THINKING THROUGH MAKING THE WINDOW PROJECT
Tan Rui Ting ll SG Y3 Interior Design
What is the relationship between a piece of writing and a building? In this issue we explore the extensions of Theory, philosophy and how it has an impact to the viewer and through making we explore & understand the possibilities of what can be achieve.
THINKING THROUGH MAKING Tim Ingold
This issue of design research embeds a “thinking through making” approach where designing and reflection go hand in hand. The “making” includes
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not only objects, in our vison “making” is also creating activities, events, service, spaces, narratives, systems, futures, and combinations of all of these.
This reflects that design has moved beyond products, to services and experiences, to systems and transitions. Our ‘thinking’ is not only expressed by text, in our vision it also can be expressed by everything
we
make,
from
objects
to services to systems to futures.
Looking beyond the surface of things and see their inner workings, their meanings, their elements and how they can be deconstructed and synthesized. When we look at strange objects with a problem in our head we start looking at the object differently as well.
This upcoming shop window project allow us to seeks and explore to
understand
the
design
pro-
cess through a series of makings.
By understanding the materiality and design processes than we can better translate the design process and thoughts with the identity of the client.
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BERNARD TSCHUMI Architectural Deconstructivism
Bernard Tschumi (born 25 January 1944 in Lausanne, Switzerland) is an architect, writer, and educator, commonly associated with deconstructivism. Son of the well-known Swiss architect Jean Tschumi and a French mother, Tschumi is a dual French-Swiss national who works and lives in New York City and Paris.
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To
understand
the mythology of thinking
through
making. Each student is issued with a practitioner as a
starting
point.
The initial phase is to understand theoretical framework through extensive
research.
“Architecture is not so much of a form but a form of knowledge” Bernard Tschumi
He believed that there was no architecture without events, actions or activity.
This has remained central to his work, where architecture must originate from ideas and concepts before becoming form and cannot be dissociated from the events and movements of the living beings that inhabit it.
His buildings respond to and intensify
the
within
them,
tion
of
activities and
spaces,
the
that
occur
combina-
movements
and
events change and creatively extend the structures that contain them.
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BERNARD TSCHUMI Projects
These are some of the noble projects done by him. From cultural, educational, housing , infrastructure, museums, offices, performance, public buildings and last but not least theoretical.
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Parc de la Villette
Rouen Concert Hall an
Paris, 1982-1998
Rouen, 1998-2001
Acropolis Museum
BLUE Residential Towe
Athens, 2001-2009
New York, 2004-2007
Zoo
Vacheron Constantin 2
Paris, 2009-2014
Geneva, 2012-2014
nd Exhibition Complex
er
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School of Architecture, FIU
Athletics Center, University of Cincinnati
Miami, 1999-2003
Cincinnati, 2001-2006
Bridge
Le Rosey Concert Hall
La Roche-sur-Yon, 2008-2010
Rolle, 2009-2014Paris, 1982-1998
Binhai Science Museum
Biology-Pharmacy-Chemistry ‘Metro’
Tianjin, 2013-2019
Paris-Saclay, 2015-2022
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DECONSTRUCTIVISM What is it about?
Misconceptions surrounding deconstructivism may be the key result of the terminology itself.
The word translates to the act of de-
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molishing, or tearing apart an existing structure, implying an act of rebellion.
The term first appeared in the 1980’s, as an idea developed by French philosopher Jacques Derrida. Derrida, a friend of Peter Eisenman, developed the idea of fragmenting a building and exploring the asymmetry
“when we deconstruct anything you simply do not destroy or dissolve or cancel the legitimacy of what you are deconstructing” Jacques Derrida
of geometry (inspired by Russian Constructivism),
while
maintain-
ing the core functionality of the space
(inspired
by
Modernism).
Constructivism came to public notice with 1982 parc de Villette (earliest work) Bernard Tschumi, as well as Derrida’s and Eisenman’s design entry. Move
away
from
the
supposed-
ly constricting rules of modernist such as form follow functions unity of form and truth to the materials
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DECONSTRUCTIVISM What is it about to me
The collage represent the
current
thinking
of mind. Whereby we question
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The
act
of
making
architecture
and
architecture
not
itself.
Is it what we say that become what is produce or what is produce become what we see.
However ther still a orderly format of how things works
Deconstructing
the
subject is first to analyze
“The ultimatepleasure of architecture lies in the most forbbien parts of architecture act,where limits are preverted and prohibitions are transgreed” Bernard Tschumi
historically
the
formation of the different
layers
which
have built the concept of the subject when you
deconstruct
the
subject you analyze all the
hidden
assump-
tion which are implied in
the
philosophical
the ethical the theory the political use of the concept of the subjects
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. .
Line
drawing
is
introduced as we focused
on
the
subject
that
we
are drawing without looking at our pencil and paper.
The line that we are drawing must be continuous and the
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the
outcome
of
orthography
was interesting as we were forced to focus on the details us the most.
SKETCHING WORKSHOP
Smudging
Drawing
was
ducted
intro-
duced as we
look
workshop and
were
on
was asked
drawing
conto
re-
techniques.
highlighted the
hierar-
Line drawing, dotting and smudging to
chy of light
create a variety of effect of outcomes.
and
shadow The outcomes shows a clear understanding ows es
of
through us
to
light
the
reflected
and
drawing. the
shadforc-
different
details that intrigued us the most. Dotting
was
introduced as we highlighted the hierarchy of light and
shadow
by using the density of the dots.
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COLLAGE WORKSHOP
Collage workshop was conducted and were asked to cut an image into 30 equal squares .
Different intersection of each square help to see a contionus pattern or line ,hierachy of space in term pf volume and colour.
Each square also act as a lens where specfic area is chosen. Allowing us to focus on capturing the details withins.
The outcomes shows a wide rage of varities of outcome how we see and create a cetain objcet.It serve as a constant reminder that opportunities are endless.
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COMPOSITION WORKSHOP Composition workshop was conducted and were asked to do witthin a 10 by 10 cm square related to our practitioner.
In these series was to find out does colour affect the on how we see basic shapes.How does it resemblance to each other though different sizes and shapes are used.
The outcomes shows though they are different in colour/individualshapes. By overlapping the series we can have the same effect carried throughout
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CASTING WORKSHOP casting
workshop
was
conducted,
and we were task to create pieces the reflects our practitioners form.
It showcases the invent possibilities and way of the space could be visualized. Whereby positive space and negative reflect and connect each other.
The outcome showed the sensitivity to material choice as the texture (Masking Tape) of object created an imprint of the material textures. This allowed for attention to detail in the object which creates a intricate model of plaster around.
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WIRE WORKSHOP
This issue of design research embeds a Wire sculpting was used to translate the line drawing from a 2-dimensional drawing to a 3-dimensional object.
The outcome showed the clear understanding of hierarchy and layering which creates a unique representation of the drawing. Similarly, the wire follows through in accordance to the line drawing to focus on the details
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3D COLLAGE WORKSHOP
The 2D collage shows though they are different in colour/individualshapes. By overlapping the series we can have the same effect carried throughout.
Does by making the 3D collage. you can see that though the inner part is not connceted and non-related to each other, we can still feel that there a sense of connectivity when the certain sides meet.
This work allow us to underatnd that by analyze all the hidden assumption we undertand the bigger picture.
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24 The outcome of this particular phase
TEXTILE WORKSHOP
showcases the understanding of mine interpretation
of
deconstructivism.
(underlaying meaning)
This particular textile pattern process,the combination into different charcter into one.
The depth(shadows) creates the mysterious of what is within and the hollowness (lightness) creates the thinking of what is beyound.
Lines are used to represent the enless possibilties through strength(tension) and softness(material) and the flexibility(different form)
. .
Process SHOP WINDOW
• Questions the notion of unity • No beginning and no end • Repetitions, distortions, superimpositions • Challenges the idea of order
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The outcome of this particular phase is to create a window that co-exist harmoniously in tension using different material to recreate.
Process SHOP WINDOW
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At no moment can any part become a totality, each part leads to the othervice, spaces, narratives, systems, futures, and combinations of all of these.
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30 The serious of ambiguous intersections between system. In which the status of ideal forms and traditional compositions is challenges. Idea of purity, perfection, and order become source of purity, perfection and disorder. Superimposition of three quite different ordering systems: Point, Lines and of surfaces. Each is perfect within itself but as they were overlaid, so they interact. Sometimes they clash and interfere with each other, the one is distorted against the other; sometimes they meet and match and thus the one is reinforced by the other sometimes they merely co-exist, indiffer-
. .