Chau h prix la251 2015 by Nicholas Chau

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ACCOMPANYING IT. IN THE FIELD OF DESIGN, IT IS MOSTLY USED IN THE FORM OF DIAGRAM, INCLUDING THE IDEA OF A CONCEPT, THE ASSEMBLING OF A PRODUCT, A FLOOR PLAN DESIGN ETC. IT DOESN'T HAVE TO BE COMPLICATED, AS MOST OF PRIX'S SKETCHES HAVE SHOWN, IT IS ACTUALLY PRETTY SIMPLE. VISUAL COMMUNICATION IS IMPORTANT BECAUSE IT CAN BE USED TO EXPRESS MORE EFFICIENTLY AND EFFECTIVELY. FOR A EXAMPLE, THERE IS A DOG WITH REALLY SHARP TEETH AND LOOKS LIKE IT TRIES TO BITE PEOPLE WHO WALK AROUND IT, YET THERE IS A SIGN "PLEASE PET FRIENDLY DOG" NEXT TO IT. WILL PEOPLE PET IT? NO, BECAUSE THE VISUAL IMAGE HAVE GIVEN THEM THE MESSAGE THAT THE DOG IS DANGEROUS, DESPITE THE SIGN NEXT TO IT. ACCORDING TO A STUDY BY STANFORD PERSUASIVE TECHNOLOGY LAB, PEOPLE TEND TO TAKE WEB SITE'S DESIGN LOOK AS THE NUMBER ONE CRITERION FOR DISCERNING THE CREDIBILITY. ALLEN GINSBERG, POET AND AUTHOR, ALSO SAID, "WHOEVER CONTROLS THE MEDIA—THE IMAGES—CONTROLS THE CULTURE." IT SHOWS HOW VISUAL COMMUNICATION IS IMPORTANT TO THE HUMAN RACE, IT HAS BEEN DEEPLY EMBEDDED INTO OUR THINKING THAT IT CAN ALTER OUR CULTURE. VISUAL COMMUNICATION CAN ALSO LET DESIGNERS FROM DIFFERENT PART OF THE WORLD COMMUNICATE WITHOUT KNOWING EACH OTHER'S LANGUAGE. ALAS, VISUAL COMMUNICATION CAN ALSO SHORTEN THE TIME PEOPLE TRIES TO EXPLAIN SOMETHING, AS IT CAN GIVE PEOPLE A CLEARER CONCEPT WHAT THE SPEAKER IS TRYING TO EXPLAIN, THAN PURE WORD ITSELF. HA T PLA START S CE OF COO FIR P BIR ST TH HIMM US AG

Case Study by Ho Sun Chau

Wolf D. Prix

TO COMMUNICATE

WOLF D. PRIX, AN AUSTRIAN BORN IN 1942. HE HAS STUDIED ARCHITECTURE IN VIENNA UNIVERSITY OF TECHNOLOGY, THE ARCHITECTURAL ASSOCIATION OF LONDON AND SCI-ARC (SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE). IN 1968, TOGETHER WITH HELMET SWICZINSKY AND MICHAEL HOLZER, A GROUP OF VIENNA ARCHITECT, FOUNDED THE COOP HIMMELB(L)AU, AN ARCHITECTURAL FIRM. SINCE THE DEPARTURE OF HOLZER (1971) AND SWICZINSKY (2001), PRIX IS CURRENTLY THE ONLY REMAINING FOUNDER, DESIGN PRINCIPAL AND CEO OF COOP HIMMEB(L)AU. IN 2006 HE WAS NOMINATED AS THE COMMISSIONER FOR THE AUSTRIAN PAVILION AT THE 10TH VENICE ARCHITECTURE BIENNIAL. HE WAS ALSO A VISITING PROFESSOR IN ALL THE SCHOOLS HE HAS BEEN FOR A FEW YEARS. HE WAS APPOINTED PROFESSOR OF ARCHITECTURAL DESIGN AT THE UNIVERSITY OF APPLIED ARTS IN VIENNA IN 1993, WHERE HE WAS, FROM 2003 TO 2012 HEAD OF THE DEPARTMENT OF ARCHITECTURE, HEAD OF STUDIO PRIX AND VICE CHANCELLOR OF THE UNIVERSITY. PRIX ONCE MENTIONED THAT ENVIRONMENTAL DESIGNERS "ALWAYS WANTS TO GET THROUGH THEIR RADICAL IDEAS NO COMPROMISING ON ONE HAND, ON THE OTHER HAND IF YOU BUILD LARGE PROJECTS YOU HAVE TO THINK IN REAL TERMS AS WELL." PRIX ONCE SAID THAT ARCHITECTS HAVE TO LEARN TO COMMUNICATE AND WORK IN A TEAM. HE CONSIDERED VISUAL COMMUNICATION A LANGUAGE FOR DESIGNERS TO COMMUNICATE EFFICIENTLY AMONG EACH OTHER. VISUAL COMMUNICATION IS COMMUNICATION IN THE LANGUAGE OF VISUAL IMAGES. IT CAN BE USED SOLELY AS A LANGUAGE ON ONE HAND, ON THE OTHER HAND IT CAN BE USED AS AN AID FOR EXPRESSING WITH WORDS

IMAGE FROM archidialog.com/

THIS SKETCH SHOWS HOW VISUAL COMMUNICATION IS NOT ABOUT HOW PRECISE THE DRAWING IS. AS SHOWN, THE PICTURE IS VERY BRIEF, BUT IT ALREADY LET PRIX FULLY EXPRESS THE IDEA HE IS THINKING OF. THE SKETCH IS A ELEVATION OF AN ARCHITECTURE CONCEPT. USING A SKETCH, SAVES A LOT OF TIME IN EXPLAINING WHAT THE ARCHITECTURE LOOKS LIKE AND CAN MOVE ON TO THE NEXT STEP QUICKER.

Composition diagram 1.5” x 3”

IMAGE FROM COOP-HIMMELBLAU.AT TO COMMUNICATE IMAGE FROM PINTEREST. COM

TO DIAGRAM THIS IS A DIAGRAM SHOWING A MULTIPURPOSE ARCHITECTURE THAT INCLUDES HOTEL AND APARTMENT IN THE SAME BUILDING. THIS DIAGRAM CAN LET PRIX PRESENT HIS IDEA CLEARLY TO THE CLIENTS HOW THE APARTMENT AND HOTEL SECTION ARE LOCATED AND HOW THE SUNLIGHT IS BEING UTILIZED OR MINIMIZED BY THE CURVATURE OF THE BUILDING.

TO DIAGRAM

TO OBSERVE

drawing example

image produced by creative individual; provide citation for source of image

THIS IS A TWO PAGE OF DIAGRAM FROM DRAFT TO THE END PRODUCT OF AN ARCHITECTURE. IT STARTS FROM A REALLY BRIEF SKETCH AND SLOWLY MOVE TO THE VERY DETAILED PERSPECTIVE OF THE ARCHITECTURE. THIS CAN LET THE FUTURE ARCHITECTS AND LANDSCAPE ARCHITECTS TO KNOW HOW TO START A CONCEPT AND SLOWLY TURN IT INTO AN ACTUAL DESIGN.

HATCHING

IMAGE FROM DESIGNBOOM.COM

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STIPPLING

Discussion of Line, Composition and Color

HATCHING+STIPPLING

TO OBSERVE

TO MEASURE

image produced by creative individual; provide citation for source of image

SCRIBBLING

HELMUT SWICZINSKY

THE COFOUNDER OF COOP HIMMELB(L)AU, WHO IS ALSO A FAMOUS ARCHITECT.

MICHAEL HOLZER

ANOTHER COFOUNDER OF COOP HIMMELB(L)AU, WHO IS A NOT SO FAMOUS ARCHITECT.

IMAGES FROM GOOGLE IMAGES AND COOP HIMMEB(L)AU

LEBBEUS WOODS

WOODS IS A FRIEND OF PRIX, WHICH HE ADMIRES A LOT, DUE TO HIS FASCINATING DRAWINGS, WHO IS ALSO AN ARCHITECT.

Prix born in 1942, Vienna

1942

TONAL

1968 THIS IS THE YEAR WHERE PRIX CREATED A PROJECT CALLED “THE CLOUD”. WHICH WAS DONE BY PRIX, HOLZER AND SWICZINSKY. THIS PROJECT ALSO IS THE BEGINNING OF COOP HIMMB(L)AU.

SCRIBBLING+CROSS HATCHING

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IMAGE FROM MOMA.ORG TO MEASURE

CROSS HATCHING

BRACELET

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drawing example

THIS SKETCH HAVE SEVERAL NUMBERS AND LINES POINTING AT IT, IT IS USED TO ACT AS A MEASUREMENT OF THE ARCHITECTURE. THE SKETCH CAN LET PEOPLE ESTIMATE THE HEIGHT, WIDTH OF IT. SO WHEN BUILDING IT, THE ENGINEERS CAN KNOW HOW MUCH MATERIALS THEY NEED AND HOW TALL IT IS, DO THEY NEED A STAIR OR SOMETHING LIKE A BULLDOZER, IT ALL DEPENDS ON THE SCALE OF THE ARCHITECTURE.

TONAL +BRACELET

1980 THIS IS ALSO THE YEAR WHERE “VILLA ROSA” IS SHOWCASED.

1971 HOLZER DEPATURES COOP HIMMB(L)AU. AND ALSO THE CREATION OF RESTLESS SPHERE, A PROJECT THAT DEMOSTRATES PNEUMATIC CONSTRUCTION.

PRIX HAS DESIGNED A BAR CALLED ROTER ENGEL (RED ANGEL) USING SCULPTED PLASTER AND GLASS BLOCKS IN DIFFERENT ANGLE, WHICH CAN FIT 120 PEOPLE IN IT. IT HAS BEEN DEMOLISHED AS THE BAR HAS BEEN REBUILT

LINE IS VERY IMPORTANT IN DRAWINGS AND SKETCHES, AS THE DARKNESS OR THICKNESS OF A LINE WILL AFFECT HOW PEOPLE PRECEIVE AN OBJEECT’S DISTANCE FROM THEIR VIEWPOINT. THIS IS CALLED THE LINE WEIGHT. LINE WEIGHT CAN ALSO STRENGTHEN THE OUTLINE OF AN ARCHITECTURE AND PEOPLE ARE MORE CLEAR WHAT THE OUTLINE IS, AND WILL NOT BE MIXED UP FOR THE INTERIOR OF THE ARCHITECTURE. LINES ARE ALSO IMPORTANT SINCE THEY ARE WHAT COMPOSED OF EVERYTHING, FROM DRAWING INSECTS TO DESIGNING AN ARCHITECTURE, PEOPLE ALSO USES LINES. YET, ONLY LINES COULDN'T FULLY EXPRESS DESIGN. THIS IS WHERE COMPOSITION COME IN. COMPOSITION IS THE ART OF MAXIMIZING THE EXPRESSION OF A DESIGN OR DRAWING. IN THE FIELD OF ART, PEOPLE USES DIFFERENT COMPOSITION TO MAKE THEIR ARTWORK EVEN MORE BEAUTIFUL. IN THE FIELD OF DESIGN, ON THE OTHER HAND, COMPOSITION IS TO MAXIMIZE PEOPLE'S UNDERSTANDING OF A CONCEPT, IT CAN ALSO MAKE PEOPLE DISCOVER THE OTHER SIDE OF A(N) CONCEPT/ OBJECT. FOR EXAMPLE, A PYRAMID WITH A RECTANGULAR PRISM STICKING OUT ON ONE SIDE, TO PRESENT IT PEOPLE JUST PUT IT UP STRAIGHT, IF WE PUT IT ON ONE SIDE, WITH THE PRISM TOUCHING THE FLOOR. IT WILL BECOME MORE SPECIAL AND EYE CATCHING. THIS IS HOW COMPOSITION WORKS. TO FURTHER MAKE THINGS 2001 SWICZINSKY DEPATURED FROM COOP HIMMELB(L)AU. PRIX ALSO GOT A FIRST PRIZE IN A COMPETITION FOR DESIGNING BMW MUSEUM. THE SKETCH ON THE TOP LEFT OF THIS PAGE IS THE SKETCH FROM PRIX OF THE MUSEUM.

MORE OUTSTANDING, WE USES COLOR. COLOR IS BEING TAUGHT SINCE WE ARE CHILDREN, HOWEVER THE IMPORTANCE OF COLOR DEPENDS ON WHAT THE FOCUS OF THE CREATION IS ON, IF IT IS TO CREATE AN ART FOR PEOPLE TO APPRECIATE, COLOR CAN MAKE IT MORE REALISTIC OR MORE OUTSTANDING, AS COLORING IS ALSO A CATEGORY OF ART. IN THE FIELD OF DESIGN, PEOPLE USE COLOR TO RENDER THE FINAL PRODUCT, TO SHOW WHAT THE OUTCOME WILL BE LIKE, YET THE MAIN FOCUS IS STILL ON THE LINE WEIGHT OF THE DESIGN. LESSON 1. I USED TO THINK THAT DRAWING SHOULD BE AS REALISTIC AS POSSIBLE, AND THE MORE BETTER THE DRAWING, MORE EFFECTIVE COMMUNICATION CAN BE ACHIEVED. AFTER I HAVE STUDY PRIX’S PROJECT, I REALIZED THAT WAS WRONG. INDEED A MUCH DETAILED DRAWING IS IMPORTANT, YET BEING EFFECTIVELY USING SIMPLE LINES TO EXPRESS IDEAS ARE ALSO IMPORTANT. AS ROBERT BROWNING A POET HAS SAID "LESS IS MORE". SOMETIMES THE MORE SIMPLE THE DRAWING IS, THE EASIER FOR PEOPLE TO UNDERSTOOD. TAKE THE PAINTINGS IN THE GALLERIES AS AN EXAMPLE, ARTISTS USES A LOT OF TIME TO WORK ON ONE ART PIECE. WHEN PEOPLE OBSERVE THE PAINTING, THEY CAN THINK OF A LOT OF DIFFERENT EXPLANATION FOR THE ART PIECE. THIS IS GOOD FOR ART AS IT ADVOCATE PEOPLE TO THINK, YET IT IS NOT APPROPRIATE IN THE WORLD OF DESIGN. DESIGN FOCUS ON THE COMMUNICATION THROUGH DRAWING, IF IT IS AS COMPLICATED AS ART PIECES, PEOPLE WILL MISUNDERSTOOD THE INTENTION OF THE DRAWING, WHICH WILL CAUSE SERIOUS MISTAKES, SUCH AS THE PRODUCT IS DIFFERENT FROM THE DESIGNER'S ORIGINAL INTENTION, OR IT MIGHT TAKE A LONG TIME BEFORE THE DESIGNER CAN BE FULLY UNDERSTANDABLE. LESSON 2. I HAVE LEARNT THAT TO BE A GOOD DESIGNER, LIKE PRIX, ONE MUST BE HUMBLE AND VERY OPEN MINDED. DURING MY RESEARCHES OF PRIX, I HAVE FOUND OUT THAT HE IS ACTUALLY A VERY HUMOROUS PERSON. HE TALKS VERY CASUALLY, AND DURING HIS TALK I REALIZED THAT A DESIGNER SHOULDN’T BE BOUND TO ANYTHING. HIS WORK IS EXTREMLY OPEN-MINDED. I ESPECIALLY LIKE ONE OF HIS WORK THAT INVOLVES IN USING A BRIEFCASE CARRYING AN INFLATABLE BED. SPEAKING OF OCCUPYING SPACE, PEOPLE USUALLY THINK OF SOLID, UNABLE TO MOVE EASILY OBJECT, YET THIS “VILLA ROSA” USES INFLADABLE BALLON TO CREATE A TRANSFORMATION FROM OCCUPYING MOBILE SPACE TO OCCUPYING PUBLIC SPACE. 2015 CURRENTLY, PRIX IS WORKING ON A PROJECT IN CHINA, WHICH IS THE DESIGN OF THE MUSEUM OF CONTEMPORARY ART & PLANNING. THIS IS EXPECTED TO FINISH THIS YEAR.

SIMPLE DRAWING IS MORE EFFECTIVE

BE OPEN MINDED

EXPAND OBSESSION LESSON 3 I USED TO THINK THAT A DESIGNER MUST NOT BE OBSESSED WITH ANY SHAPE. IF ONLY ONE SHAPE IS USED, THE PRODUCT WILL BE BORING, YET IN PRIX’S EARLY WORK THERE ARE A LOT OF CUBE SHAPE IN HIS WORKS. ALTHOUGH, THERE ARE LESSER AND LESSER CUBE AS YEARS PASS BY. I THINK THAT IT IS ACCEPTABLE TO HAVE MORE SHAPE THAT A DESIGNER PREFER IN HIS/HER EARLY WORK, THEN SLOWLY TRANSFORM INTO A HIGHER LEVEL OF USING NOT JUST SHAPES BUT DIFFERENT CURVES THAT AREN’T EVEN NORMAL SHAPES. SO, I THINK AS LONG AS THE FAVORED SHAPE IS NOT OVERUSED, IT IS ALLOWABLE.