Li-Tzu Chen MRP

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

LI-TZU CHEN CHAIR: BRADLEY WALTERS CO CHAIR: LEE-SU HUANG

A PROJECT IN LIEU OF THESIS PRESENTED TO COLLEGE OF DESIGN, CONSTRUCTION AND PLANNING OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

CONTENT

Introduction /

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ABSTRACT

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IKEBANA - History of Ikebana - Philosophy - Zen - Ideology - Line, form, balance and Harmony

Research /

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MICROCOSM | 微 - Ikebana as miniature of landscape - Time : In praise of shadow - Borrowed Scenery

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SPACE IN-BETWEEN - 空 - Void/ Emptiness/ Blank space | 留白 - 間 - In-Between - Balance – Yin Yang | 陰陽 - Ambiguous

3.

AMBIGUOUS - Beauty of Ambiguous - Ambiguous Boundary

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ARCHITECTURAL AMBIGUOUS - Case study - Re-imaging / Reconstruction

Transformation/ Conclusion

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ARCHITECTURAL APPLICATION - When Eastern Aesthetics meet Western - Ritual / Itinerary - Wine tasting room design

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CONCLUSION

CHAPTER 1 | INTRODUCTION

ABSTRACT

This project is mainly based on researching the philosophy and aesthetic of Ikebana, which is known explores how it relates to architectural thinking and designing. The reason I was fascinated by Ikebana is the simplistic way of arrangement, at the same time showing the spatial and spiritual quality. Instead of its value in being attractive, it needs sophisticated thinking, placing minimum components to shape the blank space and express aesthetics powerfully.

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The essential parts of practicing Ikebana is to think the space in-between and balance it. It is about the balance of occupied and unoccupied space. In the architecture profession, we define space by using horizontal and vertical elements, assembling planes

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

we placing walls, floors and ceilings, be aware of the material texture, context, light quality. Architects create spatial itineraries bringing people to explore and experience space. Form, proposition, rhythm, the aries. Not only considering the space we create but thinking about the unoccupied space. Besides the arcontext, and climatic elements also play essential roles in the composition of architectural arrangements. Correspond human behaviors with natural and building environments.

Moreover, Ikebana often uses different phases of debts, you could easily tell the time is passing by watching the natural change.� Ikebana is a living

would feel like they are still and life-long, however, blooming and decaying from second to second. So as architecture, is not saying architecture would physically move, but people move in it, use it; light moves through; the materials are weathering or attaching by wild plants. It is how we experience the dynamic mo-

Ikebana arrangements are very similar to the way of architecture designing. To explore the design methodology between Ikebana and architecture. How to apply the design philosophy in Ikebana relate to architecture? What is the relationship between spatial arrangements between these two professionals? Using this research and the philosophy I have learned project by designing a wine tasting room project in Portugal. To translate the experience of Ikebana into the winery, by using local building materials, considering the context, engaging with landscape and framing views. Through the itinerary, it provides people the experience about producing of growing grapes, harvesting, brewing, aging, and tasting.

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CHAPTER 1 | INTRODUCTION

IKEBANA

History of Ikebana

Origin

lated to Zen Philosophy and is widely related to other Japanese culture, for example, tea ceremony and traditional building design. Ikebana is a search for a balance between opposites. exploration of the frictions between the visible and the invisible, life and death, permanence and ephemerality, luxury and simplicity.

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The practice began with the arrival of Buddhism in Jaoriginated from Rokkakudo Temple. In the 15th century, it became the first school, Ikenobo, in Kyoto, which is still in operation today. Over 550 years, other schools emerged, each with their own masters and aesthetics.

Ikebana went from a religious ritual to a pastime for everyone. The three main schools are Ikenobo, Ohara, Sogetsu. To me, it could compare to western painting, read as realism, impressionism, and fauvism. The way of construct the work is varied, however, Ikebana has been considered a way of harmonizing humanity and the natural world.

is about the love and need of the artist to create beautiful son who arranges them.� said by Sofu Teshigahara, the founder of sogetsu school. He also states, "There have been many forms of ikebana in the past and there will be many more in the future. The evolutionary process is inevitable as long as ikebana is linked closely to our daily lives".

Arrange plants cut and removed from nature so that they are filled with new beauty when placed in a new envi-

as well as the mark of our own spirit. Ikebana should also suggest the forces of nature with which plants live in harmony - branches bent by winter winds, even a leaf half-eaten by insects. Each of the imperfect parts shows the energy of nature and vividness. Considering not

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future. Past, present, future, in each moment plants, and humans, respond to an ever-changing environment.

ikebana expresses both the beauty of flowers and the beauty of longing in our own hearts. There are various styles of Ikebana nowadays. Each style states their own way that conveying their emotions or ideas through a different way of compositions, proportion, scale, using the materiality of plants, the difference of symbolization.

Moreover, some are simple some are more complex; some works are large scale which people could actually walk in, some works are very delicate which putting on the table.

Ikebana works present by Fengru Ding

offerings at the Buddhist altar of this temple lived near a pond (the Japanese word “ike”), in a small hut (called “bo”). For this reason people began to call the priests by the name “Ikenobo.” peared in historic records as “master of active in the late Muromachi period (mid16th century), established the philosophy of ikebana, completing a compilation of Ikenobo teachings called “Senno Kuden.”

Successive generations of Ikenobo headmasters have served as head priests of this temple and the site is known as the “birthplace of ikebana.”

CHAPTER 1 | INTRODUCTION : HISTORY

The Rokkakudo Temple have been founded and not used for decoration or for the appreciation of the beauty of the flowers themselves, cance. The most representative was called the sanzon style, which derives from the Buddhist triad image of a large central Buddha flanked by two smaller ones. The offering consisted of three stems in one container. They were gathered closely at the base, and rose from the water as one. The three stems became the basis of the styles called tatehana and rikka. A form created from three branches also set the pattern for floral forms of all ikebana schools.

Eventually, the three-branch, asymmetrical scalene triangle became the basic form underlying the styles of most schools both classical and modern.

Unshin Ohara (1861-1916), the founder of the Ohara School of Ikebana. Unshin develop a style of ikebana to express the beauty of natural scenery. Compared with the vertical or standing styles of ikebana of the past, he developed a new style– Moribana, which flowers are "piled up" searched for ways to arrange the colorful Western flowers that had just begun to be imported into Japan. The result of his efforts was Moribana, the first step in modern ikebana.

Fig. 1 Ikebana Historic development TIme line , organized by author.

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6 TH AD ASUKA (552-710) AND NARA PERIODS (710-794)

1462

1897

MUROMACHI PERIOD (1338-1573)

TRADITIONAL

1927 MEIJI PERIOD

MODERN Buddha Flower offering The foundation of Ikebana

IKENOBO School

Ohara School

Sogetsu School

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MICROCOSM

Condense Context

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Ikebana often uses to express the experience from nature and landscape. Ikebana tends to extract from the natural context and fold the landscape scenery into the arrangement. It indicated fore-

The world created the landscaping of mountains and rivers because of the yin and yang phenomenon, and it was inserted into

nature and its display.

earth or the sea. The beauty of the natural landscape is the goal to iature the natural landscape, and its role is to enlarge the human heart and obtain freedom through the process of gazing.

valley behind the mountain (bi), and the town (shi), and the whole structure was divided into yin (“shade”) and yang (“sun”). For example, pine branches symbolize endurance and eternity, and yellow chrysanthemums symbolize life. Trees can symbolize mountains, while grasses and flowers can suggest water. It uses this principle to idealize the beauty of natural landscapes like mountains, and hopes for a peaceful and stable life. (Fig.1)

Fig. 1 Microcosm of Ikebana. Ikebana work tends to bring nature landscape into the way of composision. Images from "Intruction of Ikenobo" 1986.

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Permanence and Eephemerality / Visual Framing, Borrowed Scenery

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In Ikebana practice, it would use the different phases of flowers to perform different time

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

blooming represent present tense, buds implies future. By watching the natural change viewers could tell the time is passing, leaves turn its color from green to yellow, withered, faded. “ Ikebana is a living sculpture,” said the moment you would feel like they are still and life-long, however, they are living flowers. They are dynamic, changing, blooming, and decaying from second to second. So as architecture, is not saying architecture would physically move, but people live in it, use it; light moves in through; even the material is weathering or attaching by wild plants. You could still tell and feel the dynamic moment

The light could be seen as a dynamic element as a time measurement in an architecture.

In a traditional Japanese house, you would notice that they usually have the indirect and consistent light condition, to pursue the feel of timeless and consistent phenomenal, but focusing on the exterior movement that nature

provides, for example, from seasonal changes, the color from foliage to tell the dynamic moment. Compare to Western architecture, for instance, Pantheon, in Rome. A strong light source enters into space. The occupant could easily feel time through the mark of light and shades in the space. (Fig. 4) The idea of “Borrowed scenery “ from Japanese and Chinese gardening techniques that incorporates a nearby hill, mountain, and other surrounding scenery would offer as a “background“ in order to pursue a broad less phenomenon from interior to the garden then further to the natural world. It also uses the idea of a view from a window with the intenWith the concept of “borrowed scenery“ or “View framing,” it does not just draw the eye of the viewer from the front view out into a seemingly endless world, it also eliminates the border of architecture and the environment.

The idea also has a close relation to the Ikebana and the space for placing flower work ”Tokonoma”.

Fig. 2 Borrowed scenery at Shinnyo-ji, © The Nippon Foundation Fig. 3 The gallery of Horyuji Treasures, Tokyo. Photo by author

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Fig. 1 Tokonoma in traditional japanese house, Kyoto. Photo by author 11

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床の間

Fig. 4 Light marks time passing in architecture, Pantheon, Rome. Photo by author

holds sway.” said Junichiro Tanizaki, In Praise of Shadows

The word 'toko' literally means "floor" or "bed"; 'ma' means "space" or "room".

Originally, it was developed for putting

It looks like a large frame. In order to make it impressive for the guests to send

a candle stand, an incense burner for Buddhism thought. The items usually displayed in a tokonoma are calligraphic or pictorial scrolls and an arrangement of

designed to let the light in from the Shoin, the light through the Shoji (a sliding translucent screen) has the effect of indirect and soft lighting.

tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. The beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls so that the light is drawn into its forms dim shadows within emptiness.

There is nothing more. And yet, when we gaze into the darkness that gathers

The tokonoma and its contents are essential elements of traditional Japanese interior decoration. A small wall at the top makes a shadow and gives it the depth. It allows the scroll to look threedimensional. It shows the essence of the beauty of asymmetrical balance just as well with the Japanese gardens.

vase, beneath the shelves, though we know perfectly well it is a mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility

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SPACE IN-BETWEEN

Spatial quality through Ikebana

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has its personality even from the same species.

Ikebana works are composed of many pieces and elements. One principle of practicing Ikebana is to recognize and observe the individual, then place in place after sophisticated consideration. Based on this idea, it is important that understanding and read different textures from individuals. By glazing each nature component, observe its characteristics, its texture. Taking care from the stem, each leaf, to every petal. How the stem bend, how the leaves grown, how the flower blooms. Vision, smell, and tactile sensations. Understanding the characteristic: large or small, smooth or rough, dense or loose, solposites by many small fragments. This collection of studies focused on the micro connections and composition in one single flower. Each vegetation has different colors and textures. The study remains architectural material and the details of one building element, for instance, the composition inside a wall and structure frames.

“Ikebana is not just about sticking a flower into a vase: it is about to create beautiful and harmonious person who arranges them.� said by Sofu Teshigahara, founder of sogetsu school. The importance of composition, seeking a balance between floral components. Taking control of the space in-between. The collection of sketching by focusing on the void and small space among edges of leaves, flowers, stems, and branches. Understanding the subtle relations between each element, study the air and depth in-between.

Fig. 1 Ikebana ritual process, Image capture from Film <Born To Be A Flower>

Ikebana works usually are placed in Tokonoma, display with a hanging scroll of painting or calligraphy. Even if it is not placed in the alcove, normally would take the surroundings as a consideration, attempt to make the Ikebana work only fit in this a space like Tokonoma, however, practiced some in little moments in the apartment. The size and the the space and context where they would be placed.

The proportion of the composition and the way of combination made the invisible connection to the surrounding objects, for instance, the clock on the wall, the kettle on the counter, or the tiles on the wall gives the dimension and measurement.

Ikebana component diagram. Drawing by author.

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Understand Individuals

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Individual components study. Photo by author

Composition

Looking into single plant to study the micro space in between each petal and seeds, as well as the proportion and the composition of natural rules.

Individual components study sketch. Drawings by author

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Rough bark texture compare with smooth linear leaf texture. Material casting study by author.

Capture the subtle and detail Casting method by press plants making an impression in sculpture clay (non-dry), remove plants carefully then pour the casting plaster on the mold. By this study to understand and capture the unique detail, subtle texture, and pattern of each nature component. They show the contrast of texture as well as the volume; Smooth and rough, furry and stiff, airy, or solid.

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Compromise with Others

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Zoom into the smaller scale, focusing the detail of the texture and the space between each bud, leaf, and petal.Every knots on the stem, branches, showing the rythem. Also, the connection among points to the leaf.

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Study of edges and space

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Fig. Sketch of space. Produced by author

Fig. Sketch of space. Produced by author

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Fig. Sketch of space. Produced by author

Fig. Sketch of space. Produced by author

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Response to Context

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Ikebana works. practice by author

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Sketch study of the context. Drawings by author

In these series of sketches, studying the relationship between the flower arrangement its own, the proportion, rhythm, and the orientation. Also, studying the larger scale, how they react, and fit in the surrounding, interior environment. For instance, space shapes among the tea kettle, fridge, clock, table, and the vessel.

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(above, bottom) Ikebana works. practice by author

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

Study the Blank space

In the book “White”, the author states “white “is not just indicate the visual color, but rather a concept called “white”. It is more than what we see as a color but the emptiness space remains. This concept is tied closely to the Japanese aesthetic, especially in Ikebana practice. Moreover, Japanese culture has been centuries. There are many similarities. The Chinese character for “space” is “ 空 間 “, which could be understood as two separate terms in English: “Emptiness “and “Space in-between“. ”Leaving space deliberately empty can suggest the possibility that something Hara. In the Ikebana works, you could often see a long and delicate branch or leaf reach out, break out the boundary and limitation of the work itself. The concept of this intension is to draw the line between viewer to the larger field it indicates. The branch or leaf seems as it fades away into space they approach the idea of vague edges and merge into the context and opens up possibilities into the work.

The idea of “emptiness” or the “blank space” not just applies in Ikebana, but it ties to other Japanese art form or architecture design. Especially, in the drawing of “Pine trees“ by Hasegawa Tohaku, for instance.

There are only a few touches presenting the “pine trees” figure, but a great portion of the drawing has remained in “blank” or “white”. It seems like it is incomplete. However, the white space it left makes the work seems like broad-less, without an edge. There are only a few pine trees on the drawing but views could feel that this pine tree “forest“ continues miles away. This is the power of “emptiness“. Through this practice, exploring the idea that Ikebana brings but thinking if it could apply to the architectural development process.

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

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Ikebana works. practice by author

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AMBIGUOUS

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Fig.1 Space in-between. Natura morta. Drawings by Giorgio Morandi

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Is the edge or is the Space?

Re-Imagination

Refer to drawing by Giorgio Morandi, who was an artist focusing on painting household still objects. In a series of his works, instead of capture the item itself, he focused on edges and shadows among objects. (Fig.1) By this technique, exploring the between-ness itself, and asking what constitutes a border or edge, is the physical edge of the object or the opposite, shade holds the edge. Focusing on the relations between objects and space, between solid form and air between the edge of one thing anther. It still can be recognized by reading the shape of the shadow that showing the contour of the item, is a vessel or pot or bottle. With the same concept that showing in the architectural representation. (Fig.2) Instead of highlight position and depth but displays the spatial quality and atmosphere.

Without the outlines, the relationship between object and context becomes vague. The component merges into the background. It remains a continuous connection. Refer to the Pine trees drawing

the edge of Ikebana works, seeking void, space in between. The contrast of ink wash emphasizes the relationship between foreground and background, shows the hierarchy and depth. Without the strong contour lines, it opens up the boundary. It does not give the feeling of incompleteness, on the other hand, it shows a fragment of a larger space, expands the image itself.

to tell Where does one thing begin and another end. Space in-between remains in the drawing, intriguing viewers and allows us to es behind the fog or what else? The power of the vague edge and This series of ink drawings and the collages are the experiments ly thinking about building elements and arrange them as objects that hold spaces. What if think inversely which design and arrange “shapes of the void” or “space” then decide where the building elements should be? The set of collages practices might not directly relate to the principle of Ikebana. However, through this practice to enhance the ability to read and form the space differently and allow the explore more possibilities, that focusing on the phenomenon and visual connection or guiding he/she might perceive? Questing more the condition and quality of “space” or “void“

Fig.2 House at Tezukayarna, drawing of entry sequence. Acessed from "Tadao Andô: Heir to a Tradition" by Kiyoshi Takeyama

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Void and ambiguous edge study. Ink drawings by author.

Void and ambiguous edge study. Ink drawings by author.

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Void and ambiguous edge study. Ink drawings by author.

Void and ambiguous edge study. Ink drawings by author.

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Fig. 3 Pine trees by Hasegawa Tohaku, by Tokyo national museum

Fig. 4 Pine trees by Hasegawa Tohaku, Azuchi-Momoyama period, 16th century

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(Left above) One Flower a Day project, by Toshiro Kawase.

(Left below) Ink drawings drew by author.

(Middle-Right )Proportion and rhythm

The decision of using ink painting as the representative, to me, is the proper way to show the vagueness of the edge. Since culturally, East Asian writing on aesthetics is generally consistent in stating that the goal of ink and wash painting is not simply to reproduce the appearance of the subject but to capture its spirit. To paint a flower, there is no need to perfectly match its petals and colors, but it is essential to convey its liveliness and fragrance.

In this, it has been compared to the later Western movement of Impressionism. It is also particularly

associated with the Zen sect of Buddhism, which emphasizes â&#x20AC;&#x153;simplicity, self-expression, and harmony with nature. The washed ink blended into the ends. It also shows both of the soft edge and hard solid edge at the same time. Studying and anawork as well as my works. Observing the negative space, texture, proportion, and hierarchy. Drawing

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(Left above) Ikebana work by author Ink drawings by author.

(Right) The Region and density.Drawing by author.

In this drawing, different from the previous one, using an abstract way to capture the texture and the density of the work. Invert the ink drawing to no longer just an Ikebana work. Could read more than just the flowers, may read as on a larger scale: a city map or a layout of landscape work.

Based on the ambiguity of the drawing, starting redefining the space by using the construction lines, marks, and tones, exploring new possibilities.

Zoom-in into little ink dots and lines as walls, like space. The curve dashed lines and marks implicates the itinerary path. By analyzing the ink drawing, it gives me a different point of views enlarge the possibility and broaden the potential.

Exploring the Depth, Hierarchy and Region. Drawing by author.

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Continuously the previous Zen aesthetic, ikebana often uses a single component to expand its territory as well as gives

(Left above) One Flower a Day project, by Toshiro Kawase.

(Left below) Ink drawings by author.

(Middle-Right) The Region and density.Drawing by author.

work, the density of leaves gives different weight balance the imbalance composition. For ink drawing, using the contrast of shadow to represent the difference of weight, also the dark strip at the bottom of the vessel implicates as an anchor of the main axis. Using the same way, invert the drawing to explore a different perspective.

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(Above) Ikebana work by author Ink drawings by author.

(Left) The RFragile and decay .Drawing by author.

blossom. The curve creates demonstrate a tense and dynamic moment but the status was balanced by the dense foliages and the container that holds it with gravity. In the collage, visualized the invisible movement of the ikebana work. The direction of elements indicates a larger region different tones. Besides, it seems like there is much invisible wire that pulls and holds between every component. The heavy line indicates the gravity of the holder, dragging and anchoring down to the bottom.

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ARCHITECTURAL AMBIGUITY

Ambiguity is a natural part of traditional Japanese architecture.

Helped by a moderate climate and a relatively safe living environment, average Japanese houses traditionally do not have clear, divisive boundaries that separate one individual property from another, nor inside from outside. Rooms were typically partitioned by the the Shoji, partitions are the Engawa, a wooden, narrow corridor. workspace or as a relax/play area where people could do various things while enjoying the nice weather. The corridor is a transition space between exterior and interior. You could keep the house â&#x20AC;&#x153;openâ&#x20AC;? towards the outside during the daytime, letting the sun and wind go through. Engawa usually faces a small courtyard, which would be a nice Japanese garden (often with a pond), or a vegetable garden, or an open space for activities. It would be shielded by

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Fig 1. Shunmyo Masun. Invisible design: and Zen view of the heart, blank, symbiotic dialogue with contemporary garden design master 65. p.35

space that connects the inside and outside of the house. (Fig.1-2)

SPATIAL EXPERIENCE ACROSS IKEBANA AND ARCHITECTURE

This vagueness pursues not just exists in the traditional architecture design, but inherit it into modern architecture design. The concept of the ambiguous edge between buildings and the natural environment are presented in different forms more than just keep the form or function of Engawa. From studying some cases of modern architecture, discovering the various ways to eliminate the boundary. pond introduces the visual connection of the environment, visually blending architecture and context as one. The architects of these ence through the architecture design. By analyzing the building, drawings illustrate my interpret and imagine for that space condition, itinerary, and atmosphere that the architect wants to achieve.

Fig2. Engawa. Photo by Matthieu Zellweger.

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Projection of context. Photo by Matthieu Zellweger.

Fig. Fleeting moments when one opens sliding paper doors. Photo by Matthieu Zellweger.

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Edge bounding and elimination

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The Water Temple, Tadao Ando,.1991. Photo by CAAI_Image. (https://caaiimage.zcool.com.cn)

Itinerary from nature to architecture and back to nature. Drawing by author,2019

Section and plan, Tadao Ando,.1991

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Shunmyo Masun. Invisible design: and Zen view of the heart, blank, symbiotic dialogue with contemporary garden design master 65. p.35

Shizuku by chef Naoko, Japanese Restaurant, by Kengo Kuma.

Photo by Jeremy Bittermann

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Junya ishigami: KAIT kanagawa institute of technology. Photo by Iwan Baan

Floor plan of KAIT kanagawa institute of technology, by Junya ishigami

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Reconstruction of spatial understanding. Drawing by author

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Itinerary / aperture / Visual connection

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Tumba Brion, Carlo Scarpa. Photo by author.,2019

Above- Tumba Brion sketch, Drawings by Carlo Scarpa 1977.

Below- Tumba Brion, Carlo Scarpa. Photos by author. 2019

CHAPTER 3 | TRANSFORMATION

TRANSFORMATION: Application to Architectural design

Through this research, keep exploring the aesthetics and seeking the space quality from practice Ikebana. In architecture design, shaping and creating the space and volume with aesthetic, rhythm, balance, environmental conditions. We care about materiality, texture, light quality, atmosphere, as well as exploring spatial experience and memory.

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Architects often use different aesthetics or art forms as drivers or conceptual bases, for example, music composition, abstract paintings, drawings, sculptures or fashion pieces... etc. as inspirations for the designing process. From a different perspective thinking about space in architectural practice. Translating the idea from Ikebana: 1. As a microcosm workpiece from nature; 2. Appreciation of the beauty of ambiguous and emptiness; 3. Appreciation of the balance and space between fragments. 4. Appreciation of ritual and experience. Using these pivots as a design method and thinking, applying on architecture design. The relationship between Ikebana and Tokonoma (alcove), could be seen as the relationship between architecture and environmental context. As my previous research and study about how ikebana works interact with different space (context) with relative hanging drawings, as well as accord to seasons.

With the same idea, architecture design should take the site context as an essential consideration. Forming the spatial quality according to different landforms, surroundings, and memory.

In the translation phase, to question if this eastern aesthetic design (Ikebana) philosophy could apply widely, not just limited in designing an architecture which locates in the Asian region but could apply widely in the western region, as well as integrate culturally. Moreover, this research project also shows my personal experience, that has immersed by eastern and western culture. The Ikebana works appreciate simplicity and microcosm. Ikebana could be seen as a living art form of living sculpture, it changes from time to time. With the same idea, I found “wine tasting/ winery” has lots of similarities with Ikebana.”Wine is the only artwork you can drink” said Luis Fernando Olaverri. There are profound philosophy and aesthetics behind making wine and the ritual of wine tasting.

(Fig.2)

Fig. 1 The relationship between tokonoma and Ikebana, compare to architecture and site condition Photo by author.

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“A bottle of wine contains more philosophy than all

The winery is an art and a ritual. Through a look at the color, smell, and taste, people could tell what kind of grape it is, the region, the climate, the produced nature and the condition of their origin, express their stories about how they grew and how they were being made. The three key factors that shape a bottle of wine: climate (sky), earth, and human (winery: the way of transforming from grape to wine ). Saying a say a bottle of wine contains the whole universe as well.

Like other artworks, as every viewer have different personal experience, they would have different perspectives and points, their imagination and understanding of the work could be varied. With the same idea, After wine tasting, even with the same bottle of wine but everyone would perceive differently.

Fig. 2 The two rituals relationship between Ikebana and wine tasting.

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From the vineyard, growing through seasonal changes, through time to time, with landlords caring.

Immerse in rain, mist and sunshine, wind. Irrigate, prune, fructify. Absorbing all nutrients from nature, from the earth, then finally get mature and can be harvested. Pick up from the vineyard, workers travel back and forth along with the pattern of the landscape. The element from nature has been gone through all the process of winemaking, crushing, and Taking away from openness and lightness of the vineyard, it is preserved and is aging in darkness and enclosed circumstance. The series of the transformation from grapes into the liquid then turns into a glass of wine then being served to people, celebrating the beauty of nature. Tasting and enjoy the story is to discover the itinerary of wine-making and conveys the idea of extracting from nature into a bottle of 66

Continue and translate this idea by using architectural languages. From the experience of ritual into the spatial itinerary.

Continued the research study of the principles of Ikeing the balance among material-wise, spatial quality, and spatial experience. To achieve the harmony between occupied and unoccupied space, gravity the balance condition with architectural language.

Collect the idea from this environment In the winter, the barren vine stems and supporting poles are the only elements scattered display on the vineyard, like a building without skin and facade, only has structure frames left. On the contrary, lush and green vines build up thick leafy green walls in the summer. Vines seem like embedded into landscape and merged with the mountain behind. Texture, form, and the colors of nature change through time, from season to season. Besides vineyards, the material from traditional buildings, stone, and timber structure with red-brown clay roofing; the material from soil, clay, and limestone. By analyzing the characters from surroundings, simplify them, and wrap them into a color palette as the material palette for architecture. As Ikebana, extract from nature scenery and fold them

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but convey the experience from being in that certain moment in that environment.

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Lisbon area in Portugal. Vineyard rests on clay-limeproviding fresh, elegant, and balance the taste. The family vineyard has to provide the wine tasting tour through the whole year-round. The winery complex contains a vineyard, winery, barrel room, dining area, chapel, and a courtyard and conference room for events. Visiting tour follows the itinerary of the process of wine-making, allow guests to understand their wine-making philosophy and the history and story behind the brand and family. The site for a new wine tasting room adjacent to winery on the hill overlooks the vineyard. Following the different viewing directions, The unique linear pattern vineyard provides different visual effects, perpendicular, and parallel.

The mapping study emphases the views and itinerary of the winery, as well as gives the measurement of the environment and landscape.

Fig.3 Itinerary of Wine making, Drawing by author.

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Views of site. Photos by

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Fig. 4 Site Mapping, Drawing by author.

Site Plan. Drawing by author.

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THE CONTRAST : LIGHT / MASSIVE

Winter view. Photo by Quinta do Monte d’Oiro

Summer view. Photo by Quinta do Monte d’Oiro

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Fig.5 Winter view sketch. Drawing by author

Fig.6 Summer view. Drawing by author

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From Extraction to Folding

EXTRACTION: COLOR PALETTE FROM CONTEXT

FOLDING: MATERIAL PROPOSAL

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Fig.7 Color palette from the context. Drawing by author.

Fig.8 Material proposal. Drawing by author.

understanding from context, creating the new expression on the building site. With different thickness and depth of linear and blocks, this drawing suggests and define the space, as well as reflect the context around. For instance, it takes consideration of views.

The axis follows the pattern from the vineyard. Instead is exterior or interior, it gives an open-ended and incomplete layout. It gives the vagueness of the edges and the spatial qualities, also opens up different possibilities. (Fig.9) Whether Ikebana or Architecture designing are ways to express and convey the emotion, shape the atmosphere through experience. They compromise among the sky, earth, and human. The way of this project construction is to provide the connection and conversation between the memory of landscape and occupants. Extracting from the landscape and folding the nature into the architecture, understand and balance the visible and invisible spatial quality, reaction between body and void, the connection between visual and physical body perception. The elements are pivots that shaping the site phenomena.

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The proposal of the building materials is similar to choose which kind of plants and what atmosphere wants to achieve to compose an ikebana work. Natural elements have their material properties, charac-

Fig.10 Conceptual section drawing. Drawing by author

provides overlook viewing experience as well. (Fig.10) From two-dimension studies develop into three-dimension collages, attempted to fold the local context into building design and unfold those experiences to architectural language. Constructing the elements and atmosphere by waving layers, visual experi-

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Through the process of seeking the empty space and ambiguous edges from the earlier study. This project follows up the same technique of ink drawing as the

teristics, and texture that give different colors, forms, density, and weight. The proposal of the building material suggesting the massive limestone that anchor

wine-making. Folding the context into space, based on the itinerary of making wine, transforming into a spatial experience. As well as thinking the way of arranging ikebana, seeking the dynamic and asymmetrical balance of different scale fragments and voids. Attempt to create the ambiguous relationship between exterior and interior space developed the idea to shape space that it is hard to recognize is open and semi-open space conditions. Waving the natural elements into building arrangement, several courtyards, little moments with vegetation, and water feature. Contrasting still relative permanent architecture elements and dynamic elements such as vegetation, water, and light. Through those subtle change s and movements, occupants could be aware of the dynamic of time and space. (Fig.10-13)

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Composition

Fig.10 (Above) Conceptual section drawing. Drawing by author.

Fig.11 (Right) Three dimension composition from Fig.10. Drawing by author.

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Fig.13 (Right) Three dimension composition from Fig.12. Drawing by author.

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This project adjacent to the first phase of the wine-making area. Manufacture and hospitality would happen at the same time. Functionally, separate these two areas, the left-hand portion which closes to the vineyard is served for the hospitality, the right-hand portion which near to factory is served for serving function as an extension for storage and demonstrating.

Walking down the slope along the limestone wall,

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The movement and the sound of water guild guests into vine alleys, into the landscape. Suddenly, turns the corner into an enclosed dim space surrounded by massive stonewalls, only little light travels in through the slot. Sound continues, might be louder, bouncing around in the space. The water feature scattered reflects some lush from foliage. Some shimmery moments from the reflection projects on the ceiling. It gives a little touch in this dark moment. This moment represents the moment that wine aging in barrels.

Continuously, the openness of the courtyard, water reflects the context, vegetation, and sky, water channel pour down the water, implicating a bottle of wine pour down into a glass, welcoming guests to enjoy. The atmosphere continues. Going up steps, the openness of view from the vineyard embraces viewers, enjoying the taste of wine, immersing in nature.

Fig.14 (Above) First Floor Plan. Drawing by author.

Fig.15 (Bottom) Second Floor Plan. Drawing by author.

Instead of focusing on the appearance of the building itself, an architect always pays attention and intent. However, sometimes designers fall into a design loop and forget about the dialogue and interaction between architecture and the environment. Also, it occurs in the lack of consideration of occupant experience. Utilizing the idea of “Borrowed scenery “ from East Asian old gardening technique which incorporates a nearby hill, mountain, and other surrounding scenery would offer as a “background“or using windows with the intension that framing a specific view as a painting. With “borrowed scenery“ or “View framing” it does not just draw the eye of the viewer from the front view out into a seemingly endless world, it also eliminates the border of architecture and the environment. The series of view drawings studies were following the concept and attempted to pay more attention and focusing on the views and space “in-between“ the architecture components.

Therefore, instead of highlight, the architecture left itself “blank“ focusing on what views are framed while occupants approach, through aperture and water reflection. Exploring the background and foreground relation. Discovering the possibilities of the spatial phenomenon. (Fig.16-17)

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View Framing

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Fig.16 Approach. Viewing experience study, Drawing by author.

Fig.17 Walking into vineyard. Viewing experience study. Drawing by author.

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2nd Floor - entering wine tasting room.

Fig.18 Collection of viewing experience study, Drawing by author.

2nd Floor - intimate corner to the courtyard

2nd Floor - leaving to next visitng.

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Building section drawing, showing the relationship between different scale space. Drawing by author.

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Building section drawing, showing the idea of folding the context and unfold it in the building . Drawing by author.

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View of courtyard that indicates the phase of wine aging.

Drawing by author.

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View of courtyard bringing guests to winery experience. Drawing by author.

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View of integrating the connection between interior and exterior . Drawing by author.

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View of wine tasting room, showing the visual connection to vineyard. Drawing by author.

CHAPTER | CONCLUSION

CONCLUSION

Architecture, for me, is not just focusing on creating some interesting space inside the building itself. It is not saying the interior experience or façade appearance we create are not important, but it should be considered more than just a building. Sometimes, architecture designers might too concentrate on fancy shapes and the details. Architecture is not merely a huge sculpture standing

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Instead, architecture should be a way of bridging context, nature, atmosphere, perceptions, and occupant experience. Fortuitously, I found out there are a lot of similarities between Ikebana and Architecture design, also convey an almost identical concept I want to pursue. Throughout this research project, I attempted to apply the philosophy idea from Japanese traditional floral arrangement into the architectural design process and thinking.

As Ikebana, with several sequences and rules based on the Buddhism “Zen” philosophy. A ritual of focusing on aesthetic achievement as well as personal mental development. It aims not just on the creation of beautiful arrangements, but the experience and itinerary are as important as the result. This idea of spiritual enlightenment through concentration and practice is central to the Zen Buddhist philosophy. For many of its practitioners, Ikebana is a lifelong lesson, a way to achieve a little inner stillness in which to work towards a richer spiritual understanding of the world through meditation techniques. However, nowadays, Ikebana gradually becomes the emotional connection between artist and viewer and the connection between viewer and nature.

It no debts that the sensitivity to the environment is one of the important parts in architectural training, so does the Ikebana practice. From dealing with the relationship between nature and life to healing minds. They get along harmoniously through the creativity and aesthetics of two design profession. The minimal and simplicity with

sophisticated consideration that Ikebana practice wants to achieve. Moreover, it is a search for a balance between opposites. An exploration of the frictions between the visible and the invisible, life and death, permanence and ephemerality, luxury and simplicity. into architectural expression, as a way for inspiring or design-driven in architectural concept. A search for a way of conveying/receiving emotion, connection to context, and spatial experience of Ikebana and Architecture.

Again, there are many similarities between Ikebana arrangements and architecture design development. In this project, constantly exploring and bridging these two professions, seeking a design methodology from Ikebana and apply on architecture. Eventually applying the concept into an architecture project. Although, the principles of Ikebana contain a lot of Asian culture and mindset. However, the way of chasing a relationship between space and void, a balance between occupied and unoccupied, and a conversation from the inner part to context. It should not be limited by the cultural background but apply the same aesthetic concept widely. As an experiment, applying those ideas on a winery design project in Portugal. From conceptual development, the collages and sketching techniques, which followed the research method that translate the experience of Ikebana into the architecture design process.

It also drew the connection between the ritual of Ikebana and wine tasting. In this project, using local building materials, considering the context, engaging with landscape, integrating different scales, and framing views. Through space, it provides occupant experience and telling a story about wine making.

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CHAPTER | BIBLIOGRAPHY

BIBLIOGRAPHY

Baldinotti, Andrea. Giorgio Morandi: Lines of Poetry. Silvana Editorale,2013.

Bachelard, Gaston.The Poetics of Space. Beacon press. Boston,1994 Carr, Rachel E. Japanese Floral Art: Ikebana; Symbolism, Cult, And Practice. Princeton, N. J.: Van Nostrand, 1961.

Hara,Kenya, Designing design. Lars Muller,2018.

Hara,Kenya, White. Lars Muller,2009.

New York, N.Y, 1957 The Book of Tea Koren, Leonard. Wabi-Sabi for Artists, Designers, Poets & Philosophers. Stone Bridge Press, 1994 Kurokawa, Masayuki. Eight Manifestations of the Japanese Aesthetic. Lionart Books, 2010.

Lomas, T. Journal of Wellbeing, 6(2), 14-29.

International

Lai, Rui-Ya. Gazing at the Life of a Flower- A Study on the Thoughts of Beauty in Ikenobo Ikebana. Nanhua University, 2013.

Masuno, Shunmyo. Inside Japanese Gardens: From Basics To Planning, Management And Improvement. Commemorative Foundation for the International Garden and Greenery Exposition, 2003 Moriyama, Marie and Megumi Moriyama. A Comparison between Asymmetric Japanese Ikebana and Symmetric Western Flower Arrangement. Graduate School of Keio University, 2000.

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Shimbo, Shoso. The Spiritual Power of Flowers- Ikebana and Shinto. Dare to Dream, Issue 5, pp.26-29. 2008 Shinohara,Tetsuo. Ennosuke Ichikawa and Koichi Sato. Flower and Sword (Hana Ikusa). Toei Company, Ltd.Japan, 2017. DVD Shunmyo, Masun. Invisible design: and Zen view of the heart, blank, symbiotic dialogue with contemporary garden design master 65. LianV, 2011.

Shimbo, Shoso. Ikebana in the Expanded Field (1): Hiroshi Teshigahara and Contemporary Art. International Journal of Ikebana Studies, Vol.1, pp.31-52. 2013.

Sotirova-Kohli, Milena. Archetypal Creativity And Healing: An Empirical Study Of Floral Design (Ikebana).

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Takahashi Yuki,

Seibundo Shinkosha, 2013.

Takeyama, Kiyoshi. Tadao AndĂ´: Heir to a Tradition. Perspecta, Vol. 20, pp. 163-180.1983.

Tanizaki, Junichiro. In Praise of Shadows Teshigahara, Hiroshi. Ikebana. Seinen Productions. Japan, 1957, Video.

ACKNOWLEDGEMENTS

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Thank you both Professor Walter and Professor Lee-Su for all the advice, guidance, and supports through this project. I remember I had been struggling and lost on every step for this research project. However, you all were very patient and encouraged and believed me I could make this project possible.

Also, I would like to thank you, Professor Gundersen, for I appreciate every crucial question you asked through the virtual meetings that pushed me to think differently.

Finally, I am deeply grateful to my parents for all their trust, love, and support while I am being alone in a for-

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make my dream comes true.

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LI-TZU CHEN

UNIVERSITY OF FLORIDA SPRING 2020