University of Technology Sarawak (UTS) Bachelor of science (Hons) in Architecture, year 2 semester 1
HISTORY & THEORY OF ARCHITECTURE ll
BSA4323
Bong Rui Fang | Lecturer: AP AR Ian Aik-Soon Ng BSA21030001
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Front cover: https://brabbu.com/blog/2018/04/genius-visionary-french-architect-corbusier/, accessed 17th January 2021 https://www.archdaily.com.br/br/01-185940/feliz-aniversario-mies-van-der-rohe, accessed 17th January 2021
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University of Technology Sarawak (UTS) Bachelor of science (Hons) in Architecture, year 2 semester 1
HISTORY & THEORY OF ARCHITECTURE ll
BSA4323
Bong Rui Fang | Lecturer: AP AR Ian Aik-Soon Ng BSA21030001
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A collection of works under: History and Theory of Architecture ll School of Built Environment (SBE) Year 2 semester 1 , studio 3
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CONTENTS Foreword ……………………………………..……………..……..…6 – 7 Introduction……………………………………………..……….…...8 – 9
Exercise 1ax: The arts and crafts movement in Sarawak ………....10 – 17 Exercise 1bx: Column spacings……………….…………….....……18 – 23 Exercise 1bx: My DUN hat………….…………………………..…..24 – 27 Exercise 1cx: Timeline…………….…………...……………....…....28 – 35 Exercise 1dx: Bario and Me……….…………………………..…....36 – 49 Assignment 1.1: Sketches……..………………….…………...........50 – 57 Assignment 1.2: Sketches……..………………….…………..........58 – 65 Assignment 1.3: Sketches……..………………….……...…...........66 – 69 Assignment 1.4: Sketches……..………………….……...…............70 – 75
Assignment 2: Model, Art Tower Mito………………..…..…...........6 – 89 Assignment 3: Portrait painting, Liminal …………….….…….…...0 – 93 Epilogue…………………………………………………….…..…..94 – 95
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Figure 1: A screenshot of our very first HTA ll class together, how fast time flies.
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FOREWORD I had a blast in my undertaking of History and Theory of Architecture ll. This is duly credited to our lecturer, AP AR Ian Aik-Soon Ng, for curating the course to be mind-provoking, pleasant and immersive. It has all contributed to a very exciting, humbling and amazing learning experience for me. All the exercises given forced me to put more juice into my brain! I have been looking forward to this class all semester but alas, all good things will come to an end. I must take this opportunity to immortalize my gratitude to Mr. Ian, for guiding the class critically throughout the whole semester whilst being friendly and understanding. Many thanks extended as well, to my study group mates; Ain, Daniel and Alvinwhere all my group projects take place- for being cooperative, easy to work with and for being such cool people. And to studio 3- of course you guys are swell as well.
Rui Fang 18th January 2022 Kuching
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INTRODUCTION This booklet documents all assignments done under the course, History and Theory of Architecture ll. We began with exercises 1ax to 1dx. These exercises are classroom driven and a result of the activities and discussions during the classes. 1ax: The arts and crafts movement in Sarawak, done in a group is an application of what we’ve learnt on our first foray into HTA ll to our local context. 1bx: Column spacings, also done in a group was a curiosity born after a sharing session from one of our classmate’s trip to China. 1bx: my DUN hat is an exercise on building identity. 1cx: Timeline is a cumulative effort in assigning our learnt lessons into the Charles Jencks evolutionary tree. 1bx: Bario and me is a studiorelated assignment which prodded us to think critically of our design project in terms of Bario and the Kelabits, and theory of architecture. These are followed up by assignments ASN1 to ASN3. ASN1: sketches is a set of sketches done after each lecture to document our understanding and analysis on the architecture or art theory learnt in class. ASN2: Model, Art Tower Mito would be a grouped model making to understand the construction of the selected architectural theory. Finally, ASN3; Portrait painting, Liminal is a reflective self-portrait done in a style of a selected art period.
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Exericse 1ax
The arts & Crafts Movement In Sarawak Contextual application of ACM theory
With Ain, Alvin and Daniel 10
11 Figure 2: The Old Sarawak Museum in her most original form. (https://www.borneotalk.com/a-gem-of-a-museum/, accessed 10th October 2021: )
Figure 3: An Arts & crafts exhibition Society London. ( http://intranet.pogmacva.com/es/obras/62906, accessed 10th October 2021)
The arts and craft movement is fundamentally a social critique on the rapid industrialization of the arts. The industrial revolution has transitioned the craftsman climate from ‘’the artist as the master’’ and brought forth the ‘’death of the artist.’. This movement started in the British isles and advocated for traditional building methods, materials and typology. A building that most closely represented these ideals in Sarawak would be the Old Sarawak state museum. 12
Figure 4: Characteristics of The Old Sarawak Museum. ( https://www.borneotalk.com/a-gem-of-a-museum/, accessed 10th October 2021 )
Firstly, the old Sarawak State Museum was built with a humanist zeitgeist; built and crafted by people using humanly tangible built systems rather than industrialized framework. The ‘’humanly tangible built systems’’ refers to such characteristics; the main body of building being handstacked bricks, decorative craft work of Quoin stones, roofing shingles crafted from belian and ultimately the building was built from ground up by hand.
These characteristics are all assembled by hand, craftsmen and labourers; truly embodying the reverence ACM has for craftsmen and handiwork. The materiality of the building being traditional bricks and wood also adds to the spirit. To add onto the time frame the Old Sarawak State Museum was built (1896) coincides with the ACM movement between 1880 and 1920, so it may as well be inspired by the movement. 13
The 2017 Old Sarawak Museum Figure 5: The Old Sarawak Museum in 2017. (https://sarawakheritagesociety.com/misc-heritage-news-august-2017-to-january-2018/, accessed 10th October 2021 )
ACM rejected the manufacturing process and wanted the craft skills and honest design as the central of the manufacturing process.
built systems rather than the industrialized way. Their appearance and craftsmanship were unique to the skilled artisans of the region
This can be seen adapted to the tropical design through the characteristics of tropical architecture. It uses some materials and skills, similar to the buildings in arts and craft movement back in the British Isles. In tropical countries ,most of the residential buildings were built by local carpenter or craftsman, the building usually built from scratch and by humanly
Tropical design included steeply pitched roofs with large overhangs, generous window openings and wraparound verandas. From the picture, this is the similar characteristics shared between ACM and tropical design. From this we knew that, ACM design philosophy is indeed adapted to tropical design. 14
Figure 6: Tree if life Mural in The Old Sarawak Museum. (https://www.borneotalk.com/a-gem-of-a-museum/, accessed 10th October 2021 )
Exposed structural rafters to express the handiwork done by the builders of the museum. A lot of local motifs were also implemented into the interiors of the building in forms of prints or carved decals. Although these motifs came in much later after the building was built- this gesture still somewhat retains the ACM spirit by intending to display the local crafts and artwork in the interiors. 15
Figure7 : Mural in The Old Sarawak Museum by contemporary artists . (https://www.borneotalk.com/a-gem-of-a-museum/, accessed 10th October 2021 )
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Figure 8: The Old Sarawak Museum. (https://sarawakheritagesociety.com/mischeritage-news-august-2017-to-january2018/, accessed 10th October 2021 )
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When applying a theory to local context, 2 fragments rose, does the traditional buildings built by local craftsmen, with local materials and with vernacular characteristics embody ACM more than the more visually similar colonial buildings, build in the same time frame, commissioned by the people who most realistically knew of the movement? In my opinion, both can be. Both, after all does embody the ideas of traditionally built buildings, with vernacular characteristics. Buildings are also extremely nuanced and complex; the buildings on the left, when built by the Brookes; to them yes, this is the vernacular traditional ideal, fueled
Figure 9: The Iban longhouse. (https://outbackventure.com/galleries/lon ghouse-sarawak/, accessed 10th October 2021)
by the spirits and theory of ACM based on what it is like back in England, with some adaptions to the tropics. To locals in present day, this is a foreign colonial building. Time and background does give nuance. The buildings, on the right perhaps one may argue that social ideology is a criteria in architectural theory or movement. However, the same circumstances that provoked the start of a theory uprising isn’t just going to happen everywhere. ACM was a response to rapid industrialization in the 1800s, Sarawak never had any form of industrialization in 1800s. But the drive to preserve traditionalist crafts and built has always persisted in all cultures, which is exactly what ACM is. 17
Exercise 1bx
Column spacings Symbolism beyond structural elements
With Ain, Alvin and Daniel 18
Figure 10: Through the columns in the Forbidden CIty. (https://500px.com/photo/92768765/Chinese-palace-by-Haiwei-Hu/, accessed 24th October 2021)
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Figure 11: The Beijing Summer Palace. (https://m.visitourchina.com/beijing/attraction/summer-palace.html, accessed 24th October 2021)
In ancient chinese beliefs, people used to associate the number palace’s room to the number of column. 4 columns = 1 room/space. Therefore, there is a set span between columns to symbolize a set number of room. If a column happens to differ in size, it means there is ½ size of a room/space in the building. An example of columns equal to the number of rooms would be the Hall of Supreme Harmony. (太和殿） Inside this hall, there are 72 columns with equal length between all of them, this means that there are 18 full/proper rooms/spaces inside this hall. 20
This whole idea of having ½ spaces/rooms came from an old tale of The Yong Le emperor. The Yong Le Emperor wanted to build the Forbidden City, and intended to build 10, 000 rooms in one of the palace to symbolize good fortune. Unfortunately, one day, he had a dream that the Jade Emperor ( Emperor of Heaven) told him that only divine beings of the Heavenly Palace is qualified to have 10, 000 rooms. It is extremely disrespectful to the Gods if he insisted to do it. The Yong Le Emperor however still intended to go along with he original plan. To work around the rules of the divine, he decided to reduce the amount of rooms by half which is 9, 999 ½ rooms, just falling a bit short behind the 10, 000 rooms.
Figure 12: The Yongle Emperor. (https://www.worldhistory.org/Yongle_Emperor/, accessed 24th October 2021)
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Figure 13: The types of columns. (http://www.xiuchuanyuanlin.com/zdz/index.php/News/view/id/422.html, accessed 24th October 2021)
These difference in column widths and numbers then translated into meaning. Columns in traditional Chinese architecture is normally used to differentiate spaces. Different spaces have different sizes, thus different distances between the columns. Ming Jian : Entrance, used for family meetings Ci Jian : Located on both side of Ming Jian, smaller than Ming Jian Shao Jian : Next to the CI jian, smaller than Ci jian, used as firewood store place Jing Jian : It defines the last corner room or space Corridor : A side corridor, it is a ½ space of the room 22
Figure 14: Column placement and size of foundation. (http://www.xiuchuanyuanlin.com/zdz/index.php/News/view/id/422.html, accessed 24th October 2021)
The column spacing influenced the form of the building because the length of the building is the sum of the interval between columns meanwhile the width of the building is based on the fixed ratio which is 8:5. Hence, the architecture of the building is based on the fixed ratio which is a direct result of column spacing. If the column spacing repetitive, it will change proportion of
are the
the column order (Jinshen) and the width of the column order (通面阔 Tōng miàn kuò). It will be 5:5 proportion of the column in depth and wide. The dougong system will be difference to the originate pattern, it is possible to change the support point and the overall strength for whole building.The form of the buildings will change as the column will influence the layout and space of the building.
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Exercise 1bx
My DUN hat Building identity
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Figure 15: The Dewan Undangan Negeri (DUN) Sarawak . (https://www.flickr.com/photos/azamali27/15271832201, accessed 21st October 2021 )
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Figure 16: The Dewan Undangan Negeri (DUN) Sarawak , edited. (https://www.flickr.com/photos/azamali27/15271832201, accessed 21st October 2021 )
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This is My Fair Lady,
Audrey HepDUN On pre-conceived gender projection onto architecture; I called Audrey HepDUN. The hat was derived from a pop culture movie, ‘’My fair lady’’, starring Hollywood classic, Audrey Hepburn. The new hat on itself is so ornate (in a non-Sarawak way), but DUN still looks local, this is a testament of how well the identity is represented in the overall architecture. The original hat was the one most defining characteristic of the building, but many other traditional elements; verticality (stilts), pitched roof, ‘’plaiting’’ , etc can still make up for its identity. With this new hat, it just looked more ‘’feminine, like a 19th century bourgeoisie lady out for afternoon tea. Buildings are monuments. They’re the modern obelisks, monolith and pyramids. They’re objects made to last long and for specific benefits, so it is only natural something so emblematic has to represent something. To be more specific, it should reflect the functionality and ideas behind the conception of the building. The re-imagination isn’t ‘’better’’ per say but I think it juxtaposes the typical socalled ‘’masculine’’ approach of government/authority buildings; huge, imposing and authoritative. Adding a ‘’frivolous’’, fun feminine flair may prompt people to recontextualize how they see ‘’gendered’’ preconceptions on how certain architecture should be.
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Exercise 1cx
Timeline Assigning learnt theories to the Charles Jencks timeline
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s Jencks evolutionary tree. ogspot.com/2015/03/charles-jenckss-evolving-evolutionary.html, accessed 6th November 2021)
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Figure 18: The Charles Jencks evolutionary tree, integrated with leant architecture and art periods.
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Exercise 1dx
Bario and me Introspection of design studio 3
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Figure 19: Bario, overlooking the paddy fields. (https://labanglonghouse.com/bario-things-to-see/bario-views-top/, accessed 6th November 2021)
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Bario community school
LU’UN LINO
Figure 20: First look of Lu’un Lino.
Lu'un Lino (in Kelabit: On waters) is a community-based green school. The naturality of the site takes form in organicism, expressing the water elements overhead (the rain) and underneath (paddy field) as well as naturalism through fluid forms, and various relationships of continuity. 38
Bario community school
SITE
Figure 21: A look into the paddy site, undisturbed.
Paddy and agriculture became an inspiration – the Kelabits being a agrarian community makes up a large part of identity to the Kelabits in Bario; even more so when it has translated to their main source of economy in the contemporary world.
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Bario community school
ORGANIC ARCHITECTURE
Figure 22: A segment of Lu’un Lino.
Organic architecture is largely influenced by contextual natural environment and response- or co-existance- with it. Lu’un Lino has merged itself with the paddy site; It does not detract, obstruct from the site but it blends, co-exist and emphasize. To be open- integrated with nature;free, fluid and continuous. 40
Bario community school
IDEAS
There is an inspiration derived from the natural way the Kelabits do agriculture, which is silvopasture. In which, the Kelabits just lets the corps and animals flourish naturally without much intervention. I try to create a relationship inspired by that, socalled co-existing. This can be done through integration with the natural site, climate and organic forms. 41
Bario community school
IDEAS
Figure 23: An expression of rain.
Our site is located on paddy, so there is a lot of water element involved. There are also a lots of rain in Bario, So, water overhead and water on ground. Vernacular architecture, the architecture prevalent in Bario is very much influenced by rain and the climate. The architecture enables the natural water flow.
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Bario community school
IDEAS
Figure 24: Undulating curved roof enveloping much of the structures.
In this case it’ll be to immerse and co-exist with the natural process of paddy cultivation from waters on top to down below in the paddy. The idea is an abstraction of it. It is to connect the water overhead and water on ground, create a relationship, a continuity with the natural climate and contextual practices. 43
Bario community school
IDEAS
Figure 25: Development of typology.
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Bario community school
IDEAS
Figure 26: Development of typology.
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Bario community school
DESIGN
Figure 27: A panorama of Lu’un Lino.
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Bario community school
DESIGN
Figure 28: An intermediatory ‘’singgah’’ community space.
Figure 30: A private library space.
Figure 29: A small dry kitchen is provided.
The Spaces are all very open, free, merging with nature and maintain some sort of continuity with nature. (outdoors) No walls, free plan and non-load bearing walls. Certain degree of skin to the building exist in louvered doors or windows. In the library, brick walls are erected to still provide a degree of privacy, however the walls are non-load bearing and does not even touch the ceiling. Being free-spirted and nonconformist edges me to create nonrestraining space; free-plan, no walls, no rooms, fluid and continuous. 48
Bario community school
DESIGN
Figure 31: The office on the first floor.
Figure 33: The washrooms.
Figure 32: The compound.
Being environmentally conscious is also something I try to be. Thus, the affinity towards organic forms, free-plans, open spaces, passive design strategies and the efforts to relate to the site as much as possible and create architecture that coexists with the environment and even emphasize it. It also manifests itself in the idea to create a roof that envelopes the structure at large that it very much also functions as enveloping walls instead of thinking each structural element individually. Eg; wall, roof, floor, etc.
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Assignment 1.1
Sketches Analysis of architectural periods and theories
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Figure 34: An art print from the Arts and crafts movement. Morris Golden Lily. (https://morrisandco.sandersondesigngroup.com/product/wallpaper/the-craftsman-wallpapers/golden-lily/dmcr216461/, accessed 17th January 2022 )
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Figure 35:
WIGHTWICK MANOR, ENGLAND | Architect: Edward Ould Year designed: 1887 | Year completed: 1893
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Figure 36:
OLD SARAWAK STATE MUSEUM, MALAYSIA | Architect: N.d. Year designed: 1888 | Year completed: 1893
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Figure 37:
CHICAGO BUILDING, USA | Architect: Holabird & Roche Year designed: 1904 | Year completed: 1905 54
Figure 38:
MONADNOCK, USA | Architect: Holabird & Roche, and Burmham & Root Year designed: 1891 | Year completed: 1896 55
Figure 39:
HOTEL TASSEL, BELGIUM | Architect: Victor Horta Year designed: 1892 | Year completed: 1893 56
Figure 40:
SECESSION BUILDING, AUSTRIA | Architect: Joseph Maria Olbrich Year designed: 1897 | Year completed: 1898 57
Assignment 1.2
Sketches Analysis of architectural periods and theories
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Figure 41: Piet Mondrian’s composition with Red, Blue and Yellow, and icon of the De Stijl movement. (https://www.soho-art.com/oil-painting/1044463682/Piet-Mondrian/Composition-with-Red-Yellow-Blue-and-Black-1921.html, Source accessed 17th January 202
Figure 42:
BEHRENS HOUSE, GERMANY | Architect: Peter Behrens Year designed: 1900 | Year completed: 1901
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Figure 43:
FAGUS SHOE FACTORY, GERMANY | Architect: Walter Gropius & Adolf Meyer Year designed: 1911 | Year completed: 1925 61
Figure 44:
BAUHAUS DESSAU FOUNDATION, GERMANY | Architect: Walter Gropius Year designed: 1925 | Year completed: 1926 62
Figure 45:
SCHRODER HOUSE, NETHERLANDS | Architect: Gerrit Rietveld Year designed: 1924 | Year completed: 1924
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Figure 46:
GEOTHEANUM l, SWITZERLAND | Architect: Rudolf Steiner Year designed: 1913 | Year completed: 1919
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Figure 47:
FALLING WATER, USA | Architect: Frank Llyod Wright Year designed: 1936 | Year completed: 1939
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Assignment 1.3
Sketches Analysis of architectural periods and theories
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Figure 48: A purist painting by Le Corbusier, ‘’ Still life’’. (https://www.britannica.com/topic/Still-Life-painting-by-Le-Corbusier, accessed 17th January 2022)
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Figure 49:
UNITE D’HABITATION, FRANCE | Architect: Le Corbusier Year designed: 1947 | Year completed: 1952
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Figure 50:
BARCELONA PAVILLION, SPAIN | Architect: Mies Van Der Rohe Year designed: 1928 | Year completed: 1929 69
Assignment 1.4
Sketches Analysis of architectural periods and theories
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Figure 52: A post-modern piece by Jackson Pollock, ‘’Blue poles’’ (https://theartwolf.com/pollock/, accessed 17th January 2022)
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Figure 51:
VANNA VENTURI HOUSE, USA | Architect: Robert Venturi Year designed: 1962 | Year completed: 1964
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Figure 53:
PIAZZA D’ITALIA, USA | Architect: Charles Moore Year designed: 1970 | Year completed: 1978
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Figure 54:
WEXNER CENTER FOR THE ARTS, USA | Architect: Peter Eisenman Year designed: 1983 | Year completed: 1989
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Figure 55:
PERMAEBILITY HOUSED, MALAYSIA | Architect: Tangu Architects Year designed: 2020 | Year completed: 2021
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Assignment 2
Model, Art Tower Mito Iconic buildings
With Ain, Alvin and Daniel 76
Figure 56: Looking up Art Tower Mito. (https://amazingarchitecture.com/skyscrapers/art-tower-mito-in-japan-by-arata-isozaki, accessed 12th December 2021: )
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Figure 57: The Charles Jencks evolutionary tree. (https://archidose.blogspot.com/2015/03/charles-jenckss-evolving-evolutionary.html, accessed 6th November 2021: )
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Our group has chosen ‘’Iconic buildings’’ from the historicism lineage as our field of study. Historicism started from ‘’neo-liberty’’; a sort of revisionism in architecture where academically revered classical styles is being replicated. It has very blurred boundaries with revivalism where both strains echo previous architecture styles.
Interestingly, the penchant to replicate previous architecture eras evolved into ‘’symbolic architecture’’. It is as if the ideology has gained some independence design-wise and departed from previously emblematic styles to cement their own brand of symbolism. Thus finally, we arrive at ‘’Iconic buildings’’, driven by the same intent. The older revered styles were replicated to communicate a sense distinguished grandiosity, a symbol of recognized merit. The shift into ‘’Iconic buildings’’ reveal a graduation from copying previously revered styles into establishing new, iconic and distinguished buildings. In spirit, this lineage is about creating cultural monuments.
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of Art Tower Mito. cture.com/skyscrapers/art-tower-mito-in-japan-by-arata-isozaki, accessed 1st November 2021: )
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Art Tower Mito (ATM), designed by Arata Isozaki is an iconic piece of a viewing observatory that stands 100 m tall. It is accompanied by a plaza with 3 separate units; a concert hall, auditorium and art gallery. Opened in 1990 to commemorate the 100th anniversary of Mito’s designation as an official city, it is a feat of titanium construction. The structure is made up of 28 tetrahedra, measuring 9.6 m on each side, that are stacked upon one another. The edge lines of the stacked tetrahedra are automatically twisted with steel pipes measuring 500 mm and 21-60 mm in thickness along the ridges. Supporting pillars known as rakers or raking shores have been installed along the lowest part of the regular tetrahedra. The structure of the basement of the tower does into the ground level, and is supported by the bedrock. Art Tower Mito has pioneered and kickstarted the usage of titanium on large scale in Japan as well as pushing the limits of titanium as structural and expressionist materiality. Placed in a midst of low, concrete buildings, the tall steel tower elevates itself even further as the iconic building etched in the middle of Mito city. Recognizable, monumental and a revelation of the prowess of titanium in architecture.
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Figure 59: The planning of modelling. (http://kenchikukeikaku2009.seesaa.net/article/121884548.html, accessed 1st November 2021: )
The orange square should represent the A3 base with 100mm height as a whole, with the highlighted components being the buildings that will be modeled which will covered around 75-80% of the base. On the A3 based model, the tower will be 500mm. The triangle tower will be built to express its skeletal form. It will be modelled in a computer software. After printing it out in its 3D form, the group will come together to attach around 75% coverage of plastic transparent triangle panels onto the skeleton to show the PLA panel of the top floor and show the windows of the buildings. This is to imply the existence of a covering without compromising the visibility of the structure and show the details of the steel and concrete. 82
Figure 60: The material that will be used for the model is the Polylactic Acid (PLA). (https://www.creativemechanisms.com/blog/learn-about-polylactic-acid-pla-prototypes, accessed 1st November 2021: )
Information on the working drawings, context and structural details of Art Tower Mito will be collected online through multiple websites featuring the tower itself. Modelling will then be done digitally using computer aided graphics on SketchUp. After the digital modelling is completed, the model will then be 3D printed out.
Figure 61: The planning of modelling. (http://kenchikukeikaku2009.seesaa.net/article/121884548.html, accessed 1st November 2021: )
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84 Figure 62: The group has modeled the tower on sketchup.
85 Figure 63: Finished model 2.
Figure 64: Finished model closeup.
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Figure 65: Finished model closeup 2.
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Figure 66: Finished model.
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Caption on model:
Art Tower Mito is an iconic piece of a viewing observatory that stands 100m tall and accompanied by a plaza with 3 separate units; a concert hall, auditorium and art gallery. Arata Isozaki developed a style which reflected both Japanese traditions and Western post-modern and mannerist influences. As a young architect, he was identified with Metabolism, a movement founded in Japan in 1960. Art Tower Mito has pioneered and kickstarted the usage of titanium on a large scale in Japan as well as pushing the limits of titanium as structural and expressionist materiality. Placed in a midst of low, concrete buildings, the tall steel tower elevates itself even further as the iconic building etched in the middle of Mito city. Recognizable, monumental and a revelation of the prowess of titanium in architecture.
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Assignment 3
Portrait painting, Liminal Artistic self-reflection
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Figure 67: Post-Impressionist piece by Van Gogh, ‘’The Starry Night’’. (https://www.moma.org/collection/works/79802, accessed 18th January 2022)
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Figure 68: Self portrait, ‘’Liminal.’’
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A post-impressionist piece,
LIMINAL This is a rather personal, melancholic and abstract piece, encouraged by the introspective nature of post-impressionism. I’m always on a perpetual cycle of mania or neuroticism represented by extra heads and the unnatural blue and red colours. I lack emotional permanence, so most of the times I feel like very different people. These 2 phases, deny each other exist, live their own lives when they come out and do whatever; be extremely anxious and neurotic or be impulsive and hyperactive. After one ends, the other will come and will be unable to deal with whatever I might have started while hyper or anxious.
It doesn’t really matter because In the end, I’m still the one who has to deal with my behaviour. To be accountable, I need to be as self-aware as possible and become a mediator to myself, between the other 2. The venus flytrap has quite a lovely flower, but down the long,long stem lies a patch of carnivorous plants. This neurodivergence makes close relationship difficult. Maybe it seems appealing, but I will most definitely sabotage it out of helplessness. At the end of the day, I’m just doing my best.
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Figure 69: A screenshot of our last HTA ll class together, revision session for final exam.
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EPILOUGE This course has encouraged me to think critically in regards of architecture theory and the social zeitgeist behind each movement. Past and present; it all comes back to a long, long line of narrative spanning across the centuries. There is an undelaying theme in the expression of self, personal thoughts, growth and locality. As theory doesn’t exist in a vacuum nor it should be placed on a pedestal- a white, marbled one. We recontextualized how these theories could fit and aid us in design as well as how well it meshes with our personalities and ideologies.
This course ended on a very fruitful harvest, and I look forward to learning more regarding history and theory of architecture as I move forward in my architectural journey.
Back cover: https://trhamzahyeang.com/ken-yeang/, accessed 17th January 2021 http://www.tcktown.com/newsletterexclusives/remembering-geoffrey-bawa-sri-lankas-master-architect, accessed 17th January 2021 https://www.bleuscape.com.au/blog/tag/glenn-murcutt-architect/, accessed 17th January 2021
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‘’……We don't turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected....’’ Glenn Murcutt
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