ORIGIN by EmeraldHerrick-Doyle

Origin A NARRATIVE EXHIBITION DESIGN EXPLORING THE SUSTAINABLE PRODUCTION OF COFFEE IN COSTA RICA

Fig 1: Photograph of Coffee Mountain Hut in Costa Rica Source: (Herrick-Doyle, E., 2018) Fig 2: A Cloud inside your Room Source: (Smilde, B., 2012)

EMERALD HERRICK-DOYLE 2020

Fig 3: Freshly Picked Coffee Cherries Source: (Herrick-Doyle, E., 2018) Fig 4: Tropical Plants Source: (Bruno, M., 2020)

â&#x20AC;&#x153;

Sketches of Facilities inspired by Vernacular Architecture in Coffe

Understanding that the processing plant is also part of the traditional homestead is fundamental to appreciating the vernacular architecture in Costa Rica.â&#x20AC;? HERRICK-DOYLE (2020)

Fig 1: Sri Lankan Culture: Photomontage Source: (Fernando,S.2019)

Fig 5: Vernacular Architecture in Costa Rica: Sketch Source: (Herrick-Doyle, E., 2020)

ORIGIN

SKETCHES OF POTENTIAL FACILITIES

inspired by the vernacular architecture of the coffee farming villages in Costa Rica

DESIGN QUESTION

How could the narrative of sustainable coffee farming in Costa Rica be explored through an architectural installation for the Venice Biennale, to shine a light on the everyday people who are forging a path for the sustainable future of coffee growing and consumption in the coffee farming regions, whilst poetically evoking the tangible and intangible cultures of coffee farming, processing and drinking in Costa Rica?

Fig 6: Coffee Plantation House Poetic Intepretation: Sketch Source: (Herrick-Doyle, E., 2020) Fig 7: Photograph of a Roof in the Costa Rican Mountains Source: (Herrick-Doyle, E., 2018) 4

ORIGIN

INTRODUCTION

Frame Creation A STRATEGIC DESIGN PROCESS MODEL KEES DORST (2015)

ARCHAEOLOGY

PARADOX

CONTEXT

FIELD

3. Investigate the key stakeholders

4. Analyse those associated with the problem

6. Use themes to gain new perspective on the problem

FUTURES

7. Choose frames that could provide viable solutions

Fig 9: Photograph of Kees Dorst Source: (Service Design Days., 2020) Fig 10: Frame Innovation: Create New Thinking by Design Source: (Dorst, K., 2015)

ORIGIN

2. Understand what makes the problem difficult to solve.

This is an example of ‘The Rational Model’, since it has a distinct sequence of stages. Each stage progresses to the next in a fixed sequence. This allows the designer to move methodically through the stages of design.

FRAMES

Fig 8: Diagram of Frame Creation Model by Kees Dorst Source: (Herrick-Doyle, E., 2020)

A N A LY S I S O F T H E F R A M E C R E A T I O N DESIGN PROCESS

5. Analyse the broad themes of the field

INTEGRATION

Frame Creation is a way of applying Design Thinking in a radical new way in order for organisations to address complex nuanced problems. It is a design process model described in Frame Innovation: Create New Thinking by Design (2015).

1. Investigate the problem

THEMES

TRANSFORMATION

ABOUT FRAME CREATION

8. Explore what changes are required to solve problem

9. Analyse what has been learned

ABOUT KEES DORST

Kees Dorst is Professor of Design Innovation at the University of Technology in Sydney, Australia, and at Eindhoven University of Technology in The Netherlands.

IMPACT OF THE FRAME CREATION MODEL

Nigel Cross is the Emeritus Professor of Design Studies at The Open University, UK. He endorses ‘Frame Creation’ by explaining that problem framing is a key way in which designers work and think. He describes Kees Dorst’s method as “generating perspectives that engender new understanding of the problem and offer bridges to new solutions.” (Cross, 2015) Roberto Verganti is the Professor of Leadership and Innovation, Politecnico di Milano and author of Design-Driven Innovation describes Kees Dorst’s framework as “A fascinating journey into problem-solving for the twenty-first century....A robust and clear framework for why and how design can address problems in our society and economy.” (Verganti, 2015)

This strategic model has been applied to my design project as a creative system methodology and is evidenced throughout this portfolio. The strategic chapter structure of this portfolio follows the nine step process of the model and represents the interaction with and application of this design system throughout the creative process.

INTRODUCTION

Fig 11: 3D Visual of the Entrance to Origin Source: (Herrick-Doyle, E., 2020)

ORIGIN

Strategic Content INTEGRATING THE FRAME CREATION MODEL

ARCHAEOLOGY

PAGE 1

Veracular Architecture, Opportunities + Problems, Potential Design Innovation, Client Analysis

PARADOX

PAGE 2

Design Theory, Design Principles, Design Hypotheses, Design System, Semiotic Narratives

CONTEXT

PAGE 3

Location Analysis, Consumer Archetype, Cultural Identity

FIELD

PAGE 4

Form + Function, Materiality + Technology

THEMES

PAGE 5

Precedent Studies, 2D Zoning + Spatial Composition

FRAMES

PAGE 6

Experimental Process, User Journey

FUTURES

PAGE 7

Axonometric Perspective, 3D Modelling, Design Details, Colour Story

TRANSFORMATION

PAGE 8

Final Presentations

INTEGRATION

PAGE 8

Design Impact, Praxis Evaluation

CHAPTER ONE

Archaeology /ˌɑːkɪˈɒlədʒi/

Noun: The study of human history and prehistory through the excavation of sites and the analysis of artefacts and other physical remains. - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL The first stage of the Frame Creation Process involves the investigation of the history of the problem and the problem owner by the designer. The designer must investigate and analyse the historic attempts to solve the problem, which allows the designer to avoid repeating previous mistakes of others and involves looking at alternative paths that could have been taken and evaluating these. It also involves analysis of the problem owner and considering which paths they would never take.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER In this chapter I have analysed the history of the sustainable production of coffee in Costa Rica, the problems associated with it and the opportunities these problems present. I have analysed a precedent which is a previous attempt to solve this problem, and evaluated the mistakes that were made. The client has been analysed, providing insight into which paths are likely to be encouraged by them problem owner, and the users of the space have been considered, allowing for a design to be created with the problem owners in mind. It is important at this stage to understand what motivates the client. Fig 12: Coffee Hut in the Mountains of Costa Rica Source: (Herrick-Doyle, E., 2018) 10

ORIGIN

Fig 13-17: Vernacular Architecture in San Jeronimo, Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

â&#x20AC;&#x153;Vernacular architecture here makes us of local and readily available materials: many homes are made from locally sourced timber or concrete breeze blocks. Most roofs are corrugated metal and many are pitched, to allow rainwater to run off easily. Due to the minimal material choice, homes are often painted bright colours, reflecting their tropical surroundings. Due to the climate in the hills, many homes and community buildings have wall-less structures and covered colonnades. Glass is rarely used, perhaps because it is more difficult to get hold of and is not deemed necessary in the warm often sunny climate; open air rooms ensure better ventilation and no need for air-conditioning in a region with little infrastructure. Covered porches and roofs with overhang are common and provide shaded areas.â&#x20AC;? (Herrick-Doyle, 2020) Key Elements Pitched Roof Corrugated Metal Local timber for tree houses Lattice Windows Tree branches used in building non-domestic buildings Covered Walkways

LOCATION

IMAGES BY

San Jeronimo, Costa Rica

Emerald Herrick-Doyle

ARCHAEOLOGY

Interpreting the Vernacular Plantation House E X P R E S S I N G C U LT U R E T H R O U G H A R C H I T E C T U R A L F O R M

Fig 18: Sketch of Vernacular Inspired Design Idea Source: (Herrick-Doyle, E., 2020)

ORIGIN

POETIC INTERPRETATION OF THE TRADITIONAL ELEMENTS OF THE COFFEE PLANTATION

Corrugated roof shape, recalls the industrial processing buildings with are integrated into the community.

Pitched roof - vernacular shape allows rainwater to run off in tropical climate

Lattice windows recall image of vernacular coffee hut in the mountains

Windows cut out of house front present place to display coffee products

Translucent house structure filled with coffee plants - immersive experience symbolic of the transparency of the coffee process and the integration of the domestic sphere and the plantation.

Path leading the user through the space - symbolic of the path taken by the farmers through the rows on the plantation when they harvest the coffee cherries

DESIGN

MISSION

CREATE AN INSTALLATION WHICH CONVEYS THE CULTURAL IDENTITY OF COFFEE FARMERS IN COSTA RICA AND WHICH EDUCATES THE USER ABOUT THE SUSTAINABLE COFFEE PRODUCTION IN COSTA RICA. THE INSTALLATION SHOULD ALSO HAVE THE FACILITY TO PREPARE AND CONSUME COFFEE.

DESIGN AGENDA USE THE PRINCIPLE OF SUSTAINABLE DESIGN TO CREATE THREE DISTINCT ZONES IN A COHERENT INSTALLATION, WHICH PROVIDE THE USER WITH AN EMOTIONAL EXPERIENCE. USE VERNACULAR ARCHITECTURE TO CREATE AN AUTHENTIC REPRESENTATION OF THE CULTURAL IDENTITY OF COSTA RICA , AND USE SENSORY DESIGN TO CREATE AN ATMOSPHERE THAT PRODUCES AN EMOTIONAL RESPONSE IN THE USER. DESIGN A SPACE TO DISPLAY BAGS OF COFFEE BEANS IN A WAY THAT THE USER CAN ENGAGE WITH. USE NARRATIVE DESIGN AND SEMIOTICS TO EDUCATE THE USER ON THE COFFEE PROCESS USED IN COSTA RICA AND WHY IT IS SUSTAINABLE. PROVIDE AN EXCITING WAY TO TASTE COFFEE FROM COSTA RICA,

ORIGIN

Rationale INSPIRATIONAL DESIGN ELEMENTS

TRANSPARENCY Exposing the coffee production process and exemplifying this through the use of sustainable transparent materials.

ATMOSPHERE Create the atmospheric qualities found where the coffee is sourced: in the clouds on a mountain side.

VERNACULAR ARCHITECTURE Incorporate abstracted elements of the vernacular architecture of Costa Rica into the design

CULTURAL IDENTITY Incorporate the culture of coffee drinking in Costa Rica into the design through the physical manifestation of the community coffee sharing culture.

SUSTAINABLE MATERIALS Use only sustainable materials, recycled materials where possible, including materials made from coffee production waste products to present a circular production process.

Fig 19: Photomontage of Inspirational Design Idea Source: (Herrick-Doyle, E., 2020)

ARCHAEOLOGY

Problems Lead to Opportunities THE SPACE FOR INNOVATION IN THIS FIELD

Fig 20-21: Processing Coffee Cherries in Costa Rica Source: (Herrick-Doyle, E., 20218)

ORIGIN

THE PROBLEM

Unsustainable coffee farming is destroying the environment and creating unsustainable communities. This problem is increasing as the international demand for coffee increases and consumers seek cheaper products with lower quality. There is a lack of education around this subject due to the disconnect between the product a consumer purchases and the ORIGIN of this product. The Biennale provides a wonderful opportunity for the Costa Rican Government to share its message about sustainable coffee growing and encourage a market shift towards more sustainable choices.

THE OPPORTUNITY

Create an immersive narrative space that educates consumers about sustainably grown coffee in Costa Rica. The benefits would be that consumers are aware of the origins of the product they are buying. More people buying sustainable coffee means less harm to the environment and continues to support the growth of sustainable coffee growing communities in Costa Rica. Currently many people buy coffee from large companies that source their coffee from farms that grow coffee in an unsustainable way. This is cheaper for the large company but it does not give the farmer a fair price not an opportunity for enterprise, and so the local community suffers too. Micro-mills embedded within a coffee farming community support and sustain communities economically and also provide opportunity for enterprise so that farmers can process and sell the coffee beans they grow. It is also an opportunity for eco-tourism in the area, since sustainable coffee farm tours are appealing to many tourists in Costa Rica. Creating an installation for the Venice Biennale on behalf of the Costa Rican government is an ideal opportunity to share the message from Costa Rica about sustainable coffee, reaching many more people than would normally visit Costa Rica, since the Venice Biennale is an international event. The more people that purchase sustainable coffee beans, the more farming communities benefit and the environment is protected.

ACHIEVING THE SUSTAINABLE FUTURE OF COFFEE

The future of sustainable coffee in the Tarazzu region of Costa Rica is contained in the micro-mill revolution. It entails shade-grown coffee grown on family farms and processed in small batches in co-operative coffee processing plants, which are integrated into the community. This ensures a fair price for farmers for their beans as processing their own beans eliminates the middle-man. Allowing farmers to roast their own beans also allows them to create their own brand of coffee, harvested, processed, roasted and even packaged sustainably on their own individual farm. This ensures the farmer gets the profit for the sale of their coffee where unsustainable coffee production is allowing for much cheaper coffee to flood the market. Through producing coffee using this sustainable method, which encompasses the traditional ways of coffee growing and incorporates new ideas about processing and roasting methods, the farmers can maximise on the growing global trend of focusing on the origins and source of products (WGSN, 2020). Using shade-grown coffee is a sustainable form of farming coffee because it utilises native tress and plants to provide shade, which sustains biodiversity and also can provide produce for farmers, diversifying their income.

“Costa Rica is applauded for its efforts in reducing carbon emissions, regarded as one of the “greenest” countries in the world. The micro mill revolution can similarly be applauded for progressive environmental efforts. Here, the coffee is “mechanically washed”. This method is more ecological compared to traditional pulp-ferment and wash methods. Firstly it requires less water for the process, plus, the water can be recirculated for reuse after filtering of skins, resulting in less wastewater.” (Union coffee, 2020)

ARCHAEOLOGY

The Client and Users of the Space S T A K E H O L D E R A N A LY S I S

THE CLIENT

THE USER

Government of Costa Rica Ministry of Natural Resources, Energy and Mines

Primary: Millennials who are tourists and have come to visit the Venice Biennale Secondary: Local people who are employed at the exhibition, welcoming, serving coffee, cleaning Tertiary: Locals/Tourists who are not design orientated but interested in coffee/ sustainability

Location: The Arnsenale Building in Venice for the Venice Biennale architecture event User: The installation will be open to the public. It will be experienced by visitors to the Biennale, the demographic of which is usually adults, often tourists, who have an interest in art and design.

ORIGIN

STAKEHOLDER BRIEF

Create a design proposal for an installation at the Venice Biennale to showcase sustainable coffee farming in Costa Rica and represent Costa Rica.

C L I E N T A N A LYS I S Government Development

Values:

Sustainable

Costa Rica’s government has had a national strategy to promote sustainability for many years. In Costa Rica “sustainable development is seen not just as an integration of environment and economics, but as the search for a whole way of life based on individual and group responsibility, social justice, and peaceful civil and international relations.” (Quesada-Mateo, C.A. and Solis-Rivera, V., 1990.) According to this policy, the Costa Rican government would support an international display of sustainable development through an architectural installation. The Benefits of this installation for the Government of Costa Rica - Promoting the cultural identity of Costa Rica - Promoting the sustainable produce of Costa Rica - Promoting the sustainable values of Costa Rica as a tourism destination

Fig 22: Photomontage of the Stakeholders Source: (Herrick-Doyle, E., 2020)

ARCHAEOLOGY

CHAPTER TWO

Paradox /ˈparədɒks/

Noun: A seemingly absurd or contradictory statement or proposition which when investigated may prove to be well founded or true. - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL During this stage of the process model. The designer must investigate what makes this problem difficult to solve. Whist there may be a number of complex and intertwining issues that make this problem hard to solve, it is important to identity the fundamental paradox, a contradictory statement. Dorst recommends that this paradox be defined in a statement beginning with ‘because’.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER In this chapter I have analysed the history of the sustainable production of coffee in Costa Rica, the problems associated with it and the opportunities these problems present. I have analysed a precedent which is a previous attempt to solve this problem, and evaluated the mistakes that were made. This chapter discusses and evaluates the design theory being applied to the design. It also defines the paradox and investigates and evaluates examples of previous examples of this paradox. Fig 23: View onto the plantation from Coffee Hut in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

Welcome

Fig 24: Photomontage Abstractly Depicting the Narrative Jounrey Source: (Herrick-Doyle, E., 2020)

THE NARRATIVE USER JOUNRNEY 1. Welcome. Follow the illuminated path, enter the plantation house and learn about how coffee grows and the reforestation efforts of sustainable farming. Feel the humidity from the plants. 2. Exhibition. Wander through the exhibition and learn about the people who are growing the coffee being served. 3. Processing. Walk through the audio-visual tunnel experience and learn about the mechanical process involved in coffee honey washing. 3. Taste. Become part of the process and take a freshly brewed black coffee (Costa Rican style) from a bar descended from the clouds. 4. Pause. Take a moment to enjoy your coffee the Costa Rican way. Sit in the clouds, appreciate their impact upon the taste of your coffee. 5. Smell. Wander through the mountainous contours and interact with the architecture smelling the coffee scented contour lines. 6. Explore the interpretation of the vernacular style village, appreciating the architecture. 7. Pick up a bag of free branded bag of sustainably grown coffee, knowing exactly the ORIGIN of your beans.

ORIGIN

The Narrative Journey USER JOURNEY THORUGH THE SPACE

SEMIOTIC NARRATIVES IN THE DESIGN Semiotic Narratives are messages within the design which can be de-coded in order to give the design greater meaning. In this case, the design is imbued with semiotic messages that speak of the cultrual idenityt of coffee farming in Costa Rica. The design semiotics in this installation communicate silently with the user about the place and culture the design is representing. The suspended LED lighting installation that guides the user through the space is a sign that signifies the path that coffee farmers walk between the rows of their plantation to harvest the coffee cherries. It brings the people who are at the source of your morning coffee into the design, and integrates them in the installation in a poetic way. The corrugated roofs and hang-over roof structures are signs that signify the village and community who grow coffee, and the vernacualr architecture of the area is an expression of the cultrual idenityt of this area. Using this architectural referecne as a semiotic message imbues the installation with a cultrual idenityt of the coffee growing regions of Costa Rica. A further semiotic message communicated to the user within the design proposla is the selection of materials. The use of tranlsucent recycled polycarbonate signifies the transparency of the coffee process that is being perfomed by farmers in Costa Rica. Furthermore, the recycled material commuicates a committmentto sustainability, however this may not be

PARADOX

Ethical Considerations of Design MY DESIGN PRINCIPLES AND PHILOSOPHY

Fig 25: 3D Visual of the Coffee Bar and Drinking Space Source: (Herrick-Doyle, E., 2020) Fig 26: Coffee Cups Made From Waste Coffee Husks Source: (Huskee., 2020)

ORIGIN

SUSTAINABLE DESIGN

BENEFIT BY DESIGN

The design should make careful materials choices to reduce the carbon emissions from the design, aiming for net zero emissions. The design should re-use found or reclaimed materials where possible to achive this, and recycled materials to the greatest extent.

Let the design:

The design should considering the future of the project and materials, after they have served thier use. This could be designing a re-usable stucture that can be dismantled and assembled or re-formulated. The design should be a precedent for sustainbale design pratices in the future.

INCLUSIVE DESIGN

Benefit the surrounding community authentically financially or socially. Benefit the coffee producing community finacially thorugh postivie exposure and increased product deamnd. Benefit the user socially and spiritually. Benefit the design community by intriducin innovative representations of vernacular architecture.

The design sjould be fully accessible and where accessiblity is not guaranteed, there should be alternative arrangements.

“The quality of buildings and spaces has a strong influence on the quality of people’s lives . .. They can remove real and imagined barriers between communities and foster understanding and generosity of spirit.”

This is supported by the UK Commission for Architecture and the Built Environment in ‘Inclusion by design Equality, diversity and the built environment’ (2008).

- Commission for Architecture and the Built Environment (2008)

The design proposal should provide a meaningful experience for evreyone who enters. Every faciclity of the design should be available to those who are able bodied or not.

PARADOX

Vernacular Architecture and Cultural Identity THE DESIGN THEORY APPLIED IN THIS DESIGN PROPOSAL

Paul Oliver

A nuanced approach to the study of vernacular architecture was conducted in 1997 by Paul Oliver, of the Oxford Institute for Sustainable Development, in ‘Encyclopaedia of Vernacular Architecture’. This thesis argues that the study of vernacular architecture will prove essential to “ensure sustainability in both cultural and economic terms beyond the short term.”(Oliver, 1997). Applying this theory to the traditional coffee plantation of Costa Rica , it can be understood that this area of study is significant because it is important to preserve this tangible expression of a disappearing culture which is under threat from globalisation and the mass-production of coffee beans.

Paul Oliver was a prominent and respected authority on architectural history and music. He was a distinctive commentator on vernacualr architecture, having beeen awarded and MBE and recognised as a champion for an inclusive and cross-cultrual approach to vernacualr architecture.

Larry Speck

Contemporary Theory on the Use of Semiotic Narratives in Design and its Relationship with Cultural Identity According to the Historian Larry Speck, architecture is imbued with semiotic messages to represent aspects of culture. Speck argues that “Buildings inherently and unavoidably document the everyday life of a culture. They are repositories of the patterns of activity, association and movement of a society or people.” (Speck, 2006)

Larry Speck is an architect at his architecture and engineering firm Page, and a distinguished teaching professor at the University of Texas. He has written multiple essays and two books concerning creative design thinking and architectural theory, including a book titled ‘Technology, Sustainability, and Cultural Identity’ (2007).

Fig 26: Paul Oliver Source: (The Guardian, 2017) Fig 27: Larry Speck Source: (Breeden, S., 2019) Fig 28: Coffee Hut in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

“This approach by Speck is significant because it argues that cultural identity is fundamentally expressed though architecture, whether by design or not. This is important because these messages can be manipulated to express certain ideas and expressions of culture. Semiotic theory can be used to de-code messages about cultural dignity in design and can imbue a design with a deeper meaning and cultural significance. This means that a design can holistically speak of the culture in which it is designed for, if the signs are used correctly. A building can become a tangible expressions of the cultural dignity of a society or community, which has immense weigh and significance. Using this approach to narrative design as part of a designer’s praxis enables the designer to have an authentic approach to designing for communities. It ensures that authenticity is a key design principle. Designers who have employed this method as part of their praxis in the tropics are often implying elements of the vernacular in their design, because the vernacular itself often speaks of cultural identity. This community of designers includes the innovative Geoffrey Bawa, and currently renowned design studios such as Studio Mumbai and Olsen Kundig. Studio Mumbai has recently designed furniture that references the traditional craftsmanship of India, and through this language presents an aspect of India’s cultural identity to the rest of the world.” (Herrick-Doyle, E., 2020)

Design Hypotheses USING PROFESSIONAL INTERIOR ARCHITECTURAL CONTEXTS

Paul Oliver The study of vernacular architecture will prove essential to “ensure sustainability in both cultural and economic terms beyond the short term.”(Oliver, 1997) Refereed Published Research:

ENCYCLOPAEDIA OF VERNACULAR ARCHITECTURE

This theory centres vernacular architecture as a crucial element of design due to its sustainable credentials ecologically and its impact upon communities. Vernacular architecture is not exclusionary and is in fact inherently inclusive. Culture is expressed though vernacular architecture so preserving this acts as a way to preserve intangible cultures.

THE D

Speck argues that cultural identity is expressed intrinsically in architecture. This means that architecture is a form of cultural expression and so can be de-coded to understand culture, and architecture can be manipulated to express certain things. The unavoidable expression of culture in architecture can lend authenticity to a design.

THE D

Bawa is famed as the father of Tropical Modernism. His praxis is particularly interesting when considering cultural identity due to his integration of vernacular elements of Sri Lankan architecture in his deigns. This innovative use of the vernacular includes using certain materials or structures that may be already suited to a tropical climate. Furthermore, this design choice preserves the cultural identity of Sri Lanka in new modernist designs.

THE D

In this book Whitehead focuses on the ways in which designers can manipluate atmosphere to produce an emotional response. It focuses on the sensory elements and the ways these can be used to express narrative.

THE D

INTEG VERNA SUSTIA AND T

Larry Speck “Buildings inherently and unavoidably document the everyday life of a culture. They are repositories of the patterns of activity, association and movement of a society or people.” (Speck, 2006)

Refereed Published Research: TECHNOLOGY, SUSTAINABILITY AND CULTURAL IDENTITY

COMM NARRA CULTU

Geoffrey Bawa

“Architecture cannot be totally explained but must be experienced. It should play to all the senses” (Bawa)

COMB AND C ELEME

Jean Whitehead “We can put together an interior ‘setting’ that aims to evoke a certain feeling or emotion through its harnessing of interior atmosphere” (Whitehead, 2018) Refereed Published Research: CREATING INTERIOR ATMOSPHERE: MISE-EN-SCENE AND INTERIOR DESIGN

ORIGIN

MANIP ATMOS CREAT RESPO NARRA

RATE THE ACULAR TO AN COMMUNITES HE ENVIRONMENT

VERNACUALR ARCHITECTURE

ESIGN SHOULD:

Create a design which integrates vernacular elements of Costa Rican architecture. Reasoning: This will ensure the authentic representation of culture in the design as well as preserving an intangible culture which is under threat due to the unsustainable and cheaper production of coffee threatening this practice in Costa Rica.

ESIGN SHOULD:

INE VERNACULAR CONTEMPORARY ENTS

ESIGN SHOULD:

PULATE SPHERE TO TE EMOTIONAL ONSE AND EXPRESS ATIVE

CULTURAL IDENTITY

UNICATE ATIVE AND URAL IDENTITY

SENSORY + ATMOSPHERE

ESIGN SHOULD:

NARRATIVE DESIGN

HYPOTHESES Create a design which tells a narrative of the culture it is representing Reasoning: Using semiotics in the design will imbue the design with a deeper significance and cultural identity.

Create a design which uses vernacular materials and combine this with contemporary design features Reasoning: This combination will communicate the cultural idenityt of the coffee farming culture in Costa Rica

Use atmosphere and manipulation of the senses to create a narrative in the design Reasoning: This will create an emotional experience for the user, ensuring the design is significant and successful.

AN INNOVATIVE DESIGN THAT INCORPORATES ELEMENTS OF VERNACULAR ARCHITECTURE AND MANIPULATES ATMOSPHERE TO CREATE A NARRATIVE THAT COMMUNICATES THE CULTURAL IDENTITY OF COFFEE FARMING IN COSTA RICA

Fig 26: Paul Oliver Source: (The Guardian, 2017) Fig 27: Larry Speck Source: (Breeden, S., 2019) Fig 28: Geoffrey Bawa Source: (Architecture and Design, 2016) Fig 29: Jean Whitehead Source: (SBID, 2007) Fig 30: Design Hypotheses Diagram Source: (Herrick-Doyle, E., 2020)

PARADOX

Persona

INTERPRETATION OF A C

Application of the Nine Step Frame Creation Model

Archaeology The topic of sustainably farmed coffee in Costa Rica is not widely publicised and many people do not know about the destructive methods large global coffee companies are inflicting upon the environment internationally in order to produce low quality coffee beans quickly and cheaply. Paradox The mains paradox exists that consumers do not know the origin of the product they buy. If they know about the people and cultural identity of the communities producing sustainable high quality coffee, then they will be more likely to make sustainable purchase choices when buying coffee from Costa Rica, or indeed seek to learn about the origin of other products. This then allows more communities to gain funding for micro mills and to have the facilities to grow and produce their own sustainable coffee. Context The Costa Rican Government would benefit from commissioning a project highlighting the sustainable practices of farmers in the coffee growing regions, sine they put a huge focus on ecological protection and investment, as well as encouraging eco-tourism to financially benefit farming communities. Field The Venice Biennale is an international art and design expo and would be a suitable place to insert a culturally significant installation about the coffee production process in Costa Rica. This is due to the relevant user visiting the biennale and the artful and culturally authentic nature of the installations there. Themes Various themes emerge through sketching and analysis of vernacular architecture. The themes of clouds and paths through the plantation emerge as fundamental elements of sustainable coffee growing that can be used to present a narrative journey for the user. Frames Experimentation with different forms and layouts provides a solution to the problem of integrating cultural identity into this design. This is done by interpreting photographs of vernacular architecture in forms that are both artful and functional. Futures The theme of sustainable design is developed on by experimenting with a modular form that can be easily de-constructed and reconstructed on a site elsewhere. The site chosen is the San Jose airport in Costa Rica as this benefits the key stakeholders by providing a cultural welcome to international visitors and promoting the sustainable credentials of many farming communities in Costa Rica.

Project Manage

INSPIR

RESE

SKETC

EXPERIM

MODE

TEST

VISUALI

Transformation The chosen design is integrated with sustainable and cultural relevant material choices to create a 3D visualisation of the space. Integration The value of this project upon its field is the integration of vernacular architecture in the design as a representation of cultural identity in a innovative format providing education about a pressing political issue of climate change and sustainable farming.

ORIGIN

EVALU

al Praxis

CREATIVE DESIGN SYSTEM

ement Timeline

My Creative Practice

RATION

ARCH

CHING

MENTING

LLING

TING

ISATION

ATION

Fig 31-34: The Author Engaging in the Design Process Source: (Herrick-Doyle, E., 2020)

PARADOX

CHAPTER THREE

Context /ˈkɒntɛkst/

Noun: The circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL This stage of the process involves putting aside the paradox in order to explore the inner circle of key stakeholders who have been part of the problem situation previously, or we expect will be part of the solution. Putting the core paradox to one side brings a newness to to situation and allows the problem field to be examined.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER This chapter analyses the elements that are expected to become part of the solution, including relevant architectural precedents. An analysis of the cultural Identity of the design project and the semiotic narratives explored in the design.

Fig 35: The Author Picking Coffee Cherries in Costa Rica Source: (Herrick-Doyle, E., 2020)

ORIGIN

Conceptual Context FACILITIES , EXPERIENCE, FUNCTION, BENEFIT

1. WELCO M E Entrance Welcome Station Coffee Plants Growing + Information

6 . AROM A CLOU D 2 . R EFO REST Walk-In Coffee Plantation Experience with information on reforest planting practices

3 . PEO PL E Exhibition on people pushing forward sustainable practices

4 . PRO CESS Audio - Visual walk through experience, with videos of sustainable coffee cherry processing

5. TAST E

7. PL AC E

5 . TA STE Coffee Bar giving out cups of fresh coffee

6 . A RO M A CLO UD Seating to drink coffee Walls infused with coffee aroma Cloud representation installation

4 . PROC ES S 2 . RE FORE ST

7. PL ACE Village architecture representation with shelving for coffee products

3. PEOPLE 1 . WE LCOM E

PROVISION OF FACILITIES The installation will be funded by the Costa Rican government, since at the Biennale the countries are responsible for funding their own pavilion, or installation, and it will not be profit making. The coffee beans will be given to users of the facility for free, as a token of their experience and to push forward the Costa Rican to encourage awareness and consumption of sustainably produced coffee. After the end of the exhibition, which lasts from May to November, the installation can be fully recycled, with the exception of the ‘Experience Zone’. This modular system can be loaded onto transport and reconstructed in San Jose Airport in Costa Rica, as an innovative welcome to country which embodies the sustainable and cultural philosophies of the country and encourages tourism to coffee regions. This will benefit the coffee growing communities directly.

ORIGIN

LEARN ZONE Learn about the sustainable practices used in Costa Rica during coffee growing and processing.

TASTE ZONE

5. VIS ITOR + STAFF EXIT

Taste the Costa Rican coffee and enjoy it while being enveloped by the aroma and mist of the clouds which grow the coffee.

EXPLORE ZONE Wander through a representation of a Costa Rican coffee growing village and pick up a sample of sustainably grown and processed coffee beans, knowing the exact origin of the product.

3. 1.

VISITO R + STA F F ENTRA NCE

What Installation about sustainable coffee growing in Costa Rica Philosophy Vernacular Architecture 6. Typical User Journey

Site The Arsenale Building, Venice Design Principles

5. 7.

VIS ITOR + STAFF EXIT

Design Outcome A cultural installation providing education about sustainable coffee growing, the cultural identity coffee drinking and growing in Costa Rica and the vernacular architecture associated with this region. Design Approach A strategic design process model, ‘Frame Creation’ (Dorst, 2015)

Precedent Primary Research at a Costa Rican coffee growing village 3. 1.

User Facilities Exhibition Area, Coffee making area, Coffee drinking area

VISITO R + STA F F ENTRA NCE

Fig 36-38: Facilities Diagram Source: (Herrick-Doyle, E., 2020)

CONTEXT

The Arsenale di Venezia hosts the Venice Biennale L O C A T I O N A N A LY S I S

About The Venice Biennale La Biennale di Venezia is an contemporary arts organization that holds an architecture exhibition every other year. It attracts half a million visitors each year. Many countries participate in the Biennale each year and The National Pavillions host each countryâ&#x20AC;&#x2122;s national representation. Each country is repsonsible for funding their contribution to the expo. The Venice Biennale also delivers multiple art shows and arts events accross the city of Venice during the summer

LO CAT I O N A N A LYS I S Venice is a tourist hotspot, with thousand visitors per year. The Biennale runs from May to November, over the peak tourism period every other year. This is an ideal location for the installation due to the number of people who are interested in design and sustainability that will pass through the exhibition, ensuring the the political message form Costa Rica reaches as many people as possible. From a logistics perspective, the area around the site is used continuously for art shows, events and installations, and so there is access for construction of the installation to the site.

Fig 39: Photomontage of Sit Source: (Herrick-Doyle, E. Fig 40: Cavernous Cloud at Source: (Kerez, C., 2016)

Fig 41: After Illusion at the Source: (Al Ghamdi, Z., 20 38

ORIGIN

Fig 42: Cloudscape at the Ve Source: (Transsolar, 2010)

te Location ., 2020) the Venice Biennale

Venice Biennale 019)

Venice Biennale )

Analysis of the Proposed Site ROOM 113 ARSENALE DI VENEZIA

A N A LY S I S O F T H E E X I S T I N G A R C H I T E C T U R A L F E AT U R E S I N T H E B U I L D I N G The building is a recently renovated 16th century hall, forming part of the Venetian Arsenal. The Arsenal is comprised of former armouries and shipyards dating form the 12th century. There is a natural rhythm existing within the site due to the evenly space columns on the Northern Wall which contrasts with the arched windows on the opposite wall. Arches feature heavily in the exiting architecture, being used as windows, as depressed wall decorations and as two entry ways. The exposed beams in the ceiling emphasise the history of the space and bring the high ceiling closer, whilst the repetition of these beams adds rhythm. Lighting: There are large windows on three of the four walls and roof lights run along to sections of the roof , inviting in natural light at all times of the day. There is an existing space for toilet facilities and existing water supply. There are two entrances to the space from outside, and both function as fire escapes.

ORIGIN

Fig 43-48: Isometric Section, 3D Clay Render and Section and Floorplan of the proposed site Source: (Herrick-Doyle, E., 2020) Fig 49-51: Room 113 at The Arsenale Source: (PlanetGis, 2020)

CONTEXT

USER ARCHTYPE

A Design for Millenials, Who Like Design

The target user for this design proposal is a person who is aged 25-40, who is interested in art and design. They typically have disposable income and enjoy foreign travel. They will tell their friends about things they learn via social media and so are perfect to engage with to spread the message about sustainable coffee, since they often purchase and consume coffee. Furthermore, they typically will be concerned about the climate crisis and willing to invest in a sustainably produced product. MILLENIALS DESIGN ORIENTATED ENGAGED IN ENVIROMENTAL AND SOCIAL ISSUES

What kind of person is this installation designed for? Adventurous Seek exciting experiences to try something new Sustainably orientated Design Orientated Value authentic experiences

MILLENIALS CHARACTERISTICS VALUE AUTHENTICITY TRENDY ONLINE 24/7 SPENDERS EXPRESS FEELINGS ON SOCIAL MEDIA

ORIGIN

GENERATION Fig 52: Photomontage of User Archetype Source: (Herrick-Doyle, E., 2020)

CONTEXT

Cultural Identity BRAND MESSAGE, GRAPHICS AND AESTHETICS

Vision

Mission

Values

The core aim of the brand is to highlight the sustainable coffee production efforts that are happening in Costa Rica and to promote the consumption of this high grade coffee. The brand aims to embody the cultural identity of the people and communities producing this coffee in Costa Rica and represent the source of the product.

The brand aims to be accessible to everyone and to interact particularly with millenials, so the aesthetic should be fresh and minimal, and appealing to designers in particualr. It aims to spead the message of the innovative farming practices of communities in Costa Rica, with the focus on the origin of the product being consumed. The origin has a dual meaning: the communities and the location.

The key values of the brand are: Sustainability - producing high grade coffee that benefits communities and the environment. Cultural Authenticity - reresenting the people and communities that have revolutionised the susainable coffee industry in Costa Rica. Innovation - promote the sustainable production of coffee in Costa Rica though an international expo.

Logo and Graphics The logo aims to demonstrate the dual meaning of the name of the brand â&#x20AC;&#x2DC;originâ&#x20AC;&#x2122;, in a modern and accessible way: People + Nature, the integration of the coffee processing within the village is a key element. so, the logo should be an abtraction of the village, which represents the community, the farming and the processing of the coffee.

the name of the farmer or cooperative who produced the coffee is highlighted and can be hand written on the package

logo emphasises the place the coffee is grown

sustainable packaging in keeping with brand values

Fig 53-55: Branding Produced for Origin Source: (Herrick-Doyle, E., 2020)

ORIGIN

clean and minimal branding appeals to millenials

COMMUNITY - COFFEE - SUSTAINABILITY

BRANDING FOR COFFEE BAGS AND WELCOME DESK

BRANDING FOR COFFEE PLANT GROWING AREA

SUSTAINABILITY

The colour choice also reinforces the cultural identity of the brand. The colours have been chosen from a photograph of a hut within a coffee plantation in Costa Rica, which reinforces the authenticity of the branding and also links the logo and colour scheme directly to the place it is representing. Furthermore, the choice of pale grey, a colour found in the local rocks in the plantation photograph, represents both the mountainous plantation topography, and the clouds which are integral in growing the coffee cherries.

CONTEXT

CHAPTER FOUR

Field /fiË?ld/

Noun: A particular branch of study or sphere of activity or interest - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL This stage of the process model involves investing and analysing the surrounding problem arena and mapping the field around the problem. This means any key players who are connected to the problem are explored, which allows key values surrounding the problem to emerge. This means any parties connected to the problem are explored in this stage of the process and allows values to begin to emerge, which will be the fundamental values of the themes that are developed in the next chapter.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER This stage of the model involves analysing the location of the installation and the reason the Venice Biennale is an appropriate venue to exhibit the installation.

Fig 56: Coffee Being Roasted in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

Praxis: Experimental Process AN INITIAL EXPERIMENT USING A QUICK SCALE MODEL

For this experiment I created scale elements of the design that were inspired by my design hypotheses, including vernacular elements of architecture. I then experimented in a free and fluid way by moving around these different elements to create new forms, and introduced lighting to create the atmosphere I intended. This was an effective experimentation method as it was not restrictive in the same way 3D Modelling can be . Doing a physical experimentation enabled me to play with shapes and form I had not thought of before, and editing the photo post production allowed me to manipulate the appearance of scale and test new ideas easily.

Fig 57-66: Model Making by the Author Source: (Herrick-Doyle, E., 2020)

ORIGIN

TRANSLUCENT - PR

Experimenting with a projector using paper and card model This proved useful as I concluded that a semi-translucent material would be mroe effective in creating atmosphere throughout the scheme, as the area would produce a glow. In the second experiment I used tracing paper to simulate a translucent material which had the esired efefct of illuminating other areas of the scheme as well as being a method to transmit informaiton to the user in an immersive way.

Experimenting with scale using a rough scale model and photomontage

OJECTION - ENVELOPING CLOUD - VERNACULAR

FIELD

Repurposing Waste Materials INSPIRATIONAL MATERIALS

B I O - P O LYM E R F R O M WA ST E CO F F E E H U S KS

Coffee Cup Huskee Sydney, Australia 2019

Fig 67-69: Huskee Coffee Cups and the raw waste material used Source: (Huskee, 2020) 50

ORIGIN

Fig 70: Artek Pavillion by Shigeru Ban Source: (Artek, 2007)

RECYCLED PLASTIC AND WOOD COMPOSITE

Artek Pavillion Shigeru Ban Milan Design Week 2007

Inspirational Technology A PRECEDENT FOR THE POETIC REDUCTION OF A DESIGN CONCEPT

CHOCOLATE ROOM Edward Ruscha The Venice Biennale 1970 This room was created by Edward Ruscha in 1970 for the Venice Biennale. The room is wallpapered in sheets Silk-screen printed with Nestle Chocolate. This cultural exhibition was meant to be overpowering and make the user question the relationship between scent, taste and euphoria.

Fig 71-72: Chocolate Room at the Venice Biennale Source: (Architizer, 2020) Fig 73: Sketch of Coffee Infused Walls Source: (Herrick-Doyle, E., 2020)

ORIGIN

Coffee Culture in Costa Rica Coffee is Costa Rica’s highest export and its renowned quality instils much pride in Costa Ricans. Often grown on family or co-operatively owned farms, coffee drinking culture is centred around community and family. In contrast to the UK, coffee is never taken out of the home of coffee shop to be drank ‘on-the-go’, it is brewed slowly in the traditional ‘chorreadorde-cafe’ and it is drank around a table with friends or family, often with a local afternoon snack. It is a time for connection and community, a time for pause, rather than to fuel a hectic day. Coffee is a way of life - coffee cherries are a currency, livelihoods and coffee is drank relaxing on a porch or after dinner with family.

COFFEE SCENT + CONTOUR LINES EVOKE THE TOPOGRAPHY OF THE COFFEE GROWING PLANTATION

FIELD

ATMOSPHERE - IMMERSION Fig 74: Sketch of Taste Zone Source: (Herrick-Doyle, E., 2020)

ORIGIN

Tasting Coffee Immersed in misty clouds Following the aroma through the lines of the topography

OF THE SENSES - SENSE OF PLACE

FIELD

CHAPTER FIVE

Themes /θiːm/

Noun: an idea that recurs in or pervades a work of art or literature - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL During this stage of the process, the designer identifies and analyses the key values and ideas that have emerged during the research stage. These themes are the fundamental values that are shared by the players in the field of the problem arena. They are important because they allows the designer to understand the deeper “universals” that are shared by those in the field.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER In this chapter, the process model has been applied by identity the deep fundamental values that are shared by those in the field. This has then been applied by experimenting through design testing, sketching and zonal planning. Various themes emerge through sketching and analysis of vernacular architecture. The themes of clouds and paths through the plantation emerge as fundamental elements of sustainable coffee growing that can be used to present a narrative journey for the user.

Fig 75: The Village at Night in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

Spatial Composition and 2D Zoning APPLICATION OF A SPATIAL PLANNING DESIGN METHOD

List of Spaces Required:

Two Initial Spatial Planning Ideas:

IDEA 1 - THE NARRATIVE JOURNEY

1. WELCO M E Entrance Welcome Station Coffee Plants Growing + Information

2 . R EFO REST Walk-In Coffee Plantation Experience with information on reforest planting practices

LEARN

Plantation Walk Reforest Experience Sustainable Processing

TASTE

Coffee Bar Aroma Cloud

3 . PEOPL E Exhibition on people pushing forward sustainable practices

4 . PR O CESS Audio - Visual walk through experience, with videos of sustainable coffee cherry processing

5 . TA STE Coffee Bar giving out cups of fresh coffee

6 . A R OM A CLO UD Seating to drink coffee Walls infused with coffee aroma Cloud representation installation

7. PL AC E Village architecture representation with shelving for coffee products

Fig 76-77: Zonal Planning Bubble Diagrams Source: (Herrick-Doyle, E., 2018)

ORIGIN

Evaluation of this arrangement of spaces: The user becomes immersed in the process and can see themselves as part of the coffee production process, they see how their choices make a difference. The narrative of the journey of the bean from plantation to cup can be told holistically through the journey the user takes which mimics that of the coffee bean.

Vil

IDEA 2 - PLAYFUL PLANTATION EXPLORATION

EXPLORE

llage Product Display

LEARN

Plantation Walk Reforest Experience Sustainable Processing

EXPLORE

TASTE

Coffee Bar Aroma Cloud

Village Product Display

Evaluation of this arrangement of spaces: Idea not taken forward because after analysis it was weaker in delivering the crucial narrative about the coffee process, since the user does not become part of the process in an immersive way.

Strategic Design Method Application The design theory used in this process is a method set out by Ian Higgins in ‘Spatial Strategies for Design’ (2015), using a zoning method for ‘Spatial Requirements’. This design method guides the designer through a strategic series of planning diagrams, putting focus on considering the relationship between spaces physically as well as visually as part of the space planning process. This method allows for experimentation with layouts and how the zones relate to one another before relating and adapting this zonal planning to the site. The initial planning bubble diagram represents the most ideal relationship of spaces, and so compromise must be made when applying this bubble diagram to the site. However, since the site provides two entrances and exits, it gave the opportunity to design a one way narrative journey into the relationship of spaces which supports the design agenda.

THEMES

Spatial Composition and 2D Zoning IDEA 1 - THE NARRATIVE JOURNEY

RELATIONSHIP OF SPACES

LINEAR NARRATIVE JOUNREY

1 . PL AN TAT ION WALK 6. Typical User Journey

2 . RE FORE ST EXPE RIE N CE

VIS ITOR + STAFF EXIT

3 . PEOPLE EXH IB IT ION

2. 4 . S U STAIN ABLE PROCE S S EXPE RIE N CE 3. 1.

5 . COFFE E BAR VI S ITO R + STA F F ENTRA NCE

6 . AROM A CLOU D

7. VILL AG E + PROD U CT D IS PL AY

Fig 78-81: Zonal Planning Diagrams Source: (Herrick-Doyle, E., 2018)

ORIGIN

FINAL ZONING PLAN

4. 3.

5. 3.

This arrangement of spaces is effective in communicating a narrative journey to the user and provides a strategcic visual connection between each zone as well as provifing an accessible and interesting route. It also makes use of both entrances and exits to the space, meaning the ciruclatory function of the design allows for a one way journey for the user and a succint narrative journey.

THEMES

Hacienda Alsacia A CASE STUDY

ORIGIN

DESIGNER

Hacienda Alsacia is a working coffee farm, sustainable farming research centre and immersive visitor centre situated in the coffee growing hills of Costa Rica. The design team Starbucks Global Creative, lead

Starbucks Global Creative

by David Daniels, has used innovative design techniques to represent the cultural identity of Costa Rica.

LOCATION

A key element of the design is the integration of the vernacular architecture associated with coffee pronear San Jose DATE

2019

cessing and the vernacular architecture associated with domestic living, since this is a crucial element of the coffee growing villages in the region. The design does this successfully by using materials associated with the coffee washing and drying process, such as aluminium and particularly rusted metal and combining this with the pitched roof shape which is common for houses in the region.

Fig 82-83: Hacienda Alsacia Source: (Starbucks, 2020)

THEMES

ORIGIN

01.MATERIALS

“The materials chosen for the project include concrete blocks, steel trusses and corrugated metal roofs. All of these elements appear locally in the vernacular architecture of the area. This has the effect of making the building become part of the Costa Rican landscape and fit in with the already existing vernacular architecture. It can be interpreted as making the building appear more authentically synonymous with the traditional coffee plantation.” (Herrick-Doyle, 2020)

0 2 . C U LT U R E

“The wall-less communal areas echo the vernacular architecture of the region, and are practical in this tropical climate as they eliminate the need for air conditioning which contributes to a more sustainable design.” (Herrick-Doyle, 2020) This design feature also reinforces the brand message of openness and transparency in regards to the coffee manufacturing and farming process.

03. CONNECTION

“The connection between nature and the visitor in the building can be demonstrated by the insideoutside design, with glass panels in the café opening out onto the magnificent vista. Lead designer David Daniels says through this mechanism “the lines between inside and outside are blurred by the structure’s open expanse” (Daniels, 2019). This has the effect of bringing the visitor physically closer to nature as well as metaphorically through their experience at the farm, by removing the barrier. This integration between the building and nature was the fundamental design principle that the design team began with.” (Herrick-Doyle, 2020)

Fig 84-87: Hacienda Alsacia Source: (Starbucks, 2020)

THEMES

Unibrown Coffee A CASE STUDY

Unibrown Coffee is a coffee shop and coffee drinking space inside an office building in Shanghai. Unibrown Coffee by Mur Mur Lab is an innovative design that tells the story of the product that is being consumed in the cafe. The design uses unexpected materials to create an immersive experience and an emotional response from the user. Mur Mur Lab has placed the user at the centre of their design, providing a variety of seating settings so that the user can choose the optimal seating position for them. The design focuses on the individual identity of each user, whils making the space accessible and inviting to everyone. The design is also a representation of a specific place and feeling, and communicates the sensation and emotion of standing on top of a mountain immersed in fog. Once the user enters the space, the atmosphere changes, creating a serene and peaceful environment. The connection to coffee is that this type of location is commonly used to grow coffee in China and internationally.

DESIGNER

Mur Mur Lab LOCATION

Infinity Tower, Shanghai DATE

2020

Fig 88: Unibrown Coffee Shop in Shanghai Source: (Mur Mur Lab, 2020)

ORIGIN

THEMES

IMMERSED IN CLOUD FOG A perforated metal veil is used to create the sense of being immersed in a cloud on a hillside. The design uses light as a guide through the space to fulfil the design mission of creating an emotional experience for the user. The perforated metal veil and raised seating also has the effect of muting the sounds form outside the space, encapsulating the space and creating a calm and peaceful atmosphere. The triple layered structure uses concealed posts to support the veil, creating the illusion that is is floating above the space. The design tells the narrative of coffee in China, providing a space for communion between the self and nature. The hillside on which coffee is grown is represented in the design though the undulating seating area.

ORIGIN

“

The design focuses on the senses and feelings between human beings; creating exchanges between users of the buildings that may not usually occur by facilitating spontaneous interactions.” MUR MUR LAB (2020)

Fig 89-90: Unibrown Coffee Shop in Shanghai Source: (Mur Mur Lab, 2020) Fig 91: Exploded Isometric Diagram of Unibrown Coffee Shop in Shanghai Source: (Mur Mur Lab, 2020)

THEMES

CHAPTER SIX

Frames /freɪm/

Noun: A basic structure that underlies or supports a system, concept, or text - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL At this stage the themes that have been identifies in the previous chapter are applied to the problem, creating different frames. This allows the designer to explore different possibilities through the frames. Dorst suggests the designers consider the frames section of the process model as follows: “If the problem situation is approached as if it is…, then…”

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER Frames analyses inspiration examples as a potential frame for the current problem situation. Experimentation with different forms and layouts provides a solution to the problem of integrating cultural identity into this design. This is done by interpreting photographs of vernacular architecture in forms that are both artful and functional.

Fig 92: Clouds Rolling through the Mountains in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

JOURNEY THROUGH THE ZONES

EXPLORE ZONE

TASTE ZONE

LEARN ZONE

Fig 93-94: Exploded Isometric Drawing and Floorplan Source: (Herrick-Doyle, E., 2020)

ORIGIN

TYPICAL USER NARRATIVE ROUTE

Circulatory function supports the narrative journey design agenda

FRAMES

CONSTRUCTION ELEMENTS OF THE CLOUD ZONE

Fig 95: Exploded Isometric Drawing Source: (Herrick-Doyle, E., 2020)

ORIGIN

FRAMES

Learn Zone Design Development INITAL INSPIRATIONAL IMAGES

ORIGIN

KEY ELEMENTS OF THE DESIGN

audio-visual immersive experience using projection mapping to teach the user about the way coffee beans are processed Precedent: Curtain Call by Rod Arad at The Roundhouse, London 2016

exhibition space for farmers who are growing coffee sustainably

coffee plants in a transparent box that user can step inside to interact with

Fig 96-97: Sketches and Photomontages of Learn Zone Source: (Herrick-Doyle, E., 2020)

integrate elements of the vernacular architecture of coffee processing plants, in particular corrugated metal texture

FRAMES

Learn Zone Design Development REFINING AND ADAPTING THE DESIGN

Learning about the coffee prcoess through a sensory narrative experience.

aluminium supporting fra structure

projector and speakers

Sculptural lighting path

immersive plantation ho

raised floor

Narrative Design Follow an LED ribbon that represents the path through the plantationt that is followed by those that grow and harvest the coffee beans. The user will follow this path through the installation, therefore becoming part of the coffee process. Structure The LED tube will be suspended from the aluminium frame work, with the electrcial wires tracked underneath the installation raised floor. Sensory Immersion The user will travel into the plantation by stepping into a coffee plant filled structure, with translucent recycled polycarbonate walls. The vernacualr style roof will re-call the plantation homestead, integrated with the plantation intself. This sapce will give information printed on the struture about the reforestation projects involved in coffee production. The user will then wander through the exhibition on the people who have grown coffee beans sustainably and benefitted from micro mills, before entering the tunnell with an audio-visual installation of coffee beasn being processed.

REFOREST ZONE

GROW ZON

A walk in coffee plantation which explains the benefits of planting trees amongst the coffee crops

real coffee plants g sheets create the f following the path ribbon). The plant shops so they can customers about t

PEOPLE ZO PROCESSING ZONE Audio Visual Experienc of honey-washing coffee cherries, using projection mapping and speakers. 78

ORIGIN

Famer Exhibition grown, picked and here. The vernacu structure

ame

Adaptation Initial idea refined to include immersive tunnel rather than a cyclinder, becuase this allowed the user to follow a path through the space on a distinctive journey, reinforcing the design mission of a strategic user journey. The original structure involved two hollow walls filled with coffee plants, which was revised to be a plantation house filled with plants that the user could step inside, since this created a more memorable sensory expeirnce and integrated elements of vernacular arhcitecture into the design.

ouse

growing behing corrugated poly-carbonate feeling of weaving through the plantation, hs of the coffee-pickers (following the LED ts will be donated to local coffee roasters/ n grow their own beans and educate their the origins of their coffee.

ONE

n showcasing the families who have d processed the coffee beans being used ualr roof shape is echoed in the display

Fig 98-101: Sketches and Photomontages of Learn Zone Source: (Herrick-Doyle, E., 2020)

FRAMES

Taste Zone Design Development REFINING AND ADAPTING THE DESIGN

INITIAL INSPIRATIONAL CONCEPTUAL PHOTOMONTAGE

KEY ELEMENTS

Representation of being immersed in clouds, ethereal atmosphere Vernacular hut outlines Suspended translucent mist representation

Curved benches and space dividers inspired by the geographical topography of Costa Rica Coffee scent infused walls for an immersive experience Communal seating to enjoy the taste of coffee and experience the coffee culture of Costa Rica

Fig 102-105: Sketches and Photomontages of Taste Zone Source: (Herrick-Doyle, E., 2020) 80

ORIGIN

INITIAL IDEAS EVALUATION

Not accessible for everyone and so not an inclusive design Does not envelop the user in the clouds and so the atmosphere is not staged successfully

EVALUATION

Adaptation includes a ramp incorporated into design, however the ramp would require rails to ensure it is safe for everyone. The addition of rails would interrupt the sight lines depicting the undulating landscape, so this would not be an effective solution.

ADAPTED DESIGN

+ Clouds that feed the coffee plantation

Undulating landscape and plantation rows

The user can wander between the plantation rows, experincing the feeling of immersion in the clouds and interacting with the architecture by smelling the coffee aroma. The user can also experience the cultural practice of Costa Rica by drinking coffee the way it is consumed in Costa Rica, a communcal moment of calm and peace.

FRAMES

Explore Zone Design Development REFINING AND ADAPTING THE DESIGN

A de-constructed vernacular style mountain village KEY FUNCTIONS AND FACILITIES IN THE DESIGN PRODUCT DISPLAY AREA Free Coffee - ethical principle, promoting the cultural identity.

ADAPTABLE Considering the installation is temporary, this zone of the project must be able to be transported and reconstructed on a different site. This is a sustainable solution since it will elimate waste and also will provide the stakeholders with another function. The installation can be reconstructed at San Jose airport in Costa Rica to provide a cultrual welcome to visitors and to promote the eco-tourism to farms growing coffee sustainably.

EXPERIENTIAL The design should also provide an interesting experiecne to walk though a de-constructed village and experience an element of the tangible culture of this region

SEATING The design should incorporate different forms of seating to provide the user with a choice and to encourage the user to sit inside the de-consturcted village.

THE PRODUCT THAT WILL BE DISPLAYED IN THE DESIGN

INSPIRATIONAL IMAGE: TYPICAL VILLAGE IN COSTA RICA

(HERRICK-DOYLE, 2020)

INSPIRATIONAL IMAGE: BRANCH USED TO SUPPORT PO LINES, IMAGE FROM VERNACUA STRUCTURE (HERRICK-DOYLE, 2020)

ORIGIN

OWERALR

INITIAL DESIGN EVALUATION

The design has abstracted elements of the vernacular but they are not obvious enough to recall the vernacular structures of Costa Rica in an effective way. The corridor like structures, whilst practical because of their module design, do not provide an exciting space for users to explore, nor do they effectively interpret the typical arrangement of a mountainside village in Costa Rica.

Sculptural lighting added inspired by criss crossing power-lines, typical in Costa Rican villages

REFINED DESIGN

Roof shape taken directly from authentic vernacular structures photographed on primary research (see development process of vernacular shape)

Corrugated roof material integrated into design

Modular shapes separated into individual homesteads creating an interesting layout for users to explore that expresses the typical layout of the village

Product display encourages user to wander around the village

Fig 106-108: Photogrpahs of Costa Rica Source: (Herrick-Doyle, E., 2018) Fig 109-11: Sletches and Photomontages of Explore Zone Source: (Herrick-Doyle, E., 2020) FRAMES

Explore Zone Experimental Process TESTING DIFFERENT DESIGNS IN CAD MODEL

1. Initial shapes taken from photograph of vernacular architecture

2. Initial shapes m

3. Shape refined a

Fig 112-116: Vernacualr Architecture in Costa Rica Source: (Herrick-Doyle, E., 2018) Fig 117-118: CAD Models of Explore Zone Source: (Herrick-Doyle, E., 2020) 84

ORIGIN

modelled with CAD and tested as part of scheme

4. Quick renders produced to test design as part of cohesive scheme

and modelled with CAD and tested as part of scheme

- addition of corrugated material shape, typical roof material in Costa

- pitched roof angle refined

FRAMES

CHAPTER SEVEN

Futures /ˈfjuːtʃə/

Noun: a period of time following the moment of speaking or writing; time regarded as still to come. - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL This stage of the process model is a playful exploration and experimentation using the frames created in the previous chapter. This is effective in creating numerous options that stem from the key themes shared by the key player in the field.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER The theme of sustainable design is developed on by experimenting with a modular form that can be easily de-constructed and re-constructed on a site elsewhere. The site chosen is the San Jose airport in Costa Rica as this benefits the key stakeholders by providing a cultural welcome to international visitors and promoting the sustainable credentials of many farming communities in Costa Rica.

Fig 119: Coffee Plantation in Costa Rica Source: (Herrick-Doyle, E., 2018) 86

ORIGIN

Design Testing with a Scale Model USING 3D SOFTWARE TO TEST AND ADAPT THE DESIGN

Refining the form of the suspended cloud canopy

Design is not accessible due to the falling risk on the mountain sl

Testing the inital modular explore zone layout

Continued evolution of modular explore zone design

Fig 120-123: 3D CAD Models of Scheme Source: (Herrick-Doyle, E., 2020) 88

ORIGIN

lope

Addition of small ramp for easy access to raised floor

Testing the design within the proposed site

Reconfiguration of modular explore zone layout (for process see â&#x20AC;&#x2DC;Design Development - Explore Zoneâ&#x20AC;&#x2122;)

Analysing sun path and natural light

FUTURES

Fig 124: Exploded Isometric of Scheme Source: (Herrick-Doyle, E., 2020)

ORIGIN

EXPLODED ISOMETRIC DRAWING

FUTURES

INSPIRATIONAL COLOUR STORY

warm rock

Fig 125: Plantation House in Mountains of Costa Rica Source: (Herrick-Doyle, E., 2020)

ORIGIN

ivy

natural pink

deep forest

agua

pura vida the good life

Pura Vida is a hello, a goodbye, and a phrase that encapsulates the culture and everyday way of life in Costa Rica. Pura Vida speaks of the everyday life of normal people in Costa Rica, through an unusual colour way constructed from everyday items. Dominated by the luscious greens of the coffee hills, Pura Vida showcases the weathered local timber of this handconstructed home. The blue, green and red shades clash strongly bringing a vibrancy to the palette, balanced by the softer rose and aquas. The colours in this palette showcase the richness of Costa Ricaâ&#x20AC;&#x2122;s natural surroundings and its vernacular architecture. It is an engaging and invigorating palette capturing the essence of a normal workday in the coffee plantations.

overalls

dusty blue

cola red

dusty earth cloud

FUTURES

Vernacular Innovation MATERIALS SPECIFICATION

Fig 126: Photomontage of Materials Source: (Herrick-Doyle, E., 2020)

ORIGIN

Recycled Aluminium for the supporting frame Aluminium recalls the vernacular roof and wall structures of the industrial farm buildings associated with the coffee process in Costa Rica. Aluminium is also a sustainable choice because it is infinitely recyclable and so is the most sustainable metal choice. Costa Rican Reclaimed Timber (Teak) will be used to cover the raised floor This choice brings tangible cultural element of Costa Rica into the design, since local timber is a common vernacular building material in Costa Rica. This choice is sustainable because the transport to site emissions are offset by the fact that no new material will need to be produced for the project. Teak woof will be used because it is very common in Costa Rica and is a hard wood so very durable for this temporary exhibition. It is also comfortable for staff and visitors to spend hours walking on and can be made waterproof with varnish to account for coffee spillage. Recycled Wood and Waste Plastic Composite sheets will cover a timber frame This innovative material can be customised to exact texture and colour required. The project will use a recycled wood and plastic composite that has a faint wood grain texture, to re-call the vernacular coffee huts in the mountains, but will be specified in the colours extracted from the colour story â&#x20AC;&#x2DC;pura vidaâ&#x20AC;&#x2122;. Recycled Polycarbonate Sheets will be used for the coffee plant housing Commonly used for greenhouses, these sheets will protect the coffee plants from exposure. Recycled polycarbonate makes use of the excess plastic waste found worldwide and the translucent nature is representative of the transparency of the coffee process being explored. Coffee Plants Coffee plants at various stages of growth will be incorporated in the entrance block and the Re-Forest plantation house to educate the user on how coffee cherries grow. At the end of the exhibition the coffee plants will be donated to local cafes for decoration or coffee processing. Recycled Plastic Translucent Mesh for the suspended cloud and the processing tunnel The clouds structure will be made from a very fine recycled plastic mesh in brilliant white, suspended from the aluminium frame with wire. The processing tunnel with use the same material which can be projected onto, and the translucent nature will allow the processing tunnel to glow. Locally Sourced (Italian) Timber for inside structure of vernacular houses and mountain smell walls This renewable material is light and sustainable. It will not be touched or seen by the user as it is providing the frame support for the wood plastic composite sheets to be pinned to.

FUTURES

Vernacular Innovation MATERIALS SPECIFICATION

SECTION SKETCH OF COFFEE SCENTED MOUNTAIN WALL

Fig 127: Construction Sketch Source: (Herrick-Doyle, E., 2020) Fig 128: Section of Design Source: (Herrick-Doyle, E., 2020)

ORIGIN

SECTION OF SCHEME TO SHOW GENERAL MATERIAL LOCATION

Recycled Polycarbonate Sheet

Coffee Plants

Recycled Aluminium

Reclaimed Teak Wood

Recycled Wood Waste Plastic Composite Moulded Sheet

Recycled Plastic Mesh

FUTURES

CHAPTER EIGHT

Transformation /ˌtransfəˈmeɪʃ(ə)n/

Noun: a marked change in form, nature, or appearance. - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL This stage involves evaluating the output from the frames. It then involves choosing a frame to adhere to and apply to the given problem or opportunity.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER In this chapter, the chosen frame has been applied through producing key visuals to communicate the solution to the problem of a narrative hospitality space to explore the sustainable production of coffee in Costa Rica.

Fig 129: Coffee Plantation in Costa Rica Source: (Herrick-Doyle, E., 2018)

ORIGIN

SECTION OF WHOLE SCHEME

Fig 130: Rendered Section Source: (Herrick-Doyle, E., 2020)

100

ORIGIN

TRANSFORMATION

101

SPACIAL DESTINATIONS

ORIGIN Costa Rica

102

ORIGIN

Fig 131: Final 3D Visual Source: (Herrick-Doyle, E., 2020)

A culturally expressive installation for the Venice Biennale, with an experiential sustainable coffee farming educational element and a coffee tasting facility.

COFFEE COMMUNITY SUSTAINABILITY 103

LEARN

104

ORIGIN

Fig 132: Final 3D Visual Source: (Herrick-Doyle, E., 2020)

105

Fig 133: Final 3D Visual Source: (Herrick-Doyle, E., 2020)

106

ORIGIN

COFFEE IN THE CLOUDS

107

EXPLORE 108

ORIGIN

Fig 134: Final 3D Visual Source: (Herrick-Doyle, E., 2020)

TRANSFORMATION

109

Products Specification FURNITURE, LIGHTING AND PRODUCTS

Coffe Cup HuskeeCup Natural and Charcoal 6oz

Track Lighting System Olmo - Spot - wide flood 42° 2700K Black 16W 1236lm

Suspended Lighting S.O.L. Sea of Light suspended light Black 110° 2700k 60W 5525lm

Projector Epson EB-X41 Projector, 3600 Lm

Espresso Maker La Marazocco Strada Ep with Self-Contained 2Litre Water Tank 5500W

Fig 135: Photomontage of Products Source: (Herrick-Doyle, E., 2020)

110

ORIGIN

TRANSFORMATION

111

112

ORIGIN

Notes: Lighting Specifications Olmo - Spot - wide flood 42° 2700K Black 16W 1236lm

S.O.L. Sea of Light suspended light Black 110° 2700k 60W 5525lm Epson EB-X41 Projector, 3600 Lm SOUTH ELEVATION

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

NORTH ELEVATION

Project: Origin

Drawing: Section of North and South Elevation

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:100

Drawing no: A1:1

TRANSFORMATION

113

114

ORIGIN

Notes: Lighting Specifications Olmo - Spot - wide flood 42° 2700K Black 16W 1236lm

EAST ELEVATION

S.O.L. Sea of Light suspended light Black 110° 2700k 60W 5525lm Epson EB-X41 Projector, 3600 Lm

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Section East Elevation

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:100

Drawing no: A1:2

TRANSFORMATION

115

116

ORIGIN

Notes: Lighting Specifications Olmo - Spot - wide flood 42° 2700K Black 16W 1236lm

WEST ELEVATION

S.O.L. Sea of Light suspended light Black 110° 2700k 60W 5525lm Epson EB-X41 Projector, 3600 Lm

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Section West Elevation

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:100

Drawing no: A1:3

TRANSFORMATION

117

118

ORIGIN

Notes: Lighting Specifications Olmo - Spot - wide flood 42° 2700K Black 16W 1236lm

S.O.L. Sea of Light suspended light Black 110° 2700k 60W 5525lm Epson EB-X41 Projector, 3600 Lm

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Floorplan

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:100

Drawing no: A1:4

TRANSFORMATION

119

120

ORIGIN

Notes:

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Coffee Bar Section

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:20

Drawing no: A1:7

TRANSFORMATION

121

122

ORIGIN

Notes:

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Coffee Bar Section

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:20

Drawing no: A1:6

123

ALLUMINIUM SUPPORT FRAME FIXED TO RAISED FLOOR

RAISED FLOOR BASE ELECTRICAL WIRING FOR COFFEE MACHINE TRACKED UNDER RAISED FLOOR

STEEL RAISED FLOOR SUPPORTS

EXISTING CONCRETE FLOOR 124

ORIGIN

Notes:

FRESH WATER FOR COFFEE MACHINE, REFILLABLE

GOVERNMENT OF COSTA RICA: Ministry of Natural. Resources, Energy and Mines

Birminham City Univeristy MA Interior Architecture and Design

Project: Origin

Drawing: Coffee Bar Detail

Designer: Emerald Herrick-Doyle

Date: 06.09.20

Scale @ A2: 1:10

Drawing no: A1:5

TRANSFORMATION

125

CHAPTER NINE

Integration /ɪntɪˈɡreɪʃ(ə)n/

Noun: the finding of an integral or integrals. - (Oxford English Dictionary, 2020)

A SUMMARY OF THIS STAGE OF THE PROCESS MODEL During the final stage of the process model, the proposal is evaluated and they way in which it site within its broader context is evaluated. Any knowledge that has been gained during the process can also be evaluated and incorporated into the collective knowledge of the field.

THE APPLICATION OF THIS STAGE OF THE PROCESS MODEL IN THIS CHAPTER This chapter applies the process model by evaluating the design proposal and its contribution to the field and problem arena. It also evaluates the personal praxis of the designer and seeks to integrate any knowledge gained into the the future praxis of the designer. Fig 136: Coffee Cherries Source: (Herrick-Doyle, E., 2018)

126

ORIGIN

127

STAKEHOL

Create a design an installation Biennale to sustainable co in Costa Rica a Costa Rica.

Value of Research a

The design makes a design by its use of i plastic composite. F installation and the a new installant for applied to all tempo resources.

Furthermore, the pr engaging consumer they can make more the user through se experience.

The design makes a architecture and the a successful example

Fig 137: 3D Visual Source: (Herrick-Doyle, E., 2020)

128

ORIGIN

Design Proposal Evaluation VALUE OF RESEARCH AND CONTRIBUTION TO FIELD

LDER BRIEF

DESIGN QUESTION

n proposal for at the Venice showcase offee farming and represent

DESIGN HYPOTHESES

An innovative design that incorporates elements of vernacular architecture and manipulates atmosphere to create a narrative that communicates the cultural identity of coffee farming in Costa Rica.

and Contribution to Original Knowledge

Evaluation of Value and Limitations of the Design

a valuable contribution to the field of sustainable innovative materials, such as a recycled wood and Furthermore, the consideration of the death of the future life of the materials used has concluded in the client elsewhere. This consideration should be orary installations to create less waste and use of

The value of the design lies in its successful delivery of a polticial message about sustainable farming and ecuation, and its representation of a cultrual identity. Additionally, the design is successful in benfitting a community of farmers in Costa Rica by showcasing their innnovation efforts and encouraging the purchase of their sustainably produced coffee beans.

roject sets out an innovative way and artful way of rs and educating them in a political issue so that e sustainable choices in the futures. By immersing ensory design they will have a more memorable

The design could be improved by further integration of technology that engages the user even further. The limitations of the design reside in it being necessary for tourists to understand English, so it would have been more inclusive to include translations of the information being displayed in the exhibition.

a valuable contribution to the study of vernacular e field of semiotic narratives in design by providing le of cultural identity manifested within a design.

Furthmore, the design could make more careful use of materials so that it is fully re-usable, as well as being recyclable.

INTEGRATION

129

Personal Praxis REFLECTING ON MY PRAXIS

/ˈpraksɪs/ Noun: practice, as distinguished from theory.

Praxis is the act of doing. It can be understood in this context as “Who I Am, What I Know and What I am Becoming” (Skinner, D., 2020) Developing my personal praxis over the past year has been both challenging and rewarding. As Bernstein says “In praxis there can be no prior knowledge of the right means by which we realise the end in a particular situation. For the end itself is only specified in deliberating about the means appropriate to a particular situation (Bernstein 1983: 147). This has been particularly pertinent for me, having had no prior education in design, since I had no formal design method practices to unlearn and so began my journey ready to embrace, implement and evaluate design methodology in an unbiased manner. During this final project, many designs were experimented with and concepts engaged with however when these designs were tested they proved to be not viable and so were discarded. The process of testing these designs though improved my experimentation and critical evaluation skills in order to rigorously analyse a concept before making the decision to develop it. Reflection on my praxis The best of my practice during the past year has been the continuing development of my collaboration with others. I have found collaboration to be a crucial element of my design process and having challenges and constructive criticism from fellow designers in the creative studio and tutors has been key in my developing of innovative concepts. I believe my innovative concepts and design outputs have benefitted form incorporating peer-appraisal into my praxis, as this has often sparked inspiration in my own design work or encouraged me to consider different approaches to a design problem that I had perhaps not investigated before. An area for improvement in my praxis would be my strategic project management; I have found I have a tendency to underestimate the time needed for certain design tasks and my evaluation of the time taken for design tasks has not been consistent. This time management issue has sometimes come from my lack of confidence in making design decisions, however this improvement to my praxis will come with practice and in the future as a become more confident in my design work I will have confidence in my own design decisions. Gaining knowledge of a number of different design process models has enabled my to evaluate which process suits my way of working, and incorporate this into my praxis. For example, the focus on positive evaluation in the ‘Appreciative Inquiry’ (Cooperrider, 1986) design process proved extremely useful to me when beginning a project. This approach takes a topic and asks ‘What could make this situation even better?’, creating a space for experimentation, and so this mindset and principle has formed part of my praxis during the final project even though I employed the strategic design process of Frame Creation (Dorst, 2015). Evaluation of design processes enables me to choose which elements of each design process I value, to incorporate these into my praxis and in the future develop my own design system process model to illustrate the optimum design process for me. Evolution of My Praxis and Future Focus The evolution of my praxis is something I am deeply committed to and I am excited to continue developing my skills and collaborative techniques with other designers. During the first year of my practice as a designer the creative studio is a valuable resource for this and I will seek out this environment in the future, in particular for the support and inspiration that comes from collaboration with peers and tutors. I envision that my commitment to the evolution of my praxis will serve me as a designer in the future while I pursue my goal of becoming a professional interior architect, with a view to start my own design studio.

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ORIGIN

“

It is the action of people who are free, who are able to act for themselves.” -Smith, M. K. (1999, 2011)

Creative Process Theory Evaluation The Frame Creation process model was an effective method to follow since the process begins only with investigating knowledge, and no preconceived design ideas. The design ideas are not formulated until after intense analysing of the pervious attempts at solving the problem as well as of the needs and themes that are connected to the stakeholders and wider field of stakeholder parties. Therefore, the resulting design solution is well conceived and justified. However, Kees Dorst’s approach, unlike the double diamond diagram, does not leave room for re-interpretation of knowledge based findings, which has been a fundamental part of my praxis this year. Experimentation and testing has been crucial in developing my designs, and so the Appreciative Inquiry approach (Cooperrider, 1986), a method I conducted in my research project for this design proposal, was more fitting to the way I like to work. Partly because this was a collaborative approach, and whilst Kees Dorst’s Frame Creation process can certainly involve collaboration, particularly with stakeholders, it is not a fundamental aspect of the methodology and is not given the same status as an Appreciative Inquiry which relies on the participation of the other parties. Fig 138-140: The Author Engaging in the Design Process Source: (Herrick-Doyle, E., 2020) INTEGRATION

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