Studio Bathing 2.0 Journal

STUDIO 13

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JOURNAL

LEONARDO

VINCENT

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week 01.

MARCH 02 - MARCH 08, 2020

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RECOLLECTIONS OF A PUBLIC BATH

In groups, we have combined very different individual experiences. This has helped in making imaginative solutions intended for a narrative coherence. ideas that we have come up with includes affordance from tectonics for changing rooms, plays of spatial progression and augmented reality environments.

Through this excercise i realized how my experience of a public bath was heavily affected by the journey towards the bath house itself. it became part of the meditative transition from urban japanese city to the serene rural onsen visited. the excercised helped me recollect the state of mind i positively associate with the bath

Personal Experience Board

Combined Experience Board

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INTROSPECTION

By reviewing how i work, i realised how i have gone through different design tasks by adapting myself. i discovered how i approach pragmatic designs, every step is based on information and research, slowly building up in detail and nuances. However, an intricate play with conceptualization is required too to create an intriguing design.

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Past Project

NS OF THE PAST

On the other hand, i realised conceptual designs can be derived through an instinctive imagery from the mind. It requires to be slowly refined with a more detailed concept for it to be translated into a well rounded architectural response.

What matters the most in the end is understanding what is expected for the project.

ts Time Line

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ENVISIONING THE FUTURE

UC Berkeley’s Nest We Grow, a project that symbolically represents global efforts through its construction and materiality. i combined the image with the covers of phenomenology related books in the pockets of spaces, signifying a variety of sequential experiences that can be had within one architectural project.

I envision the end result for me in the end of this studio is a project that corresponds to the users within the context context, using phenomenology withtin the human scale with pragmatic detailing that adequates smaller scales of usage compared to my previous projects. I represent this through

Dream Project Collage

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MIX MEDIA EXPERIMENTATIONS

water with markers creating a dove transparent material effect, water colour in creating values for differing depth of fields, and charcoal and water to increase the intensity of light within a space as well as its reflection. This excercise helped in reminding me to be playful with analogue techniques to create unique effects.

By combining a variety of papers and analogue materials, i tried to test out representational effects that i deemed to be important. as we are creating a bath house, i assumed that representations of water, materials, and colours would be most important. Unexpected combinations have come out from this practice, such as mixing

Mix Media Papers

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REFLECTION

This week has helped me begin cementing my expectations for my future project in this studio. Through reflecting how i have approached architectural design before, i realised the methods i have been working with in the past, and most importantly, that i have been adapting through every assessment differently. Through this i learned that this process of adaptation will carry on, and that there isnt a singular correct approach in architectural design. In seeing how the tutorial is run in just a couple of studios, it seems like the studio champions trial and error and experimentation as a

design process. Due to its relation with analogue techniques, and discussions of phenomenology, i think it is a very fitting approach for the subject. this method would be immensly useful in creating calculated breakthroughs in the process of design. It is a nuansed line to balance creating things impulsively through instinct and calculatedly through rational, and i believe that will be what i will learn how to do in this studio.

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week 02.

MARCH 09 - MARCH 15, 2020

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ANALOGUE ATMOSPHERES

Experimenting with different combinations of media as a representational technques of the same qualities has been a very insightful process. Through comparisons, it is much more apparent which media works better to represent certain elements of the atmospheres than the other. I learned how massive paper base colours

inevitably impacts the overall ambience of an image, even after brighter or darker analogue techniques has been heavily applied. I learned too how effective it is to use specific analogue materials in representing certain materialities, such as water colour for water or charcoal for rocks.

5 Atmospheres

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3 BIG IDEAS

Building upon the future envinsioning excercise as well as the reflections of my previous projects, i thought of things that has worked well before in my various design processes to come up with what i want to explore for this project. I thought that i want to have a strong community response to the project, so i thought i would

look more into the beneficial aspects of water such as hydrotherapy. I thought in my previous project i really lack control of experiential progression as well as materiality, and i want my treatment of those aspects in this project to be heavily incorporated as well as having a symbolic meaning too them.

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TECTONIC SKETCH MODELS

As much as i thought this excercise was quite demanding for the short period of time, experimentations of multiple tectonics and material has been a rewarding hands on design process that i previously have never utilized. In pushing to create 5 atmospheres, i explored forms that i would have previously not explored otherwise

I am mainly pleased of the unexpected relations between different materials, forms and light. Very much like what Peter Zumthor said in Atmospheres, the chemistry between these differing elements is always surprising in reality. However, furtherwork on tectonics and entrances has to be refined.

5 Atmospheres

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JAPANESE + KOREAN BATH HOUSE

As a group, Lauren and I were both drawn to the Japanese and Korean bathing.

We realised these two different culture have some striking similarities, but also some surprising differences affecting the experience.

It is perhaps these contrasting qualities that shows what ambiences are built upon.

Korean Bathing

Both Japanese and Korean bathing have similar sequencing of spaces, from locker rooms, saunas, and even to the lounge area for activities outside the bath, but on the other hand they have different materials, openness of spaces, as well as simplicity of programs.

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Japanese Bathing

REFLECTION

This weeks progress in class has been more indepth than the previous, with familiarising ourselves with the rituals and quirks of cultural bath houses, as well with experimental model making as a discovery process. I discovered that i am heavily reliant on planning and thinking before experimenting with unfamiliar techniques. I find this technique to be more efficient but perhaps the results are not as explorative as they can be. I really enjoyed the process of creating models in this weeks session despite how relatively time consuming they maybe, perhaps this is due to lack of time management and speed,

something i definitely need to improve on. The group work on cultural bath houses has been very insightful, it is very interesting to see how one activity can be done in a multitude of varying ways. However i am still not satisfied with the simple brief i gave myself, but the three big idea collage excersie has certainly helped me imagine which direction i should step in, and which direction i should tray away from.

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week 03.

MARCH 16 - MARCH 22, 2020

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TECTONIC + LIGHT SKETCH MODELS

In this excericse i was able to hone in my interests and concepts of atmospheres that i discovered through the previous iterations into clearer representations. I was interested in balancing rigidity and soft elements, non directional walls as vertical tectonics, as well as prolonged immersion of users into the water.

Furthermore, i was fortunately able to push experimental findings while implementing my main ideas more within atmospheres as i did techniques outside of my comfort zone. (e.g. failing at removing paper from foam core and creating pockets of light through chamfering them for textures.

5 Atmospheres

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REFINED TECTONIC + LIGHT SKETCH MODELS

For this iteration of experimentations, i tried new ways to reinterpret the concepts i have previously explored as well as trying to implement my unrefined ideas more at the same time. for the first set, i wanted to explore more about light in the creation of colours by how it interacts with a set combination of materials,

for the second set i tried to explore how daylight can be used as an indicator of time within a space, juxtaposing with unrefined raw materials as the tectonics. lastly, i wanted to explore how the religious arch typology can be abstracted and implemented in the bath to create a meandering experience.

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REFLECTION

This week due to external factors have been confusing, and for safety reasons i decided to not attend the second tutorial of the week. This unfortunately means i wasnt able to have some feedback.

However, this week what i mainly learned is that experimentation results are quite unpredictable. I learned that when the efforts are focused it can create more multitudes of interesting finding. I also learned that in creating these experimental models, its good to somewhat have a main idea for the final project already as it helps in developing certain qualities related to it that would like to be achieved in the bath house.

I also discovered that when i specify which one element of atmosphere that i would like to focus, i was instead able to create more iterations of atmosphere e.g. when i focused on light in relation to how it can better / speed up the representation of time within a space. I also learned to allow for accidents to happen more in these experimentations, as they could lead to virtuous results.

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week 04.

MARCH 23 - MARCH 29, 2020

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TECTONIC + LIGHT+ COLOUR SKETCH MODELS

To see how colour affects the ambience and how it interacts with material combination, i continued my concept of contrasting rigid elements with sculptural elements in another iteration. using the sculptural element within the walls to create an alluring effect towards directionality for the users, as well as letting it as the canvas

for wood in the ceiling to cast shadows to create an everchanging ambience in the space. From the colour experimentations, i find that the warm exentuates the wood while the cold exentuates the walls, one dominating the other in each, so the material honestys relation with colour can both increase and diminish each other.

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BATHING PRECEDENTS

In continuation with the cultural precedents, we now focused on the existing designed architecture of the bath house. i realize now from my choices of precedents that i am heavily related with either the japanese aesthetic or the rugged and rough sublime architecture. I was mostly drawn to the bogeyhole in newcastle, australia.

It satisfies my interest of historic architecture, juxtaposition of material, but mainly because of its proximity to the dangers of nature that stimulizes this primitive instinct in ourselves, which i would like to explore more in how to emulate that response through phenomenology.

THE BOGEYHOLE, NEWCASTLE, AUSTRALIA

T h e B o g e y H o l e, al s o kn o w n as t h e Co m m a n d a nt 's Bat hs , i s a h e r i tag e - l iste d se a bat h i n Newcast l e i n New S ou t h Wal es, Aust ral ia . It is thought to be the oldest sur viving European construction in the cit y area

T h e p o o l w a s h e w n f r o m a s a n d s t o n e /c o n g l o m e r a t e r o c k s h e l f a t t h e base of cliffs near Shepherds Hill. Lieutenant-Colonel James Thomas Morisset, the Commandant of Newcastle (1818–23), ordered the const r u ct io n of t he p o o l by co n v ict lab our i n ab out 18 20 fo r h is ow n use.

Perspective Shots

The word "Bogie" or "Bogey" purpor tedly comes from the Dharawal lang uag e me an i ng " to b at he" o r "a p la ce to b at he" It was a d d e d to t he New S ou t h Wal es State He r i tag e Re g iste r o n 2 1 Nove mb e r 20 03.

The Bogey Hole is situated at the foot of Shepherds Hill, or as it was kn o w n i n t h e 1 8 20 s "s h e e p p as t u ra g e h i l l " . G e o l o g i c al l y, t h e ro c k i n t h e a r e a i s s a n d s t o n e /c o n g l o m e r a t e t y p i c a l o f t h e c o a s t a l a r e a s o f t h e Haw kes b u r y San dsto n e d e p os i t o n w h i c h N e wc ast l e was b u i l t .

The rock is considered reasonably hard.

In 1863, control of the bath passed to Newcastle Borough Council for public use. The bath were enlarged by Council and catered mainly for male swimmers, with women being permitted only at set times. Since that time a collection of changing sheds and other facilities have come and gone.

Top View

Access

The Bogey hole was originally much smaller than it is now and was s u b s t a n t i a l l y e n l a r g e d i n 1 8 8 4 t o i t s p r e s e n t s i z e .T h e m o s t s i g n i f i cant changes to the original Bogey Hole rock pool were in 1884. The pool was enlarged to seven times its original size and deepened, an iron safety rail was constructed along the access track and t wo bridges, stairs and ledges cut into the rock face.[5] These works we re u n d e r take n by N e wc ast l e C i t y Co u n c i l .

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B AT H H O U S E , A N J O , J A P A N “ T h e s i te is l o c ate d i n t h e res i d e nt ial are a of A n j o - c i t y, A i c h i p re fe ctu re. T h e C l i e nt is a yo u ng family of five people. They wanted to have an enjoyable time not only inside the house but also a desire for an outdoor space: a comfortable space where their kids can play freely in the g ard e n . Let us t h i nk ab o u t t h e "o u t s i d e. " U s ual l y, we l i ve o u r l i ves i ns i d e. T h ro u g h o u r d es i g n , we proposed a new value of life to become closer with the outside.

Through this concept, we covered most of the site with a large roof, and made the external area equal with the interior area of the single open Living Dining Kitchen(LDK) space. In Japan, a g a rd e n us u al l y ex is t s fo r a p p re c i at i o n . H oweve r, t h is e n c l os e d g a rd e n as t h e LDK fo r t h e o u t s i d e is us e d l i ke a ro o m . W i t h t h e k i tc h e n o u t s i d e, we i n co r p o rate t h is s p e c ial a ct i v i t y of eating outside, in which it becomes a part of their ever yday routine. Also, family actively uses this outside room for their daily life, such as; listening music, relaxing, reading books, sleeping, and so on.

We could say this "garden room" can be a large boundar y of the house. Through the window of t h e g a rd e n ro o m , w e c a n s e e t h e n e i g h b o r 's g a rd e n . T h i s s c e n e r y i s d i f fe re nt f ro m t h e o rd i n a r y g ard e n t hat we c an s e e f ro m i ns i d e of t h e h o us e. T h e g ard e n ro o m makes co nt i nu i t y w i t h t h e n e i g hb o r, a n d ex p a n d s t h e r i c h n es s o f l i fe f ro m i ns i d e t h e h o us e.

We re al i ze t hat t he co ns id e rat io n of "ou td o o rs" cre ates a st ro ng re lat io n to t he r ich ness of arc h i - te ctu ral b o u n dar y. We wo u l d l i ke to ex p l o re s u c h b o u n dar i es b et we e n t h e i ns i d e an d outside.�

Exterior shots

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GF & 1st Floor

B AT H H O U S E . A B A R K O O H , I R A N

T h e Bat h H o us e of Sar ma d ( A b ar ko o h ) I ro n an d Ste e l I n dust r i es Co mp any, w i t h a total b u i l t are a of 1 ,6 5 0 m 2 is l o c ate d i n A b ar k o o h , i n a d i s t a n c e o f 1 5 0 k m f r o m Ya z d .

The principles of Iranian architecture and use of the local ornam e nt s an d m ot i f s are take n i nto co ns i d e rat i o n i n d es i g n of t h is building. In the dining building, the entrance, as an iconic elem e nt , is d es i g n e d l i ke an i n co mp l ete c y l i n d e r co r res p o n d i ng to the cylindrical form of the office building, located in the opposite side. This form also conveys an inviting sense to the audience.

T h e h i e rarc hy, as a p r i n c i p l e of I ran ian arc h i te ctu re is d eve l o p e d from the entrance to the main hall, consisting of 7 stages as follows: St a i rs ( Po rc h ) , Ent ra n c e Co r r i d o r, D i v i s i o n A re a , C l e a n i n g ( P u r i f i c at i o n ) A re a , Co r r i d o r, Fo o d D e l i ve r y Co u nte r, Ma i n Hal l In the master plan of the company site, these t wo buildings were located next to the office building, which was designed and built e a r l i e r, to m ake t h e s e r v i c e c o mp l ex . T h e re fo re t h e n e w b u i l d i ng s were designed based on the existing office building in order to maintain the harmony of colors, forms and materials in the complex.

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SITE ANALYSIS

Through exploring the surrounding materiality of the site, i found that although there are a variety of them, it is still heavily overhwelmed with painted veneer, creating an almost monotone ambience in the journey to the site. i believe the journey is an important part of experiencing the bath house, and although

it is not in our brief to control that element, i believe that it is definitely something that has to be acknowledge in the project in order to create the experience intended within the site.

MATERIAL STUDY EXPOSED VENEER PAINTED VENEER GLASS EXPOSED MASONRY CERAMIC TILE TIMBER METAL CLADDING BLUE STONE EXPOSED CONCRETE

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READINGS - ATMOSPHERES

I find it necessary to understand phenomenology better through reading works written by one of the most prominent figures of the architecture field, Peter Zumthor. This particular book being a written record of his lecture i find to be a very substantial light reading material. It is very easy to understand the concepts and knowledge

he offers as it is written very straight forward without pretentious jibber jabber. I learned the basic pillars of phenomenology through this very texts, and understood how its both a very poetic and literal subject field of study, which i find to be very interesting.

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NOTES

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READINGS - STOICISM

In an attempt to richen and better understand my own concept of intergrating philosophy to architecture, i had to explore some history of ideas before diving in more depth to the architecture, As suggested, i researched about Tim Ferris, an prominent advocate of modern stoicism practice who happened to explain briefly how stoicism has

been practiced over the years. The video explained in literal ways how this philosphy is practiced, even down to how it relates to different philosphies. This helped me clarify the vague ideas i had before about how to connect stocism into architecture and gave me more clear ideas of the actual priorities / goals i have for this project

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NOTES

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NOTES

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REFLECTION

This weeks tutorial is a very sudden change of pace compared to our normal schedule, and personally for me it was quite overwhelming to process everything that has been happening. i required time to get used to the online learning process, however it still ran considerably smoothly. it is good to see other student works more upclose digitally, and i find that it is clearer to listen to them speak about them aswell. However this week has been mainly good for explorations of ideas or interests that are still subconscious. and through a certain amount of reading

i found articulations of interesting ideas and a clearer path of direction i want for the project, which will help me throughout all of the processess including experimentations and research.

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week 05.

MARCH 30 - APRIL 5, 2020

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SITE CONTEXT COLLAGE

THrough the collage i wanted to explore what elements heavily stands out within the site, so i created a panoramic 360 view of the site and then exentuate the more jaring elements closer in proximity to the site. i found the alleway behind the site to be especially intriguing and potentially something to be explored in the design.

The backdrop of the collage is intended to represent the historical and the atmosphere of the further surroundings, representing the repetitiveness of the victorian heritage housing. and to juxtapose it, i want to showcase how the area is mainly populated with the contemporary generation.

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MATERIAL PRECEDENTS

With a clearer understanding of the brief i was able to explore precedents that mainly interested me more clearly. i was mainly interested in the typology of sublimity in the forms of natural, ruin and historical elements, as well as how it is juxtaposed well with modern materials

I found that sublimity can be expressed in many ways, through corrosion of materials, and destroyed elements of architecure. and this can be exentuated through the accomodation of contemporary design and materials with the intent of enhancing them.

Rural House / RCR Arquitectes The brief calls for a large home for a couple, and for a discovery of a balance between nature, independence and a communal living for the inhabitants. The site lies between two fields, between two views (Romanic church and the Pyrenees), between two aspects, two levels: on the edge of an embankment. The house takes up a position on the site to enhance the landscape values, like the emergence of cracks caused by water as it runs down the slope in se search of transversal flows, giving rise to the longitudinal flow that unites the worlds of the kitchen and the orchad (a colonised footprint), of a living room with ponds and bedrooms with courtyards.

The longitudinal level is 1.5 metres below the field above, which drops by as much as three metres in the private spaces that can open or close to permit intimacy or meetings. The entrance is at the same level as the lower field.

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MATERIAL PRECEDENTS

Kolumba Museum / Peter Zumthor Situated in Cologne, Germany, a city that was almost completely destroyed in World War II, the museum houses the Roman Catholic Archdiocese’s collection of art which spans more than a thousand years.

Zumthor’s design delicately rises from the ruins of a late-Gothic church, respecting the site’s history and preserving its essence. ”They believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place,” ex plained Zumthor at the museum’s opening.

Zumthor, consistently mindful of the use of the materials, and specifically their construction details, has used grey brick to unite the destroyed fragments of the site. These fragments include the remaining pieces of the Gothic church, stone ruins from the Roman and medieval periods, and German architect Gottfried Böhm’s 1950 chapel for the “Madonna of the Ruins.”

The facade of grey brick integrates the remnants of the church’s facade into a new face for the contemporary museum. Articulated with perforations, the brick work allows diffused light to fill specific spaces of the museum. As the seasons change, the”mottled light shifts and plays across the ruins,” creating a peaceful ever-changing environment.

The museum includes 16 different exhibition rooms and, at the heart of the building, a secret garden courtyard – a quiet and secluded place for reflection.

The materiality plays such an important role in the overall design, and Zumthor, known for taking his time to develop projects, searched quite awhile for the perfect material. Handcrafted by Petersen Tegl of Denmark, the bricks were specifically developed for this project, as they were fired with charcoal to imbue a warm hue.

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MATERIAL PRECEDENTS

Monastery of San Juan Cover / BSA The Monastery of San Juan in Burgos (Spain) was raised in the 11th century as part of a group of buildings around a Benedictine monastery outside the original walls of the city. The monastery is a landmark for the pilgrims taking up the route of the Way of Saint James just before the entrance to the old city across the Arco de San Juan. The project to cover the ruins of the church of the Monastery of San Juan, is intended to protect the architectural remains of the temple and at the same time to create a new protected space to celebrate cul cultural activities regardless of weather conditions. The new roof takes the shape of a large folded plane that evokes and takes us from its essence to the ecclesiastical typology of the three-nave temple that originally existed. Two horizontal planes have been added to the folded surface in order to cover the apse and the northwest area. This set of plans, blending the contemporary vision with the respect for the remains of the church, seems to "float" above the ruin as an independent structure keeping the perception of architectural remains unaltered.

From a construction point of view, this proposal is strongly respectful towards the architectural remains. The planes of the cover are extended beyond the limits of the ruins, above walls, in order to ensure that the ancient architecture is protected. So as to affect as little as possible the archaeological substrate the cover support is reduced to a minimum with pillars located in the central nave. Limiting the number of pillars inside the church gives a clean and clear understanding view resulting from the absence of elements that could hide details of original pilasters or wall fronts.

The realization of the planes of the roof is the same in any case, whether seen from indoors or outdoors. It is based on a steel structure permanently hidden as the outside is coated with a matte translucent finish laminated glass and the inside is coated with a suspended ceiling made of wooden slats. Both the translucent glass and the wooden lattice soften the light entering the space, which causes an interesting and suitable scenographic effect. The wood lining acts as a transition between the strong ancient character of the church in ruins an the contemporary straight geometry with glass cladding of the proposed and cover.

Lighting is key in the intervention. Inside, the natural light filtered through the wood lattice accentuates the covered-uncovered spirit of the proposal and highlights the value of the ruins. However, at night a careful spot lighting of the architectural remains and indirectly projected general lighting of the wood lining gives to the monumental space a suggestive enhancement. From the outside, the translucent glass folding plane illuminated from inside acts as a lantern that reveals the intense inner cultural activity.

With this new cover for the church of Monastery of San Juan, besides ensuring the consolidation and protection of the architectural remains, the city of Burgos will have a new multipurpose and cultural exchange space of 1.300m² for the organization of different activities.

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PRELIMINARY BRIEF

To simplify the research i have done, i did the one paragraph one sentence excercise to summarize ideas that i am interested to implement in my architecture.

Elements such as philosophy and sublimity mainly prioritizes my concept, however i do find that i put in too much of my ideas and it needs to be more stream lined.

I also worded my brief to eerily and too repulsively for it to be a plausible bath house that would be inviting to the public, similar concepts could still be used but word choicing in creating this brief is important to dictate the next moves for the project.

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REFLECTION

Prior to this week most of the development we had in our tutorials were mainly involving hard skills of creating ambiences and tectonics which has helped me in understanding what elements really drives the creation of atmospheres. However, this week we’ve finally had an opportunity of coming up and refining concepts towards an architecture. Doing research on concepts and architecture precedents has helped in creating a preconceived idea of my project prior to delving into the details of it all. During this research stages i have a better understanding of my driving concept, which will be crucial in the future decision making process

of the project, serving as the primary connector of all the future differing aspects of the project . i do however believe that even though i have this understanding, the conceptual driver is still very undercooked and still not there yet, this process needs to be balanced with creating the actual architecture simultaneously to create a back and forth process that will enrichen the development of both concept and actual architecture for a more hollistic project.

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non-teaching week.

MARCH 30 - APRIL 5, 2020

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PROGRAMATIC MASSING

To begin in creating a measured massing for the context i began with listing out the briefs areas so i could group them for specific functions, which then will help me measure the exact areas of each of the grouped functions. this is then followed by an iterative process of responding to the context.

With a site that has 2 busy main streets, and one of them commercial i tried to see if i could respond to it pragmatically in a programming stand point, as well as being more playful with the form.

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TECTONICAL After having a general idea of the mass, seeing how the incorporation of previously learned tectonics has helped me getting closer to a single form. i tried to see if could respond with compositions of masses of differing geometrical forms, planes with varying width, length and intersection, as well as curviliniear forms that varies in length, height,

MASSING

and directions. i find myself being mostly drawn to the curvilinear forms as it is balancing the straightforwardness of directionality with a gentle gesture.

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TOWARDS AN ARCHITECTURE

After settling down with a specific concept, the next step is to finalize specific atmospheres and tectonics to include in the project for it to be cohesive, . This is then followed with relating how the tectonics will relate to the previous iterations of mass.

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additiionally, envelope concepts were starting to be developed after researching several precedents.

FIRST MASSING ITERATION

Transitioning from sketch to digital is a huge difference, measurements of actual areas dictated the design decisions prominently. this process has drastically changed my sketch massing highly which previously has been criticized for being too small in size, which was true/

this process was difficult in the sense that when the tectonics of some of the baths has not been fully decided, the massings form becomes interchangable. For this specific iteration however, the process was intutitive, with the placement of things based on pragmatic desicisons which helped in finding its form.

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SECOND MASSING ITERATION

This second iterations main goal was to create a more refined design with stronger gestures that dictate the program. this lead to the dcision of creating a grander entry with a combination of more refined tectonics of individual baths. this iteration however was not succesful in creating said entry as the emphasis of form delegated the

circulation that is equally important, this mistake made this iteration unsuccesful , but the refined tectonics of individual baths are something that will be taken forward for a finalized iteration.

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REFLECTION

There was a significant amount of development during this non teaching period. finally diving into the architecture really creates a different focus in the design process, it clarifies what decision really matters in the end project. All the previous thoughts i have about intergrating philosophy and etcetera will only matter if the actual architecture reflects that concept. this made me realize just how important it is to be working on a concept and a design simultaneously. furthermore i also realize how more productive i could be within the two weeks i worked on the design, motivation was something difficult to find during these times.

i find having a scheduleed routine and plan for each day really helps in increasing productivity in my own home. whereas it would be more automatically set if classes were not online. there is a significant of time saved however from having classes online, which i am grateful for.

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week 06.

MARCH 30 - APRIL 5, 2020

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INTERIM

The interim submission combines both of the first two iteration previously made. having a symmetrical flow based on pragmatic decisions combined with having strong gestures of experiences. developing this combination was difficult however, and took a significant amount of time during the process.

though thereI was still alot of work needed to be done to fix this iteraions flaws, happy with the outcome of the massing, at the time as the flow and circulation of the building seemed to work. to an extent

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REFLECTION

This interim prexentation was decent;ly well received by the guest crits, which i was happy with, however there are a significant of things that could be improved for this project, i find that the concept i created for this project wasnt as strongly translated into architecture as it could have been, as in the end ive diminished the concept into a more simpler derivation, but even then i believe that was stiill not translated well enough as some of the things i mentioned during presentation was derived from a backwards up-bottom approach.

Representation wise, i believe this project was quite deceiving in a first impression.

there were major flaws of the individual tectonics, the wasted spaces created because of the circular forms, progressions without real considerations of materiality and light, and etc. overall i think i was subconsicously trying to create an abstract project, but what i made was an inbetween project. in the future weeks i have to decide what kind of project i should be creating for the finals.

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week 07.

MARCH 30 - APRIL 5, 2020

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POST-INTERIM REFLECTIONS

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REFLECTION

This week ive received feedback for the interim presentation, which i thought was fair. the project i worked on were not up to standards of practicality and lacked several considerations that should have been upheld more. i spent most of the week thinking how i should progress with the project, if i either had to push the project in a more pragmatic way or more of the abstract way. ive also reflected on significant flaws that the project has in terms of how it responds to the scale of the context, how i have not considered lighting as much as i shouldve, and how i have not incorporated a rich concept for me to proceed.

This lead me to the decision of trying to conceptualize a new project from a similar and more refined concept.

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week 08.

MARCH 30 - APRIL 5, 2020

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A NEW BE

After my reflection and feedback, i decided to conceptualize a new project, one that heavily considers light, and context, a project that will be more humble in its scale, maximizes the spaces inside better, and allows daylight in each of the spaces much more significantly. this process was rather chaotic and unorganized as i was

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EGINNING

still doubting myself with this decision. i drew visions of what the project could be like in different forms which are program divisions, ambiences, and abstract massing and section to let the thinking process be loose.

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REFLECTION

due to other assignments, the distance of time for the final, and lack of motivation during the pandemic there weremt much progress for the project during this week. most of the time was spent rethinking of a new scheme while looking at precedents and concepts of other projects that could translate some important pieces of my previous concept into a better architecture translation. a better work ethic is definitely required

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week 09.

MARCH 30 - APRIL 5, 2020

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FIRST MASSING IT

after conceptualizing a new project, i began a mock up massing to see how it would work with realistic measurements of areas with context correspondance. the decisions made for this , massing were based on things i could improve upon my previous interim, things like considerations of light which lead to the open ceiling

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TERATION (AGAIN)

a better transitional process from the outside to the baths which lead to the long hallway and the new forms of changing and shower rooms. this massing however have not considered deeply new tectonics of the individual baths.

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DIGITAL EXPERIMENT

In order to test out my new ideas and concept that i want to incorporate in the new project, i loosely made a digital mass modeling of the atmosphere that im aiming for. the reason i was drawn to rectalinear forms was how both directional and meandering it is to experience, it also creates this feeling of enstrangement or bewilderment due to its

repetition . these perspectives became a goal i want to achieve in future iterations of this project

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REFLECTION

This week i heavily doubted my decision of creating a new project considering its progress, it really lacked in development and it became quite difficult to see the outcome , and i realize that the only way to get out of this mindset is to continue developing the project to be able to see its future. i chose to do this because i believe in the new concepts, and i believe this new iteration responds to several significant criticisms of the previous iteration which is why i went through with it.

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week 10.

MARCH 30 - APRIL 5, 2020

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NEW TECTONICS

In an attempt to create a more rich iteration of massing, i need to decide the tectonics of each of the individual program that will help dictate each of their forms. similar to how i try to develop new iterations of the project in the previous interim, constantly improving and refining tectonics is important in driving the design

however unlike the previous interim i tried to incorporate more considerations of lighting, materiality, and tectonics not just to the individual baths but to the other areas such as the changing rooms, the shower and locker rooms, hallways, as well as resting areas.

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SECOND MASSI

Deciding early on the tectonics really helped in creating a better iteration of massing, as ive mentioned before they really become the design drivers. theres now more consideration of smaller spaces outside of the grander gesture with a more visible promise that the project now has. however, this iteration was still far from being refined and

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NG ITERATION

and is in quite the distance far from the vision i had for the project ive previously visualized.

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CONSIDERATIONS OF LIGHT

BEfore meeting with josie i tried to draw out ways light was considered to the individual masses of baths im including to the bathhouse to understand the plausability of it all. how i considered daylight was generally well received and deemed to be possible however what i clearly lacked was how i considered

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articial lighting

for night time.

REFLECTION

This week i learned something i knew before, that spending time more actually working on the project was more significant than reflecting and thinking about the project. several weeks ago i was too invested thinking about the decision of creating a new project or not, but refining and fixing the design was far more useful to develop the project rather than thinking about it. i find the lighting consultation with Josie to be extremely fun as it lead me to think about ambiences in more detail and more practically, it made me realize just how really powerful light is in creating ambiences.

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week 11.

MARCH 30 - APRIL 5, 2020

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INTROSPECTIONS OF THE PAST

In continuation of lighting studies i attempted to ask more specific questions for josie about the plausibility of certain effects that i want to have in the project. from my discussion with her i found which assumptions i had were correct and which ones needed more considerations

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CONSIDERATIONS OF LIGHT

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REFLECTION

Another slow week in terms of making progression for the project in terms of drawings, however the lighting discussion had with josie was a blast. i learned so much about the dispersion and placement of lights that are elegant and in line with the ambiences that could be created. I also learned how to use lumion this week in hopes of creating presentations for the future.

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week 12.

MARCH 30 - APRIL 5, 2020

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REFINEMENT OF DESIGN

As we are getting closer to final submission date, we spent most of our time refining the projects more and more, and giving out a semi finalized section and plans for markup was very helpful during the process of finalizing the project with a working plan. this stage also helps in realising important things needed

to be represented in the final images to give the final crits a clear understanding of the project

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REFLECTION

In this final official week of the studies i have happily received a significant amount of feedback to resolve issues for the project through multiple consultations. i do realize that my progression is lacking compared to some of the others in class, im still having trouble controling my workflow to create a better product, and my lack of motivation during this time is not really helping. even though theres 2 weeks left before submission, my progress needs to be amped up.

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Final.

MARCH 30 - APRIL 5, 2020

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STUDIO REFLECTION

In this studio i have found myself questioning alot of the conceptualization aspect of creating a project, and less considering of the literal technicalities of design. in my bachelors, as long as i have a concept strongly translated to a form with a decent consideration of the concept would be fine, but this studio really taught me the “hard skill� area of the design and how important that actually is with the conceptualizing process. there has been a significant more time of self development compared to bachelors as there are less interims and we are expected to be more proactive in creating design, which

semester. most of my studio time i werent as proactive as i could be, and i learned how important that is in the development of the project. delaying the hard skill of progressing with a project for the sake of thinking/conceptualizing time diminishes the richness that a project could have and that is something i have to work on more in the future. I need to be more proactive during studio to receive more feedback without the scares of deadlines.

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STUDIO 13

A

JOURNAL

LEONARDO

VINCENT

9179 02

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