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COLLABORATIVE COLLECTIVE COMBINED JOINT SHARED SYNERGETIC AFFILIATED CONCERTED COMMON CONSOLIDATED JOINED PUBLIC COOPERATIVE TOGETHER TOGETHER COMMUNAL HAND IN HAND MUTUAL UNITED IN SYNC PARTICIPATE UNIFIED ASSEMBLED UNIVERSAL CONCERTED CONSOLIDATED H OMOGENEOUS INTEGRATED LINKED UNANIMOUS UNDIVIDED UNIFIED CONFEDERATED AGREED ALLIED AMALGAMATED FEDERAL ASSEMBLED BANDED CONJUNCTIVE CONJUGATE INCORPORATED LEAGUED POOLED COGNATE CONCORDANT CONGRUENT CONJOINT CORPORATE IN-CAHOOTS ASSOCIATED LIKE-MINDED JOINED-UP
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Unit - 502 2015 / 2016
Figure 2 - Light from “we”, illuminating the “idea”
Figure 3 - Oscillation bench offers a public place for reflection and the exchange of thoughts.
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Studying a Bachelors of Science degree in Product design fuelled my fundamental desire to design and make objects, while an eight year career in workplace design has given me the opportunity to create exciting spaces for others to work in. I began my Postgraduate degree in Interior design, to deepen my understanding of how spaces function. This combination situates my research around the area of collaborative design and making, and to explore its effects on creativity. The question, what is an interior? Evokes a personal and emotional response that could be answered with a much wider perspective. The experience of space is how we understand what makes an interior. We each hold individual opinions of what defines an “interior”, but it is the collection of these ideas that designers use when creating a space. Giving interiors a universal language to relate to. Interiors are rarely designed to be experienced alone. Rather they are designed to be inhabited by multiple people. This can be in groups (public spaces) or individually (personal spaces). With this in mind “I” cannot answer the question effectively alone, “We” must answer it together. Artist Olafur Eliasson Claims that art and culture have proven that one can create space which is both sensitive to the individual and collectively. It’s about the way we link thinking and doing. In-between thinking and doing, is experience. Experience is not just a kind of entertainment in a non-casual way, experience is about responsibility. Having an experience is taking part in the world. Taking part in the world is really about sharing responsibility. So art, in that sense, holds an incredible relevance in the world in which we’re moving into. (Eliasson, 2009) The artefact designed alongside this essay, aims to demonstrate how our “idea” of an interior is enhanced by our cohabitation of space. It manifests this concept, by using the light produced from “I”, the individual, to enlighten the “idea”. Then demonstrates the effectiveness of how “we” enhance and illuminate that “idea” further. By casting more light on the idea, together we focus the minute details of a space. We enhance our understanding of a space. Together we make space.
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Figure 5 - Front cover of artist book
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Figure 4 - Individual artist book
Through reading and engaging in topical dialogue, five key words evolved and resonate with this project Collaboration
Making
Togetherness
Space
Cohabitation
This focus on collaboration then leads to the following key research questions: • •
How does the idea of an interior evolve when we think as a group? How has exploring new theories, impacted my thinking?
My practice based research journey, began when set the task of designing an artist’s book based on a visit to Chawton House Library. This book was to document our journey through the space and identify areas that took our interest. The book was designed to be interactive with its reader, and function like a window. Each page of the book opened out like a window revealing the next layer. On each layer were a number of smaller windows revealing landscape views encountered at various windows around the site, all visualized around two plans of the site. The idea of opening and closing the book was reminiscent of opening and closing a window. The notion of a journey through a space conjured up the image of looking through a window to see through a space. The idea was very simple, and the materials used were limited to using only two sheets of A3 paper to accomplish the book.
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Figure 6 - Work produced from creative workshop
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Further to this task, we engaged in creative workshops that were run in studio sessions. Attending one of these sessions was Eileen White, a visual artist in textiles and printmaking incorporates an interdisciplinary approach to her practice; Her artwork and designs are abstract but descriptive, all with a narrative driven by understanding a site and producing designs based on the feeling of a space. Eileen’s session proved to be a pivotal moment in my way of thinking, as she invigorated and abstracted my methods of design. She was understanding of my conservative design methodology, and encouraged a mode of creating without caring. This was a moment of inspiration for me. At first this was uncomfortable to do, but once I embraced the technique, and began working with new materials and less care of the results, I gained a rhythm of working in this way. It became extremely satisfying and fun. In my opinion the work I produced from the session was some of my best for a long time. Anthropologist Tim Ingold raises this method of progression in thinking by stating “The only way one can really know things - that is, from the very inside of one’s being – is through the process of self-discovery. To know things you have to grow into them, and let them grow into you, so that they become a part of who you are”. (Ingold, p13, 2013)
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Figure 8 - Artist book
Figure 9 - Chawton House
Figure 7 - Group artist book unfolded
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Figure 10 - Individual model and intervention
Working in conjunction with the MArch 1 Embodied Landscape studio, we embarked on evolving the ideas put into the first artist book for Chawton House. Then produced an individual intervention along with a new artist book. Through discussion and excellent collaborative working, the initial design idea for my intervention was enhanced greatly. Taking feedback on board and adapting the design to suit, my ideas were pushed beyond what I felt capable of achieving alone. The group questioned and judged me on my literal thinking, which really helped guide my thinking into a more abstract form. Peer assessment can be perceived as a negative as it evokes the feeling of competition, but in this situation it was used in a very positive manner to drive the idea further and give it greater meaning and context. Interchanging between “I” and “we” when describing projects, renowned designer Thomas Heatherwick explains, all but the early projects in his career were executed by collective thinking to develop ideas. “Thinking and experimenting together like this, we have found that we tend to guide ourselves towards ideas by finding a few key questions to ask ourselves. This is why every project in the book is introduced by one of these provocations” (Heatherwick & Rowe, 2012)
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The artefact represents an expression of the theoretical thinking established throughout the duration of this unit. Designed to demonstrate how our “idea” of an interior is enhanced by our cohabitation of space, it manifests this concept by using the light produced from “I”, the individual, to enlighten the “idea”. Then demonstrates the effectiveness of how “we” enhance and illuminate that “idea” further. A questionnaire asking; what is an interior? Was added to a poster, and left in a workplace for a week so employees could add words to the poster at their own will. The results were collated and categorised under the headings: Texture, Material, Light, Structure, Function, Senses and Emotion. A pie chart (figure 16) based on actual words written, analysed the frequency of common words used. These results formed the background image in the word “idea” on the artefact. This shows a large range of ways we individually describe an interior, which becomes more apparent when we look at a space together. Categorising the words shows commonality towards thinking of what an interior is, but the way we personally describe it differs. By combining these words in a single space, a greater appreciation towards the perception of an interior is developed. By illuminating the “idea” together, opinions of interiors are highlighted. By categorising them we identify our own thoughts “I” within grater context of others descriptions “we”.
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Figure 12 - Light test indicating required adjustments to the design Figure 11 - Categorised words pie chart
Figure 13 - “Idea� pattern design used in the artefact
Figure 14 - Prototype of artefact
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Figure 15 - Test piece
Figure 16 - Pie chart of individual words used to describe and interior
During the process of making the artefact, the concept of thinking through making was implemented. Gathering the closest available material and creating a prototype of the artefact applied this method. A general idea of how the public would engage with the piece was in mind when making the first prototype, but no drawings, measurements, or research into what the object would look like was considered. When writing about the relationship between thinking and making Ingold argues that the craftsman and theorist would approach this in differing manners. Citing Adamson (2007) he writes; “the theorist does his thinking in his head, and only then applies the forms of thought to the substance of the material world. The way of the craftsman, by contrast, is to allow knowledge to grow from the crucible of our practical and observational engagements with the beings and things around us”. (Ingold, 2013) Placing the light source on a flat surface and building the object to enclose them (figure 14), created the interior space desired. Pieces of paper with the words “I” and “WE” were positioned by testing different levels away from the light source (figure 12), until they achieved the desired light projection through the “Idea” surface, and into the blank interior space. Architect Steven Holl’s book Parallax, strongly influenced the design process and desire to use light as a vehicle of communicating the concept. He writes; “as light passes through small holes it spreads out, frays and bends. The resulting shadows do not necessarily look like silhouettes of the objects that cast them. Light bends in way that yield shadows with bright bands, dark bands, or no sharp edges.” (Holl, 2000)
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Figure 18 - Light from “I”
Figure 19 - Light from “WE”
Figure 17 - Artefact in components ready for assembly
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Once the prototype functioned in a reasonable fashion, a second iteration of the design was made. This time using dimensions established from the first attempt, and refining the overall projection of light achieved. The material used to make this version was all sourced from the scrap section of the workshop. Only the lights were purchased, and the material used for 3D printing the top and slides were utilized from home. This method added to the thinking through making experience, as the design was informed by the availability of free materials. This method was a stark contrast to my previous experience in making, where meticulous planning would have occurred long before picking up any physical material. It was a positive experience as it proved to be more efficient in terms of design revisions, which in turn saved time on the overall process. Freeing up time normally spent thinking about the design detail and spending more time on making and creating. Making rarely goes 100% according to the theoretical plan, so why would one spend longer planning than making? By making first any frustration felt by not “going as planned� is avoided. Necessary tweaks to the design are highlighted more clearly at the making stage, which wouldn’t be apparent at the thinking stage.
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FIg.20 - Being used together (WE)
FIg.21 - Used alone (I)
FIg.23 - Playing with a variety of contexts, background colour configurations and light settings
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FIg.22 - Being used in the dark
The colour white was used on the exterior of the artefact. A blank plain colour that doesn’t express what it is. The same could be said for the aesthetic of the artefact, it has no notable visual reference. Some have referred to it as robot-like. This was an unintentional result of thinking of function over form. As it happens this unusual appearance adds to the intrigue of the artefact and helps draw attention to look inside. This then fulfils the design intent; for this artefact, it truly is what’s on the inside that counts. In a video introduction to Artist Edmund de Waal’s project ‘white’ in the Royal Academy Library and Print Room, (de Waal, 2015) describes using white as a way of focusing things, concentrating them and looking at taking away extraneous. As a foreword to de Waal’s video the (Royal Academy of Arts, 2015) explains that “White is not a neutral colour: it forces other colours to reveal themselves. Its blankness suggests both beginnings and endings, while its purity evokes impossibility and obsession. As a nexus for explorations of abstraction, minimalism and the spiritual.” The placement of objects in space is vital to the experience of said piece. When exhibiting the artefact, it is intentionally placed on a round table, to encourage gathering around and experiencing it together. It should be central in the space to draw people towards in from the peripheral, and stand at about waist height, to create easy access to look inside. De Waal’s installation at the V&A gives a deeper understanding of this concept. Its’ positioning in the museum deliberately creates a draw towards the ceramics gallery. It gives the only glimpse you get of the ceramics galleries from the ground floor. The installation is in the domed roof, which is visible by looking straight up through the wooden coffered ceiling when entering from Cromwell Road.
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FIg.24 - The process of refining imagination as illustrated by Eccleston George
FIg.25 - Site image, showing the extent of vandalism
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FIg.26 - Site image, abandoned science lab
To follow on from this theory unit, we are joining the BA3 Interior design students to work on a live practice project. This project is based on the Isle of Wight, run by a collective of artist called Eccleston George. Their aim is to reutilise an abandoned secondary school on the island to create a space to help revitalise creativity in the community. Their business model is based on economy sharing, aiding creative start-up businesses accelerated growth by giving them space to work. In return the individual or business offer a service to refurbish the site in which they work. This service could range from cleaning toilets, painting, setting up websites, to carrying out necessary construction work. This model is a proven success, as Eccleston George themselves obtained their studio space in such a manner. The Brief we have established after our site visit and client meeting is to create a master plan of the site to showing how the space can function as a collaborative hub. The space must not be categorised or segregated between services in any way as the fluidity of trans disciplinary working must be encouraged. Utilizing all common spaces to create ad hoc meeting spaces, so that a meeting of minds and sharing of ideas can occur anywhere. The term “social capital� has be used to describe the sense of the environment required The site must be a place that allows ideas to happen and grow, without the restrictions of bureaucracy, which has unfortunately hampered the progress of the project so far. Currently the site requires numerous repairs due to vandalism which has taken place over the last few months. An interesting question arose when discussing this matter with fellow students. Do rules create anarchists and does anarchy create order? We hope to explore this question further throughout the duration of our practice project.
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In conclusion, an interior is an experience, which is enhanced by cohabiting a space and sharing ideas about what it is together. “I” cannot exist in a space created alone. “I” experience embodied spaces “we” create. The combined studio sessions and projects discussed in this essay demonstrate how working together to design any object or space, enhances the aesthetic and deepens the understanding of narrative and context. Therefore the experience of the designed product is given greater meaning. The process of discovering new theories and thinking through making as demonstrated by the workshop session with Eileen White and the creation of the artefact, has fundamentally altered my design practice. By working in such a manner, a sense of freedom of expression is nurtured, which in turn provides a more creative platform and enhances ideas. Experience and participation are key to evolving ones thinking; Tim Ingolds Theory of knowing from the very inside of one’s being through the process of self discovery is manifested in this journey.
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Bibliography
List of Figures
de Waal, E. (2015). White exhibition royal academy of arts. (Royal Academy of Arts) Retrieved 12 17, 2015, from https:// www.royalacademy.org.uk/exhibition/white-a-project-byedmund-de-waal
Figure 1 - Authors Own image Figure 2 - Bettinger, C. (2014). Oscillation bench. Retrieved from http://olafureliasson.net/archive/artwork/WEK109192/ oscillation-bench Figure 3 - Authors Own image Figure 4 - Authors Own image Figure 5 - Authors Own image Figure 6 - Authors Own image Figure 7 - Authors Own image Figure 8 - Authors Own image Figure 9 - Authors Own image Figure 10 - Authors Own image Figure 11 - Authors Own image Figure 12 - Authors Own image Figure 13 - Authors Own image Figure 14 - Authors Own image Figure 15 - Authors Own image Figure 16 - Authors Own image Figure 17 - Authors Own image Figure 18 - Authors Own image Figure 19 - Authors Own image Figure 20 - Authors Own image Figure 21 - Authors Own image Figure 22 - Authors Own image Figure 23 - Authors Own image Figure 24 - Imagination Refinery,. (2015). Retrieved from https:// www.facebook.com/ImaginationRefinery/photos/a.3571246578 24228.1073741827.352013625001998/357124484490912/?typ e=3&theater Figure 25 - Authors Own image Figure 26 - Authors Own image
Eliasson, O. (2009, Feburary). Retrieved from Ted Talks: https:// www.ted.com/talks/olafur_eliasson_playing_with_space_and_ light/transcript?language=en#t-477180 Heatherwick, T., & Rowe, M. (2012). Making. Thames & Hudson. Holl, S. (2000). Parallax. Basel: Birkhäuser-Publishers for Architecture. Ingold, T. (2013). Archaeology, anthropology, art and architecture. London: Routledge. Royal Academy of Arts. (2015). White - Exhibition - Royal Academy of Arts. Retrieved 12 17, 2015, from Royalacademy. org.uk: https://www.royalacademy.org.uk/exhibition/white-aproject-by-edmund-de-waal
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