R ACHEL NG Critical Exploration
An interior design student currently pursuing her degree in The Glasgow School of Art (Singapore). With two years of industry experience, she is now strengthening her ideology and concepts in a learning studio. She holds by the idea of learning through design, and that designs created should be able to educate and inform of something new, either to herself or to the audience.
RACHEL NG
DESIGN & CRITICAL EXPLORATION 4
The Exhibition: Sonia Delaunay
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Dissertation Synopsis: CAD and the Production of Generic Interiors
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Personal Project: Approaches to Interior Design
She hopes that her projects in Year 4 shows an ability to think critically and creatively through thoughtful exploration and judgement, showing progressive learning and experience through experimental projects. Her final project is also an extension to her honours dissertation.
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Introduction
Content
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THE EXHIBITION
The exhibition design focuses on understanding the artist well, before translating the work and ideas into an interior gallery space. Through research, key factors such as the breakthrough works as well as the artist’s significance to design history are brought forward and used as an emphasis for the project. These factors are also applied into the design of the space. The outcome of the design not only acts as a visual interaction with the audience, but also provides a deeper meaning to the narration of the artist’s works. The design strategy used in this project may be adapted in future exhibition spaces.
SONIA DELAUNAY Chapter Overview This chapter begins with the narrative and details of the carefully curated collection of 30 artworks for the exhibition, followed by site analysis and planning of spatial functions. The next section showcases process models, at the same time illustrating how the bedcover (key artwork by Delaunay) was used as the floor plan of the exhibition space. Lastly, the chapter ends with drawings of the final designed outcome, along with visual perspectives and detailing.
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Pioneering Applied Arts in the early 20 th Century Sonia Delaunay was a pioneer female artist in the Fine and Applied Arts. Her early career began in Paris, as an abstract painter, studying the principles of color and movement. (Along with husband Robert Delaunay) She later uncovered her ability to unify her arts with daily objects around her through the iconic bedcover sewn for her son, Charles Delaunay, and realised her own path outside of the male-dominated art scene. During the first world war and having moved to Madrid in Spain, Delaunay expanded her applied arts expertise into Casa Sonia, a fashion and design shop. She returned to Paris after the war, and set up a line of fashion textile designs under ‘Atelier Simultané’, introducing a new fashion style for women. Her fashion line became widely recognised and wellreceived in the 1920s. This exhibition presents a collection of her objects, fashion, textiles and paintings foregrounding her use of abstract bold colors and rhythm, from paintings to daily objects, and to fashion and textiles. Her influence on other women of the time will be highlighted by works of notable female artists. Her liberation of colors, movement and form, from paintings to objects has impacted designs in the 20th Century, and this exhibition aims to bring light to this.
Exhibition Write-Up
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The exhibition starts off with Delaunay’s bedcover. This piece is significant as it shows her transition from fine arts to applied arts, setting herself apart from the other male-dominant cubist painters. Following after are selected works by Delaunay, along with other female artists’ works highlighted in grey.
01 Bedcover put together by Delaunay for her son. The bedcover marks Delaunay’s breakthough from being a painter to an artist of multi-disciplines. Evidence of her cubist inffluence is shown in the composition of different fabric stitched together.
02 A personal object of Delaunay. The wooden toy box is reflection of Delaunay starting to apply her painting skills and principles from Fine Arts into Applied Arts.
03 Using the same principles in her bedcover, Delaunay applied her patchworking method into designing her own dress that she wore to the Bal Bullier event.
04 Also exploring color theories, Stölzl experimented with various weaving methods and colors in her tapestry. Principles of Simultaneous Contrast can be seen applied her work. Stölzl was also under the influence of Johannes Itten, a Bauhaus master, who had similar interests with the Delaunays.
05 From her compositions in the bedcover, Delaunay explored the color theory of ‘Simultaneous Contrast’ by painting bold colors onto a convas.
06 One of Delaunay’s famous painting, Le Bal Bullier. Inspired by her experience in the ball event, the painting presents her exploration of contrasting colors and abstract forms to create movement and rhythm. She succeeded in translating a 3D space into a 2D canvas.
07 In comparison to Le Bal Bullier, Stölzl was also practicing forms and colors in her works to bring forward a certain rhythm. During this time, Stölzl was working in the Bauhaus textile workshop
09 During her time in Madrid, away from World War I in Paris, she was commissioned to design a costume for the Cleopatra ballet. Her husband, Robert Delaunay was also part of the play, designing the sets for the show.
08 A costume design by Delaunay, displaying her use of bold colors and also her principles of Simultanism, painting contrasting colors on the background of the subject.
1911 BEDCOVER
10 Delaunay also started her line of fashion design in Madrid, consisting of bright clothings. The film presents her fashion pieces against contrasting backgrounds, which was evidently seen across Delaunay’s works in the 1920s.
1920 CASA SONIA
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1911
02 Sonia Delaunay
Coffre à Jouets Wooden Toy Box, 20 × 36 × 24,5 cm Musée National d’Art Moderne, Paris, France
1911
01 Sonia Delaunay
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Couverture de Berceau Patchwork Bed Cover, 111 × 82 cm Musée National d’Art Moderne, Paris, France
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03 Sonia Delaunay
Collection of Artworks
Contrastes Simultanés Oil on Canvas, 46 × 55 cm Musée National d’Art Moderne, Paris, France
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1927-1928 Gunta Stölzl Wall Hanging - “Slit Tapestry Red/ Green” Obelin technique Cotton, silk, linen, 150 × 110 cm Bauhaus-Archiv, Berlin
1913
05 Sonia Delaunay
Robe simultanée Patchwork Fabric Dress Private Collection
Between 1919 to 1925 Untitled Design of a Double-Weave Watercolor on Paper, 17,5 × 46,5 cm Private Collection 1913
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Le Bal Bullier Oil on Canvas, 97 × 390 cm Centre Georges Pompidou, Paris
1917
08 Sonia Delaunay
Projet de costume pour Amnéris dans Aïda de Verdi Watercolor on Paper, 57 × 39 cm Bibliothéque nationale de France, Paris
1918
09 Sonia Delaunay
Lydia Sokolova dans le costume de Ta-Hor, ballet Cléopâtre Costume design by Sonia Delaunay E. O. Hoppé Estate Collection Pasadena, California
1920
10 Sonia Delaunay
Mademoiselle Y 1:30min Film Musée National d’Art Moderne, Paris, France
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11 A drawing done by Delaunay, reflecting linear color blocks. The composition of this artwork is similar to Stölzl’s ‘Black/White Tapestry’ work. Both works appears to be influenced by interior spaces.
12 Stölzl’s tapestry inspired by interior spaces, translated and weaved into a wall hanging. She was able to display various weaving techniques that she has learnt in this piece, such as half-gobelin technique.
13 Delaunay returned to Paris after the war, and designed her own salon with her Simultane textiles and wallpapers.
14 In the 1925 Paris Exhibition, Delaunay was asked to design a window installation, displaying her vibrant textile and fashion pieces. This installation caught the attention of Clarice Cliff, who then applied Delaunay’s principles into her pottery designs.
16 A piece of pottery plate from the early 20th Century, before Cliff revolutionised the industry when the general/coal strike in 1926 hit.
15 A series of fashion sketches drawn by Delaunay. Her use of bold colors against contrasting backgrounds is also applied in her process stages.
17 To tackle the pottery threats during the strike, Cliff made use of rejected off-white pottery, painted them in bold, fashionable colors and resold them to the market.
18 Textile designed by Delaunay which could be inspirations for Cliff’s pottery series.
19 Cliff’s pottery range ‘Bizarre’ was widely received, and marked her sucess in the industry. She eventually became the first female creative directory in the pottery scene.
1924 ATELIER SIMULTANÉ
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1924
11 Sonia Delaunay
1920s
Design C53 Gouache and Pencil Private Collection
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12 Fabric designed by Sonia Delaunay on
the walls of the Delaunay family salon Photographic Reproduction, Bibliothéque nationale de France, Paris
Collection of Artworks
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1924 Gunta Stölzl Tapestry “Black/White” Half-gobelin technique. Flatweave, partly with reversed harness Warp: mercerized cotton. Weft: wool, rayon and metal thread, 183 × 112 cm Museum of Modern Art, New York
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1925
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Boutique Simultané, René Herbst, Devantures, vitrines, installations de magasins à l’exposition internationale des arts décoratifs Exhibition Installation for the Exposition International des Arts Décoratifs Paris, France
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1925
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Ses Peintures, Ses Objets, Ses Tissus Simultanés, Ses Modes Pochoir and Relief Process, 38 × 55,6 cm Metropolitan Museum of Art, New York
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1911 Flow Blue Staffordshire Plate Ye Olde Historical Pottery No. 2 Painted Plate, 22 cm Private Collection
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1930 Clarice Cliff Mondrian Pattern Ginger Pot, Private Collection
1924-1925
18 Sonia Delaunay
Tissu Simulatané no. 46 Block-printed cotton, 61,5 × 24,5 cm Musée de l’Impression sur Etoffes Mulhouse, France
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1929 Clarice Cliff Diamonds Painted Ceramic Tea Set, Private Collection
Sonia Delaunay Tissu Simulatané Block-printed cotton velveteen, 71 × 33 cm Musée de l’Impression sur Etoffes Mulhouse, France
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20 Photographs showing Delaunay’s textile designs being translated into iconic fashion pieces.
22 Delaunay’s end product, from designing a textile, to productin and designing a wearable piece at the end.
21 Delaunay’s fabric designs which could have influenced Cliff’s ‘Diamonds’ tea set.
23 An example of Delaunay’s fashion textile design and process. A range of colors were produced from a basic design.
24 Process of selecting swatches of colors for the fabric production. During the 1930s, Delaunay devoted her time to designing an extensive collection of textiles for Mertz&Co.
25 Colorblocking patterns using forms of circles and semi-circles. Reflects similar principles to Delaunay’s works.
27 Delaunay only resumed painted after the 1930s, where she started painting circular, color rhythms, still using her principles of Simulateneous Contrast.
26 The painting reflected on this coffeepot shows the use of rhythm and colors through circulation repetitions. Cliff design this way before Delaunay. By drawing comparisons Delaunay’s Rythme(1938), Cliff has developed a similar thinking as Delaunay after being influenced by her in the 1920s.
28 After the death of her husband, Robert, she dedicated her time to preserving his legacy. It was not until a decade later when she emerged as a notable female artist.
29 Stölzl designed this piece for the first Bauhaus exhibition in 1923. Throughout her time in Bauhaus, she continuously seeked knowledge in weaving. Her success was recognised when she became the first female Bauhaus master in 1927. Similarities can be drawn to Delaunay’s ‘Grande Helice Rouge’ based on the composition and forms.
30 Delaunay continued painting through the 1970s. At the same time, her works grew recognition and was the first living female artist to have a retrospective exhibition in the Louvre, Paris.
1946 BACK TO PAINTING
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1923
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Knotted Floor Carpet Wool on hemp warp, 505 × 100 cm Bauhaus-Archiv, Berlin
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1926-1927
Two models wearing Sonia Delaunay beachwear Photograph, Private Collection
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21 Sonia Delaunay
Collection of Artworks
Tissu Simulatané no. 186 Block-printed cotton, 29 × 19,5 cm; 58 × 30 cm Tissu Simulatané no. 193 Block-printed on silk, 50 × 19 cm Musée de l’Impression sur Etoffes Mulhouse, France
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22 Sonia Delaunay
Bathing suit (tunic and shorts), Tissu Simultané no. 205 Block-printed cotton Musée de l’Impression sur Etoffes Mulhouse, France
1927
23 Sonia Delaunay
Tissu Simultané no. 205 Block-printed on cotton velveteen, cotton, 37,5 × 22 cm; 58 × 20 cm Musée de l’Impression sur Etoffes Mulhouse, France
1927
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Tissu Simultané no. 205 design card and fabric sample Gouache, ink and pencil on paper; block-printing cotton, 21,4 × 24,2 cm; 48 × 54,5 cm Private Collection
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1930 Clarice Cliff Circle Tree Eton Shaped Coffeepot Painted Ceramic Pot, Private Collection
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1930 Clarice Cliff Sliced Circle Lotus Jug Painted Ceramic Jug, Approximately 30 cm Private Collection
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Gouache Watercolor, gouache, and pencil on paper, 40,5 × 25,5 cm Private Collection
1938
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Rythme Oil on Canvas, 182 × 149 cm Musée National d’Art Moderne, Paris, France
1970
30 Sonia Delaunay
Grande Helice Rouge Lithograph, 70,5 × 94 cm Private Collection
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The exhibition site is located at Wheeler’s Yard. The existing bicycle shop will be used for the main exhibition space, along with the mezzamine level above it. The cafe operations will remain and can serve as a resting space after visitors have completed the exhibition.
FUNCTION OF SPACE:
Entrance and spacious open area facing park connector
FRONT/MAIN ENTRANCE
EXHIBITION SPACE Existing Bicycle Shop
View of park connector and river from entrance above
CAFE (TO REMAIN)
Existing Cafe
BACK/SECONDARY ENTRANCE Exisiting Bicycle Shop to be replaced
Exisiting Cafe to remain
Visitor Flow - Pedestrian Visitor Flow - By Car Cafe Customer Flow
Entrance facing road to be back entrance
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Site Photos
Side Entrance will be used for entry to cafe
Function and Flow of Space
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Holding/ 1 Waiting Area
Ground Floor
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Function of Space
Kids Play Area
2 Delaunay
Delaunay Workshop
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Mezzanine Level
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The main entrance will be facing the park connector. The open space directly outside the main exhibition will be used for gatherings or waiting area.
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All visitors can go through to the exhibition.
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Adult visitors can participate in a workshop at the mezzanine level.
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There is also an option for groups of family where children can experience Delaunay’s dynamic color play and forms in the kids’ play area.
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Delaunay’s artwork used on a floor plan to create circulation of space. This model explores the possibilities of spatial elements like platforms, curved walls and varying partition heights in an exhibition space.
Progressing from my first exploratory model, I used Delaunay’s bedcover to translate into a spatial layout. The bedcover is used as a floor plan, creating a circulation based around its form. However, the space appears to be too narrow and the walls seem to lack variation in height
This model explores the idea of allowing visitors to have an overview into the gallery as an ending segment to the exhibition. It gives the visitors an aerial view of the exhibition space, which helps to recollect their experience, as well as understand the design of the space.
Based on Delaunay’s painting, walls are projected to give a pespectival view at the front, joining together to form a complete piece of artwork. At the same time, circulation of space is created between the gaps of each wall.
Exploration of colored transparent popups, that could be turned into furniture in the exhibition. Light passing through different colors could also give an interesting projection.
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Exploratory Models
The reason for using the bedcover as a floor plan for the space is so that it brings significance to the importance of the artwork. It becomes the first artwork in contact with the audience at the entrance, as well as the last element of the exhibition when visitors proceed to the mezzanine level, overlooking the entire space and piecing together the narrative and intent of the exhibition.
Spatial Process Model
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Breakdown of Delaunay’s iconic bedcover
Moving forward from my previous process models, my next step was to experiment on the idea of simultaneous contrast (a color theory commonly used by Delaunay in her works) through the bedcover, as a plan and as an elevation of the space. The diagrams in this spread shows the process of breaking down the bedcover into warm and cool colors, and joining certain colors to form groups of complementary hues.
Warm Colors
Cool Colors
Complementary Colors
Using the idea of simultaneous contrast, the colors are extracted and grouped based on complementary colors to give a strong visual impact. At the same time, educating the visitors on the use of complementary colors.
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Spatial Planning
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To solve in the problem faced in my process models where the walls seem to lack variation in height, I will be using the form and colors of the bedcover as walls. It also creates a more apparent connection to the bedcover as visitors walk through the space and are able to experience the dynamics of her work.
Vertical Flip
Vertical Flip
Horizontal Flip
OPTION 2
OPTION 1
Horizontal Flip
Two options were tested, based on the direction the colored groups were to be adapted into walls.
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Spatial Planning Process
After laying out the artworks on the plan, option 2 proved to have a better narrative and spatial flow for the exhibition.
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The final outcome improves on the idea of my previous spatial models by having an aerial view of the entire exhibition to show an overview of her bedcover being transformed into a spatial experience. Elements from the exploratory models such as executing walls to reflect her artworks can also be seen in the final design. The walls are less rigid and monotonous due to dynamics of the shapes on the bedcover. This spatial method also creates a compelling experience for the audience by providing a visual contrast and structure against the artworks.
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Model Photos
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The main exhibition space provides a single journey across the space according to the timeline of Delaunay’s work. The visitors are able to experience her bedcover in a 3D spatial experience, mimicking the narrative of her development from 2D fine arts painting into 3D applied arts object. The kids’ play area uses another artwork by Delaunay, which shows her play of colors and rhythm. The furniture and layout mimics the artwork, allowing the children to experience the artwork, as well as to learn color theories through surrounding objects and toys
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Exhibition Layout
The exhibition workshop’s layout plan follows the artwork used in the kids’ play area. This acts as a learning guide for the visitors as they are experiencing the artwork in the space. The reason for placing the workshop on the mezzanine level is to allow the participants to have a top-down view of the space, realising that the exhibition was designed based on Delaunay’s bedcover.
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Due to the high ceiling/roof on site, suspended track lights will be used in the main exhibition space. Track spot lights will be used from smaller objects, and wall wash track lighting will be used for large artworks.
Spot track lighting will be used at the exhibition workshop to provide sufficient lighting as visitors are working on their projects. There will also be natural lighting coming into the space from openings on the walls.
The ceiling of the kids play area reflects the form and colors of the plan. Thus, downlights along with indirect lighting will be used to create depth on the varied ceiling heights.
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Exhibition Layout
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Vitrine Detail (see page 39) Hanging Artwork System (see page 38)
This section view of the main exhibition space shows the red-green wall colors, which reflects the color theory of complementary colors, or also known as contrasting colors.
This section view of the main exhibition space shows the purple wall colors. This is another set of complementary colors found on the bedcover done by Delaunay.
For the kids’ play area, primary colors are used for the furniture, and secondary colors are applied to the ceiling. This provides a subtle basic color theory learning environment for the children as they are in the space.
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Section Renderings
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The Delaunay workshop is located on the mezzanine level, overlooking the overall plan of the exbihition. This gives the visitors an overview of the entire space, considering the form and flow of the exhibition. The workshop aims to let visitors have a go at creating art inspired by Delaunay. Example models and paintings will be display. Participants have the choice to either paint to create paper crafts. Materials will be provided.
The main exhibition space boasts a bright and vibrant color scheme, that matches the principles and theories of Delaunay. The intent of the space is to allow the audience to immerse in a space created out of Delaunay’s iconic artwork.
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Interior Perspectives
Main Exhibition
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Sonia Delaunay, Prismes Electriques
Selected primary colors are adapted as furniture and platforms
Selected secondary colors are adapted as drop ceiling patterns
The play area provides a space where kids can spend their time there while parents are going through the exhibition or workshop. The application of bold colors allows children to interact with the color theories discussed throughout the exhibition.
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Interior Perspectives
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VITRINE
SCALE 1:1 530
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FRONT
ARTWORK
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DET-01
PLAN 6 15
VARY
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STRONG, STEEL CABLE
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15 6
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CEILING TRACK
6mmTHK CLEAR TEMPERED GLASS
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ARTWORK
TEXTILE / ARTWORK
MDF BOARD PEDESTAL STAND IN SPRAY PAINT FINISH
940
HOOK ATTACHED TO FRAME
1100
J-END CABLE
865
TEXTILE / ARTWORK
VARY DEPENDING ON ARTWORK
STRONG, STEEL J-END CABLE
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HANGING ARTWORK DETAIL
SCALE 1:15 530
Hanging System Detail (for context, see page 32)
SCALE 1:5
RT
UPPO
S ROOF
VITRINE DETAIL
SCALE 1:15
FRONT
DET-01
ND
DEPE
BACK
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FRONT
SIDE
TEXTILE / ARTWORK
Vitrine Detail
(for context, see page 33)
FRONT
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10 15
DET-01
SCALE 1:5
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Furniture Detailing
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VARY DEPENDING ON ARTWORK
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15 6
ROOF
PORT
15°
CEILING TRACK
SUP
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DEPE
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ROOF
PORT
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SIDE
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DISSERTATION SYNOPSIS
My dissertation paper researches on the influence of CAD in interior design, and how it may lead to the production of generic interiors. The paper provides various views on the impact of CAD, and also examples of design processes before the invention of CAD. Concepts of the term ‘generic’ and how we can move beyond similar designs are also discussed and later used for the analysis in the paper. The following pages provide a comprehensive synopsis to my paper, serving as a prelude to my Personal Project. The precedents and concepts discussed here are the fundamentals to the initiation of my experimental study “Approaches to Interior Design.”
Abstract
Chapter Overview This chapter begins with a diagram of the literature review, giving a summary of the topics and views discussed. Next, a series of spreads explain in detail key practitioners like Adolf Loos and Le Corbusier, and key concepts such as the term of “generic” and the effects of generic design. Lastly, the chapter provides an analysis of interior images in the Singapre context, showing how interiors are becoming “generic”, before ending off with a conclusion.
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Since the Digital Revolution, design has gradually become more dependant on the computer due to its convenience and efficiency to the industry. Through the help of Computer-aided design (CAD), it has changed the way we design, allowing for designs like Frank Gehry’s Guggenheim Museum in Bilbao to be realised with its technical advancement. However, over the years of CAD usage, there seems to be an evident critique on the effects of the computer, with discourses by Bryan Lawson on the notion of CAD affecting the creativity of designers, leading to the generation of similar outcomes. Before the invention of CAD, processes involving our bodily presence as practiced by Adolf Loos, and processes involving the hands as practiced by Le Corbusier shows the potential of our body in relation to spaces. When we limit our senses to designing with only our eyes through the visuals on a computer, our outcome becomes constrained to only what our eyes can perceive, rather than including what our body and hands can touch or feel. In Singapore, it has become noticeable that the interior imagery today appears to be of a certain typical fashion. The paper provides an analysis to identify such generic design outcomes using Charles Jencks’ theory on Generic Individualism, and gives a study of the effects of designing without the involvement of our other bodily senses. The interior spaces in Singapore shows how identical each design has become, and the paper also aims to show how interiors can go beyond the repetitive notion through means of Personalisation.
Dissertation Abstract
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Diagram of Literature Review CAD and the Production of Generic Interiors
Summary of Literature Review
Computer Aidded Design The red and pink section gives an overview to the different viewpoints on the benefits of CAD, and what is to be known certain for this paper is the limitations that CAD brings along with its convenience. According to Paul Brown, computer systems “limit choice by presenting a subset of possibilities,” which explains the narrow definitive structure for design exploration and ideation in the process.
Computer Aided Design Pro-CAD Sentiments
Anti-CAD Sentiments
A machine can produce designs that are better than those of humans, CAD has helped to speed up design process. - Nigel Cross
There is a “real threat” that future design outcomes will turn out to be typical. Repetitive works would be easy to produce due to the easy interfaces on CAD softwares. - Paul Brown
Pre-CAD and Post-CAD Designs The blue and green section provides an overview of design process before the use of CAD, to compare the difference in which methods of production can affect final outcomes. It can be observed that throughout the industrial revolution and digital revolution, there has been a gradual bodily absence in the process of design—from the body, to reduction to the hands, and to solely our eyes. Pallasmaa describes the importance of our bodily sense, in that the “very essence of the lived experience is moulded by unconscious haptic imagery, and unfocused peripheral vision.” The experience of a space should not be limited to just our visual senses, but should also embody our other senses
Proposed Solutions Educated the users so that they understand the type of potential and ability the computer, instead of using readily accessible functions. - Paul Brown
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Literature Review
Drawing by hand as well as working with models puts the designer in a haptic contact with the object, or space. - Juhani Pallasmaa
Interior Representations
Pre-CAD, Post-CAD Designs Adolf Loos Lebbeus Woods
Le Corbusier
Despite the widespread of computer usage in the architectural field, Lebbeus Woods held on to his drawing methods in design. He starts off with sketches, followed by models and then finally the construction drawings though the use of CAD.
“When I am given a project, I am in the habit of putting it into my memory bank… of not allowing any sketch to be made… Then it comes a day when a spontaneous initiative from the inner self triggers it all” He used his hands in aid of portraying the visions he had in his mind.
3 Methods of Production
Photo-realistic imagery does not emulate the human phenomenology of perception, but rather that of a photographic camera. - Marco Frascari Drawings did not have the issue of being perceived as ‘real’ images, and were not implicitly recognised as the experience of a space. They are instead used to convey the idea of a project. - David Ross Scheer
“The architect has reduced the noble art of building to a graphic art.” The act of drawing removes the body from the space, and the act of drawing lines dictate spaces which, in his opinion, should be done on site with the body included in the experience.
Three design methods can be derived from the above notable practitioners: 1. Site — From Loos, the first method consists of the presence of the entire body in space, in aid of the process of spatial and material cladding. 2. Drawing — From Corbusier, this method of drawing involves the process of design development and concept ideation before the actual structural drawings of a building. 3. Computer — From Woods, the last method is the aid of CAD, where design visuals are produced on a screen.
Concepts of Generic
Concepts of Generic The purple section gives an overview to the effects of designing with just the use of our eyes, leading to the production of generic designs. Theories from the Arts and Crafts movement helps to trace back the impacts of industrial revolution to the digital age. During mass-producon, the art of labour and crafting is lost in the outcome. Similarly with mass-customisation, the endless amount of variability leads to the loss of meaning and purpose of the main intention.
Hand vs Computer
The inherent precision and immediacy of a sketch allow the hand and the mind to materialise at the same time. - David Ross Scheer
Generic Individualism Generic Individualism is an oxymoronic combination of “generic universalism of Modernism,” with the “individual uniqueness sought in Postmodernism.” The style caused by the modern architecture of “giantboxes, rational, productive” forms, with the “social desire for identity” in the postmodern world. -Charles Jencks
Non-Standard Seriality The nonstandard series is “a theoretically unlimited number of objects that can all be different but also all be similar, as the digital tools that were used to make them leave a detectable trace in all end products.” - Mario Carpo This explains the use of CAD, however diverse the amount of variations that can be made, will ultimately turn out similar or generic. (Mass-customisation)
Effects of Generic Threat of crafting under the “present system of commercialism and profitmongering.” This is a problem since the industrial revolution. Today, instead of only machines, industries are also using computers now to churn designs and products for the sake of “buying and selling”, which lacks in the art of man’s skills and labour.
Beyond the Generic In order for a design to achieve “real artistic personalisation,” it should possess “free interpretation of both material and meaning, or spontaneous variation guided by a purpose.” The distinctions of design should represent meaning, and there should be a narrative to the overall programme of the space. -Charles Jencks
Diagram of Literature Review
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Adolf Loos believed in designing on site with a bodily experience that encompasses around the dictation and flow of the materials and cladding. He condemns the use of 2D representational drawings.
Adolf Loos
Le Corbusier
In Loo’s perspective, he believed that the act of drafting marks “the inevitable collapse of building under the weight of drawing.” He believed that the act of drawing removes the body from the space, and the act of drawing lines dictate spaces which, in his opinion, should be done on site with the body included in the experience.
The first image shows the first record of sketches for the Chapel. It is a quick sketch of the surroundings and the probable outline of the Chapel. This was said to be done as he was passing by the site during his first visit.
His execution methods were mostly done on site, as in his work of Villa Müller, the interior cladding of the villa is “stretched, folded, and wrapped”, and the “cumulative effect is an interior of unfathomable density.” In one of Loos’ Viennese newspaper article in 1910, he expressed the shift from craftsmanship to draftsmanship, and that with the obsession of producing drawings, there could be a good draftsman but a lousy architect, and vice versa. His statement relates to the current situation in today’s digital world, where the importance of a digital graphic overweighs the importance of the design. When Loos designed the interior of the space, his bodily presence made the perception of space viable, thus the execution of the claddings were developed on actual objects. In contrast, designing in the digital has shift this involvement of the body in the space, to a simulation visual on the screen. Our other senses apart from our eyes are no longer part of the experience.
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Le Corbusier uses the freedom of hand drawing to translate ideas from his mind. He embodies the process of letting the design take place in his imagination before slowly realising it on paper.
Literature Review
On his next return, he then sketched the first plan on site (second image). These drawings would mark his first initial design development. From the sketches, it is seen that the first drawings did not depict the final form of the space, rather just a scaled sketch in relation to the surroundings. 1
The time between his first and second visit allowed for his mind to create ideas and forms, which is then drawn on his second visit to the site. The next few sketches(third image) then slowly forms a more comprehensive depiction of the Chapel. From Corbusier, we can understand the use of the hand, in relation to shaping designs, leading to the process of letting the hand and mind work together. This process allows for the hand to move beyond the rational, and into “the threshold of aesthetic emotion”, or in other words, the expressions of the architect. So the final outcome does not only encompasses form, but also meaning from the architect’s mind.
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Lebbeus Woods starts off his project with sketches, followed by models, and finally finishing off with technical drawings and rendered perspectives. The key point is to note how the initial ideation has helped shape the final design of the pavillion.
Lebbeus Woods Despite the widespread of computer usage in the architectural field, Lebbeus Woods held on to his drawing methods in design. Looking into one of Woods’ built project, the ‘Light Pavilion’, which was meant to be an experimental space. The sketches and images show the various design development by Woods. From Woods’ design process, hand sketching occurs at the very start of the design process, and could be in a form of an expressive sketch with no apparent spatial qualities. It then moves on to include a 3D hand modelling process stage, before ending in digitally engineered specifications and a realistic rendering of the design. In this particular project, it is evident that CAD has played a significant role in fulfilling the technical part of the architect’s vision and ideas. However, it is more important to note that without the initial ideation through rough sketching and drawing, the finalised design might not turn out to be such an experiential space.
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Literature Review
53
The use of rendered interiors has led to the production of ‘cold’ controlled image representations of real interiors. The embodiment of life get taken away from such virtual visualisation.
Charles Jencks defines “Generic Individualism” as the reigning style in Singapore, providing examples of how buildings are appearing to be generic and unique at the same time. He then gives example of how to go beyond the generic, by elements of context and crafting known as “Personalisation.”
Rendered Interiors vs Genuine Interiors
Generic Individualism
A drawback of today’s interior imagery is that we can hardly tell the difference between an actual interior space and a photo or rendering of a space. The product of computerised methods lead to a generation of ‘photo-realistic’ imagery. The product of design becomes a mimic of the photographic imagery, thereby meaning that the way we choose to design becomes limited to the type of imagery a computer can produce.
According to Jencks, Generic Individualism is an oxymoronic combination of “generic universalism of Modernism,” with the “individual uniqueness sought in Postmodernism.” He describes the style being caused by the modern architecture of “giant-boxes, rational, productive” forms, with the “social desire for identity” in the postmodern world.
The change in interior imagery in the digital age can also be describes in the shift from real photography interiors to Computer Graphics (CG) renderings. IKEA starting using computer CG renderings from around 2006, but it was not until 2010 that they had an entire room created using CG in their catalog. A comparison is done based on a photograph of a real interior vs a CG rendering. With computer graphics, there always seems to be a certain controlled environment that differs from a realistic space. The essence of actual living in a space becomes limited when an image becomes a virtual visual simulation. The embodiment of life is lacking in these spaces are they are ultimately being designed and displayed on a 2D screen. With the increase in such ‘cold’, empty digital imagery, even photographic reproductions of the real tend to seek for such ‘minimalistic’ outlooks, and thus creating a fashion of styled and ordered interior spaces.
IKEA Kitchen Catalog 2008
One example of Generic Individualism given by Jencks is the ‘Reflections at Keppel Bay’ Condominium in Singapore by Daniel Libeskin. The first image shows a sketch by Jencks, emphasising on the repetition of vertical curtain wall facades, mixed in with a few ‘individualised’ angled twists and turns. However, when we look at the structure of the buildings closely, only the higher floors seem to allow for such ‘perspective’, whereas the lower floors just appears to be identical units stacked above one another.
IKEA Kitchen Catalog 2016/17
Personalisation Jencks gives an example of The Gardens by the Bay as a perfect display of Singapore’s idea of City in a Garden. He elaborates that it embodies the city’s purpose of having a garden amidst the urbanised landscape, and that each element in the garden reflects a plan of an orchid, the national flower of Singapore. According to Jencks, in order for a design to achieve “real artistic personalisation,” it should possess “free interpretation of both material and meaning, or spontaneous variation guided by a purpose.” The distinctions of design should represent meaning, and there should be a narrative to the overall programme of the space. At the same time, John Ruskin emphasises on the hands of man and its intended impression, that elements of craftsmanship should be present in man’s work.
(The following pages will cover the analysis section of my paper. Note that these are only a selected pool from the collection of 45 images in my paper,) 54
Literature Review
55
The first analysis method aims to identity generic interior spaces in Singapore. The following identifies similar and repeated elements across each space by using the materials and technique approach.
The second analysis method aims to identify the use of common themes that are repeated across interior spaces in Singapore using Jencks’ theory of Architectural Diseases.
Generic Interiors
Architectural Diseases
In all three figures, the use of wood appears to be used for different functions. In the first image, the majority of wood finish is seen as a floor finish, while there is also evidence of wood at the bay window.
According to Jencks, Monothematitis is the “viral repetition” of the same dominating theme, and Blasphemesis is an “iconic malapropism,” which means the misuse of iconography for the wrong message. For this paper, when put into interior terms, Monothematits refers to the recurring themes used to design interior spaces, such as ‘Industrial’, ‘Scandinavian’, or ‘Modern’.
In the second image, the use of wood is seen used on the TV console, and cabinetry at the back of the image. Wood dining furniture can also be seen in the background of the image. In the third image, the use of wood is mainly seen on the dining furniture, and also on the cabinetry at the back. Comparing all three figures, there are other similar materiality such as the presence of brick-like finishes and use of black track lighting and the use of similar black and white horizontal blinds. Another aspect to note is the form of furniture in all three images. Most built furniture such as the console, bay window and cabinetry are rectilinear in shape.
Recurring Themes The most popular interior design themes in Singapore would be Scandinavian, Industrial, Minimalist, Modern, Retro, and Eclectic. The first image seems to be a Scandinavian interior. According to Pallasmaa, Scandinavian or Nordic design holds ideas of ‘Functionalism’ and ‘Rationalism’. We can establish that Scandinavian design refers to forms that are designed for a purpose(functionality), based on reasoning and knowledge(rational) for analysis in this section. The first image appears to adhere to the idea of functionality and rationality in the choice of form and design. Although in the case of the TV console being two tiered, the bottom piece can be questioned by its functionality of support if the TV console above is supported by cantilevering from the wall. The bottom part of the console may just be designed for aesthetic reasons.
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Data Analysis
57
In order to look beyond interior productions of similar designs, this section discusses on what are the potentially less generic interiors, that embodies qualities of Personalisation (as informed by Jencks and Ruskin) Qualities of Personalisation Key thing to note in both images is that they sets themselves apart from the rest of the interiors is the lack of word choice like Modern, Industrial or Scandinavian. As most of these terms are styles of Modernism, they tend to lead to a generic, universalised outcome. In the first image, it is clear that it contains elements of the hand crafting, with a personalised painting reflected as the feature wall of the space. This sort of interior can hardly we seen in Singapore homes today. In the second image, although the element of plants are not directly interior design properties and more of a reflection of the home owner’s interest, it is still recognisable for its efforts to go beyond generic home interiors with its own style and passion. An optimal interior space should reflect at the very least the personality or style of the home owner, and not for instance the style of a modern movement. For a more comprehensive design, context from its surroundings and site can add to the richness in purpose for the proposed design. Such as if the home is situated near a park, essence of nature can be brought into the home, whether implicitly or explicitly.
Conclusion With discussions on CAD and Pre-CAD design methods, it is substantiated that there are importance in the aid of computer softwares, as well as traditional methods of hand drawing and crafting. The freedom of the hand allows for more exploration of the mind, rather than a disconnected interaction between our body and the computer. As emphasised by John Ruskin, “the hand-work might always be known from the machine-work.” It proves that there lies art in the hand-making, which the computer is unable to cognise. Theories from Jencks also helped to pinpoint the problems in today’s Generic Individualised age, with identifiers such as Monothematitis and Blasphemesis. Jencks also provided an idea of a step in advancement of the Generic, into the style of Personalisation that comprises of interpretation works of symbolism. From the paper, it can be established that in order for interior spaces or design to embody meaning and purpose, there should be evidence of craft-making, or evidence of contextualised programme to the space. CAD can be used to aid the production of finalised designs, but we should incorporate the rest of our bodily involvement in the design process or also in the production, for a better perceived design from the space to our experience. The paper proves to be crucial to the overwhelming style of the Generic, and hopes to deviate future design away from similar productions, and into a realm of personalisation.
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Data Analysis
Conclusion
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APPROACHES TO INTERIOR DESIGN
From my paper, it was analysed that interior design, based on a collection of Singapore homes, was appearing to be typical. The concerns raised were that designs used similar materiality, and were conceptually based on similar themes. I concluded that in order to break away from the production of generic designs, we should incorporate elements of craft, and/or contextual relation to the space. (See “Personalisation” by Charles Jencks, page 53) As an extension to my dissertation, I wish to explore several possiblities of “personalisation” that can be applied into interior design. My objective is to uncover the potential of the different design approaches, and to understand the virtue of using certain mediums for various purposes. The final outcomes should inform of the mediums’ specific qualities, and how they influence the way we design. For the purpose of this study, the design process is meticulously documented and can be adapted as an example method for future interior projects, or referenced in parts where applicable. (It should be noted that I am the sole participant of this experiment, and that any outcome is subjected to my personal perceptions and abilities. However, it is to my best that the approaches are carried out in the least biased manner possible.)
Chapter Overview This chapter begins with guidelines of the project, along with the deliverables
Design Parameters The following parameters are set for each design approach to ensure a fair distribution of controlled variables across. 1. The order of design tool to be tested will begin with the
for each method. Following after will be
Computer, followed by Drawing, and lastly Modelling. In order
a short site survey and client profile for
Computer will be conducted first as it ensures that there will be no
context. The next section splits into 3 stages of
to ensure appropriate collection of resource from each tool, the overlap in the bodily involvement with the space. The order of tools will correspond to a gradual addition of our perceived senses to the space. Computer –– Eyes
design development: Schematic design,
Drawing –– Hands & Eyes Modelling –– Body, Hands & Eyes
Spatial planning and Design outcome. An analysis of the three approaches
2. The controlled variable in this study will be the site and client
using Susan S. Barnard’s “Dimensions of
and the dependant variable will be the designed outcomes and
Judgement” is done at the end of each design stage.
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profile. The independant variable will be the various three methods, relative findings. 3. Each method will have to produce 3 key outputs:
a. Schematic design
The chapter ends with an overall analysis,
b. Spatial planning
providing a comprehensive conclusion.
c. Design outcome
(deliverables expanded on following page)
Design Paramaters
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Approaches to Interior Design Computer
Drawing
Modelling
Expected Output Schematic Design
1 x Set of conceptual ideas to be translated into the space.
Stages of Design Development
(As each approach has its own capabilites for producing schematic designs, this stage does not require specific outputs)
Spatial Planning Min. 3 x Spatial layout plans
Design Outcome 1 x Perspectival layout plan 1 x Sectional perspective 1 x Perspective view
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Expected Output
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Fernvale, Sengkang Singapore
E CRESE NT
(FUTURE)
(FUTURE)
Play area in the estate reflecting forms of nature
FERNVAL
FERNV
Entrance / drop-off
( U/C )
ALE LI N K ( U/C )
FERNVAL
(FUTURE)
SENGKA NG RIVERSID E PARK
(FUTURE)
SENGKA NG RIVERSID E PARK
(FUTURE)
E STREET
KUPANG (FUTURE)
ANCHO
( U/C )
M THANGGA
STREET
SENGKA NG RIVERSID E PARK
(FUTURE)
ANCHOR VA COMMUN LE ITY CLUB
FERNVALE RIVERGRO VE 471C
SEN
GKA
NG
WES
SENGKA NG FLOATIN G WETLAND
AY T W
SENG ( U/C )
Hilly and curvy tracks
SENGKA NG SPORTS CENTRE
(FUTURE)
LUSH ACRES
FERNVALE PALMS
FERNVAL
WEST
WAY
RIVERBANK @ FERNVALE
E CLOSE
FERNVA
( U/C )
( U/C )
LE LINK
FERNVALE RIDGE
FERNVALE RESIDENCE
KANG
ALE ROAD
FERNV
FARMWAY
ANCHORV
FERNVALE RO AD
FERNVALE LEA
(FUTURE)
Mushroom cafe in the nearby park
RVALE
ALE LI NK
( U/C )
PU
NG
G
PA OL
RK
CO
NN
EC
TO
R
HDB Estates
( U/C )
Condominium Recreational/Commercial Educational institutes Place Of Worship (FUTURE)
N LA
LAYAR
LE
Public Park
Site Photos
NG
KA
PEI HWA SECONDARY SCHOOL
ES
D RO
Park Connector
A
N
RV
River
HO
A W
C
AV
NG
T
AV
LRT Station
N
ST
KA
ANCHORVALE VISTA A
WE
FERNVALE RIVERWALK
E
LE
C
HO
LE
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SE
NG
U EN
NG
Estate Park
A
RV
VA
SELETAR MALL
Fruit shaped pavillion and furniture
Reserved Sites
A
RN SE
Man-made pandan leaves vs natural mangroves
Petrol Station
SENGKANG METHODIST CHURCH
E
FERNVALE GARDENS
H2O RESIDENCES
FE
FERNVA
LE ROA D
FERNVALE GROVE
EN
Bus Stop
UE
Site Map
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The client profile serves as a controlled variable for this project. Each approach has to fulfill the requirements specified by the client.
Young Couple Age: 27(M), 26(F) New 4-room BTO unit Young Couple with plans to start a family Requirements: - small kitchen space, sink and fridge, basic kitchen appliances - laundry area, washer and dryer - media room, 2 computer desks - master bedroom, king bed, wardrobe and small dresser - one guest bedroom with wardrobe - one baby bedroom with storage - small living/dining area
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Client Profile
SCHEMATIC DESIGN
(The following pages will cover my thought process through each approach in the schematic stages, before comparing and analysing them.)
The schematic process for the computer approach involves sourcing for applicable concept images according to client’s specifications from the web. These images will be used as reference when designing the interior.
Concept Images Study desk in media room, with top hung cabinets
Large l-shaped sofa with cantilivered side table
Facing linear kitchen counters with one side top hung cabinet
Full height shoe cabinet with mirror finish on doors
Wood dining table and chairs
Overall mood and tones
Feature wall for guest bedroom
Wardobe design for guest bedroom
Wall design concept for baby room
Wardrobe design for baby room
Bedhead design for master bedroom
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Schematic - Computer
Pull-out storage for guest bedroom
Cosy crib for baby room
Wardrobe concept and system for master bedroom
Dark tones color palette
Unable to source for images online, the approach* I took for the drawing method was to watercolor surrounding features to gather resources and content that can later be translated into spatial elements. The sketches below are derived from the respective watercolor paintings.
1 The HDB flat features an accent design that resembles tree roots, possibly adapting from the surrounding nature. The sketches interprets the design into simple shapes that can easily translate into spaces.
1
2 I noticed that the colors of the HDB flat corresponds with the green nature. Along with the mangosteen pavillion also found in the park, the colors present are green, orange and purple. These colors are also known as triad colors. This color principle can be applied into the design of the space.
2 3 Collection of patterns and textures. I initially wanted to capture the texture of the pavement which led to another discovery. The sketch shows my perception of the direction of brushstrokes as I was painting the plants. The patterns can be translated into the texture of interior finishings.
* Note that there are several other approaches that could have been used. This is a documentation of just one out the many possibilities.
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Schematic - Drawing
3
The process for the modelling approach was to find inspirations from the site context, and create an interpretative play of forms through various materials. These forms can be further transformed into spatial qualities in the next stage.
Exploring the forms at the entrance of the estate where varying height of vertical slats are spaced across. This model is an interpretation of the vertical lines, but with bends at different heights.
This exploratory model reflects the rustling leaves in the park. I crumbled thick tracing paper to mimic the rustic form of the leaves. The play of size and composition signifies the blowing winds in the park.
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Schematic - Modelling
This model explores the curvatures and contours of the park, with bends and slopes that is unlike any other parks in Singapore. The bands of intersecting ribbons reflect the circulatory connection of the pathways.
Before analysing the different approaches in the schematic stage, the following pages help to provide an understanding to the “Dimensions of Judgement for Interior Design Projects”1 defined by Susan Smith Barnard. This set of dimensions will be used to assess the creativity and aesthetics of the three methods.
The above diagram by Barnard shows three global-dimensions (in double circles) together with nine sub-dimensions. Based on observations, Barnard identified the relationships between global- and subdimensions.
Aesthetic Appeal
The degree to which the project, overall, is aesthetically pleasing.
Artistic Merit
The degree to which the presentation is good artistically.
Craftsmanship
The level of craftsmanship skills displayed in the presentation.
Creativity
The degree to which the design is creative, using your own subjective definition of creativity.
Complexity
The level of complexity displayed in the design solution.
Originality
The degree to which the design solution is original or unique.
Novelty
The degree to which the use of materials and/or design elements is novel.
Liking
The degree to which you like the design, based upon your own subjective reaction to it.
As this project focuses on the design development and less on the technical aspect, I will be adapting two of three global-dimensions: Creativity and Aesthetic Appeal, along with its corresponding subdimensions.
Susan Smith Barnard, ‘Interior Design Creativity: The Development and Testing of a Methodology for the Consensual Assessment of Projects’ (unpublished doctoral dissertation, Virginia Polytechnic Institute and State University, 1992) 1
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Dimensions of Judgement
Dimension Definitions
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A guide to the infographics that will be used for the approach analysis.
Sample Diagram
There will be two main diagrams that cover the two global-dimensions. Each diagram includes the rating of its corresponding subdimensions. Based on Barnard’s assessment guidelines, each dimension is given a rating system from 1(very low) to 9(very high). I will be using the same range of point system, translated into a circular diagram.
5 4
6
Aesthetic Appeal
3
7
2
8 1
Artistic Merit
Craftsmanship
9
Creativity
5 4
6
Complexity
3
7
2
8 1
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Dimensions of Judgement - Infographics
9
Originality
Novelty
Liking
81
S C H E M AT I C D E S I G N
The presentation and layout overall looks aesthetically pleasing. However, as these are just a compilation of images, it lacks in artistic qualities and creativity. It also does not attempt to create new ideas at this stage.
The drawings are aesthetically very appealing as they are hand painted watercolor images. There is a certain artistic quality to it. It shows an attempt at being creative, with original ideas adapted from its site context.
The models are aesthetically pleasing, with artistic qualities and display of craftsmanship as they are hand crafted. The models are also rated highly on creativity as the ideas and froms generated are of a certain complexity and originiality.
Aesthetic Appeal
Creativity
Artistic Merit
Complexity
Craftsmanship
Originality Novelty Liking
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Schematic Design Analysis
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SPATIAL PLANNING
(The following pages will cover my space planning process through each approach, before comparing and analysing them.)
Option 1 The layout begins with planning the space according to the specific functions in the already set out room structure. The goal was to fit the client requirements into the space.
Option 2 After establishing what needs to be in which area, for example the media room will take the place of the standard living area, I begin to start exploring possible variations by rotating certain furniture around.
The spatial planning for the computer approach begins with directly arranging the placement and layout of the furniture in the space. Due to the technical capabilities of CAD, the main concern I had while doing this was whether the furnitures are able to function according to the requirement and needs of the client. My focus becomes less on the creative side and more on the technicalities.
Option 3 The third attempt tries to break away slightly from the ridigity of the first two layouts, by incorporating more organic forms like the sofa. More rotation and shifting around of furniture is done to test a few more variations.
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Spatial Planning - Computer
Rather than jumping straight into the floor plan, the drawing method first attempts to use bubble diagrams to create the zoning of spaces. The bubbles are then translated into a skeleton of the space, before realisation the diagrams into space layouts with furniture and walls.
Option 1 The first layout attempts to combine the master and baby room together for a different variation. The dining table is also replaced with a living space that can be used for dining as well. Overall, the first option seems to be similar to the layouts proposed earlier using the computer method.
Option 2 The second option tries to combine two functions into one room, to provide a flexibility of space. A movable partition is implemented to allow for two function to occur at the same time when needed. A dining table is also included in the kitchen.
The bubble diagram above provides a rough gauge to how large the rooms should be depending on its function and importance to the client. Some spatial circulation is also established to help guide the flow of the space.
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Spatial Planning - Drawing
Option 3 The last layout experiments on the idea of moving the media room to the back of the house, allowing for a more direct flow from the living space to the guest room (less private). There was also an attempt to break away from the rectilinear walls by playing with curves and cicles.
The process for the modelling approach was attempting to create spatial elements out of the forms established in the schematic stage. The first set of models was done in 1:75 scale, to get a feel of the space, before tackling the space planning in 1:50 scale. What I noticed to be different in this approach is that instead on planning on a 2D drawing, I was able to think three-dimensionally, which the other two methods were incapable of.
The first model experiments on the play of crumbled tracing paper. The material was easy to manipulate, as it was rather stiff, so it can hold its shape to form into my intentions. The unique quality modelling was that I was able to play with the volume of the space.
The second model uses the principle of continuous vertical lines. This proved to be a complex step as it consists of designing with a detailed element. When planning in 3D, I was able to design not only the floor plan, but the walls as well.
The last model attempts to incorporate a holistic design for the space, from furniture to walls, to ceilings. This continuous motion is easily achieved when working in 3D as opposed to a flat drawing.
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Spatial Planning - Modelling
S PAT I A L P L A N N I N G
The overall aesthetics is appealing due to the refinement and the accuracy of the layout plan. However, it does not posses much artistic quality. The plan shows creativity and originality of space mostly in the media room and sofa, which seem different compared to HDB recommended layouts.
As the drawing seems sketchy and less refined, the aesthetic appeal rates slightly lower. However, it still possess a certain artistic merit. This method shows attempt at creativity, with different spatial zonings and forms of space.
The models have a higher aesthetic quality as they showcase a three-dimensional view of the entire space. The forms of the space shows high level of creativity and complexity that is selfgenerated based on the site context, making them of original designs.
Aesthetic Appeal
Creativity
Artistic Merit
Complexity
Craftsmanship
Originality Novelty Liking
92
Spatial Planning Analysis
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DESIGN OUTCOME
(The following pages will cover the qualities of each approach through the designed outcomes, before comparing and analysing them.)
The final outcome for the computer method is represented in perspectival renderings. The design choices made in this approach are mostly reference from conceptual images, and certain furniture are gathered from 3d modelling warehouse from the web.
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Design Outcome - Computer
The renderings provide a rather realistic visual to the space, allowing the clients to be able to visualise and identfy the space easily. However, the images also carry a certain artificial quality that makes the space seem stark and extraneous.
Watercolor painting is demostrated in the drawing outcomes. Overall, the outputs seem to display similar design features as the computer method, with the exception of the images being hand-painted. Sketches of patterns and color theory (triad colors) collected in the schematic stage can be seen applied in certain areas of the space.
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Design Outcome - Drawing
The visuals are less realistic, making it slightly harder to read for clients. The image possess a higher artistic value as opposed to accuracy compared to the computer method.
The outcome for the modelling approach appears to be in a more abstracted form compared to the first two methods. The play of volume and height is evident in this output, which is not present in the other approaches. The forms seems to be applied in the space more coherently as well.
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Design Outcome - Modelling
Although the play of form is evident in the final output, the model is still in an abstracted form and does not possess any final design details. The materiality of the space is not as clearly specified.
Aesthetically, the overall renderings appears to be of refined quality that clearly displays the design and intent of the space. However, as the design is based on reference images, the outcome seem to be less original and unique.
DESIGN OUTCOME
The overall aesthetics are rated relatively high due to its artistic quality. The finished output carries a high level of skill and execution. As ideas for the space are generated through hand sketching, they are interpretative works which considers to be creative and original.
As the models are displayed in a more abstracted format and does not show a finished overall design, it scores relatively lesser in the aesthetics. However, the attempt at design exploration justifies its creative aspects, being of high complexity and novelty.
Aesthetic Appeal
Creativity
Artistic Merit
Complexity
Craftsmanship
Originality Novelty Liking
102
Design Outcome Analysis
103
S C H E M AT I C D E S I G N
S PAT I A L P L A N N I N G
DESIGN OUTCOME
TOTAL POINT S (o u t o f 27)
21 9 10
Aesthetic Appeal
13
Creativity
Artistic Merit
14
Complexity
Craftsmanship
11
Originality
OVERVIEW OF ASSESSMENT
9
Aesthetic Appeal Artistic Merit Craftsmanship
Creativity Complexity Originality Novelty Liking
104
Overview of Analysis
Novelty
11
Liking
19
Aesthetic Appeal
20
Creativity
24
Artistic Merit
16
Complexity
19
Craftsmanship
19
Originality
18
Novelty
22
Liking
20
Aesthetic Appeal
23
Creativity
21
Artistic Merit
25
Complexity
19
Craftsmanship
26
Originality
26
Novelty
20
Liking
(flip out for full overview of assessment)
Conclusion Based on my assessment of the design outcomes, it can be evaluated that the modelling and drawing approach scored significantly higher in the creativity aspect for design developmental stages. As the ideas are self-generated, it gives an added quality to the design that the computer is unable to produce. However, it should also be noted that if the aim of this project was to test on the functionality and technicality of the space, it can be predicted that the computer method will fair highly compared to the other two. Refering back to the idea of “personalisation”, evidence of craftsmanship and relevance to site context are also more commonly found in the modelling the drawing method. The computer almost consist none of such qualities. In conclusion, this personal project explored on the ways of “personalisation” and gives an example of how we can push beyond the generic in interior design. By using this as a starting point, an endless amount of design variation can be developed in future projects.
My learning experience in GSA has proved to be a fulfilling journey. In Year 3, my takeaway was to allow myself to immerse and analyse projects to a point of discovery that brings new knowledge to myself and others. In Year 4, I attempted to further delve into the process of exploration and discovery, which spurred my personal project where my aim was to test approaches and discover the qualities in each method. I hope to carry my findings as I move forward in my design prospects, and also to inspire other designers to generate ideas beyond the computer more.
The Glasgow School of Art Interior Design, BA(Hons) Year 4, AY 2016/2017