Portfolio by Syazwan A.

Portfolio: Syazwan A. 2013-2020

Syazwan A.

M: +60 12 695 1180 E: info@syzwn.com W: syzwn.com

BBC SCOTLAND Oct 3, 2014 - ‘Corrour Railway Station UK’, a selected entry for ‘Your pictures of Scotland’ section.

A bi-discipline art director who began his photographic journey since his college years in Glasgow, where he found an interest in taking snapshots of his everyday life— eventually moving into architecture and fashion documentary that elevates the experience of ordinary, overlooked details and new nostalgia.

PROFESSIONAL EXPERIENCES ART DIRECTOR, NELISSA HILMAN, 2018-PRESENT Specifically assigned to navigate the brand art direction and visualise their year-round campaigns, look books and product presentation in various media format.

CAREER HIGHLIGHTS MEN’S FOLIO MAY 2020 ISSUE May 1, 2020 - Interviewee for Men’s Folio Lifestyle column ‘The Uprising Photographers That Need To Be On Your Radar’. POW DOWN 2020 22 Feb, 2020 - Interviewee for Pow Idea’s design zine under the section ‘Game Changers’. MUSOTREES MAGAZINE VOL. 4 Sep 1, 2017 - Contributing photographer and writer for ‘Nooks of Nostalgia’, a photo essay published in a Kuala Lumpur-based periodical print that explores on journey and destination. SUBJECTMATTERKL-KLAF 2017 Jul 18, 2017 - ‘Inverted KL: A psycho-geographical narrative of Abdullah Hukum’s social houses.’, a visual content presented in the format of photography for SUBJECTMATTERKL, an exhibition organised in conjunction with Kuala Lumpur Architecture Festival 2017. D+A MAGAZINE SINGAPORE ISSUE 94 Nov 15, 2016 - Contributing photographer for ‘PS156’, an editorial content published in a Singapore-based bimonthly design magazine. LONDON FASHION WEEK 2015 Sep 20, 2015 - Contributing backstage photographer for Mimpikita’s runway debut at Fashion Scout London. 2014 MOSCOW INTERNATIONAL FOTO AWARDS (MIFA’14) Oct 28, 2014 - Press release: Following an extensive process of elaborate voting and judging, the Moscow International Foto Awards (MIFA) has announced 2014 winners. Given the photographically astute and artistically insightful prestige of the elaborate jury, MIFA’14 is pleased to declare that Syazwan Asyraf was awarded Honourable Mention in a Architecture - Cityscapes Category in the 2014 Moscow International Foto Awards (MIFA’14) Competition for the winning entry ‘Budapest - A Story Of Two Separated Cities’. TELEGRAPH UK Oct 22, 2014 - ‘A Local at the Lalbagh Fort, Old Dhaka in Bangladesh’, a selected entry that appeared in the respective publisher’s photography competition.

PHOTOGRAPHER, PHOTOS © SYAZWAN A., 2013-PRESENT A progressive photographic works which firstly established in 2013 as a personal, diaristic documentation and eventually reformed into a range of fashion and architectural portfolio. Assigned for: Fashion: Bellapizo, Camel Active, Chucks, Enya, Ezzati Amira, Fiziwoo, Hani Mokhta, Mimpikita, Nelissa Hilman, Oh Sebenar, Petit Moi, Real Material, Snackfood, The Natty, Whimsigirl, Velvet Vanity, ZALORA and others. Architecture: Malaysian Institute of Architects, Mentahmatter Design, Studio Karya, W5 Architects and TRX. International: Sol & Luna Pte Ltd (Singapore) — Central Asia Tour 2019 (Kazakhstan & Uzbekistan) Featured in: Men’s Folio Magazine, Cult Creative, POW DOWN 2020, Musotrees Magazine, KLAF 2017, D+A Magazine Singapore, Wander Journals, Fashion Scout London, Moscow International Foto Awards MIFA'14, Telegraph UK and BBC Scotland. ASST. ARCHITECT, RRA ARKITEK, 2012-2013 ASST. ARCHITECT, Z&SR ARCHITECTURAL VENTURES, 2011-2012 Specifically assigned to prepare, develop architectural drawings in order to meet client’s requirements merely under the supervision of chartered architect and managed to deal with packages given by the other related subconsultants. EDUCATION BSc Arch, International Islamic University Malaysia (2011) PGDip Arch, Glasgow School of Art (2014) MA Visual Communication, MARA Institute of Technology (2017) SKILLS & SOFTWARES Art Direction, Photography, Videography, Graphic Design, Motion Graphics, Audio Mixing, Qualitative Research, Content Writing, Academic Writing, Architectural Drawing and 3D Modelling. Adobe CC (Lightroom, Photoshop, Illustrator, InDesign, Premiere Pro, Audition), Apple (Final Cut Pro, Motion, iMovie, iWork), AutoCAD, SketchUp and Artlantis.

PG Dip Arch (2013-2014) MA Visual Communication (2016-2017) Photography (2015-2020)

Inside In, Inside Out

PGDip Arch (2013-2014) Studio Work IV

‘Inside In, Inside Out’ is an abstraction for the new Scottish Landscape Institute, developed to generates a purposive relationship that reconcile both institutional and public space within the context of Argyle Street through a meticulous out-growth; consequential aftermath of two significant axis that derived genuinely from the street itself which then giving a blurred, harmonious spatial division.

This division are meant to represent an appreciation of a balance; which signifies an idea where a building will always be a part of nature, likewise that nature will always be an essential prospect in architecture realm. Such appreciation has been interpreted in design throughout the allowance of circulation which consent the movement of people (by the exposed, side-attached staircase) towards experiencing the pragmatic conflict in between internality and externality of two different spaces.

Birches, which considered as the common native trees in Scotland, are metaphorically dedicated to be a part of this abandoned railway tunnel site, which then visually soften the building’s steel-based structural through the casting of inconsistent, ever-changing descend of shadows.

PGDip Arch (2013-2014) Studio Work IV

Micro-living: How to Live More With Less?

MA Visual Communication (2016-2017) Researches

Nakagin Capsule Tower by Kisho Kurokawa Image Source: slate.com Increasing environmental consciousness, financial pressures and demographic changes are shifting housing preferences. It has been a challenge for Kuala Lumpur for several years paralleling with its vast and rapid development. Living in a high-end strata residential segments are getting popular among the city dwellers as the new buildings with unusual facades and aesthetic designs are being planned daily and expected to be sights as they dazzle in the day and night around the capital’s city (Ng, 2015).

In fact, an US-based urban development researcher Demographia has marked the city as “severely unaffordable”, even more out of reach than its neighbouring country like Singapore and Japan as a result of uncontrolled possession (Ng, 2014). Most of the dedication are now given to the super-sized living as the industry players are d r i v e n b y p ro fi t - m a x i m i s a t i o n acquisitions. Lifestyle choices remained as subjective. However, this circumstances has sounded an alarm for the growing number of young workers especially the middle income groups who are unable to cope with the emerging trend (Ng, 2014).

High-density living has always been proclaimed as a way of the future, but the future is now here and we are trapped by poor, uninviting cityliving environments (Simon, 2012). Therefore, an alternate perspective reversing the trend might be an essential matter to be studied by referencing the similar parameter of precedent cases. So, how to live more with less? —See Appendix for full text

Semiotic of Architecture: A Spatial Communication

Communication of architecture are considered as a multi-dimensional occurrence, with elements of message decoded only by a limited group of experts, and the general message understood by the vast audience. Semiotics, which have a capability in expanding the scope of its application in analysing various form of design including architecture has been further utilised in understanding in-depth spatial communication and its relationship with the contexts. Literatures and other relevant readings have been reviewed accordingly within the range of semiotics, both general and field-specified, together with the perspectives on space psychology.

A further discussion on spatial communication are meant to be explained through the analytical method, theoretical explanation on basic concepts and its significance towards the knowledge of semiotics. —See Appendix for full text

message / code / sign vehicle - media transmitter

recipient linear process

social need, investor, author architecture / building

context, users

circular (feedback) process

Figure 1. Linear and circular model from the theories of information - architecture has been recognised as a means

Linear and circular model from the theories of information architecture has been recognised as a means (medium) for conveying information (S.S Vučkovic, 2013)

MA Visual Communication (2016-2017) Researches

(medium) for conveying information (S.S Vučković, 2013)

A Visual Study on Stephen Shore’s Photo

El Paso Street, El Paso, Texas, July 5, 1975 from Uncommon Places series

MA Visual Communication (2016-2017) Researches

Photo © Stephen Shore

Communication of architecture is a multi-dimensional, with elements of message decoded only by a limited group of experts, and the general message understood by the vast audience (Gawlikowska, 2013). Communication been understood as a dynamic, constantly changing and shifting in response to the total situation (Anderson, 1959) whereby architecture, in this open definition considered as society's response to changing circumstances - of climate, economical situation, outer and inner relations, current belief and knowledge system. The out bringing of these fundamentals has established a mutual cognitives which look upon architecture as a form of communication (Gawlikowska, 2013). —See Appendix for full text

The Role of Visual Communication In Product and Service Marketing Through Instagram

action and images, or anything that does not presented in written form. Considered as a two way communication by both visual creator and their targeted audience, this practise are essentials in generating interest, curiosity, and passion for those who involves. The forms of visual communication are developed and designed in a way that recognising our vision unique ability has led various research and development sector in establishing new method of deliverance. It compromised a broad area of adver tisement, graphic, photography, and any other visual-related medium. In achieving an effective visual creation, a thorough understanding of visual perception (how people see) and visual cognition (how people think)

need to be emphasised along both ideation and development of a work (Few, 2006). Academic Discourse in Visual Communication— a course dedicated under the fulfilment of Master in Visual Communication and New Media was intentionally established to equipped the design practitioners with theories, concepts, and methodologies in valuing textual media. Through an interdisciplinary a n d c o m p a r a t i v e a p p ro a c h e s towards the subjected marketers’ Instagram, an analysis will be conducted accordingly, in respect of both visual and marketing perspectives. —See Appendix for full text

POSITIVES

Despite displaying the end product, a presentation of conceptual experimental ideas would allow audience to see things beyond the formality of the product. Here, another connection between contents has been created, visually. Such strategies are positive in influencing the consumers’ interest towards a brand. Within one product, there will be several different approaches in its visual presentation.

Instead of leaving the contents to broadcast a meaning independently, Hay Design used the advantage by establishing a visual dialogue between adjacent visuals in a row. In order to ensure its workability, an element of line, forms, space, and colours together with the principle of balance, contrast an movement need to be catered accordingly.

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!25

MA Visual Communication (2016-2017) Researches

We experienced the world predominantly through our eyes. Literally, such perception reflected clearly on a studies that been carried by Wyzowl, a creative a g e n c y, w h e r e b y t h e y h a v e indicated people tend to remember about 20 percent of what they read, and 10 percent of what they hear. The rest of it was an absolute 80 percent of what they see and do ("The Power of Visual Communication," 2015).

Conceptualising Greater KL Pedestrians’ Visual Experience Through Communicative Architecture study on this, it will create a d i f fi c u l t i e s i n e s t a b l i s h i n g a communicative essentials which are important in generating interest, curiosity and passion towards walking. A study has been carried out in one of the Greater KL’s pedestrian facility objectively to analyse the pedestrians’ perceptions and preferences together with its context by the mean of experimental research with a developed

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MA Visual Communication (2016-2017) Master’s Thesis

Qualitative data through thematic visual analysis; a form of

MA Visual Communication (2016-2017) Master’s Thesis

The assembly of modular prototyped wall 1— W: 7200 mm, H: 3200 mm (Comfort-oriented design)

(Navigation-oriented design)

MA Visual Communication (2016-2017) Master’s Thesis

The assembly of modular prototyped wall 2— W: 7200 mm, H: 3200 mm

Architecture and Places

Photography (2015-2020) —

Ísland, 2015

Photography (2015-2020) —

France, 2015

Photography (2015-2020) —

Japan, 2019

Photography (2015-2020) —

Kazakhstan, 2019

Photography (2015-2020) —

Uzbekistan, 2019

Fashion

Photography (2015-2020) —

Ezzati Amira SS 15, 2015

Photography (2015-2020) —

Mimpikita @ Fashion Scout London, 2015

Photography (2015-2020) —

Mimpikita @ KLFW ’17, 2017

Photography (2015-2020) —

Whimsigirl ‘Ingrid Collection’, 2017

Photography (2015-2020) —

Hani Mokhta ‘No Ordinary Magic’, 2018

Photography (2015-2020) —

Ezzati Amira AW 18, 2018

Photography (2015-2020) —

Fiziwoo @ KLFW ’18, 2018

Photography (2015-2020) —

Ezzati Amira @ KLFW ’18, 2018

Photography (2015-2020) —

Camel Active ‘Denim Collection’, 2018

Photography (2015-2020) —

Hani Mokhta ‘League of Your Own’, 2019

Photography (2015-2020) —

Whimsigirl ‘Linen Series’, 2019

Photography (2015-2020) —

Nelissa Hilman FW 19 ‘In Search of Escapism’, 2019

Photography (2015-2020) —

Nelissa Hilman FW 19 ‘In Search of Escapism’, 2019

Photography (2015-2020) —

Zalora ‘BFCM’, 2019

Photography (2015-2020) —

Whimsigirl ‘Picnic Collection’, 2019

Photography (2015-2020) —

Nelissa Hilman Holiday 19 ‘In The Mood for Love’, 2019

Photography (2015-2020) —

Nelissa Hilman Holiday 19 ‘In The Mood for Love’, 2019

Photography (2015-2020) —

Product: Still Life

Photography (2015-2020) —

Nelissa Hilman ‘Reconciling Subjectivity’, 2018

Photography (2015-2020) —

Mimpikita @ Fashion Scout London, 2015

Photography (2015-2020) —

Nelissa Hilman x Lana, 2018

Photography (2015-2020) —

Nelissa Hilman ‘Sunway Store Launch’, 2018

Photography (2015-2020) —

Nelissa Hilman, 2018

Photography (2015-2020) —

Nelissa Hilman x ZALORA, 2019

Photography (2015-2020) —

Nelissa HIlman, 2019

Photography (2015-2020) —

Nelissa Hilman x Zahuohang ‘Re– Collection’, 2020

Photography (2015-2020) —

Velvet Vanity ‘Reality Star’, 2019

Photography (2015-2020) —

Velvet Vanity ‘GGLO Lip Oil’, 2020

Photography (2015-2020) —

Product: Campaign

CHUCKS ‘Self-Love’, 2019

Photography (2015-2020) —

Velvet Vanity ‘Liquid Matte Lipstick’, 2019

Photography (2015-2020) —

Nelissa Hilman Holiday 19 ‘In The Mood of Love’, 2019

Photography (2015-2020) —

Nelissa Hilman x Zahuohang ‘Re– Collection’, 2020

Photography (2015-2020) Photography — (2015-2020) —

Photography (2015-2020) —

Nelissa Hilman ‘Future Step’, 2020

Photography (2015-2020) —

Nelissa Hilman ‘Re– Collection’, 2020

Photography (2015-2020) —

Nelissa Hilman ‘Re– Collection’, 2020

Appendix

Running head: MICRO-LIVING

Individual Report 2: Micro-living: How to Live More with Less? Syazwan Asyraf UiTM Shah Alam

Author Note Syazwan Asyraf, 2015947547, AD703, Faculty of Art and Design, UiTM Shah Alam An assignment submitted in partial fulfilment of the requirement for the course AMT 708 Issues on Contemporary Art and Design, Master of Visual Communication and New Media. Special thanks to Dr. Natrina Toyong for her suggestions and guidance in preparing contents for this document. Correspondence concerning this article should be addressed to Syazwan Asyraf, Department of Graduate Studies, Faculty of Art and Design, UiTM, Jalan Kreatif, 40450 Shah Alam, Selangor. Contact: syazwanasyraf90@gmail.com.

MICRO-LIVING Micro-living: How to Live More with Less? Increasing environmental consciousness, financial pressures and demographic changes are shifting housing preferences. It has been a challenge for Kuala Lumpur for several years paralleling with its vast and rapid development. Living in a high-end strata residential segments are getting popular among the city dwellers as the new buildings with unusual facades and aesthetic designs are being planned daily and expected to be sights as they dazzle in the day and night around the capital’s city (Ng, 2015). In fact, an US-based urban development researcher Demographia has marked the city as “severely unaffordable”, even more out of reach than its neighbouring country like Singapore and Japan as a result of uncontrolled possession (Ng, 2014). Most of the dedication are now given to the super-sized living as the industry players are driven by profit-maximisation acquisitions. Lifestyle choices remained as subjective. However, this circumstances has sounded an alarm for the growing number of young workers especially the middle income groups who are unable to

cope with the emerging trend (Ng, 2014). High-density living has always been proclaimed as a way of the future, but the future is now here and we are trapped by poor, uninviting cityliving environments (Simon, 2012). Therefore, an alternate perspective reversing the trend might be an essential matter to be studied by referencing the similar parameter of precedent cases. So, how to live more with less? According to Shafer (2009), “it’s not a movement about people claiming to be ‘tinier than thou’ but rather people making their own choices toward simpler and smaller living however they feel the best fits their life.” In Malaysia, micro-living (which also known as compact-living) are not equally introduced as an option of reversing trend in heavily urbanised environments which will benefits the society especially the young workers to lives in a thoughtfully-designed smaller spaces. Small by means are fewer in possession, less use

MICRO-LIVING

of land but might be optimised with more efficient, natural, health, high-quality materials that might not be affordable in larger dwellings (Schatz & Sidhu, 2015). According to Shafer (2009), all of these benefits result in less maintenance, enhancing quality time, more costeffective and a better environment.

Figure 1. Nakagin Capsule Tower (1972). In 1972, Nakagin Capsule Tower was proposed as the ‘future of housing’. This Japanese apartments represent a seemingly straightforward solution to persistent affordable housing shortages in dense growing cities. By encapsulated 140 units of 100 square feet modular homes, it has been the most appropriate way to accommodate with the rising economy of Japanese. Today, half of the occupied capsules are offices, and those units used as everything from weekend second homes to cheap primary housing. The project was defined as one of the first examples of small-plan living had gone through successful design method except for some issues on its maintenance due to its experimental construction techniques and unusual floor plan (Alcorn, 2013).

MICRO-LIVING

Figure 2. Gary Chang’s flat (2008). Been raised in Hong Kong-style high-rise in an inconspicuous 1960s era has developed architect Gary Chang’s perspective in perceiving a home. The previous household was subdivided into extremely-small rooms including three bedrooms which compromised his parents and others sisters, a kitchen, bathroom and a hallway where Chang slept on a foldout bed. Once graduated with architectural degree, he bought the place and turned the same interior into his experimental micro-space design project. Since ever then, the interior named ‘Domestic Transformer’ were conceptually formed with a time-based design, whereby the inhabitant manipulates a single space to suit various activity. Technically, it was been designed with sliding walls and other hacks to pack 24 configurations into a tiny floor plan. “In tight spaces rooms start to merge. You don’t define your home by the usual gradations: this is a living room, a kitchen, a bedroom. It’s an entirely different way of looking at a home.” , said Chang. His main idea is to merge several purposes into a single space. Beside physical, an interplay of light has taken Chang’s interiors to extents more than

MICRO-LIVING its 32 square metres standards, visually. A hazy golden light that permeates the place are capable to renders the small space aesthetically with an illusion of depth and height. These fanciful experiment of micro-living through personal intuition and technical knowledges has changed Chang’s flat into a bold prototype for the future of housing preferences (Chang, 2008).

Figure 3. My Micro NY (2015). “I think it’s a fundamental lifestyle shift,” says Carr, who grew up in Seattle. “People have different perspectives than our parents might have had. They were geared to acquire as much stuff as you can. They buy a big house and fill it up with as much stuff as they can. It’s

MICRO-LIVING

a paradigm shift. Our generation is not being geared to the acquisition mindset. It’s more normal for us being able to shift gears.” (Kelleher, 2015). In the Western world, the emergence of ‘compactness’ concept has move their designers’ old fashioned ideas into an innovative methods in enhancing minimal living within the metropolis. According to New York’s Citizens Housing and Planning Council (CHPC), which hosted the Making Room exhibition on tiny living has found that 47% of New Yorkers over the age of 25 do not live with a spouse or partner. In fact, most of the ready market were designed for families and less of the layout are sensible for adult roommates. In conjunction towards the issues, the city’s council has launched a competition called ‘adAPT NYC’ to propose new designs for one-totwo person households. The current regulation of a minimum apartment floor area of 400 square feet was waived to allow more possibilities in designing. My Micro NY, a project awarded to nArchitects studio was conceived as a modular construction in which each unit is made up of a micro-kitchen, a bathroom with a cupboard and a larger area that looks out onto a small balcony so the the apartment can adapt to the resident’s needs. In fact, this compactlydesigned space can operate as an office during the day and a living room or a bedroom in the evening or the night. In addition, the mechanism practically allowed a storage space to be accessible in a three metres high ceiling via a ladder. Overall, the design are made to compliment basic purposes of both house and office through a study of non-regular layout while maintaining the respect of human and space relationship. These 9-stories with 55 individual apartments with Juliette balconies and concealed space has attracted singles and students with tight budgets in affording it to extend their city’s liveability status (Davidson, 2015). When economies faltered, what happen to architecture? Taking a global view on micro-living offers a whole new set of insights. In fact, micro-living is not entirely new. It has

MICRO-LIVING

been emphasised back on the 70s through pioneers like Lloyd Kahn which downsizing the figure for New Yorkers based on moderation, affordability and pared-down living issues ("What Is a Micro Home? And What Does It Mean in New York?," 2015). In countering view, downsizing concept has raised some public concerns on how it will turn their life better. “Lowering the standards will not make living conditions better, in fact, the reality was only to legitimise more substandard-sized homes.”, an argument made by Nick Axel on Cloud Urbanism L Towards a Redistribution of Spatial Value (Connuck, 2016). Nevertheless, the need for small and perfectly formed spaces has become an economic and environmental necessity in high-densely cities like Kuala Lumpur and persuading designers to go further with less. Small houses, micro-living are fundamentally differed in function than the current regular-sized counterparts and must be designed with clear notions. By eliminating unnecessary design features, designers and the residences could maximise functional space by finding the hidden aesthetic (Macleod, 2015). Through forms and shapes, designers’ will realise the order of pure creation which tend to provokes emotions and the senses of beauty within it (Corbusier, 2014). How Malaysian think about the current market must change, and housing preferences need to be concerned accordingly to related issues. In conclusion, it is not just a picture on densifying the city, but to find an optimise way to live within it. How to live more with less? Less is more, as Mies van der Rohe quoted.

MICRO-LIVING References Alcorn, S. (2013). These Photos Of Tiny, Futuristic Japanese Apartments Show How Micro Micro-Apartments Can Be. Retrieved from http://www.fastcoexist.com/3017659/ these-photos-of-tiny-futuristic-japanese-apartments-show-how-micro-microapartments-can-be Chang, G. (2008). My 32m2 Apartment - a 30-year transformation: MCCM Creations; Limited edition edition. Connuck, J. (2016). Micro-Apartments: Are Expanding Tables and Folding Furniture a Solution to Inequality? Retrieved from http://www.archdaily.com/787123/microapartments-are-expanding-tables-and-folding-furniture-a-solution-to-inequality-newyork-city Corbusier, L. (2014). Towards a New Architecture. United States: Martino Fine Books. Davidson, N. (2015). Micro-flats gain favour as the answer to big city urban density. Retrieved from https://www.pocketliving.com/bucket/pocket/documents/Micro-

flats%20gain%20favour%20as%20the%20answer%20to%20big%20city%20urban% 20density%20-%20FT_5587d0449da73.pdf Kelleher, S. (2015). Living small: A micro-home is where the heart is. Retrieved from http:// www.thestar.com.my/lifestyle/features/2015/03/19/living-small-a-microhome-iswhere-the-heart-is/ Macleod, F. (2015). 5 Things Architecture Can Learn from the Tiny House Movement. Retrieved from http://www.archdaily.com/772637/5-things-architecture-can-learnfrom-the-tiny-house-movement Ng, A. (2014). Demographia: Malaysia’s residential housing market ‘severely unaffordable’.

MICRO-LIVING

Ng, A. (2015). Kuala Lumpur's Bustling Skyline and Vistas. Retrieved from http:// www.starproperty.my/index.php/articles/property-news/kuala-lumpurs-bustlingskyline-and-vistas/ Schatz, A., & Sidhu, T. (2015). Innovations in Small-scale Living from North America. Canada: Real Estate Foundation British Colombia. Shafer, J. (2009). The Small House Book (2 ed.). United States: Tumbleweed Tiny House. Simon, R. (2012). Micro-Living : Learning To Live Large In Small Spaces. (Master), Victoria University of Wellington, Wellington. What Is a Micro Home? And What Does It Mean in New York? (2015). Retrieved from http://ny.curbed.com/2015/2/23/9989166/what-is-a-micro-home-and-what-does-itmean-in-new-york

Running head: SEMIOTIC OF ARCHITECTURE

Semiotic of Architecture: The Spatial Communication Syazwan Asyraf UiTM Shah Alam

Author Note Syazwan Asyraf, 2015947547, AD703, Faculty of Art and Design, UiTM Shah Alam An assignment submitted in partial fulfilment of the requirement for the course AMT 758 Visual and Context, Master of Visual Communication and New Media. Special thanks to Prof. Dr. Mustaffa Halabi for his suggestions and guidance in preparing contents for this document. Correspondence concerning this article should be addressed to Syazwan Asyraf, Department of Graduate Studies, Faculty of Art and Design, UiTM, Jalan Kreatif, 40450 Shah Alam, Selangor. Contact: syazwanasyraf90@gmail.com.

SEMIOTIC OF ARCHITECTURE

!2 Table of Contents

Abstract

Semiotic of Architecture: The Spatial Communication

Architecture as Communicative Medium

Semiotics of Architecture

Verbal and Non-Verbal Communication

Architectural Denotation

Architectural Connotation

Architectural Spaces and the Psychological Impacts

Spatial Cognition

Space Perception and Its Implication in Design

Conclusion

SEMIOTIC OF ARCHITECTURE

!3 Abstract

SEMIOTIC OF ARCHITECTURE

Semiotic of Architecture: The Spatial Communication Semiotic are associated with meaning. In contrast with a study of naturalism and realism (the notion that images or objects can objectively depict something) and intentionality (the notion that the meaning of images or objects is being purposive by the person who created it), semiotic analysis considered as an explanation that is broader than the symbolism study. How representation, in a broader sense (languages, images, or objects) generates a certain meanings and the processes by which we grasp or attribute a meaning are part of semiotical build-up (Curtin, 2006). Therefore, semiotics predominantly enquires into the ways through which the meaning is created rather than simply investigating what it is (Parsa, 2004). Semiotics are compromised by its individuality of languages used in referring a discussion. In visual study, semiotics is a study of signs and signifying practises. A sign can be depicted as any entity (languages, images, or objects) that refers to something else. More or less, it studies a relationship between the sign and the ‘something else’ which resulted from the previously established social convention (Eco, 2005). Swastika image has been looked as one of a sample that radically establish different meanings depending on where and how it is viewed. How, rather than what, meaning is produced in before the social convention which links signs with meanings under a term called code (Potts, 1976). Christianity, for example, are coded by the cross. Not much about inhering the images or object the cross represents but more on the significance derived from cultural ideas that we have been taught, and may or may not be aware of it. Potts (1976) further explained that those signs not only mediated by conventions, but largely triggered by cultural understanding.

SEMIOTIC OF ARCHITECTURE

Semiotic studies, or semiology were discovered in the 20th century as both linguistic and science of studying the role of signs as part of social life. Founded by Swiss linguist Ferdinand de Saussure (1857-1913), who moves structuralism, a method of analysis that seeks to study and reveal the ‘deep’ structure behind the appearance of phenomena. Through the time, Saussure has variously altered and challenged the insights alongside with relevance of structuralism. In general, Saussure defined the sign as the relationship between a signifier (that which carries or produce meaning) and the signified (the meaning itself). The idea was rendered more critical by American philosopher Charles Peirce (1839-1914) who challenged the previous notion and derived a new semiosis model that functions through three, rather than two positions. The model were constructed by the sign (that which stands for something else), the interpretant (interpretation or mental image the individual forms of the sign) and the object (referent, the thing for which the sign stands) (Curtin, 2006).

I Sr Sd [Rf] S Sr = Signifier Sd = Signified [Rf] = [Referent]

O S = Sign I = Interpretant O = Object

Figure 1. Left: Saussure and his sign; right: Peirce and his model of semiosis (Fuller, 2015).

SEMIOTIC OF ARCHITECTURE

Architecture as Communicative Medium Communication of architecture is a multi-dimensional, with elements of message decoded only by a limited group of experts, and the general message understood by the vast audience (Gawlikowska, 2013). Communication been understood as a dynamic, constantly changing and shifting in response to the total situation (Anderson, 1959) whereby architecture, in this open definition considered as society's response to changing circumstances - of climate, economical situation, outer and inner relations, current belief and knowledge system. The out bringing of these fundamentals has established a mutual cognitives which look upon architecture as a form of communication. Semiotics of Architecture The cultural anthropology interprets culture as the man’s each and every intervention against natural phenomenon, which has been modified to such an extent that it can be included into a social relation (Eco, 1973). The overall history of culture can be seen, in fact, as an evolution of the communication media. Therefore, architecture is a communication phenomenon in its own right (Vučković, 2013). Such theoretical insights once discussed by Umberto Eco, an Italian semiotician, in his writings ‘Function and Sign : Semiotics of Architecture’ where he applies general semiotic theory to the question of architecture and the built environment. Eco (2005) defines “Architecture presents a special case as it is often intended to be primarily functional and not to be communicative” (p. 173). Similarly, Arnheim in his writing (1977) indicate that architecture may be interpreted as a means (medium) for conveying messages, although patterns of art tend to give shapes rather than data.

SEMIOTIC OF ARCHITECTURE

!7 message / code / sign vehicle - media

transmitter

recipient

linear process

social need, investor, author

context, users

architecture / building circular (feedback) process

Figure 2. Linear and circular model from the theories of information - architecture has been recognised as a means (medium) for conveying information (Vučković, 2013).

CONCEPT

SIGN

architecture

Building or a complex as the

“signified”, contains a set of architectural intellectuals

signifies

concepts which represent, by

F O R M

“signifier”, is a set of identifiable architectural

signifier is

tools of expression which

means of drawings,

physically embody the sign

foundations, etc., the sign of

that the building represents urbanism

the building as the signifier.

(sign of power, sign of religion, etc)

intellectual concept or idea

results in

a form of an architectural or urbanist organism

becomes

a sign (of state power, or religion, etc

Figure 3. Form within the signifier and signified. Form is a communication medium between the concept and the sign (Vučković, 2013).

SEMIOTIC OF ARCHITECTURE

Built environment, like any other usable object, gives certain information to its user; it conveys the manner in which this information should be used— denotation, “primary” architectural communication and also— connotation, “secondary” architectural communication which depending on the particular context, social and cultural, technological, geographical, economics and other conditions through its spatial and visual presence (Eco, 2005). Therefore, a design must be structured for variable primary functions and open secondary functions. A phenomenological consideration of our relationship with architectural objects tell us that we commonly do experience architecture as communication, even while recognising its functionality, regardless of any representation that bring its user to experience. Verbal and Non-Verbal Communication Architecture are qualified as communication, depending on the definition of communication it carried. In the previous days, a distinctive division have been noticed between a space known intellectually and perceived through senses which further translated into two groups of categorisation; (1) formal and discursive, and (2) non-formal and nondiscursive. Formal and discursive: meaning of architecture, as a function of language, are understandable by a narrow group of experts, familiar with architectonic discourse, as well as meanings understandable by a larger cultural group on the basis of their previous education. A formal visual language and are able to read the whole conception of design (Gawlikowska, 2013). Non-formal and non-discursive: Contradict to the formal and discursive notion, this group are more understandable by larger audience on the basis of their sensory experience within spatial realm, their emotions and on natural perception patterns. Not every experience

SEMIOTIC OF ARCHITECTURE

are analytical which can rather described as a part of unconsciousness process. For example, perception of a horizontality and verticality of a space (Gawlikowska, 2013). It also can be understood as a wordless communication. Not only building and spaces, but non-formal could cross and happened on other platforms. Speech, for example, may also contain nonverbal elements which can be adapted from the speaker’s voice quality, emotion, style, rhythm, intonation and stress. In writing, handwriting style, words arrangement are all considered as non-verbal. Hence, architectural communication which do not follow the formal discourse, falls solely under non-verbal category that has allowed it to maintain a lot of communication capacity. Similar to body language, spatial arrangement come in clusters in its understanding. By means, understanding the whole is more reliable than decoding elements individually. Further similarities includes message cultural dependency, ambiguity, impact on behaviour and influence on the judgement. Despite the rules overlap, architecture communication is often similar to a certain extend the human non-verbal communication. An clear reference of human body position, which is characterised by taking space (spreading hands, large personal space), communicates dominance and control. Similarly, architectural structures which are constructed as spread construction, or verticality, create an conscious or unconscious association of control and dominance over space . Other gesture, open or closed body movement can be also compared with architectural structures communication openness and transparency which are opposing the closed and controlled (Gawlikowska, 2013).

SEMIOTIC OF ARCHITECTURE

!10

Figure 4. Large distance and spread construction create an automatic association of control and dominance (of political power). Pentagon, Virginia. Source: www.dhr.virginia.gov

Figure 5. Sense of openness decoded through the usage of majorly glass panels which allow the inner and outer contextual relationship. Apple 5th Ave, New York. Source: commons.wikimedia.org

SEMIOTIC OF ARCHITECTURE

!11

Architectural Denotation

Figure 6. A stair, or ramp denotes the possibility of going up which existed through architectural codification. Left: Superkilen, Copenhagen; Right: Lansdowne Drive staircase by Bell Philips Architect. Source: www.dezeen.com In communicative capacity, an object in use considered as a sign vehicle of conventionally denoted meaning— its function. It had been said that the first meaning of a building what one must do in order to inhabit it denotes— a form of inhabitation. Windows as example, in their form, number, disposition on a facade (portholes, curtain walls, etc,)— may denoting a function, refer to a certain conception of inhabitation and use as they might connote an overall ideology that informed the architect’s operation. Regardless of round or pointed arches, all these function in the load-bearing sense and denote the function, but they might connote a diverse ways of conceiving the function (Eco, 2005). A stair, or ramp denotes the possibility of going up which existed through architectural codification.Whether it is a simple set of steps in a garden or a grand staircase, one finds oneself before a form

SEMIOTIC OF ARCHITECTURE

!12

whose interpretation not only involves a codified connection between the form and the function but also conventional conception of how one fulfils the function with the form. Eco (2005) once stated that the principle ‘form follow function’ might be restated in a way “the form of the object must, besides making the function possible, denote that function clearly enough to make it practicable as well as desirable” (p. 178). Architectural Connotation Besides denoting its function, the architectural object could connote a certain ideology of the function and other things as well. Cave, as a reference of architecture beginning, existed to denote a shelter function, which later begun to connote a visual of ‘family’ or ‘group’, ‘security’, and ‘family surroundings’. Therefore, in connotative nature, this symbolic ‘function’ of the object, be less functional than its first function. Strongly build with the respect to life in society, the object would be any less useful in terms of its ability, as a symbol, to connote such things as closeness and familiarity. Connotation, from semiotic point of view, could be founded on denotation of the primary object, but that would not diminish its important (Eco, 2005). Denotatively, a sit communicates that a person could sit down on it. But, in other cases where it was a special seat, like a throne, it must do more than seat a person; perhaps it serves to seat somebody with a certain dignity, to corroborate and celebrate its user’s ‘sitting ind dignity’ purposes. All the decorations and accessories sign connoting a certain dignity. Therefore, the regales quality can become more functionally important than the basic function.

SEMIOTIC OF ARCHITECTURE

Figure 7. The social and cultural representation on the windows are more functionally important than its basic function (ventilation, lighting, etc.). Tower of David, Venezuela Source: www.divisare.com

!13

SEMIOTIC OF ARCHITECTURE

!14

Architectural Spaces and the Psychological Impacts Spatial Cognition Everybody require spatial knowledge of our environment in order to complete their daily essentials. Most of people do spend the optimum part of their day in a built environment. Thus, much of their thought about space is directly cross linked with the architectural and urban form of their surrounded by. How does the forms, or any related representation affect individual spatial knowledge of a place? These questions have been discussed through numerous studies, concentrated and circling around spatial cognition, which intimately connected to cognitive science. Spatial knowledge, a domain that is commonly obtained through first-hand experience with an environment or through use of representation of that environment. Due to this phenomenon, the issues of embedded action and cognition arise in the study of spatial cognition (Bag, 2012). Space Perception and Its Implication in Design Dana (2013) considered perception as the ‘interface’, or our first contact with the surrounding environment where we will interact with the space. In order to progressively influence our (humans) connectivity with the space, the attempt to establish such relationship becomes essential to identify what perception really is. This branch of studies, which involved mainly in the field of space psychology, are refining a further concept, highlighting upon the distinction between cognition and perception. Sometimes of inclusion and other times they are seen as two separate and alternating processes. Cognition comprise all forms of knowledge: thought, imagination, reason, memory and meanwhile, perception cannot be overlooked, therefore, in this instance, it is a form of figurative knowledge. From this point of view, the knowledge of the surrounding environment can be acquired in more than one ways and perception is just one of them. In an alternate

SEMIOTIC OF ARCHITECTURE

!15

perspective, perception are more likely been influenced by cognitive fundamentals of the individual. These can influence the selective ability of perception and thus the image to be constructed is being refined and selected through the filter of attention. Hence, perception are easily defined as subsystem but remain as a process of cognition too (Hart & Moore, 1973).

Figure 8. The relationship between perception and cognition (Pop, 2013).

SEMIOTIC OF ARCHITECTURE

!16 Conclusion

Based on the reviewed literatures, it indicates that architectural space were ascertain in establishing a communication based on semiotical build-up and transmission. However, it remained as variable when it comes to discourse one’s spatial cognition and perceptions, as well as the broader understanding of it. In order to achieve a notion stability, it need to be influence by observers’ reception and their interpretation capacity. Nevertheless, semiotical discussion are still relevant in communicating with vast audiences and causing emotional reaction. Thus, making it especially suited for communicating feelings and attitude regardless of its physical representation. In conclusion, architectural meaning are unable to be decoded independently as it has to be well-associated with its spatial value, functionality, history, as well as the social, cultural and the other relevant conventions.

SEMIOTIC OF ARCHITECTURE

!17 References

Anderson, M. P. (1959). What is Communication? Journal of Communication, 9(5). Bag, J. (2012). The Architectural Spaces and Their Psychological Impacts. Paper presented at the National Conference on Cognitive Research on Human Perception of Built Environment for Health and Wellbeing, India. https://www.academia.edu/6253327/ The_architectural_spaces_and_Their_psychological_impacts Curtin, B. (2006). Semiotics and Visual Representation. Retrieved from http:// www.arch.chula.ac.th/journal/files/article/lJjpgMx2iiSun103202.pdf Eco, U. (1973). Kultura Informacija Komunikacija. Canada: Quickhatch Books. Eco, U. (2005). Function and Sign: The Semiotic of Architecture. In N. Leach (Ed.), Rethinking Architecture : A Reader in Cultural Theory. London: Routledge. Fuller, R. (2015). David Scott’s Semiotics. Retrieved from http://thedsproject.com/portfolio/ david-scotts-semiotics/#_ftnref4 Gawlikowska, A. P. (2013). From Semantics to Semiotics - Communication of Architecture. Architecturae Et Artibus - 1/2013, 50. Retrieved from http://www.wa.pb.edu.pl/ uploads/downloads/Artykul-4--1---2013.pdf Hart, R., & Moore, G. T. (1973). The development of spatial cognition: A review. Parsa, A. F. (2004). Visual Semiotics: How Still Images Mean? Interpreting Still Images By Using Semiotic Approaches. 849. Pop, D. (2013). Space Perception and Its Implication in Architectural Design. Acta Technica Napocensis: Civil Engineering & Architecture, 56(2), 213. Retrieved from http:// constructii.utcluj.ro/ActaCivilEng/download/atn/ATN2013(2)_18.pdf Potts, A. (1976). Sign Critical Term for Art History (pp. 74-93). London: University of Chicago Press.

SEMIOTIC OF ARCHITECTURE Rudolf, A. (1977). Estetika i teorija informacije priredio Umberto Eko: Belgrade Prosveta. Vučković, S. S. (2013). Architectural Communication: Intra And Extra Activity Of Architecture. SPATIUM International Review, 29, 68-74. Retrieved from http:// www.doiserbia.nb.rs/img/doi/1450-569X/2013/1450-569X1329068S.pdf

!18

Assignment 1: Semiotic of Architecture: A Visual Study on Stephen Shore’s Photo

An Assignment Submitted to The Faculty of Art and Design UiTM Shah Alam

In Partial Fulfilment of the Requirements for the course AMT 758 Visual and Context Master in Visual Communication and New Media

By Syazwan Asyraf 2015947547 AD 703

Nov 2016

El Paso Street, El Paso, Texas, July 5, 1975 from Uncommon Places series. Photo © Stephen Shore Introduction

Semiotics of Architecture

Communication of architecture is a multi-

The cultural anthropology interprets culture as

dimensional, with elements of message decoded

the man’s each and every intervention against

only by a limited group of experts, and the general

natural phenomenon, which has been modified to

message understood by the vast audience

such an extent that it can be included into a social

(Gawlikowska, 2013). Communication been

relation (Eco, 1973). The overall history of culture

understood as a dynamic, constantly changing and

can be seen, in fact, as an evolution of the

shifting in response to the total situation (Anderson,

communication media. Therefore, architecture is a

1959) whereby architecture, in this open definition

communication phenomenon in its own right

considered as society's response to changing

(Vučković, 2013). Such theoretical gesture are once

circumstances— of climate, economical situation,

explained by Umberto Eco, an Italian semiotician,

outer and inner relations, current belief and

in his section ‘Function and Sign: Semiotics of

knowledge system. The out bringing of these

Architecture’ where he applies his general semiotic

fundamentals has established a mutual cognitives

theory to the question of architecture and the built

which look upon architecture as a form of

environment. “Architecture presents a special case

communication (Gawlikowska, 2013).

as it is often intended to be primarily functional and #2

not to be communicative”, defined Eco in the same

Photographer, such as Stephen Shore has

article (Eco, 2005). Similarly, Arnheim (1977)

adopted a radically different critical position to

indicate that architecture may be interpreted as a

their subject matter which has inspired in

means (medium) for conveying messages, although

interpreting work of modern and contemporary

patterns of art tend to give shapes rather than data.

architects, providing layers of narrative and meaning to the physical space as a way of

“Not an object, but a field of relationships.” (Saieh, 2009)

understanding the architect’s intentions in relation to the lived reality as metaphors for the society that

Built environment, like any other usable object,

inhabits it (Pardo & Redstone, 2014). Shore, who

gives certain information to its user; it conveys the

were once an intern at Warhol’s factory has

manner in which this information should be used—

produced and documented various series of his

denotation, “primary” architectural communication

whole journey across America— works were made

and also— connotation, “secondary” architectural

from his experience, his life, his perspective at that

communication which depending on the particular

moment. Those interests in ordinary scenes of

context, social and cultural, technological,

everyday life has further uprises him to be one of

geographical, economics and other conditions

the pioneered fine art photographer that work

through its spatial and visual presence (Eco, 2005).

almost exclusively in colour back in 1970s. From

Therefore, a design must be structured for variable

colour photos of motel rooms, streets, bars, parking

primary functions and open secondary functions. A

lots, and the seemingly unmemorable objects and

phenomenological consideration of our relationship

experiences, Shore’s photographs are remained to

with architectural objects tell us that we commonly

be a great reference for American still imaging

do experience architecture as communication, even

("Stephen Shore," 2016).

while recognising its functionality, regardless of any representation that bring its user to experience.

Uncommon Places (1974), a photographic series that marks the moment at which Shore passed from

Stephen Shore ‘Modern Perspective in

under the house of Warhol and into the house of

Photography and Architecture’

Evans. Plus, it was a point where his camera no

Since the earliest days of architecture,

longer pointed at a single thing - a building, a bed,

photography has been the most willing accomplice

a toilet. Those are the time when Shore seen a

through its unique ability to observe, record and

picture in more formal terms, using one point

document the complex environment in which we

perspective or diagonal lines receding to a horizon,

live. Such understanding has allow photographers

or diagonal coming into the corner of the frame, or

to further communicate the wider truths about

little things extended out in from the side of the

society as it stands in a direct opposition to

frame (Shore, 2005). The photos produced under

conventional notions of architectural photography;

the series once described as expressing a “willed

that is, photography with the function to describe a

objectivity” (Crair, 2013). They were vast,

building accurately so as to be understood and

impersonal spaces, as though the viewer might

appreciated by as wider audience (Pardo &

wander into those 8x10 piece and claim if for

Redstone, 2014).

themselves. El Paso Street, El Paso, Texas, July 5, 1975— a photo o a street intersection in El Paso, a

man standing on a corner in the foreground seems to proved it.

Shore’s El Paso Street, El Paso, Texas, July 5, 1975 are strongly associated with his own framing theory. The structure “begins with the frame and

“Your mind can see it as flat and three-dimensional at the

works inwards.” (Shore, 2007). A photo where

same time. If a photograph is convincingly telling your mind to

primarily dominated by architectural features which

create a three-dimensional image, there’s a sensation as you’re looking at it of your eyes re-focusing, as though they were actually looking at something further away.” (Shore, 2005)

leads the viewers in deriving a “secondary” communication through a medium called ‘photograph.’

Denotatively, this visual depicted a street corner in El Paso back in the 1975. A view of an American suburban streetscape— something that a viewer could relate with his/her cognitive domain and general knowledge— window panes, road-crossing, stores, etc. In a glance, nothing is happening. Even the traffic appears to have stopped flowing and its intersection seems to be empty. A man with a couple of paper bags, dressed in a crippled shirt and extra long pants, in the posture of waiting and opposing another guy who leans against a “one way” sign that seems to be in no hurry to cross. A row of tenements are made visible on the background with multiple textual signages indicating the function of the stores and buildings. Everything in the picture is totally ordinary. Just like thousands of others street corner. For its photographer, he thought it was an “uncommon place.” Later revised and expanded, this work has hugely influence in defining a new way of seeing the American streetscape in sharp and detailed colour. The precision of Shore’s framing, made possible by an 8x10-inch camera mounted on a tripod, gives a scene a heightened sense of reality, with everything in the picture equally present and available for critical observations. “In some images, the frame acts as the end of the picture. But often with the view camera, the frame is not the end but the beginning of the picture. It’s as though the photographer starts

“Just as I was talking about having a mental image when you’re looking at the world, when you look at a photograph you also have a mental image.” (Shore, 2005)

“Secondary” communication— connotation pertains to the reading of complex types of messages which the architecture communicates as a product of complex cultural relations. It works like a mass communication, as such, it communicates in a multilayered manner, leaving possibility for different interpretations and meanings (Stevanović, 2011). All these physical entities that presented in the photo— the shape of windows on the facade, colour of the buildings, form of signages and its mutual relations do not denote only the function (“primary” communication) but also point to a certain concept of living and edifice utilisation, they connote a particular ideological idea of living which the architect communicates (Eco, 2005). In that sense, the overlapping of codes from different cultural system through a metaphoric transposition, together has constructed some mental image in its viewer’s mind— a retrospective scene of a classic American suburban, or anything similar. Not to be perceived as anything from any Asian streetscapes, for example, as it is not contextually related to the respective photo. Progressively, this one-point perspective are

with the frame and builds the picture in from the

strongly directing viewer’s attention towards the

frame.” (Shore, 2007)

crippled shirt man, deducting the dominancy of the leafless tree on his left. Self-posed on the edge with #4

his back turned to the viewer, head angled toward the shadowy void of the intersection. By steering closely the details, there are a traffic sign indicating ‘No Walk’ which makes the man halted at the edge of the street. Overlooking a drugstore, with the ‘Drugs’ words referring to a specific emphasis. Crumpled shirt, viewed as an unorganised personal, or might seem as an unorganised living due to a certain lifestyle he lead. Negative posture, ‘Drug’ signage and in-decision to cross the shadowy void seems to signifies an open, or closed connotation of decision making, perceived with the respect of the viewer’s cognitive domain, societal and cultural convention (Vučković, 2013). Conclusion The duality of denotation/connotation (“primary” and “secondary” architectural communication)— one of semiotic postulates taken from Umberto Eco who viewed these type of communication as a semiotic phenomenon has theoretically in conjunction with cultural context thus significantly relevant in deriving a certain experience of perceiving regardless of medium it signifies. Such framing by Shore in his El Paso Street, El Paso, Texas, July 5, 1975 photo are made not only to be visible as a vintage, flat image of a streetscape. Perhaps, it might be understood as a sign, or a sign system which creates and transmit meaning as a result of concepts and ideas by the architect, which later signified through the photographer’s lens. As quoted by Shore (2007), “ …the frame is not the end but the beginning of the picture.”

References Anderson, M. P. (1959). What is Communication? Journal of Communication, 9(5). Crair, B. (2013). 'Then I Found Myself Seeing

26, 20-25.

Retrieved from http://

www.doiserbia.nb.rs/img/doi/1450-569x/ 2011/1450-569X1126020S.pdf

Retrieved from https://

Vu č k o v i ć , S . S . ( 2 0 1 3 ) . A r c h i t e c t u r a l

newrepublic.com/article/115243/stephen-shore-

Communication: Intra And Extra Activity Of

photography-american-surfaces-uncommon-

Architecture. SPATIUM International Review,

places

29, 68-74.

Pictures All the Time'.

Eco, U. (1973). Kultura Informacija Komunikacija. Canada: Quickhatch Books.

Retrieved from http://

www.doiserbia.nb.rs/img/doi/1450-569X/ 2013/1450-569X1329068S.pdf

Eco, U. (2005). Function and Sign: The Semiotic of Architecture. In N. Leach (Ed.), Rethinking Architecture : A Reader in Cultural Theory. London: Routledge. Gawlikowska, A. P. (2013). From Semantics to Semiotics - Communication of Architecture. Architecturae Et Artibus - 1/2013, 50. Retrieved from http://www.wa.pb.edu.pl/ uploads/downloads/Artykul-4--1---2013.pdf Pardo, A., & Redstone, E. (2014). Consturcting Worlds: Photography and Architecture in the Modern Age. Munich: Prestel Verlag. Rudolf, A. (1977). Estetika i teorija informacije priredio Umberto Eko: Belgrade Prosveta. Saieh, N. (2009). ORDOS 100 #9: Sou Fujimoto. Retrieved from “ In some images, the frame acts as the end of the picture. But often with the view camera, the frame is not the end but the beginning of the picture. Shore, S. (2005) An Interview with Stephen Shore/ Interviewer: N. Sheldon & R. White. American Suburb X, America. Shore, S. (2007) The Nature of Photographs/ Interviewer: L. Snte. (Vol 185), Aperture Magazine. Stephen Shore. (2016).

Retrieved from https://

www.artsy.net/about S t e v a n o v i ć , V. ( 2 0 11 ) . C u l t u r a l B a s e d Preconceptions In Aesthetic Experience Of Architecture. SPATIUM International Review, #6

The Role of Visual Communication in Product and Service Marketing through Instagram

An Assignment Submitted to The Faculty of Art and Design UiTM Shah Alam

In Partial Fulfilment of the Requirements for the course VCM 713 Academic Discourse in Visual Analysis Master in Visual Communication and New Media

By Syazwan Asyraf 2015947547 AD 703

Jun 2016

CONTENT 1. Introduction

2. Research Background

3. Problem Statement

4. Aims And Objectives

5. Limitations

6. Delimitations

7. Literature Review

7.1. Framing Theory

7.2. Visual Branding

7.3. Instagram in Marketing

7.4. Design Elements and Principles

7.5. Daylighting in Architectural Photography

8. Visual Analysis

8.1. Reference 1: Joy Design, Malaysia

8.2. Reference 2: HAY Design, Denmark

8.3. Progression

9. Proposal 9.1. Proposed Visual Contents

30 30

10. Conclusion

References

1. INTRODUCTION We experienced the world predominantly through our eyes. Literally, such perception reflected clearly on a studies that been carried by Wyzowl, a creative agency, whereby they have indicated people tend to remember about 20 percent of what they read, and 10 percent of what they hear. The rest of it was an absolute 80 percent of what they see and do ("The Power of Visual Communication," 2015).

Visual communication, generally perceived as a deliverance of information and ideas in both visual and contextual form that can be read and looked upon. Understanding its fundamental will enhanced one’s ability in recognising and understanding ideas conveyed through visible action and images, or anything that does not presented in written form. Considered as a two way communication by both visual creator and their targeted audience, this practise are essentials in generating interest, curiosity, and passion for those who involves.

The forms of visual communication are developed and designed in a way that recognising our vision unique ability has led various research and development sector in establishing new method of deliverance. It compromised a broad area of advertisement, graphic, photography, and any other visual-related medium. In achieving an effective visual creation, a thorough understanding of visual perception (how people see) and visual cognition (how people think) need to be emphasised along both ideation and development of a work (Few, 2006).

Academic Discourse in Visual Communication— a course dedicated under the fulfilment of Master in Visual Communication and New Media was intentionally established to equipped the design practitioners with theories, concepts, and methodologies in valuing textual media. Through an interdisciplinary and comparative approaches towards the subjected marketers’ Instagram, an analysis will be conducted accordingly, in respect of both visual and marketing perspectives.

2. RESEARCH BACKGROUND In recent years, social media has become increasingly popular as a business and communication tool. The methods and approaches in communicating with consumers have changed significantly with the emergence of the respective platform which have been developed as an avenue where marketers could extend their marketing campaigns to a wider area of consumers (Mangold & Faulds, 2009). According to Chi (2011), “social media marketing, in other words, provides meaning and connection between brands and consumers and offers a personal channel and currency for user-centred networking and social interaction.” Described with a variety of new sources of online information, this form of media have become a major factor in influencing various aspects of consumers’ behaviour including awareness, information acquisition, opinions, attitudes, purchase behaviour and post-purchase communication and evaluation (Pavel, 2013).

Instagram, known as one of the recent social media tools available in the market. Officially launched in October 2010, Instagram has gained 1 million users within its first month, and keep expanding ("Instagram," 2015a). Technically, this mobile app allows it users to capture and share images with followers in an intuitive interface. The mechanism of simple finger gesture, such as double-tap for “liking” feature and ability to quickly scroll through a feed of brands makes the experience near effortless. It also gives brand marketers an ability to share their advertising collateral in an organic way. Regardless of regions, Instagram has become a pioneer in photosharing medium.

Malaysian market apparently developed in a fast pace. With new businesses been established everyday, the competition among the online marketers are even contended. The market, which sprawled with both well-known and newly product brands has brought the attention of both marketers and consumers in appraising the content, both informatively and visually. Based on a conducted studies, approximately 19.2 out of 29.6 millions Malaysian are using the internet and 5.5 millions of those figures are the Instagram users. Generally, a user spent an average of 19.8 hours each week browsing through the platform. In percentage statistic, 90% of Malaysian users visit social media sites and 60% of Malaysian web users have interacted with a brand via social media ("Malaysia Social Media Statistics 2014," 2015). This interactions has marked a diverse implication of Instagram as a medium for marketing within the society and how those contents need to be

optimised efficiently in order to improvise marketers-consumers engagement and their product experiences. “Each platform has been created with a specific purpose for specific people with a distinct feature.” - Robert Katai

As 93% of all human communication is practically non-verbal, a communicative studies within a visual content will be an essential in any products and services marketing.

3. PROBLEM STATEMENT Every businesses want the ability to stand out on Instagram regardless of what they are selling and also to be insight in a simpler way. Like words, graphics and images can be powerful tools but they must be used with great care to enhance, not detract from a company’s content marketing (Frey, 2015).

However, some marketers in Malaysia seems to neglects the importance of design principle and elements within their visual presentation. Due to confusing and poor-quality visuals, the marketers’ intentional value was not delivered and appreciated by the consumers resulting a negative perception toward the brand itself. These common mistakes will eventually diminishing the effectiveness of the contents.. The mentioned problems are not limited to a certain kind of products. Perhaps, it ranging across anything that were made available through out the social media.

Joy Design, a Malaysian-based furniture company has become extensively popular among interior and home decoration enthusiast. Despite their quality of locally-made product, the utilisation of visual possibilities are bounded by their poor contents strategies. The issues of inconsistency, non-relevancy and design control arise within their Instagram content. By referencing HAY Design, an interior company from Denmark as a part of this comparative studies, a new framework of visual communication will be proposed in order to improvise the interior-based marketers’ contents strategies in drawing the consumers’ attention towards their social media.

4. AIMS AND OBJECTIVES This research aims to identify the problems related to visual communication within interiorbased marketers’ social media and its significance in the marketing prospect. Beside that, there are several objectives need to be accomplished which are:-

To analyse and evaluate the existing social media contents with both perspectives of visual communication and marketing through a comparative studies.

ii. To identify and formulate an appropriate solutions based on the design theories and principles.

iii. To establish a set of guidelines in proposing visual contents through Instagram.

5. LIMITATIONS There are several potential weaknesses encountered during the research. Due to limited space of their warehouse, Joy Design was unable to contribute their product for the photo assignment. Eventually, the original proposed space has been arranged in a way that is not suitable for a proper commercial photo assignment. Plus, the warehouse internally been painted with dark colour which does not reflects the original conception of the proposal, which is the utilisation of available light, or daylighting to be specific.

6. DELIMITATIONS The most important classification of light in photography is the division between available light and artificial light. For this respective studies, available light or daylight has been selected as the light source in producing the final visual contents, in a concentration of living and dining interiors.

7. LITERATURE REVIEW 7.1. Framing Theory According to Chong and Druckman (2007, p. 104), the major premise of framing theory is that that an issue can be viewed from a variety of perspectives and be construed as having implications for multiple values or considerations. It also referring to the process by which people develop a particular conceptualisation of an issue or reorient their thinking about an issue.

In the field of communications, framing theory provides meaning to events or issues by organising “everyday reality” (Chong & Druckman, 2007, p. 105). Certainly the theories believe a relationship exists between media consumption and human behaviour on some level (Baran & Davis, 2012). It was significantly important to communications literature as they help researchers or analysers to identify trends, compare media coverage, and examine the variations of messages across media. In fact, framing theory meant to guide communicators to understand the way in which companies brand themselves. It has been used as a theoretical basis for many studies of media’s effects.

Researchers can examine variations framed in messages in small stories individually and understand the meaning of issues throughout the stories. This means that framing can be analysed to study branding on social media by looking at the variations of messages on the visual content and social media to understand the brand as a whole. According to Wasike (2013), “In a broad sense, framing refers to the selection of certain aspects of reality in order to make them more salient in a bid to promote a desired interpretation”. This statement indicates that researcher can study the aspects that were chosen to appear on social media sites as explicit choices with desired interpretations and uses to understand one’s brand and its strategies on Instagram.

7.2. Visual Branding

A research has been conducted previously in studying the visual brand relationship with consumers’ engagement through Instagram communication. In reference to Maria (2015), who !7

had conducted the research, “an understanding on visual communication can be approached through the area of images interpretation, images composition, and images aesthetic and visual literacy.”

7.2.1. Interpretation of Images

Visual communication can affect a person both affectively (emotionally) or cognitively (logically), and may even stimulate both reactions in the viewer simultaneously (Sojka, 2006). Visual communication is in essence information conveyed to a recipient through images, where the creator of the image has created and framed an image subject specifically to communicate something through a chosen medium, which the viewer of the image then interprets and understands through personal filters which are made up of personal experiences, cultural and social backgrounds as well as attitudes (Jamieson, 2007).

According to Fahmy, Bock and Wanta (2014), most people are inclined to process and remember information either more visually or more verbally depending on personal cognitive processes. However there are people who seem to respond best to a mix of the two. Therefore, the effect of visual messages on consumer behaviour, attitude and recall is largely connected to one’s personal inclinations. This means that visual communication is not necessarily equally effective for everyone, and in all contexts, which may be useful for brands to keep in mind when creating visual brand messages.

Perception is also considered to be a creative process where the viewer associates the content to various ideas and concepts, but also relates to the image itself and its creator (Jamieson, 2007). But each viewer will interpret the same image in different ways, not necessarily with great variation, but nevertheless its meaning to each viewer will be established individually (Jamieson, 2007). For brands communicating using visuals, this implies that the message they encode the image with will not necessarily translate through as intended to each user. Therefore again the importance of examining users' reactions and engagement with various visual content is crucial in determining what works best within a specific target group. Furthermore the importance for brands to understand and know their target users is apparent; without knowing the users' preferences and attitudes they cannot necessarily communicate content that will be understood correctly by the users. !8

No image will be universally interpreted the same way by all viewers, however cultural and societal norms create a framework with the help of which intended image meaning can be correctly interpreted.

7.2.2. Image composition

When an image is created, the creator tries to infuse the image with ideas, creativity and a message that hopefully will be understood by the viewer as the creator intended it to be (Smith, Moriarty, Kenney, & Barbatsis, 2004). The composition of the image itself is crucial; besides the material choices, colours and layout play a large role in the communication effect (Jamieson, 2007). Framing is often discussed in visual communication, and refers to how an image is framed, for example what the photographer chooses to include in the photo or which images are chosen for an article.

As the eye can only look one way at a time, it also focuses on one main area at a time with the background becoming of less importance. In imagery, when a composition of an image is clean and clutter-free the eye concentrates on the main subject of the image instead of its attention being drawn to multiple things, and the viewer is more aware of what he sees and why (Jamieson, 2007).

Studies have additionally shown that when viewing news pages, readers notice photographs in order of size, from largest to smallest. Larger image size has also been attributed to more positive consumer attitudes towards a brand and higher recollection (Rossiter, 1982). Instagram however requires all photos to be cropped into the same size, which means no image will take prominence over others. Moreover, there is no way to make sure a certain post will appear first in a user's feed. With this aspect of visual communication eliminated within the scope of Instagram, the content of each post becomes that much more important.

According to Rossiter (1982), presenting images before text is beneficial for recognition and recall and allows the image to tell the accompanying story. This point is relevant when studying Instagram, as the image is always displayed before the caption or comments related to it. This might imply that using high imagery visuals on Instagram !9

would receive better attention and recall by users, and be more effective. These two sections have discussed the effects of images on perception and interpretation, as well as the effect that the image composition itself holds. Below, the concepts discussed above have been summarised into a simplified model to help illustrate the sometimes complicated concept of visual communication.

Image Creator

Medium

Image Viewer

Creates and encodes image

Platform in which image is

Decodes, interprets and

with desired message

conveyed to the viewer

applies meaning to image

(e.g. brand)

(e.g. Instagram)

through personal knowledge and experiences (e.g. user)

Figure 1. Simplified overview of the essential components of visual communication.

7.2.3. Aesthetic

In comparison with textual communication, visual communication and images require a certain level of inspection and focus that text does not (Jamieson, 2007). As discussed above, visuals act as a catalyst for thoughts and associations brought up by the image;, that is, the image directs the viewer to associate with things outside of the frame of the image. At the same time, however, the aesthetic aspect of images require that the image itself be analysed for what it is and not for what it stands for, which often evokes more of an emotional response in viewers (Jamieson, 2007). The image itself, as a work of art, should not be underestimated in the context of visual communication.

According to Jamieson (2007, p. 85), ”Aesthetics resides in the viewer not in the image; the image, one could say, is the prompt, the viewer is the respondent". What is judged as aesthetically pleasing differs from person to person, as the notion is shaped by personal, subconscious preferences as well as cultural influence (Smith et al., 2004). This response requires the individual to find relationships between what is seen and what is familiar from before, to establish some pattern or order in the visual (Jamieson, 2007).

The person's perception of an image and the mental form it takes in the mind is central to how aesthetics are felt (Jamieson, 2007). This process, experienced mostly on !10

subconscious levels, and the feelings evoked by it, leads to an ‘aesthetic experience.’ The complex process of analysing image aesthetics highlights the deep subjective nature of the phenomenon, which in the context of this study means that what kind of visual brand content users prefer to engage with on Instagram will vary from one individual to another, although some generalisable aspects will likely arise from the study, as discussed above with the cultural and societal frameworks with respect to interpretation.

Also regarding aesthetics, the medium in which the image is created and displayed adds limitations to how far the creator of the image can go. As discussed, Instagram crops all images to the same size and offers the same amount of filters to all users for editing, which limits the display possibilities of the image. However, as Jamieson (2007) also points out, limitations created by the medium at the same time allow and call for creativity in order to stand out. When the image is thoughtfully created to convey some meaning or message, as well as aesthetically well thought out, chances are it will engage more viewers and capture their attention and consequently their interest. Aesthetics do not usually result in physical responses, such as stopping at a red light in traffic, but rather lead to mental and emotional responses that are much harder to observe (Jamieson, 2007), but arguably leave a more lasting impact than purely symbolic imagery does.

7.2.4. Visual Literacy

Understanding the nature of images, how they convey meaning, how they can present arguments, and yes, how they can be enjoyed, is no longer the province of elite art critics. (Fahmy et al., 2014). It is knowledge critical to all occupants of the contemporary media environment”. What visual literacy exactly entails and how it is learned is not entirely agreed upon in academia, but images are nonetheless influential in ways that text is not. Seeing an image instantaneously conveys an idea, concept or subject to the person viewing it (Jamieson, 2007), at the same time evoking emotional responses and triggering imagination before logical reasoning (Fahmy et al., 2014). Being able to 'read' the image for the codes it consists of, as added by its creator, makes for a more visually literate consumer.

Visuals are used in advertising both online and in traditional media quite extensively and although it can be agreed upon that visuals do have an effect, it is interesting that not !11

much is known about visual communication effects on consumers in an interactive setting. As much as visuals are part of our everyday lives in newspapers, television, the internet and certainly social media, there are however many aspects still unexplored and unknown about the field. Especially as it comes to online and social media settings, visual effects on consumer’s behaviour need more research (Fahmy et al., 2014).

7.3. Instagram in Marketing

Initially designed for mobile use, Instagram has differentiated itself from the other social media platform (Walter & Gioglio, 2015) and only later adapted to the web as well. As retracted from their website, ”We love taking photos. We always assumed taking interesting photos required a big bulky camera and a couple years of art school. But as mobile phone cameras got better and better, we decided to challenge that assumption” ("Instagram," 2015b). Nowadays, Instagram is looking to become a firm fixture on brands’ media as it continues to roll out advertising in users’ feeds (Benady, 2015).

With Instagram feature, users are allowed to take and share their photos anywhere and anytime and reversely for users to consume and engage with others on the go (Walter & Gioglio, 2015). It also means that brands can reach users anywhere and anytime relatively easily and quickly. From a brand perspective, tapping into this media will triggered many benefits as long as the brand's presence fits into the overall aesthetics and feel of the service (Peters, Chen, Kaplan, & Pauwels, 2013). By expressing more on the personal side, those brands are now allowed to present a broader story of their products and services which later personalising the brand in the eyes of user making it more personable and approachable. As the result, communication between user and brand are now even easier (Walter & Gioglio, 2015).

As mentioned by Instagram’s Head of Brand Development in European regions, Tracy Yaverbaun, "We want to work with everyone. Any brand that has a visual representation of themselves – we would love to see them on Instagram. Even brands with low interest.” It was supported by Leo Burnett, their global head of social and mobile, who think Instagram ads that feature images without text could offer big possibilities (Benady, 2015). “Atmosphere in social is important and users need to feel comfortable,” he explains. How this development will affect users’ engagement with brands and the platform itself, if at all, remains to be seen. !12

7.4. Design Elements and Principles

In engaging with visual analysis, both design elements and principles need to be insight accurately. Design elements are the building blocks of visual literacy. Meanwhile, design principles are the ways those building blocks are used (Robert, 2016). By applying design principles, a connection between visual design of a content with the audience’s perception are created and the cognitive value underlying the visualisation is meant to convey (Agrawala, Li, & Berthouzoz, 2011).

Design Elements: Point, Line, Shape, Forms, Space, Colour, Texture Design Principles: Emphasis, Balance, Contrast, Repetition, Movement, Harmony, Unity

7.4.1. Design Elements

Point

A point or mark is the smallest and most basic element. These can vary in size, value, regularity or irregularity, and can be used alone or as a unit in a group which forms a line or shape in the image. Marks can be used to form a value or pattern (placed close together forms a darker value, further apart forms a lighter value), or to delineate space (larger means closer, etc.).

ii. Line A line is a form with width and length, but no depth. Designer use lines to create edges, the outlines of objects. The direction of a line can convey mood. Horizontal lines are calm and quiet, vertical lines suggest more of a potential for movement, while diagonal lines strongly suggest movement and give more of a feeling of vitality to a picture.

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iii. Shape Shape is an area that is contained within implied line, or is seen and identified because of colour or value changes. Shapes have two dimensions, length and width, and can be geometric or free-form. Design in painting is basically the planned arrangement of shapes in a work of art. In a picture, the shapes that the designer has placed are considered the positive shapes. The spaces around the shapes are the negative spaces. It is just as important to consider the negative space in a picture as the positive shapes.

iv. Forms Form describes volume and mass, or the three dimensional aspects of objects that take up space. Forms can and should be viewed from any angles.

v. Space Actual space is three-dimensional volume that can be empty or filled with objects. It has width, height, and depth. Space that appears three-dimensional in a two-dimensional painting is an illusion that creates a feeling of actual depth. Various techniques can be used to show such visual depth or space.

vi. Colour Colour has three properties. The first is hue, which is the name of the colours. The primary hues are yellow, red, and blue. Secondary colours are made by mixing two primaries. Intermediate colours are mixtures of a primary and adjacent secondary colour. The second property of colour is value, which refers to the lightness or darkness of hue. The third property of colour is intensity, which refers to the purity of the hue (also called “chroma").

vii. Texture Texture refers to the surface quality, both simulated and actual, of artwork.

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7.4.2. Design Principles

Emphasis

Emphasis is used by designer to create dominance and focus in their work. Designer can emphasise colour, value, shapes, or other art elements to achieve dominance. Various kinds of contrast can be used to emphasise a centre of interest.

ii. Balance Balance is a psychological sense of equilibrium. As a design principle, balance places the parts of a visual in an aesthetically pleasing arrangement. In visual images, balance is formal when both sides are symmetrical in terms of arrangement. Balance is informal when sides are not exactly symmetrical, but the resulting image is still balanced. Informal balance is more dynamic than formal balance and normally keeps the learner's attention focused on the visual message. There are three main types of balance, horizontal balance, vertical balance, radial balance.

iii. Contrast Considered as the juxtaposition of opposing elements (opposite colours, value light / dark, direction horizontal / vertical). The greater the contrast, the more something will stand out and call attention to itself.

iv. Repetition Repetition works with pattern to make a design seem active. The repetition of elements of design creates unity within the artwork.

v. Movement The way the artist leads the eye in, around, and through a composition. The path the eye follows. Motion or movement in a visual image occurs when objects seem to be moving in a visual image. Movement in a visual image comes from the kinds of shapes, forms, lines, and curves that are used.

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vi. Harmony Harmony in visual design means all parts of the visual image relate to and complement each other. Harmony pulls the pieces of a visual image together. Harmony can be achieved through repetition and rhythm. Repetition reemphasises visual units, connecting parts and creating an area of attention. Rhythm is the flow depicted in a visual. Rhythm helps direct eye movement. Patterns or shapes can help achieve harmony.mBy repeating patterns in an interesting arrangement, the overall visual image comes together.

vii. Unity Unity means the harmony of the whole composition. The parts of a composition made to work together as a total visual theme. Unity is the relationship among the elements of a visual that helps all the elements function together. Unity gives a sense of oneness to a visual image. In other words, the words and the images work together to create meaning.

7.5. Daylighting in Architectural Photography

Conceptually, no photography without light – this much is evident simply by dissecting the word photography on the etymological level. Liz Well (2006), who analyses the role played by light as the working material of contemporary photographers described that light renders things visible, creates pictorial atmosphere and adds drama, provides information about the time of day and the season, and offers clues about the photographic location. Light gives shape to the detail of observational images and may also be used for dramatic effect.

“Whether you are a designer, architect, or owner of a commercial space, the environment you want shot reflects your unique vision and this needs to translate into compelling, inviting images that showcase key elements of the space.”, defined Lisa Russman (2014) in an interview with Curio Electro web-based journal. “Light is a critical tool in creating drama and visual interest in an interior, and I will utilised natural light as much as possible.”, she added. One of the key factors to consider when shooting an interior is how to light the scene (Humprey, 2014).

The relationship between that pictured and metaphoric affects, is a matter of individual style and also of the purpose or context for which the photograph or series is intended. Time of day, season, climate and weather all influence angle, colour and intensity of natural light. In pre!16

visualising images, photographers consider the visual possibilities of particular light characteristics (Wells, 2006).

Figure 2. Downtown Bogota - Interior series by Miriam Bleeker.

Figure 3. DElle Decoration Dk Marts 2015 by Brunner Studio.

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8. VISUAL ANALYSIS Joy Design, a Malaysian-based furniture company has become extensively popular among interior and home decoration enthusiast. Despite their quality of locally-made product, the utilisation of visual possibilities are bounded by their poor contents strategies. The issues of inconsistency, non-relevancy and design control arise within their Instagram content. By referencing HAY Design, an interior company from Denmark as a part of this comparative studies, a new framework of visual communication will be proposed in order to improvise the interior-based marketers’ contents strategies in drawing the consumers’ attention towards their social media. Search

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Figure 4. JoyDesign 9-grids visual contents on Instagram. (Left) Figure 5. HayDesign 9-grids visual contents on Instagram. (Right)

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8.1. Reference 1: Joy Design, Malaysia

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POSITIVES Simply-designed contents with the use of light colours and typography. Created as an textual component which provide consumers with an informative thoughts. Reserved some void spacing upon the grids.

NEGATIVES A daily-updated type of content. Eventually, this will create an excessive amounts of redundant feeds which will effect the core subject of the market. Currently, it has took over 2/3 at least at the first 9-grids of one scrolled screen. This will affect the consumers’ emotion and expectation (Sojka, 2006), especially for those consumers who are really looking up just for the product.

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POSITIVES An interlude contents that works as the third components of the grids besides graphic design and product photos. A good strategies in providing consumers some other engagement perspective.

NEGATIVES Composed as an interlude, this type of content should be designed in a way that could make a state of unity rather than being as an independent subject. Elements of line and space were not properly implemented resulting a visual discomfort (Jamieson, 2007). This issue can be insight through the photo on the left whereby the placement of both items in the photo was uncertainly offset from the principle composition.

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Main subject been emphasised.

Typography visibility affected. Secondary subject affecting composition.

Figure 6. Joy Design’s HANDWORK Armchair.

ANALYSIS SUMMARY A good implementation of minimal movement, which reflects the marketer’s profiling in designing a contemporary furniture. The understanding of contents' colour and contrast has created some quality toward the product itself. Most of their products’ photo were dominantly presented and emphasised. Lines were established in three direction which has improved the content’s visual movement and harmonious state. However, there are certain aspects that not well-covered within the marketer’s content strategies. Here, an issue of content’s spacing was detected. The product’s 'imaginary' space seems not to be utilised accordingly. The placement of secondary matters affecting the whole composition. Due to that particular issue, it contributes to an unbalance centre of attention. Lastly, typographical issue. As detected clearly in this photo, the placement of the typography seems to indulged within the carpet's material colour which has affected its visibility, especially those with the thin letterings.

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8.2. Reference 2: HAY Design, Denmark

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POSITIVES Instead of leaving the contents to broadcast a meaning independently, Hay Design used the advantage by establishing a visual dialogue between adjacent visuals in a row. In order to ensure its workability, an element of line, forms, space, and colours together with the principle of balance, contrast an movement need to be catered accordingly.

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POSITIVES Despite displaying the end product, a presentation of conceptual experimental ideas would allow audience to see things beyond the formality of the product. Here, another connection between contents has been created, visually. Such strategies are positive in influencing the consumers’ interest towards a brand. Within one product, there will be several different approaches in its visual presentation.

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POSITIVES Perfectly cropped to highlight the colours harmony of their product’s design.In this visual, the condition of texture are well-presented. The volume are visible, due to the great notions of depth and shadows. Here, it act as an element that creates a dynamic stance to it adjacent visuals.

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POSITIVES Such strategies whereby there are no redundancies. Different angles been projected for each presented visual in a way intentionally to influence consumers’ emotions towards their visual presentation. Beside emotional, such presentation were positive as the marketer’s product can be previewed from various perspectives.

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Conceptual / Impression

ANALYSIS SUMMARY The overall visual contents shows some values of visual appreciation within the marketer’s blueprint. Such visual narrativity has been created with an acknowledgement of design’s fundamental elements and principles whereby it require certain studies in before the production of the visual work. Apparently, Hay Design has established its own visual branding and let their consumer to see things beyond the formality of the product. Despite their comprehensive visuals, the company are lacking in textual component in balancing their overall contents.

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8.3. Progression

Design is thinking made visual.

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9. PROPOSAL 9.1. Proposed Visual Contents

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VISUAL NARRATIVITY Let the visual do the move. Such narrativity could be achieved by studying the purposes and significance of each adjacent photos in Instagram. Not only visually connected, but the informations contained in it. From this framework, an engagement between the visual and consumers will be established in an way that consumer creatively will explore those related contents that been framed by the marketer, with purposes.

Photo: Editorial

Photo: Product 1

Graphic: Layout

Photo: Product 1

Movement of consumers, literally been structured in a way that they will engaged with each photos that contained the same product with a different visual presentation. By creating such relation, every visual will be functional and appreciated.

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AESTHETICALLY DETAILED For marketers, Instagram seems like an online catalogue for the consumers. It is always the best to provide them with both aesthetic and technical detail of a product in order for their better understanding about the product functionality. Design is a creation with function. Hence, such communication are essentials.

Photo: Product 2

Photo: Detail

Photo: User Experience USER-EXPERIENCE How the product will be purposed? Any uncertainty with measurement, ergonomics, and any functionality related could be c a t e r e d w i t h i n i n t e r i o r ’s marketers visual contents strategies.

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CONCEPTUAL WITHIN FORMALITY Despite the usual promotional advertisement, a conceptual approach might attracts not only the brand’s consumers, but also exposing it to a wider range of audience. This approaches will break the formality within the furnitures’ market. By the use of the appropriate typography fundamental, a visual-textual advertisement will create such personalisation towards a brand.

Graphic: Ads

Photo: DIY Idea

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PROPOSED VISUAL 1: CROSS-RELATION This visual work was proposed in response towards the previous issue arising on Reference 1 which is the usage of redundant typographical content within their Instagram. This piece was designed by cross-relating both interior’s product and scenic French landscape. The intersection was intentionally made in embracing the quality of the rug’s texture towards the beauty of nature. Centrally composed, warm colours with a stance, diagonal lines, minimal typography with movements, balance in spacing, everything was been made in compromising both design and marketing aspects.

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PROPOSED VISUAL 2: DAYLIGHT FOR INTERIOR This visual work was proposed in response towards the previous issue arising on Reference 1 regarding the content's spacing. In most situation, arrangement of product will indicate the efficiency of the visual outcome. Therefore, a prior acknowledgement is needed in before the visual work. In this proposal, daylighting has been selected as the source of lights as it will render things visible, creates pictorial atmosphere, and provide the information of time and day. This is the place to live. At the foremost, all consumer need is an actual sensation of an interior. Visually emphasised by the sofa, the rest of the subject remained as a background which blends in perfectly with the whole concept.

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10. CONCLUSION

People are bounded by communication. Regardless of time, such understanding creates a new possibilities everyday (Jamieson, 2007). Through a detailed studies and appropriate implementation, tendency for consumers to be visually-connected with a media product and its underlying information will be enhanced. As for the design sectors, an in-depth consideration towards the products’ narrativity are significantly important in ensuring both design and marketing efficiency. Therefore, constructing a pertinent, relevant visuals for the product need to be schemed concurrently with the rest of the built marketing strategies. This also signifies that visual communication has its own important in creating a better engagement in between brands and their users.

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REFERENCES Agrawala, M., Li, W., & Berthouzoz, F. (2011). Design Principles for Visual Communication. Communication of the ACM, 54(4), 60. Baran, S. J., & Davis, D. K. (2012). Mass Communication Theory: Foundations, Ferment, and Future (6 ed.). United States of America: Wadsworth. Benady, D. (2015). Instagram steps up advertising offensive.

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www.campaignlive.co.uk/article/instagram-steps-advertising-offensive/1328970? src_site=mediaweek# Chi, H.-H. (2011). Interactive Digital Advertising Vs. Virtual Brand Community : Exploratory Study of User Motivation and Social Media Marketing Responses in Taiwan. 12, 44. Chong, D., & Druckman, J. N. (2007). Framing Theory. Annual Review of Political Science, 10(103-26), 104. Fahmy, S., Bock, M. A., & Wanta, W. (2014). Visual Communication Theory and Research : A Mass Communication Perspective. United States: Palsgrave Macmillan US. Few, S. (2006). Visual Communication : Core Design Principles for Displaying Quantitive Information. 5. Frey, C. (2015). Experts Share Visual Content Mistakes to Avoid.

Retrieved from http://

contentmarketinginstitute.com/2015/01/visual-content-mistakes-to-avoid/ Hellberg, M. (2015). Visual Brand Communication on Instagram: A study on consumer engagement. (Master Degree), Hanken School of Economics, Helsinki. Humprey, C. (2014). Architectural Photography. Digital Photographer, 106. Instagram. (2015a). Retrieved from https://instagram.com/press/ Instagram. (2015b). Retrieved from http://instagram.com/about/faq/# Instagram steps up advertising offensive.

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1328970/instagram-steps-advertising Jamieson, H. (2007). Visual Communication : More than Meets the Eye. Bristol: Intellect Books. Malaysia Social Media Statistics 2014. (2015).

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2015/03/malaysia-social-media-statistics-2014.html Mangold, W. G., & Faulds, D. J. (2009). Social media: The new hybrid element of the promotion mix. Business Horizons, 52, 357. Pavel, C. (2013). Social Media - An Important Part of the Promotional Mix. Quaestus Multidisciplinary Research Journal, 1(3), 7. !37

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infographic-the-power-of-visual-communication.html Robert, R. (2016). Viscom Elements and Principles. Retrieved from http://helveticamediuma.com/ common/theory/espsvcdindex.html Rossiter, J. R. (1982). Visual Imagery: Applications to Advertising. Advances in Consumer Research, 9(1). Russman, L. (2014). Behind the Scenes: A Conversation with an Interior Photographer. Retrieved from http://curioelectro.com/interior-photographer Smith, K., Moriarty, S., Kenney, K., & Barbatsis, G. (2004). Handbook of Visual Communication: Theory, Methods, and Media: Routledge. Sojka, J. (2006). Communicating through pictures and words: Understanding the role of affect and cognition in processing visual and verbal information. Athens: Wiley Periodicals, Inc. Walter, E., & Gioglio, J. (2015). The Power of Visual Storytelling: How to Use Visuals, Videos, and Social Media to Market Your Brand (1 ed.): McGraw-Hill Education. Wasike, B. (2013). Framing News in 140 Characters: How Social Media Editors Frame the News and Interact with Audiences via Twitter. Global Media Journal - Canadian Edition, 6(1), 5 23. Wells, L. (2006). Writting With Light. Daylight & Architecture(4), 35.

!38

Conceptualising Greater Kl Pedestrians’ Visual Experience Through Communicative Architecture Syazwan Asyraf Raja Ahmad Shah

Ruslan Abd Rahim

Faculty of Art and Design Universiti Teknologi Mara (UiTM) Shah Alam, Malaysia syazwanasyraf90@gmail.com

Faculty of Art and Design Universiti Teknologi Mara (UiTM) Shah Alam, Malaysia rusr2001@yahoo.com

Abstract— Pedestrian network, just like the other parcel of built environment, it meant to communicate the information it contains. As the country moves toward a developed status, Kuala Lumpur has experienced rapid development which has left a city that is, in many respects, disjointed and lacking in visual and physical coherence. As the issue were less prioritised and there are limited study on this, it will create a difficulties in establishing a communicative essentials which are important in generating interest, curiosity and passion towards walking. A study has been carried out in one of the Greater KL’s pedestrian facility objectively to analyse the pedestrians’ perceptions and preferences together with its context by the mean of experimental research with a developed exploratory sequential method of both quantitative and qualitative. A set of control and experimental group has been formed which resulting several concentration on the significance of visual interest and its causal impact towards pedestrian walking motivation.

that there are no sense of continuity between the networks which might influence the public route choice regardless of their purposes to travel. By acknowledgement, Park and Schofer [7] believed that some of the existing designs were independently designed to serve its function, merely for safer crossing, weather protection, and personal safety but remained uncertain in creating a relationship between design and context.

Keywords— pedestrians, visual experience, communicative architecture, perception, preferences, movement.

I. Introduction Kuala Lumpur has been considered as one of the most inhabitant state capital in Malaysia with the estimated population of 1.73 millions in a covered area of 243 km2 up until 2015 [1]. In a bigger picture, the city’s urban elements are being replaced with modern structures and standardised images of global universal characteristics, which has brought its urban compound to the next stage as the persuasion of the current global competitiveness [2]. As the country moves toward a developed status, Kuala Lumpur has experienced rapid development which has left a city that is, in many respects, disjointed and lacking in visual and physical coherence [3]. The respective city council even stated that there has been a decrease in the legibility of the city structure together with a certain loss of continuum and sense of identity. While the other urban elements are well-provisioned, consequentially there are major deficiencies, especially in the city centre, which pedestrian environment was thought to be inefficiently designed, poorly maintained and has poor accessibility [4; "DBKL: Kuala Lumpur Structure Plan 2020," 2004]. In fact, these could be one of the grounding which had influenced people preference to drive cars rather than walk since the beginning of millennium [5]. In reference with Faudziah Ibrahim [6], the pedestrians often discovered

Previously, several studies on Kuala Lumpur’s pedestrian facilities had been conducted, whereby it concentrating specifically on the public perception towards the provided facilities within the city’s centre. In 2012, one of the study generally uncovered the comfortability issues of the city’s existing pedestrian sidewalk and how it will affect the commercial scene of the researched area. It was founded that safety is the most important factor for overall participants but the younger users would prefer aesthetic and amenities to be proposed within the street [4]. According to Juriah Zakaria and Norsidah Ujang [8], “a safe and pleasant pedestrian environment may influence the public choice to experience the city on foot with ease and comfort” [9p. 651]. Therefore, an attractive appearance are necessary in providing a pleasant travel experience as most of the pedestrian are not satisfied with the existing condition of the sidewalk [4]. In the same year, a long-term programme had been initiated between Dewan Bandaraya Kuala Lumpur (DBKL) and private sector in refining the current situation. These sector planned to construct a total of 4.5 km of covered and elevated pedestrian linkage specifically on the highest pedestrian volume of major nodes in Greater KL [10]. Bukit Bintang - KLCC Pedestrian Walkway — a shaded and dedicated pedestrian walkways provided at Jalan Bukit Bintang and KLCC which constructed as a 1.173 km long pedestrian facilities connecting people to the important Greater KL’s commercial districts. The covered walkways are designed in such way to provide shelter from the harsh tropical climate. In other cases, the five foot corridor along mainly old shop houses able to provide shaded linkages for pedestrians to move from one place to another despite their bad conditions. Such functionality were important criteria in assuring effectiveness of a design. Despite the consequences of the ineffectiveness, this shows that the city council’s existing improvement methods are not fully anticipated by the public and their intention in promoting walkability were restrained due to unfavourable pedestrian environment [11].

As the issues were less prioritised and other development were constantly executed, it leaves the pedestrian facilities to remain non-regulated which lead to a degradation in pedestrians’ overall experience.

a codified connection between the form and the function but also conventional conception of how one fulfils the function with the form. Eco [14] once stated that the principle ‘form follow function’ might be restated in a way “the form of the object must, besides making the function possible, denote that function clearly enough to make it practicable as well as desirable” [14p. 178].

Although there had been studies on pedestrian-friendly environment on the city of Kuala Lumpur in recent years, there is limited coordination on the aspect of pedestrians’ visual experience. Pedestrian network, just like the other parcel of built environment, it meant to communicate the information it contains. The failure of its communicative value was reflected by how the public reacted towards it, which then reflected again to the pedestrians’ fundamental. These issues indicate that both public and the pedestrian design itself were facing some difficulties in establishing a communicative essentials [12] which are important in generating interest, curiosity, and passion towards the likelihood of walking [13].

B. Architectural Connotation

The city centre with higher density development and congested streets make it almost impossible to have a pleasant driving experience and walking to places seems to be a better alternative to experience the city [9]. Hence, a new framework of communication needs to be draft in order to conceptualise a new visual experience for the Greater KL’s pedestrians through communicative architecture, where ideally will broadcast a communicative essentials in deriving possibilities of a design that are more than just a function, based on pedestrians’ perceptions and preferences. BB-KLCC Pedestrian Walkway, in short, which has been highlighted in Bahari’s pedestrian’s studies [4], will be further investigated on the aspect of human-context relationships as an extensive research towards improving Malaysia’s walking environment.

Besides denoting its function, the architectural object could connote a certain ideology of the function and other things as well. Cave, as a reference of architecture beginning, existed to denote a shelter function, which later begun to connote a visual of ‘family’ or ‘group’, ‘security’, and ‘family surroundings’. Therefore, in connotative nature, this symbolic ‘function’ of the object, be less functional than its first function. Strongly build with the respect to life in society, the object would be any less useful in terms of its ability, as a symbol, to connote such things as closeness and familiarity.

This research aims to conceptualise a new visual experience for the Greater KL’s pedestrians through communicative architecture, where ideally will broadcast the communicative essentials which are significant in deriving possibilities of being more than just solely functional, based on the pedestrians’ perceptions and preferences.

Connotation, from semiotic point of view, could be founded on denotation of the primary object, but that would not diminish its important [14]. Denotatively, a sit communicates that a person could sit down on it. But, in other cases where it was a special seat, like a throne, it must do more than seat a person; perhaps it serves to seat somebody with a certain dignity, to corroborate and celebrate its user’s ‘sitting ind dignity’ purposes. All the decorations and accessories sign connoting a certain dignity. Therefore, the regaled quality can become more functionally important than the basic function. Message / code / sign vehicle - media

Transmitter

Recipient

Linear process

Social need, investor, author

II. Literature Reviews A. Architectural Denotation

Context, users

Architecture / building

In communicative capacity, an object in use considered as a sign vehicle of conventionally denoted meaning — its function. It had been said that the first meaning of a building what one must do in order to inhabit it denotes — a form of inhabitation. Windows as example, in their form, number, disposition on a facade (portholes, curtain walls, etc.) — may denoting a function, refer to a certain conception of inhabitation and use as they might connote an overall ideology that informed the architect’s operation. Regardless of round or pointed arches, all these function in the loadbearing sense and denote the function, but they might connote a diverse ways of conceiving the function [14]. A stair, or ramp denotes the possibility of going up which existed through architectural codification.Whether it is a simple set of steps in a garden or a grand staircase, one finds oneself before a form whose interpretation not only involves

Circular (feedback) process

! Diagram 2.2: Linear and circular model from the theories of information whereby architecture has been recognised a means (or medium) for conveying information Diagram 1. Linear and circular asmodel from the theories of information whereby architecture has been(Vučković, recognised as a means (or medium) for 2013a). conveying information [15]

C. Spatial Cognition

CONCEPT

SIGN

Architecture

Everybody requires spatial knowledge of our environment Building or a complex as in order to complete their daily essentials. Most of people doof the “signified”, contains a the “signifier”, is a set F day in a built environment. part of their sspend e t o f a rthe c h i t eoptimum ctural identifiable architectural Signifies Signifier is Thus, much of their thought Oabout space is cross intellectuals concepts toolsdirectly of expression which R linked with the architectural and urban physically form of their which represent, by means embody the M ofsurrounded drawings, foundations, sign any that therelated building by. How does the forms, or etc., the sign of the representsof(sign of power, representation affect individual spatial knowledge a place? Urbanism building signifier. sign of religion, etc) Theseas thequestions have been discussed through numerous Building or a complex as

Intellectual concept or idea

Results in

A form of an architectural or urbanist organism

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A sign (of state power, or religion, etc

Diagram 2.3: Form within the signifier and signified. Form is a communication medium between the concept and the sign (Vučković, 2013b).

Built environment, like any other usable object, gives certain information to its user; it conveys the manner in which this information should be used — denotation,

studies, concentrated and circling around spatial cognition, which intimately connected to cognitive science. Spatial knowledge, a domain that is commonly obtained through first-hand experience with an environment or through use of representation of that environment. Due to this phenomenon, the issues of embedded action and cognition arise in the study of spatial cognition [16]. III. Methodology In brief, this research is all about the matters in establishing a communicative essentials within a pedestrian walkway design based on both pedestrians’ perceptions and preferences together with a light of context studies as an initiative to revise one’s visual experience in commuting. As the major emphasis bounded with an accurate description of a situation (in this case, a situation of an urban pedestrian walkway) or of an association between variables and its occurrence frequency (perceptions, preferences and design context), this consideration will classified this particular case as a descriptive and diagnostic research purposes which contradict to the notion of exploratory purposes which are more on flexible insights and discoveries, mounted with a consideration of various phenomenal aspects. Fundamentally, descriptive and diagnostic purposes will involve a causal relationship between variables and require a design which will sanction inferences about causality. In referencing Kothari [17], variables considered as an important concept to be evaluated in creating a causal relationship studies. The concept, which can take on a different quantitative values need to be closely provisioned in differentiating attributes whether continuous or noncontinuous variables. For example, satisfactory scale of one pedestrian towards the colour scheme within the existing design (perceptional study) considered as continuous variable as the phenomena can take on quantitatively different values even in decimal points. Meanwhile, the specification of colour applied within the pedestrian design (in case of context studies) are not continuous as it could be expressed only in quantitative values (for example, by coding grey as ‘1’); hence it is a non-continuous kind of variable. In this study, perceptions and preferences are termed as dependent variable as it is consequential to the other variable whereby the pedestrians’ design context will be viewed as a variable that is antecedent to the dependent variables, defined as independent variable. Context matters (the design), by mean, will not affected by the dependent variables like perceptional values. In vice versa, pedestrians’ perception might be closely affected by a different treatment integrated on the design. Extensively, a research in which the independent variable is manipulated is termed experimental design. As this research were conducted to study an extent of how by embedding a communicative essentials will eventually influence the pedestrians’ perceptions and preferences, an internal setup of three systemised groups of sample were established by the type of A, A1 and B. At the end of this experiment, an administration of each group will be performed in order to judge the reactions or any relevant of

the implied treatment. Context features hereby are meant to be manipulated for this experimental research. In details, both group A and A1 can be considered as a control groups; groups which exposed to the research’s actual conditions but with a distinctive way of conduct whereby group B are eligible to be termed as an experimental group; a group that been exposed to a special condition. All this different conditions are usually referred as treatments and the process of examining the clear of a statistical prediction, relating to some research problem, is known as an ‘experiment’ [17]. The causal relationship in between variables of this experimental design are described as follows:

• Group A (control): A set of sample which allocated to

run a trial (or pilot test) on specific research instruments and also to validate the research problems. The conduct will be based on the actual condition of the investigated area.

• Group A1 (control): Another control groups which

focussing on remitting a before-treatment perceptions and preferences of both potential users and design to its actual conditions whereby Groupanalysed B are eligiblewith to be termed an ‘experimental expertise to be further the as experimental group’; set. a group that been exposed to a special condition or treatment. All this

different conditions under which experimental and control groups are put are usually Group B (experimental): An after-treatment set of •referred as ‘treatments’ and the process of examining the clear of a statistical

sample which are consigned to evaluate the revised design. By right, this group is an experimental 2004). The causal relationship in betweengroup. variables of this experimental design are counterpart for the control prediction, relating to some research problem, is known as an ‘experiment’ (Kothari,

described as follows:

A1 Treatment introduced

Perceptions and

Relationship Visual experience

preferences

between a design and its contexts

Influenced

Dependent variable

Independent variable B

Diagram 3.2: Causal relationship in between variables within an experimental design.

Diagram 2. Causal relationship in between variables throughout an experimental design a.

Group A (control): A set of sample which allocated to run a trial (pilot test) on specific research instruments and also to establish valid research problems. This group conducts will be based on the actual condition of the investigated area.

IV. Discussions

b. In-depth Group A1Context (control): Another control group which focussing on remitting a A. Studies: Architecture Connotation before-treatment perceptions and preferences to be further analysed with the

The experimental results had indicated that pedestrians were less set. comfortable with the existing facility and preferred the c. Group B (experimental): An after-treatment set of sample which are consigned comfort quality to be fronted alongside with navigation or to evaluate the revised design. By right, this group is an experimental way finding. In a connotative point of view, it might be counterpart for the control group. influenced by the spatial and visual presence itself [14]. In the context of colours, which closely linked to human’s receptions, are formidable to lead certain perceptions when inquired [18]. As for BB-KLCC Pedestrian Walkway, the existing grey-coloured interiors were merely designed as to depicted a global and modernised image of an architectural creation [2]. However, due to the climatic factors such !31 weather, it might be rendered to create another after-cause visuals and ambiences as the external sources penetrates the

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The developed dendrogram had clustered inquiries, answer choices, and percentage data from the quantitative questionnaire in a hierarchal manners. Mainly, comfortability was determined to be the key influential features in motivating pedestrian to walk. The percentage, which goes by 84.44% overcoming the reason of navigation which holds 66.67% of the rate. It has been manifested that comfortability is more concerning rather than navigation features. These selections might be influenced as well by the average scaling on the other inquiries related to the facility’s existing comfortability, safety and navigation, which can be traced from the end results. These well-accepted perceptions towards the highlighted features had leave a space for further improvement near future even though it did not reach a state where immediate responses are highly necessary. Therefore, both of these features will be subjected to be prototyped in a design form.

vis

As mentioned in the earlier chapter, this control group were primarily designated to focus on remittance of a beforetreatment perceptions and preferences of its targeted audience. A set of questionnaire had been redeveloped since the pilot stage through an editing operations which eventually altered and comprehended the extent of inquiries. In total, 60 predetermined potential users had been distributed with these set of questionnaire and only 45 counts were returned to be analysed. Statistical details are available in the chapter ‘Analysis of Data’.

B. Discussion 1: Group A1 (control); for potential users

It is believed that a specific organisation such repetitive had a correlation with human emotional experience. According to a visual dynamic studies, motion complexity are then to have a mildly relaxing and non-dominant effects in contradict to motion-changed complexity which found to be arousing and dominant [19]. In reference to the research’s module, the implied repetitions on the featured wall were set to be uniformly ordered which creates a dynamic characteristic but in a more plained and subtle representation. Neither motion complexity nor motion change complexity correlated significantly with a certain interest. Therefore, determining a specific interest such motivating through dynamics need to be further amplitude in response to the creation of relevant communicative essentials that will later influence the pedestrians’ likelihood of walking.

facility. Once reflected, it tend to cause the variance of warmgreyed tones at a specific time (e.g., on the afternoon, peak hour); which projected from the opened sections and reflected on primarily context’s floors and walls. According to a visual comforts studies by Lang and McClain [18], warm-coloured tone such in the wheel of red are meant to associated with ‘anxiety’ and ‘tensed’. This could be the grounding on why the extent of comfortability and navigation are questioned and preferred for a reevaluation, based on the quantitative results. In fact, the prior pilot qualitative method had observed the intensity of users’ walking pace when it comes to the walkway’s central section. Hence, colours are one of those factors that might affect a spatial and visual presence of a place.

.78

54.5 5% 53.33 % 48.89%

Diagram 3. A dendrogram model generated for group A1 (control); for potential users

On the side of efficiency, most of the respondents stood in between a state of satisfactory and unsatisfactory as indicated on Diagram 5.1 with the percentage of 68.89% in comparison to satisfactory that only reached by 22.22% in total. This figurative shows that the pedestrians are well-accepting the design’s practicality and functionality as pre-determined in the previous studies of Greater KL’s pedestrian [4]. Furthermore, the design seems to have a pleasing colours as defined by the average 68.89% selections towards the answer choice. However, colours are still being spotlighted as an element that preferred by the pedestrians to be further considered in generating interests and passion of walking. Beside colours, movement elementary was also subjected to the same concern as colours. Hence, the future design need to be catered with moving-oriented features together with the basic of lines which had been highly noted in the prior preferences inquiries. In figures, 68.18% of the respondents demanded for colour, 63.34% for movement and 54.45% for line. 60.00% of the questionnaire participants were average when it comes to the inquiry of the facility’s existing visual experience. Based on the analysis, it is proved that the earlier presumption at the problem statement are well-accepted. In addition, these potential users even satisfied with the notion that a pedestrian facility need to be designed with visual interest which concluded by 57.78% of total agreements. This could be reflected with Zakaria and Ujang’s research [8] back in the past two years. Attractive appearance indicated to be a factor that might be placed in order to create the visual interest. Everything seems to work like a chain of opportunity. Attractiveness, which a part of visual interest, are competent to revitalised pedestrians’ perceptional value on travel experiences. To liven the attractiveness, those preferred principals could be channeled in order to generate a better possibilities when commutes. In summary, comfortability and navigation within a pedestrian facility are subjected as a matters to be revised in guides with certain preferences like colours, movement, and

lines for a chance to developed a well-connected, attractive, and interesting visual experience for Greater KL’s pedestrians. C. Discussion 2: Group A1 (control); for design expertise Another set of distribution had been tested on a controlled group consisted by design expertise or any related that equipped with a design knowledge. In figures, 30 respondents had received the questionnaire invitation and only 10 responses were collected for analysis. Similarly, this particular group was primarily focus on remitting a beforetreatment perceptions and preferences.

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A prototype design; which had been constructed by the interlacing of two flag-waved lines are proposed not only to reflect a tectonic movement but also embedded with directional senses. This notion considered as an antithesis towards the research site’s pedestrian design as the previous design were merely formed based on formality of a structure; depicting in a form of repetitive triangular series, in accordance to the qualitative studies.

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for the facility’s pedestrians. A revision on the context of line, colours, and movements as design requisites might resulting a different consequences to be compared with the existing situation. Based on the discourses, two modules of pedestrian walkway’s featured wall designs will be purposed in accordance to the prior findings that will also served as a communicative architecture — where ideally will broadcasts a communicative essentials in deriving something more than solely functional, as aimed in the early of the research.

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Figure 1. Development of modular prototyped wall 1 Diagram 4. A dendrogram model generated for group A1 (control); for design expertise

Firstly, most of the respondents were professionals ranging from 25 to 34 years old with a percentage higher than 90.00% and most of these professionals had indicated comfortability and navigation as the most considered influential features to motivate moves. Plus, 80.00% of the total agreed upon the notion that great visual experience might be influential as well. Another common was detected when it came to the perception of colours as most of the pedestrians were on average state. It is cleared that it does not reached the state of necessary but an improvement could be essentials in this matter. The design practitioner even emphasised lines, colours and movement-related features as those highly nominated preferential in creating a motivating a better visual for pedestrian environment; as indicated by the percentage of 60% for each of the features. Based on both of this hierarchal breakdown, a causal relationship in between variables could be insights. As far as the discussion goes, it is well-proven that pedestrians’ perceptions and preferences could be influence by the designcontext relationship. Plus, it also indicates that the researched pedestrian’s design are having difficulties in establishing a communicative essentials in between both of it users and its context. As the result, this has degraded several perceptional matters such comfortability and sense of direction which also tend to affect the existence of a motivating visual experiences

Figure 2. The assembly of modular prototyped wall 1 — W: 7200 mm, H: 3200 mm (Not to scale)

Technically modular, but made to be reflected horizontally as the proposed wall panels are qualified to create a series of dynamical curved lines. Visually, curved lines are softer, less definite, and express a fluid movement. These alterations of movements will be defined as both visual entertaining and physically stimulating once they are rhythmical [20]. Consequentially, direction could exist irrespective of the component movements within the lines. In this case, a horizontal direction of curves are believed to indicate serenity and perfect stability, as stated in Art Fundamentals: Theory and Practice [20]. It is believed that curves can be either calm or dynamic at the same time. In comparison to a zigzag lines, which considered as a combined diagonal lines that connect at points, they create excitement and intense movement but tend to convey confusion and nervousness [21]. In context of colours, achromatic colours, which considered as any colour that does not have strong chromatic content, had been colorised purposely not only to be

reflective to its context (such landscapes and skies) but also theoretically harmonious, spacious, and comfortable compared to chromatic scheme [22]. This could be an alternative to the prior indicated issues on the existence of warm-rendered ambience. In summary, this proposal is meant for a movementoriented design which embraced with both dynamic and rhythmic quality through the application of modular and continuous curved lines together with the colorisation of neutral-toned achromatic colours, which theoretically create a spacious, harmonious, and comfortable for walking environment. • Prototype Wall 2: Navigation-oriented In respect towards the existing social convention, a navigation-oriented wall panels had been prototyped with a built-in directional visuals are developed accordingly to integrate and synthesis this bi-feature components for a specific communicative importance.

Figure 3. Development for modular prototyped wall 2

information is conveyed and how to create a relationship in between information and people, he further added. A long-distance, uncomfortable, and yet low-literacy navigation visuals might affects the pedestrians’ motivation to use the space rather than solely for its function over weather and safety. A confusing state might even cause a degradation in overall travelling experience. To cater that, the idea of signage system need to be redirected people back to consciousness of a space. In accordance to Masaki Hiroshima in his online interview [23], “a simplified navigation, yet closed to human’s cognitive knowledge, need to be configured as it could access one’s brain directly”. In his case, the usage of directional visuals such Kanji lettering will gets the right and left brain to work at the same time which also potent to increase one’s attention. Triangular, considered as one of a form that conventionally used to navigate directions. Through transformation, a distinctive modulars are created but harmoniously kept the originality of its triangular form. Once again, achromatic colours were selected to be implemented in this second prototype as for the similar reason of visual comforts. These modulars were designated to be embedded singularly with a wall system intentionally to reach the human’s normal eye levels for an ease and literal navigation. In summary, this design was created to serve as an alternative to the current pedestrian facility’s navigation system in accordance to the specified analysis on pedestrians’ perception and preferences. A basic form of triangular had been experimented and manipulated in order to create a distinctive feature in directions. It was founded that by reflecting the modulars, it might creates a various directions that are set to project the visuals directly to an average eye level of human as it was set up on the side wall rather than elevated above. • Pre-test

Figure 4. The assembly of modular prototyped wall 2 — W: 7200 mm, H: 3200 mm (Not to scale)

The original navigation ideas were shifted from its conventional methods such electronic or non-electronic plates, which relied on a specific platform such posts or ceilings in order to serve its function. As indicated in the analysis, most of the pedestrian were less satisfied with the existing navigation on the research area. This might be recurring due to the signage system itself which to be distantly placed and visually unattempted for a long distance visions. The placement, which located on the ceilings, required the pedestrian to make a contact with something that elevating their human’s eye level radius that also, might increase the current state of uncomfortable. A resolution to revitalised the idea through an integration of two functions that will eventually entails primary function and secondary meaning will be an alternative essentials. Masaki Hiromura, a Japanese designer, believed that signage systems do not exist by themselves as the had to be integrated with graphic, interior, architectural, product or even fashion design [23]. In the end, it is all up to the question on how the

The series of curved lines had proven its purposes in communicating comfortability through out its design fundamental. Prototyped wall 1, which designed with rhythmic and dynamic consideration, are embedded with the relevance visual treatment such repetition of curved liner lines objectively not only to resolve the comfortability issues but also successful in creating motivation for several respondents who are mostly satisfied with the notion. In before, the pedestrian facility was designed in such way depicting some rigidness in feature. Through some experimental, it indicates that the pedestrians by most accepting a certain visual treatment such rhythmic and dynamic of lines in order to response with their psychological needs. As for the navigation-oriented proposal, large of the pedestrians were averaged with the revised treatment of having bi-feature integrated wall-signage to serve directions. Perhaps, this notion could be reverted to the basic conventional methods or else, alternates it to more comprehensive in the way of implementation. However, there were less satisfactory stated on the context of both provided visuals and its experiences. By means, the proposed prototype are well-complimented in a way of its initial

ideation to communicate both navigation and aesthetic through a single design. D. Conclusion and Future Works In this research, it is well-addressed that there are problems that happened internally within a particular Greater KL’s pedestrian environment such BB-KLCC Pedestrian Walkway whereby the issues are rooted from the failure in creating a communicative essentials which are important in generating interest, curiosity, and passion towards walking. Therefore, this research aims to conceptualise a new visual experience for the Greater KL’s pedestrians through communicative architecture, where ideally will broadcast a communicative essentials in deriving possibilities of a design that are more than just a function, based on pedestrians’ perceptions and preferences. A discussion on a different perceptional and preferential value of individuals has been forwarded together with an in-depth context investigation of the research module. Through the set experimental-designed research, findings, and discussion materials were gathered through the conduct of both qualitative and quantitative methods in a sequential and exploratory manners. It was founded that comfortability and navigation are the main influential features that most of the pedestrian expect in order for them to develop their passion of walking. Both comfortability and safety are well-initiated back in the years. However, this visual-focusing research had profound that their visual experience were likely correlated with the state of comfort which also linked to the facility’s environment. Besides, navigational features were existed in the context but it had degraded the pedestrians’ overall visual experience as indicated in the prior quantitative questionnaire. These perceptional findings summarised that appropriate design preferences might be essentials in order to recreate an architecture that speaks more than just a function. In response to that, two prototyped wall had been designed in respect with pedestrian’s perceptions and preferences. The designs, which includes the demonstration of preferred elements such colours, movement, and lines are meant to represent a communicative architectural module that will serve as an alternative or resolution towards the Greater KL’s current pedestrian environment. In conclusion, built environment, such pedestrian walkway, gives certain information to its user and set to convey the manner in which the information should be used as stated by Eco in his writing Function and Sign: Semiotics of Architecture [14]. Eco even believes that built environment’s denotative and connotative are capable to influence a particular context through it spatial and visual presence. Hence, such particulars need to be weighted in consideration of the future pedestrian development as it could possibly generates a better environment to walk that will turns Greater KL to a walkable city in the future. Many different adaptions, tests, and experiments are left for the future due to a certain constraint such time (e.g. an experiments with a more diverse parameter of studies will generated a more comprehensive discussions). An extension towards this particular research would be a great

complimentary literatures for the other pedestrian-based research in the future. Several suggestions are proposed as following:

• Pedestrians’ visual experience experimentation through a different methodology such explanatory sequential, concurrence, or embedded framework which firmly will resulted a variance in its data analysis and outcomes.

• Psycho-visual pedestrian studies which dedicated for a

thorough psychological and visual disciplines. This indepth work of research is set to provide a better explanation on the human behavioural and movement psychology towards its experienced context. The correlated findings will be an added literature to the Kuala Lumpur’s city council development plans. ACKNOWLEDGMENT

Firstly, I would like to express my sincere gratitude to my advisor Assoc. Prof. Dr. Ruslan Abd Rahim for the continuous support of my MA study and related research, for his patience, motivation, and immense knowledge. His guidance helped me in all the time of research and writing of this thesis. I could not have imagined having a better advisor and mentor for my postgraduate study. Besides my advisor, I would like to thank the rest who involves: Prof. Dr. Mustaffa Halabi and Dr. Mastura Mohd Jarit for their insightful thoughts and encouragement towards the completion of this thesis. Lastly, I would like to dedicate all these hard works to my beloved parents.

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