Design
2016 Spring
Journal
X
Chao Te, LEE
12.Jul.2015 - 17.Feb.2016
Letter The goal I have been working towards since college formed from the experience of creation and interacting with people in daily life. If training in drama, the expression of the abstract things in one’s mind, can be used in everyday situations, then the effect of space on people will go beyond function and communicate with their emotions. Designers can offer people a better life by using mood and atmosphere to meet their needs, providing relief from the bustle of daily life and strength in difficult times. Furthermore, if designers extend the boundaries in terms of thinking about the environment, culture and society, spatial expression can give profound feelings to the recipient. These issues will linger in people’s minds and encourage them think about life in different ways. Through this dialogue, people can get in touch with themselves and interact with the environment. This is my big vision, the puzzle of my life, which involves deliberate choice and sometimes chance discovery.
en t s
o n t
C
Conten
nts
8
Structure
17
Story
Relationship 21
32
34
StRucture 8 Mimick & Woods 10 Character & Metals 12 Elements & Stone 15 Combination & Natural Elements 16 Research 17 Glass
S-1
Mimick
Woods
06.Oct.2015 I have found sketching and mimicking the shape of objects to understand the texture and structure such a special experience, as if through the movements you can understand original idea of the designer, and, for me, this process has become the best way to learn (S-1~4 ).
While this material has a very long history of human use, it can play a different role when it is used to compose an object. Perhaps this is because it can present a sense of moisture and delicacy, while it’s warm texture give people a sense of security, which often make it the surface finish chosen by designers and therefore the closest texture to a person. Sometimes it plays a role as a decoration, to decorate more rigid materials, alongside its widespread structural use in many societies (P-1~4).
STructure
8
P-1 P-2
S-2
S-3
P-3 P-4
S-4
9
S-5
P-5
P-6
Character
Metals
F09.Nov.2015 Space with strong character is a very common form of expression, such as S-5 using a mirror for the floor, creating a completely different experience of space and spatial awareness (S-5,6).
Joining metal and other materials together always bring out their characteristics. For instance, mixing metal and glass can present a strong sense of structure and neat texture while a mixture of metal and wood is able to exhibit a sense of history, which strengthens the sense of both features, creating a flexible outline and subtle texture (P-5~8).
STructure
10
P-7
S-6
11
P-8
S-7
Elements
Stone
10.Nov.2015 Learning the way of thinking used in Product Design is really helpful. Taking a design from concept to element, element to sketch model and to how each component combines. Thinking about this process in the opposite order, from object to element and to concept should also be a good way of learning (S-7).
Stone has a clear, hard texture. In Europe, it is used extensively for various applications but despite how it is used presents the idea of sculpture. This can be seen in the buildings, monuments and decorative faรงade it is used with. Regardless of the volume of the object, the creators take sculpture as a foundation when they are designing (P-9~16).
STructure
12
S-9
S-12
S-15
S-10
S-13
S-16
S-11
S-14
13
S-9
S-17
STructure
S-18
14
S-10
Combination
Natural Elements
16.Nov.2015 Continuing my previous line of thinking about product design; from a complete unit to components and from components to a unit. Such thinking can help designers think in terms of how the material can be returned to its most primitive state, such as how S-9 smashed a sculpture and reassembled it again (S-9,10).
Rough texture has an amazing ability to tell a story and it acts to increase the sense of space. However, the paradox is that these materials also bring a sense of the outdoors and dirtiness, which conflicts with the modern emphasis on a clean indoor environment. This is the reason for setting boundaries around where it belongs, like a canvas with a frame around it, preventing the world in the picture extending endlessly (P-17~20).
S-19
15
S-20
S-11
Research
S-12
29.Oct.2015 Researching in an academic way has always attracted me because my way of thinking is much closer to being like a collage, which takes advantage of freedom but lacks in-depth detailed study. Maybe adopting a systematic manner is the only way to preventing being stuck on the surface all the time (S-11~13).
STructure
16
P-21 P-22
S-13
P-23 P-24
Glass The progress that has been made with technologies for producing glass have made this material part of the style of modern architecture, and I am thinking not only of the performance of its properties for transparency, but also how its cut section shows strong industrial characteristics (P21~24). 17
Story 21 Wood-Molding & Future 22 Story Space & Frieze Pattern 25 Process & Light
Story
P-25
P-27
P-26
P-28
20
S-14
Wood-Molding
Future
Since each culture has a unique preference for decorative wood carving patterns, I cannot help but stop and look when I come across any wood or richly decorative things, from armrests, to shop facades. These all help me trace the history of wooden patterns (P25~28).
26.Nov.2015 Perhaps there is much influence to be had from film scenes; the imagining of a future world always shows a new relationship between humans and the environment, even trying to merge human beings with the earth, water and buildings (S-14).
21
S-15
Story Space
Frieze Pattern
12.Sep.2015 When I first went to Somerset House (S-15), the animal images decorating the street lights along the street gradually involved a sense of myth in my imagination of this region. For me, it depicts a low space, Bacchus’s palace, and because he was spurned by the other gods, the space was filled with mingled madness, anger and pressure, the kind of place where creativity is always born. S-16 is an attempt to sketch the interior of St. Paul's Church; the gorgeous, complex decoration and towering space tell a completely different story.
Such decorative culture has a long history in the Western world, the meaning and cultural background behind it should be a rich topic (P-29~32).
P-29
Story
P-30
22
S-16
P-31
23
P-32
P-33
P-34
S-17
Story
24
P-35
P-36
S-18
Process
Light
I am curious about the process of how an architect can work on a design and wonder how such complex considerations and complex relationships can exist in a single person’s brain? How can the process become more and more rigorous? Does it need repeated experiments and precipitation to make it complete, like S-17,a magnificent building that shows consideration of the ceremony of moving, the atmosphere of faith, the light, the appropriateness of using color and decorative pattern?
Whether using natural light or artificial light, light is always the most important element in a space, because it determines what is seen and what is hidden (P-33~36).
25
Relationship 28 Process & Object 31 Process-2 & Light Texture 32 Merge 33 Collocation 35 Viewpoint & Surround 37 Shop Window & Vanguard 38 Pattern stuffing 39 Volume 40 Workspace
S-19
Process
Object
For a long time, I have been fascinated by the design of working environments, especially the designer's work table because it involves an understanding of the workflow and the atmosphere that is influenced by seat arrangement, by different working process requiring different table heights and because it affects the function of all kinds of arrangements on elevation (S-19).
Choosing objects in space is a major factor in a project, some design styles are difficult to connect with other styles, while some are easy. I prefer the latter, because of the length of time used and because when the works of an interior designer were examined, time was a condition which changed them (P37~40).
Relationship 28
P-37
P-39
P-38
P-40
P-41
P-43
P-42
P-44
Relationship
S-20
Light Texture
Process-2
With the experience of having been to many different types of restaurants in London, I can see that different choices of light strengthens the character, which of a space has made me curious about the process of interior design, when is the right time to think about light (P41~44)?
With the trend of merging working environments and everyday life, home studio lifestyles will become a main requirement in the future and it is really interesting to design a work that allows fluent movement and circulation through the home and work area at same time (S-20).
31
P-45
P-46
Merge Since I came to UK, observation of the integration of old and new architectural elements on the street has become one of my habits. The Britain’s long history means there are lots of old buildings which continue to be used, and to cope with modern needs have generated a new look, which allows the coexistence of these both styles and creates an astonishing phenomenon (S-21,22).
S-21
Relationship 32
P-47
Collocation Completing the first project has given me the knowledge of design approaches to spatial arrangements, and I finally feel I am designing. But in terms of using materials, I still need more practice. Hopefully, I can achieve a deep distinguished and unique sense of materials in my design career (P-45~48).
S-22
33
P-48
S-23
S-24
Relationship 34
P-49 P-50
Viewpoint 28.Sep.2015 One day, after visiting the museum, I walked along the subway and started to think what if the crowded commutes in the tunnel became part of a collection in a gallery? Is there any way that both spaces with completely different conditions can be involved with each other, and what kind of relationship would they have (S-23,24)?
P-51 P-52
Surround How to use existing space has been the subject of my attention for a long time. It contains the analysis of the story behind the existing building, in terms of narrative and materials and proportions and how it can interact with new building materials (P-49~52). 35
P-53
P-54
S-25
Relationship 36
P-55
P-56
Shop Window
Vanguard
26.Oct.2015 The relationship a window display creates between objects and viewers is one where it is trying to represent itself against a background of daily life. When I depict a space with this concept, engaging with an awareness of the viewpoint becomes a core element (S25,26).
In shops and public spaces, in order to draw people’ attention, textured modern lighting is used, giving a sense of technology and modernity, but in some way I don’t really appreciate this kind of expression. Although methods which catch attention are worth learning, a designer needs to be careful of extents to which they use it, as it can create a sense of distance with the viewer easily (P-53~56).
S-26
37
P-57 P-58
S-27
P-59 P-60
Pattern stuffing Whenever I visit a church I am surprised by how a space so full of decorative patterns and symbols can reconcile these languages I must take a long walk here, and this evokes the motivation to understand its myths, and the unique language which belongs to each church, in my future research (P57~60).
Relationship 38
S-28
S-29
S-30
Volume 11.Nov.2015 After saw Alexander Calder’s exhibition, my understanding of the volume in space was much clearer. In the exhibition, all of his sculptures are related to the dynamic, and this emphasizes the relationship between the volume, color and position between two objects. This consideration really inspired me to a new point of view when examining an object in space (S-27~30).
39
P-61
P-62
Workspace
S-31
Tracing where the preference of working space comes from I found that it is because every object in the workspace interacts intensively with the user, and it all happens under great pressure so every detail has to be treated seriously, extra bend or movement makes a difference, and this makes the process much more fun for me (P-61~64).
Relationship 40
P-63
P-64
S-32
41
P-1,2 Pembroke Square, Oxford OX1 1DW P-3 2 Shepperton Rd, London N1 3DT P-4,7,15,17,19,20,39 Maidstone, Kent ME17 1PL P-5,6,21 Liverpool St, London EC2M 7QH P-8,9 Cromwell Rd, Kensington, London SW7 5BD P-10,11,13,14,16,29,30 Strand, London WC2R 1LA P-12 High St, Edinburgh, Midlothian EH1 1RE
P-27 Burlington Arcade 51 Piccadilly, London W1J 0QJ P-31,32,34 Great Russell St, London WC1B 3DG P35,36 St. Paul's Churchyard, London EC4M 8AD P-37,38 Victoria and Albert Museum, Cromwell Rd, London SW7 2RL P-40 37 Southampton Row, London WC1B 4DR P-42 36-38 Dean St, Soho, London W1D 4PS P-44 Royal Opera House, 166-170 Shaftesbury Ave, London WC2H 8JB
P-18 Silk St, London EC2Y 8DS P-45 53-55 Broadway Market E8 4PH P-21 London EC3A 8AF P-46 213 Old St, London EC1V 9NR P-22 London EC4Y 0DY P-24 25-26 Masons Yard, St. James's, London SW1Y 6BU P-25 421 Oxford Street, Mayfair, London, W1C 2PQ P-26 Liberty London Regent St, Soho, London W1B 5AH
P-48 Heron Tower, The Heron Tower,110 Bishopsgate, London EC2N 4AY P-49 330 Old St, London EC1V 9DR P-51 Castlehill, Edinburgh EH1 2NG
Image Credits
P-52 1 Tavistock St, London WC2E 8BD P-53 Longford, Hounslow, Greater London TW6 P-54 25-26 Masons Yard, St. James's, London SW1Y 6BU P-55 Euston Rd, Kings Cross, London N1 9AL P-56 Duke Of York's HQ, King's Rd, Chelsea, London SW3 4RY P-57 High St, Edinburgh, Midlothian EH1 1RE P-58~60 St Aldate's, Oxford OX1 1DP P-62 Heneage St, London E1 5LJ P-63 Angel House, 26 Pentonville Rd, London N1 9HJ P-64 Wimbledon Art Studios, 10 Riverside Yard, Riverside Road, London
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Chao Te, LEE
2016 Spring-Journal
Journal