intro.
living with new territory and boundary What is the meaning of living? The question may be simple, yet how about the answer? As time flies and humanity grows in generations, places, and time, humans tend to define living as something different each time. As for my generation, Generation Z, defining what one calls a home or living space may create interesting stories to tell. How we create an ideal living space through design for Gen Z could be responded by a new concept of territory and boundary. This means that one should create a new perspective of territory and boundary to give living space a new meaning. This issue is raised to find out how living space connects to this era that one could create speculations of how living space should be and how it could respond to this era. These are the backgrounds of Design Architecture 1 studio, it is to explore Gen Z living space through territory and boundary. Calling it a new system or way to see territory and boundary matters means creating possibilities of living spaces. Realize it or not, sometimes we only define territory as a literal word that when we go across the countries, we know we are off from the used-to-be our territory. We are going out through the boundary and landing in a new territory. Maybe this topic is as simple as it, or maybe not. Living space as the final output of these studies begins from a basic scratch of speculation. I would personllay calls this project as puzzle pieces, where each pieces give a better view of the whole image at the end of the game. First piece is the research of a non-architectural form of territory and boundary. Second piece is translating it to an architectural form. Third is experimentations for final living space. The last, but not least, Gen Z living space. I personally choose consciousness as a starter of this project.
Consciousness is the strength of humanity. It could not be seen nor touched. It is abstract but able to influence and regulate physical things such as movements, ways of perceiving, and so on. Consciousness is defined as the perception of something by a person. Every human being has a different way of understandings and capturing experiences that makes consciousness very unique. In this case, to understand the bigger picture and the completeness of consciousness, one needs to define it as pieces of puzzle and put it all together. The first piece of puzzle is observing the “non-form” that I chose to observe from the movie “US”. As for this basic element, we might want to see the vivid contrast territory of consciousness that occurs between humans in the Upper World and Under World. The contrast makes it easier to understand consciousness stages of humanity. Moving on to the second piece, “form”. The precedent study of Sarugaku by Akihisa Hirata allows me to see how architecture anticipates and interprets the territory of consciousness as a concrete essence and a level up from the first piece. As the pieces of puzzle being put together one by one, we can start to look at how the consciousness made its territory exists within humanity as a whole. This understanding of territory becomes a fundamental background of living space as the consciousness actually affecting human’s behaviour and activities. Then again, carrying its abstract form while embracing the interpretation into a concrete form, consciousness again is translated to find a good reasoning and solution to living space issue of Generation Z. This portfolio is a process of how human’s consciousness territory is created from the raw image of it to a concrete form of architecture. Drawings and diagrams are solely intended to dissect each chapter and help explaining about my perspective of consciousness theory and architecture spaces.
the consciousness of contrast intro 3 US 4 analysis 8 conclusion
12
references
14
chapter 2
chapter 1
table of content
the consciousness between us intro 19 sarugaku 20 analysis 24 conclusion
30
references
32
intro 37 methods 38 experiments 42 final prototype 46 conclusion 48
chapter 4
chapter 3
the concrete abstract
contrast of color inside a living space intro 53 site 54 concept 58 drawings 64 final maquette
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the consciousness of contrast. territory & boundary
1
observation A Scene from US source: US Movie (2019) illustrator: cindy lovanka
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chapter 1
territory & boundary intro 3 us 4 analysis 8 conclusion 12 references 14
intro.
consciousness defining itself in contrast Contrast is essential. It is defined as the state of being strikingly different from something else in juxtaposition or close association. Without contrast, nothing can be defined, because it gives a meaning to two opposite matters. One could never define bad things if there were no good things at the beginning. The same goes with consciousness. The contrast between being conscious and unconscious in humanity is necessary as it is their natural being to be in stages of consious and unconscious. The conscious that is always there within humanity but seemed to be forgotten because it is no longer feel-able. People sometimes do not realize that he is in his own territory of consciousness until they are unconscious. The movie Us(2019) gives us a nearly vivid image of the contrast territory of consciousness. As at this point, consciousness exists to define itself in a contrast environment. The purpose of this observation is to create basic elements and ideas of territory and boundary, specifically to the topic of consciousness without architectural approaching. Observations are done by doing analysis from the movie Us and how it shows the territory of consciousness. In this chapter, one shall understands the basic idea of consciousness territory and how it is created in the perspective of the movie.
3
US.
US Movie Poster
source : dailylobo.com
Released in June, 2019, a horror masterpiece of Jordan Peele has caught many attention of the audiences. He has brought a new kind of emotions into the theatre with his enganging movie. The movie started with Adelaide Wilson, accompanied by her husband, son and daughter, returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.
Peele brought up a contrast between humanity in the Upper World and Under World. He brought up the topic of duality and interprets it as doppleganger, that each of humans has their own clone. The interesting part is that we know that both world lived by the exact same people; real ones and their dopplegangers. It turns out that humans of both the world embrace the same appearence, movement, and way of percieving. The only difference is that the Under World’s did not have a soul and lacked of interactions. Other than that:
“Both is us.”
“They look exactly like us. They think like us. They know where we are.” -Adelaide Wilson
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the scissors - duality of humanity A single scissors is called a pair and so are the humans inside the movie. This duality is reflected through the Upper World and the Under World by showing contrast between humans behaviour and their dopplegangers. Choosing scissors is an “easter egg” in the movie that represents the main idea of the movie. The scissors is always two sided but they are united, just like “US”. That is the reason why we always call the thing as “a pair of scissors”. On the other hand, experts also define scissors as a symbol representing two things: a severing or separation of life and spiritual unity and physical closeness.
color of red - warning The opening sequence of Us uses red to symbolize a similar overlapping of realms and to underscore the emotional trauma Adelaide endures during each of those colorful encounters. However, the young girl’s final interactions with the color through the Hands Across America logo also provide an anchor that she’s able to retain from her old life and build upon to obtain her freedom, as demonstrated by the bright red jumpsuits worn during her rebellion with the Tethered.
US Movie Poster
source : dailylobo.com
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Scenes from US (2019) source: us movie (2019) illustrator: cindy lovanka
01:36:30
01:37:20
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01:38:33
01:38:41
01:53:24
7
contrast between environment and consciousness
analysis. why us? Showing contrast is one way to understand, that as long as we have the opposite features, we can define something. US shows a great example between the consciousness and the unconscious that happen in two contrast environment. This movie is chosen not only because of the contrasts, but also the interpretations inside the movie and how it triggers every one’s mind to a different understanding uniquely. Wether it is by logic or imagination, it still defines the same consciousness happens inside us, only in different perspectives. That is the consciousness of you and me.
upper world
under world serial vision a redraw: cindy lovanka
contrast of consciousness The Upper World people are conscious of what they percieved and how they interact with one another, while the Under World people do not seem to notice their own consciousness by ‘not interacting’ with their surroundings. As said in abstract, both world had the same human beings with their dopplegangers doing the same move, seeing the same people, and everything. The only difference is the way people interact. Under World people don’t interact. They copy Upper World people movements, but not their interactions. They are conscious that they are alive, but do not feel the connections. Territory here is created by the consciousness of the people within the interactions they are conscious of. No matter how far the interactions or the person is, Upper World people will always notice their own consciousness with their surroundings. Territories in Under World is limited. It shrinks to each of the owner of the body as they are only conscious of themselves to the point of not showing their consciousness to the surroundings. They are conscious of what they are doing but not who they are. People in the Upper World can always show their own consciousness. They are conscious of themselves, surroundings, feelings, and interactions. They show their consciousness by interacting to others, which the Under worlds lacked of.
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upper world
under world serial vision b redraw: cindy lovanka
upper world
under world serial vision c redraw: cindy lovanka
Upper World View Time: 01:47:50
Under World View Time: 01:36:30
contrast of colors A closer look to the movie, we can see that colors somewhat play important roles. As the Under World people do not have the same objects and furnitures as the Upper World and they also live a plain life, they only know the plain color of the place; White. While the Upper World enjoys colorful images that fill their life, the Under World’s only space is a long white hallway and the red flesh of rabbit for their food. The plain white and the colors both give meaning to the characters in the contrast environment. The colorful space defines how people interact with emotions, feelings, soul, and consciousness. On the contrary, the plain reflects the characters in the Under World that they feel nothing except that they are being forced to be conscious while they are not. This is the first contrast of color, that the playful colors of the Upper World never happened in the Under World.
Moments later, the dopplegangers raised to the Upper World using a bold color of red. The second contrast happening around the world as the anger of the dopplegangers raised and showing their rebellion to the Upper World. The Red contrasts with the playful colors of the Upper World. The red later on dominates the world as they unite into one long line up while holding hands altogether. This proves that at the beginning, the contrast happened between the colors and the white. At the end of the movie, the red dominates the colorful Upper World and dominates them with its single color. The territory and boundary begins to overlap, but instead of uniting, they are standing bold of each ones. Now that interprets how the dopplegangers consciousness is rising into a point that they will no longer forced being conscious, but instead a symbolism of freedom. Their territory of consciousness is growing larger as they rise.
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UPPER WORLD 01:37:20
Plan
UNDER WORLD 01:37:23
Plan
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territory of consciousness To get the idea, here’s a simple example: people in deep sleep is not conscious of themselves, and so interactions do not happen. That is why the territory becomes smaller as the state of consciousness lowers. Koentjaraningrat devide the consciousness stage of human into four parts : “Unconsciousness and sub-conscious are part of one’s soul, such as feelings and thoughts, that’s pushed inside into an individual causing one to become unaware of it. The third one, “unexpressed consciousness” happens when one is fully aware of their mind and ideas but did not state and kept away from the outside. Afraid if it would be laughed at, be angry at, or have not yet found a good word to speak it out. The fourth one, “expressed conscious” is when one stated his mind or ideas or emotions and that statement of his is accpeted by his surroundings, wether it is involved in culture, norm, law, or other values that is applied in the public.”
As in this movie, the process of dopplegangers rebel into the Upper World is showing these stages of consciousness. The way they are being in their unconsciousness stage is when they are forced to follow the Upper World conciousness using their unconsciousness state. They seemed to live, but they are not conscious of it. The second state (sub-conscious) starts to happen when they found out they are meaningless entity that lives under the preassure of the Upper World people. They can never be the same as the Upper World people, as even to sense and interact like real people. They don’t have the same things and objects to fulfill their needs as in the Upper World. They can only follow and they are doomed that way, living in plain emotionless society.
The third stage is unexpressed consciousness, when dopplegangers prepare to invade the Upper World. The urge of having something they do not have. The urge of getting the same freedom of consciousness as the Upper World. The urge to be set totally free to control over their body and mind using their own consciousness bang inside them. Consciousness territory seemed to get larger as their realization increased. Later on, we know that the dopplegangers started to rise one by one to murder the “real” people. This is the fourth form: expressed consciousness, where one finally ables to identify their consciousness and express it to the outside world. On the other side, the people in the Upper World live mostly of their life by the fourth stage. The only reason is they basically have everything in their world, including their consciousness and controls over it. The contrast environment creates a vivid scene of human consciousness stages, between Upper World and Under World. As if the two side of a coin, the unconsciousness is the reason consciousness could be defined and vice versa. They are different, but united. While we find out these differences, we might as well look at the diagrams showing how lacks and individualistic the state of unconsciousness of the Under World people. While the Upper World people seemed to enjoy their interactions with one another with full consciousness of theirs. The consciousness has the advantage to interact which does not happen within the unconsciousness. This proves that the state of consciousness affect humanity in certain ways, such as activities, emotions, interactions, understanding. All of this, then, defines the territory of contrast consciousness and unconsciousness, also its boundary of interactions.
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conclusion. consciousness territory Consciousness territory is defined by the interactions that happened between people and faded with less interactions. Consciousness stages affect people’s behaviour, emotions, interactions, and activities. Consciousness defines its territory as far as the distance of the interactions and the consciousness itself. Consciousness is also interpreted as colors in the movie, in which the colors define the consciousness territory and boundary. Consciousness territory exists. It can not be touch or seen, but can be interpreted. This observation helps to undertand the interpretation of territory of consciousness and its boundary.
HOT DOG
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premise what if we create a living space that human doesn’t realize its existence but affect human themselves?
claim Territory is created by consciousness with interactions as its boundary.
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references.
“Us.” Accessed 18 Oct 2019. IMDB, www.imdb.com/title/tt0067482/reviews?ref_=tt_ov_rt . Johnson, Andrea. (1 April 2019). “Us: Those Creepy Scissors Are More Than an Accessory — Here’s What They Symbolize”. Accessed 18 Oct 2019. PopSugar, https://www.popsugar.com/entertainment/What-Meaning-Scissors-Us-45961238. Koentjaraningrat. Pengantar Ilmu Antropologi. Jakarta, Indonesia: Rineka Cipta, 1990.
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an illustration of US artist: Ryan Shumate
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16
the consciousness between us. a precedent study
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precedent study Sarugaku, Japan scale 1:300 source: google maps redraw by: cindy lovanka
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chapter 2
architecture form intro 19 sarugaku 20 analysis 24 conclusion
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references
32
intro.
consciousness defining territory Akihisa creates a new perspective in his project, Sarugaku. The way he designed the openings, reaching almost all the way through the top side of buildings, lined up perfectly in order. What is striking about this project is the way the windows and doors are connected with one another through point of views. This perspective of architecture interests me because he was not just talking a bout blurring boundaries, but also in between space. It is possible to create many spaces through different perspective that could define the territory of consciousness. While the interactions become the boundary, consciousness is either spread out or sink in depending on the interactions. This connections in the project define the interactions. That is what we know, that the interactions happened. Then, what is it that we don’t know? The space in between, in which consciousness exists to define the space, the territory, and the boundary. Here, we should take a look on the third space by distance and levels. Not just phisically, but also the distance that is not visible by human eyes, one must be conscious of. These leveling also help creating an interaction, that is possible to be percieved phisically or just be conscious of. The “consciousness” one realize inside a shop in one of the buildings is the “consciousness” that happened in there. But when one looks through the openings, large windows and doors, it is-again-possible to create another interactions. This scene makes a new consciousness. And that consciousness creates new possibilities of territory and boundary. The purpose of this precedent study is to construct a different approach to territory and boundary, specifically to the topic of consciousness and how architecture talks about it. The approach is studied through the arrangement of openings, connections, and how it is defining the consciousness itself. Plan, sequence,and diagrams are solely intended to dissect the precedent and its uniqueness. This book shall be read part by part without skipping each chapter since one explains another and let the pictures talk back and forth while you read.
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sarugaku.
2F
1F
B1F
exploded axonometry of Sarugaku
source: archdaily.com redraw by: cindy lovanka
Built in Daikanyama, Tokyo, in 2007, Sarugaku stands as a set of commercial building for shops and cafes that is designed by Akihisa Hirata. In such a narrow site of 538 meter square, he decided to create bigger space inside it. What seemed to be bigger volumes are, in fact, a collection of smaller volumes each. Each shop can enlarge itself on these mountain-shaped buildings with windows connecting these views. This is the reason why he chose to build six volumes of mountains and valley-shaped buildings. The architect then compares his intention to the small white mountains surrounding the valley, a sophisticated architectural design based on white.
Rejecting the mainstream rule of a shopping mall that requires people to walk up and down around the shops, Hirata made a vocal central point he reffered “valley” to access different shops directly. Hirata did not want to make a huge building landing onto the site just to enclose activities, but instead, he wanted interactions of the people to be visible and accessible. The open and terraced circuclation allows visitor to feel further visual & physical connection within the complex. The “magic” (interaction) happens in what-again-Hirata reffers as “valley”. That it is his purpose to create interactions between humans and things while overflowing each other.
“We aim at making vigorous buildings which acquire strength by overflowing with things and people.” -Akihisa Hirata
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windows penetrate volumes Windows extend over floors, lengthen each of the shop to their ‘wish’ in between the connections happening around the buildings. The windows are lined up and they seems all together in a certain point of view as if a straight line is created automatially between the openings. The openings are created vertically as almost to reach the top side and doors over the entire height of the floor intended to create an intensive dialogue between shops and the outdoor environment.
2F window
scale 1 : 150 source : archdaily.com redraw by: cindy lovanka
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Sarugaku existing
Location: Daikanyama, Japan source: archdaily.com, architecturephoto
figure 1
figure 2
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figure 3
figure 4
figure 5 6 1 3
5
4 2
figure 6
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analysis. consciousness Since interaction as boundary begins when one is conscious, then the territory starts as a third space. The third space is created when two objects/subjects start interacting. In this way, the first subject is human with its raw awareness and the second one is interaction. And in between them is the consciousness of humanity. The same way goes with Sarugaku. Since one window from ‘this’ building creates an interaction with window from ‘that’ building through the connected view, what is left is the in-between or the third space; consciousness. The territory of consciousness penetrates the buildings through the openings, making a way between them. Although it almost looks the same as natural lights coming in through openings or wind blowing, consciousness is not. It could extend through limitations because there is stages of consciousness. It could expand or it could not. It could reach or it could stay. You can feel it or not. Lights, shadows, and wind tend to flow as predicted. But humans are dynamic and so is consciousness.
Section view
scale 1 : 150 source: archdaily.com redraw by: cindy
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B1F
1F
2F
Consciousness territory diagram “a third space” scale 1 : 300 diagram by: cindy lovanka
The form, as Hirata said it “terraced buiding”, made it possible to create interactions. Most buildings tend to reach the sky by building a huge block up. But choosing the “terraced” structure means creating more than just an ordinary building. One of the why(s) terraced building is built is to create openness and privacy at the same time. It may talk about blurring boundaries between private and public since both of them are created by the form. But because of the vast open and the private space, consciousness becomes the third space. The activities on each floor told us about the proxemic theory which shows that distance of interactions could be counted. Between buildings, between inside-outside, between intimate and public. Every inch is counted, the territory is made. That distance and human created interaction. And in the middle of them is the consciousness of territory.
intimate 15-45 cm
personal 0.45-122 m
social
proxemic diagram public
1.20-3.6 m
>3.6 m
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private to public space
building c
building d a
b
c
d
e
f
study case Imagine a person is walking inside the second floor of building D, which has the most openings in one side of the wall, of all building. He stands next to the lined up openings, where one can view the outside from the inside. The person starts at the corner of the building (point a), which encloses him enough without openings surrounding him. He then turns to his right to only find a wall. Here, we can see that the person’s consciousness territory is in the “unconscious” stage, the lowest state of consciousness in Koentjaraningrat’s theory of consciousness stage of human. The person’s view is blocked by the wall resulting incapability of interacting with outside world.
building e
“The first and the second are what the psychologist called unconsciousness and sub-conscious. The third is the unexpressed consciousness. The fourth, expressed conscious.” (Koentjaraningrat, 1990)
building f
Also, as Gordon Cullen stated in his book “Concise Townscape”(the architectural press, 1971):
“the practical result of so articulating the town into identifiable parts is that no sooner do we create a HERE than we have to admit a THERE, and it is precisely in the manipulation of these two spatial concepts that a large part of urban drama arises.”
2F Plan, Sarugaku
scale 1 : 150 source: cindy lovanka point a
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point b
point c
c
The theory of HERE and THERE in this case is the consciousness happening right Here. Since he actually knows something is There, outside the wall, but it will remain unknown because of the wall. The consciousness fades and sinks to himself. unconsciousness
Moving on to point b which when he turns to his right to find a tall window. But as he looks outside the building, his view is blocked by the wall from building E. An interaction happened between him Here and the wall of building E, but the unknown There, behind, will always be unknown. The consciousness territory extends from point a, but stops at the stage of “sub-conscious”, where the consciousness territory should have extended wider, but is forced to pushed back since the interaction stopped before building E.
sub-consciousness
Walking forward to point c and d. What I want to highlight here is point c, where he looks at his right to find longer interactions. His view is no longer blocked by the side wall and even wider to the other side of building E before stopping at the side of building F. The consciousness territory grows wider to “unexpressed consciousness” stage. The person is getting a sense of what is There with the conscious Here. The territory widen and the windows view are now connected. As well as point d which is still in the same stage of consciousness.
unexpressed consciousness
Onto point e and f, where the window are larger and wider. The view is no longer blocked. The only thing left is how the person chooses interactions and how far could it go? The last stage of consciousness is “expressed consciousness” that the boundary is the interaction with the complete view of outside world (in this case). The unknown was no longer unknown. He is conscious, to the point of awareness.
point d
expressed consciousness
point e
point f
serial vision in building D, Sarugaku source: cindy lovanka
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contradictions Then, one might asks: if we are the ones choosing the interactions, it could be limitless, maybe infinity to beyond. You might be right at some points. Yet again, there is HERE and THERE. We can not define something without the opposite. What defines the interior is the exterior and vice versa. The public exists because there is privacy, and vice versa. If you said it could be limitless, the answer is: yes, since everything you’ve came to interact with defines a new consciousness territory, it could be countless of consciousness territory.
So what is the difference between using glasses for all of the materials, rather than putting a wall up and filling it with windows, because both of them will also create consciousness? Well, Hirata may have the perfect answer. But in my perspective, using glass will reduce the privacy of someone. One can always see through if all buildings use glasses. Although yes, consciousness here will not vanish, but it is always interesting to define something very clear and vivid. Using the connected windows with walls between it may result differently than using glasses all around the buildings. You can find the consiousness fading or being vivid in Sarugaku, while using glasses, the territory stood in the grey area, between black&white.
Akihisa Hirata’s illustration of people and things source: archdaily.com
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private and public Private and public space is defined by the enclosure in this case. Wether you see interactions or not, depending in private and public space. Sarugaku is a great example, because it is clearly define both of the spaces. While the “valley� becomes public space, the shops become a private space. As we go deeper into the topoic of consciousness, this private and public spaces are defined by the openings between inside and outside the store.The more enclosure a space is, the more private it is.
axonometric view
3D model: cindy lovanka
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conclusion. consciousness territory
Consciousness territory is defined by the interactions that is penetrated between buildings, which is showed by the connected perspective of the windows in Sarugaku. Consciousness is fading when the space is enclosed to more private, rather than public. Consciousness defines its territory in the in between space or the third space with interactions as its boundary. It is possible to create more than one territory, but it is impossible to be aware of all consciousness at the same time. Consciousness territory exists. It can not be touch or seen, but architecture through its appproach tries to define it by what we
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premise
All that we know until now is that consciousness affected human, as if humans were tools and consciousness was the battery.
What if we create a living space that could overhaul (install and uninstall) human consciousness? *which when installed, human can identify their consciousness, but when dismantled, they are no longer realizing their consciousness.
collage illustration collage by: cindy lovanka
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references.
Cullen, Gordon. 1971. The concise townscape. New York: Van Nostrand Reinhold Company. Hall, Edward T. 1963. “System Notation Proxemic.” American Anthropologist 65 (5): 1003–26. http://onlinelibrary.wiley.com/doi/10.1525/ aa.1963.65.5.02a00020/pdf. Koentjaraningrat. Pengantar Ilmu Antropologi. Jakarta, Indonesia: Rineka Cipta, 1990. Sarugaku / Akihisa Hirata” 30 Oct 2008. ArchDaily. Accessed 20 Sep 2019. <https://www.archdaily.com/8237/sarugaku-akihisa-hirata/> ISSN 07198884 Sarugaku / Akihisa Hirata” 11 Apr 2008. 5osA. Accessed 20 Sep 2019. <https://5osa.com/497>
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Sarugaku illustration illustrator: cindy lovanka
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34
the concrete abstract experimentations
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experimenting Prototypes Axonometric View illustrator: cindy lovanka
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chapter 3
ideas to living space intro 37 methods 38 experiments final prototype conclusion
42 46 48
intro.
enhancing territory & boundary definition Defining is the first step, but enhancing is a new level. Bringing a new perspective into the definition of territory and boundary could not be done without enhancing its meaning to oneâ&#x20AC;&#x2122;s point of view. Enhancing, by its own meaning, is intended to create a broader image of the abstract form, especially to the topic of contrast environment and consciousness. Enhancing the basic idea allows one to expand their understanding and concept behind the overall project. The main objective is to explore original paths of thought and develop innovative design tools and methodologies. Upgrading the ideas, in which experimentations are needed to respond not just to non-architectural forms, but also to architecture of space, territory, and boundary. This chapter is intentionally written to enhance the previous studies of territory and boundary. By experimenting on models, it is intended to enrich the image and meaning of territory and boundary, so one should not set a permanent picture or idea against it. Prototypes are experimented through maquettes with a certain criteria. Pictures and diagrams are solely intended to help the reader understand the prototypes and its intentions. This chapter shall be read back and forth between images and its descriptions.
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methods.
an illustration of brainstorming
source: pinterest.com
Since these studies are intended to one constant purpose from the beginning —to create a living space— enhancing basic ideas of territory and boundary plays an important role of the studies. The method used in this study is quantity over qualities, in which one creates as many as possible ideas in a range of time, regardless the qualities. The purpose of this method is to get as many possible raw ideas out of one’s mind into a more concrete forms, such as maquettes. This method is chosen to create a larger ideas within a short-ranged time. Without minding qualities of the output, the ideas flowing out is not intended to be perfect, but to produce more concrete ideas more efficiently. By producing variations and types, one can fill the missing piece of the previous models, refine, or create a new one from a fresh idea.
The advantage of this method is one can produce a large amount of output without worrying about blocking out their ideas to such perfection. On the other side, this method does not intend to create a masterpiece. As for this project, prototypes are intentionally created as a draft version before the final overall design concept. The disadvantage of the method brings no harm into the project and benefits as in efficiency since it is done in a shot-period of time. At the end of the day, the most important thing of experiments shrink into one, it can project ideas into something that people can see and understand.
“The philosophy in design is, ‘try it, prototype it, and improve it.” -Roger Martin
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Speculation Experimenting came from speculating and trying. This experiments are intended to explore the question of:
What if we make two types of environment that are contrast but interconnected to one another?
collage illustration illustrator: cindy lovanka
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Raw Prototypes a series of photos choosen, created, and taken for the purpose of explorations of space, territory, and boundary. photos taken by: cindy lovanka
basic prototype 02
basic prototype 04
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basic prototype 01
basic prototype 03
basic prototype 05
pra final prototype 01
pra final prototype 02
final prototype
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experiments. prototyping & criterias These prototypes are created firstly from intuition. This is a method to get the ideas out first before anything else. The concept and criteria came up next. Most people may find this method a little bit more difficult, but this helps one’s mind to keep producing without limit before limiting what has been done into smaller parts with criterias.
Next step is deciding what are the criterias based on the speculation of living space. Back to the first chapter, I was observing through human’s consciousness and its contrast which can be felt, but could not be seen. Adding a “what if ” of how it could connect to one another, it is then translated into four criterias of contrasts.
basic prototypes Color Contrast
Scale and Proportion Contrast
Form Contrast
Light Contrast
+ a fair play of light and proportion contrasts
+ form contrast with enclosure and openness
- need more specifications of which one to contrast; too literal image of a house
- too raw and seperated; contrast is not yet vivid
+ same form joining into one but different paths; contrast within each forms; could add a play with lights
+ forms trigger something under the consciousness of humanity
- contrast is viewed and felt only from inside; very raw idea
+ a fair play of light and proportion contrasts; efficient as it could go up and down - need more specifications of which one to contrast; does not meet the main concept
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- seperated; no unity; literal meaning of an object; too many forms; contrast is not vivid
+ a vivid contrast of scale and proportion; same forms - no interconnection in physics, instead separation
+ has potentials to grow to light contrasts - raw ideas; too literal as a building; no unity
+ contrast is vivid with enclosure and openness of space; unique space created - simple forms; need more explorations; does not define the concept
+ triggering oneâ&#x20AC;&#x2122;s consciousness of home by playing with lines - in need of more lines; too literal; does not define concept
+ a full prototype of scale and proportions contrast with a little of light contrast; exploring with such many ideas in one - need more spesifications of which to contrast; too many compositions in one
+ colors help one triggered of space inside scale and proportions - no uniqueness; contrast is not vivid
+ very clear contrast of light and shadows - need more explorations of light contrast and how it is created
+ vivid interconnection between two sides - too raw; need more explorations to contrast; only defining the interconnection
+ vivid contrast of scale and proportion, also colors; unity; one form - more definitions of the contrast; some spaces are not defined
43
+ vivid two contrast environment with interconnection
+ playing with a certain views and eye level of humanity
- too seperated; divided; no unity; mainstream
- contrast is still no defined; proportions and scales are not vivid
+ forms are united
+ a fair play of colors and lights contrast
- too raw; does not meet the basic concept; forms does not affect too much
- need more specifications of which one to contrast; too raw; too shallow for the basic concept
The basic idea is to play with colors to create a contrast between colors, their shadows, and white. The colors then create their own territory under, above, and beside them with their shadows. This is choosen as the most potential prototype to be elaborated into the next step. Simplicity is created to throw any things that is not related to colors contrast. This simple yet powerful prototype is the basic of the final prototype. The next step is to push this idea to more explorations and ways to make a bridge to the previous studies. + focusing in colors contrast; showing vivid play of colors; forms does not included in any way; unity; specific to the topic, studies; very potential; territory and boundary is seen clearly - need more explorations to the colors and how its shadows are made
44
pra-final prototypes
From the basic ideas into more concrete and defined spaces. Playing with colors and a certain explorations of forms to create more forms of shadows are needed to upgrade the basic ideas. The forms itself does not affect how userâ&#x20AC;&#x2122;s perception and experience to the main idea of colors. The outer forms are created to make the basic idea more rational for a living space. + color play is better in forms and explorations - does not show the basic concept; exploration goes off to far; colors have not yet arranged
The second pra-final prototype is created from the first pra-final. Colors are more explorated than before, but the forms are seperating each of the colors. + color play is fair; contrast is pretty vivid - no unity; spaces undefined; goes off to far from the basic concept; forms and colors too opposed from each others
45
Final Prototype Maquette illustrations; (left to right) top view, front view, section illustrator: cindy lovanka
46
final prototype. While one sees colors as reflection of lights, the white becomes their mother that contains all of the colors. This is why one could not really call White, a color, resulting any color could contrast White. On the other side, human’s consciousness is every where and it could be anything. The way one percieves the world is also based on consciousness. This is why one needs mediums to translate the abstract to something concrete: A living space where consciousness territory is defined by color contrast that affects human’s behaviour. Physics define colors as the reflections of light and so is architecture. Light is as powerful as to define the colors themselves, it creates a second layer; shadows. Shadows are based upon the color it reflects. It brought some of the real colors through reflections, resulting in ‘disguised’ colors. About contrast in this case, we could see two results in defining human’s territory and activities: Colors contrasting White and Color contrasting Color. The White becomes the non-stop activities such as walking and running. The colors and shadows become a space to do “stop” activities such as reading, sleeping, playing, sitting, eating, etc. This is the basic image of spaces I want to create. A space playing with colors while creating the space territory from the shadows.
axonometric view
3D model: cindy lovanka
47
conclusion. basic space concept Living spaces are created by the contrast of colors. The interconnections are the white space. Activities are done based on spaces created by color contrast, shadows, and white. Activities may be based on color theory or not at all.
Another exploration preview illustrator: cindy lovanka
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Final maquette atmosphere creator: cindy lovanka
49
50
contrast of color inside a living space gen z living space
51
living space 52
chapter 4
gen z living space
intro 53 site 54 concept 58 drawings 64 final maquette
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intro.
gen z and living spaces Here we came to the last chapter where the ideas begin to find its path to humanity; a living space. Previous studies are intended to create a living space, specifically for Generation Zs. Gen Z tend to own and embrace their individualities more than Millenials. They want to own a singular sense of style. 49% of Gen Z donâ&#x20AC;&#x2122;t want to look like everyone else, they think unique products on a website are very important. Gen Z are adept at playing with and challenging the expected use, form, and function. What differs from the past generations is that Gen Z is unique in the way they play and infuse everything with their own take, and actually finding out one value that matters for them. On the other side, Gen Z is the most open-minded of all generations. They accept individualities as they are and they embrace differences that were prohibited generations before. This is why in a contrast style of Gen Z, they still can find interconnections between them. With background studies of Gen Z, the design is created and arranged to sustain a family of Gen Z, allowing ideas to connect to this generationâ&#x20AC;&#x2122;s personalities and behaviour. The ideas, then built up as a medium to create living spaces for Gen Z. Gen Z and living spaces, in which itâ&#x20AC;&#x2122;s not the color that decide what the occupants feel. Instead, the people decide what they feel about the colors and space. This chapter tend to be written as a wrap up of the explorations of territory and boundary. The design is intended to refine the image and meaning of territory and boundary, while on the other side, also to support a living area for Gen Z. Pictures, diagrams, and plans are solely intended to help the reader understand the design concept and its intentions. This chapter shall be read back and forth between images and its descriptions. Also, let the spaces of word, ideas, and architecture speak to you!
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site.
Movements Roads Pedestrian & Transportation (Main Routes) Internal Routes
Building Level 1 storeys 2 storeys 3 storeys 4-5 storeys
Material concrete wooden component acrylic choosen site
site plan
scale 1:3000 drawn by: cindy lovanka
Located in Tanjung Duren, West Jakarta and raised 0.15 metre from the street, this site is located beside a crossroad and exposed to two sides of roads. A Masjid is standing across tha long side of the site, a market across the elbow, and commercial buildings across the short side of the site. This site is choosen because of the contrast made by the activities of the surroundings. While the market is busy in the morning, the Masjid around evening, and quieter during the nights. The living space here is created from the contrast of colours to be occupied by a family. Even in the contrast of society and activities, the living space could create a consciousness of its own emotions and atmosphere from colours that drives its occupants to do different activities on some specific space. That is, the colour affect human consciousness of space, circulations, emotions, and activities.
Usage Masjid Residental Buildings Commercial Buildings
Solid & Void Roads Void Solid Choosen Site
Vegetation vegetations Choosen Site
â&#x20AC;&#x153;Architecture is the thoughtful making of space.â&#x20AC;? -Louis Kahn
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Speculation This design is intended to sustain Generation Z and a solution to the question of:
What if we make two types of environment that are contrast but interconnected to one another?
birdâ&#x20AC;&#x2122;s view perspective illustration illustrator: cindy lovanka
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21000
3400
3200
1300
1400
4200
4900
3300
outdoor living area -0.15
3000
garden -0.15
pantry +0.00
children's bedroom +0.00 flower garden -0.15
400 500 400
1100
16000
1600
dining area +0.00
private living area +0.00
up
playing area +0.00
2600
bathroom -0.05
700
backyard -0.15 secondary entrance +0.00
2500
1100
1300
public living area +0.00
public area +0.00
main road -0.15
56
public area +0.00
garden -0.15
4600
2100
kitchen +0.00
main entrance +0.00
main road -0.15
public area +0.00
public area +0.00
storage area +0.00
SI TE P L AN 0
1
2
5
57
public area +0.00
concept. COLORS, SHADOWS, WHITE colors
BU FFER
BU FFER TO O U T D O O R L
COLOR EFFECT INSIDE THE LIVING SPACE
The idea is to play with certain of colors, their shadows, and white spaces by making them contrast with one another. Colors are intended to express the idea of being a Gen Z with unique personalizations. The behaviour is connected through eye contacts and exchange glances as previous studies have proved. This, then triggers oneâ&#x20AC;&#x2122;s consciousness of space and contrast.
B ACKYA RD G AR DE N
B U F F ER
O V E RLAPPING TO D
BED R O O M
BE D R O O M
D INING
BE DR O O M BUF F E R
BAT HR O O M
CO LO R DI AG R
FAMILY LIV ING ARE
LIV ING ARE A BU FFER
BU FFE R
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IV IN G ARE A
DI N IN G A R E A
ARE A
S ID E O F KITCH E N
BUF F E R TO P LAYI N G & LI V I N G AR E A
ROOF
BUF F E R F O R ACC E SS
ROOF P LAYI N G AR E A
ROOF
R AM O N P LA N
EA
Color diagram on plan
scale 1 : 150 illustrator: cindy lovanka
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Contrast of colors
Exploded Axonometry illustrator: cindy lovanka
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overlapping The contrast of colors don’t stand there just to be enjoyed or walked by. Instead, the overlapping colors creates a darker color that is supposed to surround a space with intimacy. The overlapping colors also creates a space that reflects a secondary color from its shadow. The space created for some reasons attract its occupant to stay a little longer. It also defines the movement and the consciousness of humans themselves. How they create a different atmosphere and activities from a different overlapping colours. This makes a space more unique and could be defined freely within the space created.
linear overlapping It is called linear because human’s eyes percieving method is mostly linear. The colors are arranged as a standing glass to let one see through the glass to another colors. It is different from the overlapping curves around the house to give more variations of view, perspectives, experience, and control to the occupants.
linear overlapping It is intended to put more than two colors over one another. The shadows it produced create a new kind of color that define new territory and boundary. It created a deeper color, also a new kind of perspective. The feel when we are inside the presence of overlapping colors and the visual when we look up to the real colors may note feel the same. The colors are arranged and intended to control one’s perspective and experience through the space. When one’s eyes are looking through one color of glass and again through the other color across, it created a new territory of space that is percieved only by him. If there’s another person across the room that saw him through a different colors that overlap, it could create a different territory from the first person.
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Room Function Diagram
P OI NT OF V I E W A
P OIN T OF VIEW B
POINT OF VIEW C
S ER VICE
C A
B
D
S ER VED AREA
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POINT OF VIEW D
P OIN T OF VIEW E
SE QUE NCEview VIE W sequence HUMAN’S EYES PERSPEC TIVE
human’s eyes perspective
EXP OSED PRIVATE P UBLIC LIVING AREA
SEMI-PUBLIC BATHROOM, ENTRANCE
E
SEMI-PRIVATE DIN IN G ROOM, FAMILY LIVING AREA
PRIVATE BEDROO M
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drawings. architectural drawing These are a series of plan, sections, and views of the design. Purposely created to describe the spaces and ideas of the design in the real world so one could have a bigger anc concrete picture of the design.
21000
3400
3200
1300
1400
4200
4900
2600
3300
outdoor living area -0.15
3000
garden -0.15
pantry +0.00
children's bedroom +0.00 flower garden -0.15
kitchen +0.00
1100
16000
1600
dining area +0.00
playing area +0.00
400 500 400
private living area +0.00
main entrance +0.00
2600
bathroom -0.05
secondary entrance +0.00 public living area +0.00
garden -0.15
1100
1300
700
backyard -0.15
FIRST FLOOR PLAN 0
64
1
2
5
storage area +0.00
21000
1900
1500
2500
2500
8800
1200
2600
3300
outdoor living area -0.15
master's bedroom +3.10
2100
1600
1000
void
working area +3.10
500
backyard
2500
16000
flower garden -0.15
400
4600
garden -0.15
SECOND FLOOR PLAN 0
1
2
5
658
5700
+8.75
200
working area +3.10
1700
300
900
+3.10
family living area +0.00
playing area +0.00
storage area +0.00
garden -0.15
150
+0.00 - 0.15
200
1900
1500
600
2600
700
200
5200
21000
SECTION A 0
7 66
1
2
5
6200
1900
+0.00 - 0.15
150
1200
1800
+3.10
100
1800
400
3500
+8.75
900
2500
3000
1600
1100
900
2900
1800
1300
2100
18100
SECTION B 0
1
2
5
678
2300
+3.10
600 200
5700
+8.75
- 0.15
150
+0.00 -0.15
3400
4100
8700
4200
23500
VIEW B 0
68
1
2
5
500
2500
+0.00 - 0.15
150
2300
+3.10
600 200
5700
+8.75
main entrance +3.10
- 0.15
2100
800
300
5100
1200
8600
18100
VIEW A 0
1
2
5
69
final maquette. design is purposely giving a solution to speculations and explorations of space, territory, and boundary. photos taken by: cindy lovanka
final prototype
â&#x20AC;&#x153;Color is a power which influences the soul.â&#x20AC;? -Wassily Kandinsky
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final prototype
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epilogue.
ideas to ideals As a designer, we tend to create, create, and create. We try to take ideas out of our heads into a space, wether it is on paper, on boards, or into products. For me personally, walking on a journey along with this book is extremely precious. I learn a lot of new things as I discover the possibilities in the topic of territory and boundary. I learn that there will always be a chance where I need to grow and upgrade myself. But sometimes, in the middle of my thoughts, I must stop and go back to the beginning. This is the process of design I learn that maybe I want to go straight forward to the final, but at the end of the day, I have to start from scratch. This is what I call ideas to ideals. Creating ideas, backing it up with concept, building it into such an ideals image at the end. Ideas will create more ideas. Ideals always come along with ideas. Whenever there are ideas, ideals are always there. The design is done for now. But it does not mean the exploration is done too. There are still so much to be refined, to be renewed, and to be perfected. In the last design, my intention was reached, it is to create territory and boundary from the contrast of colors that could affect humanâ&#x20AC;&#x2122;s consciousness. The last maquette also pictured my design at its best. On the other side, the results do not fulfill the gap between concept and the final product. The concept is standing proud for itself, while the final product too, and the gap is there. In the future, I would like to do more research and prepare more concept into my design. I want to create a design that will not be empty in meaning, but instead, a powerful one. Maybe a design that could be an impact.
As for a Gen Z living space, my design may suit some of my generations. What I have tried doing, is creating unique space explorations and be bold in my design. In Indonesia, I rarely see colors playing inside a living space, so I want to create one. With my design, it is intended that people could sense a new experience inside the living space. The living space also intended to be not like â&#x20AC;&#x153;the othersâ&#x20AC;?. What I mean is people define their own territory inside their own living space, so it could turn out to be a unique one. On the other hand, maybe there are so much more to work on such as rationality as a living space, concept, humanity, activities, behaviour, and responds to site. Some of my design rooms are not defined yet and there are spaces that are not even rational for human to walk on. In the future, I would like to learn more about designing a home, not a house. A living space, not just an empty space. Lastly, I learn that what we always want is ideal. An ideal, that is created from ideas. Yet, what we always find is the imperfection of a design. But that imperfection, will make a design worth to be seen, to be talked about, to be reviewed. That same imperfection, will picture more possibilities to the ideals, maybe an ideal you have not yet discovered! And again, what is the meaning of ideal if everything is already ideal?
thankyou.
“whatever good things we build end up building us.”