Design Progress Journal - Kaige Hu by KateHU

FOREWORD

Design Process Journal

FOREWORD

his journal records the entire process of my stage 1, including my research process, case studies, design concepts, design ideas, and hand-drawn sketches. The whole book focuses on dividing the whole stage into 8 weeks. At the end of each week, I will conduct a review and reflection. The significance of this journal for me is that it helps me to understand my thoughts. When I need some detailed information, I can find them from the journal, and this process makes my ideas more logical. The significance of this journal is that I hope that readers can understand my design better through my journal. Since my project is SKIN OF SKIN, it is divided into three phases, act1, act2 and act3. Each stage has its own different requirements. In act1, I did a lot of research and analysis about my site. In act2, I made a conceptual design about the water tower. At act3, we did some very interesting group performances. All of these processes are crucial to me. In the process of completing this journal, time is my biggest challenge. I want to thank Julia for helping me. She gave me a lot of useful advice, both in terms of content and typography. In the end, I hope that this journal can play its value, let me know my thinking process more clearly, and let the reader better understand my design ideas.

Design Process Journal

CONTENS

FOREWORD WEEK 1 REFLECTION OF WEEK 1 WEEK 2 REFLECTION OF WEEK 2 WEEK 3 REFLECTION OF WEEK 3 WEEK 4 REFLECTION OF WEEK 4 WEEK 5 REFLECTION OF WEEK 5 WEEK 6 REFLECTION OF WEEK 6 WEEK 7 REFLECTION OF WEEK 7 WEEK 8 REFLECTION OF WEEK 8 POSTSCRIPT BIBLIOGRAPHY

CONTENS

01 04 14 15 27 28 39 40 48 49 58 59 70 71 80 81 104 105 106

Design Process Journal

WEEK 1

Design Process Journal

WEEK 1

Design Process Journal

HELLO ABOUT ME

y name is Hu Kaige, you can call me Kate. I was born on October 4, 1995. I am from China. Last year I graduated from Qingdao University. This is a comprehensive university. My major belongs to the art school.

EDUCATION

y undergraduate major is interior design. In the second year, as an exchange student, I studied stage design at the Rome Academy of Fine Arts in Italy for a year. The experience of learning stage design has been very helpful to my major, which has provided me with a lot of different inspirations. At the same time, the experience of exchanging studies abroad is also very valuable to me. In this year's exchange study, I gradually understood and accepted the Western education method. I think this method is very suitable for me, so I decided to apply for graduate students in the third grade. After several months of research, integrating the rankings, curriculum and research directions of major art colleges in Europe, I feel that GSA's interior design is the best for me, so I chose it almost without hesitation. At the same time, I would also like to thank my parents for their support. In the second half of the fourth grade, I successfully passed the interview and passed the IELTS test. I always feel that it is a very lucky thing to go to my favorite school.

Design Process Journal

WEEK 1

WORK EXPERIENCE

n fact, I have not really worked in the past. But I have had two great internships during my undergraduate studies.

My first internship was to be a internship teacher. I was responsible for teaching the basic paintings of high school students. This job not only made me realize my duties as a teacher, but also greatly improved my own level of painting. I like to get along with my students. I believe they like me too. In the process, my biggest achievement is that I think this is the experience that I have grown together with the students.

ABOUT MY HOBBIES

W I really like my second internship. I went to work at a provincial TV station through campus recruitment. This job has nothing to do with my profession. My position is the choreographer of a TV show. This is a brand new field for me. I learned a lot of new knowledge there. I am the youngest intern on the whole TV station, so everyone is very caring for me. I am very grateful for their help. Through this job, I have come into contact with a new field, the media industry. I learned how to plan a TV show and became familiar with the entire process of producing a show. I think this experience has a great impact on my future career, and I may consider continuing to do the job in the future.

hen I was very young, I started to learn piano and violin. My mother told me that she wanted me to be a pianist when I was young, but then she found that I was more interested in painting, so I passed this specialty of painting has entered the art school. The experience of learning piano and violin made it easier for me to learn any instrument. In junior high school, I learned guitar and drums. Now the drum is still my favorite instrument. When I am on vacation, I will spend a lot time to practice drums. At the same time, I am a travel madman. I have traveled through most of China's provinces and cities, and when I was studying in Italy, I used the holiday time to travel to 12 European countries. I like the feeling of being on the road, and the exchanges with people from different countries will bring me freshness. I am very interested in different cultures in different countries. I think that during the GSA study, I will pay more attention to communication and cooperation with students from different countries.

Design Process Journal

WEEK 1

Design Process Journal

THE EXPECTATIONS OF DPJ COURSE

think the whole process of recording design is very important.

In my daily design process, I use painting, sketching, and text to record my thoughts, but these processes are often scattered across different books, and when I want to organize them, I find that they can't be connected. I hope that by recording this journal, I will make my design process clearer and more systematic. I hope that I will remember to record every detail as much as the diary, and many of the details that are often overlooked are often more important.

In addition, I hope that through the record of the design process, I will form a habit of critical thinking, classify and reflect on the accumulated large amount of different information, and integrate reflection into the daily actual creation. At the same time, I hope to improve my typographic ability through the process of making the journal, and skillfully use the ID software, which will greatly help my results display.

By recording every thought and creative process, anyone can learn about my thinking process through my journal to better understand my design and the ideas I want to express. I hope that I can record every interaction between my tutorial, presentation and my companions. I believe that all the details and processes will help me develop my ideas better.

Design Process Journal

Finally, I hope that I can develop the habit of actively recording the design process, and can classify the collected information in a timely manner, and reflect on each stage of learning to improve my learning initiative and form critical thinking.

Design Process Journal

WEEK 1

FIRST IMPRESSIONS OF INITIAL PROJECTS AND EXPLORATIONS OF GSA

efore coming to GSA, I did a lot of research on the British Academy of Arts. I received offers from five schools, including ECA and UAL. But considering the faculty and curriculum of each school, I think GSA is the best school for me. Through the practice of the first two weeks, I think my decision is correct. Every teacher and staff member of GSA is very serious and responsible. My classmates are all graduated from very good schools and have high quality. I am very happy with my classmates. Glasgow has a beautiful view. There is a tall tree outside my window. I think this angle is beautiful, so I painted it. At the same time, people in Glasgow are also very friendly. When I first came, my

English was not very good. I couldn't understand the Scottish accent. Everyone would explain to me patiently, which made me feel very warm. When I first saw our theme "OF SKIN AND SIKIN", I was crashing. I think this theme is too abstract, I have never done this design. I seriously read the introduction of the main lesson, or I was very confused about this topic. The first thing I did was to check out the relevant books about "SKIN" in the library. After that, I probably got a certain understanding of this topic. At the same time, I also recorded the process of reviewing my information in this journal. I think from the beginning to the end, the DPJ course will help me a lot.

Design Process Journal

WEEK 1

Design Process Journal

AN INTRODUCTION OF THE PROJECT

ur project is "OF SKIN AND SKIN". In the first stuff presentation, we were asked to choose a SITE, and the address could be within 10 minutes of walking in any subway.

For the first act of the Stage 1 project, we are asked to undertake research, analysis and the survey of a site of your choosing in the city. we will give focus to how the site, its environment and atmosphere ‘weathers’ the body, presenting a boundary or threshold upon you. Contemplate on the transition from one sensation to another, from an ‘outside’ to an ‘inside’.

Aims of Act1 • • • • • • • •

Innovate ways to survey a ‘site’. Research and collaboration. De-construct/reconsider your practice. Understand the process of research and critical position. How to appropriate and apply theory to design process. To apply your investigations practically & to experiment with various processes before a final outcome. Evidence an understanding of the chosen space. Demonstrate innovation through materiality, scale and function.

Design Process Journal

WEEK 1

Intrroduction of Act1

Design Process Journal

WEEK 1

Design Process Journal

Mind Map, store design for Acne Studio

Design Process Journal

WEEK 1

MIND MAP

egarding this MINDMAP, I used a project I did during my undergraduate period as an example. This is a store design based on the brand ACNE STUDIO.

This map is divided into four parts. In the first part, I usually use divergent thinking to turn all the information I collect into a number of keywords, then put them together, try to connect them and get inspiration from them. In the second part, I will use the method of derivation, step by step through the derivation of useful information, and gradually clear the design process. The third step is that I will show all the details in the form of paintings. This way is the most intuitive and suitable for me. In the last part, I will focus on the production of renderings. I think this is a very important part of the design process. This directly affects the rendering of the design. Usually I spend the most time in this part. For me, the most common form of my design throughout the design process is hand-drawn drafts, and time is the most important factor limiting my design. I have been thinking, if I have enough time, I will definitely finish it. it is good. Whenever I complete a project, I will make a deep reflection and record the reasons for the wrong part of the design to ensure that the same mistake will never be made next time. Although the process of completion is difficult and exhausting, after completion, I feel a great sense of accomplishment, and I feel very satisfied and look forward to the next new theme. Design Process Journal

REFLECTION OF WEEK 1

Design Process Journal

REFLECTION OF WEEK 1

his week is a process for me to gradually understand the mode of class. Through the first tutorial, I learned how to discuss topics with members of the group and how to communicate with tutor. The Botanical Garden was my first site. Through reflection on this week, I found that the biggest step in helping me was to record the entire research process, whether in the form of photos or text, which helped me a lot. Through group discussions, I think that everyone's ideas and perspectives on things are very interesting, which also gives me a lot of inspiration. For example, some people focus on sound research, while others like to find a special side from a historical perspective. I think the most successful part of my research during the first week of research was that I could record my own thought process and get new ideas from it, even if I didn't do it well enough, but I tried at least a new one. The way of research, this is extremely important for my subsequent design process.

Design Process Journal

WEEK 2

Design Process Journal

WEEK 2

Design Process Journal

SITE GLASGOW BOTANIC GARDENS

730 Great Western Rd, Glasgow G12 0UE, UK

From Google Map

Design Process Journal

WEEK 2

“My house is diaphanous but it is not of glass. It is more of the nature of vapor.” —— Gaston Bachelard

here are two greenhouse buildings with glass curtain walls. These frosted glass is like the skin of a building, which is isolated from the outside and protects the interior. It offers a sense of freedom and a greater connection with the outside world.

affect us?

The surface of these buildings is the boundary between the plant and the external environment. Here is a shelter for plants. By adjusting light, temperature and humidity, humans have created more than a dozen different climatic zones for plants to live in. Plants live in greenhouses like human organs in our bodies. The function of a building has often been equated with the supportive environment. However, how does the skin of such buildings

Indoor plants, through their own environmental regulation function, allow people entering the "skin" to feel the transition from the outside to the inside. The relationship between natural space and the space we experience should be: not like a bubble in water, but like a drop of water in the air.

Air is the most important thing that touches our skin every day. If you enter these two buildings, you will immediately feel the increase of humidity and temperature.

Design Process Journal

WEEK 2

Design Process Journal

CASE STUDY

he site I choose in ACT1 is the botanic garden. It’s a glass house, I went there on Sunday and took lots of photos of this garden. And also, I went to the library to find more examples related to the garden. I have figure out that how does nature light come into the green house and how does it exchange the air from a book called “Interior Landscape”. Also, I found some likely cases from the book. For example, The Horticultural Themed Gardens, designed by Gromt Associates, it is located in London, which has the same structure and function with the Glasgow botanic garden. I

also found the Enid A. Haupt Conservatory, New York botanical garden, designed by Load and Burnham. It has two views of conservatory prior to the renovation, during the annual festival. In this garden, it is also has water elements, it is shared the same area with ground plants. And the Plam House (1966), is a barge major glass house. The three Thread Palms are include colorful and richly plants. All these cases are very useful, they are gave me lots of inspired and Imaginations about my site, and these also can be an important part of my research.

Horticultural Themed Gardens, Gromt Associates

Design Process Journal

WEEK 2

Enid A.Haupt Conservatory, New York, Botanical Garden, Design by Load and Burnham

here are two views of conservatory prior to the renovation, during the annual festival, water element share same area with ground plants. Three thread plams have colorful and richly plants.

Design Process Journal

WEEK 2

Design Process Journal

REVIEW

had a discussion with my tutor on Thursday, then I made a review after that. In the last week, I went to see the site again and took lots of photos of the botanic garden. I used Google map to located the site and found some history of the site on internet. Though these images and documents, I found two links related to the project â&#x20AC;&#x153;SKINâ&#x20AC;?. The first one is the skin of buildings, because there are two greenhouse buildings with glass curtain walls. And these frosted glass is like the skin of building, which is isolated from the outside and protect the inside. It offers a sense of freedom and greater connection with the outside world. The surface of these buildings is the boundary between the plant and the external environment. Here is a shelter for plants. By adjusting light, temperature and humidity, humans have created

more than a dozen different climatic zones for plants to live in. The plant itself is a kind of skin. Animals and human skin are covered by hair, and the earth's surface is covered by plants. I found a lot of bryophytes there, almost everywhere, covering all the land, like the skin of the land. The point is, how do these plants affect our bodies with their skin? Plants with different shapes and textures will give people different feelings. The skin of a building is a boundary where we enter and interact with the environment. Plants use their own skin "weather" us and bring us different experiences and feelings.

Design Process Journal

WEEK 2

“The experience of space is, arguably, not solely visual; instead, vision acts in concert with other senses.

REFERENCE

Smell, sound, temperature, and touch alter and change our perception of space. They are all contributors to our comfort and wellbeing and reach elements of our psyche and memory that cannot be reached by purely visual sensations.”

went to the library today and found some references to support my point. There are some documents about the temperature and humidity affect plants.Though these documents, I have got some ideas. Plants live in green house like human organs in our bodies. The function of a building has often been equated with the supportive environment.

—— Caan, Shashi(2011) Rethinking Design and Interiors

However, how does the skin of such building affect us? Air is the most important thing that touches our skin every day. If you enter these two buildings, you will immediately feel the increase of humidity and temperature. Indoor plants, through their own environmental regulation function, allow people entering the "skin" to feel the transition from the outside to the inside. The relationship between natural space and the space we experience should be: not like a bubble in water, but like a drop of water in the air.

Design Process Journal

WEEK 2

Design Process Journal

SHOWING MY FEELINGS BY COMICS

eeling is a very abstract thing. It's hard to describe in words, but it can still be reflected from some trivial matters. I decided to show my personal feelings in comics. The plant itself is a kind of skin. Animals and human skin are covered by hair, and the earth's surface is covered by plants. I found a lot of bryophytes there, almost everywhere, covering all the land, like the skin of the land. Plants with different shapes and textures will give people different feelings. For example, most needling plants can make people feel nervous, such as cactus. And the vine plants will give people a eeriness feeling. Plants with delicate texture will make people feel friendly, and plants with rough materials will be kept us at a distance.

t the same time, the different space composed of different plants will bring different visual experience and psychological feelings to people. In plant space, the space enclosed vertically by tall trees, people will have a sense of fear, seriousness and weakness. And the space that made by low shrubs will make people feel broadminded and free. Different plants have different branches, crowns, leaf color and texture, color, these unique skin gives people different psychological feelings, thus affective response to plant space.

Hand drawn draft 22

Design Process Journal

WEEK 2

THE JOURNEY TO BOTANIC GARDEN

The weather is very cold outside and with the strong wind. Design Process Journal

WEEK 2

Design Process Journal

hen I entered this building, my most direct feeling was the change in temperature and humidity. Because suddenly I found my glasses were covered by mist. And then when I want to make some notes, I noticed that the notebook became humid and soften.

Design Process Journal

WEEK 2

lants with different shapes and textures will give people different feelings.For example, most needling plants can make people feel nervous, such as cactus. And the vine plants will give people a eeriness feeling.Plants with delicate texture will make people feel friendly, and plants with rough materials will be kept us at a distance. Design Process Journal

WEEK 2

Design Process Journal

REFLECTION OF WEEK 2

have done a lot of different work this week. First I sorted out all the texts and photos of the survey and categorized them. Then I checked a lot of materials in the school library, not only found a lot of examples related to my theme, but also a lot of theoretical support, which is very helpful for my subsequent design process. The most rewarding part for me is that I express my feelings through comics. This is a brand new attempt for me, and I think I am doing very well, and my tutor also likes it my comics, this is also a big encouragement for me. Then, I tried to summarize the design process of the previous two weeks, which is very important to me. Through this review, I figured out my ideas and found some problems, such as how to explain and express my views. . I think this problem will become a challenge for me. This is my motivation. I believe that next week I will focus on how to express my ideas. At the same time, I will discuss it with the team members in the hope that they will give me some Useful suggestions.

Design Process Journal

WEEK 3

Design Design Process Process Journal Journal

Design Process Journal

originally intended to pay attention to the different materials and arrangement of the plants to give people different psychological feelings, and you suggested that I try to mold the skin of the plant. I thought it was difficult to achieve because I could not reach the leaves of those plants. , such as cactus. Then I rethink another direction I mentioned earlier, the effect of temperature and humidity on plant skin. So I went to the garden again, and I found an interesting point that I didn't pay attention to before. The temperature and humidity of each room are different. I have found some literature to support my point of view. It says that plants will form different materials and shapes under the influence of different temperatures and humidity. I asked the Botanical Garden administrator about the plant type in each room, then recorded their name and room number. I made some detailed records and marked them on the map.

WEEK 3

Then I divided these plants into three types according to the shape of the leaves. Later I found out that it was wrong. I should classify them according to temperature and humidity, so I will recreate a form. I recorded the material and skin of the plants in the same room. I found that the skin of different plants had certain similarities under the same temperature and humidity conditions. Sorry, I don't have enough time to complete all the records, because this idea took me a lot of time. And I made a small example to show it. Here are the details of the plant, because I don't have a professional instrument to measure temperature and humidity, so I use some simple signals to express temperature and humidity. Maybe I will put hand-painted instead of photos here. I think in the final results show, I will mark the typical plants in each room and record their details in detail. I think I will end up with a form like this or a booklet.

Design Process Journal

WEEK 3

Design Process Journal

Three types according to the shape of the leaves

Design Process Journal

WEEK 3

EXPERIMENT HOW DOES TEMPERATURE AND HUMIDITY AFFECT SKIN

egarding the ACT1's outcome, I want to use an experiment to express it. Because my point is how changes in temperature and humidity affect the skin of the plant, showing its effect on human skin, so I did a pretty interesting experiment to measure it. I picked some leaves from the park and simulated four different environments with four plastic balls. I wanted to see how they changed in different environments. They include: high temperature / high humidity, high temperature

/ low humidity, low temperature / high humidity, low temperature / low humidity, these four different environments. I use dry sponges and wet sponges to indicate the difference in humidity. At high temperatures, I put them on the heater, the temperature is about 30 degrees, and the low temperature is that I put them in the refrigerator, about 5 degrees. Then I recorded different changes in their time at different times.

Design Process Journal

WEEK 3

Design Process Journal

High Temperature / High Humidity

2 4

H: The leaves begin to darken and the material becomes soft.

H: The surface of the leaves has water oozing out and the color is deeper.

6 7

H: The leaves turn brown from the top and begin to rot, the whole leaves are very soft.

H: Leaves turn brown and rot in large areas and emit a rotten smell.

H: 2/3 of the leaves are completely rotted and turn dark brown, and brown secretions can be seen through the back of the leaves, giving off a rich, rotten taste.

Design Process Journal

WEEK 3

High Temperature / Low Humidity

3 6 9

H: The edge of the leaf begins to lift and the surface does not change significantly.

H: The leaf starts to roll up from the top part and the moisture on the surface begins to drain.

H: The leaf changes from dark green to light green and continues to roll inward.

H: The leafâ&#x20AC;&#x2122;s material became crisp, the color was lighter, and the size was shrunk.

13 Design Process Journal

H: The leaf was completely rolled up and turned yellow green.Its weight was lighter due to the loss of moisture.

WEEK 3

Design Process Journal

Low Temperature / Low Humidity

H: There is no obvious change in the color of the leaf, and the edges were slightly tilted.

H: The moisture on the surface of the leaf starts to drain, the color was basically unchanged,and the color blocks appear.

H: Large brown patches appear on the surface of the leaf,and the curls was noticeable.

24 34

Design Process Journal

H: The leaf was slightly darker in color, the brown color was obvious, and it was continuously rolled inward.

Design Process Journal

WEEK 3

Low Temperature / High Humidity

4 8

H: The leaf has no obvious change in morphology, but the colour is darker.

H: The surface moisture of the leaf has increased and the material became soften.

H: Water oozes from the surface, and the colour began to deepen from the middle part to the surrounding part.

20 Design Process Journal

H: The middle part of the leaf was getting deeper and deeper, and it starts to decay.

WEEK 3

Design Process Journal

EXPERIMENTAL RESULT

inally I came up with a few interesting conclusions. I use four lines to indicate their magnitude of change. The fluctuation of 1 is the largest, and the fluctuation of 3 is the smallest.

You will find that the 1 and 2 changes are very obvious and in a short time in the same temperature and humidity environment. The changes in 3 and 4 were not obvious but took a long time.

Design Process Journal

WEEK 3

PLAN OF BOTANIC GARDEN

Design Process Journal

WEEK 3

Design DesignProcess ProcessJournal Journal

INTERIOR OF BOTANIC GARDEN

o meet the requirements of the project, I have to make the plan and section to present my site. I have got the map of the botanic garden when I went there, and also I draw the effects of the interior of this site. I think it is more like illustrations because I am good at this style of drawing. The plants of my site include two parts, the main part is called Kebble Palace, it has 7 different type of plants. Another part has 11 different types. I record that and marked it on the map. 38

Design DesignProcess ProcessJournal Journal

Design Process Journal

REFLECTION OF WEEK 3

his week is the most important part of my ACT1 phase. I tried two different forms to express my thoughts.

The first time I tried to use a chart to represent the changes in the epidermis of different plants in different environments, but through the tutorial in Thursday, my tutor gave me some advice and pointed out the shortcomings of my thoughts, I quickly Realized the problem. So at the suggestion of the instructor I decided to develop t the same time, deadline is my a new research method and most direct motivation. Because do a small experiment. I have of the time constraints, I don't never tried this method. I used think I did the best, but this new the control variable method to way of expression is a big breakthrough for complete the experiment and me. Experimentally using outcome as act1 measured the specific data. is a very interesting experience. This process is difficult but I enjoy it. Finally, through final presentation, the

presentation of the group members also gave me a lot of inspiration. Some students chose to use video and audio to express their ideas. This is really interesting. I think maybe I will try this form in the future design in the process.

Design Process Journal

WEEK 4

Design DesignProcess ProcessJournal Journal

Design Process Journal

WEEK 4

BRIEF INTRODUCTION OF ACT2

Architect Engineer: FA MacDonald&Partners Location: Skerryvore Rd, Cranhill, Glasgow Date: 1950 - 1952 Capacity: 500,000 gallons

CRANHILL WATER TOWER

e have been given a specific site in act2, and my site is Cranhill Water Tower. Is as much as the weather presses upon our skin, so does our skin push back on the word. Not only a site of sensations, the skin is a site of expression and decoration.

Equally, the skin of buildings and objects is the means by which they are presented to us, a display and projection into the world, and the implication of a behind that can be hidden or revealed. Skin is an interface and a threshold, a limit at which entry can be admitted or denied. It can be reactive to such threshold events, responding to light, sound, touch and other ambient traces. Design Process Journal

WEEK 4

Design Process Journal

RESEARCH OF CRANHILL WATER TOWER

Cranhill water tower, 2015

he Cranhill Arts Project, possibly better known to more nonresidents than to locals, goes from strength to strength, but the most famous local landmark is the Cranhill Water Tower, Cranhill Water Tower is unique in having a square concrete tank, in contrast to its cylindrical neighbours in Garthamlock and elsewhere. At night, the structure was illuminated a vibrant green with white spotlights shining from the base of the tank down to the ground. Several wire sculptures of sirens

by Andy Scott have been placed around the base of the tower. The Cranhill tower dominates its surroundings but is airy and elegant as opposed to bulky and oppressive. lt stands as a beacon to the area and is visible from the MBmotorway, as are the twin towers of Garthamlock. They stand either side of the motorway and can be read as a 'gateway' to the city from the East. One could postulate that a dialogue has been set up that speaks of entering the core of the city,within the 'city walls' and service network.

Design Process Journal

WEEK 4

he tank is not a pure box, but has a subtle indent or set back about two thirds of the way up its face. This enhances the lightweight feeling of the tank by optically correcting the form to avoid bulkiness - a form of entasis. The smooth surface is alleviated by the addition of fin-like projecting mouldings which give a sense of scale and allow the play of light and shadow, whilst also concealing the movement joints of the concrete structure.

fter I did some research of the water tower, I went here to see the site with my group members. We departure from city center and took 20 mins to arrived the place.

The water tower located in a empty area, it is a landmark in this area. Because there are no tall buildings around the tower, the wind is stronger than other place,and I have took a video to record that, you can hear the sound of the wind through the video. We had try to measure the specific size of the tower, but actually we failed. But we had a discussion about the towerâ&#x20AC;&#x2122;s structure, and finally figured out how does this tower worked. But unfortunately, we found that we can not get into this tower,and we had to take some photos and back home.

he Cranhill tower dominates its surroundings but is airy and elegant as opposed to bulky and oppressive. lt stands as a beacon to the area and is visible from the MBmotorway, as are the twin towers of Garthamlock. They stand either side of the motorway and can be read as a 'gateway' to the city from the East. One could postulate that a dialogue has been set up that speaks of entering the core of the city,within the 'city walls' and service network. Design Process Journal

WEEK 4

Design Process Journal

THE STRUCTURE OF THE TOWER

ranhill water tower is essentially a rectangular box supported on 16 circular columns,with a stair, lift and service core positioned at the centre of the column grid. there are no bracing members -instead the columns are freely and nakedly expressed. The connection to the base of the tank is elegantly handled by the mushroom like flaring out of the column.

washes of light reveal the structure in all its glory. Unlike the Pollok towers there are no bracing members -instead the columns are freely and nakedly expressed. The connection to the base of the tank is elegantly handled by the mushroom like flaring out of the column(cc. Johnson Wax Administration Center by Frank Lloyd Wright), as opposed to the somewhat clumsy inverted pyramidal capital at Pollok and Priesthill, (although to be fair this occurs at the head of the internal supporting structure}The central access shaft has a vertical glazed cut which allows light to enter and enhances the verticality of movement. The shaft penetrates the centre of the tank and emerges on the roof as a glazed penthouse, surmounted by a lightning conductor.

Ascending this stair is a somewhat surreal experience in that one passes through a body of water suspended 25m above ground only to emerge at the top with a magnificent panorama of Glasgow and the surrounding hills. Ascending this stair is a somewhat surreal experience in that one passes through a body of water suspended 25m above ground only to emerge at the top with a magnificent panorama of Glasgow and the surrounding hills.This surreal quality has been enhanced by the magnificent transformation of the water tower as part of an urban improvement scheme, by Adrian Stewart of Chris Stewart Architects.(fig.19) A lighting installation transforms the tower at night into a vividkaleidoscopic structure as polychromatic

Design Process Journal

WEEK 4

PLANS&SECTIONS

REFERENCE OF CRANHILL WATER TOWER Design Process Journal

WEEK 4

Design Process Journal

CASE STUDY

Architects : V+ Location Ghlin, Mons, Belgium Area : 314.0 sqm Project Year : 2013

ater towers are infrastructures that transcend their technical purpose and help to shape the greater landscape. Water towers, built for the most part in the 20th century, are usually cut parts developed from a simple extrusion or the revolution of a profile around a central axis. Although this conception generates a simple,rational image of dominion by evoking a repeatedly enlarged recipient, it stems from a logic whereby the liquid contained takes precedence over the landscape. The client wanted seize this rare moment, the construction of a new water tower , to create a project that would the question the figure that water towers cut, be a strongâ&#x20AC;¨signal and also serve as a landmark for the sizeable Ghlin-Baudour industrial estate.

Design Process Journal

WEEK 4

he project serves as a direct response to the function of a water tower, a circular vat of 20m of diameter stands on a platform at aâ&#x20AC;¨ hight of 50m. The supporting structure of the platform is formed by an X and a V shape cast out of concrete on site. The 2000m3 vat does not represent a the continuation of the structure but rather an independent structure resting on a support. Hence the platform offers great flexibility in the event of any future reconversion of the water tower. The withdrawn vat gives the overhead volume an elegant transparence while the night lights give the floating vat itâ&#x20AC;&#x2122;s aura of mystery. The imposing structure is enriched by a fragility that is unusual for the strict world of engineering. It casts a dynamic figure that can be observed in a variety of challenging ways by the users of the nearby canal and motorway. Design Process Journal

REFLECTION OF WEEK 4

Design Process Journal

REFLECTION OF WEEK 4

his is the first week of entry into act2. We are divided into 6 different groups through the display and explanation of the stuff. My site is a water tower. This week, I first reviewed the historical data about this water tower. Through the analysis of these documents, I have a deeper understanding of the human history of the region. t this stage, the biggest challenge for us is that we don't know how to measure At the same time, I and the the size of this water tower. We tried team members recorded the a variety of measurement methods, surrounding environment and but still can't solve this problem. But in the end, I geographical location of the found historical information about the water tower water tower by taking photos and recording videos through in the library and found its specific size, which is very relevant to the design process behind us. field research, which is very

helpful for us to deepen our understanding of this site.

Because I don't know the structure of the water tower, I found several examples of water tower design. Through the analysis of these cases, I learned more about the structure and operation of the water tower, which is very helpful for my design. But my biggest problem at this stage is that I don't know how to give it new features based on its own functions. I hope that I will solve this problem in the next week's event.

Design Process Journal

WEEK 5

Design Process Journal

WEEK 5

Design Process Journal

THE ENVIRONMENT OF THE TOWER

hrough the map and my own research, I found that the tower has many connections with my site in act1. There is a small garden nearby this tower. And also, this area is full by plants. A second point is proposed to create an imaginatively landscaped area for public use and the nearby school's pupils around the base. Conceptually it is based on a planetary theme with the nine towers paired with planets in the solar system, Cranhill equals Neptune. I hope that the imagination and drive which resulted in this transformation will extend to the remaining towers, thereby giving credence to the powerful

urban role which they play.The horrendous social conditions and widespread drug abuse which exist in the Cranhill area cannot be easily solved. The Cranhill tower dominates its surroundings but is airy and elegant as opposed to bulky and oppressive. lt stands as a beacon to the area and is visible from the MBmotorway, as are the twin towers of Garthamlock. They stand either side of the motorway and can be read as a 'gateway' to the city from the East. One could postulate that a dialogue has been set up that speaks of entering the core of the city,within the 'city walls' and service network.

Design Process Journal

WEEK 5

Imagination of "Tree House"

Design Process Journal

WEEK 5

Design Process Journal

WEEK 5

Imagination of "Tree House"

Design Process Journal

WEEK 5

Design Process Journal

GROUP ACTIVIES

e had run a drawing workshop in the Studio. The intention is to 'socialise' drawing and critique spatial representation – somewhere between 'Exquisite Corpse' and a Ceilidh. We worked in groups, based on our allocated building ie Six groups of around ten students was worked simultaneously, on large format drawings of elements from respective sites. These began with individual drawings of objective sections or detailed elements, and expand to eventually include subjectiv e interpretations of atmosphere/non-visual elements and other forces such as weather or time. The morning session was be in two parts: we worked individually on your part of the drawing, this piece of the jigsaw then be located within a collective, combined drawing, the composition and editing of which be a group responsibility. In the afternoon you produced a more deliberate, collective drawing, including low-relief and constructed 3 dimensional elements, which should combine as much information about the site as possible (measured and quantifiable, as well as atmospheric and subjective). This served as a 'portrait' of each site. How we approach this collective representation had be negotiated within the group.

Design Process Journal

WEEK 5

ur group has developed a rich imagination around this water tower. We decided that everyone chooses a part that they are interested in and uses their imagination to create a painting. I found the columns of this water tower very interesting. Based on its shape, I think it is like a mushroom. The function of these columns is mainly support, which is very similar to the structure of mushrooms.

painted the columns like mushrooms. The fiber on the mushrooms is the most interesting part. Kristy and I have similar ideas. She extends the columns down and imagines them as the roots of the tree and extends underground. The other members of our group are more concerned about the upper part of the water tower, the tank.

n the afternoon, we collaged our personal works together and found that they had a lot of connections, so we decided to make a model to represent it. Regarding the above section, we cut the sponge into small pieces to represent the water tank of the water tower. In the middle part, we roll the paper into a column and paint its shadow under the illumination of the flashlight, making them look 3D visually on the plane. Thomas gave me a great idea. He used the glue material to simulate the fiber of the mushroom I painted, so that our model became

more conceptual rather than specific. Regarding the last part of the water tower, I and Kristy decided to use the form of painting, which is like the root of a plant, extending from the pillar to the ground. I really like the paintings of everyone in our group and enjoy the process of working with them. Each of them gave me a lot of inspiration, but I have a lot of new ideas. I think this is very helpful for our next step.

Design Process Journal

WEEK 5

Design Process Journal

MODLES

Design Process Journal

nspired by my group activities, I decided to use the model to express my thoughts. I used a Chevron board and a straw to make a simple water tower model. Since my focus is on tree houses, I borrowed the concept of this tree house. Because the structure of the water tower cannot be changed, I decided to add some elements to the outside. I used a combination of trunks to express the feeling of the forest. The combination of many trees encloses a closed and open space. This skin-like hood covers the entire water tower, allowing it to blend in from the original grid to the surrounding environment. The upper part of the skin is a viewing platform. People enter through the middle escalator and then go straight to the top

WEEK 5

of the water tower. Since the water tower itself is the tallest building in the area, it can overlook the surrounding scenery, so use it as a The viewing platform is very reasonable. At the same time, I use the texture of the plant as the fence of the observation deck, which not only echoes the bottom but also echoes the surrounding plants. Whenever there is sunlight, the entire water tower will show a very colorful light and shadow change, such as the trunk at the bottom, which is not only a forest from the three-dimensional space, but also a jungle in the light and shadow on the ground. Feelings. At this time, if you stand on the viewing platform, people will feel the feeling of being in nature.

Design Process Journal

REFLECTION OF WEEK 5

Design Process Journal

REFLECTION OF WEEK 5

his week, we conducted a more in-depth discussion of act's site, the main form is group activities. I think my biggest achievement this week is that my team members gave me a lot of inspiration through group activities. Everyone has different ideas about this site. Some people pay attention to the upper part of the water tower, some people pay n order to link our act1 to act2, we went to attention to the underground observe the water tower again, and then part of the water tower, and I had a lot of new ideas, such as how the I think the most interesting surrounding environment is related to the is the column of the water water tower itself. I think the green environment tower. I imagine the structure around the water tower is very relevant to my act1, of the pillar as the fiber of so I think of the structure of the tree house and try the mushroom and express to cover the entire building with a cover similar to it in the form of painting. Again, my team members are plant skin.

really great, they gave me a lot of sincere advice and imaginative ideas.

At the same time, I also analyzed the case of a tree house and helped me understand the structure of the tree house through the case. The most important part is that I tried to make a conceptual model of the water tower. Because of the material and time constraints, this model is not very detailed, but after I finish it, I think it works well. In the process of making the model, I found it difficult to cut the material. Through communication with the team members and the tutor, I decided to refine the model, but what material is used is also a problem, I will finger out the material in the next week.

Design Process Journal

WEEK 6

Design Process Journal

WEEK 6

Design Process Journal

RETHINKING OF DESIGN PROCESS

nspired by the last group activity, plus my reflection and connection to ACT1, my focus is on how to connect the water tower to the surrounding environment, then I drew some sketches to express my imagination. Last time, I I think the structure of the water tower is like a tree house, and I also used the elements of plants in my ACT1. I also made a model to express my thoughts. I made a huge cover. I used a combination of trunks to express The feeling of the forest. The combination of many trees encloses a closed and open space. This skin-like hood covers the entire water tower, allowing it to blend in from the original grid to the surrounding environment. Whenever there is sunlight, the entire water tower will show a very colorful light and shadow change, such as the trunk at the bottom, which is not only a forest from the three-dimensional space, but also a jungle in the light and shadow on the ground. Feelings. At this time, if you stand on the viewing platform, people will feel the feeling of being in nature. The water tower itself cannot view architectural concepts and visions in isolation, and these architectural concepts and visions provide information for their creation. I believe that the form of these towers is directly linked to the utopian vision, unprecedented vitality and confidence, which is reflected in the ambition of the house, not the reality. I believe that the charm of the Glasgow Water Tower lies in the purity of the geometric shape, the clarity of the building and its relationship to the landscape. They also talked about another dimension

inherent in all great works, namely the sky, the shadows, the composition and the beauty. The design and form of these towers recognizes their role in the city as they are prominently part of the public domain as landmarks on the horizon. Viewing deskÂ is an additional function located on the top of the Tower. Adaptive reuse can breath new life into the towers, transforming them into an inspiring and lively place that will help shape the character of the residential developments they are located in and also improve the lifestyles of people who make use of the converted water storage reservoirs. A second phase is proposed to create an imaginatively landscaped area for public use and the nearby school's pupils around the base. The horrendous social conditions and widespread drug abuse which exist in the Cranhill area cannot be easily solved. The Cranhill tower dominates its surroundingsďź&#x152; lt stands as a beacon to the area and is visible from the MBmotorway, They stand either side of the motorway and can be read as a 'gateway' to the city from the East. One could postulate that a dialogue has been set up that speaks of entering the core of the city,within the 'city walls' and service network. The children of Milncroft Primary School, Skerryvore Road, in Cranhill must also gaze in wonder at the water tower which soars above them.

Design Process Journal

WEEK 6

The skin of the tower, 3D modle

Design Process Journal

WEEK 6

Design Process Journal

DEFINE OCCUPY

Design Process Journal

WEEK 6

Design Process Journal

WEEK 6

Design Process Journal

OCCUPY ART

ne month into the current edition of Documenta, a young German architect by the name of Alexander Beck carried out a plan to install 28 white tents in front of the Fridericianum, bolstering a small camp of occupiers that had been there since the opening – self-styled as ‘doccupy’. Erected in guerrilla fashion at sunrise, the simple white structures were adorned with words representing the ‘basic evils’ of modern life, such as greed, profi t and pride, in a symbolic protest that strategically appropriated the codes of contemporary art to occupy a prime site on the museum lawn. Occupy movement at Berlin Biennale 7 2012

earing that doubling the size of the protest camp overnight would justify their instant eviction, Beck recounts that the occupiers ‘came to the unanimous decision to declare both parts of the camp, the wild and the wellordered tent city, a total work of art’. In fact, if anything was going to provoke the authorities into removing the mild-mannered protesters, then it was the pretension of calling their guerrilla action an artwork and thereby trespassing on the aesthetic sanctity of Kassel’s fi ve-yearly survey of contemporary art. The incongruity of the two adjacent tent villages, one refl ecting the image of anarchic creativity associated with global protest movements, the other mimicking the clean and orderly aesthetics of museum modernism, created a disconcerting semiotic spectacle. As a result, susceptible members of the public were at risk of assuming that this prominently sited intervention, incorporating Ida Applebroogstyle political slogans and elements of live performance à la Tino Sehgal, was actually part of the offi cial exhibition.

Design Process Journal

WEEK 6

ccupy Museums grew directly out of the wider Occupy Wall Street movement and continues to fl ourish in a more dematerialised, postsquare era. Its highest profi le target has been the Museum of Modern Art: it has protested against MoMA’s role as a symbol of the dominance of the interests of the mega-rich and its position at the pinnacle of an art establishment that ‘resembles a pyramid scheme just like the banks of Wall Street itself, where wealth and power up to the 1%’. Art museums stand accused of acting like ‘corrupt ratings agencies’, holding shows to the market value of ‘corporate art’ that they collect like ‘bundles of packaged debt’, with personal conficts of interest between those involved in the non-profit and private sectors an aggravating factor in the spread of art corruption.

imes are changing fast and this argument seems less convincing now than ever, with a model of the art world based upon the maintenance of unjust power relations in society appearing increasingly unsustainable. What is remarkable about the Occupy phenomenon in contemporary art is that those who identify with it are not demanding an entrée into the artistic jet set; Jeff Koons and Damien Hirst – who in Michel Houellebecq’s parody of contemporary art The Map and the Territory are pictured dividing up the art market – are not their role models. There is a collective sentiment that it is not worth compromising for the sake of sponsorship or keeping quiet in the hope that sooner or later you will be picked up by the system. The ambitions of the art occupiers lie not within existing power structures but rather in creating something new in the spirit of the movement of the 99%. The future shape of an occupied art world, incorporating alternative models of artistic success, freed from the toxic effects of fi nancial speculation and infused with the spirit of horizontal collectivism, is still open for discussion.

Liberate Tate The Gift guerrilla performance at Tate Modern 7 July 2012 Occupy Wall Street flyer Design Process Journal

WEEK 6

Design Process Journal

CASE STUDY

anish-American architects MLRP in Copenhagen, has transformed an existing graffiti-plagued playground structure to an inviting and reflective pavilion as part of the new Interactive Playground Project in Copenhagen. Funhouse mirrors are mounted on the gabled ends of this playground pavilion in Copenhagen, as well as behind the doors. This engages a play with perspective, reflection and tranformation. Instead of a typical closed gable facade, the mirrored gables creates a sympathetic transition between built and landscape and reflects the surrounding park, playground and activity. Windows and doors are integrated in the woodclad facade behind facade shutters with varied bent mirror panel effects. At night the shutters are closed making the building anonymous. During the day the building opens up, attracting the children who enjoy seeing themselves transformed in all directions. With simple means it has succeeded to transform an existing, sad and anonymous building to a unique and respectful installation in the newly renovated park. The roof and facade is clad with heat-modified wood and the gables and shutters are clad with mirror polished stainless steel. The Mirror House is a flexible space and restrooms, used by kindergarden classes. Forty percent of the energy consumption in the Western World is used by buildings, ninety nine percent from existing buildings, and only one percent from new buildings. This is why it is absolutely necessary to focus on transforming older, existing buildings into more sustainable structures, by upgrading insulation values, sun shading, heating, ventilation and lighting systems.Sustainability is also to renovate and transform, instead of demolishing (requiring

energy and creating waste) which can be a more responsible solution than building new. Mirror House is an example of a successful transformation project for limited funds. The playground pavilion was run down by years of neglect and vandalism, but the masonry structure, roof and foundations were in good condition and therefore the buildingâ&#x20AC;&#x2122;s life could be extended. There were made slight modifications to the internal layout of the space. The building was thereafter upgraded with focus on effective installations, insulation and design. The roof slope was increased to conceal the new roof mounted installations and the existing roof membrane and downspouts, under the new building shell, continue their function.Finally it is clad with sustainable certified wood, Thermo Wood. Thermo Wood is heat modified, which toughens the wood increasing the woodâ&#x20AC;&#x2122;s longevity, and making it a good alternative to tropical or impregnated wood. The heating treatment reduces movement in the wood, which means less maintenance. Funhouse mirrors of polished stainless steel, mounted on the gabled ends, as well as behind the shutter doors. This engages a play with perspective, reflection and tranformation. Instead of a typical closed gabled facade, the mirrored gables creates a sympathetic transition between built and landscape and reflects the surrounding park, playground and activity. With simple means it has succeeded to transform a sad and anonymous building to a unique and respectful installation in the newly renovated park.

Design Process Journal

WEEK 6

City of Copenhagen (CAU) and a donation from the fund of A.P.MĂ¸ller and Wife Chastine Mc-Kinney MĂ¸ller Project leader: Robert Warren Paulsen Engineers: Grontmij A/S Landscape: GHB Landscape A/S Contractor: A.F.Hansen

Design Process Journal

WEEK 6

Design Process Journal

PRACTICE

hrough last week's tutorial, I realized that I can't just link it to my ACT1, but rather focus on site itself. If I rethink the function and meaning of this building, I finally found a very interesting way to express it. Also, I made a few renderings.

I used the principle of optical illusion. I attached a mirror material to the surface of the water tower. Through reflection, the whole building is like an infinite extension of the earth, and at the same time it is perfectly integrated with the surrounding environment.

Design Process Journal

WEEK 6

WHO

HOW

Through my research, as a public space, I found a primary school around the water tower, and the Cranhill Tower dominates its surroundings. It is the lighthouse of the area. They stand on both sides of the highway and can be seen. It is the only place where the â&#x20AC;&#x153;gatewayâ&#x20AC;? of the eastern city enters the core of the city. There are a lot of vehicles and pedestrians passing through here every day. It is not only a landmark building, but also affects local people. So my occupants focus on the pedestrians who pass by and the children who serve in elementary school.

For pedestrians and visitors, they can reach the top viewing platform through the middle staircase and enjoy the beautiful scenery around. They can interact interestingly with the whole building, which is like a children's playground, allowing the water tower to maximize its available space and use value.

WHEN The building can be temporary or permanent, its skin changes with the seasons and the surrounding environment, and it will get a different experience no matter which angle the viewer looks at or during the day or night.

Design Process Journal

REFLECTION OF WEEK 6

Design Process Journal

REFLECTION OF WEEK 6

his is a very stressful week. Through the tutorial on Thursday, I discovered the flaws in my design. I seem to be too concerned about how to link my ACT2 to ACT1 and ignore the requirements of ACT2 itself. "OCCUPY" is the focus of ACT2. So this basically negates all my previous work, I feel very depressed. After discovering this big problem, I found that I needed to do more research on "OCCUPY", so I consulted a lot of relevant materials and made a complete table to understand the meaning of various "OCCUPY" and their The connection between. Then I found a case that was very helpful on this topic. Through these researches, I got a new idea based on the original design: I thought of using the principle of specular reflection to occupy this area, my tutor thinks this It was a very interesting idea and gave me some suggestions. I think this is very helpful. I tried to link the previous "tree house" with the "mirror", combining these two elements to give the water tower a new function and meaning. The previous mistakes gave me a lot of experience, which will make me pay more attention to the theme itself in the design process, and will not leave the theme. This is a huge gain for me.

Design Process Journal

WEEK 7

Design Process Journal

WEEK 7

Design Process Journal

ACT 3

e focus on our personal interpretation, understanding and ideas of how the skin can be expressed through a performance, the use of materials and objects that we want to work with in order to communicate our concept and how the performance inquiry could relate to our site.

Design Process Journal

WEEK 7

FIRST GROUP ACTIVE

n the first performance class, the NIC took us to an empty classroom in the city center. We were asked to remove the accessories and put the phone and other items in the bag to prevent us from getting hurt.

We circled in this empty room, and the NIC gave us some instructions. We acted according to her instructions. For example, walking fast in the house; walking fast in the house and saying hello to the person you meet; concentrated in the corner of the house, etc... In this activity, I feel that we are like a bunch of "molecules" moving in the air, so I use the structure of "molecules" to express our distribution and use lines to express our trajectories. I recorded the different movements under different commands in the form of diagrams.

CORNER

FLOW

Design Process Journal

WEEK 7

Design DesignProcess ProcessJournal Journal

EDGE

CENTRE

TOUCH

Design DesignProcess ProcessJournal Journal

Design Process Journal

WEEK 7

WALK FAST

WALK SLOW

WALK FAST AND SAY HELLO

Design Process Journal

WEEK 7

Design Process Journal

FIVE-MINUTE PERFORMANCE

oday we were asked to perform a five-minute performance, during which we could not communicate in language, we could only use body movements to express our meaning. The theme is related to Skin. This is the first time we designed our own performance plot. Both my team members and I felt excited and nervous. At the e are divided into groups of 3-5 people, and my same time, this group has three members. We explored it for a while is the first time and then decided to use a few specific actions to we performed in express the relationship between the three of us. an independent group. I think this 01. The three of us fell down and touched each other. The very is a great attempt. close physical distance indicates that our relationship is very close.

02. We stand up and begin to slowly circle into a circle and circle. This means that our relationship is beginning to become unstable. 03. We broke free of this small circle and then began to walk to the three corners of the room. This means that our relationship has begun to alienate. 04. We started walking around the walls of this room, which is the farthest we can distance from each other. This means that although we are no longer intimate, we are still in the same environment. 05. We circled the space and found that we could not get out of here, so we began to slowly return to the center of the space. 06. Our relationship has become intimate again, but we are very hesitant about it, so we are starting to walk around each other again. 07. After hesitating, we once again squatted down and touched each other, and our distance became intimate again.

Design Process Journal

WEEK 7

07 Design Process Journal

WEEK 7

Design Process Journal

PERSONAL PERFORMANCE

his is a performance I designed for act3. Although this performance will not be shown, I think this process of thinking is very important to me, and I think this idea is very interesting, so I recorded it. And use some keywords to connect them together. At act2, I will make a huge tree-shaped cover for the water tower, like a layer of skin. The upper part of the water is attached with a mirror material, which perfectly reflects the surrounding environment and blends with the natural image. And from a distance, t act3, I want to use the elements of the upper part of it disappears. act1 and act2 to add glass and mirrors Its function is to be placed on as a tool to my performance. the ground as a device art, attracting tourists and local This is an empty room. The glass and mirror residents, and the function is to are placed in the space. The reflection and communicate. perspective will make the whole space appear infinitely extended. People stand here and can see different scenery through the reflection of different materials and produce different Experience. I want to express the performance when people see different reflections by means of no physical performance.

On the ground, there will also be some round glass and mirrors that reflect the view at the top of the space and attract attention when people are close. It can be used as a sign to guide people to follow the route of the design.

Design Process Journal

WEEK 7

Design Process Journal

REFLECTION OF WEEK 7

Design Process Journal

REFLECTION OF WEEK 7

his is the first week of act3. The main form of our act3 is performed in small groups. I was surprised and very curious, and I was looking forward to it. Under the guidance of the NIC, we completed the first group performance, I recorded the performance of the performance in a graphical way, and, most interestingly, our team also self-directed a five-minute performance. This is a brand new experience for us, although we are all very tired when we finish the show, but this form really helps us understand the theme of "SKIN OF SKIN". I have to say that this is a very good experience. In the end, it also motivates us to think about things from different angles, but also to explore problems through different methods. This kind of experience is valuable to each of us.

Design Process Journal

WEEK 8

Design Process Journal

WEEK 8

Design Process Journal

GAMES

oday, we gathered in the public areas of the school dorms, and we did some interesting little games under the leadership of the NIC.

First we stand in a circle, then start from the NIC. When we say ZIP, we wave our arms to the left, and then the people on our left should repeat the same action and pass it to the person on his left. When we say ZAP, we change direction and pass the same action to the right. When we say BOOM, this action will "bounce" to the person standing opposite him, and then the person will decide to continue to speak ZIP or ZAP. This game is very interesting. It exercises our responsiveness and makes us more familiar with each other. It also activates the atmosphere of each group, but I have to say that this game is very tiring, and the interesting thing is that some It's really interesting that people do wrong because they don't react.

Design Process Journal

WEEK 8

Design Process Journal

WEEK 8

Design Process Journal

PERFORMANCE ART CASES

ollowing our initial workshop and discussion, I found that some performance works where ideas of skin are explored, transgressed or played with. There are some examples will hopefully widen the scope and possibilities when it comes to thinking about my own work. The NIC gave us a lot of examples to help us understand this topic, I think these are very helpful. In some cases, the notion of human skin is clearly at the center of the work, as site, material or subject, however in others I have read ideas of thresholds, boundaries and membranes as more indirect ways of interpreting notions ofâ&#x20AC;&#x2DC;skin.â&#x20AC;&#x2122; Working with skin has and continues to be a politicized act in performance, whether to do with race, gender, or as a potential means of transgressing boundaries and crossing thresholds between external/internal, human/animal, I/ you.

Design Process Journal

WEEK 8

Succour Kira O Reilly

n Succour, the artist made incisions of small cuts all over her body, marking with a scalpel every patch of skin within a grid made using surgical tape, which covered every expanse of skin that she could reach and touch with both hands. The measured and consistent repetition of cuts – in some images, overlaid with cuts or scarred skin from previous performances – remind me of the formal uses of seriality and repetition in Minimalist painting, drawing, and sculpture. Yet the medium here isn’t paper, canvas, or steel; it is a body: the artist’s body. Curtis, Harriet (2017) Live Art Development Agency and Intellect Books.

Design Process Journal

WEEK 8

Design Process Journal

Imponderabilia Abramovic & Ulay Museum

Museum of the Galleria dâ&#x20AC;&#x2122;Arte Moderna, Bologna, June 1977

bramovic / Ulay stand naked, flanking either side of a doorway. Each person passing through made a decision as to which body to face with their own, and how to embrace or avoid inevitable touch.

Design Process Journal

WEEK 8

Siobhan Davies Endangered Species

nstallation created in 2007. choreographed by Siobhan Davies in collaboration with Sarah Warsop, commissioned by Cape Farewell, photo by Vicky Long

‘…a 3D video projection of dance artist Sarah Warsop is displayed inside a museum vitrine, synonymous with an endangered animal saved for human curiosity and record. Warsop’s movements are exaggerated by a costume of long bending rods. As the piece progresses, the rods multiply and her movement becomes increasingly inhibited…’ Sioban Davies

Design Process Journal

WEEK 8

Design Process Journal

Colette Sadler/Stammer Productions The Making Of Doubt

Performance/Dance

â&#x20AC;&#x2DC;

The Making of doubt takes the human doll as an emblem of representation and places it within the real and impossible condition of its words and actionsâ&#x20AC;&#x2122;

Design Process Journal

WEEK 8

Oleg Kulik Armadillo for Your Show

s the opening event of Live Culture and for his debut London performance, Russiaâ&#x20AC;&#x2122;s most famous performance artist spun above the audience like a human mirror ball in a critique on the worlds of art, entertainment and mass culture and their crucifixion of the artist.

Design Process Journal

WEEK 8

Design Process Journal

nfluenced by ideas of embodiment in relation to environment, in particular Roger Caillois' 1935 essay examining insect mimicry, Mimicry and Legendary Psychasthenia, Dent uses live performance and photography to create body installations that arise out of interactions with architectural structures and spaces installations exploring the threshold between bodily self and material thing. She creates images in which all or parts of her body are fitted into the very fabric of a room or environment, usually presented live as performed installations but also existing as photographic works. Often her body is almost completely hidden within the recesses or constructed spaces found within a building: the space under the floor or the flue of a chimney with only part of the body visible, or she is squeezed into holes or gaps in the material structure - her physical contours against those of the architecture. She writes, 'I seek to animate the hidden poetic life of a space and reveal the ambiguous nature of the body - its familiarity and foreignness, its beauty and horror, our fears of being overwhelmed by the void within and without. Through my live installations, perceptions of structural and spatial relationships are fundamentally altered, blurring the boundary between animate and inanimate, subject and object, built structure and flesh, through acts of union and rupture.' Taken from Evesâ&#x20AC;&#x2122; Biography.

Design Process Journal

WEEK 8

Design Process Journal

Eve Dent Various pieces

WEEK 8

Design Process Journal

FINAL PERFERMANCE

ll the actions and plots of this performance were discussed by our team members. In this performance, each of us is very serious and gives our own different opinions. I think this is a very exciting performance. For our first time, this is very successful. Before the show, we prepared a lot of different props. We need two white sheets as the middle "boundary" and some clips to fix them. Then I and two members were responsible for making the 'mask'. We used three newspapers to stick together, and then cut two holes for the eyes. We made a total of ten. We had to arrange these masks before the performance. Round, in order to facilitate our subsequent performances, the other two students are responsible for the selection of background music. This is the preparatory work of the previous period. In addition, since our performance requires the use of lighting elements, we will turn off the lights to create a dark atmosphere before the show and we have prepared the black clothes in advance.

Design Process Journal

WEEK 8

Design Process Journal

WEEK 8

Design DesignProcess ProcessJournal Journal

Design Process Journal

WEEK 8

THE MAIN PLOT

t the beginning of the performance, we were on the dark side of the boundary. Each of us is repeating our daily actions, someone is reading a book, someone is on the phone, someone is holding an umbrella, and I am performing my usual mobile phone action. As the background music changes, we move back and forth, but still do the same. Then the two members propped up the white sheets and created a boundary, so everyone was attracted, everyone was very curious, so everyone started to explore on this boundary, from the other side we can see our hands in The shadow on the sheets. This sheet is like a thin film that blocks us and another space. Then, the first person was worn by the explorer from the middle of the sheets, which symbolized that he broke the

border and opened up another brand new environment, and then the second person followed by the third person. Sheets. When we arrived in another new environment, everyone's movements began to slow and hesitate, and we were adapting to this environment. We want to repeat the previous action, but we gradually start to stagnate. Then, the first person picked up the mask on the ground and put it on his head, and the people behind him began to imitate his movements. Until everyone took the same mask and sat in a circle. Our actions are exactly the same, we stand up together, go out together, and walk back together. At this time, everyone lost their own actions. Finally, we began to walk towards the audience with masks. Finally, we integrated into the audience, symbolizing that we eventually lost our identity, just like everyone else.

Design Process Journal

WEEK 8

Design Process Journal

Performance process

Design Process Journal

WEEK 8

Performance process

Design Process Journal

WEEK 8

Design Process Journal

FINAL PERFORMANCE UNDERSTANDING

t the end of act3, we were asked to use graphs to express our understanding of the group's performances, based on personal feelings.

I use different colors to represent different movements of each person. The sheets in the middle represent a boundary, one side of which is their inner world. They can't see each other, but they are actively doing their own things. On the other side of the line, there are many audiences. In the dark side, people do their own actions, some of them have a great degree of activity, such as wiping the wall or turning the circle, while others have a very small action, but no matter how big or small the action is, they feel very comfortable, so each of them has a bright light. But as they cross this barrier to a brighter space, their movements become hesitant and slow, as they begin to see each other, their movements begin to resemble each other, and their respective colors begin to fade. Finally they put on masks. They lost their movements and began to repeat the same movements. They stood up together, sat down together, went out together, and came back together, and their lights began to fade away. Finally, wearing masks and acting in concert, they go to the audience and try to blend in with everyone. At this time, they disappear completely in the crowd, lose their respective colors, and everyone becomes no special.

Design Process Journal

WEEK 8

Design Process Journal

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REFLECTION OF WEEK 8

Design Process Journal

REFLECTION OF WEEK 8

his week, we were asked to complete a 10-minute group performance.

I spent a week with my team members on how to express our ideas. In the process, my biggest achievement is to learn how to communicate and communicate with each member. After understanding each person's ideas, we combined these ideas together and made a reasonable division of labor, and everyone is an indispensable participant. I think the biggest advantage of this performance is that it connects everyone closely and turns the individual who is independent into a whole. The choice of theme, plot discussion and props production all require advice from each of us. I feel that my team members are

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very good and we cooperate very well. This performance deepened our understanding of the theme. After the performance, I used a chart to express my own understanding of the performance. This is the first time I have tried to think about the design process by means of performance. I think this is a very valuable experience, which will have a great impact on my continued design of act2. This is the last act of stage1, and after that, I will continue with the unfinished part of act2, including the refinement of the model and the production of the renderings.

Design Process Journal

POSTSCRIPT

y completing this journal, my biggest achievement is that I have made my logic clearer by recording all the design processes, which is conducive to the development of my design, and also allows readers to understand my ideas more clearly. Even in the process of completing, there are many difficulties, such as time issues and how to make problems. However, my tutors and classmates have given me many useful suggestions, which are very helpful to me, and I am very grateful to them. There may be some shortcomings in content and layout, but I will pay more attention to these aspects in further studies. Finally, I hope that I will get some feedback from the readers, and i will also try my best to improve my work after that.

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BIBLIOGRAPHY

BIBLIOGRAPHY Evans, Caroline, 2003 Towards a New Interior, New York: Princeton Architectural. pp. 546-558 Mark Lamster., 2000 Architecture and film, null Princeton Architectural Press. pp. 197-217ed Zumthor, P. 2006 Atmospheres : architectural environments, surrounding objects. Basel : Birkhauser, 2006. Pallasmaa, Juhani; MacKeith, Peter; Holl, Steven, (2013) The eyes of the skin: architecture and the senses. Ascher, Rodney dir. (2012) Room 237 Bratton, Benjamin (201x) The Matter of/with Skin Caan, Shashi (2011) Rethinking Design and Interiors, Chapter 2: Being Glazer, Jonathan dir. (2014) Under the Skin Morton, Timothy (2013) Hyperobjects, Part 1: What are Hyperobjects? Neimanis, Astrida (2014) Weathering: Climate Change and the “Thick Time” of Transcorporeality Rendell, Jane (2010) Site Writing: The Architecture of Art Criticism Serres, Michel (2008) The Five Senses, Chapter 1: Veils Kong-jian, Y.U., Di-hua, L.I. and Qing-ping, J.I., 2001. Ecological Design for Landscape and City: Concepts and Principles [J]. Journal of Chinese Landscape Architecture, 6(000). Forestry Commission, 1994. Forest landscape design guidelines. O'Kane, F., 2004. Landscape Design in Eighteenth-Century Ireland: Mixing Foreign Trees with the Natives. Cork University Press. Boults, E. and Sullivan, C., 2010. Illustrated history of landscape design. John Wiley & Sons. Jones, L., 2008. Environmentally responsible design: Green and sustainable design for interior designers. John Wiley & Sons. Lowry, L., 1990. The tree house. The big book for peace, pp.30-38. Von Buelow, P., 2006. Following a thread: a tree column for a tree house. In Proc. IASS Symposium, Beijing. Borges, J.L., 1962. The garden of forking paths. Collected fictions, 119. Yamane, K., Kawashima, M., Fujishige, N. and Yoshida, M., 2002, August. Effects of interior horticultural activities with potted plants on human physiological and emotional status. In XXVI International Horticultural Congress: Expanding Roles for Horticulture in Improving Human Well-Being and Life Quality 639 (pp. 37-43). Gaines, R.L., 1977. Interior plantscaping: building design for interior foliage plants. McGraw-Hill.

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