_WEEK 9: DESIGNER’S FRAMES Notes. GKM’s Account of Designing Ideas- present, no inertia Design underway- present, short term Design depots- middle inertia, chronic Frames- maximum inertia, subconscious, maximise the information/message as perceived by the user, including metaphorics and not merely through physical architectural expression; this in turn creates the “resonance” in a project and provides purpose to the work. The project itself is an amalgamation of social/ political/cultural desires that are as interpreted by the practice/firm responsible for designing the architecture. Beliefs, perceptions, morals that also shape the reflection and review of a designer’s process. In physical sciences, experiments show conclusive reports that prove or disprove their hypothesis. This is the scientific equivalent to the architectural focused ‘reflection’ on their own design, essentially acting as the designer’s frame. “Restricted speech” - metaphorical Are we designing for People as: - objects for counting - as spiritual beings - as tamed animals - as agent - as a wider, ecological system? Measured vs Real space - Abstract vs Existential/ Phenomenological Summers’ idea, Real Space of Social Use-- sculpture of the space, the tectonics that shape the experience of the users and thus influence their current perception of the area. A Human-centric design, considering how people ‘fit’ in the broader world context, how can architecture redefine what ‘living’ by designing is, and how to repair issues that arise in society, including manmade and naturally inherent disasters; design as to counter these issues and respond to surviving through these disasters, essentially? APPROACH: Frame-in-action (partial manifest) APPROACHES: set of Principles in comparison to other Approaches FRAMES: nested structures with multidimensional aspects and depth.
Apollonian Moodboard-- Designing according to perception, that affects the framework and processes. Culture may come from the same roots, but have contradicting values that arise, such as gardens and sculptures of the same location and century; appears to depend on a designer’s roots and ultimately their ‘hope’ during the context of which they are designing. Symmetry and order is a more rigid notion but potentially shows more enlightenment and stability in the designer’s mentality.From this, I perceived that the Apollonian is ‘less selfish’ than that of a Dionysian**. (explained in next moodboard) The rationale behind these two contrast but does not mean that Dionysian has a lack of reason. 54
Dionysian Moodboard-- Was easier for me to compile this moodboardcollage because I felt I instinctively knew what sort of atmosphere and types of context could be used to portray Dionysian principles. For the Apollonian one, I had to refer back to the lecture in order to understand that both categories are ‘balanced’, but in different ways for design. The Dionysian is more accepting of spontaneity and erratic decision making than the Apollonian. **The Dionysian is more accepting of discovering the Paradox, whilst the other very much focuses on the Archaelogy or Fields to serve others apart from itself.
