ARC 6989 Reflection on Architectural Design
Hua Li
Cover image: A city Note: author's own photograph
"For those who pass it without entering, the city is one thing; it is another for those who are trapped by it and never leave. There is the city where you arrive for the first time; and there is another city which you leave never to return." (Calvino,1978).
CONTENT
01 Introduction
06-07
02 Narration
08-29
03 Experimentation
30-35
04 Assembling
36-39
05 Conclusion
40-41
Figure 1. A digram of UK Border Project Note: Author's own photograph
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01 INTRODUCTION
This essay will give a reflection on architectural design method and knowledge I get from the ARC6989 course and how I apply them to my studio works. Our first studio project aims to explore the relationship between architecture and border geographies by spatial border research. Our group worked on the UK border project (Figure 1). We need to focus on the dispersed border, where the effects of the border can be felt across the whole territory and not just at the physical border. In our group, we started with looking for the invisible border from our individual journey to the UK by mapping and narrating. After our re-mapping, we designed a special model and organized them by montage to narrate the story of UK border. In this project, our research is from bottom to up, from the details to the whole country. Our second studio project is about Zaatri refugee camp. We focus on refugees, as border crossers, and their daily life in this camp. During our field trip, we used the different ways to do our research. Mapping with photos and using different types of walking as the main ways for us to read the camp. In our field trip, we have an opportunity to participate a workshop with architecture students from Jordon. We used different materials to redesign the fences from the camp. Assembling different materials helps us to build a friendly spatial experience for the refugees and NGOs. After the field trip, we design a scenario game as an experimentation to continue our research.
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Figure 2. Cretan labyrin (left). Mies van der Rohe,Brick Country House (right). Note: Psarra, S. (2009). Architecture and Narrative: The formation of space and cultural meaning. Routledge.
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02 NARRATION
2.1 What is architectural narrative? "All discourse is narrative" Lyoturd suggested. (Best & Kellner, 1991) The architectural narrative is to use “narratology� as an alternative method for analysing, understanding, creating buildings. It can also be used to re-examine the relevance and strategy of architectural elements, spatial structure, and semantic order. It means that the architecture can be translated into a possible language system, and thus to establish the social and cultural significance of the building effectively. (Psarra, 2009)
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Figure 3: A film poster of Citizen Kane, 1941 Note: Anonymous (1941). Retrieved from http://www. leninimports.com/orson_welles_citizen_movie_poster_14a_ e.jpg
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2.2 Narrators
Figure 3 is one poster of movie Citizen Kane. In this film, after Kane suicide, He became a lot of 'Kanes' from different people's narratives. " Narrator is one of the most important questions we have to make it clear when we are talking about architectural narrative. Who can be the narrator in architecture? And how do they narrate? The answer will be very multifarious.
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Figure 4, Poetry from 'S, M, ,XL' Note: Koolhaas, R., & Mau, B. (1995). S, m, l, xl.
Figure 6, Cartoon from 'S, M, ,XL' Note: Koolhaas, R., & Mau, B. (1995). S, m, l, xl.
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Figure 5, Diary from 'S, M, ,XL' Note: Koolhaas, R., & Mau, B. (1995). S, m, l, xl.
Figure 7, Continuous Monument Note: Superstudio. (1969). Retrieved from: http://icancauseaconstellation.tumblr.com/ image/61953532241
Architects
First of all, I want to mention about architects. As an architect, to narrate their design seems like one of their inescapable responsibilities. Usually, they use the different diagrams to illustrate their design process and concepts. Or use their design as a way to narrate the future events will happen in their design. Are there any other ways can be used by architects to narrate their works? • Poetry. (Figure 4) This poetry published in ‘S, M, L, XL' (Koolhaas, 1995). Koolhaas used a poetry with some spatial pictures to narrate his design for Kunsthal II in Netherland. • Diary. (Figure 5) Those pictures come from the same book. Koolhaas narrated a story of his design for the Very Big Library competition, in Paris, by his diary. • Cartoon. (Figure 6) This cartoon picture also came from ‘S, M, L, XL'. Koolhaas used them to narrate a story about the relationship between government and his company. • Collage. (Figure 7) Superstudio used lots of fascinating collages to express their thinking of the new world and the future of cities. (Branzi, 1984)
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Figure 8, Half a house, designed by Alejandro Aravena Note: McGuirk, J. (2009, January). Alejandro Aravena. retrieved April 10, retireved from: https://www.iconeye.com/404/item/3895-alejandro-aravena
Figure 9, Kowloon Walled City Note: Anonymous (1987). Retrieved from: http://greggirard.com/work/kowloonwalled-city--13
Users
Users are also great architectural narrators. ‘The Death of the Author', this view of French writer Roland Barton, has inspired Jonathan to reconsider architecture. And Jonathan believes that a complete architectural design creation has to consist of two parts: the architect's design and the innovative use of users. (Hill, 2003) • ‘Half a house' (Figure 8) is a project designed by Alejandro Aravena. After building a half of the house, architect gave the narrative rights to users to narrate their different stories with the rest part of the house. • Kowloon Walled City, Hong Kong (Figure 9). It was a largely ungoverned densely-populated settlement in Hong Kong. People was living there used their knowledge and living skills to narrate thousands of stories by this city.
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`Figure 10, image copy from 'Great leap forward' Note: Chang, C. J., Inaba, J., Koolhas, R., & Leong, S. T. (Eds.). (2001). Great leap forward. Koln: Tarchen.
Figure 11, image copy from 'Great leap forward' Note: Chang, C. J., Inaba, J., Koolhas, R., & Leong, S. T. (Eds.). (2001). Great leap forward. Koln: Tarchen.
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Government & Property developers
These pictures came from ‘Great Leap Forward'. (Figure 10 & 11) This book discussed the government and developers played a major role in the rapid development of Shenzhen, Guangzhou, Zhuhai. Actually, for this tree cities development, the narrators are government and developers, they planned the future and the buildings of these cities by their power.
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Figure 12, Map of London Note: Booth, C. (1903). Life and Labour of the People in London (Vol. 2). Macmillan and Company.
Figure 14, Photoes of Los Moscos Note: Author's own photograph
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Figure 13, Monuments Of Passaic Note: Smithson, R., & Flam, J. D. (1996). Robert Smithson, the collected writings. Univ of California Press.
Others
Are there any others could be architecture narrators? In figure 12, 100 years ago, a social reformer named Charles Booth, used maps and tables to narrate the life of people and labour, who lived in London. (Booth, 1903) In figure 13, an artist, Robert Smithson, use lots of photography to narrate the site and make land art to keep narrating his consider from his reading of site. (Smithson, 1996) I taken this figure 14 in London. It shows another artist, Mark Bradford, used mixed medias, most of them came from the pieces of local people's life, to narrate a story of a street around his studio.
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Figure 16, Mapping of our journey to UK Note: A digram of UK Border Project, author's own photograph
Figure 17, Invisible influence of UK Figure 18, Hiding location of IRCs Note: A digram of UK Border Note: A digram of UK Border Project, author's own Project, author's own photograph photograph
Figure 19, UK border design Note: Author's own photograph
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So many people could be architectural narrators. Different perspectives can help architects to get more information and more understanding about their project. Narrating is a tool for architects to read (research) and write (Design) their sites and works. In our UK Border project, we used different perspective to read the border. • Users (Figure 16) As border crossers of UK border, we mapped our journey to the UK. It makes us know more about the feeling and the experience to the border. • Government (Figure 17) When we found the invisible borders, we used another view to re-examining them. We focus on the process of the border working, the function of different borders, the purpose of the border. • Reporters (Figure 18) We use a different view to narrate our project and found the conflict between users and government. Then we became a reporter. We want to use reporter’s view to collect the information about what will happen after the conflict happened between immigration and government. We found IRCs. • Architects (Figure 19) All the research happened in different perspectives. But architects’ view is always with us. We found the UK cultures from our rooms in our countries, found the room which likes prisons for the illegal immigrations in IRCs, and found the hiding location of IRCs site. Different narrators’ view gave us a more comprehensive understanding of UK border. This method also used in our refugee camp project. When we play the scenario game, we simulate different perspectives of agencies which involved in the camp (refugees and NGOs). Thinking with refugees’ view and NGOs' views helped us to consider the life and the power system in the camps.
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Figure 20. Salk Institute by Louis Kahn Note: Anonymous (2013). Retrieved from: http://imgur.com/Bf4f4t8
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2.3 Architectural narrative semantic
In chapter 2.1 and 2.2, I discussed narration as a method to help us to do research, and narration also can be an alternative method to help architects to represent their ideas and design. Now let's focus on the semantics of architectural narrating. Sophia Psarra suggests that when you use the languages of architecture to do narrating, there are two types of semantics can be used. One is inner semantic which based on configuration, and the other is outer semantic which based on signification. He explained that "the former (inner semantic) refers to the notion of interdependence of elements that are intrinsic to architecture seen as a system of spatially situated practices and embodied experience. The latter (outer semantic) concerns what architecture refers to beyond its pattern of space, like power, religious structures, and social or political ideology." (Psarra, 2009) In these two types of semantics, there are two kinds of time be brought into the architectural narration. In an architecture narration by inner semantic, mental time as the timeline brought into a design. People in the building through the activities to experience the sense of time. In an architecture narration by outer semantic, natural time as the timeline be brought into the narration.
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Figure 21, Notre Dame du Haut Note: Author's own photograph
Figure 22, UK Border Design Note: Author's own photograph
Figure 23, Jordon Workshop Note: Author's own photograph
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Inner semantic
For inner semantic, the form, space, events, materiality of buildings as the core of this kind of narrative combined with the special experience and mental time to form an architecture narrative. One of the most commonly used methods is the montage. Figure 21 shows the Notre Dame du Haut followed the tour route from far and near, outside to inside. Visitors can experience strange, familiar, mysterious, primitive, heavy, light, self and God in turn, along with the course of the tour, and the visitors can experience different mental changes. Le Corbusier used montage as one of design methods to narrate these fantastic spatial experiences to visitors by his design. In our UK border project (Figure 22), we also used montage as one of our design methods. In our design, we designed the final spatial model based on our spatial experience include the form of airport customs (as a visible spatial border), the events happened in different spaces. We reorganized all of this spatial models by montage method for our final design. In our field trip in Jordon, we participated a workshop with the students from the University of Petra. In the workshop, we redesigned the fences which distributed in Zaatari refugee camp. (Figure 23) We want to optimize the elements of the existing space. The fences are full of confrontation, estrangement elements. We want to redesign the refugee camp's spatial experience more friendly to bringing refugee mental experience changes. As well as that it is an architectural narrative in inner semantic.
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Figure 24, ‘Exodus, or the voluntary prisoners of architecture', by Koolhaas Note: Koolhaas, R. (1972). EXODUS, OR THE VOLUNTARY PRISONERS FO ARCHITECTURE.
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Outer semantic
For outer semantics, the whole design or the whole city is the subject of the narrative. Outer semantic narrative focus on the meaning of architecture, which is beyond its pattern of space, like power, religious structures, social and political ideology and so on. In the dimension of natural time, to consider architecture meaning with a more macro perspective. The important thing is not just the specific architectural design method but more like to use a macro architectural view to re-examining the meaning of the world. In Koolhaas' 1972 Architectural Association thesis, ‘exodus, or the voluntary prisoners of architecture'. (Figure 24) He used a romantic architectural design to narrate his thinking about many questions, not only with the space and function of the buildings. In this design, he used a lot of collage pictures to show his consideration of ideal and reality, social distribution system, human desire, the role of architecture, social structure, the current political system and so on. The whole design as an ironic metaphor to consider the architecture and urban design have been passive to become a political tool. The architecture also formed an invisible wall to the public by itself.
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Figure 25: Digram of UK Border Project
Figure 26: Model design of refugee camp project Note: Author's own photograph
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In the UK border project, we also made an outer semantic narrative attempt. When we look at the UK border with a global view, we got more discovery. (Figure 25) The UK as a major country of cultural output and value output in the world is using its influence to exchange for more social resources from other countries. For the border, it is not just to open its door for theses valuable resources, but close the door to useless resources. At this point, UK border can be seen as a machine. It keeps attracting people come to the UK, and build the relationship with the UK, bring their business, money, knowledge and everything useful to the UK. The country got more resources, and it becomes more powerful to disperse its influence to the world and bring back more. In refugee camp project, we want to visualize the power system in the camp by our model design. (Figure 26) It is also helped us to realized lots of the invisible confrontations, classes, and the relationship between NGOs, government, and refugees. I would like to do more research about that kind narrative in future design. Individually, I consider that is a kind of outer semantic narrative.
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Figure 27: Bio-architecture Note: The Bartlett School of Architecture(2016), Retrieved from:https:// www.flickr.com/photos/bartlettarchitectureucl/33026743346/in/ album-72157677194686073/
Figure 28, Robotic arm Note: Lloyd Alter(2016), Retrieved from:https://www.treehugger.com/greenarchitecture/computer-lays-the-prettiest-brick-walls-since-eladio-dieste.html
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03 EXPERIMENTATION
For experimentation, I would like to divide it to architectural design experimentation and architecture experimentation. Architectural design experimentation includes most of the experimentations of architectural design practices. Base on the cross with science and engineering disciplines, try to find more new technologies which can be a design method, so as to achieve the possibility expansion of architectural form and space creation. For example, bio-architecture (Figure 27), the construction by the robotic arm (Figure 28), the invention of new building materials, and so on.
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Figure 29, Diagram of Dasein Note: Martin Heidegger (1960), Retrieved from:https: https://esbocosfilosoficos. com/2013/03/17/heidegger-e-asuperacao-da-metafisica-3/
Figure 30: Dough – Foam – Island : Moments of Interconnectivity Note: A response to Peter Sloterdijk’s ‘Foam City’. Retrieved from: https://archandphil. wordpress.com/2011/04/14/ dough-foam-islan/
Figure 31: Stockholm sporten master plan, rendering Note: BIG (2010), http:// Retrieved from: www.archdaily. com/121770/stockholmsportenmaster-plan-big/stp_image-bybig_01
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"If the first globalisation was the affair of philosophers and geometers and the second was the affair of cartographers and explorers, then the third one is the affair of designers and architects."(Morin, 2009) Figure 29, 30 & 31, show how do idea from philosophy come into an architectural design. Architecture experimentation, I prefer to consider it as an exploration of architectural theory. These experiments are expressed in the way of thinking about the ideological, social structure, human consciousness, and philosophical aspects, by architecture view. When architects give themselves more responsibilities, like social responsibility, world responsibility, human responsibility, political responsibility, they should be more extensive thinking and deeper thinking. Then, architecture has not just as a way to solve problems, more importantly, we should through continuous thinking, exploration, experiment to find the potential problems; through thought, experiments to question the potential problems in the current or the future. Such as the feminist architecture, regionalism and globalisation, architecture of the Anthropocene, philosophy and architectures.
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قراط
Tarek
ءانسح
Hasna
Name: Tarek Age: 45 Gender: Male Nationality: Syrian Family: A wife and 2 kids Job: A sweet shop owner Education: High school graduation Income: 30JOD/month مسالا: قراط رمعلا: 45 ركذ ةيسنجلا: ةيروسلا ةرسألا: لافطألاو ةجوزلا2 ةفيظولا: تايولحلا لحم بحاص ميلعتلا: ةيوناث ةسردم جرخت لخدلا: 30JOD / رهشلا
Abdul Name: Hasna Age:57 Gender: Female Nationality: Syrian Family: One son and a granddaughter Job: was a middle class in Syria, have a beautiful garden. Income: 20JOD/month
دبع
ACTOR 1
ACTOR 2
ACTOR 3
Influence & Power
Education & Skills
مسالا: تعفر رمعلا: 50 ركذ ةيسنجلا: ةيروسلا ةرسألا: ةيلهألا برحلا يف هتلئاع عم عطق ةيروسلا ةفيظولا: رامح عم لوجتم عئاب ميلعتلا: ةيوناثلا ةسردملا نم جرختلا روينوج لخدلا: 25 رانيد/ رهش
مسالا: نيرون رمعلا: 35 ركذ ةيسنجلا: ةيروسلا ةلئاعلا: هيدل2 لافطأ. اهجوزو مهعم شيعي. ةفيظولا: ءيش ال ميلعتلا: ةيسيئرلا مولعلا يف سويرولاكب لخدلا: 20 رانيد/ رهش
Note:
Note:
Note:
Hasna was a tailor in Syria. She have a good income before.
Abdul was born from a poor family in Syrian. He graduated from primary school and changed a lot of job. Before the war, he just lost his job in the factory.
Alaa was a very luky father in Syrian untill the war taken off his chidren and wife. But he never give up the life. When he came into Zaatri refugee camp after a long journey, he have to settle down, and begain his new life.
Rifat is a man who has a wife and a child. However, his income just enough to maintain the daily life of his family.
Moved to camp with husband and 2 kids 4 years ago. She is well educated and good at communication. She aspires to travel the world.
ACTOR 1
In the camp, he is a famous guy. He is easy going and friendly. Now he likes his new job and have an ambitious planning about the future. He lives with his mother, wife and their son, he feels satisfied ACTOR 2 although he is always too busy.
Money
Happiness
Influence ACTOR&1 Power ACTOR 5
Cause he was working in a factory as a worker, now he got a job in the recycling center. ACTOR 4 ACTOR 3 ACTOR 1
Education & Skills ACTOR 2
Health
Money
ACTOR 6
ACTOR 3
Very attached to her children. She wants them to be fully educated.
ACTOR 2
Education & SkillsNGOACTOR 1
ACTOR 4
Influence & Power
Happiness
ACTOR 2
Both husband and wife don’t have jobs or any other source of income in the camp. ACTOR 3 She is willing to find gainful employment to support her family.
Health
Money
Happiness
Influence & Power ACTOR 1
Although he just had the education of junior high school, he is hard-working and modify his cart. Travelling silently from place to place trying to sell small objects is the only way to earn money and no one would care what thing he actally sells. ACTOR 1
Please do not ask the story of Alaa in Syria, let the man just move on his life.
Health
Health
ACTORACTOR 4 1
Name: Noreen Age:35 Gender: Male Nationality: Syrian Family: Has 2 kids. Lives with them and her husband. Job: None Education: BA in Home Science Income: 20 JoD/month
Note:
Health
ACTOR 1
نيرون
Noreen
Name: Rifat Age: 50 Gender: Male Nationality: Syrian Family: a wife and a child Job: Peddler with a donkey Education: Junior high school graduation Income: 25 JOD/month
Note:
She is very skillful woman, and really know the important of education to her ACTOR 1 granddaughter. She even make space from kichen to help his granddaughter have a ' study room'.
Happiness
تعفر
Rifat Name: Alaa Age:35 Gender: Male Nationality: Syrian Family: Lost his wife & 3 chidren in Syrian Civil War Job: Full-time worker in recycling center Education: Junior high school graduation Income: 60JOD/month مسالا: ءالع رمعلا: 35 ركذ ةيسنجلا: ةيروسلا ةرسألا: و هتجوز دقف3 يف لافطألاب ةصاخلا ةيروسلا ةيلهألا برحلا ةفيظولا: ريودتلا ةداعإ زكرم يف لماك ماودب لماع ميلعتلا: ةيوناثلا ةسردملا نم جرختلا روينوج لخدلا: 60JOD / رهشلا
مسالا: دبع رمعلا: 45 ركذ ةيسنجلا: ةيروسلا ةرسألا: امهلفطو هتجوزو هتدلاو عم شيعلا ةفيظولا: ةيموكحلا ريغ تامظنملا نيب ةلصو نيئجاللاو ميلعتلا: ةيوناثلا ةسردملا نم جرختلا لخدلا: 70JOD / رهشلا
مسالا: ءانسح رمعلا: 57 ىثنأ عونلا ةيسنجلا: ةيروسلا ةرسألا: ةديفحو دحاو نبا ةفيظولا: ايروس يف ىطسولا ةقبطلا ناك، اهيدل ةليمج ةقيدح. لخدلا: 20 JOD / رهشلا
She was living in a house with a beatiful garden in Syria. When she came to Zaatri refugee camp and got a shelter, she begain to make a garden in her place.
Money
ءالع
Alaa Name: Abdul Age:45 Gender: Male Nationality: Syrian Family: Live with his mother, wife and their child Job: The link between NGO and refugee Education: Primary school graduation Income: 70JOD/month
Education & Skills ACTOR 5
Money
ACTOR 3
Influence & Power
ACTOR 6
ACTOR 4
Health
Happiness
Education & ACTOR Skills 4
Money
ACTOR 1
NGO
Influence & Power ACTOR 1
Happiness
Education & Skills
ACTOR 2
ACTOR 3
ACTION PLAN UNHCR start to build the Zaatri camp. ACTOR 6
ACTOR 5
NGO
ACTOR 6
The number of regufees reached 156,000 and Zaatari camp become the fourth largest city inNGO Jordan. ACTOR 5
Prediction according to the result of Scenario Game.
ACTOR 5
ACTOR 6
Refugees have the ability to develop their own living environment and the right to build facilities they want. ACTOR 5 ACTOR 6
NGO
Funding begins to stop
Ideal scenario UNHCR
Monetary Capacity
Probable scenario
Infrastructure Development by the people - Strategy Introduced.
Funds stop fully
UNHCR 2012
2017
Time of the development of Zaatri camp
......
Zaatari refugee camp was first opened in 2012 to Syrians fleeing the violence in the Syrian civil war.
Regufees achieve their daily essentials and start to develop their business to maintain their life standard.
The main street develops marketlike structures where goods like daily products and clothes.
Figure 32: Diagrams of Scenario game Note: Author's own diagrams
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......
Probable Obstructions/ Scenario Points for Troubleshooting
NGO
ACTOR 4
In our refugee camp project, we used scenario game as a design method for a more in-depth understanding of the refugee camp, predict what will happen in the future. (Figure 32) Scenario game is a kind of architecture experimentation. We collected our information we got from the field trip, then use this information to help us to design the scenario game (experimentation). Use the experimentation to help us find the things we want to do more research or design. At the same time, we rethink our project with sociology view and to re-examine the classes and social power in the refugee camp. The limitation in the scenario game appeared in our studio. The game needs players to participate in, but the players are our students, not the refugees. Every decision made by players based on the players' background and their understanding of this refugee camp. It influenced the result of this experimentation directly. The scenario game is not substantial enough.
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Figure 33: Diagram of my privous project Note: Author's own diagrams
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04 ASSEMBLING
"Even a brick wants to be something" – Louis Kahn Although in recent years, the definition of architecture has constantly been extended, but for a long time, architecture has been considered as a practice discipline. As architecture students, we have to focus on materials, constructions, and forms. If we look building as a narrative story, the material will be the words we can use. What kind of words will be used in your design and how to build them together, in my opinion, is the same important as how to use narrative semantics.
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Walk Along
amp
Walk
Materials in camp
Figure 34: Jordon Workshop & Materials in the camp Note: Author's own photograph
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Daily life in camp
In the workshop at the University of Petra, we assembled different materials in the fences friendly redesign. (Figure 26) For example, in the iron fences, we try to fill the fence with some colorful plastic. For the assembling of iron and plastic materials, we considered a lot of things. First of all, we noticed the cost of the materials and the availability of this material. Then, these plastic materials, which we can easily get from the recycling factory in the refugee camp. After that, we take account the safety of the material. For NGOs, we don't think they allowed we to reduce the protection function of these fences. The last but not the least, these materials can help us achieve the goal of improving the space experience for refugee and NGOs. That is the way we choice materials. Similarly, in our other fences redesign, based on these considerations, we used plants, posters, wood to assemble in our fences. About assembling, I will also use it to next step in the design of the refugee camp project. Our studio's work is about refugee camps facilities and power. We focus on the refugees' daily life, the power of NGOs, government participation. But the value of refugees, as a workforce, has been ignored. Could we help them participate more in the ongoing construction of the camp? How do refugees can work together with the NGO to create more value? I think this is another assembling we can do next.
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Figure 35: Break Note: Author's own photograph
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05 CONCLUSION
This essay discussed narrating, experimentation and assembling from the architecture view. And how the methods and methodology be used in my studio works. In the narration part, I discussed different perspectives of architectural narrative and different methods of architectural narrative. Then, I talked about the semantics of narrative by inner semantic and outer semantic. In the experimentation part, I discussed the architectural design experimentation and architecture experimentation. At the third part of this essay, I talked the materialises assembling by our workshop works. And it will also help me to develop our studio works. Before I came to Sheffield, I was bored with the commercial architectural design in my previous company. Individually, I always ask myself, what is architecture could do? But from this one-year study, the course of critical spatial theory and this reflection in architectural design makes me feel excited. It likes a power be gaven me to break cage that I made it myself before, like the figure 35 shows. Architects is not just able to create spaces or to solve some problems of architectural design. There are plenty of interesting things architects could do with their knowledge and skills. They can use their architectural views to find the problems in different fields. And try to find out a way to represent it or to solve it.
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