TRIAL & ERROR INTENSIVE STUDIO
design 5
semester one
‘TRANS-
design portfolio
‘16
INTENSIVE STUDIO run by Kester Rattenbury from the University of Westminister & Kim Huyn from the University of Auckland.
designed by amanda megayanti wijaya
chapters
‘CONTENTS’
introduction
01
04
02
05
03
06
aesthetics, aesthetics, aesthetics
simplification & extraction
techniques & experimentation of using sensory instinct
human body as an architectural tool
repetition & simplification
curation
summary
‘INTRODUCTION’ TRANSLATIONS
As architects we have subconsciously become subjected to over aestheticize in our projects and in the developmental process of our conceptual studies. This suggests that in the stages of the design process – conscious or not, we are constantly critiquing the aesthetic nature of our 2D drawings or 3D models, in which our decision making is being influenced and driven by the subject of aesthetics. Due to this process, the integrity of textiles becomes lost in the formal principle of architecture. This project seeks to investigate the tangible integrity of material properties through physically making. Through the removal of sight, it seeks to eliminate the aestheticized nature of design; drawing attention in the materials, tools and techniques applied. The dependency of this experiment will be explored through the remaining senses, such as sound, smell, taste and touch. This intends to heighten the instinctive nature of making, enhancing our comprehension of material properties and capabilities. Through the reliance on these sensory instincts, the human body will become an important aspect
on how it can be seen and used as an architectural tool to generate architecture or architype. Working in conjunction with an ancient Chinese oracle known as the I-Ching, it seeks to explore an experimental process of making through chance and accidental practices that destroys the preconceptions of architectural tectonics. It will allow translations of architectonics to be reinterpreted and approached in other perceptions, conducting a certain carnival spirit that could potentially express the true atmosphere of the arts in architecture . Overall this project will seek to investigate a different methodology of design process in comparison to the conventional generative design process of site selection, building materials to spatial arrangements and programmatic use. These experiments will embrace the unforeseen and often challenging circumstances in bringing any design to reality. It seeks to investigate how the production of work through this studio can be translated and interpreted into the realm of architecture through a series of architypes.
‘I CHING GRID’ I Ching is taken from the ancient Chinese “Book of Changes” and it is a form of divinatory practice involving 64 hexagrams (patterns of 6 broken and unbroken lines). There are 8 trigram in row one and column one to form an individual hexagram. This is shown on a grid split into an upper and lower trigram.
ch’en
chen
k’an
k’un
ken
sun
li
tui
ch’en 1
34
5
26
11
9
14
43
25
51
3
27
24
42
21
17
6
40
29
4
7
59
64
47
33
62
39
52
15
53
56
21
12
16
8
23
2
20
35
45
44
32
48
18
46
57
50
28
13
55
63
22
36
37
30
49
10
54
60
41
19
61
38
58
chen
k’an
ken
k’un
sun
li
tui
‘TRANSLATED I CHING GRID’ of building materials and architypes
This chart will be used to translate the work produced in this paper into a range of building materials and architypes determined by the I Ching. It seeks to experiment with sudden constraints and limitations, similar to what is expected on a architecture site, as well as in the industry
1
beam
34
51
column
door handle
6
40
hinge
11
26
floor
25
stairs
5
table
3
wall
29
lamp
ceiling
exterior
table
12
screen
44
column
62
door
16
gutter
32
nail
13
55
screw
mosaic tiles
10
54
plumbing services
floor
39
window
8
truss
48
52
roof structure
23
door
60
table
59
mosaic tiles
15
53
chair
22
lamp
41
column
brick wall
20
truss
46
brick wall
window
timber cladding
plumbing services
brick wall
63
plumbing services
2
18
window
42
7
4
facade 33
tiles
24
27
nail
9
door handle
57
beam
36
timber cladding
37
roof structure 19
window
61
nail
wall
14
screw
21
truss
64
column
56
lamp
35
ceiling
50
ceiling
30
screen
38
tiles
43
chair
17
screen
47
door
21
floor
45
screen
28
table
49
lamp
58
brick wall
FLOORPLAN OF THE LEVEL 4 STUDIO I Ching grid is implemented on the floor plan of the level 4 studio to determine the placement of each project
1
34
5
26
25
51
3
27
6
40
29
4
33
62
39
52
12
16
8
23
44
32
48
18
13
55
63
22
10
54
60
41
masking tape plints
39
butter paper screen
4
ceiling structure
6
butter paper light
52
clay wall
50
11
9
14
43
24
42
21
17
7
59
64
47
15
53
56
21
2
20
35
45
46
57
50
28
36
37
30
49
19
61
38
58
01 CHAPTER ONE aesthetics, aesthetics, aesthetics
In this chapter, it shows the process of my thoughts and decision making influenced by the subject of aesthetics.while 2D drawing and 3D modelling. As a result of this, it became difficult to develop the work as I was constantly editing it to make it aesthetically pleasing. This became problematic as I left no room for trial and error in order to explore new techniques and methodologies of approaching a 2D drawing or 3D physical model.
generated hexagram
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AESTHETIC PIECE ONE
According to the I-Ching, a gentle and gradual progress should be implemented to the drawing. Using my fingers, I dipped it in a bowl of gesso and lightly ran it across the transparent paper in a wavy motion creating streaks of lines. This process was continued eight times and later twisted to distort the drawing into a 3D model, directed by the I-Ching.
‘Streaks’ 1260 x 297 mm transparent paper, gesso, masking tape & fishing wire
1260
297
Finger co-ordination
2 1
3 4
1 2 3 4
generated hexagram
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6
AESTHETIC PIECE TWO
Influenced by the I-Ching, shot glasses were used to create a repetitive and continuous 3D model. Focusing on the nature of the form (size, circumference, height etc.) and determining the alternations of the shot glass, resulted in a sculptural form that could potentially grow endlessly.
‘Endless Growth’ 540 x 400 x 200 mm shot glasses, hot glue
INSTRUCTIONS for assembling shot glass model scale 1:5 includes technical detail
350
400
250
hot glue
shot glass
alternating joinery
elevation
top view
AESTHETIC PIECE THREE
Brief: Imagine you are stuck in a very boring meeting, which goes on for a week. Do a doodle on an A0 piece of paper with no content or brief. Paper may be blank or not. As I was doing this doodle, I became very invested in making the piece into an aesthetically pleasing drawing. I constantly edited it by painting over bits I didn’t like and redoing segments of the drawing to make it ‘pretty’. As a result of this, it turned into a cluttered mess infused with too many forceful techniques and elements.
“The Doodle” 841 x 1189 mm A0 canvas paper, pigment pen, film paper, aluminium sheets, paint
Cropped Doodle 1 canvas paper, pigment pen, paint & film paper
Cropped Doodle 2 canvas paper, pigment pen, paint
AESTHETIC PIECE FOUR
Derived from “The Doodle”, I cropped out segments I was interested in and overlayed it on top of one another on photoshop to recreate translations of it into compositional pieces. However, the drawing turned into a chaotic mess with no compositional balance as I was again forcefully trying to make it as intricate as possible to make it aesthetically pleasing.
‘Chaotic Compositions’ 420 x 594 mm drawing paper and reused cropped images from “The Doodle”
Chaotic Composition 1 photoshop & drawing paper 420x 594 mm
Chaotic Composition 2 photoshop & drawing paper 420x 594 mm
Chaotic Composition 3 photoshop & drawing paper 420x 594 mm
02 CHAPTER TWO simplification & extraction
In this chapter I have focused on simplification and extraction in my work; instead of the aestheticizing it with forceful detail and intricacy. Through this experimentation I have found that this process helped me to carefully deconstruct a piece of work and understand how the individual elements work independently.
generated hexagram
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31
LINE . DOT . LINE
Line types were extracted from “The Doodle� and recomposed to create a drawing that strips it back to its individual elements.
594 x 841 mm A1 white paper, pigment pen
generated hexagram
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SIMPLIFIED COMPOSITIONS
A grid of 64 points is drawn referencing the 64 hexagrams in the I-Ching. Dots are marked on the grid according to the hexagrams generated from the I-Ching. The dots are connected together through the selection of line types from the compositional drawing.
297 x 420 mm butter paper, pigment pen
Line Composition 1 pen & butter paper 297 x 420 mm
Line Composition 2 pen & butter paper 297 x 420 mm
Line Composition 3 pen & butter paper 297 x 420 mm
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18
THE EXTRACTION
Recommend by the I Ching to translate a compositional drawing into a 3D model using a malleable material. For this piece, I cropped a segment I was interested in from ‘Line Composition 1’, extracted it and reinterpreted the lines as rolled out clay assembled together.
420 x 594 mm air drying clay
generated hexagram
4
30
TRANSLATION
Using the I Ching grid of building materials and architypes, it suggested to translate this piece into a building facade made out of carved wood.
420 x 594 mm air drying clay
03 CHAPTER THREE techniques & experimentation of using sensory instinct
In this chapter I eliminated the sensory instinct of sight, and depended on my other senses to produce 2D drawings and 3D models. Initially it was frustrating not having control over what I was producing, however, as I challenged myself to step outside of my comfort zone and eliminate the control of aestheticizing my work, I was able to adopt new techniques and methodologies of reinterpreting what a drawing and 3D models can be.
generated hexagram
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50
WAX
Recommended by the I-Ching to do this piece in collaboration with others and use a material that changes its state in order to control movement. Wax was used for this experiment as its material properties changes from liquid to solid and vice versa. I asked my friend to help me melt and drip the wax onto cardboard until there was approximately 400mm of liquid wax in diameter. The card was then passed on to me, where I used my mouth as the tool to control the movement of wax by blowing on it to shape its form.
‘Wax Movement’ dimension of each wax mould varied between 40 x 120 mm
DIAGRAM OF BLOWING WAX & WAX MOVEMENT
1
2
3 4
5
1. direction of wax moving 2. wax (liquid state) 3. movement of wax 4. wax (solid state) 5. non-stick baking paper note: material property is highly malleable to mold into between the stages of solidification
Wax Composition wax 200 x 400 mm
Wax Detailing - Burnt Ashes wax 200 x 400 mm
generated hexagram
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6
SOLDERED SHEETS
Recommended from the I-Ching to work on something that has been spoilt of decayed. Found tan newsprint around the studio & used a soldering iron from the metal workshop to burn the paper. Though I did not eliminate the sensory instinct of sight while producing this piece, the burnt scent on the paper left a lingering smell that heightens the human scent to the direction of the piece. It also makes them aware of its presence. 597 x 420 mm tan newsprint, soldering iron
Porosity 1 news print souldering iron
Porosity 2 news print souldering iron
Porosity 1 - Close Up news print souldering iron
Porosity 2 - Close Up news print souldering iron
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BLINDFOLDED DRAWING
I-Ching advised me I had thirty seconds to grab five items I could find within my radius. I-Ching also suggested adding a constraint on myself whist drawing – hence why I decided to do it blindfolded. Whilst blindfolded, I picked up one of the objects I gathered and felt the silhouette of the item on my left hand, while drawing it with charcoal on my right hand. This technique continued till the last object. Each drawing of each object had a duration period of one minute.
‘The Unexpected Piece’ 841 x 1782 mm news print, charcaol & found objects
1. dragon sculpture 2. bracelt 3. potpourri 4. clay rose 5. potpourri ball
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1
COLLABORATION
The I-Ching suggested working in collaboratively with my peers, and gradually progress the drawing into other translations. The drawing was done in three stages in which each stage consisted of a different mediums and techniques.
‘Intertwining’ 841 x 1782 mm medium and media varied at each stage
Stage 1 – Collaborative Stage I randomly placed pins on the drawing and asked my peers to draw string around the pins in whichever direction they wanted to create a cobweb effect. Stage 2 – Blindfolded As I blindfolded myself, I took a drawing pen and drew around the perimeters of the string. The string became a guide for my pen, giving my hand direction on how it should travel. Stage 3 – Deviation As the drawing progressed, the string slowly came off the pins and wrapped itself around my pen. The notion of how my hand travelled became more flexible as perimeters of the string no longer constrained it.
1
2
3
Initial collaborative drawing white cardboard, news print, gesso, string
Blindfolded drawing process white cardboard, news print, gesso, string, twink, pen
Final drawing white cardboard, news print, gesso, twink, pen
generated hexagram
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FINGER PAINTING
Continuing with the constraint of blindfolding myself through the design process, I discovered the efficiency of the human body becoming an architectural tool. In this discovery, I outlined certain features and elements of the human hand by exploring different gestural effects on how a drawing can be composed with our thumb, pinky, knuckles, tip of the hand, end of the palm etc. This exploration was captured through visualizing the notion of hand movement with ink.
‘Gestural Movements’ 160 x 400 mm canvas material & indian ink
Gestural movement: Slicing
Gestural movement: Smearing
Gestural movement: Blotting & Smearing in a ‘C’ formation
Gestural movement: Blotting
Gestural movement: Smearing
Gestural movement: Smearing
Gestural movement: Blotting
Gestural movement: Streaking
Gestural movement: Fanning
generated hexagram
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6
CLAY WALL
Continuing the same methodology used from the ‘Gestural Movements’, I continued to blindfold myself and used the edge of my right hand to mold clay into thin irregular sheets. This resulted in an irregular textural effect, which was then dipped in the same Indian ink used for the gestural paintings recommended by the I Ching. Using the I Ching chart of building materials and architypes, it suggested me to translate these clay sheets into an interior wall. In order to do so, I have assembled all the clay sheets together and overlapped them on top of one another to create a textural effect. I have also experimented with different scales (e.g. a large and small scale) of these clay sheets to explore how each scale could be used and interpreted differently in comparison to one another on a 1:1 scale.
‘Gestural Molds’ 250 x 600 mm canvas material & indian ink
1
2
3
4
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INSTRUCTIONS for clay molding scale 1:10
6
1. take a lump of clay approx. 3 mm diameter 2 - 6. using the edge of the thumb, apply pressure to flatten and mold the clay into desired form on a flat surface
TECHNICAL DRAWING Section Cut of Clay Wall Installation
1 2
3 4
5
6
1800
7 1. concrete Ceiling 2. insulation 3. plywood (10 mm) 4. glass 5. studs (90 x 45 mm) 6. clay sheets glued with epoxy glue 7. cavity baton (20 mm) 8. waterproof membrane 9. exterior cladding plaster 10. concrete floor
8
9
50
10
scale 1:20
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Interior Clay Wall Feature
Working with a small scale: I Ching suggested to make the clay molds small before assemblling them all together
Model: Angeline Wina Chandra
Interior Clay Wall Feature 2 Working with a large scale: I Ching suggested to make the clay molds massive before assemblling them all together
04 CHAPTER FOUR human body as an architectural tool
In this chapter, I continued to develop a series of models that were made blindfolded. As a result of this, I realised how much I depended on my body as a tool to wrap, mold and bend materials. Through this experimentation, I explored different variations of hand gestures and how it is wrapped in masking tape to generate various forms and sizes that are ultimately assembled together to make series of randomized models. Through this experimentation, I was able to eliminate the nature of aesthetics and produce new interventions of building structures.
generated hexagram
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6
WRAPPING MASKING TAPE
These are a series of photographs exmplifying how I used my hand as an architectural tool to generate organic circular forms by wrapping it with masking tape. Exploring the ergonomics of my hand, and the different gestural movements of how masking tape can wrap around it, influenced the size and form of the masking tape.
note: Resulting form and size of the circular organic form is dependent on the ergonomic of an individual’s hand, which differs for every individual.
A
50 diameter
70 diameter
ERGONOMICS OF MY HAND
minimum span of hand
maximum span of hand
175
90
C
B
175
180
C
D
100 diameter
E
160 diameter 400 diameter
INSTRUCTIONS for wrapping masking tape around hand scale 1:10 how to wrap masking tape around a human hand to generate organic circular forms in various sizes
MASKING TAPE PIECE ONE
First attempt of wrapping masking tape around my hand uisng one constant variation of hand gesture.
masking tape
70 diameter
MASKING TAPE PIECE TWO
Attempted to use two different variations of hand gestures to wrap the masking tape around in order to accentuate the assembled form.
masking tape
50 diameter
70 diameter
MASKING TAPE PIECE THREE
For this piece I explored a different technique of assembling them together - side by side.
masking tape
50 diameter
Masking Tape Maddness 1 - Front View masking tape 416 x 395 x 518 mm
Masking Tape Maddness 1- Back View masking tape 416 x 395 x 518 mm
Masking Tape Maddness 2 - Front View masking tape 450 x 385 x 376 mm
Masking Tape Maddness 2 - Left View masking tape 450 x 385 x 376 mm
Masking Tape Maddness 3 - Back View masking tape 512 x 480 x 400 mm
Masking Tape Maddness 3 - Front View masking tape 512 x 480 x 400 mm
Masking Tape Maddness 4 - Front View masking tape 382 x 400 x 376 mm
Masking Tape Maddness 4 - Right View masking tape 382 x 400 x 376 mm
Trial & Error Studio Exhibition masking tape models on plints
generated hexagram
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MASKING TAPE COLUMN
The I-Ching grid of building materials and architypes advised me to translate these random forms into a column.
masking tape & plaster
ELEVATION
520
360
3
4
5
60 6
TECHNICAL DRAWING Translated Masking Tape into Column scale 1:20
A
SECTION
diamet 2400
00 A
1
2
3 4 5
section cut of concrete column top view
2200
scale 1:10
ter 0
250 7 8
1. precast concrete - arch 2. precast concrete - mould 3. vertical steel bar - diameter 10 4. concrete - column 5. circular stirrups 6. angled steel bar sitting in concrete footing 7. stabilized rammed earth 8. below ground - soil and earth
05 CHAPTER FIVE repetition & simplification
In continuation of using my hand as the architectural tool for wrapping, I wanted to experiment on how it can create a more simplified and controlled form. Therefore I decided to constrain myself by only using one gestural movement in which the material wraps around the hand to create a cone structure. In addition to this, I decided to bring back the sensory instinct of sight in order to create a more curated piece. I Ching suggested using a material that was thin and light weight, therefore I chose to work with butter paper and wheat glue in order to keep its form. Using the I Ching grid of building materials and architypes, it recommened that I translated this piece into a hanging light and ceiling structure.
BUTTER PAPER CONE
I used three fingers, (thumb, index, and middle finger) in a pitching motion to create a silouette of a cone.
butter paper & wheat glue
Instructions: 1. apply wheat flour all over area ‘O’ and fold the A1 paper in half 2. divide the paper into quarters 3. tear the paper & apply wheat flour all over area ‘O’ back & front 4. wrap the strip of paper around hand to form circular shape 5. add wheat glue around ‘B’ 6. finish rolling
1
2
3
‘O’ ‘O’
4
5
6
‘B’
generated hexagram
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53
16
25
60
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IMPLEMENTATION
Chicken wire was used as the frame of the structure to assemble all the butter paper cones together. The I Ching grid is placed over the chicken wire to determine its form. This is shaped by the six random hexagrams given from the I Ching. These numbers are used as an indication to where pressure is applied to shape its form.
scale 1:20
1600
800
1
2
5
INSTRUCTIONS for butter paper ceiling structure scale 1:50 1. bend the chicken wire for the two edges to meet 2. secure the edges with metal wire 3. fold the sides edges inwards for it to meet & secure edges with metal wire to form a rectangular cuboid 4. apply pressure on the area generated from the hexagram & mold until desired form 5. formed chicken wire structure 6. individually insert butter paper cone in the square net of the chicken wire 7. continue step 6 until chicken wire is covered
4 3
25
4
52
16
53
60
6
7
Butter Cone Hanging Light butter paper, chicken wire & wheat glue 315 x 630 x 320 mm Model: Thomas Hundarto
Butter Cone Light - Detailed View butter paper, chicken wire & wheat glue 315 x 630 x 320 mm
Butter Cone Light - Inverted View butter paper, chicken wire & wheat glue 315 x 630 x 320 mm
Butter Paper Ceiling Structure butter paper, chicken wire & wheat glue 2800 x 1100 x 800 Model: Angeline Wina Chandra & Chassya Andryska Susanto
06 CHAPTER SIX curation
In this chapter, it seeks to develop the oeuvre of experimentations explored in previous chapters into a more curated piece. The element of sight is used as a tool to curate the work produced.
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BUTTER PAPER PIECE ONE
First attempt of using butter paper and wrapping it around my hand created a fixed pattern. butter paper & wheat glue 340 x 280 x 100 mm
generated hexagram
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6
BUTTER PAPER PIECE TWO
Second attempt of using butter paper I wanted to explore a variation of sizes to assemble together. During this process I discovered that to cater for larger circular forms the ergonomics of my hand could no longer cater for the size it intends to make. Therefore I resulted to using simpler methods of ripping the butter paper into strips and overlapping both edges together. butter paper & wheat glue 400 x 600 x 120 mm
generated hexagram
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PLASTER BUTTER PAPER
I Ching suggested to paint it in plaster. I expected the plaster to cement in the form, however, due to the thin coat applied; when it dried it became very brittle and flaky. butter paper & plaster
1
2
‘O’
594
841
6
INSTRUCTIONS for butter paper screen scale 1:20 1. fold A0 (841 x 594 mm) buttter paper in half & apply wheat glue on area ‘O’ 2. tear paper into segments 3. apply wheat glue on both sides of the paper 4. glue edge of A1 over edge A2 5. to vary the size of the circles, change the length of the paper 6. apply wheat glue on the outer surfaces of the circles & arrange them in a irregular manner 7. randomly select area to cover & add more butter paper over it with wheat glue
on
3
4
5
A1 & A2
75
A1
TO CHANGE SIZE OF CIRCLES, CHANGE THE LENGTH OF PAPER
A2
841
7
shrinkage: overtime, the butter paper shrinks
original outline
shrinked outline
generated hexagram
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BUTTER PAPER SCREEN
Using the I Ching grid of building materials and architypes, it suggested to translate these butter paper pieces into a screen. butter paper & wheat glue 2600 x 1800 mm
TECHNICAL DRAWING Sectional Elevation of Butter Paper Screen scale 1:50
4
1. mezzanine - double height space 2. concrete beam 3. 15 mm diameter rope tied around metal beam 4. rope tied to butter paper screen 5. window frame 6. window 7. step
1
2
3
5
4
6 1800
7
TECHNICAL DRAWING Sectional Elevation of Butter Paper Screen scale 1:50
concrete beamc
rope
oncrete foundation
butter paper skrinkage
‘SUMMARY’ DISCOVERY BEYOND THE NORM
Through this project, eliminating sight and the nature of aesthetics in the early stages of the design process, allow designers like myself to step outside their comfort zone and adopt new techniques and methodologies of approaching a 2D drawing and 3D model. As a result of this, I was able to produce work outside the norm and challenge myself how it can be translated into the realm of architecture through a series of architypes (wall, ceiling, door handle etc.) generated by the I Ching. This became a very important aspect of my project, as I was constantly critiquing how architectural elements can be designed through chance and randomization. In doing so, I had to implement the sensory instinct of sight into the later stages of my design process, in order to curate the work that was produced blindfolded. This introduced intriguing renditions of what these architectural elements could be, which expressed a sense of carnival spirit for users.
If I had enough time to further this project, I would conduct a regeneration project of the level 4 studio using the building materials and architypes I have designed with the I Ching. The program and circulation of the space will be redetermined by the I Ching in order to add constraints to the project, which is similarly expected to occur in a real architectural project and on site. Overall, through the vast range of experimentations explored in this project, it has come to my attention that architecture can be designed through chance and randomization. It introduces a new way of design thinking to translate the work produced into the realm of architecture that is beyond its normality.
special thankyou to those who helped with the photoshoot
Angel Chassya Jenny Reagan Thomas Patrick Lorenz
a design portfolio that explores and embraces designing by chance and randomization with the use of an ancient chinese oracle, called the I Ching. it seeks to adopt new design processes and techniques that looks beyond the norm of architecture. in comparison to site selection, form, programmatic use etc.