Artistic Research
New Form of Small Housing Inspired by Jazz Improvisation Anyue Deng Tutor: Eric de Leeuw
ArtEZ University of Arts Zwolle, Netherlands Corpo-real Master of Interior Architecture
Artistic Research
New Form of Small Housing Inspired by Jazz Improvisation Anyue Deng Tutor: Eric de Leeuw
ArtEZ University of Arts Zwolle, Netherlands Corpo-real, Master of Interior Architecture
Content Chapter 1. Introduction
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Chapter 2. Improvisation in Space
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Rhythm 6 Melody 6 Harmony 7 Conclusion 9
Chapter 3. The Scenario of Small Housing
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Chapter 4. Towards the New Form
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List of Figures Fig. 1 Undulating Glass Panes Fig. 2 My Favourite Things - John Coltrane Jazz Score Fig. 3 My Favourite Things from The Sound Of Music Fig. 4 Perspective drawing of Cedric Prices "Fun Palace" Fig. 5 Jazz Space Prototype Fig. 6 Jazz Space Prototype- Lighting Fig. 7 Taichung Room Fig. 8 Tatami Layout Fig. 9 Small Housing Size Fig. 10 Floor Plan Fig. 11 Concept Montage Fig. 12 Landform Interior Fig. 13 Section 1 Fig. 14 Section 2 Fig. 15 Section 3 Fig. 16 Section 4 Fig. 18 Division Unit- Glass Panels Fig. 17 Division Unit-Walls Fig. 19 Shelves Unit Fig. 20 Division Units Fig. 21 Lighting - Day Fig. 22 Lighting - Night
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Chapter 1. Introduction
This artistic research paper is the second part of the graduation, the extension of the theoretical part, Improvising Space towards Openness. During the time of writing the previous section, the artistic research had started. From this very abstract topic, I kept asking myself, is there any chance to find a way to apply the research outcome to this continually changing and gradually complexing world? How can personal interest and my academic education guide me moving forwards to the future? During the time of thinking and writing for the previous section, the artistic research had started from this very theoretical topic. I kept asking myself, is there any chance to find a way to apply the research outcome to this continually changing and gradually complexing world? How can personal interest and my academic education guide me moving forwards to the future? The second part, artistic research would aim to find methods to spatialize music elements and through that, apply the improvisation into a scenario of small housing Thus could provide a different way of thinking towards this urgent global issue. After a series of exploration through making and reflection, the main research question was decided as: How can Jazz Improvisation help to develop a new form of small housing? The structure of this artistic research will be a process of deconstruction the main research question. It is a record of how this question is gradually being clarified and trying to answer within the making procedure. Firstly there will be a process of trying to explaining Jazz Improvisation as an inspiration of the spatial design. The research is mainly focusing on how to possibly apply some of the music elements to space, thus 1
making the attempting to transform Jazz Improvisation into a system of spatial design language. Thus, starting from my personal dwelling experience, the scenarios to explain the reason why the concept of Small Housing should be introduced to this research and how it referenced the Japanese tatami style layout to clarify its definition. The next step will show how this research move to design aspect in quite an untraditional way. With the primary method which was taken mainly based on experience and sentimental choice, this not is a very rational design process. The results in the format of nearly the stream of conscious can also present some characteristic of improvisation. Eventually, there will be a conclusion to answer the research question above with an example of the new form which contains all the knowledge I gained with the previous step, to visualize the answers of the research question.
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Chapter 2. Improvisation in Space
To specify what is the meaning of introducing Jazz Improvisation into this research, a series of subquestion to explore first: What music elements can take as a reference for architectural design? At the beginning of this artistic research, the first thing that was brought to the table was the relationship between music and space design.
Fig. 1 Undulating Glass Panes [ONLINE] https://www.flickr.com/ photos/47333265@N00/8196735660/in/photostream/ [Accessed 21 June 2020]
Research on this subject has many aspects, such as the Undulating Glass Panes system developed by Le Corbusier in Couvent de La Tourette and Xenakis, which explores a mathematical proportional relationship between music and building facades. In this research, the approach is to analyze the essential elements of music first, and then according to different essential elements, migrate and compare the characteristics of jazz improvisation, and finally develop a set of corresponding spatial design elements. 3
The most basic three elements of music-Rhythm, Melody, Harmony and plus Timbre.The following will combine the original section of My Favourite Things and John Coltrane Jazz version as an example to analyze the personal characteristics that I think can reflect Jazz's performance and try to convert these characteristics into spatial elements.
Fig. 2 My Favourite Things - John Coltrane Jazz Score [ONLINE] https://musescore.com/branmich/my_favourite_things [Accessed 21 June 2020]
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Fig. 3 My Favourite Things from The Sound Of Music [ONLINE] https://sheetmusic-free.com/my-favorite-things-sheet-music-the-sound-of-music/ [Accessed 21 June 2020]
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Rhythm refers to the slowness and slowness of music, which is composed of the length and strength of sound. It is an indispensable element of music. In the development of music, rhythm is first produced. Without rhythm, music cannot be established—human movements, such as breathing, pulse beating, walking, and tide etc. The rhythm is affected by the duration of the note, and it is reflecting the speed. The elements transferred to the architectural design can be associated with the size of the space. Combined with the movement of humans in space, for example, when you move at the same speed, the time to travel through a more substantial area is longer, and naturally, it will be faster to go through a smaller room. Coltrane's changes in rhythm can be seen in the score of the previous few bars; the original relative mean rhythms were chopped up into more subtle combinations by him. Some notes become more rapid, while others are prolonged, adding a mediumjump to the overall listening experience as if you're walking through a combination of small and large spaces. Melody is the sequence of the combination note in music, and the combination becomes a discernible musical element. It can refer to the continuous progression of sounds, which is composed of a combination of pitch, length, speed, and strength. There is no harmony in melody, and it can still form music (such as some folk songs); but it cannot be separated from the rhythm (such as a series of high and low sounds, there is no change in length, it is very monotonous .) Therefore, the relationship between melody and rhythm is complementary. In space, it can be compared to the ups and downs in the space, or extended to the combination of facilities in different areas. When it comes to the melody part in two versions of My Favourite Things, compared to the original one, Coltrane didn't make any very drastic adjustment, thus to make this familiar music still recognizable to listeners. In contrast, he added some melodic change and jazzy interval combinations base on the original melody, this is a musical experience with a bit of a surprise. At the same time, the audience can still follow the familiar melodic line. 6
Harmony Two or more different high and low notes can formulate Harmony, the mixed sounds produced at the same time or successively, called Harmony. European music is the first to sing in parts (fourth parallel or fifth parallel), so Harmony is produced under certain circumstances. There are also examples of Harmony in the music of primitive people, such as the music of Taiwan aborigines. The design element that the chord element extends into space is a more complicated relationship. It involves the level of essential space design elements, which can be used as a comprehensive embodiment of different spatial facilities in terms of geometric vision and functional combination. A harmonious furniture combination, with a seemingly dissonant but playful combination, could be analogies harmonious chord and disharmony chord. Timbre In addition to the three essential elements, then the element of timbre are added. Timbre refers to the fact that different sound manifestations always have distinctive characteristics in terms of waveforms, and that different objects vibrate differently. The different sound generator has different timbre due to their different materials and structure. For example, the sounds made by the piano, saxophone are different, and the sound made by each singer is also different. Therefore, timbre can be understood as a characteristic of sound. The original version of My Favourite Things was sung by a musical actress and accompanied by a symphony. However, the Coltrane version used saxophone as the main melody and bass, piano and drum as the accompaniment. Unlike a lot of other types of music, the accompaniment jam session is dominated by brass instruments. The timbre is mostly bright and mellow, but occasionally sharp or shaky and deep. In space, timbre can be a metaphor for light and colour.
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What is not improvisation? In The Improvisation of Space, the German theorist, composer and musician Christopher Dell mentioned his criticism of the "Fun Palace" project by Cedric Prices. He wrote:
Fig. 4 Perspective drawing of Cedric Prices "Fun Palace." The University Of Brighton. 2014. Exemplary Project [ONLINE] Available at https://miro.medium.com/max/1400/1*Hx75CuFpw8md2hoc1etIBg.png [Accessed 20 June 2020]
"the Fun Palace had serious drawbacks: it was an externally controlled field, a cybernetic illusion of planning all possible solutions and situations, or even worse: a manipulative space governed by the imperative to perform." Admittedly the development and progress of science and technology will bring humankind closer and closer to predict all possible situations. Still, the future that humans can anticipate and the way of thinking are always limited. However, the real point to improvised acting is not to find a kind of flexibility that has all the outcomes ready to go. Instead, 8
it is in the seemingly chaotic notes that one learns to appreciate it, out of the framework of rational thought, the state of the universe that is happening at any time, and seeing the beauty and trying to find future possibilities in it. To sum up, improvisation is not just a random event. However, it is the way the performers put their insights about life into each bouncing note, which contains a message that themselves may not be able to grasp, waiting for us to dig out. Conclusion
Fig. 5 Jazz Space Prototype
What the characteristics of Jazz Improvisation and how to apply them as architectural design elements? Summarizing the above discussion, this prototype was developed: 1. A spatial separation system with variable adjustment nodes for the rhythm of space. 2. Adjustable hyperboloid lines structures for the melody in space. The combination of both above to formulate the Elements of Harmony. 3. The triangular window combined with the warm light of the wood surface creates a possible expression of brass instrument's timbre——with sometimes soft but could be very sharp lighting. 9
Fig. 6 Jazz Space Prototype- Lighting 10
Chapter 3. The Scenario of Small Housing
In Paul Berliner's1 writings of the Musician's Odyssey, quoted from an advanced saxophonist's words : "I've been in all along-still scuffling to pay the rent, still without any savings or health insurance, still trying to keep a band together, still trying to find places to play, still without any sense of the future." The life situations that professional jazz players often face are narrow and cramped living spaces, relatively low social status, and even insufficient income to maintain their livelihoods. However, in this challenging situation, most of them still hold a passion for music and hope for life. For them, the goal of life may not be to achieve success but to simply want to have a more free musical ability to obtain spiritual satisfaction. Personally, as an Asian urban child who grew up in a highly saturated population, and when it comes to small housing, there will probably always image of rental apartments in an amalgamated dwelling. There is also a lot of negative impressions that come into people's mind; impressions such as narrowness and dimness space. In the current society, the population continues to grow, but many people still cannot afford to buy a home. In such an environment, there are many countries, such as Japan, they try to make different ways to lengthen and extend the space, giving the small houses a completely different meaning. For the circumstance of the present, small housing may be an emerging form of the dwelling; it has the advantages like being in low-price, space-saving, which could help to solve some of these social problems. 1　Paul Berliner, American ethnomusicologist, specializing in African music as well as Jazz and other improvisational systems. Himself is also a jazz trumpeter. 11
Thus, there is meaningful of introducing the scenario of small housing to this research. It could not only help this research in the sense of considering more people and musicians but also helps the research to narrow down. Moreover, this limitation could provide a more practical field to apply and visualize in a design proposal.
Fig. 7 Taichung Room
Fig. 8 Tatami Layout 12
Fig. 9 Small Housing Size
Under this context, the experience from the bachelor time of myself in Taichung will be the starting point of developing the definition of small housing. At that time, I was living in a tiny room to share around only ten square meters. It was just available to put four pieces of tatami. But I enjoyed my two years of youth so much there, I can easily change the layout of my room depends on the different situation quickly as the tatami left enough flexibility. The openness of a tatami room could be an ideal base of developing a small housing of improvisation. Therefore, take the extension of 8 pieces Japanese tatami layout to 5m width 5m length plus the typical height of a room 3m as the size of the space. Within this 75 cubic meter room, there will be where the new form to develop.
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Chapter 4. Towards the New Form
Scale 1:30 0
30cm
60cm
90cm 120cm
Fig. 10 Floor Plan
When it comes to the design stage, it is a process of reducing rational thinking. But in the beginning, I also made steps that are too logical, which just like what "Fun Palace" want to achieve. Later on, I decided to abandon my too logically thinking brain a bit. By knowing that improvisation performance is not about how skillfully you can recite those melody rhythms, but about giving your cognition and passion for music to the present. It is as if your fingers no longer follow the brain, but the notes flow naturally at the moment of improvisation. After that, there was a moment of clay model came into the table. Inspired by my landscape architecture background, the experience of using clay to pinch and formulate a space sequence was adopted. The process of repeating mould and reflect in the sketch, I finally come up with how should the whole concept to be visualized. Besides the uncommon circumstance caused by the pandemic, instead of working in the studio with physical models, the digital tool has to be involved. In addition to my bachelor education of drawing contour line for mountain, this graphic to three-dimensional landform helped to evolve the base of the final design.
Fig. 11 Concept Montage 16
Consequently, under the assistant of multiple methods, the new form is here. The development of the final design strategy and the improvising space would base on an organic landform interior for a more ambiguous spatial experience. Compare to the more familiar design full of cubic space, within a curvy space, and there is less trace of edge. It could visually more match the openness of jazz improvisation's form. Nevertheless, with the combination of two straight walls, it shows there are still some rules to follow. Moreover, a specific aspect of sharpness created by their connections could also probably perform the tension of improvisation.
Fig. 12 Landform Interior
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Fig. 13 Section 1
Fig. 14 Section 2 18
Fig. 15 Section 3
Fig. 16 Section 4 19
Fig. 17 Division Unit-Walls
Meanwhile, it should also be a space without a visible indication of function but with some adjustable division units and storage units. These units allow users to involve in the improvisation of space; this adapting to each other could also be a metaphor of musicians playing with the instruments.
Fig. 18 Division Unit- Glass Panels
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Fig. 19 Shelves Unit
Fig. 20 Division Units
Among the changing of these units, the atmosphere is also changing by the day and night, sunny or gloomy. These interactions of spacial elements may consider being the expression of its relationship when the musicians are in a jam session1. 1　An improvisational musical activity, which is usually casual and mainly instrumentalists involved. 21
Fig. 21 Lighting - Day
Fig. 22 Lighting - Night
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As a closure, I want to quote the description of Jazz from Tadao Ando: "Because it is improvisation, the momentary vitality can be intersected. It seemed to be the cry of each musician, with the instantaneous emotion swings, and their expression was changing. Sometimes reconciled, sometimes against, and flowing towards the unknown destination together. As that is also the collision and encounter of the original spirit can highlight the charm of Jazz. Moreover, I think that the improvisation method that transcends rationality and expresses the ever-changing human emotions in real-time is the origin of creation in a sense." I wish it could be a space that may make people feel joy, excitement, relaxation. Absorb the experience of life, contain the past, and hold the potential of the future. Welcome to the New Form of Small Housing inspired by Jazz Improvisation.
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Postscript
It is an exceptional experience to graduate during this particular period of the pandemic. It could consider as a bit too optimistic, but as what Eric said during the final presentation (hope I refer it correct): “ …the lockdown helped you to take a distance with your project, and thus it led you to develop this beautiful drawing...” So except for showing my gratitude to the blessing: being healthy and still possible to work on my graduation project. Under this tough circumstance, I also have to show my appreciation to everyone that contributed to this project. First of all, of course, is our tutor Eric de Leeuw and artistic research external tutor Lucia Luptáková. Thanks for their patience and constant guidance during this whole year. Without them, there will never be possible to have reached this stage of finishing. Then, the Head of our program Corpo-real, Ingrid van Zanten, her continually caring for our group, who wrapped up everything for us. Also, Bram Ruiter for providing the technique, method, assistance from a film editing, storytelling perspective. Secondly, I want to shout out to every friend that assisted me in finishing this research. As there are so many people who helped me out, so hopefully I could mention every one: Levitt Lee (Pei-Jung) for rendering the perspective scene and physical model polishing, Ying-Ting Shen for digital drawing and clay model fixing, Muxingye Chen for providing Jazz performance video clips, YuChing Chiang and Hong-Kai Li for concept visualizing, Boshu Si, Xinyu Feng and Hung-Che Cho for drawing polishing or/and text translating. 25
Last but not least, without the mental and physical support from my family members and friends, I will never enjoy this challenge so much. “I consider that our present sufferings are not worth comparing with the glory that will be revealed in us.� -Romans 8:18 God bless everyone! Love and Peace, Anyue Deng June 2020 @Zwolle
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BIBLIOGRAPHY
1. Ando, Tadao. 1993. Ando Tadao No Toshi Hoko (Ando Tadao's City Wander). Magajin Hausu. 2. Berliner, Paul. 1994. Thinking in Jazz : The Infinite Art of Improvisation. University of Chicago Press. 3. Dell, Christopher. 2019. The Improvisation of Space. Jovis Verlag GmbH. 27
ArtEZ University of Arts Zwolle, Netherlands Corpo-real, Master of Interior Architecture