Category: Process

Zumthor mention that to him a quality architecture is not about inclusion in architectural guides or histories of architecture or getting my work into this or that publication. Instead, a quality architecture is when a building manages to move him. Meaning, a good architecture is not just about how much awards that building has got but how it makes people “feel” something.

He also mentions we should be able to have an emotional response when we see or enter an architecture just like how we all know emotional response through music. For example; whenever u hear a song, you will feel and know what emotion the composer is trying to convey; happy, sad, intense, scary, etc. Architecture or space should do the same. Which makes me wonder what emotion are we trying to convey to the people visiting the eco-garden?

The author mention about 9 things that he considers when generating an atmosphere for his buildings.

1. The body of Architecture

The material presence of things in a piece of architecture. Different materials and combines them to create a space like this. For example; how could we use materials to cover up the frame/structure/body of the building and still give it meaning and purpose.

2. Material compatibility

Materials react with one another and have their radiance, so that the material composition gives rise to something unique. Material is endless. There are thousand different possibilities in one material alone. For example; In ADM, if you see from the side the building is made up of glass panels. However, the “roof” is made up of grass which gives the building a whole different look and feel. In addition, the sunken plaza there are water which shows the reflection of the “glass” again which then gives a feeling that the building is huge.

3. Sound of a space

Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere. That has to with the shape peculiar to each room and with the surface of the materials they contain, and the way those materials have been applied. Which makes me think, since we are doing on solitude, how can we make the space we are creating in the eco garden quiet without covering the whole space.

4. The temperature of a space

Every space or building have their intended temperature. When we were at the Jurong eco-garden, all we want to do is to design something to cool down that place because it was so hot that day. We definitely could do something about that, using materials that are bad heat absorber or light colors to reflect the sunlight.

5. Surrounding objects

Every space or buildings definitely has an object in it. It is for us the designers to put what is necessarily to create that sense or feeling that we want to portray.

6. Between composure and seduction

The feeling that I am not being directed but can stroll at will – just like drifting along and it’s a kind of voyage of discovery. an example is how the escalators in the mall are at a certain location so people will walk pass some stalls before going elsewhere. This can also be applied in the eco-garden to “attract” people to move around and stroll in the eco-garden.

7. Tension between Interior and Exterior

Every building has an exterior and interior. However, he said that architect’s job is not just about creating that tiny box. There are things in the box (interior) that creates the overall design, for example furniture, products, etc. we can also have windows to reveal the interior or walls to conceal. As for our project on solitude, we could use this. Example we created the chair to prevent user to look at what others are doing; however, they feel too constrain when their whole vision is being block, thus, how can we create something that only block some of their vison without feeling trapped.

8. Levels of Intimacy

The proximity and distance generate a feeling of association and disassociation. Example again for our solitude concept, how far are the user supposed to sit in order to feel that they are in solitude.

9. The Light on Things

Light is an important role in design. However, I feel that not everyone is paying much attention to light. Lights reflect on objects which gives a certain feeling. Lights also creates shadow which is something we could consider when designing a space in the outdoor.

From the reading I understand that whenever we design an architecture, we are not creating the architecture alone. We are creating the whole environment, and how can the environment and architecture intergrade together. However, Junya Ishigami is saying that whenever you are intergrading the two things together, you should not intergrade objects that are in the same scale. E.g. If I were to build a house in the forest, I should not just intergrade the house and the trees (same scale). Instead we could intergrade the house with the small animals or bugs (smaller scale) or I could even intergrade with it wind or rain (not obvious) to create a more unique and different outcome.

PROTOTYPING TAKRAM

I agree that prototyping and user-testing is not just about collecting statistical data and direct user feedback. What is important is to discover new ways for improvement, which can be accomplished by only a few target users. However, I do not totally agree with the perspective that the team involved should participate in the user testing. This is because I feel that the team will kind of know what the product is about or meant to do. They may also have a tendency to skew towards the results they hope to achieve and mislead people to that direction too.

Every type of prototype has its own function and purpose. As a designer we need to understand what type of prototype to create at each phase of the project so that the design process can be streamlined which will then lead to efficiencies in terms of time, money and resources. This will also ensure a smooth production process thereafter.

EMBODIMENT

I agree with what the article is saying. Design is attributing a countenance to an object and it’s not just about creating the shape but also taking the environment into consideration to create a more cohesive design which engender both the ambience and the object.

I also agree that we can try not to design something new. Instead, we can try to design a product or process that enables people to realize something that is already inherent but forgotten or neglected. For example, my team is working on how solitude can evoke innovation and productivity. We all understand how working in a quiet environment can make us more focused, but people do not immediately realize that and may do the opposite, for example decide to work in a noisy café. What people want might not always be what they really need.

In conclusion, as a designer we should design products that give the consumers the feeling or realization this is that one thing they need.

I agree with what Georges Perec is saying, we should focus on the small little things instead of the big events that are happening. Yes, big events are important too, but the small stuff are the things that makes us different, that makes us who we are. So, if we observe these small days to day mundane stuff, we will be able to spot these differences. And bringing it back to product design, this will enable us to design products that caters to these nuances, making it that much more meaningful and functional.

One example is that, I love to drink soup without using the spoon, however the bowl is too hot for me to hold it with my hands, so I normally drink my soup using a cup instead. Which I guess why someone created a double handle soup bowl.