The Habitat - a Temporal Home / MA Interior Design / Sakinah Nauli Siregar / Monograph
The Habitat - a Temporal Home
Foremost, I would like to thank the Manchester School of Art who has given me the opportunity and experience to be a part of the interior design master program. I express my deep and sincere gratitude to the academic staff for their generosity in giving me valu-
To my caring, loving and supportive family and friends. Your encouragement and comfort have successfully brought me to the end of my MA journey. This work is a dedication to my parents, for all your effort in providing me this opportunity. Leaving home was difficult, and in the process, I found a temporal home. To mom and dad, I wholeheartedly thank you. And finally, to the gloomy grey sky of Manchester, for your companion.
Acknowledgement
able ideas and suggestions to develop my project.
The Habitat - a Temporal Home
Word count: 3425, excluding acknowledgment, table of contents, chapters’ introduction, references and appendices.
08
Practice 1 Overview
10
Practice 2 Intention
13
Camouflage, Theoretical + Practical
16
Assimilation Through Osmosis, Camouflage 1 of 3
18
Attachment, Camouflage 2 of 3
21
a Temporal Home, Camouflage 3 of 3
29
Ways to Camouflage
34
Critical Review on Literature
36
Practical Experimentation
39
a Journey to Camouflage
42
Reflection Upon Practice
44
Camouflage
48
Futures Development
50
Table of Contents
a Beginning
a Beginning This chapter introduces initial ideas that have been established in practice 1. It contains the outline of theories and analysis from earlier researches. a Beginning also overlooks the intended development for the continuity of the project.
gninnigeB a taht saedi laitini secudortni retpahc sihT tI .1 ecitcarp ni dehsilbatse neeb evah -lana dna seiroeht fo eniltuo eht sniatnoc gninnigeB a .sehcraeser reilrae morf sisy -poleved dednetni eht skoolrevo osla .tcejorp eht fo ytiunitnoc eht rof tnem
10 / Practice 1 Overview
As a stranger in a city, we found ourselves wanted to be camouflaged. Like a chameleon, the contemporary life we are experiencing encourages us to adapt,
The Habitat - a Temporal Home
because, fundamentally, humans need to feel accepted as a part of a community, to belong, which ultimately creates a feeling of home. As established in practice 1, sense of belonging is one of the measurements of environmental quality. ‘The desire for camouflage is a desire to feel connected-to find our place in the world and to feel at home’ (Leach, 2006). In this sense, camouflage is one of the methods of fostering the void we are likely to feel in unfamiliar spaces.
Within the context of migration, I reflected on my motive for pursuing higher education abroad. Quickly, I was concerned that physical relocation could complicate the process of everyday life and affect the perception of place. In 2019, 1 in every 30 peo(International Organisation of Migration, 2020). The fact that the complexity of mobility in the world is continually escalating led me to consider similarities of issues and experiences that the students encountered. The perception is that the students in these circumstances are obliged to make adjustments to make sense of the overall experience. Towards the end of practice 1, I was able to recognise how camouflage can act as a conveyor in confronting diversity. In his book Camouflage, Leach referred to Shierry (1997); the action of mimesis is not an imitation but rather an assimilation. Through early researches and experimentation, a sequence could gradually usher people to adapt to their surroundings. Moreover, I have indicated the Manchester Community Centre to host my intention following several considerations such as the values, settings and physical form of the building.
12 / Practice 1 Overview
ple in the world left their home for another country
The Habitat - a Temporal Home
Centralised by the notion of belonging and my own experience towards it, the purpose of my practice is to bridge the gap between personalisation and space. My research is revolved around home as a place of comfort and reflecting it to the project. I will also explore the use and effect of materiality to construct a comfortable space. I embarked on practice 2 by designing the structure of the inteeach room. I also evaluated the three words strategy to strengthen the concept for the visualisation of the interior. Using home as a metaphor, I will be applying the natural composition of home to the spaces (Mitton et al, 2016). By studying negotiation between self-identity and community (Hand, 2006), I set out to create a place to camouflage. Respecting the existing environment and accommodating new objectives from the students, the interior would be a place of tolerance. Utilising camouflage, embrace, and imprint as the main elements for the design, the habitat is intended to be a temporal home for the students.
14 / Practice 2 Intention
rior to identify the connection between
Camouflage, Theoretical + Practical This chapter of the essay will encompass the sequel of the design process’ continuing practice 1. Throughout subsequent chapters, I will refer to the reflective writing as a recollection and as the orientation of the exploration that I have developed theoretically and practically during practice 2. This particular section would be articulated in order with the thinking process and would carry out the tour of the spaces sequentially.
lacitcarP + laciteroehT ,egafluomaC ssapmocne lliw yasse eht fo retpahc sihT -noc ’ssecorp ngised eht fo leuqes eht -esbus tuohguorhT .1 ecitcarp gniunit -cefler eht ot refer lliw I ,sretpahc tneuq eht sa dna noitcellocer a sa gnitirw evit evah I taht noitarolpxe eht fo noitatneiro yllacitcarp dna yllaciteroeht depoleved noitces ralucitrap sihT .2 ecitcarp gnirud eht htiw redro ni detalucitra eb dluow eht tuo yrrac dluow dna ssecorp gnikniht .yllaitneuqes secaps eht fo ruot
As mentioned in the introduction regarding assimilation as an act of imitation, I reflect on the students’ journey in encountering several challenges, particularly in the aspects of everyday habits. The emphasis of the interior would be the voyage that these students would undergo in each space. The entire process of people coming to Manthey would have towards this building. Furthermore, I was interested in the structure of home. I became aware every room leave its own impression on the occupant. And if only put together they can collectively shape home. For instance, the dining room is only a dining hall without any access to the kitchen. The presence of every room: the foyer, living and dining rooms, kitchen, bedroom and bathroom as a group have mutual support for one another. I compared many forms of home from several countries based on the number of international students in Manchester: China, India, the US, Hong Kong, and Malaysia. I was aware that the arrangement and appearance vary greatly, but the availability of access and ownership is the key to the sense of belonging.
18 / Assimilation through Osmosis, Camouflage 1 of 3
chester is comparable to the feeling
I echoed the gesture of home in establishing the interior spaces manifesting both on the process of arrival of the students and how a home has the hos-
The Habitat - a Temporal Home
pitality and compassion to greet them. By integrating the process of belongingness and assimilation, I became aware that the motion of osmosing through the spaces could give the space spirit that will generate meaning and value. As previously stated, establishing attachment requires a mutual liaison that comes from both parties: the occupant and the space. This relationship could construct the necessity of the livelihood of the structure of home where spaces ultimately become places.
As a result of osmosing through the sequence of rooms, the students will conquer the alienation and will gradually attach themselves. The configuration of space and visual accessibility between locations are central factors that influence how easy or hard it is to identify routes within a building (Kuliga et al, 2019). I was inspired by The Mediated Motion by Olafur Elliason (2001) and adopted this form to the interior. Built-in continion to every room as well as visualised as an imprinted journey to the existing building. I also explore other circulation forms by John Pawson, Sackler Crossing (2006). The bridge spans across the lake and stands very close to the water. It illustrated the bridge to be an unemphatic, agile ribbon. Furthermore, tilting the orientation layout of the interior is another way to establish a new impression within the space as building something novel. This reassembled angle fabricates an architectural statement of ‘imprint’.
20 / Assimilation through Osmosis, Camouflage 1 of 3
uous timber decking acts as a compan-
According to Leach (2006), camouflage has a broad meaning. In this project, the notion of it is interpreted in different ways into each room in the interior. Starting from the foyer until the bedrooms, I construed camouflage to each space in a different attitude. A piece of fabric acts as a companion for the rooms and this element embraces the occupant
The Habitat - a Temporal Home
and offers them a sense of closeness. Going further into the research, to observe suitable complexion, I started to analyse the characteristics of the space individually. The array of rooms allows the process of assimilation to take place. The desire to have a home is intensified following happiness. The hierarchy of needs by Maslow (1943) stated that belongingness is one of the aspects of social requirements. Taking an overview of the interview that I had with the international students in the art school, the form of home is distinctive: family, food, language, routine, etc. For the project, I attempted to bring all the aspects harmoniously into each room.
The experience of a visitor of Ellis Island was manifested in empathy identification or role adoption (Hoskins, 2011). As an immigration station for America, Ellis Island had witnessed over 100 million people with the hope of establishing new lives in the United States. I was fascinated by the footage of the immigrants arriving on the island alongside huge suitcases containing their belongings from home. They came with exceptionally diverse backgrounds and hopes to be accepted as a part of America. The circumstances that the immigrants experienced are similar to the students arriving in a soft landing for the students was crucial since it moderately affects the rest of the journey. A new cultural environment is prone to culture shock that is indicated by some characteristics such as strain or stress relating to psychological adaptation and confusion in role definition (Oberg, 1960). The foyer will be a platform for identity array and potentially allow the students to bring a piece of their home to the community. This opportunity would reduce the likelihood of experiencing culture shock.
22 / Attachment, Camouflage 1 of 3
Manchester, like landing at the building. Offering
Commencing greetings, to aid the progression of attachment towards the building, the smell of an English tea would trigger the students’ sensory experience. Pallasmaa (2012) believes olfaction is effective in indulging space better. He articulated that the sense of smell is highly responsive to stimulation. Therefore, the nose can remember better than the eyes. The dining room and kitchen as the centre of home are projected in this building. While the dining room provokes the students to reside, The Habitat - a Temporal Home
the kitchen promotes a sense of ownership of the space. Supski (2011) analysed the kitchen as home considering its manifestation in certain practices such as a central gathering place for family and friends and a place where they spent most of their time daily. The residents of the kitchen are not just the users but were intimately involved in constituting it.
Discussion in English conversation must begin with the weather. Fox (2004) in ‘Conversation Code’, a chapter in her book called Watching the English, stated that ‘weather-speak’ is a form of ‘grooming-talk’. Having a chance to live in Manchester, ly, I used the ‘weather-speak’ as greetings to people. However, introductions tend to be uncomfortable and awkward so the living room must be assembled to evade such embarrassment. Firstly, I decided to arrange the room like ‘England’. The wind and the coldness felt through the open space will activate the occupants’ sensory experience. Initially, mimicking England, the space is intended for the students to camouflage among one another through the medium of language and humour ‘…as the most noticeable and important ‘rule’ about humour in English conversation is its dominance and pervasiveness’ (Fox, 2004). The open plan layout with one focal point was arranged to respond to the objective so one person could be present throughout a group of people as this feature is rather prominent. ‘The importance of the pub in English culture can’t be over-emphasised’. (Fox, 2004). Furthermore, to ease the dialogue exchange, the opportunity for ‘pub-talk’ was offered through a mini pub and board games. This composition encourages the students to operate to get inside the stereotype of English people. Through the introduction, the jokes and the confusion this interaction would generate a place of acceptance and tolerance.
24 / Attachment, Camouflage 1 of 3
I found this very accurate and naturally amusing. Not surprising-
As a part of the assimilation, imprinting through the journey could be initiated by the action of manufacture. Wenger (1998) considers this as a social practice: being located in the joint social activity of individuals as they work together, use tools, solve problems to reify the meanings of their relationship. Involvement is crucial to promote a sense of ownership. From the Professional Platforms unit, I am operating the same system as the Women in Print (2016) illustration collection. The creation of the students is appreciated and counted as a contribution. Supporting the current sustainability issue, this building is utilising student substitution by The Habitat - a Temporal Home
using a modular system for built-in furniture such as shelving, tables and chairs. Structurally, these products are versatile and can be re-arranged. This action could trigger a mutual connection, and as well as an evidence. ‘It may be represented in the reciprocal statements “It is my group” and “I am part of the group”’ (McMillan and Chavis, 1986).
Nook at home is translated to mini-libraries as a pausing-point for people. This particular section lets people unwind the entire process of alteration. Following the end of the journey, the students could review the behaviour that they would carry out as a result of the assimilation. As a recess, I aim to let them be as relaxed as undoing their shoes and lounging on the floor so the material of the flooring would ment would intensify by engaging physically as tactility is the sense of closeness, proximity and effect (Pallasmaa, 2012).
26 / Attachment, Camouflage 1 of 3
be a notable factor. A sense of attach-
The final journey is the bedrooms. Initially, the role of the bedroom at home would be a place to sleep. Nonetheless, in the modern age people spend more of their time in it. Responding to this circumstance and the students’ wide range of backgrounds, I aspire to arrange a modular system. This layout would be able to tolerate a variety of functions. Eventually, The Habitat - a Temporal Home
the purpose of this room is to let the students end the journey by themselves as to how they started in the first place. Each room is wrapped by cloth individually as a protective blanket. I also refer to my reflective writing, where Benjamin (1979) justified that children’s creative imagination gives a greater ability to assimilate. Hence, camouflage also employed the fabric. The game of hide-andseek is relatively the idea behind the purpose and the form of the space. A substantial piece of drapery would span along the bedrooms. The textile hinders the students from coming to the space as if they vanished. By incorporating the different methods of using the fabric, I can create an appearance that is capable of disguise and protection.
28 / Attachment, Camouflage 1 of 3
As a response to the notion of camouThe Habitat - a Temporal Home
flage, the site can align the intention of bringing the outdoor environment into the interior. From the 1:100 model that I assembled in practice 1, I was able to find the connection between the building and the landscape and treat it as layers. The skin of the building is noticeably transparent with full windows where leaves from the branches of the tree could touch the edge of the window. The layer is within the front yard into the backyard of the building. As a representation of imprint, I extended the interior through the building. To fuse the outdoors to the interior, I looked up to Laban Dance Centre (2003) and Fortier Cartier (1994). This material allows reciprocal illusion to the extension and the outdoors. As an addition, I also constructed arrival posts on the front yard. These posts would be hints and clues to the interior.
To camouflage the interior inclusively, I adopted an intriguing illustration of the rainforest layers. The structure of most rainforests is divided into four layers: emergent, canopy, understory 2015). Similar to a home, every layer is distinct. However, they exist in an interdependent system: processes in each layer influence one another. The Forest Floor is the lowest layer where sometimes rivers run through and create freshwater habitats. A layer above is the understory layer where the animals would prey on their food. The canopy layer is over the understory, and its dense network of leaves and branches forms a roof over the two lower layers. Like its name, some trees on the emergent layers emerge from the other, constructing the highest point of the forest.
30 / a Temporal Home, Camouflage 1 of 3
and forest floor (National Geography,
The Habitat - a Temporal Home
I applied the composition of the layers to the rooms that are described in the previous segment. I reflected each room with its similarity with the natural character of the forest layers. As home, the forest floor is a greeting area starting from the foyer to the living room. Wood ly capable of bringing the community together. In the interior, the courtyard is not designed as obvious. Instead, as a forest floor, I determine the dining room to have the busiest traffic as the gathering point of the interior. The understory layer upstairs is where the manufacture takes place. The nook is a representation of the canopy layer as a recess. The higher level is the emergent layers where every bedroom is situated in distance to maintain privacy. By thoroughly contemplating each space individually and collectively, the final arrangement becomes a new habitat for the overseas students who are seeking shelter.
32 / a Temporal Home, Camouflage 1 of 3
(2017) argued the courtyard is effective-
Ways to Camouflage In gathering all the literature research, I obtained the data through different methods. In the completion of the theoretical facts, I also performed practical exploration in various approaches. The theories are documented in the essay, while practical experimentation is recorded with pictures. This chapter contains several strategies I have used during the research.
egafluomaC ot syaW ,hcraeser erutaretil eht lla gnirehtag nI tnereffid hguorht atad eht deniatbo I -eht eht fo noitelpmoc eht nI .sdohtem lacitcarp demrofrep osla I ,stcaf lacitero ehT .sehcaorppa suoirav ni noitarolpxe ,yasse eht ni detnemucod era seiroeht -drocer si noitatnemirepxe lacitcarp elihw sniatnoc retpahc sihT .serutcip htiw de eht gnirud desu evah I seigetarts lareves .hcraeser
36 / Critical Review of the Literature
Mind-mapping was the beginning of the whole research process. I began by breaking the definition of the words
The Habitat - a Temporal Home
and cross-correlating them. For the weekly tutorial, I had always prepared research I have reviewed in the form of journals, books or articles. Case studies were highly beneficial in visualising the concept of the project and allowing diverse ideas to be analysed simultaneously. Targeting an innovative outcome, I compared contradictory points: temporally perpetual. I eventually merged them
with
overlapping
arguments.
Qualitative research concentrates on the acquisition of data relating to experiences and opinions. In earlier research, students in the Manchester School of Art to aid my research in defining the meaning of home. This material later would be brought into the establishment of the concept. I also conducted a location survey to analyse the Manchester International Community Centre and its interior. This process is recorded through photographs, rough sketches, and notes of light conversations with the regulars and management.
38 / Critical Review of the Literature
I reached out to several international
The Habitat - a Temporal Home
Practical
approaches
through
mod-
el-making were valuable in challenging the theory into the context that I intended. I spent most of my practice forms. In practice 2, I studied the structure of the circulation and the spaces through model-making. Since I had no access to tangible material, I managed to collect the material sample through online references and collage them as a part of the materiality study. The long-distance tutorials encouraged me to emphasise the concept digitally and pushed me to express the sense of the space through illustrated collages.
40 / Practical Experimentation
1 experimenting with materials and
a Journey to Camouflage This chapter reflects on the journey of the design process. I highlight every stage that I encountered. I also articulate my response and action towards all the struggles and feedbacks.
egafluomaC ot yenruoJ a fo yenruoj eht no stcefler retpahc sihT yreve thgilhgih I .ssecorp ngised eht etalucitra osla I .deretnuocne I taht egats eht lla sdrawot noitca dna esnopser ym .skcabdeef dna selggurts
44 / Reflection Upon Practice
Regular sessions were an invaluable opportunity to discuss the progress of my practice. I was introduced to various theories that have immense potential for the project. The input of the feedback was beneficial in supporting the scheme that I brought up. The additional detailing tutorial was highly valuable for me to The Habitat - a Temporal Home
manage my design to be feasible and, if not, to contemplate alternatives. There were adjustments of existing elements because of the action I took of tilting the interior, so understanding the technical drawing and process of construction helped me to comprehend the building’s prospect in accommodating my proposed design. I completed testing time by discussions with two interior design specialists from the university. The feedback I gained from these meetings was positive and is a good marker for how far the practice has progressed. It has positively encouraged me to carry out the concept of the design that I intended.
I began the development focusing on the functions of each room and the motion that would enliven it. I have successfully applied the process of assimilation across the rooms of the interior by analysing the behaviour of people perceiving spaces. I cross-examined every aspect of the room to see how they associated with one another. I intended to use home as a metaphor for the project. ily with the scheme that I neglected the whole concept of camouflage. Regardless of the amount of time I spent concentrating on home, I was able to come back to it through the rainforest layers. On condition that I was to evaluate my process, I would start with camouflage as the core concept of the interior to generate a substantial effect on the project. Nonetheless, I endeavour to return to the notion of camouflage by applying the layers into each room that I have well established. The integrated concepts have resulted in a provoking sense of the space that is able to initiate curiosity towards the occupants. Pattilyn Crozier (2020) described I have a conceal and reveal moment going on through the spaces.
46 / Reflection Upon Practice
However, I was vastly captivated primar-
Camouflage This chapter explores the potential of the research for future development. I also briefly express how the process and the outcome influence my perception of design and my future work.
egafluomaC fo laitnetop eht serolpxe retpahc sihT I .tnempoleved erutuf rof hcraeser eht dna ssecorp eht woh sserpxe yfleirb osla fo noitpecrep ym ecneuflni emoctuo eht .krow erutuf ym dna ngised
50 / Future Development
In a way, this is just the beginning of a journey. The potential that this research has gathered would help future international students’ needs of belongingness in a strange land. This project is emphasising the ‘process’, where every room has its own story built in a sequence. As The Habitat - a Temporal Home
a designer and someone who expects this ‘process’, I thoroughly enjoyed the design process. Initially, I would like to have the conceptualised main elements of the interior to be built on a 1:1 scale to see how humans perceive it. However, due to the limitation of time and the accessibility to tools and materials, I illustrated it through the final physical model. I see the future of this project to be developed in a smaller scale, as a pop-up or even a kit that could be brought everywhere. Adopting the concept of camouflage, home could fit in a suitcase that will accompany people in strange places.
For my personal experience, I acknowledged how interior design lays between architecture and art. With my intention of becoming an architect, this opportunity encouraged me to be more sensitive and to consider human perception as the primary preference for designing a space. interested in residential design, so, going further, I would like to investigate possible applications in this context. I would start by exploring the residents’ attachment progression towards their house. Within the context of placement, I would go into more detail with challenging furniture and decorative pieces in evoking a sense of belonging. To camouflage, I will apply the same process of identification, negotiation and alteration in smaller-scale components. In the future, as human beings who are constantly on the move, moving will not be as difficult as it is today.
52 / Future Development
For my future work, I have always been
The Habitat - a Temporal Home
54 / Future Development
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john-pawson-kew-royal-botanic-gardens/ [Accessed 06 May 2020]. Frearson, A. (2016). Herzog & de Meuron’s Laban Dance Centre Captured in New Photographs. [online] Dezeen. Available at: https:// www.dezeen.com/2016/12/11/herzog-de-meuron-laban-dancecentre-new-photographs-jim-stephenson/ [Accessed 06 May 2020]. Fox, K. (2014). Watching the English. 2nd ed. Nicholas Brealey. Hand, V. (2006). Operationalizing Culture and Identity in Ways to Capture the Negotiation of Participation across Communities.
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ume 13(2), pp 133-141. Available at: https://www-tandfonline-com.
Monograph: https://issuu.com/sakinahnaulii/docs/ monograph
The Habitat - a Temporal Home
Design Report: https://issuu.com/sakinahnaulii/docs/design_report Design Journal: https://issuu.com/sakinahnaulii/docs/design_journal Technical Drawing: https://issuu.com/sakinahnaulii/docs/ tecnical_drawing Final Outcome: https://sakinahnaulisiregar.pb.gallery/thehabitat-atemporalhome
60 / Appendices
The Habitat - a Temporal Home / MA Interior Design / Sakinah Nauli Siregar / 19091746