01:

drawing
space

The weight of a drawing specifies

hierarchy, mass, and perspective. It
instructs the viewers on how to interpret
the drawings, therefore it is a very
important aspect of drawings. There are
many ways to experiment with weight, for
example, Christo & Jeanne Claude's fine
art approach as opposed to Studio Mumbai's
detailed architectural approach. With
different techniques, various outcomes can
be expected. Through drawing, we can
reveal many things.
Drawing Space 1:
Weight

Mimesis

-Digesting information from the past

-Adding your own lines to create a drawing

Re-presentation

-perspective

-Leonardo da vinci

-trying it out

-trial and error

Complicated performance between the mind and paper

Expression

-sense of self

-personal expression

-lebbeus woods "aeroliving labs"

Time/thought/effort/value

Yves Klein
-the fire paintings

-energy of colour, pigment and body of space

-drawing energy through fire

-one time only experience

-collaborative (fireman as support)

-representation of gesture

-architecture of the air

-collages/sketches to convey his ideas

-physicalisation/realisation with actual fire involved gestures

-film-7mins in: Mies Van der Rohe building

Mies Van Der Rohe

-Ulrich Lange House Project

-movement of body through open plan house

-using colour to draw the energy

-Hermann Lange House

-drawings define the realised space

Christo & Jeanne-Claude

-Museum Haus Lange

-perspective view

-fine art approach

-strong foreground, middle ground, background

-weight of line, perspective become powerful tools

-intense textured space

-energy of light fills interior space

-windows covered in orange material

-floor surface covered with sheet material (fabric?)

-interior affects exterior

-fabric sample on drawing- tactile drawing

Richard Serra
-Elevation for Mies, 1985

-actual object is a drawing; steel blown out using a

torch

-Pittsburgh, 1985

-charcoal drawing- communicating edges

-possibilities of lines

-fragility of lines

Peter Zumthor
-Pencil drawing; full bleed

-edges in relation to paper edges

-attentions goes around paper not just the drawn

object

-horizontal lines, shadows, texture

-Bruder Klaus field chapel

-interior from leftover charcoal timber

-negative space of charcoal after timber being burned

-how do we imagine sensory spaces?

-^crayons, pastels to demonstrate human body and

movement

-circulation

-sequence of textured spaces

-behaviours and activity through colour

-transformation and understanding of hot and cold

spaces

-repeating drawings in the same mode

Studio Mumbai
-Monsoon House/Copper House II

-detailing drawing of the space

-understanding of mass and weight

-simplification of the process

-clarity in message and activity of drawing

-not overly complicated

-clearly communicating purpose through drawing

-stronger sense of space

-flow, movement of air, energy, heat, sound etc.

We fight the battle with the drawings on the wall- Alvin Boyarsky

What kind of drawings do you connect to as a designer?

How and why do you feel the connection?

What excites you?

0２ :

drawing
space

Instructing is the main purpose of

producing architectural drawings. A
drawing can tell many things, and if there
is even one mistake, it could be very
misleading. Construction and detail
drawings are essential aspects to be extra
precise, especially for live projects, to
avoid big troubles. Drawings also convey
the way in which we should engage with the
drawn space and encourage imagination,
therefore instructing is a key aspect.
Drawing Space 2:
Instructing matters

Jan Rothuizen

-2D drawing 3D video

Drawing is the true mark that one is fully socialised into the profession of architecture

Projection

-Robin Evans

-drawing becomes the tool to imagine the projection of a design

-projecting thought processes

-Think, sketch, build, evaluate

Didactic

-Associated with literature or other arts, with the intention to convey instruction and information

-construction drawings

-detailed drawings

Fundamental

-convey the information

-imagining transactions

-imagining scenes

-conveying potential stories within the designs space

-use of people figures

-vision in mind

-exploring what it could be

Louis Kahn

-Drawing to find out

Paul Rudolph

Andrea Branzi

-card game type drawings: instruct stories

-Archizoom

Giuseppe Terragni- The Danteum

-Politics of the city/the past

-Deconstructing

-using geometry as a tool to plan the

space: sequence of space, grid

- calculation drawings

-interior dimensions

Le Corbusier

- Modular Man

Daniel Libeskind

-1:1 protection

-experiment to test our relationship

between us and the landscape, materials

-exercising in questioning columns, floors,

ceilings- all at the same time

-3d- can also act as a model

-deconstructivism

Frank Lloyd Wright

-imperial hotel, tokyo

Estudio Teddy cruz

-energy, heat

-similar to mies van de rohe

-architecture can slip into existing space

-part of landscape

-consistency between existing and new

Rem Koolhaas, Madelon Vreisendrop, Elia

Zenghelis and Zoe Zenghelis

-collage

-understanding space

-connecting to larger control systems

Philippe Rahm

-intangibile qualities of space

-air movement through space

-system of flow and movement

-revealing the hidden (e.g. electrical systems)

Junya Ishigami

-Architecture as air

-sketch; it failed.

-defeated by thermal power

Sou Fujimoto
-serpentine pavilion

-sketch?

-drawing in model

-realistic details in models; from people to objects

-model is near to reality

Etienne-Louis Boullee
-cenotaph for newton

-daytime- nighttime constellation, visa versa

-visioning

cai guo-qiang

-fireworks

-new contemporary layer of drawing

-only works with certain wind directions

Through drawing, we can reveal many things.

03:

drawing
space

The line notates a relationship to

imagined & real space, and each type of
line can be categorised differently. Human
sensitivity is expressed in the line. The
ways we draw show our personalities,
conveying our perspectives. For example,
Hayao Miyazaki's storyboards express his
views of the fantasy world with the use of
colour as well as speed and story dynamism
shown through his lines. The beauty of
drawing, personally, is the way it
expresses our characteristics.
Drawing Space 3:
Ontology of the Line

Ontology:

when a physicist establishes different categories to divide existing things into order to better understand those
things

The line notates a relationship to imagined & real space

Human sensitivity is expressed in the line

Peter Cook (Archigram)

Gijs Van Vaerenbergh

Bernard Tschumi

• Abstracting space

• Abstraction of the grid

BIG

• Yes is more

• Comic-like

• Stimulating contemporary engagement

ETH Studio Herzog & de Meuron

• Comic like

• Mass information in pop format

• Multiple narratives

Folio narrative planning

• Planning of viewer journey

• Little sketches to clarify project

• Reveal opportunities

• Curation of comprehensive narrative

Hayao Miyazaki
• Sequence

• Speed

Aleksandr Brodsky & Ilya Utkin

• Conveying multi scale negotiation

• Playfulness between scale

• Drawings inform thickness of reality

James Wines (SITE Architects)

Gottfried Bohm

• No lines but texture

Lebbeus Woods

• The light pavilion

Julie Mehretu

• Different ways of printing and presenting work

• Powerful

• Dynamism

Peter Kempf

• You are the city

Ivana Wingham

Smout Allen

• Drawing on models

• Textures

Nat Chard
•

Shoei Yoh
•

CJ Lim

Line has become fragmented/pixelated because of

digital technology

Francois Roche/R&Sie(n)

 Foreign Office Architects

• Yokohama Ferry Terminal

• Digital

Ciara Stephenson
• Bjork

• New materials

• New techniques

William Kentridge

• Magic flute performance

• Nostalgic imagery with high technology

• Decoding drawings

• Trying to understand hidden techniques and messages

04:

drawing
space

How a drawing connects to the environment

can be determined by the scale of the
drawing and sensitivity on the sheet. For
example, George Sowden draws textures and
communicates nature through materials, by
zooming into the scene, almost as if the
drawing is a stage set. Additionally, I am
most intrigued by the unique way of
presenting nature in Peter Salter's
drawings. Salter uses naked figures to
show organic concepts, showing intimacy
between humans and nature. Personally I
thought this was an intriguing way of
narrating ecology.
Drawing Space 4:
Homeric Visions, Relationship to nature (i.e. everything)

Homeric:

Arts and crafts/art nouveau

Charles Rennie Mackintosh

Cedric Price
• Benchmark for technologically driven space

• Fun Palace

• Models transformed into collages

• Dynamic drawings

• Juxtaposition of identities- landscape, infinite space

• Blurred into city

• Electronic diagrams

Juhani Pallasmaa
• The thinking hand, 2000
• Understand the processes of narratives

• How we communicate

• Simplify complexity

John Hejduk
• Interested in flex between storyteling and space

• Aesops Fables

• Myths connecting to human ideas

• Collapse of Time

Pablo Bronstein
• Notions of time and space

• Plays with history, scale

• Body performance

• Odd narratives into buildings

• Scale shifting

• How we think about perspective

Petra Gipp
• Cathedral, sweden

• Textures, transposed into material finishes

• texture coming from snow

• Distinguished itself from the surroundings

• Connecting to environment

John Pickering

• Scaleless

• Micro and macro

• Personal drive, passion

 Ilya and Emilia Kabakov

• Memorial to useless things

• Cultural, political, social, environmental

• Allowing people to imagine themselves in their stories

• Objects become tools to become narrative dialogues, through

labelling

• What is real, what is imagined

• Interplay between people and space nd the intangible

• The blue carpet

• Intimate manner

• Taking shoes off and viewing drawings "comfortably"

• Adult becomes children

Vincent Van Gogh

• Complexity of space through small shifts

• Layering up of stories

Gunnar Asplund
• Woodland chapel

• Heavyweight roofs cape

• inbetween space between architecture and landscape becoming

heavy

• Space and architecture becomes porous

• Dramatic landscape

• Energy, flow existing in space

• Symbiotic relationship between landscape and space

-main restaurant

-cosmos of signage

-Drawing being changed for different needs

-drawing become important to show his wide scope of perspective

Carlos Ferrater

-hybrid of digital and analogue technique

-public garden

-embodies existing landscape

-working out topography

-man + nature coexisting

-structural engineering

-locking positions between old and new

Carlo Scarpa

• Intense exaggeration of intense micro materials

• A lot going on

 George Sowden
• Talking about nature and relationship to material

• Patterns, textures

• Almost like a stage set

Lucy McKenzie

• Deconstructs interior of an interior

• Age and decay

• Fascist Bathroom

Peter Salter

• Organic

• uses naked people to communicate organic concept

• Layering of life, time

• Wet interior space

• Walmer road

• Narrative in chaos

• In drawing: person falling, getting out of bed, watching

• Ecology

• Intimate

• Designed around detail

• Intensity of forensic understanding

• How something expands and contracts

• Detailing creates intensity

Takesada Matsutani
• Circle '96.12.1

• How much do we invest in drawing

• How much do we need to invest to comprehend value

• (Hauser and Wirth)

Jorinde Voigt
• Space she creates through drawings questions the audience

• As spatial designers we have to be Multilingual- understanding many things

• Smallness

• Scale

• Sequence of spaces

• What if the drawing is on a big sheet? Small sheet?

• how are you connecting to the environment

• How are you incorporating yourself to this?

05:

drawing
space

Space between building constructs life in

between. At the same time, they can
disappear in drawings. As I have also
identified in my project, spaces
in-between are where happiness should
occur, therefore they should not be
ignored. My favourites from this lecture
were SANAA's drawings; line drawings where
in-between spaces are highlighted in
black. The drawings communicate the bold
existence of these spaces, which I
appreciate.
Drawing Space 5:

Agora- In between

• In between spaces can disappear

• Space between building constructs life in between

Jan Gehl
• Embarcadero public realm

• Urban space in between

• Public spaces of interaction

• Unified totality in space

• Relationship to pavement, other planes

• Hierarchy

DK-CM

• City is made up of the past

• Overlap of ownership

• The May Fair

• Better Barkingside

• Space of interaction

• Language of building being echoed

• Connectivity of interior space to exterior space

• Stitching areas back together

Caruso St John Architects

• Public space is boundary-less

• Upgrade of existing public space

• Subtle intervenions- benches

• Close-up- specific about materials

• Zoning through material intervention

• Precision in drawing- every cobble is drawn

• All local materials

• Collaborated with artists to create subtle plan interventions

• Modest, thoughtful

1st International architecture exhibition, the presence of the past

• Venice biennale corridor

• Rem koolhaus

• Rauch & Scott brown

• Strada novissima

Gaetano Pesce
• Post-modernism

Anthea Hamilton
• The Squash

• Grid

• Histograms of architecture

Utagawa Hitoshige

• Grid system encourages various public behaviours

• Vigour of structure- multiplication

• Layers of interaction

• In-between space becomes important to understand how the space exists,

how important it is

• How interior and exterior connect

• Public life

Nana Shiomi
• modern takes of grid system with nature

• Multiplication of interior spaces

• How grid system can become overwhelming

SANAA

• perspective

• Layers but invisible

• Power of lines

• Column in the middle- showing importance of contrasting division

• Thinness

• Reality is not far from drawings

• Thinness in materials

• Extreme

• Test the most extreme version of proposal as starting point

Nendo
• Oki sato

Piet Oudolf

• Open field

• Use of colour

• Filling the in-between time

• Highline new york

 Basil Spence

• Dramatising in-between space

• University of Sussex, meeting house

• Circular form

• Circle- strong form to bring people together

• Circular & light direction- sun movement

• Understanding of transformation of natural world,

another layer not just a elevation

• Religious background- stained glass studies

• Colourfulness in interior

Anouk Legendre & Nicolas Desmazieres

• Blurring of landscape through interior space

• Movement between interior and exterior making it

difficult to understand entry points

• Porousness, fluidity

• Organic form allows for tolerance

• Population movement

• entry points and circulation space

Charles Avery
• Staging experience of in between

Yuko Nagayama
• similar to Avery

• In-between between in-between

AOC
• Staircase

• Staircase as a tool to enable life for the house

• Hearth house

Witherford Watson Mann

• Better Bankside

• Relationship between Southbank and thames

• Highlighting narrative of in-between through

watercolour sketch, annotations

• Precision of what is needed egg, what trees are

needed

• Day-night

• How public space needs to live whatever time it

is

• Question how we read contemporary space in

relationship to the past

• Relationship between different communities

• What is the in-between to you?

• Consider this in your drawings

06:

drawing
space

Drawings inform the way we transform

ourselves; represent ourselves; they are
the benchmark of who we are; our
background; what we engage and have
engaged in. Our politics determine the
scale, materials, form and other aspects.
Again, this means that drawings show our
personalities through the way we
visualise. I found Rachel Whiteread's
drawing intriguing as it shows the way she
sees the world. Her visuals depict
uncertainty and are hybrids between
reality and imagination, which apply to
her actual works.
Drawing Space 6

Lines of Perspective

aesthetic, politics, cannot be neutral

Heath Robinson

• The communal spirit

• Comic-like

• Construct of stories

• Extreme version of those stories

• Relationship we have with each other

• Architecture and structures we need for those relationships to exist

Drawings inform the way we transform ourselves; represent ourselves; benchmark of who we are; our background; what we engage and
have engaged in

Minette de Silva
• Narratives of landscapes

• Materials, patterning coming from local sources

• Language emerging from locality

• Modernist ideals of mainland Europe

• Tropical modernism

Your politics prioritise materials, form, scale, etc.

Tom Ngo

• Normal dwelling

• Micro-world within a larger scale world

• Transforming his rules to architecture

• The rowhouse plan

• Pushing volumes

 Nigel Peake

• What is it to be in a place?

• RHS

• Illustration: opportunity to play with boundaries

• Commissioned by Hermes for their advertisement

• Then to their fashion items

Tom Noonan

• Fragile architecture that is part of the landscape

• Residence for Louis Leroy

• Combination of digital and hand drawing

Carla Jucaba

Laszlo Moholy-Nagy

• Physical body

• Human mechanics

• How do you bring body energy into space

• Rotation

• Movement

• Height

• Body performance

• Repetition

• Phasing of object in space

• Model- double loop

Sara Baker

• Sculptor

• Tension between fragility and solidity

• Living transformative condition due to light on materials

• Connecting to space in a stronger way

Rachel Whiteread

• Visualising something with uncertainty

• Hybrid between reality and imagination

• Scale

Peter Eisenman

• Layers

• Emphasising wonky dimensions with colour

• Super sensitivity to materiality

Superstudio

• Misura furniture series

• Infinite grid

Richard Wright

• Installation at Lismore castle

• Way of engaging with world

• Patterns

• All done by hand

• Movement through visual space

• 1:1 drawing

• Patterns and reflections

• Sequence of consequences from patterns

• Also at Tate, revealing the history and introducing a new narrative

 Gordon Matta-Clark

• Anarchitecture

• Reorganising structure by Drawing though it

• De-constructivism

• Transformation of a building

• Changing the way you interact with the space

• Bringing door down, window up, etc.

• Drawing into the space

Sarah Wigglesworth

• Increasing disorder on the dining table

• Primary school

• Facade as a learning tool

• Small moves but user and experience as the centre of the discussion

Georges Perec
• Understanding perspectives of a city

• How people are moving in time

• Life's a user's manual

Natalie de Vries (MVRDV)

• EXPO 2000

• Programatic questioning

• How to move around space

Visualisation...

What are you trying to say?

How are you saying it?
Who are you speaking to?
Why are you saying it?

Tools (analogue/digital/combination)
Lines (orthographic/visualisation/combination)
Text (real/imagines)
Story (beginning/middle/end)
In-between (context/reality)

Selection is critical
What is appropriate?

Push what you are into at this stage

Don't be afraid to put in on to paper

Plan your drawings now

What views?
08:

drawing
space

Drawing should not just be a serious task,

it should playfully communicate to the
appropriate audience. Drawings could also
reveal the process to add narrative, for
example, Peter Zumthor's sketch for Therme
Vals expose his fingerprints on the sheet,
communicating his organic style. The
Drawing Space lecture series revealed the
importance of key aspects in drawings, as
well as showing the infinite range of
techniques to be experimented with.
Drawing Space 8

Ludic: representation at play

What are you playing with?

How to represent the imaginable ...

Who are you designing//drawing for?

Nature

Simplicity

Unity

Transformation

Surroundings

Animation

Surprise

Pattern

Selection

Spontaneity

Peter Zumthor

• Sketch for thermes vals

• Fingerprints

• No outside walls-spontaneity

• Transformable

FrancoisRoche/R_&Sie(n)

• Spidernethewood

• Spontaneity

Charles Sheeler

• American Interior, 1934

• Collision of perspectives

• Imitating act of being in space

• Sparks curiosity

• Where we see surfaces

• Objects in middles as centre point

• About body, life, engagement, storytelling

• Only part of interior show- stimulates imagination

Clara Porset, Xavier Guerrero

• Perspective-enables viewer to imagine themselves in space

Osbert Lancaster

• Homes Sweet Homes

• Victorian style of objects

• Intimate, organic decorative qualities

• Stability and instability of this particular social setup

Saul Steinberg

• Surreal figures

• Collab with Eames

Klaus Toons

Elmer Bishoff

• Yellow Lampshade, 1969

• Oil based

• Light outside

• Sense of time

Ethel Sands

• Fluffy, floral, absorbing

• Playful

Bruno Munari

• Searching for comfort in an uncomfortable chair

• Design as art

• The circus in the mist

Blaise Drummond

• Lake Eden

• Layering

• Architecture and landscape

Do Ho Suh

• Dyeing

• Connecting back to cultural heritage

• Contemporary culture

• Draws 3d in cad and by hand- hybrid

Giorgio De Chirico

• World movement

• Landscape

Eduardo Chillida

• Plaza-Monumento

• Scaleless

• Experiments

• Layering process

Bronwen Sleigh

Le Corbusier

• Colorist

SHoP Architects

• Rhythms

• Patterns

• Dunescape

Loose-textured structures are now rare

Formal architecture (such as arches) are more common

Alison Brooks

• Recasting

• Translucency

• See-through arches

Louis Ritman

Anne Heringer

• Difficult landscapes

• Tapestry

• Multi-lingual stories

• Connect multiple culture beliefs

• Division of space through material

 1 ��
�

building
life

D The line between interior and exterior is

m becoming faint, and sometimes it

difficult to identify where the interior
is

D
m
lies. This lecture has taught me ways to
distinguish areas, in order to design

a where space begins and ends. Gestalt's

theory shows ways to strategically control
D
m
spaces, using colour and shapes. The
theory is a tool to create subtle rules

a without loudly instructing, which I found

was helpful for my project's concept; to
keep intentions subtle although the
message is big.
Building Life 1:
Interior

Space: where does it begin and end?

Understanding the AND in Interior and Spatial design

http;//howtocrit.com/

Interior: an organised whole that is

Nieuwe Bouwen's functionalist design

Sonneveld House 1930s/ Rotterdam

-high class building

-scale of family

-pragmatic

-designed in collaboration with the family

-tiled, functionalist interiors

-Gestalt theory:

-similarity: exists throughout the whole building through tiles

-continuity: articulation of skirting, doorframe, use of black.

trolley, transportable furniture

-proximity: linking similar elements

-figure and ground: foreground, background. differentiation

between cupboard, floor, window. Painted surfaces.

-symmetry and order: composition, balanced experience

-Colour becomes an agent to break the continuity, proximity

-Subdivided through different activities

-Blue chair--blue chair

-Square table--windows

-Variations of behaviour and activities

-lighting strategically placed

-lines of movement for staircases

-geometrical guidelines

-high class, low class interaction

-kitchen: red- activities, white- hygiene

-checkerboard curtain matching kitchen flooring

Is gestalt the reason why some designers...

According to dieter rams, good design:...

Do rules make for better design?

02:

building
life

Furniture can exist in a variety of scale,

from a chair to mobile houses. The term
defined moveable articles that are used to
make a room or building, which implies a
range of ideas. Personally, this is an
interesting topic, as I am interested in
the limits of furniture. I believe
furniture can be evolved in many
directions, contributing to many fields or
even political topics, such as the mobile
architecture by Studiomama with MINI
responding to housing crisis.
Building Life 2:
Furniture

Furniture: the moveable articles that are used to make a room or building

Architectural furniture: furniture designed to match or to accord

with the architectural features of the rooms

Ryan Gander and Tom Chambers

-kitchen sink

-"close at hand"

Furniture can:

• Connect to anywhere

• Connect to context

What is anywhere?

• Being generic

• Fit for purpose

• Flexible

• Harmonious

• Built to last

Hierarchy

• Ikea/muji/eames

• Hierarchy within
furniture design
(appropriate to the
corresponding
space?)

• Language within
material palette

Michael Thonet: Thonet 214

• No hierarchy

• Associated in historical films

• As best as it could be with as little material as possible

• Light

• Springy

• Strong enough to hold heavy body weight

• Threw it off Eiffel Tower and it survived

• Lightweight, therefore adaptable, accessible and now a classic

• Self-assembling

• 36disassembled
chairs could be
packed into a box
and transported

• High Efficiency

• Increased colour
palettes

• Collaboration with
Muji later on

• Muji: removed inner

circle and replaced
with strip which
matches the edge of
pairing table

Bodleian Library Chairs, Barberosgerby

• Collaborated with isokon

• Strong vertical timber that resembles the spines of books on shelves, that also serves as one of the three legs
attached to its sled base

• Rounded form defines seat frame

• Designed for long use- library use

• Need for it to slightly wobble

• Slight rock on base allows body movement even when sat for a
long duration

• Simplicity of design

• coherent diagram when multiplied

• Made of oak- ageing; connecting to library atmosphere

EarChair, Studio Makkink & Bey

• Designed for quiet use

• Options for length of wings for different uses

• Experimented through foam

Villa Muller, Prague, 1928,

Adolf Loos
• interior as a functional
object

• Constant movement
through choreographed
interior

• Series of half-levels

• Fluidity between floors

through exposed verticality
and on each floor

• Layers of spaces

• Like being in a ginormous cabinet

• Building itself as a piece of furniture

• Architectural furniture

• Cabinet within a cabinet within a cabinet

• Heavyweight reference point for architectural furniture

• Like carlo scarpa, but in a very different way

• Having as much function as possible in the space

Arjaan de Feyter

• Belgian Lawyers Office

• Paired back

• small indicators of smoothness

• Adolf loos in a contemporary style

• Cabinets not disrupting space

• Allowing forasmuch space as possible

Studio Complex Insert, Emrys Architects

• Furniture x architecture

Mobile architecture

Bobby Niven and Iain MacLeod

• Small building- different rules to architecture

• Furniture which allows other furniture to exist inside

• Prefabricated

• Scottish timber- locality

• Economic

MINI x Studiomama
• Housing crisis

• political

• Simple, steel frame

• Cabinets and objects inside

• Aestheticised

SAW and MOA

• Underwear try on booth

• Transaction area

• Consultation area

• Dynamic small space

• Heavy use of glass

• Human scaled so not intimidating

• Utilitarian

• Use of black for strong identity

KCET: Ruth Asawa, George Nakashima, Isamu Noguchi, S. Neil Fujita, Gym
Obata

George Nakashima

• what the furniture is about

• Encouraging the body and social behaviour

• Group

• Variety

Lukas Schwandtner, BA ISD student (2018)

• Collecting people together through chairs

• Coffee house

• Building architecture around the designed furniture

Is it always good to be comfortable?

Responsibility as human beings, welfare

Shift the perspective of what furniture can do

03:

building
life

Urbanism refers to the relationship

between cities and towns and their
inhabitants. People's behaviours in cities
or towns can be controlled through many
different interventions, from very subtle
to highly noticeable elements. For
instance, giving pedestrian crossings a
twist can cause a drastic change in the
way people move. I admire how small can
become big, as well as how rules can be
playful. Not everything has to be
controlled through words and symbols; the
city can become a playground if it is full
of playful urban indicators.
Building Life 3:
Urbanism

Urbanism: study of the characteristic ways of interaction of inhabitants of towns and cities with the built
environment.

Systems exist: walking, cycling, buses, taxis etc.

Boris bikes: certain way of behaving; disruption to flow of street behaviour

Terunobu Fujimori

• 街歩き用小道具 

• Street observatory society

Publica

• Urban planning

• Public realm framework for Waterloo and Southbank

• Observations of the urban environment

• Mapping of the urban environment

• Relationships between facilities in the city

• Certain types of growth and behaviour

• How an urban environment breathes and exists

UCL

• Colouring London

• Activities

• Types of behaviour

• Programming of different activities and spaces

• Different parameters

• Legibility of ourselves in space

• Interconnecting spaces on streets become critical for us

Zebra crossing

Finger sign posts

• Signage systems suggesting behaviours

• Abbey Road

• No traffic lights

• Pedestrians as priorities

• Evolved overtime (split zebra crossings etc.)

• Understanding of sociology on streets

• Tactile paving introduced

• Black and white crossing introduced in 1951 for

improved visibility

• Crossings named after animals (pelican, puffin, zebra) for

children to remember

• Area around beacon flashing would be emphasises, e.g. people's homes behind

• additional adaptations were introduced to cover them to prevent disruptions

• Small intervention but very big influence

• Flashing speed: flashing both at the same time would be a sign of warning but easily ignored. flashing one at a
time attracts more attention

Exhibition Road

• Pedestrian priority surface

• surface designed to indicate priority to pedestrians

• Strong, bold visual motif

• Sense of workmanship- design to be made in old day

crafting method

Cons:

• Increased illegal parking

• Cars driving at normal speed

• Criss-cross not quite reading as zebra

In the end, they had to introduce a sign

Protest Crossing

• Protest to introduce zebra crossing in school zone

• Council refused
 Eduard Cehovin

• Calculation of black to white proportion of zebra crossing

• Using the calculation, recallibrated it in circular shapes

• Testing the human psychology

Toucan Crossing
• Traffic lights, no zebra

• To assist blind and deaf people, add-ons like the button indicators have been fitted

Green man

• Further adaptations:

• Trafalgar Square green folks

• Ampelmann

Camille Walala

• Decorative crossing

• Activates space

• Encourages office workers to cross on the crossing instead of

crossing elsewhere

Kenya Hara

• Japan House, London

• Cultural layers

• Symbolism

Pedestrianised crossing, Oxford Circus

Shibuya scramble

Provocation: Do we fear mistakes?

Small interventions can create big changes
04:

building
life

A curator represents stories and creates

an experience to inform particular
subjects. Disobedient Objects, an
exhibition at the V&A, is an example of
great curation. The exhibition challenged
the image that many people have of what
museums contain and what they are for.
This was a success when a piece of
information from the exhibition spread
worldwide and became a tool to support a
political movement. This reminded me of
what a museum should be- it should inform,
inspire, and support.
Building Life 4:
Curator: presenting the past now

Curator:

• representing stories

• Informing the audience with archival objects

• Provoke understanding of the world in different ways

Disobedient Objects, V&A

• Contemporary ephemera

• Concurrent dialogue (real-time)

• Multiple-conversation (curator, audience, agent)

• Co-conceived with a university

• Challenged the image that many people have of what

museums contain and what they are for

• Curators wanted to barricade the exhibition, to

emphasise transition from old space to new space

• Challenging disobedience in an institutional setting

• Handouts- instructions to create protest objects,

Barnbrook- downloadable online

• Plastic bottle mask: went viral online and helped

Hong Kong protest

• Impact of exhibition on real-life situation

• Re-informs what a museum is for

• Umbrella movement in Hong Kong- this narrative was

inserted into future versions of the exhibition

• Display cases- newspaper cuttings

• Colour coded interpretation

• Grey, yellow, g, y, g, g, y

• Encourages disruptive activity, moving from one

colour to another then back etc

• Staged- elegancy, levels

• Floating cobblestones

• Inflatable hammer

Protected objects:

• Puppets

• V&A Trade union protest

• Object interaction- children friendly

• Protest pipes

• Book- guiding point to the exhibition

• Disconnect: different font from exhibition

• Objects and actual intellectual narratives are different

Provocation: can exhibitions provoke narratives?

05:

building
life
Theatre has evolved over the years, from
traditional Shakespeare style to
immersive, digital-infused stage
performances. The evolution of Hamlet,
from 1948-2016, was an engaging
transformation. Although the origin of the
story is the same, the modern version
interprets the narrative according to
modern events. It presents the economy of
reducing down, with minimal stage set and
introduction to digital media. This was an
interesting example to find out that
theatre can give different perspectives,
and it can become a way to deliver a
message to the world.
Building Life 5

Theatre

4th Wall
• breaking the fourth wall: character in screen talking to audience eye to eye

Katherine Schonfield
• Walls have feelings

• Alfie, 1966

• Film

Kate Moss

• Topshop

• Performed as a model

• Shop into theatric experience

Russian Avant-garde theatre, v&a

• Red- demarcating theatre

• Deconstructing body forms into geometry- Alexander rodchenko

Samuel Beckett

• Waiting for Godot

• Play

• Minimal, economic model of stage craft

• Very thoughtful

• Gestalt

• Total experience

• Theatre stage set merges with theatre interior

• Unifying

• Audience feeling narrative all around

Verner Panton

• Total environment

• Total experience

Hamlet- Shakespeare
• Transformation of hamlet from classical to modern through 1948-2016

• Theatre becomes a way to message the world

• Giving different perspectives

• Economy of reducing down

• One object to symbolise a whole setting

• Representing concepts in minimal ways

• Digital media helps to amplify narrative

Poor theatre: theatre that values the body of the actor and its relation with the spectator and
does away with costume, decor and music

Dogville
• Lars Von Trier

Limen, Royal Ballet

• Tatsuo Miyajima

• Translucent fabric

• Digital media

Einstein on the Beach, Philip Glass & Robert Wilson

• Playing with visual architecture

• Drawing and representation of architecture

• Gymnastics

• 5 Hours long!!

• Time is an interesting stating in theatre world

Tino Sehgal
• These associations, Tate modern, 2012

William Forsythe
• Choreographic objects

• Interactive performance

Asif Khan & Pernilla Ohrstedt

• Cloud york hall

• Experimental piece of architecture

• How minimal architecture can be

Jocelyn Herbert
• Masks

• Workbook 02

Theatre is dead?

06:

building
life

To create an experience is a wide act,

from product design to event planning to
environmental design. However, one thing
that they all have in common is that they
should provide meaningful and relevant
experiences to users. In spatial concept,
the experience is a totality of time,
space, and sense. This is something to
digest for my project to ensure these
aspects in total create the experiences I
am envisioning.
Building Life

Experience Design

Richard Misrach

• Photographer

• Urban development

• Image becomes a tool to experience space

Laura Aguilar
• body in landscape

• Her experience through image

Hilary Mushkin

• Experience of going into landscape

• Experience of space

XD Experience design:

designing product, processes, services, events, omnichannel journeys and environments- totality of the experience.

UX: User experience:

Creating products that provide meaningful and relevant experiences to users. Design of the entire process of
acquiring and integrating the product, including aspects of branding, design, usability, and function.

Vertical process

D school Stanford

Stick Library

Is this for everyone?- MoMA

Architecture as Art, Pirelli HanharBicocca, Milan, 2016

Bring a spatial device suitable for encouraging visitors to look at architecture from a new perspective, relying on the
persuasive effect offered by the museum display not dedicated to museum architecture

SIDEWALK
• Beginning middle end

Studio Albori
• Rules determined by unusual geometry
• Beginning middle end- loose but clear

BRICKOLAGE
• Transparency

• Movement

• Organic

Rural studios

• Waste materials

• Acoustic

• Mass

• Stepping techniques- engage with surface

• Ceiling- paper and clips- unison, totality

• Sensory driven: smell, sound

Sempering: MUDEC, Milan, 2016

• Weaving

• Recycled materials

• 3d printing

• Clay printing

• New interfaces

• Economic and sustainable

• Showcase of different types of making

• Robotic construction method

Rural Urban Framework

• Interior rough, exterior refined

• Making: reimagining of the local area

• Ventilation, circulation

• Rural community

Studio Mumbai
• Porch

• Journey

• Small moment within a larger system of experiences

• Relationship of journeys, architecture, threshold

Atelier Bow-Wow

• What is it like to be home?

• William Morris wallpaper

• Holes in walls for light to move through

• "Home space"

• Space of questioning, contemplation

• Asking audience to question, does not encourage any form of

interaction

Time + Sense + Space = Experience?

08:

building
life
From this lecture, I found the signage and
furniture design by Jo Nagasaka and
Schemata Architects for the Museum of
contemporary art Tokyo most intriguing. As
seen in the previous lecture about
furniture, furniture pieces have a high
potential to change the way we behave. The
moveable signage and furniture by Nagasaka
and Schemata Architects are tools for
users to determine how they behave and how
they script the experience. Not only are
they great triggers for new interaction,
but they are also stylish and practical.
 Building Life 8

Writer: scripting space

We all do it

Schemata Architects/Jo Nagasaka

• Signage and furniture for museum of contemporary art

Tokyo

• Designed to be mobile

• Pieces can be moved to any location

Narrative

Where-you-are

• Digital version as well as hardcopy

Seowonmoon Lantern, Urban Folly

Are we human? 3rd Istanbul Biennale

Maropeng Acts I & II, Lesley Lokko

Cambio, Formafantasma, serpentine 2020

• Wood

• 100% recyclable book

Mémoires, Guy Debord + Jorn Asger