback from the interim design presentation asked me to reflect on how to use lighting techniques to push the narrative of fabric carrying memories in both tangible, intangible & ephemeral forms. the bazaar typology for the meandring ramps around the workshop pavilionw as well received with the concept developed with a lot more rigour. was asked to enquire how the ceiling & walls could reflect the weaving pattern - with tighter weave in residence and a more loose weave in residential. concern with dye buildup on pristine fabric was an element to consider - whether to celebrate it or to treat it with elements or architectural solutions to prevent it from happening to the extents that it does. embracing colours & lights to push the narrative was the most critical feedback.

- a section through the ramp was asked for

reading analysis jun’ichirō tanizaki- in praise of shadows

in praise of shadows, tanizaki examines our relationship with darkness. while rambling at instances, the crux of the argument in tanizaki’s essay is of the essential and influential part shadows play in japanese aesthetic. comparing the shadows to artform with its existence relying on details - either carefully thought out - like depth and placement of windows, or the result of chance - the passage of time. often fixated on comparison of the eastern ideas with the western ideas of beauty, aesthetic, tanizaki’s book is salient in modern life’s obsession with the completion of domains of fact and knowledge, which obliterates the beauty of subtlety, incompleteness, and mystery . he mentiones how the japanese architecture convey the fragile beauty of feeble light. japanese aesthetic embraces the shadows rather than cloaking their beauty by offtering moments of mystery and trance in everyday life. it will be interesting to see how i can elevate moments of my design using shadows - shadow lines in joinery, recessed lights, coves, play of shadow and light during the day and embracing the darker elements of nature to further my design

167

spatial design: creative living elements of iranian architecture

dalan the expressed entry way

sakoo moment of respite before entring the door

hayat the courtyard often containing waterbody in the middle

koobeh the door knocker

stained glass window

spatial design: creative living residential layout diagram

comm

private

communal private

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11

| week eleven

curating spaces & landscapes

landscape & lighting review

171

spatial design: landscape review trees

Banksia marginata common name: minimarg height & width: 1.3m x 1.5m flowering months: Winter throgh summer climatic requirements: warm temprate, sandy, clay, loamy soil attracts: nectar-feeding birds, mammals and insects

banksia spinulosa

Corymbia hybrid

a

Banksia spinulosa common name: hairpin banksia height & width: 1-3m x 2m flowering months: autumn/winter climatic requirements: warm/cool temprate zone, sandy, clay, loamy soil attracts: nectar-feeding birds, mammals and insects

banksia spinulosa

Corymbia hybrid

angophora hispida

C

spatial design: landscape review trees

pinulosa

pinulosa

bia hybrid

corymbia hybrid common name: corymbia summer beauty height & width: 4m x 4m flowering months: summer climatic requirements: warm-cool temperate climate zone, sandy, loamy clay loamy soil attracts: native nectar eating bees & butterflies & other insects

Corymbia hybrid

angophora hispida

Corymbia termin

Angophora hispida

Corymbia hybrid

angophora hispida

common name: dwarf apple height & width: 6m x 4m flowering months: summer climatic requirements: warm-cool temperate climate zone, sandy, loamy clay loamy soil attracts: native nectar eating birds & butterflies & other insects

angophora hispida

173

Corymbia terminalis

Corymbia termin

spatial design: landscape review trees

corymbia terminalis common name: bloodwood height: 18m flowering months: march to october climatic requirements: well drained soils attracts: native birds & insects

angophora hispida

ngophora hispida

Corymbia terminalis

Eucalyptus Dives

Eucalyptus dalrymple

Eucalyptus dives common name: broad leaf peppermint height: 20m flowering months: october to january climatic requirements: dry & well drained soil attracts: nectar-feeding birds, mammals and insects Corymbia terminalis

Eucalyptus Dives

Eucalyptus dalrymple

corymbia Maculata

eucalyptu

Eucalyptus dalrymple

spatial design: landscape review trees

Eucalyptus dalrympleana common name: mountain gum height: 40m flowering months: march to june climatic requirements: deep moist loamy soil attracts: nectar-feeding birds, caterpillers and insects Eucalyptus Dives

Eucalyptus dalrymple

corymbia Maculata

eucalyptus viminalis

River Peppermint

FS 0.91

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Corymbia maculata common name: spotted gum height: 50m flowering months: march to september climatic requirements: sandy loam or well-drained gravel attracts: honey-eaters

corymbia Maculata

eucalyptus viminalis

River Peppermint

175

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spatial design: landscape review trees

Eucalyptus viminalis common name: manna gum height: 50m flowering months: december to may climatic requirements: deep moist loam soils attracts: native birds

corymbia Maculata

eucalyptus viminalis

River Peppermint

FS 0.91

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Eucalyptus elata common name: river peppermint height: 40m flowering months: january, september & october climatic requirements: moist alluvial soil attracts: native birds & insects

River Peppermint

FS 0.91

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spatial design: landscape review shrubs

Dianella amoena common name: flax lily height & width: 1.3m x 1.5m flowering months: Winter throgh summer climatic requirements: warm temprate, sandy, clay, loamy soil attracts: nectar-feeding birds, mammals and insects

yliL xalF

ogidnI nailartsuA

yliL xalF

ogidnI nailartsuA

DLOGIRAM

AEP HSUB

HSUB AEVOH

AEP HSUB

HSUB AEVOH

Indigofera australis DLOGIRAM

common name: australian indigo height & width: 1.5 X 1.5m flowering months: spring climatic requirements: warm/cool temprate, cool, semi-arid; variety of soil types attracts: nectar-feeding birds, mammals and insects

yliL xalF

ogidnI nailartsuA

DLOGIRAM

AEP HSUB

HSUB AEVOH

HSUB POH

Tagetes sp common name: marigold height & width: 0.5 X 0.4m flowering months: winter-spring climatic requirements: well drained soil attracts: native nectar eating bees & butterflies & other insects

DLOGIRAM

AEP HSUB

177

HSUB AEVOH

HSUB POH

spatial design: landscape review shrubs

Pultenaea gunnii

DLOGIRAM

AEP HSUB

HSUB AEVOH

DLOGIRAM

AEP HSUB

HSUB AEVOH

common name: golden bush pea height & width: 0.5-1.5m X 1-1.5m flowering months: september - october climatic requirements: warm-cool temperate climate zone, sandy, loamy clay loamy soil attracts: native nectar eating birds & butterflies & other insects HSUB POH

HSUB POH

Hovea linearis common name: common hovea height: 1.5m X 1m flowering months: june-august climatic requirements: moist well drained soil attracts: -

AEP HSUB

HSUB AEVOH

HSUB POH

AEP HSUB

HSUB AEVOH

HSUB POH

Dodonea sinuolata common name: hop bush height: 1.5m X 1.5m flowering months: summer-autumn climatic requirements: warm-cool temprate with well drained, sandyloamy soil attracts: native bees & insects

HSUB AEVOH

HSUB POH

HSUB AEVOH

HSUB POH

spatial design: landscape review grasses

Poa labillardieri common name: common tussock height & width: 0.5-1.5m X 1-1.5m flowering months: september - october climatic requirements: warm-cool temperate climate zone, sandy, loamy clay loamy soil attracts: native nectar eating birds & purple loosestrife common tussock butterflies & other insects

Weeping Grass

Themed

Lythrum salicaria purple loosestrife common name: purple loosestrife common tussock height: 1.5m X 1m flowering months: september - march climatic requirements: shallow water and swampy soils in wetlands. frost tolerant. full sun, semi-shade. attracts: uses: water purifying shrub/grass

Weeping Grass

purple loosestrife

Themeda triandra

common tussock

Common Spikerush

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Lomandra longifolia purple loosestrife

common tussock

common name: spiny head mat rush height: 1m flowering months: september - march climatic requirements: wide variety of climatic conditions. can be grown in any type of soil attracts: ground fauna & nectar eating wildlife Themeda triandra

Common Spikerush

0

purple loosestrife

purple loosestrife

common tussock

Themeda triandra

Common Spikerush

common tussock

Themeda triandra

0 100 200 Common Spikerush

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spatial design: landscape review grasses

Themeda triandra common name: kangaroo grass height & width: 0.5 X 0.75m flowering months: spring - summer climatic requirements: warm-cool temperate climate zone, sandy, loamy, clay loam, saline & poor soil types attracts: native nectar eating birds & butterflies & other insects Themeda triandra

Common Spikerush

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Juncus pallidus Themeda triandra

Common Spikerush

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common name: common spikerush height: 0.3 - 0.9m high flowering months: september - april climatic requirements: grows around lakes and waterbodies with high moisture content in soil attracts: native bees & insects N Grass uses: water purifying

500

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100 200

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Eleocharis acuta Common Spikerush

N Grass

common name: pale rush height: 0.5 -2.2m high X 0.3-1m wide flowering months: october - january 500 climatic requirements: seasonally wet and poorly drained soils in swampy scrub, forests and floodplains. full sun, semi shade. attracts: - birds uses: water purifying

Juncus Pallidus

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spatial design: landscape review

bal lan -

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spatial design: lighting review workshop lighting plan

spatial design: lighting review workshop lighting section

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spatial design: lighting review workshop key moment lighting plan

spatial design: lighting review residences lighting plan

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spatial design: lighting review permanent residence - key moment lighting

spatial design: lighting review temporary residence - key moment lighting

187

spatial design: architecture review physical parti diagram - model making ideas

1. showing the passage of time and carrying the narrative through architecture -using timber dowel and board to showcase passage of time and staining of architectural elements as a way to showcase passing of narratives

2. showing subconcept of tensioned vs supple nature of fabric -using timber dowel portal frame to highlight tensioned and soft supple fabric

3. showcasing opacity vs transparency to highlight nature of fabric in providing privacy

spatial design: architecture review physical model ideas

1:1000 site model - cnc milled model (model to match -3d printed workshop and residences buildings - nails for trees

1-200 sectional model for workshop - cutting through the weaving and dying workshop - north south orientation -3d printed ramp - laser cut white mountboard buildings -steel wire moulded to form trees to match the aesthetic

1-200 residential massing model -plywood laser cut base -white mountboard buildings -steel wires moulded to form trees to match aesthetic

1:20 detail model -3d printed ramp - veneer/mdf laser cut model - cutting through weaving workshp -showing corner detail - perspex sheet of glass

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12

| week twelve

curating spaces & landscapes

perspectives review

191

entry perspective SK 9.01

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workshop interior views

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workshop - interior view 2

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residences approach

residences exterior 1

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perspective review precedent study

perspective review precedent study

197

presentation layout presentation layout

594

Approach Perspective + Craft as creed Diagrams

residence plan

1:100 workshop plan + section

1:20 wrkshp

1:20 wrkshp

2X 1-100 sections

841

site plan + site section+concept diagram

594

perspectives unravelled section

1:100 res section

1:20 temp

1:20 temp

1:20 perm

1:20 perm

presentation layout review review, feedback & reflections on the studio

with the finals week approaching, it was good to reflect on what all i, as well as my colleagues, have been able to achieve in the short period of just 12 weeks! the final class culminated with everybody’s draft presentations pinned up on the wall ready to be critiqued. the panel layout was generally well received with some comments about residential board being a bit cluttered. the sections to be moved to another a2 allowing more space to be given to the plan. the perspectives to be relocated to the drawing with the long section. which is a drawing everyone has been eager to see. i would like to thank yui for the constant support and for putting us through 12 weeks of intense work which helped me build a good work ethic. it was also great to have all the work and boards ready for final, which in hindsight is such a blessing! each activity was designed to get the best possible outcome for the design, however, a little more time to sit down and reflect would’ve been nice. learning how to extact concepts and elements from a craft and getting to design around them was a brilliant exercise, one that i shall cherish forever

199

13

| week thirteen

weaver’s tales

final submission

201

weaver’s tales

bal lan -

day

les for d

roa d

site plan & section

dwan

s lane

weaver’s tales outdoor learning steps

workshop layout

a

dyeing workshop

dyeing courtyard

c

c’ weaving workshop

cafe weaving courtyard

kitchen store

storage

b

storage

b’ w/c

gallery

a’

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weaver’s tales workshop sections

dyeing workshop

dyeing courtyard

weaving workshop

weaving courtyard

Workshop Plan workshop section a-a’

store + gallery

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weaver’s tales workshop sections

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weaver’s tales unravelled section & perspectives

the beginning

weaver’s tales unravelled section & perspectives

engraining the memories

the weaving workshop

207

weaver’s tales key moment in workshop

dyeing workshop key moment - plan

SK 0.003

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weaver’s tales key moment in workshop

dyeing workshop key moment - section

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weaver’s tales key moment in workshop - at night

dyeing workshop key moment - section

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at the end of the day

interlude

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weaver’s tales residences plan

master bed

powder

bed 1

living

tea room

guest bed

w/c

kitchen

balcony

tent 02 laundry deck

laundry communal kitchen + living

tent 01

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Workshop Plan

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weaver’s tales residences sections

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weaver’s tales site model 1:1000

weaver’s tales physical parti diagram

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weaver’s tales workshop sectional model 1:200

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weaver’s tales key moment in 3D - sectional model 1:20

weaver’s tales material board

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bibliography

https://www.amrapaliboutique.in/blogs/amrapali-boutique/the-imperfect-beauty-ofhandloom Blake, S., 2022. Eucalyptus dyes — Sally Blake. [online] Sally Blake. Available at: <https:// sallyblake.com/eucalyptus-dyes-1> [Accessed 17 March 2022].

Holl, S., 2007. Intertwining. New York: Princeton Architectural Press.

Pourjafar, M., Amini, M., Hatami Varzaneh, E. and Mahdavinejad, M., 2014. Role of bazaars as a unifying factor in traditional cities of Iran: The Isfahan bazaar. Frontiers of Architectural Research, 3(1).

Introduction to Persian Interior Architecture by Seyed Mohammad Beheshti – www.

LenaSpath.com. (2022). Retrieved 18 April 2022, from https://www.lenaspath.com/blog/aboutpersian-interior-architecture-by-seyed-mohammad-beheshti/

readings

Holl, Steven et al. Questions of perception: Phenomenology of Architecture.

Pallasmaa, Juhani. The Eyes of the Skin Pallasmaa, Juhani. The Thinking Hand.

Pascoe, Bruce. ‘Considering Landscape.’ In Landscape as Protagonist.

Zumthor. Peter, Atmospheres.

Zumthor. Peter, Thinking Architecture.

Tanizaki, Jun’ichir, in praise of shadows

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