Conversing with Spaces by M. Anshar

STUDIO SEEING THE UNSEEN

Conversing with Spaces WITH A QUESTIONING MIND

THIS MAGAZINE IS A FORM OF RECOLLECTION OF MUHAMMAD ANSHARUDDIN'S WORKS FOR STUDIO MODULE.

CONTENTS

F O E L B A T

2 5 14 20 38 44

D E S I G N

M E E T S

P L A Y

The Spatial Designer I Aspire to Be

V E R B S

Definitions and Interpretations

1 0

F R E E Z E

F R A M E S

Imagination of Spatial Environment

C O M P L E X I T Y

M E E T S

V O L U M E

Turning 2D into 3D

D I F F E R I N G

V A L U E S

I N

A N

I D E N T I T Y

Module A & B

R E N E W A L

Spotify

O F

F O R M

A N D

E X P E R I E N C E

WHO

SPATIAL

DESIGNER? 2

D E S I G N

M E E T S

P L A Y From the perspective of a design student, I think it is safe to say that designing things in general is tough. Not only can it be physically exhausting at times, it can also be mentally draining too. Without doubt, I believe most design students or designers in general would agree with me. We try to put so much empathy to understand our users and sometimes it is excruciatingly stressful. By the end of the day, we just want to get things done when we are too tired to think of it. And that, what I personally think, is a pitfall as to why we are often stuck when designing things. But as time moves on, as I am really settling and adapting to this reality, I eventually realised that design, sepcifically spatial design, is fun when we do not overthink about it. Not that we should not focus on the result, but it is really about enjoying the process that helps to create that fun environment while working. Sometimes having a mind of a child, think of the project or assignment as a playground, makes me have more freedom to design. I think that is what Studio has given me thus far, to think critically yet playfully, it is as if

there are no boundaries as to how far I can take my imagination to. In my opinion, a space should create moments of delight for the people who occupies it. There is no steadfast rule as to what is simply delightful. Delight can come in different forms for different people, this is where empathy comes in, but most likely it is a mix of form, function and value that creates that often intangible emotional connection to a well designed space - a space where people can exchange values, ideas and knowledge.

AND FOR THAT, I ASPIRE TO BE A SPATIAL DESIGNER WHO IS UNBOUNDED BY RULES AND AN OPPORTUNISTIC ONE, A CATALYST OF CHANGE AND A CREATOR OF EXPERIENCES.

VERBS

RAGE Rage can be defined as a period of extreme or violent anger. When I think of that, I revolved it around the idea of destruction, specifically the beauty of it. There is a kind of beauty in destruction, where some perceive it as strange. I personally am intrigued by it. I would like to believe that it can beautifully highlight a form of transition, which encourages our minds each space that exists transforms into another, into an entirely different one. To simply put, nothing is permanent, nothing is finite.Â

COLLIDE Collide can be defined as (especially of moving objects) to hit something violently. I relate this definition to collision of spaces. When spaces of different forms and surfaces collide, they work wonders. Somehow the spaces become one yet with different identities. The differences between two distinct spaces have can be clearly articulated however the differences do not seem to be a reason to see them distinctly. 7

D E S TRUCTION AS A C R E ATIVE ACT

*the attached images are materials embedded in the 30 second video that suggest the verb,Â

RAGE

The sound of a motorcycle engine disrupts the sound of the environment' s calmness and peace. The unceasing and blasting noise of the clicking and clattering suggest the unwavering rage of the sound the motorcycle produced as the throttle is played with.

The flickering visual of warm and cool lights and sound of switches suggest rage that is developing in a matter of seconds. What started out with a very slow momentum of the visuals and sound in the video, ended off with a rapid spam of them in a very conspicuous manner. 9

The crackling and the popping sound of the fire burning the paper intensifies throughout the video. The fire illuminates its surrounding, highlighting the spaces around it as the flame grew in size. (crumpled paper burning)

The crackling and the popping sound of the fire burning the kitchen paper towel intensifies throughout the video very quickly. The long stretch of fire largely illuminates the spaces around it, creating shadows of different forms and brightness.

The sound of the whistling kettle escalates very quickly at the end of the video, releasing smoke from its spout in a rapidly manner. The whistling sound of the kettle stops abruptly in a very high pitch tone.

The loud popping sound balloons burstingÂ suggest the intensity of the abruption of sound in the very quiet space.

C O L LISION OF S P A TIAL Q U A LITIES

*the attached images are materials embedded in the 30 second video that suggest the verb,Â

COLLIDE

The sound of my hand penetrating the swirling water creates waves of different volumes. As the water collides with my hand, a series of collision of waves occur.

The series of bubbles forming and popping simultaneously evokes a sense of rage. I think what is more interesting to see is the collision of surrounding bubbles as each one starts to pop. And in between the popping, one would notice the spaces emerging. 13

FREEZE

FRAMES

The 10 different frames that provide the best visuals to the positive and negative spaces present will then be compiled and overlapped onto one another.

D I V E RSIFIED Spaces in which I noticed are positive and negative spaces are traced with lines of different weight,

exposing the compiled qualities and potentials.

images'

merged

E N T ITY 17

R E D EFINING S P A CES

To better differentiate between the positive spaces and the negative ones, shadings of different tone are used.

D E G REESÂ OF H A R MONY SectionalÂ plan as per reference to the "sliced" top plan, with lines and shadings of different weight and tone used to highlight the positive and negative spaces.

COMPLEXITY

MEETS

VOLUME

PERSPECTIVE VIEW 1

As per reference to the top and sectional plan drawings, the spaces are given different volumes to provide clarity to their potentials and qualities.

DoingÂ so, the software-built model allows for further exposure of new spatial potentials and qualities.

PERSPECTIVE VIEW 2

SIDE PLAN 1

By having these views in wireframe mode, I can better study and analyse the positive and negative spaces as exposed.

SIDE PLAN 2

TOP PLAN

BOTTOM PLAN

EXTRACTING A JOINT SYSTEM

The joint system that I have extracted from the software-built model consists different elements interconnecting and interlocking one another in various ways. By analysing the joint system and then narrowing it down to its utmost potentials, they will then be replicated in a series of explorative physical models. By replicating the potentials of the joint system, it exposes them to more possibilities as to how they can be altered into different forms of even greater potentials. 24

REGULAR

-ITIES

AND

IRREGUL-

ARITIES

DETAIL MODEL 1 ThisÂ very first detail model revolved around the idea of trying to highlight the potentials of the surfaces all around. As seen, every surface has its own depth and volumes careved from distinct angles.

These perspective views allow me to better understand the entire composition of the model of different regularities of the surfaces.

EXPANSI-

AND

CONTRAC

-TION

DETAIL MODEL 2 For this particular model, I purposely removed some elements off from the first one which I deemed to be futile. I focused primarily on the area where the the different elements are bonded together. To understand how different elements of the different surfaces can join differently. 29

These perspective views allow me to better understand how the different elements have to be joined in distinct angles.

PROTRUD

-INGS

AND

PENETRA

-TINGS

DETAIL MODEL 3 This model allowed me to focus particularly on the volumes of the different elements joining together. To see if substituting to surfaces that are regular all around, will I be able to expose more potentials clearer.

These perspective views allow me to perceive the gaps and voids found all around better, exposing more spatial potentials.

OCCLUS-

ION

AND

REVELAT-

ION

DETAIL MODEL 4 For this final model, I purposely created more voids in between different elements as the previous models seem to be "packed", restricting the exposure of hidden potentials. By playing around with wide openings and narrow closings, I can clearly see more potentials.

These perspective views allow me to see voids sitting in between, wrapping around the different elements.

After reaching on to the final explorative detail model, I then extracted a particular area which I find has the most potentials.

As seen on the image above, the five different distinct elements will then form into module A. 37

DIFFER-

ING

VALUES

IDENTITY

SAME

Both module A and B has their own distinct spatial forms and volumes. The hierarchy of spaces in both modules are obviously visible. Some spaces tend to have greater sense of depth than the rest.

BUT

DIFF-

However they both abide by the same aesthetics, basic geometric shapes with flat surfaces all around. The heavy presence of straight lines and the subtle presence of voids.

ERENT

MODULE A

MODULE B

BAND

-ED

TOGE-

THER

Aligning to their own distinct forms and volumes, the modules are to band together to create a single modular of different possible combinations, exposing more spatial qualities and potentials.

COMBINATION 1

These are just 2 different combinations (out of a total of 13) the modules are able to transform into. Each combination is unique in its own way - capturing and highlighting different forms of spatial qualities and potentials.

One can say that this method of spatial exploration is similar to that of playing with 'LEGO' bricks. The bricks, in this case module A and B can be independently moved in between different ways - to slide in, to wrap around, to penetrate into or to grab onto the other module.

COMBINATION 2 43

RENEWAL

FORM

AND

EXPERIENCE

The Final Phase

To redesign the "norm" as to how Spotify users listen to music and podcasts on the daily, aligning to the coronavirus pandemic using the different combinations of module A and B. At the same time, attracting new users. Both on a spatial and business perspective.

U N D ERSTANDIN G C O M PANY'S B U S INESS M O D EL

Millions of Users Launched in 2008 in Sweden, Spotify is a popular audio streaming service that launched publicly in Europe and has since expanded to most major markets. It's primarily known for its music streaming service, which lets you listen to tunes from major labels on the web or via the official Spotify app. In addition to streaming music, it also functions as a tool for consuming podcasts.

Available on Multiple Platforms Spotify is dominating the way we consume music in the 21st century. Spotify has become a part of our daily life. We tune in to Spotify when we are making our way to a destination, when we are pulling an all nighter or when we are feeling some type of way. Even during our breakups, Spotify is a go to.

It Knows What You Want I would like to think the reason behind its huge growth is simply because it knows what you want. You will find millions of songs from a variety of genres and artists from indie rock to classical music. Podcasts is just as plentiful too, there is something for everyone. Spotify has a built taste profile for each user based on what they listen to. Every Monday, 'Discover Weekly' gifts its hundreds n millions of its users thirty songs they have never heard before. 47

THE C O V ID - 19 P A N DEMIC

HAS S P O T I F Y B E E N AFFECTED BY THE PAND E M I C ?

Spotify has not been financially affected by the pandemic but it is said that the listening habits have changed among its users. There is less listening done via its app in cars in which has bigger impact on podcasts than music. As more people are staying home now more than ever, music listening through TVs and game consoles has gone up over 50%. In a recent interview Spotify has said the pandemic might actually affect its ad business unit. This is because advertisers have been spending less money. As a result, its ad-supported revenue missed its targets and its revenue for the rest of the year, has been lowered. 49

M U S IC FOR E V E RYONE

HOW CA N S P O TIFY BE TRULY EASILY ACCES S I B L E F O R ALL?

WHAT I F S P O T I F Y CAN USE THIS PAND E M I C A S A N ADVANTAGE TO FURTH E R E A R N MORE REVENUE, AT THE SAME T I M E E N C OURAGE ADVERTISERS TO CO N T I N U E M AKING ADVER T I S E M E N T S?

Design Proposal I want to make Spotify accessible for all where everyone of all ages, young and old can tune into it anytime and anywhere. A common space with heavy social settings - public transportation 4 million rides taken per day on average as of 2019 Commuters consist of working adults, students, senior citizens Situation right now - buses are becoming more packed as more and more are returning to their normal routines rides are longer on average as compared to other modes of public transportation space shared by many on the daily around the clock Curate the interior space of a typical bus/train in a way commuters can listen to Spotify while still conforming to the social distancing regulations.

on the go.

Design Statement To make Spotify truly tunable anytime and anywhere for everyone, where listeners from all walks of life can tune in to Spotify with ease and comfort. The design will also promote a sense of inclusivity and exclusivity in the shared space to accommodate the different taste buds and channel preference. At the same time, providing a platform for advertisers to advertise their advertisements.

Social Distancing Regulations One way to slow the spread of viruses, such as coronavirus, is physical distancing. The more space between you others, the harder it is for the virus to spread. As some some spaces start to ease restrictions, it is important continues to stay 1.5 metres away from others wherever possible.

Challenges The interior space of a typical bus and a train in Singapore is pretty confined. When packed with commuters, there is hardly any space to maneuver around - individuals are prone to coming into close contact with other commuters. InÂ these times of covid-19, with the current state of panic and uncertainty, people are more fearful of being in shared spaces. How can the spaces be curated in such a way it does not make them any more confined? How do I ensure that there is little to no close contact between commuters? How do I make Spotify easily accessible in public transportation vehicles? 54

C R E ATING THE F U T URE W I T H THE P R E SENT

Tuning into Spotify in a totally new different way while borrowing the idea of an existing space.

EXPLORATIONÂ OF PUBLIC TRANSPORTATION LAYOUT

Before spurring on to my own design, I have to first understand and analyse the existing layouts of public transportation spaces, locally and internationally. Really to understand as to why they work, and have never been changed for a long time.

Bus Designs Circulation and Layout (Singapore)

single deck buses up to 36 seats priority seats are situated at the first half of the bus gets packed very quickly during peak hours standing area located right by the exit door wheelchair accessible limited maneuvering space when bus is crowded - little to no space of allowance double deck buses up to 76 seats priority seats are situated at both halves of the bus ideal for during peak hours buses would be rarely standing area located right by the exit door wheelchair accessible limited maneuvering space when bus is crowded - little to no space of allowance

Bus Designs Circulation and Layout (Other Countries)

Amsterdam, Netherlands single deck buses up to 32 seats priority seats are not specially assigned gets packed very quickly during peak hours standing area located in between seats wheelchair accessible more maneuvering space when bus is crowded - little to no space of allowance layout is partially different as Singapore's

Bus Designs Circulation and Layout (Other Countries)

London, UK double deck buses up to 82 seats priority seats are not visible to be specially allocated ideal for during peak hours - buses would be rarely standing area located right by the exit door wheelchair accessible limited maneuvering space when bus is crowded little to no space of allowance layout is mostly the same as Singapore's - a little more spacious 61

Train Designs Circulation and Layout (Singapore)

Singapore seats are uniformly aligned on both ends of every cabin priority seats are assigned quite sufficiently ample seats for other commuters ample breathing space for standing commuters easily accessible by wheelchair bound users built-inÂ audio and visual system multiple grab bars and handles in every cabin

Train Designs Circulation and Layout (Japan)

Tokyo, Japan compact limited maneuvering space ample number of seats cosy, warm atmosphere perfect for long haul rides built in entertainment system handles located at the end of every row of seats grab bars installed only at the entrance cushion seats adjustable seats heights, equipped with arm rest

INCLUSI-

VITY

AND

EXCLUSI-

VITY

My design layout consists of two segregated spaces - spaces of inclusivity and exclusivity. This is where in the first half of the shared space, commuters are able to tune into the same Spotify channel, interacting with one another in some way. Whereas on the other half of the space, commuters can tune into their own preferred channel using the built-in system located within the seat itself with their own listening devices. This space or I would say this system borrows the idea of a typical train or a bus, the tap in tap out, wide windows and the uniform order of the seating arrangement - but its uniqueness lies in the close interaction commuters have with it. The fact that they can enjoy listening to their favourite songs and podcasts for free, while on route, give them the best commuting experience they can ever have especially during long rides.

PERSPECTIVE VIEW 1

PERSPECTIVE VIEW 2

PERSPECTIVE VIEW 3

PERSPECTIVE VIEW 4

PERSPECTIVE VIEW 5

PERSPECTIVE VIEW 6

PERSPECTIVE VIEW 7

PERSPECTIVE VIEW 8

PERSPECTIVE VIEW 9

Design Outcome The outcome that I aim to achieve with the help of this design proposal is to have more listeners tuning into Spotify on the daily. At the same time, expanding Spotify's revenue and further profiting its advertising unit during this trying time. Ultimately, to be the public transportation of tomorrow.

I believe that a good designer is an even better storyteller; by telling a great story, one can create a vision and guide the direction of an idea that improves the way we live, work, and play and also exchange values, opinions and knowledge. Safe to say, this module, particularly this assignment has provided me with a platform to do just that.