WEEK 5: PHENOMENOLOGY

Guiding structure Free Structure

The formal structure overlaps/ dictated the start of the informal structure

-The design must have a central spine to link all spaces -Spaces can vary in size branching from the spine -Spaces must be a right angles to the spine Quatern

Square Grid Replicated Line Free lines

The first line repeats as the second line of the second stanza - and so on

How to Design a Space following "Quatern" Rules

-Entry and exit must be the same be identical -All proportions must be divisible by 4 -One element must be repeated in each of the spaces Grid Diagrams for Week 5 by Mark, Jiajia, Danni. Layout was a lot more succinct here, makes for easier reading which is something to improve on for next time. ‘Quatern’ is quite similar to our group findings on ‘Kyrielle’, which follows a systemic pattern of repetition albeit not consecutively. I discovered that poetry does form odd spaces for contemplation that could be emulated onto a plan, section or part of a facade. Moving forward, due to the collective impression for these grids, examining at an individualist aspect (positive and negative tension) can provide for more optimised spatial configurations for small scale works.

- Each space must contain a “pause” - Each space must have the same length - The location of the break must align across the spaces Individual Syllables Break within a Line

MARK, JIAJIA, DANNI

More analyses on Taj Mahal’s narrative and differen narrative forms that assist with architectural design. Iconography was certainly a lot easier and faster to get through due to the time constraints, and drawing out each panel was more time consuming than expected. From this I think it is better to get ideas across with quicker methods and leave drawing for actual production.

LEGEND. Pink- insertion of a element related to secondary element, but isn’t maintaining the ‘order’/structure. Black- Main elements, monotypical Grey/other- a secondary element that is related to the main subject but is overshadowed by the rest.

In this Phenomenology task the format that stood out most to me was the Kyrielle. Haiku was something I was familiar with due to learning it in high school and tautogram was rather systemic with randomized elements in the secondary part of the poem format. There was one hidden element that made the ordinary parts of the poem secretly stand out. I happen to like hidden connotations as this gives opportunity for users to dissect designs. Since this appealed to me most out of the formats, I could follow a similar pattern of work, where it is mostly routine but every once in a while there is a ‘spark’ or something opposing the routine that makes either my workflow progress faster or makes the design have odd attributes to it that may make it more interesting/ entertaining to the user.

Phenomenology: Homework Week 5

Sense choice - Touch Typology choice - Laboratory Design 1 lab that curates experiences to do with touch.

Think I was drawn to a research lab typology due to its potential to be a very hazardous and futuristic environment. It’s due to my mindset that labs are a place that you can design ‘chaotically’, looking ‘neat’ but actually having a lot of clutter due to equipment, desks and other utensils. Some techniques used were planar forms, which tend to be very static but I tried to make this more dynamic by placing them not so linearly. This extends to elements for clutter and cover, allowing inhabitants to feel comfortable with their organising utensils and environment. I used words, analogue, to give myself a brief ‘prompt’ before designing accordingly, and using the first thing that popped up in my mind to represent spatial experiences, because it is a faster way than to actually research visual references. I’m also not too reliant on computers and I found having too many visual references tends to confuse me on what I’m actually designing for in the first place. Typically I don’t empathise with user experiences when designing; I have to often ‘fake’ envisioning these experiences and go with stereotypes because these environments are what most people (generic public) would be comfortable in seeing/being in, but I prefer a much more haphazard and loose environment. I personally like my workspaces and living spaces as chaotic as my external art, but unfortunately that sort of thing is questionable in architecture, a field that still remains ‘neat, tidy, orderly’ despite trying to seem haphazard at times. (Dynamism in spatial experiences is not the same as being chaotic and disorderly). Unfortunately I still don’t agree with the standard workflow at this point but I am continuing to push and see how far I can get with integrating less orderly ‘art’ with architectural projects.