The window Project Collab with kvadrat

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

1

. .

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.

2

. .

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.

3

. .

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.

4

. .

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.

5

. .

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

2

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

6

. .

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-

7

. .

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

8

. .

DECONSTRUCTIVISM What is it about to me

The collage represent the

current

thinking

of mind. Whereby we question

9

. .

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

10

. .

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

11

. .

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.

12

. .

13

. .

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.

14

. .

15

. .

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

16

. .

17

. .

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.

18

. .

19

. .

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

20

. .

21

. .

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.

22

. .

23

. .

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

25

. .

26

. .

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

27

. .

28

. .

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.

29

. .

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-

. .