Sustainable in Culinary Arts

SUSTAINABILITY IN CULINARY ARTS The Spatial Experience of Culinary Centre, ASEAN

TU PI LIAN (FELICIA)

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DIS70104 Dissertation I Supervisors: Dr. Camelia Kusumo (Dissertation)

Research Submitted in partial fulfilment of the requirements of the degree of Master of Architecture July, 2017 School of Architecture, Building & Design

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ABSTRACT There is a substantive and interwoven relationship between human and food. Before the creation of advanced technology, humans clearly understand where food comes from as food is produced locally. The invention of industrialized agriculture had slowly caused separation between humans and food. Separation caused the obliteration of food knowledge from our food culture, especially on the sources where food come from. This situation results in negative impacts on human health, food cultures and the natural environment. People currently start to be aware on it and created the concept of Farm-To-Table. The concept of Farm-To-Table is not relatively new but has just recently been activated in the ASEAN. The bloom growing of the concept caused a lot of misunderstanding in the terminology and caused the public to be trapped in the business gimmick. A holistic education and awareness is to be provided to the professionals, local community and public through culinary centres, to avoid the misconception of the concept of Farm-To-Table. The culinary centre is in a form of exhibition space to provide cognitive experiences to create knowledge about food. For the culinary centre, the integration of the surroundings and the building is important in provide an embodied learning experience by bringing closer the food and the farm. Compared with other exhibition spaces, this building typology is slightly different as mostly the exhibition spaces are design to be in a “black box” setting. The topic ‘the spatial experience of culinary centre’ proposed to discover the principals to narrow the gap between the interior and exterior spaces and to bring closer the farm and the food in the exhibition setting. In this regard, a qualitative approach by having four case studies as precedent to understand approaches used by different designers to have the exhibition connects with the context. As culinary centres involve people from other field, the methodology utilized interviews to have better understanding on the conditions of spatial experiences to reconnect food and human. The studies gained from literature also is applied to expand understanding on spatial design on exhibition spaces.

Key Words: Human Health, Food Knowledge, Farm-To-Table, Exhibition Architecture, Educational Architecture, Culinary Architecture, Experience Centre, Cognitive Experience, Spatial Experience

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DECLARATION This is to certify that: • The dissertation comprises only my original work towards the Master of Architecture except where indicated in the Preface, • Due acknowledgement has been made in the text to all other materials used, • The dissertation is compiled between 10,000 and 15,000 words in length, exclusive of figures, tables and bibliographies.

___________________________ Signed by: TU PI LIAN (FELICIA) Date: 12th July 2017

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PREFACE This is an original dissertation by the author, TU PI LIAN (FELICIA), submitted in total fulfilment of the requirements of the degree of Master of Architecture in School of Architecture, Building and Design, Taylor’s University. It contains work and research done from April 2017 to August 2017.

This dissertation explores the findings of the principals of creating spatial experiences by making the boundaries of indoor and outdoor spaces becomes indistinct in the culinary centre as to reconnect the relationship of human and food through spatial experiences.

The research is carried out solely by the author with references to the sources. The findings of the research will benefit designers and architects, expand the understanding of spatial experiences for culinary centres and the narrations of food cultures.

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ACKNOWLEDGEMENTS The success and outcomes of the research requires a lot of guidance and assistant from many people in different fields. I would like to acknowledge my gratitude to all those who have contributed in providing assistance throughout the completion of the dissertation.

First, I would like to thank Dr. Camelia Kusumo, the supervisor of my dissertation in providing unfailing support and guidance in completing the dissertation.

I would also like to thank Ms Arie, the stakeholder of Bali International and Development Center (BITDEC), Bali in giving me the opportunity to make my research becomes a reality.

I’m also grateful to Dr. Veronica Ng Foong Peng in providing guidance and valuable comments throughout the process of writing the dissertation.

Lastly, I would extend my gratitude to my family, especially my parents, in giving me motivation and continuous support to let me believe in myself and this has enabled me to complete my dissertation on time..

Thank you.

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TABLE OF CONTENT CHAPTER 1: INTRODUCTION 1.1 Problem Statement 1.2 Background Study 1.2.1 Separation of Food and Human 1.2.2 Farm-To-Table in ASEAN 1.2.2.1 The Sustainable Culinary 1.2.3 The Relationship of Food and Human through Architecture 1.2.4 Narrative Through Spatial Characteristics in Exhibition 1.3 Research Questions 1.4 Research Aims & Objectives 1.5 Research Methodology and Methods 1.5.1 Literature Review 1.5.2 Interview 1.5.3 Case Study 1.6 Significance 1.7 Limitation and Delimitation

CHAPTER 2: AMBIENT OF EXHIBITION SPACES 2.1 Spatial design for the exhibition spaces 2.2.1 Space Syntax, begins of spatial design in Exhibition Environment 2.2.2 ‘Atmosphere’ of Exhibition Environment 2.2.3 ‘Atmospherics’ in Exhibition Environment 2.2 Connectivity of External and Internal Environment 2.2.1 The concept of ‘Zen’ in Japanese Architecture

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CHAPTER 3: TRANSLATION OF CONNECTIVITY IN EXHIBITION’S CONTEXT AND CONTENT 3.1 Case Study 1: Hiroshi Senju Museum, Japan / Ryue Nishizawa 3.2 Case Study 2: Chongqing Central Park Life Experience Center / Gad 3.3 Case Study 3: New Acropolis Museum, Greece / Bernard Tschumi 3.4 Case Study 4: Modern Art Museum of Fort Worth, United States / Tadao Ando 3.5 Summary of Case Study

CHAPTER 4 - REFERENCES

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CHAPTER 1 - INTRODUCTION 1.1 PROBLEM STATEMENT The connectivity between human and food have been isolated since the creation of technology by human. The separation of human and food has caused negative impact to human health and the natural environment. Emily. M. Gasperetti (2013), in her thesis on ‘An Investigation into Healthy Eating through Architecture’, stated that television shows such as Jamie Oliver’s Food Revolution, in which one ambitious English chef sets out to make the most obese city in America healthier, explains just how serious these problems have become. Society is beginning to see these negative health effects but many people do not understand their source. As the television show clearly demonstrates, the problem lies with our lack of knowledge about the food we eat”.

Therefore, it is necessary to be aware of the health and environmental issues by restoring the relationship of human and food. Farm-To-Table is a concept that emerges to resolve issues on the relationship of human and food through culinary. The concept of Farm-To-Table is more than just restoring the linkage of human and food, but also contain values on sustainability, to look at the impact of food through environment, economic and social factors.

Cooking

FOOD HUMAN

Growing Harvesting

FOOD

TECHNOLOGY

HUMAN

FOOD SOURCE???

FOOD KNOWLEDGE

COOKING HABIT???

FOOD CULTURE???

Sources + HEALTH

- HEALTH

+ ENVIRONMENT

- ENVIRONMENT

BEFORE

AFTER

Figure 1.1.1: The relationship of food and human before and after industrialization of agriculture

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There is a rise of Farm-To-Table Culinary in ASEAN. There are two main reasons which contribute to the rise: the tourism sectors which currently focus on agriculture tourism and the awareness of people on sustainability. Within ASEAN, there are in total eight regions which maintain an active status on Farm-to-table Culinary: Cambodia, Indonesia, Laos, Malaysia, Philippines, Singapore, Thailand, and Vietnam (Harold, 2017).

ASEAN Brunei Cambodia Indonesia Laos Malaysia Myanmar Philippines Singapore Thailand Vietnam

Status Inactive Active Active Active Active Inactive Active Active Active Active

Legend: Active- The existing Farm-to-Table tourism activities Inactive- Non-existing Farm-to-Table tourism activities

Figure 1.1.2: Farm-To-Table status in ASEAN

Based on the visitation to the Farm-To-Table concept restaurants and research by Harold (2017) the term Farm-To-Table is being misused as business gimmick. There is lack of understanding within the public, forming obstacle in practicing the concept of Farm-To-Table. This critical situation is more obvious in the region of Bali, Indonesia, due to the rapid growth of tourism. To avoid ASEAN falling into a situation similar to the United States on the misuse of the term “Farm-To-Table�, a proper education on the Farm-To-Table concept is required as to ensure the public does not fall into the trap of business people and hence to narrow the gap between food and human. As to provide a holistic education, there is a need to involve different range of people; general public (tourists), professionals (chefs), and community (farmers).

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Figure 1.1.3: Target users’ groups in providing education to create awareness on food

The culinary centres aim to provide education on food cycles through interactive exhibitions to cultivate people with food related knowledge and hence reconnect the relationship between food and human. The design of the culinary centres have to merge the interior spaces with the exterior spaces, make the boundaries of indoor and outdoor spaces becomes indistinct, to provide contextual setting for the exhibition content.

Therefore, there is a need in identify the principals in spatial design in bringing the context of the exhibition in relation with the contents, to have a more comprehensive narrations in providing cognitive experiences.

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1.2 BACKGROUND STUDY 1.2.1 Separation of Food and Human The relationship between human and food used to be close before the industrial revolution where people are conscious about food related knowledge and issues, but not after. Before the creation of advanced technology, people clearly understand where the food came from as there is no refrigerator nor technology to process food. All the food is fresh from the farmer or the butcher. The invention of industrialized agriculture had slowly caused human to lose the basic knowledge of growing, harvesting, cooking and to forget that their food still relies on the soil for sustainability.

Less understanding given to the food knowledge had increased the

negative impact on human health, food cultures and also care to the built environment.

Without knowing the food source, we are not able to judge on the health aspect of the food, whether is it free from pesticide or free from antibiotics and hormones. A lot of food is added with chemical substances to enhance the colour of the food, texture and flavor and at the same time to prolong storage life of food.

These chemicals substances caused disease and sickness increasing rapidly, especially on cancer, critically damaged human health.

Based on statistics on

GLOBOCAN, there are 14.1 million new cancer cases and 8.2 million deaths which occurred in 2012 and it had shifted to less developed countries. "Tell me what you eat and I will tell you what you are.", a well-known phrase by Jean Anthelme BrillatSavarin (1826), saying that the health in physical, mental or emotionally determined by the food itself.

The separation of human and food also caused the dilution in food cultures.

More fast food restaurants and food chain stores such as Mc Donalds, Kentucky Fried chicken and Starbucks had spread to a lot of regions, affecting the local’s food cultures and food preferences by the community.

Food also has a significant impact on the environment. The impact caused not only by the pesticide that fused into the soil in the growing stages of food cycles, but also wastage of raw food during harvesting, cooking and food waste after meals. Based on the data released by the Food and Agriculture Organization

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in US, 1.3 billion tons of food is wasted every year worldwide and this caused damage to the built environment.

Geographic Society and Globe Scan, the new analysis released on 2014 shows that there is an increasing trend on people concerning about the environment but there is still little as the subjects on health and environmental issues are getting critical, people start to feel fearful and concern on this issue as it negatively affects their living quality. According to National Geographic Society and GlobeScan, the new analysis released on 2014 shows that there is an increasing trend on people concerning about the environment but there is still little move taken in reducing the environment impacts. There is a need to find a solution to encourage people to take actions for the environment instead of simply feeling fearful for it. This movement had brought the new concept in the culinary field, the Farm-To-Table Culinary to encourage people to be concerned and contribute to the environment and at the same time able to learn more about food knowledge.

1.2.2 Farm-To-Table in ASEAN Farm-To-Table, or Farm-To-Fork refers to the process of food from growing in the farm to consumption of food on table. Farm-to-Table arise after the introduction of the concept on “Food as Art and Molecular Gastronomy� where food served is unrecognizable and look strange, oppose with the practices of Farm-To-Table culinary.

This concept epitomizes the idea of the Italian slow food movement which is to promote local foods and appreciate the original taste of food. Currently, there is a rise of the Farm-To-Table concept in ASEAN. The rise of the Farm-To-Table concept is due to the changes on the food axis from fast food to healthy food. Harold Bernardo Bueno (2017), in his thesis, identifies the significant potential of Farm-To-Table in Cambodia, Indonesia, Laos, Malaysia, Philippines, Singapore, Thailand, and Vietnam in the agriculture and tourism sectors. He further explained that the rise of Farm-To-Table is due to the tourism industry. This condition can be seen in Bali, Indonesia as the rapid increase of tourists in Bali had increased the mushrooming of the Farm-To-Table restaurants in the region.

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The Farm-To-Table concept plays a vital role in creating sustainable development through culinary and agriculture. This is due to the existence of Farm-To-Table to make people aware of food related issues. In ASEAN, the concept of Farm-To-Table is relatively new; different from the United States or other Western countries where the term “FarmTo-Table� have been overused and caused misleading content to the diners. The misused of the term had formed barrier to reconnect the relationship of food and human as people refuse to practice the Farm-To-Table concept and this decreases the value of the concept. As to avoid this situation from happening in ASEAN, a holistic education is required as to allow people to understand the true definition of Farm-To-Table. By providing knowledge on Farm-To-Table to the chef is not sufficient as chef is only one of the key persons who has direct relationship with food. Training and education have to be provided to the professionals (chefs), general public (tourism), and the community (farmers) through culinary centres. In the culinary centres, chefs, as food professionals, understand and learn about the ways in reducing food impacts to the environment and practices sustainable culinary; the tourists through the cognitive experience of the exhibition in the culinary experience centres, to understand about food cycles and allow tourists to appreciate the food cultures; While for the farmers, the culinary experience centres allow farmers to learn about organic farming and permaculture and thus improve the techniques in agriculture. The holistic education of Farm-To-Table will be achieved, through the culinary experience centres in providing education on food related knowledge to a broader user group.

1.2.2.1 The Sustainable Culinary Food related issues, not only gives impact to the environment, but also the social and economic aspect of a region. Further derived from the Brundtland Report on 1987, the definition of sustainable development shifted to focus on economic development, social development and environmental protection especially for the future generation. There are lots of practices of Farm-To-Table currently in ASEAN but not all of them fulfil the requirement of sustainability. Many of the practices fulfil the environmental and the economic component but neglected the social development of the community. As mentioned by Harold, the practices of Farm-To-Table is an advocacy and it contributes to the community, which are the farmers. The farmers play 13 | P a g e

an important role in the practices of Farm-To-Table as they are the main people who manage the farm, the sources of our food. As Farm-To-Table is a locavore movement, it able to benefit and improve the agriculture skills of the community, providing working opportunities, and protect the food cultures of the genius loci. With the involvement of communities, there is value added to the concept of Farm-To-Table where the practices not only as a trend, instead it becomes the lifestyle of the community which will ensure the spirit of Farm-To-Table to be practiced in a longer period of time.

Figure 1.2.2.1: The concept of sustainable development derived from the Brundtland Report

In January 2016, the United Nations Development Programme had come out with 17 sustainable developments goals which are to be achieved in year 2030.

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Figure 1.2.2.2: 17 Sustainable Goals to be achieved in Year 2030.

The Farm-To-Table culinary will able to contribute to a few of the sustainable goals, which are as follows: 1. Good health and well-being: The Farm-To-Table concept emphasises on slow food movement, aims to create awareness to people on consumption of healthy food and have better understanding and equipped with food related knowledge.

2. Decent work and economic growth: The Farm-To-Table supports locavore movement, giving support to the local farmers, which indirectly improves the living quality and raise the economy of the community.

3. Sustainable cities and communities: The Farm-To-Table concept educates people to be more concern on food related issues as it impacts the natural environment.

4. Climate Actions: Farm-To-Table emphasises on the impact of food to the surroundings which takes into consideration and action on issues related to climate change.

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1.2.3 The Relationship of Food and Human through Architecture Food and human used to have close relationship and it can be shown through the food spaces in human shelters. The shifting of food axis changed the design of the foodrelated-spaces. Looking at the traditional dwellings, the planning on the dwellings does integrate with food spaces, mainly to store foods or seeds, and house their animals as livestock. It shows the importance of food in their daily-lives.

Figure 1.2.3.1 The Mesakin Quisar Cluster Dwellings of Nuba People, Sudan. The dwelling includes spaces for food storage, seed storage and livestock storage.

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Figure 1.2.3.2 Balinese traditional house with rice barn to secure their main food sources.

Food-related spaces mentioned here include food preparation and cooking, serving and feeding, storage and disposal. In the traditional houses, the spaces were conceived based on the usage of different zones; social zones, services zone, private zones. The food preparation and cooking spaces are categorized as the services zone only to be used by the household or the servants. Hence, the design of the service zone was to be segregated from the social spaces where they are not to be seen by the guests. In the research by Elizabeth Cromley (1996) on "Transforming the Food Axis: Houses, Tools, Modes of Analysis.", the design of the services zones in the modern houses becomes an open plan which traditionally was segregated from the social spaces is due to the household economy and women’s roles in the kitchen rather than the aesthetic intention of the modern architects. In the modern houses, the solid walls between the social zones and services zones had been removed as the food preparation and cooking spaces are currently perceived as social zones for the family and also guests; The smells flow from the kitchen in the modern context is interpreted as the alluring invitations of the food aromas rather than obnoxious smells with bacteria and germs.

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Figure 1.2.3.3: Mid-nineteen century housing, with kitchen segregated from the social zones.

Figure 1.2.3.4 The modern dwelling with the dining-living-kitchen concept where the walls between service zone and social zone are removed.

The existence of the concept of Farm-To-Table due to the shifting of food axis; from the fast food consuming to healthy food and it is an upcoming trend as more and more people are concerned about food as it is the element that determine the level of health of our body. The concept of Farm-To-Table is exquisite on its regionality, the nature surroundings, weather, typography, culture and community which will influence the building design, as food itself, always as a representation of cultural identity and place characteristics.

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1.2.4 Narrative Through Spatial Characteristics in Exhibition The concept of Farm-To-Table is relatively new in the ASEAN region. There is a lack of understanding within the public , formed obstacle in practicing the concept of FarmTo-Table. A holistic education and awareness are to be provided to the professionals, local community and public through culinary centres. The culinary centres in a form of exhibition spaces are to provide cognitive experiences and to create knowledge about food. Janet Kamien (2013) mentioned that the exhibition content is able to be delivered in multiple ways through a space that visitors physically move through. The exhibition is considered as an informal learning or free-choice learning which is somehow similar to museums, zoos, and science centres,. It involves a higher degree of self-direction and self-selection. Based on the research by Chantal Barriault (2010) on Assessing Exhibits for Learning in Science Centers in the Journal of Visitor Studies, the free-choice learning tends to be non-linear, is personally motivated and involves a considerable choice on the part of the learner as to what to learn, as well as where and when to participate in learning. Hence, this provides a suitable atmosphere for exhibition spaces and this is relatively important to allow the educational content to narrate itself to the visitors through spaces and meanwhile satisfy the cognitive experiences of the visitors in learning the concept of Farm-To-Table in ASEAN. In the current exhibition architecture, there are lots of museum designs in a “black box� setting, where the surrounding elements are being ignored. The surrounding elements able to provide context to the storyline of the exhibition contents and provide better comprehend on the cognitive experiences. For the culinary centres, the integration of the surroundings and the building is important to provide an embodied learning experience by bringing closer the food and the farm, making the boundaries of indoor and outdoor spaces becomes indistinct, to reconnect relationship of food and human in this modern era.

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1.3 RESEARCH QUESTION The research is based on the following research question:

“How is the embodied spatial experience able to reconnect relationship of human and food through culinary centre in ASEAN ?’

And with the sub-question as below: -

What are the human senses involve in providing the cognitive experience in the culinary centre?

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What are the design principals in linking the exhibition content with the external environment?

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What type of spatial characteristic enhance the cognitive experience in the culinary centre?

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What are the design characters for a culinary experience centre in representing the social and culture of a context?

1.4 RESEARCH AIM AND OBJECTIVES This paper aims to identify how the embodied spatial experiences reconnect the relationship of human and food. The objectives which supports the aim as follow: -

To identify the senses involved in enhancing cognitive experience of visitors in culinary experience centre.

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To identify the design characters for the culinary experience centre which represent the social and cultural context.

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To identify types of spatial characteristic in providing cognitive experiences to the visitors.

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To identify the design characters for the culinary experience centre which represent the social and cultural context.

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1.5 METHODOLOGY AND METHODS PROBLEM The separation of the relationship between human and food caused food knowledge to be obliterated from our food culture and negative impact on human health. .

Relationship of human and food: A rise of the Farm-To-Table Culinary in the ASEAN region

ANALYSIS

RECOMENDATION

INTERVIEWS: Tourism: Harold Bueno Culinary: Dean of Taylor’s Culinary School & Chef Lecturer of Taylor’s Culinary School.

Stakeholders: 1. BITDEC, Bali 2. Local Communities LITERATURE REVIEW Journal:

How to educate and create awareness to the general public (tourists), professionals (chefs), and community (farmers) to understand the Farm-ToTable concept

1 How does the embodied spatial experience able to reconnect relationship of human and food in culinary centres?

1.

2.

Design Factors in the Museum Visitor Spatial Concepts in Museum Theory and Practice

Book: 1.

2.

3.

4.

5.

Architecture and Narrative Atmospheres Creating Exhibition Space is the Machine: A Configurational theory of Architecture The Whisper Within: Zen and Self

A culinary experience centre, using embodied spatial experience to reconnect the relationship of food and human

CASE STUDY: -

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Hiroshi Senju Museum, Japan / Ryue Nishizawa Chongqing Central Park Life Experience Center / gad New Acropolis Museum, Greece / Bernard Tschumi Modern Art Museum of Fort Worth, United States / Tadao Ando 21 | P a g e

There are multiple methods have been carried out to understand the issues on FarmTo-Table. These included literature review, case study, and interviews. As the subject on Farm-To-Table have limited literature on the studies, the data collected are based on interview mainly with people involved in the agriculture, culinary and the community. The literature review and case studies used to identify and understand the principals in spatial experience provided in exhibition spaces for the culinary centre.

1.5.1 LITERATURE REVIEW Selection of related journals and books for further readings and detail analysis.

Journals: 1. Design Factors in the Museum Visitor Experiences Author: Regan Forrest Year: 2014 Source of reference: University of Queensland The studies of the journal to understanding the exhibition-visitor relationship, the research expand the knowledge on the behavior of visitors in different museum environment through the theories of perceived atmosphere.

2. Spatial Concepts in Museum Theory and Practice Author: Kali Tzortzi Year: 2015 Source of reference: University of Patras, 10th International Space Syntax Symposium

Understanding the spatial layout in the communication of knowledge in museum typology based on the theories of space syntax. Also looking at the approach of author

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in identify how architecture used in adding new dimension and experiences to the exhibition content.

Books: 1. Architecture and Narrative Author: Sophia Psarra Publisher: Routledge City of Publication: Abingdon, Australia Year: 2009 Source of reference: Taylor’s University Library Sophia Psarra, the Associate Professor of Architecture at Alfred Taubman College of Architecture and Urban Planning at University of Michigan, USA. She conducted several research focus on the issues of spatial organization, planning of exhibition and visitor experiences. Readings on the book is to understand the interaction of the conceptual, perceptual and social space which affects the design and life of a building. The author also speaks about how meaning is constructed in buildings and the relationship of the exhibition in communicating with the visitors through spatial design.

2. Atmospheres Author: Peter Zumthor Publisher: Birkhauser City of Publication: Switzerland Year: 2006 In understanding Peter Zumthor philosophy of atmosphere which influences by the spatial characteristics which provide certain experiences to the users. Peter

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Zumthor illustrates through nine chapters in how the atmosphere created in his houses that affects his singular density and mood.

3. Creating Exhibition Author: Polly Mckenna-Cress Publishes: Wiley Year: 2013 Source of reference: Taylor’s University Library Polly Mckenna-Cress, the Department Chair and program Director of Museum Exhibition Planning and Design at the University of Arts, who practices in master planning, development, design and project management of exhibition. The reading of the book is to understand the factors in affecting the design and planning of an exhibition through different perspective.

4. Space is the Machine: A Configurational theory of Architecture Author: Bill Hillier Publisher: Press Syndicate City of Publication: United Kingdom Year: 1996 Source of reference: Space Syntax (Online Publication) Bill Hillier, the Emeritus Professor of Architecture and Urban Morphology at the Space Syntax Laboratory, University College London. He is the original pioneer in the theories of space syntax in architecture. The reading of the book helps in understanding theory of space syntax, also understands the patterns of spaces in affecting people and the operations of the building to suit human’s behavior.

5. The Whisper Within: Zen and Self

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Author: Peg Syverson Year: 2015 The book wrote about the usage of Zen concept in different manners. Having the book on literature review to understand the concept of Zen, the history of Zen in traditional and modern Japan Architecture and explores the principals used in creates Inside-outside spaces by indistinct the boundary between internal and external environment.

1.5.2 INTERVIEW Interviews will be conducted mainly people involved in the culinary and tourism fields to understand the current situation of Farm-To-Table in relation to the connection of food with human.

Tourism: Harold Bueno The Sumitomo Corporation scholar, also researcher in the tourism field recently conduct studies on Farm-To-Table in ASEAN context. The interview aims to understand the current position and situation of Farm-To-Table in the ASEAN context.

Culinary: Pn Siti Ramadhaniatun Binti Ismail - Head of School of Culinary Arts & Food Studies of Taylor’s University Chef Khairul Anuar Bin Muhamad- Stream Coordinator – Culinary Arts of Taylor’s Culinary School.

Interview carried out with Pn Siti and Chef Khairul to understand the teaching of chef in the culinary schools and also understand the issues faced in practicing sustainability in culinary studies. Pn Siti also shared her experiences in the field of Farm-To-Table and shared the pros and cons and challenges faced while proposing the practices of Farm-To-Table in Taylor’s Univeristy.

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Stakeholders: Interviews are carried out specially with the stakeholders of the Farm-To-Table as to understand the challenges faced while operating the Farm-To-Table concept and to understand the current situation of this concept in the ASEAN region. Besides, the interviews also contribute to understand the future planning of the stakeholders to foresee the expansion and flexibilities in Farm-To-Table. A simplify interviews with the local communities conducted to understand the perspective of them towards Farm-ToTable and also the preference type of educational tour to be provided in educating on the concept of Farm-To-Table. Also, interview had been conducted with client of BITDEC, to understand and identify the purpose and intention of having culinary centre in Bali.

1.5.3 CASE STUDY There are in total of four case study carried out to look at the principals and approach of architects in designing exhibition environment in providing the exhibition content with the context which act as the background settings of the narrations. The case study choosen based on the architect’s design in relation to the surroundings context as to compare the ways used to bring the external environment into the exhibition spaces.

1. Hiroshi Senju Museum, Japan / Ryue Nishizawa 2. Chongqing Central Park Life Experience Center / gad 3. Geology Museum / LeeMundwiler Architects 4. Modern Art Museum of Fort Worth, United States / Tadao Ando 5. New Acropolis Museum, Greece / Bernard Tschumi

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1.6 SIGNIFICANCE This dissertation will develop as a design guideline, to set as a standard and framework in designing the Culinary Experience Centre for Farm-To-Table in ASEAN to educate and create awareness within the public on the importance of food to human.

This research will also contribute to the principal of “atmosphere� in designing exhibition spaces. Designing the Farm-To-Table Culinary Experience Centre will also contribute to the concept of sustainable development through architecture. Further derived from the Brundtland Report on 1987, the definition of sustainable development shifted to focus on economic development, social development and environmental protection especially for the future generations. Farm-To-Table contribute to the Sustainable Development Goals which to be achieved in year 2030. In total, there are 17 sets of the global goals and the Farm-To-Table will contribute to 7 of the goals, stated as follow: 1. Good Health and Well-Being: Ensure healthy lives and promote well-being for all at all ages 2. Decent Work and Economic Growth: Promote inclusive and sustainable economic growth, employment and decent work for all 3. Sustainable Cities and Communities: Make cities inclusive, safe, resilient and sustainable 4. Climate Action: Take urgent action to combat climate change and its impacts

1.7 LIMITATION AND DELIMITATIONS As Farm-To-Table is relative new concept in ASEAN, there are limited literature and data related to the studies. Also, the Farm-To-Table studies currently are from other approaches such as tourisms, agricultures and culinary but not architecture. Similarly, the concept of Inside-Out have limited implementation and literature to provide as reference for this project. Hence, the studies of this research mostly are primary data, collected through interviews and visitations. Although there are lots of literature and studies related to museology, there are also limited access to those literatures. This research written will be based on the literature which accessed through online and book resources.

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CHAPTER 2 NARRATIVE OF FOOD IN EXHIBITION SPACES 2.1 SPATIAL DESIGN FOR THE EXHIBITION SPACES Despite the differences based on the building typology, the culinary experience centre having similar identity with museums, library and visitors centre, as an exhibition spaces in providing cognitive experiences. The cognitive experiences in this context tends to be non-linear, referred to a free-choice learning, which much depends on selfselection and self-direction. Visitors have the freedom in choosing the learning content and when to participate into the learning process. Through the movement in the exhibition spaces, the visitors create knowledge and making meaning from the experiences. Here, the engagement of the visitors becomes an important factor to consider in accommodate the cognitive experiences. There are 4 reasons people visit the exhibition spaces, mainly to satisfy the education, spiritual, social and emotional desire. Currently, the design of the exhibition spaces still mainly on fulfilling the learning desire but not the others. The informal learning required satisfaction on the emotional aspect, as to increase the engagement of visitors to the exhibition content.

The engagement of visitors able to judge by the time spent in the exhibition spaces based on paper on ‘assessing exhibits for learning in science centers’ by Chantal Barriault & David Pearson. As to fulfill the emotional aspect and learning desire of visitors, the spatial experiences plays an important role in creating suitable ambience for the exhibition content.

2.2.1 SPACE SYNTAX, BEGINS OF SPATIAL DESIGN IN EXHIBITION ENVIRONMENT Throughout the years, progressively having literature and studies on exhibition spaces especially on the museum typology. The exploration on exhibition begins when Hiller (1996) introduce on the concept of space syntax. Space syntax is a set of theory to analyze on spatial configurations. The spatial configuration not only looking at the arrangement of space, but to look at the relations of individual spaces in affecting each other in a layout, and form all parts of individual spaces as a whole. In Psarra (2009) studies, the Architecture and narrates, she uses the concept of space syntax to analyze the configurational attributes of buildings in terms of the relation between the individual spaces, the sightlines and visibility of the space. She analyzes the spatial 28 | P a g e

layout of 4 museums, Natural History Museum in London, Museum of Scotland in Edinburgh, Burrell Collection in Glasgow and the Art Gallery Museum, Kelvingrove in Glasgow. The study is to understand the different approaches on the spatial characteristics of the exhibition spaces in narrates the content of the exhibition. Kali Tzortzi (2010) in the study on interconnecting museology and architecture in the journal of space syntax, looking at the space syntax to understand the relation between the spatial design of the exhibition spaces with the displays. The key issues in the study raised due to the criticism on the New Acropolis Museum, on the spatial design which does not practice the museology intention in providing guidance to the visitors in reading the displays. Instead, Bernard Tschumi using the manifestation of place, tied the exhibition with the context, by having the connectivity of the exhibition spaces to the acropolis. So, is space syntax the only role in transmitting the cognitive experiences through mapping the layout with the display in an exhibition spaces?

2.2.2 ‘ATMOSPHERE’ OF EXHIBITION ENVIRONMENT Another approaches on the spatial design of the exhibition spaces, using Peter Zumthor’s (2006) idea of ‘Atmosphere’. The atmosphere looking at the sensory experiences in architecture on perceiving the ambient or character of a space. In his book, he explains the principals to be considered in creating ambient by explaining the design of his house, that he feels the spatial characteristics that affects his singular density and mood. There are 9 criteria in considering the design of the ambient in his book, Atmosphere.

•

The Body of Architecture (Materiality)

– The materiality that creates sensory effect in a spaces •

Material Compatibility

– The reaction of different materials in affecting the ambience in the spaces.

Combination of the materials sometimes seems to be fit together but some seems not in harmony in a spaces.

•

The Sound of Space

– The movement of users that makes the materials to create sounds in a spaces.

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•

The Temperature of Space

– The temperature of the space to provide human bodies level of comfort which able to determine by the materials.

•

Surrounding Objects

– The spatial organization forming the relationship of the individual spaces, creating different ambience and details for the space.

•

Between Composure and Seduction

– The involvement of movement to experience the spatial quality.

•

Tension between Interior and Exterior

– The boundaries formed that create distinctive sensory experiences to the indoor and outdoor, the interaction between both of the spaces that affect the ambience.

•

Levels of Intimacy

– Proximity and distance which involves size, dimension, scale and mass.

•

The Light on Things

– The effects of nature and artificial light on different materials, creates shadows and different feeling to the users.

After his works on principals of ‘atmosphere’ in his house, he further explores into other building typology, the museum. Kolumba Museum located at the dense archaeological site, where the Kolumba Church stood before the World War II and being demolished together with the rest of the city. The Kolumba Church have lots to speaks about the city as it is built to show the power of the parish during the time. In 1949, small octagonal chapel was built, as a remembrance the airstrike happen in the city and destroyed Kolumba Church. As the site contains layers of histories, Peter Zumthor designed to embrace the pre-existing fragments. The Kolumba Museum does not emphasize on the shape of the museum as he opposes on the ‘Bilbao effect’. He opposes as the ‘Bilbao effect’ turns architecture into a marketing tools to allows more visitors to visit museum every year. For Peter Zumthor, he believes the ambience, the 30 | P a g e

architectural content of spaces, able to engage visitors to the exhibition and appreciate them through the atmosphere instead of the architectural form. The museum seems to be a closed box of slender, without windows on the wall of the exhibition, instead having holes puncturing the facades to allow slight nature lighting into the exhibition spaces to create a mysterious space. He mindfully uses the materials and the construction details in creating the ambient to catch the emotions of the visitors to have sensory experiences to engage with the content. Besides having pathway through the archaeological excavations, he also plays with both nature and artificial lightings to directs the circulation of the visitors. Peter Zumthor also carefully design the space in bringing visitors from mysterious spaces and slowly lead them to a semi-enclosed space as to drawn the narration of the exhibition to a point where it seems coming to an end, with pathway leads to small ceilingless atrium.

Image 2.2.2.1: The external of the museum which seems to be like closed box with holes puncturing the facades. Retrieved from: http://www.arcspace.com/features/atelier-peterzumthor/kolumba-museum/

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Image2.2.2.2: Pathway through archaeological excavations, uses both nature and artificial lightings to guide visitors through the exhibition in Kolumba Museum. Retrieved from: http://www.archdaily.com/72192/kolumba-musuem-peter-zumthor

Image 2.2.2.3: The small ceilingless atrium which lead by the pathway from the internal exhibition to the external exhibition. Retrieved from: http://www.kolumba.de/?language=eng&cat_select=1&category=14&artikle=61

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2.2.3 ‘ATMOSPHERICS’ IN EXHIBITION ENVIRONMENT Atmospherics, a study by Philip Kotler (1973) in the Journal of Retailing, borrowed the term ‘atmosphere’ from architecture in looking at how the space design in a form of intangible affect the consumers to purchase the tangible products. Atmospherics is a study on environment psychology on findings the design characteristics affects the customer’s perception. Based on Kotler’s definition, the atmosphere of a shop affects by sensory element which creates communication of shoppers with the products. The sensory element includes attention, by having outstanding product to be visible within the other products; message, regarding on the establishment and store images; and affects, which includes on the colours and textures. Kotler’s ‘Atmospherics’ further derived by Baker, the environment that characterized atmospheric based on ambient, consist of temperature, sound, odours; design, includes layout, colour, interior design; and the social element, refer to the relationship between customers and store employees.

As the principals of ‘Atmospherics’ able to be applied in spatial design for the, some researcher also uses this concept to develop in designing the spatial experiences of museum typology. Initially this concept developed through 3 principals, design appearance, spatiality and information rate, and Kotler further derived into 4 principals, •

Vibrancy

- the design appearance of the space •

Spatiality

– spaciousness of a space, in terms of openness or enclosure.

•

Order

– the spatial organization of spaces •

Theatricality

- The setting of the atmosphere for performances similar to theater In the research by Regan Forrest on design factors in the museum visitor experiences, the author study and identify the principals of atmospherics apply into the museology 33 | P a g e

design. Compare to Peter Zumthor approaches, both principals having similarity. The Atmospherics study and Atmosphere principals develops focus on the ambient in affecting the user’s perception and behaviour, both concern on the spatial characteristics in accommodate the exhibition.

2.2 CONNECTIVITY OF EXTERNAL AND INTERNAL ENVIRONMENT Buildings itself narrates about the culture, the history and the genius loci of the place.

Museum or exhibition spaces, have a strong connection with its context. For example, the maritime museum will be located near the sea or harbor but not in other places which totally in a context where does not have any historical meaning or representation. The context is very important to enhance the spatial experiences of the exhibition as it ties the content with the sense of place and time. In the current museology design, many have ignored the exterior environment in providing cognition experience to visitors in the exhibition spaces. Meanwhile, the museum designed in a black box setting where the internal spaces being isolated, to be disconnected with the external environment. Some internal spaces are mean to designed in a way that it is totally disconnected with the exterior environment as to allowed visitors to be focus on the exhibition content. Instead, the external environment able to provide better understanding to the visitors during the process of the cognitive experiences as the external environment speaks about the time and location of the display content and have better narrations on the backgrounds. As for the culinary centre, the exhibition itself not only limited to the internal environment but extended to the external environment, which is the farm. The external environment could act as the background settings, the context for the exhibition content, which would able to provide a more comprehend cognitive experiences to the visitors.

2.2.1 THE CONCEPT OF ‘ZEN’ IN JAPANESE ARCHITECTURE Many Japanese architects such as Takeshi Hosaka, Sou Foujimoto, and Keisuke Maeda uses Zen concept to create the spatial characteristic of Inside-Outside. The InsideOutside concept here refer to merging of the interior and exterior spaces as it seems like both are connected instead of distinctive. This concept currently used in designing 34 | P a g e

residential houses typology, in smaller scale buildings. Their approach on design are simplicity, and harmony with nature, practices the concept of Zen.

Figure 2.2.1.1: The idea of Inside-Outside concept, to reduce the distinctive gap between the exterior and interior spaces.

Zen is a religious sect which the philosophy transformed from the Indian Buddhism into Zen Buddhism. Looking at the Zen Architecture, currently there are two distinct groups of understanding on this concept. Based on Peg Syverson (2015) in the book, The Whisper Within: Zen and Self, this distinct groups of Zen Architecture separated based on the historical timeline. One of it refer to the traditional Zen Architecture which practices based on the Japanese roots which started since the fifth-century till the ninth-century. This traditional Zen concept used to design for the practitioners of the religion, mainly temples and monasteries. The temples design to be humble, with no complexity, simple geometry, and simple materials. The buildings of the Zen Architecture in this period designed to be blended with the nature, merge the building together with the organic backdrop.

Another approach of Zen Architecture will be on the contemporary design, the idea of minimalist. It is establishing through Shibuimi, a concept of ‘less is more’ by the Japanese: elegant simplicity, effortless effectiveness, beautiful imperfection. The Contemporary Zen Architecture emphasis more on capture the emotional feelings, on the feeling of different energies through static and motion. Garr Reynolds (2009) research and study on the Zen philosophy, identify 7 design principals of Zen based on Japanese garden and other forms of arts in Japan, to allow designers to easily understand the essence of Zen and used it in their works. The design principals are as follows:

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•

Simplicity - Kanso

- Eliminate those unnecessary, to make more spaces for the necessary, in a plain and natural manner •

Asymmetry - Fukinsei

– Controlling the balance with irregularity, as to creates movement in static •

Naturalness – Shizen

- Using natural occur patterns and rhythms to merge into natures •

Subtlety - Yugen

- Limit information to create curiosity meanwhile leave space for imagination.

•

Break from routine – Datsuzoku

- Create an interruptive break within a repetitive pattern •

Stillness - Seijaku

- Energize the feeling of calm, tranquility, and solitude to gain the essence of create energy •

Austerity - Shibui/Shibumi

- Only show those necessary and not elaborate upon All the principals are related to each other as they are interconnected and some are similar. Although the principals are in common, but to achieve the Zen concept, not by applying all the principals into the design. Instead, only apply those principals which are able to implement or able to aligned with the design concept. In the practice of Zen Architecture, the idea of oneness which the interior and exterior seems to be as a whole, is the essence of the Zen concept. Peg Syverson (2015) mentioned that the idea of oneness is based on the philosophy of Zen Buddhism, which also mentioned by Toshikhiko Izutsu (1977) that the relationship of exterior and interior play and important role in the Zen concept. Izutsu also further explained that the wholeness is not only by viewing it as one, but also on the emotional aspect, on the interaction and experience with all objects. This interior-exterior principal highly influenced on various

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field of works, on philosophy, arts, painting, calligraphy and of course on architectures. So can the inside-outside principals used in designing for spatial experiences in the exhibition environment? The spatial experiences for the culinary centre will identify through the case studies conducted int his research.

CHAPTER 3 TRANSLATION OF CONNECTIVITY IN EXHIBITION’S CONTEXT AND CONTENT The spatial experiences for the culinary centre have to design in connecting to the external environment. This is to have the external environment to act as background settings for the narration of the exhibition content, bringing food closer to the farm and farm closer to the food, as to reconnect back the relationship of food and human.

The approach on this spatial experiences, determines through studies and identification of some architects works in the exhibition typology. The connection with the external environment able to provide a more comprehend cognitive experiences to the visitors as it helps speaks about the contextually of the exhibition content.

Figure 3.1: The external and internal environment in providing cognitive experiences to the visitors in the culinary centre.

There are in total of four case study analyze for the studies. Three of the case studies, Hiroshi Senju Museum, Chongqing Central Park Life Experience Center and Modern Art Museum of Fort Worth, United States, situated at the country side whereas the New Acropolis Museum, Greece is in a historical context. All of these case study chosen based on the consideration of the context of the building, which able to brings certain meaning to the exhibition content. The sequence of the case study analyzes from a 37 | P a g e

smaller scale building, then to a bigger exhibition typology, as to compare the principals used in different scales.

3.1 CASE STUDY 1 – HIROSHI SENJU MUSEUM

Architect: Ryue Nishizawa Building Type: Museum Location: Karuizawa, Japan Floor Area: 1818.42 sqm Project Year: 2011

Image 3.1.1: External View of the Hiroshi Senju Museum. Retrieved from: http://www.archdaily.com/201238/hiroshi-senju-museum-ryue-nishizawa

Hiroshi Senju Museum is s gallery museum design for an internationally recognized Japanese artist, Hiroshi Senju. The museum located at Nagano, Japan which well known for beautiful nature scenery. The design intention to seek linkage between the surrounding nature with the exhibited arts in naturally illuminated space.

The works of Hiroshi Senju mostly are simple and uses mono tone. Architect Ryue design the museum by integrate the surrounding environment to enhance the focal point of exhibition which is the art works. By having the nature surrounding as the exhibition background, with the natural patterns and richness of natural colours, makes the art works seems outstanding on the full height white wall. The spatial appearance experienced to be simple, clean but yet does not feeling empty.

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Image3.1.2: The exhibition spaces with white full height walls, simple meanwhile the painting enhanced by the natural environment. Retrieved from: http://www.designboom.com/architecture/ryue-nishizawa-hiroshi-senju-museum-karuizawa/

Image 3.1.3: Site plan of the Hiroshi Senju Museum. Retrieved from: http://www.arch2o.com/hiroshisenju-museum-karuizawa-ryuenishizawa/#

There are few courtyards inserted within the building. The courtyard breaks the solidity of the building meanwhile allow each art works to exhibit with the greenery as 39 | P a g e

backdrop. The courtyard design to be in organic shapes as to follow the pre-existing contours of the site itself, similarity to the floors and the shape of the building. Instead of having the courtyard which seems to be man-made closed up within the building, the repetition of the natural patterns creates the courtyard which seems to be natural and with buildings surrounds to it.

3.2 CASE STUDY 2 – CHONGQING CENTRAL PARK LIFE EXPERIENCE CENTRE

Architect: Gad Building Type: Experience Center Location: Chongqing Shi, China Floor Area: 2,956.7 sqm Project Year: 2017

Image 3.2.1: The large waterscape at the entrance of the experience centre. Retrieved from: http://www.archdaily.com/872319/chongqing-central-park-life-experience-center-gad

The architecture of the experiences centre uses the element of light, dynamic and poetic to creates a ‘Floating Realm”. Chongqing, a place located in China with mountain and water as highlight, represent the locality. Architect uses the natural element, to design the spatial appearance which flows from the exterior into the interior, design the building as a symbolism in connecting the previous traditional mountain life with the current regional city context.

The main idea of the flowing spatiality uses the materiality in reflection with the large waterscape at the entrance and also courtyards to surround the buildings. The reflection enhances the interaction between interior and external spaces, creating a cohesion spatial experiences and forming spaces which appear to be borderless. The 40 | P a g e

glass creates a sensory effect of the space, through reflection, brings the nature environment seems to be so close to the visitors even when they are inside the building.

Image 3.2.2: Courtyard with water features which seems to flowing from the external waterscape and passes through to the courtyard. Retrieved from: http://www.archdaily.com/872319/chongqing-central-park-life-experience-center-gad

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Image 3.2.2: Reflection of water and glass in the interior of the exhibition spaces. Retrieved from: http://www.archdaily.com/872319/chongqing-central-park-life-experience-center-gad

The courtyard also serves as an interruptive break, to break away the building and form smaller uneven blocks, as to allow more exhibition spaces to have water element for reflection. The courtyard stretches the coherent spaces, dissect the site into multiple scene experiences.

Image 3.2.2: The enclosed inward courtyard with water features, breaks the building into smaller block. Retrieved from: http://www.archdaily.com/872319/chongqing-central-park-lifeexperience-center-gad

As for the interior spaces, architect carefully chooses marble with diagonal strips of black and grey, uses marble’s character in reflection to enhance the spatiality. The marble in black and grey as to merge with the shadows of the roof eave which falls on the floor of the exhibition spaces. The interior spaces mean to keep it simple as to enhance the flowing effect of the spaces.

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3.3 CASE STUDY 3 – NEW ACROPOLIS MUSEUM

Architect: Bernard Tschumi Building Type: Museum Location: Acropolis, Athens, Greece Floor Area: 21,000sqm Project Year: 2009

Image 3.3.1: Exterior View of the New Acropolis Museum tile to direct face the Acropolis of Athens. Retrieved from: http://www.archdaily.com/61898/new-acropolis-museum-bernardtschumi-architects

New Acropolis Museum, an archaeological museum for the archaeology findings from the Acropolis of Athens which located 650m walking distance from the museum.

Architect Bernard Tschumi design approach to direct the building to face the Acropolis of Athens, as to provide the original context of the exhibition content.

Spatial organization: The whole building forms by 2 box stacked together. The First two level below simply arrange based on the site, as the view to the Acropolis of Athens is block by others surrounding buildings, whereas the top box tilted 23 degrees to directly parallel to the Acropolis of Athens, to provide a 360 panoramic background view for the exhibition content.

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Image 3.3.2: (Left) The new acropolis museum located 650m away from Acropolis of Athens.

(Right) The building formed by stacking 2 large rectangular box. Retrieved from: http://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects

Materiality: As to have view to the Acropolis of Athens, the building faรงade mainly uses glass. As to creates the ambience of Acropolis of Athens, the architect shifts the archaeology site into the lower ground of the museum, by having the natural stone from the site. The ambience also created through replicate the pillars in concrete and steel of the Acropolis of Athens into the museum. The columns are arranged with the rhythm of the pillars in Acropolis of Athens to allow the visitors in the museum seems to be at the site instead of the typical museum.

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Image 3.3.3: Architect Bernard Tschumi separates the experiences of the museum in replicate the ambience of Acropolis of Athens into 3, with the base as archaeology site, then further up to the main galleries and the Parthenon Hall. Retrieved from: http://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects

Image 3.3.4: Replication of the pillars in Acropolis of Athens by having some of the pillars in concrete and steel, arrange in rows to create the ambience of the site. Retrieved from: http://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects

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Light: The glass faรงade creates an ambient of natural light, to have the exhibition spaces seems not to be in a building, instead at the site but with comfort temperature and shadings. The natural lighting flows through the various type of glass into the top glass box which house the Parthenon Gallery. Through skylights, the natural lights also diffuse through skylights and brings it into the archaic galleries, further penetrates into the core of the buildings and gently shines to the bottom of the building, which is the archeological excavation.

Image 3.3.5: Having the natural lighting ambience to allow natural lights shines on the exhibition content. Retrieved from: http://www.archdaily.com/61898/new-acropolis-museumbernard-tschumi-architects

Image 3.3.5: The lights penetrates from the skylight and slowly diffuse through exhibition spaces to the archeological excavation. Retrieved from: http://www.archdaily.com/61898/newacropolis-museum-bernard-tschumi-architects

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3.4 CASE STUDY 4 – MODERN ART MUSEUM OF FORT WORTH

Architect: Tadao Ando Building Type: Museum Location: Fort Worth, Texas, United States Floor Area: 44,354.4 sqm Project Year: 2002

Image 3.4.1: Exterior View of the Modern Art Museum of Fort Worth sits on the water features.

Retrieved from: http://www.archdaily.com/213084/flashback-modern-art-museum-of-fortworth-tadao-ando

The Modern Art Museum of Fort Worth located at the celebrated cultural district, directly opposite of Kimbell Art Museum, designed by Louis I. Kahn, and close to the Amon Carter Museum, designed by Philip Johnson. The entire site purposed to made into an environment for appreciation of arts. The intention of Tadao Ando in designing the museum is to creates an exhibition spaces which allow the visitors to experience the sense of the presence of arts in both interior and exterior of the museum.

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Image 3.4.2: Site plan showing the 5 blocks of rectangular which consist of 3 short row and 2 longer row.

Retrieved from: http://www.arcspace.com/ features/tadao-ando/themodern-art-museum-offort-worth/

Tadao Ando develop the environment by surrounding water and greenery element, similar with the approach of Gad Architect in designing the experience centre for reflection. The large pools design to locate at the east side and planted with trees and grass field. The grass-covered plaza and the water garden also serves as open-air concerts and festivals venue with artworks scattered around the site, as to have art exhibition at the exterior of the museum. Again, similar approach, the museum breaks into 5 exposed concrete boxes in parallel rows, the differences is instead of having courtyard as interruptive breaks between the building, Tadao Ando uses void spaces with water flows in between.

Similar to the Chongqing Central Park Life Experience Centre and Hiroshi Senju Museum, the interior spaces keep to its minimal as to make the interior not to seems distinctive with the exterior.

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Image 3.4.3: Uses the reflection of glass and water features, with the shadows, to seek dynamic within the static. Retrieved from: http://www.archdaily.com/213084/flashback-modern-artmuseum-of-fort-worth-tadao-ando

The materiality plays a vital role in creating the coherent spaces which merge the interior with the exterior. Having the concrete wrapped with glass, to create an interstitial space. The concrete material enhances the transparency of the glass shelter, meanwhile the glass softens the solidity of the concrete box. This interstitial spaces resemble the idea of the verandah-like spaces, ‘engawa’, a traditional Japanese Architecture which representing both inside and outside spaces. Tadao Ando uses the principals of reflection with the shadows to enhances the connectivity. The combination of glass and water creates the spaces between the glass and concrete seem closely connected to each other. The reflection of the building’s verticality shows the static of the building by the reflection of the glass into the spaces, but being harmonized by the shadows, allowing shadows to seek dynamic within the stationery.

While the water reflects the building façade which is static, but uses the natural wind on the water features to creates dynamic, forms the effect similarly with the interior spaces, to allows the interaction between both spaces.

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3.5 SUMMARY OF CASE STUDY The principals of having exhibition spaces connects to the external environment identified through the four case study above. Principals are categorized into concepts of Atmosphere by Peter Zumthor, Atmospheric by Philip Kotler and the Zen principals.

Principals of connecting exterior to the exhibition content Case Study Atmosphere Hiroshi Senju Museum

Tension between

Park Life

between Interior

Experience Centre

and Exterior

Modern Art Museum of Fort Worth

Zen principals Simplicity, Naturalness

Exterior, Materiality, Tension

Museum

Vibrancy

Interior and

Chongqing Central

New Acropolis

Atmospheric

Materiality, The

Vibrancy

Simplicity

Order

Naturalness

Vibrancy

Simplicity ,

Light on Things Materiality, Tension between Interior

Stillness

and Exterior, Light on Things

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CHAPTER 4 REFERENCES

Bill Hillier, (1996). Space is the Machine: A Configurational theory of Architecture.

Press Syndicate. United Kingdom Chongqing Central Park Life Experience Center / gad, (2017, June). Archdaily. Retrieved on July 5, from http://www.archdaily.com/872319/chongqing-central-park-lifeexperience-center-gad Flashback: Modern Art Museum of Fort Worth / Tadao Ando. (2012, March). Archdaily.

Retrieved on July 7, from http://www.archdaily.com/213084/flashback-modern-artmuseum-of-fort-worth-tadao-ando Food miles: How far your food travels has serious consequences for your health and the climate. (2007, November). Natural Resources Defense Council. Retrieved on July 2, 2017, from https://food-hub.org/files/resources/Food%20Miles.pdf Global cancer burden rises to 14.1 million new cases in 2012: Marked increase in breast cancers must be addressed. (2013, December). World Health Organization.

Retrieved on July 2, 2017, from https://www.iarc.fr/en/mediacentre/pr/2013/pdfs/pr223_E.pdf Harold Bernardo Bueno (2017). The Rise of ASEAN Farm-to-table Tourism. Taylor’s University.

Hiroshi Senju Museum Karuizawa | Ryue Nishizawa. Arch2O. Retrieved on July 5, from http://www.arch2o.com/hiroshi-senju-museum-karuizawa-ryue-nishizawa/# Kali Tzortzi (2015). Spatial Concepts in Museum Theory and Practice. University of Patras, 10th International Space Syntax Symposium New Acropolis Museum by Bernard Tschumi Architects. (2009, April). Dezeen.

Retrieved on July 6, from https://www.dezeen.com/2009/04/10/new-acropolismuseum-by-bernard-tschumi-architects/

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New Acropolis Museum / Bernard Tschumi Architects. (2010, May). Archdaily.

Retrieved on July 6, from http://www.archdaily.com/61898/new-acropolis-museumbernard-tschumi-architects Peg Syverson, (2015). The Whisper Within: Zen and Self. Retrieved on July 2, 2017, from http://liberalarts.utexas.edu/rhetoric/news/article.php?id=9422\ Peter Zumthor. (2006). Atmospheres. Birkhauser. Switzerland Philip Jodidio. (2008). Tadao Ando Modern Art Museum of Ft. Worth. Rizzoli. New York, United State.

Polly Mckenna-Cress, (2013). Creating Exhibitions: Collaboration in the Planning, Development, and Design of Innovative Experiences. Wiley Rachel Morris (2012). Museum making: Narratives, architectures, exhibitions.

Routledge. London and New York.

Regan Forrest (2014). Design Factors in the Museum Visitor Experience. University of Queensland, Australia.

Ryue nishizawa: hiroshi senju museum karuizawa. (2011, November). Design Boom.

Retrieved on July 5, from http://www.designboom.com/architecture/ryue-nishizawahiroshi-senju-museum-karuizawa/ Sophia Psarra. (2009). Architecture and Narrative. Routledge. Abingdon, Australia The Modern Art Museum of Fort Worth. (2002, May). Arcspace. Retrieved on July 7, from http://www.arcspace.com/features/tadao-ando/the-modern-art-museum-of-fortworth/ Toshihiko Izutsu (1977). Toward a Philosophy of Zen Buddhism. Prajna Press. United States.

What can the youth do for the sustainable world development? (2015, February).

Retrieved on July 2, 2017, from https://www.munplanet.com/questions/sustainabledevelopment/what-can-the-youth-do-for-the-sustainable-world-development

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