Studio 19: One and Three Architecture - Mediatheques for Crticial Ideas

One and Three Architectures - Mediatheques for Critical Ideas

E1027 THE HUB

CATHERINE MEI MIN WOO

MSD - 2016

CATHERINE MEI MIN WOO 562729 ABPL90142 MASTER OF ARCHITECTURE STUDIO C 2016 SEMESTER 1 STUDIO 19 ONE AND THREE ARCHITECTURE MEDIATHEQUES FOR CRITICAL IDEAS BEN WATERS & COLBY VEXLER

One and Three Architectures - Mediatheques for Critical Ideas

CONTENT 03 - 06 07 - 08 09 - 10 11 - 12

CONTEXTUAL ANALYSIS E1027 SPATIALIZATION JUNCTIONS IN SPACE PATHWAYS

15 - 16 17 - 22 23 - 28

CONCEPTUAL ANALYSIS CONNECTIONS 4 JUNCTIONS 1 CONCEPT MID SEMESTER PROCESS

31 - 32 33 - 34

DESIGN THE HUB MASS MEDIA

35 - 36 37 - 38

MEDIUM TIMELINE

39 - 40 41 - 42 43 - 44 45 - 46 47 - 49

ELEVATION SITE PLAN JUNCTION PLANS JUNCTION SECTIONS PRESENTATION

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REFLECTION

Overlay of the buildng against the plan, projected circulation, and isolated junctions.

CoNTEXTuAL analysis THE STUDY OF SOCIO-POLITICAL-ECONOMIC CONTEXT OF WHEN & WHERE THE PRECEDENT PROJECT IS LOCATED

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Abstracted setting of the STUDY junction of E1027 03

One and Three Architectures - Mediatheques for Critical Ideas

E - 1027 was designed with the fundemental concept of Solitude when considering the functionality of spaces. Gray proposes seemingly conflicting concepts as the inspiration of the design of E-1027. Ironically, while Gray states that the house was built for a man who loves his work, sports, and entertaining friends1, implying that a more extroverted program that encourages socialization would be integrated into the design, the overall design seems to suggest a more introverted and reflective program as the intended concept. Similarly, Gray empahised a desire of freedom, while conceptually conflicting with the idea of isolation, the flexibility of spaces function as both: social and anti-social spaces.2 With the limitation of social spaces to a singular sector (living room), and the larger emphasis of additional space and consideration towards anti-social spaces3; inclusive of the site context being quoted to be “inaccessible and not overlooked from anywhere”, it can be argued that the desire for isolation and protection from the public became the inspiration for the secluded E-1027.4 Designed for life and living, Gray’s philosophy is geared towards the need for humanizing a space. Through attemping to conjure the feeling of being ones true self wihtin an architectural construction that is not only an extension of the self, but also completes ones self, which in this case, was Gray’s introversion and desire for the freedom to control an environment to fascilitate the tranquility of isolation.5

Hecker, S, & Müller, CF 1993, Eileen Gray, Barcelona : Gustavo Gili, c1993.

Adam, P 2000, Eileen Gray : architect/designer, London : Thames & Hudson, 2000.

3 Davies, C 2006, Key houses of the twentieth century : plans, sections and elevations, New York : W.W. Norton, c2006.

4 Agrest, D, Weisman, L, & Conway, P 1996, The sex of architecture, New York : Harry N. Abrams, 1996.

5 Gray, E, & Pitiot, C 2013, Eileen Gray : l’exposition = the exhibition, Paris : Éditions du Centre Pompidou, 2013.

1 2

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Diagramtic isolation of transitional spaces throughout E1027 05

One and Three Architectures - Mediatheques for Critical Ideas

The functionality of spaces within E-1027 was rooted in the concept of flexible and independent living within a small space.1 The line between spaces is determined not by fixed or rigid walls, but rather enhanced by half-walls or screens that manipulate the spaces to suit the function of socialization or isolation.2 She also uses mirrors to manipulate the spaces to facilitate different settings, giving the illusion of larger spaces, making the best of the small given space for different dynamics of living.3 The flooring was also used to denote the transition between the function of spaces, specifically the use of blue or white tiles throughout the house to highlight the distinction.4 The playful use of color complemented by the consistency of texture of the materials used for both the walls and floorings created an interesting yet subtle use of architectural features to accentuate the function of architecture within the human experience of a space, and likewise assist in categorise the functions of different spaces. The maping of spaces in this manner give an additional dimension that transcends tracing a floor plan from above, but rather creating an expreintial mapping of space at eye level for the users without having to imagine the spaces from an unnatural perspective.5 The personalisation of the experience brings Gray’s desire for the design to life via the architectural accents, giving the space more meaning and preserving her reality for other users to experience.

1 Davies, C 2006, Key houses of the twentieth century : plans, sections and elevations, New York : W.W. Norton, c2006.

2 Adam, P, & Gray., E 1998, The adjustable table E 1027 by Eileen Gray, Frankfurt am Main : Verlag form, 1998.

3 Walker, D., 1999. L’art de vivre: the designs of Eileen Gray (1878-1976).

4 Adam, P 2000, Eileen Gray : architect/designer, London : Thames & Hudson, 2000.

5 Corner, J., 1999. The agency of mapping: speculation, critique and invention (pp.

213-252). na.

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Spatialization of the transitional spaces in E1027 07

One and Three Architectures - Mediatheques for Critical Ideas

SYSTEM

:

HOW

C T I O N / E X T E N S I O N : Pof R OtheJ E spaces at their joints to

Isolation

of color coded

isolate

isolated

EXPERIMENT

the : Overlay p r o predicted

Used to demarcate transitional spaces floortiles within the building Identify the function

the color coded spaces s OVERLAY the functions between spaces &

j

e

pathway

c

p

a

of those designated c

e

s

to establish a relationship between The designated sectors BLUE & WHITE TILES & ANTI SOCIAL THEIR ACTUAL FUNCtiON sectors SOCIAL

t

e

doesSOCIAL the of the different spaces d ANTI SOCIAL

functionality

coincide with the function of the architectural feature BLUE & WHITE TILES

of between usage functions

HYPOTHESIS

:

There will be some degree of interaction between the the lack of a t e r i a l - v a r i e t y two categories m & Depedence on color coding Is very superficial ANTI SOCIAL / social BLUE & WHITE TILES

CONCLUSION

:

Yes Visual annotation indicative of threshold

no lack of meterial variety same texture / material / feel / temperature

The serve as a

i n s i g n i f i c a n t indicator of a wholesome transitional space indicator on an overallscale within the design BLUE & WHITE TILES

Superficial Between

transient

spaces

Manipulating information based on projected concept and outcomes 08

space

ANTI SOCIAL / social

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An exploded perspective of E1027 with a diagramtic pathway between the isolated transitional junctions 09

One and Three Architectures - Mediatheques for Critical Ideas

Diagramtic abstraction of the junctions in plan, persepective, in accordance to the materiality, location, & access pathways.

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Diagramtic isolation of transitional spaces & their relationships throughout E1027: Spaces, circulation, & vertical elements.

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One and Three Architectures - Mediatheques for Critical Ideas

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Exploded perspective of the lobby junction based on materials.

conceptual analysis THE REJECTION OF BINARY DEFINITIONS & THE APPLICATION OF GRADIENTS IN ARCHITECTURE & SPACE

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Connection between exploded isolated junctions in E1027 15

One and Three Architectures - Mediatheques for Critical Ideas

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Perspective 1

Perspective 2

Exploded perspectives of the isolated junctions in E1027 17

One and Three Architectures - Mediatheques for Critical Ideas

The use of different colored tiles for highlighting transient spaces is said to be an act of rebellion, in the context of architecture and by extension, modern design: the building as a practical, no frills, “machine” is associated with being a masculine concept, and Gray’s use of color within a masculine space can be extrapolated to be small interventions of femininity in “a man’s world”, much like her act of venturing into architecture as a woman at the time, her design choices and training very much reflect her existence expressed in a very binary way.

These four sections of the building were selected for their uniqueness in function, and similarity in categorization. The use of color as a visual intervention, serves as a threshold between private and public space. Although the materials being used is the same, the use of color serves no additional function other than to alert the users of a change in environment, in line with Gray’s principles of building for human occupation on a small scale.

The juxtaposition of the identical materials with different color schemes highlights the visual conflict it intentionally seeks, while maintaining the harmony of materiality and sensation within the same space. A subtle act of defiance on a small scale within a large frame, translates to her emphasis of detail in the furniture she designs: empty and functionless without its human users.

Arguably, the use of just color coding in tiles in present context comes across as superficial rather than subtle, & exploring the use of subtle markers in today’s context of architecture without being superficial will be an interesting challenge In a macro setting. Hence the rejection of binary transitional spaces defined by superficial architectural features.

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Quadrant \ VIEWS

TOP

LOUNGE

LOBBY

STUDY

BATHROOM

Plan & sections based on the isolated junctions.

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LEFT

One and Three Architectures - Mediatheques for Critical Ideas

BACK

RIGHT

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FRONT

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Categories \ Quadrant

Lounge

Lobby

Component 1 2 3

1 2 3

FUNCTION

RELAXATION SOCIAL / ANTI SOCIAL public SPACE Play + work + Rest

TRANSITION SOCIAL / ANTI SOCIAL public use Play + work + Rest

OCCUPATION

PUBLIC High occupation

PUBLIC High occupation

MATERIALITY

1 2 3

Blue Stone Tiles Small Tiles Regular Gird

1 2 3

Blue Stone Tiles Small Tiles Regular Gird

Activity

ACTIVE

ACTIVE

OCCUPATION

PUBLIC High occupation

PUBLIC High occupation

MODERNIST TRAITS

Open plan living

Open plan living Horizontal Windows South Window Open facade

sexualisation

Abrupt geometry - Femenine black color - Femenine WHITE color - MASCULINE

black color - Femenine WHITE color - MASCULINE

Contemporary PROPOSITION

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One and Three Architectures - Mediatheques for Critical Ideas

Study

1 2 3

1 2 3

Bathroom

1 2 3

ContextUAL ANALYSIS

Connection / circulation pathway

STUDY / Work SOCIAL / ANTI SOCIAL Private use Play + work + Rest

HYGIENE MAINTENANCE ANTI SOCIAL Private use Rest

COLOR CODED TILING USED AS A ViSUAL THRESHOLD TO INDICATE THE transition between spaces. “PENETRATION WITHOUT EFFORT.”

PRIVATE LOW occupation

PRIVATE LOW occupation

Post WW1 = economical design = Minimalism Lack of Roads to Site = Practicality

BLACK Stone Tiles LARGE Tiles DIAGONAL Gird

sensational conflict is minimized, Disruption is obvious yet still in harmony in context.

ACTIVE / PASSIVE

PASSIVE

The difference in occupancy activtiy heavily DEPENDENT on Function of space.

PRIVATE LOW occupation

PRIVATE LOW occupation

Public spaces & Private spaces are equally valued for balanced living.

Open plan living Horizontal Windows South Window Open facade

Open plan living

embodies Corbusier’s 5 principles of modern architecture.

Blue Stone Tiles Small Tiles Regular Gird

black color - Femenine WHITE color - MASCULINE

1 2 3

Blue color Large Tiles DiAGONAL WHITE color

-

Femenine Femenine Femenine MASCULINE

The intervention of a non-functional element implies a “femenine touch”, as a deliberate contrast to functionality (typecasetd as a masculine trait).

The absence of the concept / acceptance of western Feminism at the time supports this notion of the assignment of the femenine to Frivility vs masculinity to functionalism .

POLEMIC OR CONFLICT + HARMONY OR Conformist

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// ESCALATE // Perpetuate // DE-ESCALATE

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Function :

Function :

LOUNGE High occupation public use Play + work + Rest

LOBBY High Occupation Public use Play + work + Rest

CONNECTIONS :

CONNECTIONS :

sea View Lounge Lemon Garden VIew open space to Open space

sea View Lounge Corridor View Corridor to open space to terrace

Materiality : 1 2 3 4 5

Materiality : 1 2 3 4 5

Vertical concrete wall white painted walls blue + White stone Tiles small tiles regular grid

Vertical Concrete walls + Glass Door white painted walls blue + White stone Tiles small tiles regular grid

ACTIVE

ACTIVE

1 2

1 2

4 5

3

4 5

Preliminary mid-semester presentation layout.

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3

One and Three Architectures - Mediatheques for Critical Ideas

Function :

Function :

STUDY medium occupation Private use Play + work + Rest

Bathroom low occupation private use Rest

CONNECTIONS :

sea View Study bedroom View Room to open space

CONNECTIONS :

Foliage View bedroom Corridor View Room to Room to room

aa bb

Materiality : 1 Vertical concrete Walls + Windows 2 White Painted Walls 3 blue + White stone Tiles 4 small tiles 5 regular grid

Materiality : + Door

1 2 3 4 5

Vertical Tiled Walls + windows + Doors Black tiles + White Paint black + White stone Tiles large tiles + Small Tiles Regular + diagonal grid

ACTIVE / PASSIVE

1 2

PASSIVE

1 2

3 4 5 4 5 3

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Preliminary mid-semester presentation layout 25

One and Three Architectures - Mediatheques for Critical Ideas

Sketch models based on the exploded perspective diagrams.

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Finalized models for mid semester presentations.

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One and Three Architectures - Mediatheques for Critical Ideas

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Initial proposal of interactive pods with holographic/projected data.

design phase: the hub THE PROPOSITION OF TRANSITIONAL SPACES AS GRADEINTS VIA INTERVENTIONS ON AN URBAN SCALE

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GRADIENT PIXELIATION TEST 1

GRADIENT PIXELIATION TEST 2

GRADIENT PIXELIATION TEST 3

GRADIENT PIXELIATION TEST 4

GRADIENT PIXELIATION TEST 5

GRADIENT STRIATION TEST 1

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One and Three Architectures - Mediatheques for Critical Ideas

The key strategy being investigated is the incorporation of gradients to transitional spaces. I propose a glass server pavilion stretching across a portion of the city from the tallest shopping center to the park district of the city, this was chosen to distinguish an area of high volume data production and low volume data production. This serves as a large transitionary space whose design and exhibition is determined by the users for the users to enjoy.

The investigation of gradients and materializing them extended to the representation of transition between media being expressed in analogue and digital forms. The dispersion of interest in media over time formed a similar pattern that is highlighted best through the use of gradients, as time progresses, the interest and hence traffic directed at the medium reduces over time, both of which are expressed in the test diagrams.

These investigations informed the dispersion of different physical elements that express different mediums throughout the project, based on the stipple study on the left, the concentration of different physical mediums is applied on to the site, hence, determining their locations and the connectivity of the project with the exisiting site & its exsiting architectural structures.

The infopgraphics in the following pages are an analysis of Mass Media, and their interactive relationship betwee their input and output. Followed by the breakdown of the three ways of experiencing mass media: Spectative, Interactive, & Curative, with the physical mediums used to express them throughout the pavilion.

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BREAKDOWN MASS MEDIA

SPECTATIVE

INTERACTIVE

CURATIVE

ACTIVE / OBSERVATION

ACTIVE / PARTICIPATION

PASSIVE / CURATION

BROADCAST

VIDEO GAMES

BLOG

FILM

AUDIO REPRODUCTION

FORUMS

AUDIO MUSIC

RECORDING

RSS FEEDS

NARRATIVE

ZONES

MEDIA

RELATIONSHIP

MEDIUM

SPECTATIVE

ADVERTISING TRAILERS NEWS MUSIC VIDEOS MUSIC LIVESTREAMING

AMBIENT OUTPUT

VR / AR SCREEN PROJECTION STEREO VIBRATIONS

INTERACTIVE

PLAYABLE TRAILERS INTERACTIVE ADS GAMES

TACTILE IN + OUTPUT

VR / AR SCREEN PROJECTION STEREO VIBRATIONS

CURATIVE

VISUAL UPLOADS TEXT INPUT AUDIO RECORDING & PLAYBACK SOCIAL MEDIA FEEDBACK INTERACTION DATA

TACTILE INPUT

VR / AR SCREEN PROJECTION CAMERAS INPUT DEVICES

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One and Three Architectures - Mediatheques for Critical Ideas

RELATIONSHIPS SPECTATIVE

MASS MEDIA CURATIVE

INTERACTIVE

INTERACTION DATA

GAMES MUSIC

VISUAL UPLOADS TEXT INPUT AUDIO RECORDING & PLAYBACK

MUSIC VIDEOS

SOCIAL MEDIA FEEDBACK LIVESTREAMING INTERACTIVE ADS

ADVERTISING

PLAYABLE T TRAILERS NEWS

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CURATIVE

INTERACTIVE

SPECTATIVE

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INTERACTION BETWEEN COMPONENTS ASSEMBLY AND BREAKDOWN OF A TYPICAL JUNCTION, COMBINING THE THREE FORMS OF MEDIA CONSUMPTION THROUGH DIFFERENT PHYSICAL METHODS OF EXHIBITION THE INDEPENDENT PANELS ARE CONNECTED VIA THE SERVER SLAB BELOW, AND OPERATE AS A SYNERGIZED UNIT THAT STANDS AS AN INDEPENDENT EXHIBITION, & AN INTERRACTIVE & DYNAMIC EXHIBITION PIECE THAT IS INFLUENCED BY ITS USERS ,BOTH PASSIVELY & ACTIVELY.

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One and Three Architectures - Mediatheques for Critical Ideas

SPECTATIVE THRSHOLD : VIEWING PLATFORM OF SCREENS & SPEAKERS AS BARRIERS AND EXIITING BUILDING ENVELOPES, AKIN TO LCD DISPLAY ADVERTISING. BUILDING ENVELOPES

SPECTATIVE / INTERACTIVE THRESHOLD : A GRADUAL COMBINATION OF VIEWING SCREENS ARE INTEGRATED WITH CORRESPONDING INTERACTION TERMINALS, SUGGESTING THAT THE USERS CAN INTERACT WITH THE EXHBITION SPACE MORE AFTER VISUALLY AND AURALLY EXPERINECING THE ENTRANCE OF THE PAVILION.

INTERACTIVE THRESHOLD : THE ACCESIBILITY TO INTERACTION TERMINALS INCREASES AFTER THIS THRESHOLD, TO ALLOW USERS TO DIRECLTY INFLUENCE THE MEDIA DISPLAYED TO THE CORRESPONDING DISPLAY SCREENS AGAINST THE BARRIERS AND ALONG THE EXITING BUILDING FABRIC SURROUNDING THE SITE.

INTERACTIVE / CURATIVE THRESHOLD : THE COMBINED USEAGE OF THE INTERACTION TERMINALS & MOBILE DEVICES, CONNECTING THE TERMINALS AND DEVICES DIRECTLY TO THE SERVERS VIA WIFI AND ETHERNET CONNECTIVITY IS ABUNDANT IN THIS SECTOR, INDICATED BYT HE EXTENSION IN SIZE OF THE INTERACION TERMINALS TO ACCOMODATE THE VOLUME OF USERS. INPUT WIHTIN THIS SECTOR DIRECLTY INFLUENCES THE DATA BEING EXHBITED ACROSS THE PAVILION

CURATIVE THRESHOLD : CURATION OPERATING PRIMARILY THROUGH THE CONNECTION OF MOBILE DEVICES TO THE PAVILION WIFI. WIFI CONNECTION ALLOWS FOR THE ACCESS AND PROVISION OF DIAGNOSTIC AND USAGE DATA COLLECTION BEING ACCESSED WITHIN THE PAVILION. THE DECENT TOWARDS THE CITY PARK SINGALS THE GRADUAL DECREASE OF WIFI STRENGTH MOVING AWAY FROM THE TECHNOLOGICAL CONCRETE JUNGLE & MOVE TOWARDS NATURE.

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0000 $protocol = “HTTP/1.0”; if ( “HTTP/1.1” == $_SERVER[“SERVER_PROTOCOL”] ) $protocol = “HTTP/1.1”; header( “$protocol 503 Service Unavailable”, true, 503 ); header( “Retry-After: Tues, 7 Jun 2016 17:00:00 AEST” ); $protocol = “HTTP/1.0”; if ( “HTTP/1.1” == $_SERVER[“SERVER_PROTOCOL”] ) $protocol = “HTTP/1.1”; header( “$protocol 503 Service Unavailable”, true, 503 ); header( “Retry-After: Tues, 7 Jun 2016 17:00:00 AEST” );

0100 0200 0300 0400 0500 0600 0700 0800

<meta property=”vr:canonical” content=”http://edition. cnn.com”><meta content=”80401312489” property=”fb:app_id”><link rel=”canonical” href=”http://www.cnn.com”><link rel=”publisher” href=”https://plus.google.com/+cnn/ posts” /><link rel=”alternate” href=”android-app://com.cnn.mobile.android. phone/http/www.cnn.com” /><link

0900 1000 1100 1200 1300 1400 1500

$protocol = “HTTP/1.0”; if ( “HTTP/1.1” == $_ SERVER[“SERVER_PROTOCOL”] ) $protocol = “HTTP/1.1”; header( “$protocol 503 Service Unavailable”, true, 503 ); header( “Re-

1600 1700 1800 1900 2000 2100 2200

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2300 0000

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One and Three Architectures - Mediatheques for Critical Ideas

Drawing from the precedent the junctions of those spaces are spread across the city with different concentrations but are primarily split into three consecutive spaces that overlap & vary in intensity In sector one (P1), this is an example of how spectative media, observed and not directly influenced, primarily used projection onto the existing building envelopes surrounding the pavilion, offset from the pavilion Interactive media (P2) is where the glass barriers are connected to the existing buildings and they involve they interactive screen barriers that connect to the existing buildings and the media spills out to connect with the exiting connected buildings Curative media (P3) is seen most clearly here, where they input of information by via data usage within the pavilion is used and is displayed across the floor plate. And in turn the other forms of media, through targeted advertising and direct feeds.

This diagram on the right is a comparison of generic data usage intensity throughout the day, juxtaposed with the hours of operation within the pavilion.

Whereby the hours of of the day operate at the same timeframes of the Shopping Disctrict, with spikes of information input from the general news broadcasting times in the morning and evening.

The server downtimes are serviced through the generalized hours of lower data input within the pavilion, allowing for servicing and cool down, assisted with the mesh frame between the servers and the glass floorplate & ceiling.

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COMMERCIAL DISTRICT

SHOPPING DISTRICT

UNDERCROFT DISPLAY

HIGH DENSITY DATA OUTPUT/INPUT ZONE EXTENDING FROM THE HIGH TRAFFIC SCHOPPING DISTRICT

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Elevation of the sprawl of the entire project throughout the city.

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TO THE LOWER DENSITY CITY PARK LOWER DENSITY DATA OUTPUT/INPUT ZONE

One and Three Architectures - Mediatheques for Critical Ideas

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sKY CANVAS

PARK DISTRICT

ACTIVITY AREA

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SPECTATIVE

SHOPPING CENTRE

COURTYARD 1

S 1

INTERACTIVE

SLOPE

S 2

CURATIVE

S 3

SLOPE

C

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One and Three Architectures - Mediatheques for Critical Ideas

CITY PARK

P 1

SITE at 1:15000 on A3 P

INDEX

2

VEHICULAR TRAFFIC PEDESTRIAN TRAFFIC FOOT ACCESS FROM STREET LEVEL INTERACTIVE SURFACES (L) P 3

PROJECTED SURFACES HOLOGRAPHIC INPUT TERMINALS GLAZED PROJECTIONS / SERVER TRANSPARNCY

SITE PLAN at 1:1000 on A3 SITE SELECTION IN CONTEXT : TALLEST BUILDING WITH THE LARGEST MEDIA OUTPUT TO THE SHORTEST PUBLIC BUILDING WITH LOWEST MEDIA OUTPUT

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P 1

1:50 plan view of a Spectative Junction: Spectative content observed against the ballistrades / glass barrier, doubling as both: a screen & structural protection for the users of the podium.

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One and Three Architectures - Mediatheques for Critical Ideas

P 2

1:50 plan view of an Interactive Junction: Interactive content observed against both, the ballistrades / glass barrier and the surrounding existing building envelopes. stretching the canvas of interactivity across the city.

P 3

1:50 plan view of a Curative Junction: Sheltered & large interactive terminal for direct interraction with the floor plate display statistics, & influence the media exhibited within the pavilion & its surroundings.

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S 1

1:100 section of a Spectative Junction: Spectative content observed against the ballistrades / glass barrier, doubling as both: a screen & structural protection for the users of the podium.

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One and Three Architectures - Mediatheques for Critical Ideas

S 2

1:100 section of an Interactive Junction: Interactive content observed against both, the ballistrades / glass barrier and the surrounding existing building envelopes. stretching the canvas of interactivity across the city.

S 3

1:100 section of a Curative Junction: Sheltered & large interactive terminal for direct interraction with the floor plate display statistics, & influence the media exhibited within the pavilion & its surroundings.

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Final presenation spread 47

One and Three Architectures - Mediatheques for Critical Ideas

Final site model overlaid on perspex.

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Final spatial projections as models, depicting the flow of information with the server slabs.

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One and Three Architectures - Mediatheques for Critical Ideas

REFLECTION

This studio presented me with a huge learning curve, and introduced a very different way of looking at architecture and presentation. I have been introduced to a very aesthetically curious, and intellectually rigorous approach to concept distillation, that will be very useful when approaching the many studios to come. The introduction to so many projects previously not presented in previous classes/studios, all of which approach design with different ideas and concepts, has been very enlightening as a spectator & as an aspiring designer. I still find myself defaulting to traditional ways of presentation & styles, but have been instilled with a more focused and critical approach to looking at design & architecture, and am more willing to take a more iterative approach to refining ideas and design. The peculiarities of this studio fostered an environment that allowed for the students to bond and exchange ideas that otherwise would not have been possible without this studio, and it is those bonds made, that I am most grateful for. I leave this studio knowing that I probably will never have as much freedom with a brief as I had with this one, and given more time, I would have enjoyed it more.

FIN 50