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Introduction In our final year, we have two sites of our projects on the Upper Street. In other words, we could celebrate together
the consequence between the before and after. It is quite exciting to witness the differences. It is vital to seek for more thought-provoking intelligence within the area and scrutinise some details, specific aspects and features of our sites. Investigating the historic street with our design enthusiasm, we experienced the smell and sound in the street.
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urthermore, the more information we obtain, the more stimulating we enjoy. This research combined some handmade craft, analyses many objects on the road to bolster us to a further step. We will support you to find out the value of art, rather than seeing them and passing them. Those journeys of artefacts are fascinating to examine. Moreover, there is a wide array of the element on the Upper Street, and I will collect them and demonstrate to you that how they have been living on the street for hundreds of years, what they have fluctuated and how they have been experienced through those years. Also, you will witness many crafted moments and designs through the research. Some of the pages will be interestingly laid out with its own personality to indicate, and some of them will be a simple contemporary design to illustrate themselves. Yet, there will be some models of ours to enhance our research and express their characteristics. If you are not a designer or a craftsperson, you will experience much different vision and perspective through this journey, and I hope you could enjoy the crafted space in the future. If you are a designer or a craftsperson, please let us have more communication through my research and hopefully hope you enjoy my journey.
Therefore, I believe that it will be an alluring journey to explore every single corner in this research. Now let us go for it.
Content
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UPPER STREET
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STREET ELEMENTS
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STREET DETAIL
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CRAFT TIME
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SITE MODELS
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CRAFTING SOULS
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Islington COMMERCIAL CUISINE RETAIL
london
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central london extraordinary retail culture N1 - Islington postcode
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In the fashionable Upper Street, we Furthermore, have the majority of the contemporary shop facades suited with the Victorian buildings. Some of us are built with curved glass, rectangular glass with wooden frames, or even none of wooden frames. With the development of advanced technology, people and designers started to redesign our facades, even our body with, future concepts. However, the designers did not reconstruct the entire body of us, like roofs, and some outside areas. We suppose that it is an outstanding masterpiece that they have done to us so far, because we could still appreciate the whole Upper Street with each other in all the Victorian buildings and us, together, let visitors to experience the modern atmosphere during their shopping or just stopping by.
the columns could witness from outside were built decades ago; to tell you the truth, some of us are even from centuries ago, but you just need a second to pass through the history and enter a modern interior. In other words, it is just like time-travel between 200 years. While you are touching clothes and eating food in the 21st century, you are sitting in a building built with bricks in centuries ago. Therefore, we are standing in Upper Street, seeing people crossing the road, entering shops and restaurants. Besides, I have noticed that they were enjoying passing centuries within just 1 step, which is the exciting moment that is happening in the street. Thus, Upper Street is an extraordinary road.
pper Street 10
Islington
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This is slightly different from the photo
of the previous page. In this picture, the building is on left side, and there are some arches with bricks in the shop facade that means it is a historical building.
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t represents that it is like an old arena or a castle, but in the middle of next building does not have arches, it shows the contemporary shop facade combined with a historic building. It is truly an entertaining space that we could spend time with the materials, bricks, and the gap where we could experience walking through it. The most expensive part of the arena ground in the past comparing the latest contemporary facades designs makes a massive contrast.
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Upper Street NEW TRAFFIC FACADE MIXING CONTEMPORARY
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High Street
OLD TRAFFIC HISTORICAL PAST
In the 19th century, it was as busy as the
present. I am amazed by the traffic that almost has remained same as today’s’ society since it was a century ago. Those old buses, cars and carriages were busy on the road. Especially in Angel station, it has been a heavy traffic in the photo, which means people were developing and constructing the future.
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In addition, most of the buildings
we see at present were fully built in the 19th century. On the other hand, it can be seen obviously that the part of Angel station in Upper Street has remained almost the same from 19th century to 2017, which did not change a lot. In terms of the shop facades, it has been changing through the generations. We could not see the LED light on the signs and their shops in the 19th century; we can also observe it that lighting in signs is everywhere in the street in 2017. Since the technology has developed rapidly, now we have the latest technique and intelligence to make the street safer, cleaner, quieter, more comfortable and more convenient; and the whole experience for customers of the street must be very distinctive in 100 years ago.
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Consequently, in the photograph, I can hear the voice of building construction, buses and cars driving, the discussion around people about the future makes me feel energised and full of the ambitions of our future. So, let us keep on developing the outlook and build a better future.
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Upper Street
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Jiufen Old Street 19
JIUFEN OLD STREET TAIWAN
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iufen Old Street is a phenomenal street that located in New Taipei City, Taiwan. There are many of the narrow streets between wider ones, so you must be aware of the fork road. If you are not paying enough attention to directions, you will be lost in the street in your first time here. The street often climbs up, goes down, turns direction and stops at some points. In other words, it is possible for you to lose in any corner, and that is why the street is quite unique.
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enjoyed the time when you just walk few steps and see another stair to climb up. While you are climbing up the stairs or going down, you could notice that there are lots of the lanterns around you, and you will also appreciate the surrounding area of red columns, historical handrails and red bricks, which created an extraordinary happiness atmosphere. However, I think the red colour could be deeply considered.
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WARM STREET
urthermore, there are plenty of retail shops, stands, and in every corner of the street. Most of the stands, stores and restaurants are decorated with red lanterns on the top, which expressing and symbolising the spirit of Jiufen Old street. In contrast, in the Upper Street, there are also few narrow streets in the area but does not have any decoration to represent the street.
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esides , I have experienced that all the light colours are related to orange, red and yellow colour, which not only enhanced the appearance of the food but attracted people to come over to the shops and stands. Resulted from the warm light, it is genuinely beneficial for the entire street. The warm colour lighting has boosted all the images for people and made them feel warm and joyful. Therefore, I can tell that lantern perfectly acts a significant role in Jiufen Street. Furthermore, Jiufen Old Street has its own characters and Taiwanese culture that engage people in visiting and entirely characterised its own style.
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Nevertheless, why people chose warm lights and why red colours?
According to Su Jie’s statement, she advocates that “Red is a
basic respect for our culture in color, it reflects the Chinese people in the pursuit of spiritual and material it symbolizes good luck, happy, and if we bring others to a better marriage of people called “matchmaker”, happy day to hang red lanterns, paste red couplets, red word blessing.”
Hence, I believe those people who decorated and constructed in Jiufen Old Street have referenced the meaning of Chinese culture for boosting the atmosphere of the entire street.
苏婕(Siu Jie).2011. On the Western culture the symbolic meaning of colors
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FEET EXPERIENCE w
alking out from Angel station, I personally felt astonished with a contemporary building, the modern facade of a bank and another side with full of historic buildings, which were constructed hundreds of years ago. While I was observing the facade of the bank, I saw a complex flooring in front of the station. In addition, there are almost four kinds of tiles in the ground, and some parts of the road are upward, while some downward. Looking up at Angel station, I experienced that the entire top of Angel station is designed as contem-
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porary style.
urthermore, the facade of the RBS bank, the roof and its architecture are designed as modern style respectively. On the contrary, the whole opposite side of Angel station is historical buildings, which has remained almost the same look like the 19th century. I think this is an extraordinary character that is performed in the unique place, and I have never seen a similar place in this style in my country. It really illustrates a great story of Upper Street in its own personalities, while you are standing in 21st century’s ground and observing 19th century’s architectures. Moreover, the materials of walls are masonry and bricks in Angel station and RBS bank while another side is of full of old red bricks just the opposite.
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GROUND
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There are many patterns of cobbles and setts on the ground of the street. Although they are the same kind of tiles, they varying in many patterns. For example, the picture of tiles in steps look like a railway that goes to another world; while some of the yellow lines are like railways the train goes. Moreover, only the part of the stair is designed as red setts comparing with other floorings, because it catches people’s attention while walking on the road.
This is super essential and very advantageous to separate it
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from an integrated colour. However, it will cause many troubles, if the ground looks like the same height. Walking on the street, I heard builders constructing houses and roads. The invisible environment appears in my brain bring me back to walking in the 19th century and hearing people creating the new railway, road, and the future.
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I was wondering that the designer has thought about mak-
ing contrast style of both sides in Upper Street since using red bricks too much will make the entire street to be annoying. Why annoying? I personally believe that overused red colour makes me recall the bloody war in ancient time and even Chinese culture. In the other side of red bricks building, they are applicable with full of red bricks, which are natural looking in Victorian England. In the late 18th century, yellow stock bricks became familiar, and most red bricks are made of red from irons in the clay until 1900. As the era of yellow stock bricks, it lowers to a cheaper price during the 18th century. At the same time, the red bricks have grown well renowned with an extravagant price. Owing to the luxury red bricks, people who are impoverished used yellow bricks, which were cheaper.
At tthat generation, for ordinary people, “as red bricks were
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re-introduced from the 1870s, they were expensive and so the most basic houses still used only yellow bricks; more expensive houses used reds just for decoration such as over windows. As the cost declined further, the front elevation was built entirely in reds”, Shkrobius said. In line with the lower price of red bricks, the company of Brick & Brass also conveys “By the late 19th century, red bricks were cheaper and could be used for the public side of houses, yellows being relegated to the rear.” Thus, there are some wealthy nations used red bricks to build all the building, such as houses, chapels, town halls and so on to show its strength. Because of the history, I understood that Higher or Upper Street were affluent in the past, which was busy and crowded as the present. In line with the bustling street, now it contains all the retail shops and restaurants that indicate where people go, and business follows.
Bricks & Brass: Bricks and Brickwork. (2017). Shkrobius Livejournal, 2007.
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There is a majority body of an architecture made of wooden bars, timbers and few bricks. It is so unique that those wooden claddings are painted like the red colour because it needs to suits and symbolises a part of Upper Street and red bricks which represented themselves.
There are plenty of nails embedded in the timbers that did not perform directly when you observe them in a far distance. Apart from its own characteristics, it is sort of hiding in a street that is a bit challenging to notice if you did not pay enough attention to it.
In addition, those wooden bars behaved like some historical images that human was construct-
ing a house and creating new things. Personally, I suddenly thought a man was producing fire from its nature style, and he needed more natural resources to build. It is like putting those wooden bars and placing them well to create the new future architecture in that era. Since those ancient human beings are specialising in cutting woods, trees, making their own outfits and some handmade handicrafts, I believe them would challenge to build something miraculous that ever exist.
However, the window design is uncommon in Upper Street, which you could quickly detect that there are no bricks beside the window and all covered by timbers. Therefore, I particularly like the natural style design of this building, because it indicates an early human story for me.
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Facades
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I NQUISITIVE
BIONIC
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B ASECUTS 36
L A DY B I R D
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SYMMETRY
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Beauty of symmetry and repetition
HAOXLEY & PORTER 37
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here is a little circular door in this entrance. I particularly like this design, because it seems like a mysterious door leading you to another conceptual space. I could say that you will be attracted by the gate of the shop while you are walking on the street.
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TAIL E D
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n this gate, I saw some of the handmade details in its body. In contrast, I will not only look at the entire gate but focus on every single detail here. In addition, it is very charming and delicate to make a connection in a gate. I could experience how the designer is treating Upper Street and its project as significant roles.
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n the way of beauty, I could witness that there is the majority of details, such as columns, skirting and windows which are designed as symmetry, repetition and simplicity. In the rest of the street, it looks like an integrated body included the same kind of details.
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YMMETRY
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felt the inside structure coming out from this brick wall. It does not build like the other appearances of buildings, which are full of bricks. Since this wall constructed like many layers of the bricks, they are being in a beauty of repetition.
OLD BRICKS
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Contrast Upper Street NEW
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et us talk about how the Upper Street has changed from a hundred years ago. Witnessing these artistic photographs, I felt that the technology has advanced significantly, such as the evolutions of buses, cars, traffic light and digital cameras. While people were developing the street, there are some parts of benefits have been removed, unfortunately. It seems to me that those builders who removed awnings should not discard them. Those awnings are helpful and useful as well as a massive roof. People nowadays do not have a tiny roof could defend them when having a heavy rain. Thus, I personally consider that those removed awnings should keep in shop facade, and it could also create another historical circumstance in the present Upper Street.
According to the latest technology, I observed that just the quality and colour are different from those
old photographs. Hence, I am completely astonished by those historical memories, which almost retained the same buildings, roads, and stairs. Moreover, I could not only enjoy the 20thcentury street, restaurants and retails when walking on Upper Street, but experience the same structure and atmosphere in the entire circumstance. Enjoying the constructing voice, smelling coffee, hearing people coming and going.
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Windows
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Histo
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Simplicity
Geometry
Diversity
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Symmetry
Un
nity
Unbalanced NOSTALGIC
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Boundary
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GATE to GATE
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Checking out of your head It is like wearing my own hat Watching at your house, I tilted Laughing at your door, you bended How gorgeous you standing here to pay How boring you protecting your hair every single day Future comes and passes Materials changes and advances To be outstanding not protecting, being your babe Just refreshing and thinking, constructing your way Don’t call me a fool, you take all my eyes Don’t worry your eyes, it’s about to build your site
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H IS TOICAL C ONTEMPRARY
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RESTAURANT
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ISLINGTON SHOPFRONT I
t is genuinely significant for a designer who is going to construct the shopfront. The guide declares you every single detail of how to design a shopfront. For instance, it advises you to decide to erect or alter existing building, apprising conditions of architectures and consult with an architect, but most significantly, we must adhere to building regulation in Upper Street. What is that mean?
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e must comply with every individual rule, such as the fascia should not extend below the head of the pilaster, use of vast areas of acrylic or other shiny materials in fascia should be avoided, and so on. Also the Islington Shopfront Guide says, “it is important to consider the effect of the design on the rest of the street and the immediate area. Proportions, materials and details should maintain the variation and hierarchy of the buildings and should not seek attention or dominate them unnecessarily.� In line with those principles, I believe that the rest of the street can represent their own personalities, such as within the average size of the font of a signage, no exaggerated high stall riser and suitable area for disabled people.
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ince designers and constructors abide by those basic regulations, the entire street in certain circumstance, people could experience that those same height of the stall risers, same average of the signages that symbolised the horizontal line in the Upper Street. Yet, it is unacceptable to walk in a street in which facades rises and some falls, even extreme different, will not only ruin the street but affected our mood and vision.
Islington Shopfront Design Guide. 2012.
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could enjoy my view that does not absorb the majority of complex shopfronts and geometries which could cause me to be tired and uncomfortable. Moreover, walking in the street, people feel pleasant and enjoyable because of the environment, walking in a thriving street as well as walking in a seaside where does not have complicated facades and designs. Also, the Islington Shopfront Guide has mentioned,” the building as a whole: it is important to consider the effect of the design on the whole building, and on the adjoining shopfronts.” Therefore, an outstanding road not only eases people’s tiredness but brings society a joyful mood and attracts them to come.
Personally, I think those bad designs should be re-
constructed to a rightly favourable shop facades. I do not feel that those designs are wrong, but they supposed to be integrated with Upper Street. Due to some designers, they did not pay enough attention to the entire street and afterwards finished their project without
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street consideration.
hey wanted their shops to be of their own design and concept but forgot to consider the relationship between other buildings in the street. They might create some overstated logos or fonts in a signage. Some even utilised super-reflective materials in a fascia. Those methods will obviously influence the whole appearance of Upper Street. For this reason, a good design is extremely vital in a historic street.
Islington Shopfront Design Guide. 2012.
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A good design does not mean to apply costly mar-
ble floor, overpriced renovation, charming ceiling, even lavish decorations. An excellent design is about how you create the conversation with other different outlooks of buildings because each of them has their own character and personality. If you desire a great design, you should begin to explore what suits another building and your site body.
It is not just to produce a differ appearance of your
site, but about to generate a family relationship between each other. With that energy, visitors could not only enjoy the elegant atmosphere from the beginning of the street until the end but experience each personality in every single shopfront. In each of them, they display their own signage, stall risers, glazing and canopies with own peculiarity to everyone. Some may be smooth, some may be rough, but these are under the building regulation, which creates the rest of Upper Street a steady awareness. You might touch with a smooth one with a traditional design this time because you find it interesting.
When comes to next time, you probably expect dif-
ferent tactile stall risers with a contemporary design. Consequently, in my point of view, human beings are curious, they will explore for more various shopfronts, exploring them and feel them. An old shop facade leads you to the Victorian atmosphere to buy or dine in the shop. A modern shopfront draws you into a future
time and places to enjoy.
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I M P L I C I T Y
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CONTRAST
UNITY PROBITY 58
UNIFORMITY
COLOURFUL OUTSPOKENNESS
CASUAL
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Tranquility
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Synegry
Customary
Devotedness
Plausibility
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Old fashion transfers a memorable emotion
An old metal and wooden material to display a simplicity
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andmade moment to illustrate an industrial juncture
Mechanical craft with historical bricks tell a story of progression venerable h
A venerable handle enjoying the time passing
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JEWELLERY
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Lin Cheung
Lin Cheung is a jewellery artist.
She is also a lecturer, who has taught in many schools including MA and BA since she graduated from Royal College of Art in 1997. She is not just having a high-level degree in the UK but has been to almost around the world for many exhibitions that enhanced her reputation.
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Recently, she just graduated from the University of Art London with Postgraduate Certificate in Art, Design and Communication. This is another professional stage for her after she graduated from Royal College of Art in MA Goldsmithing, Silversmithing,
Metalwork & Jewellery in 1997, UK. She has been acting as a visiting lecturer in Reading College of Arts & Technology, UK when she just graduated from BA, which was a marvellous record for a fresh graduate student. Afterwards, regarding her hard work, she got the award of Royal Mint Medal Design Prize in Royal College of Art and the National Trust in 1996.
Lin Cheung advocates, �Jewellery In addition, we can clearly notice is a subject, not a material�.
Her opinion of considering at jewellery, by conducting it as a social phenomenon, is to explore, observe and discuss ideas of jewellery object. Similar to us, we do explore, watch and discuss in every single corner of interior space, ceiling, wall, and materials. Through her works, I felt that most of her works are beautifully made. Every single work represents subtle and delicate with high quality.
that the circular shaped works are ideally suited for the same angle and size with each one because they are handmade so that could be adjusted to be more precisely. Accordingly, as interior design learners, we should insist on every project as a social phenomenon, which let us seek for, examine and discover. Therefore, in every single detail of jewellery she made, I could understand how she appreciated those subjects with her enthusiasm.
About - Lin Cheung. (2017).
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Willow, Lin Cheung, 2009 Crafts Council Collection: M82. Photo: John Hammond. Royal College of Art and the national trust in 1996.
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Royal Albert, Royal Doulton, Willow, Lin Cheung, 2008, Crafts Council Collection: M80, M81, M82. Photo: John Hammond
Its idea is thinking about the objects already exist- I actually appreciate that she made the saucer ed but started to expose more deliberately taking part in silver and the object. It is not just a cup with a saucer for people to enjoy, but people will put the cup back to the saucer shift without any hesitation. Lin Cheung also advocates that “A distinctive shift of emphasis from jewellery to objects. Ideas and approach to thinking about objects already existed but began to expose these more deliberately.� This design makes me thinking about when the sunlight passing in a moment and stopping in a while, then drawing the painting of the cup. Afterwards, she made the silver material beautifully into a saucer to replace a traditional one.
magnificently with the silver of a curved shape. The two different materials and shapes look unnatural individually, but it seemed integrally when the cup and the saucer incorporated together to become an appealing combination.
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hen they put together, I started to imagine what angle of the shadow would be presented in the saucer. Since each cup may be included a broad range of the paintings and diagrams, I think it is fascinating and curious to have people imagined by themselves. Therefore, I could utilise the same skill to do a design project and makes people start to imagine the shapes and shadows.
Willow, Lin Cheung, 2009, Crafts Council Collection: M82. Photo: John Hammond.
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Workshop participants with Jon Williams, at Craftspace’s Treasure Boxes Project at the St Thomas Children’s Centre, Birmingham, 2005 Photo: Marcus Rowlands, 2005
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VALUE OF MAKING E
After reading the ‘Craft Council making full value report’, it fabricated value for a social network is essential.
very single craft is given a unique distinctiveness from the creator. This as well as an interior space that we have designed as an extraordinary project, which has its own material, space and concept. Moreover, making a craft and an interior space, I personally believe that it has lots of similar points between each other. Craft makers appreciate working with materials, making an object with their thoughts.
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orrespondingly, those creators, as interior designers, we also enjoy challenging with materials and latest technology. In my point of view, I consider that we have the same ways and personal thoughts to seek, enjoy and pursue with our projects. While we appreciating those works of art, we endowed them life, voice, motion and the individual soul. Thus, we not only give them hearts and features but also accord a connection that having interactions between human beings
and craft.
Jon Williams,a person work with youngsters and families, he educates them a new way to explore and develop. He in-
structed them in the different making process, suggesting new methods for them to observe and respond to their material. In a disparate way to instruct learners could gain a contrasting effect, fresh idea, unfamiliar thought and unique design that means never experiment the same way you have done. Inspiring ideas with different type of people or ages could bring something extraordinary. Claire Harris and Cj O’Neill also believe that “working with the young people was demanding as the setting could be quite volatile and unpredictable.” Consequently. by repeating the same way, you will always struggle that how to produce a new look and an unusual design. Therefore, as designers, we must seek for new steps, systems and approaches to inspire us a brand-new thinking.
Craft Council (2010). making value full report
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FROM ACTIVE TOUCH TO TACTILE COMMUNICATION Touching something in a moment, we received the majority of information at the same time. We started to consider
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about the feeling and what is the object, especially something unknown.
ouch ordinarily entails an interaction with a person or an object. Most of us often overlook the tactile feeling of the things you felt. Those objects and materials were having communication with us, but we passed up. Since they tried to communicate with us, designers started to contemplate the sense of touch but not skip them. For instance, in the present generation, a human being has connections with smartphones, laptops and any touch screens through interactive tactile ex-
periences.
Whenever we interact with any object, we will be having reactions and tactile feeling from them
that is the social sense. In conformity with Jude Nicolas’s statement, “touch is our most social sense, and it provides us with our most fundamental means of contact with the external world.” We began to imagine what is the new material for us and what is the perception of the object? By those interactions, we had a communication, chatting and expressing our motion with them. It is just like they have their own spirit and discussing with us.
Consequently, as interior designers, we do not only build a fantastic environment for people but
construct an interaction design to the public in which residents could have conversations with furniture, ceiling, wall and any material.
Jude Nicholas. From active touch to tactile communication
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PUZZLE
STRAIGHT MOMENT 74
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t was indeed challenging when I was trying to cut the brass. The saw frame is so arduous to control and cut directly. I experienced that even to cut a straight was formidable. I witnessed that my puzzle looked easy, but the process took much energy and time. A straight line in the middle of rhombus was interacting with the entire shape that showed there is something alone and unique embedded there.
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METAL WORKSHOP I
n the starting point, we first drew some lines in the brass or, nickel silver or copper. Afterwards, we began to use a saw frame to cut through a material in the bench pad which aided the balance while cutting dramatically. The tip is to cut them straight, cannot cut them with any angles of your saw frame which might affect your work.
DRILLING MACHINE
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BENCH PAD
When comes to manufacture a puzzle, we have to drill a tiny hole in within your shape and then utilise the saw frame to accomplish the project.
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DESIGNING OBJECTS THAT TELL STORIES DYVES BEHAR 78
DDESIGNING OBJECTS THAT TELL STORIES E
veryone is a maker in this world. We drew our personal drawings while we were a little child. We started to explore how to make cookies, food and robots since we first time watching television and went to kindergarten. People redesign something by adding some different materials or objects that are easy to do and might have an enormous effect. Furthermore, we try to discover a new way of adding some dressing or sauce in a cuisine and exploring for a brand-new taste and flavour. As designers, we always attempting to seek for more ways and options to replace the old design and old experience.
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ccording to “Designing objects that tell stories”, a TED talk speech, “As a designer, we bring value, value in business, value to the users. The value that we put in to the project are ultimately create the greater value.”, Yves Behar said; we do create some designs, but most importantly, considering the experience back to the customers and people are significant. Designers have to deal with about how to construct a contrasting experience for clients while designing a project. What could we do further? Some artists generate choices for users to choose. What is that mean? For instance, someone likes to have warm light, cold light, bright in a lighting ball. We not just define a project as a solid one or stable effect, but to design flexible and multiple choices product or project is extraordinary that we put the value for them. “Design is a glue” Yves Bear said, in my way of thinking, I firmly admit with his advocacy because designers make two or more objects together.
We create them to have conversations and emotions between each other by sticking they together.
Designers do not let them travel their own journey alone, but together to develop more exciting and fresh trips. So, that is how we put the value into a design. Therefore, creators also progress something breaking eyes that draw users’ attention but modify the original value ultimately to a greater place. Idea thinkers change the value, maybe change the world.
Behar, Y. (2008). Designing objects that tell stories. Ted.com
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SOULLESS MACHINE SPACE Walking on the street in a modern era, I felt dis-
tressing across the entire atmosphere. The contempo-
rary architecture on the left side, it is quite modern and producing the present’s smell and time for the people pass by. It does not only generate the latest outlook but drawing residents’ attention when they pass through the road. In contrast, the street right side, it was not constructed any concept or interaction related to the modern building.
I experienced that it was just two disparate worlds
that separate in a line. In my opinion, I assume those builders and designers could construct even just some contemporary crafts in terms of the architecture in between the gap. Hence, I think there is a demand should be applied to the road. I personally prefer that they could produce a soul and communication for the road and the modern building that could look like an integrated spot.
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WALL INSERTION
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SHAPING
PREPARING
INQUISITIVE
ENCLOSING
SOUL
PRODUCING
WAITING
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THE TUBE ME CHAIR\ ELLINOR ERICSSON pathways to tactile design
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EXPLORING TACTILE DESIGN A
Tactile design provides a sense of communication between one object and people.
designer creates not only some unusual materials or outlook, but generates particular behaviours from human beings. Furthermore, in my point of view, I believe that users must be attracted by an exceptional design or material to get interested, if they are not excited about the new approach, they will just skip the object and lose the chance to communicate with materials. In line with the brand-new outlook, new users are fairly keen on the excellent ideas and design that they will be fascinated by an unusual experience with haptic objects. In other words, people will not
lose the opportunity to socialise with designs.
In my opinion, I will consider creating a flexible and universal object, which could apply every-
where of the furniture, because I will claim users to have their own experience and position with the design. In addition, we develop many possibilities within an object, which suits the behaviour of everyone. Since everybody has different penchant and position of leaning on a couch, as an idea thinker, we should not restrict them to sit with the particular position because of the design. For instance, “Tube me chair” is an excellent idea for the user to use in any situation and behaviour because a human being is unique respectively. Thedesignpoet also advocates, “The interaction can result in playful, a bit strange and sometimes ways of using our body we would not perform without instructions or guidance.” Therefore, we could create thousands of conduct and views just within a design, which brings users to have countless actions and senses.
thedesignpoet, pathways to tactile design.
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SITE MODELS
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STANDING NOSTALGICALLY
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INNER SPACE
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SITE MODEL 96
CELESTIAL SPACE
SPACE TRAVERSING AREA
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TRAVERSING FLOORS
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SKY BLUE - SECOND FLLOR
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IRST FLOOR COMMUNICATING WITH GROUND FLOOR AND SECOND FLOOR
GROUND FLOOR FASCINATES PEOPLE
ATTRACTING LEVEL BASEMENT - NO ATTRACTING POINT 99
SOCIALISING SAME SAME BUT NOT SAME SAME
CONCEPTUAL MODELING
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INTERACTING
ILLUSTRATING
DEMONSTRATING
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SPEAKING 102
SOCIALISING
INTERACTING
MATERIALING
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New design imagination of VISITOR’S EXPERIENCE.
While walking on the street, I personally perceived this place like an intercommunication. At the same time, I could
experience that the inner objects are interacting with ceilings and each other from the outside. They were sort of introducing themselves through their behaviour and material.
In addition, I determine that those lights and materials were guiding visitors to come inside and instructing them
to focus on their body. Afterwards, I was having a conversation with my hand and eyes with those objects and was attempting to grant them my feedback and sense. Owing to, I touched back the material and told them that I was attracted by their appearance and wanted to seek for more insights and information from them. While making physical contact with the objects in the space, I noticed that all of them are decently and adequately designed from the designer and the craftsman.
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n my way of thinking, I consider that the idea thinker was trying vigorously and paid plenty of attentions on those solid and soulless objects, which should be well deemed to apply in an art making the atmosphere. As the thinking process, I happily appreciate those designers who provide souls and senses for those materials to articulate, understanding and socialise to the public. Furthermore, I am joyful to see how people find it interesting and charming, because not just only I witnessed the engaging sense of communicating with soulless interior space, but other visitors. In consequence, as a visitor, I unquestionably feel that this craft space will energetically draw people and residents’ attention while they walking on the street because the art circumstance will be communicating and hailing to nations who passing by.
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New design imagination of CRAFTSMAN’S EXPERIENCE.
I particularly consider this area is kind of a craft moment, such as the handicraft telling me the sense that I have
manufactured. I acknowledge this craft shop is sort of the constant observation with my personal art piece. Why do I say that? Since I began to centralise how to produce a soul to a project and let it speak, I have become aware of considering a simple element into an artwork. Due to the reason that too many elements into a project will cause them to a shouting position that I do not recommend. Hence, I personally feel distressing and stressful while my productions were speaking out loud to my eyes.
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oreover, just few simple elements or some communications within an area are sufficient, and it will influence people to a tranquil and free from worry emotion. Since our enthusiasm and passion to those handicrafts that we have socialised, we witnessed that crafts were harsh and anxious when we producing them, but for visitors, those designs would be appealing to observe them. On the other hand, I believe this interior designer has the same vision and understanding to produce an integrated space and constructing their own characteristic in few simple components. Resulted from the observation that we have discussed, I enjoyed passionately and pleasantly in this craft circumstance in which I have recognised the worth of my workshop and some art studio.
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herefore, I am quite curious about the designer and this art area so I would like to request this artist for further information related to constructing process and idea thinking, such as how to utilised few elements and making a voice for those materials and solid objects. So that I could comprehend how designers enjoy the moment of designing and thinking. Subsequently, I will absolutely go back again to the spiritual area to socialise and play with the talkative interior body.
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22, January, 2017 Dear Sir / Madam
I am exceedingly enthusiastic to get involved with this project, ‘Melting Point’. Also, there are some extraordinarily compelling cogitations about this design that I cannot wait to deliberate with you. Providing a soul in a soulless object is quite vital. Why did I say that? Socialising with every customer is essential in restaurants, retails and services. For designers, we are going to construct spiritual souls to your site. In other words, we will make them express and interact with you and customers with their own personalities and thoughts. We do not want to create a substantial interior space and soulless decorations and objects, but we do think about the relationship between interior area, objects and visitors. Furthermore, you will be given opportunities to explore and experience how they feel like, their sense and tactile awareness. For instance, the ceiling and wall might guide you into a place while you are walking on Upper Street, and those walls, decorations and floors will require you to touch them and talk to them. At the same time, all the visitor and users will be attracted by those simple elements when they walk in. Then, everyone will discuss together with all the designs they experienced and create a brand-new thought back to those ideas. It might be interesting or judgement, but your site will be a fully interacted circumstance, not dead air. As those we have discussed above, I am looking forward to cooperate with you on this exciting project, Melting Point. I vigorously believe that we will attract more creators, designers and students to seek for more information and details through interaction with the conceptual and breathtaking design. Therefore, I am glad to have this opportunity working with you and let us expect the masterpiece to be constructed. Thank you. Sincerely, Tzu-Yuan Chen Interior Designer
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TZU-YUAN DESIGN
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INTERACTING POINT/ TRAVERSING POINT S
OCIALIZING AREA/ MOMENT
I INTERACTING DANCING TOGETHER
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CRAFTING SOUL
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he craft moment illustrates that how human being advances and enjoys the development of technology. The creator who made this crafted object was creating a connection to those art pieces that are surrounding together. Those individuals were introducing themselves in their outlooks, such as their materials, shapes and their own characteristics. In other words, those viewpoints represented their own styles and how their relationships with their makers. The art piece, which made of metal delivers people not only imagines the industrial moment in the old generation but socialises with visitors and tells the story of itself. For instance, observing the both sides which are balanced produced, the society could assume that it is connected to a beautiful approach to the way of aesthetic. The balanced way of design, Lois Moranalso believes that “The obvious love of the material in works on these pages in offset by a formal and conceptual control and a wish to put the material at the service of narrative and figurative ideas, sometimes on a monumental scale.� Also, the public could sense the cold or hot material, the harsh or smooth material while communicating with them. Those masterpieces will respond their feedbacks to the users or creators through people’s link and relevance. For example, while you touch their shapes, you will immediately feel their warmth and heart. However, they are not just being sitting or standing in a corner, even somewhere and doing nothing; in fact, they require you to come over to talk, to be friends even to interact with them. They have planned to discuss with you about their progress and life since they were being generated. In line with the growth of the respected work of art, they carried all their histories and bodies to the public and demonstrated how they have experienced the surrounding atmosphere which reflected a different sense.
Margetts, M. and Moran, L. (1991). International crafts
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CRAFTED SPACE
his elegant and extraordinary curved ceiling shows that itself as a beautifully made craft in the space. They are not living in the other areas or spaces but residing in the unique moment for users to take pleasure in the design. It is sort of an unbelievable breakthrough of curved bricks to utilise adequately in ceiling and bricks; it is a different way to entertain and draw their attentions while they are enjoying the meal or walking on the street. There is no certain answer that reveals people to imagine bricks on the ceiling and to be curved, so it is hard to convince the public and only make it prove it. In addition, Hugh Courtney also believes that “It may take a bit of time and effort to embed these approaches in your organisations, and the immediate return on this investment is unclear. But given the enormous upside to making the right strategy choices at the right time, this is one investment under uncertainty you can bank on.” According to Hugh Courtney’s statement, the designer of the ceiling was probably discovering some unusual idea but in uncertainty but and try to uncover a new perception for the clients and users. These senses will impact on the visitors that they try to infer how did the crafted ceiling make and how the creator designed this such an unprecedented curved roof, which was an uncertainty. However, this brilliant art can have users try to imagine, guess and presume and make themselves a different perspective to appreciate the crafted moment. In contrast, this art moment could also considerably suit craftspeople’s tastes and emotions while they are dining in the space or looking up to the crafted ceiling. Craftsmen could sense the analogous experience that they make approximately the same journey when they are creating art. It’s quite alluring in this interior space that the similar sorts of designers and creators are communicating and socialising through their works and designs without talking face to face or having an introduction. Moreover, the design in the interior space is another way to demonstrate to everyone, and it is its personal exhibition within the area for the interior designer. Craftsmen also need a space where exhibit actively their artworks and crafts to the public. If there is not a good way to share to the public, then they will lose the opportunity to distribute with others. Kelly Biscopink also believes that “Networking is a powerful business tool. In order to take your business to the next level, you need to make sure you connect to the right people. Attend industry trade shows or conferences, not only to connect with other brands in your craft industry but also to connect with your fellow crafters.” Thus, crafters would like to connect to the networking and tell the residents and visitors that they are creators who create crafts. In line with the networking, an engaging and charming space to exhibit their masterpieces are significant. A great interior exhibition can bring more visitors worldwide and more craftsmen to visit and enjoy. For example, a remarkable interior space could attract people to come over and dramatically enhance the atmosphere of crafts for the public to enjoy the crafts. If there is only a dull and soulless room with some art pieces, it will not engage nations to get in. Biscopink, K. (2015). 2015 Crafter’s market: how to sell your crafts and make a living. Courtney, H. (2001). 20/20 foresight.
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MACHINE-MADE SPACE
machine-made field indicates visitors a repetitive and boring vision. The repetitious space is kind of a robot in which surrounds a majority of the invariable bodies, and it is just similar to a machine world or a production line. Why a computer world and a production line? Those sorts of places associate the same productions just within an area, and nothing is charming and highlighted element to let people get interested in. In other words, while human being does not have any eye contact anymore, there will be a cold and frosty space that no one talks and looks at each other. In this non-crafted reception of the hotel, it accords passengers a heartless and apprehensive emotion while they enter in. We could observe that those red furniture and decorations are manufactured in the same manner which does not bring any warmth to users. Nonetheless, the interior space illustrates a lifeless design in its own body because there is no any connection and crafted body living in the region. As it is vital to have such communication in the internal space, travellers should have an opportunity to enjoy the spatial communication after they enter in, not to just look at the stressful place where make them feel sleepy. For instance, there could be some crafted areas that combined to the entire space, which does not have any mechanistic geometry, such as an entirely straight corridor, ceiling or floor. Taylor, G’s also advocates that “the Oscillons appear delicate and too meticulous to have been executed by the human hand. Yet, they do not seem mechanistic either and lack the perfect regularity or symmetry that we associate with geometric visualisation. In reality, the image shows no suggestion of craftsmanship, no bush marks, and no straight lines.” Furthermore, if something is surprising and bizarre that embedded into the interior space, it will inevitably draw the attentions of the society and insert souls into the area. Nonetheless, the smell in the zone is vital. It induces people to come inside to guess what flavour it is and work with crafted space together to boost massively the circumstance that would be a superb combination. The nations will be more curious and exciting to explore every single corner. Yet, interior designers could also inject aroma into an embedded device in the wall and make the place more fun and more things to socialise. Afterwards, people will start to get closer and play with the wall, and it will not be a soulless place anymore. Also, the area will be full of movements and life. A cold product, Taylor, G thinks that “Computer art, conversely, was seen as the epitome of soullessness, a raw cultural product produced by machines under the control of technologists rather than artists. Computer art appeared to mock all that was human.” Thus, the machine-made area could take away all the vivid life and souls in a second and make people feel bored and cold.
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Taylor, G. (2014). When the machine made art.
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t Is a serious atmosphere that combined with much repetitive stuff in the zone because the manufactured souls are set mechanically in the area. They are looking at themselves face to face without communicating to each other. Why can not nations discuss something and having the same conversation at the same time while they are sitting together? It is necessary to organise a warm space that people talk. These idea thinkers could gain the visitors’ experience through their communications. For the passengers who are passing by this machine-processed region, they will probably not sense any art moment and crafted experience because there is nothing special and charming to discuss, so people will definitely get bored in that situation. Moreover, craftspeople who enjoy the journey of art pieces and crafts, they will neither appreciate to this such freezing circumstance nor share to the world and friends to engage more visitors. I believe that the more feedbacks and experiences from the users are significantly essential for the designers because they greatly enjoy the emotion and feeling from those users. As the more connections appearing to the public and creators, the more warmth will come within the area and make it more well-renowned. In contrast, this soulless area is lifeless, and there is none the main topic that the society could focus and discuss. However, the crafted area is unique which means you can not find another same place like it if you really crave to witness the remarkable region and you must travel a long journey to visit which costs time and money. On the opposite, the machine-processed zone could go to all around the world even they could be manufactured in every single corner. In conclusion, it is convinced that the crafted design is priceless and exclusive that can bring more warmth in an atmosphere but cannot be produced in some other place. As long as the machine-made design could not only be living everywhere that cannot create a warm circumstance for the public but also it could be massively manufactured and purchase at an inexpensive price.
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PERSONAL INSIGHT
These insights have significantly enhanced my vision of crafted and machine-processed sides. As an interior learner, we should not create a space in which people do not communicate and interact anymore.
We must plan an exceptional design to let the public to be attracted and require them to have a conversation with the interior body. Also, I would like to create a place to let the society to enjoy the entire journey of my design. I wish my design could be like a central core which assimilates people to come over and witness just for the crafted space. All the developed bodies could interact with each other, such as walls, ceilings, and floors, so I will offer them a personal language to have a conversation with the public. Moreover, I wish it could be enthusiastically discussed in every corner, including the crafts display area and observe people socialising their own point of view to each other, even to the craftsperson. At that moment, I could not only have a conversation with all of them but also hear and pay attention to their perspectives, and I expected that I would sincerely enjoy this sort of moment while people are talking about design. Nevertheless, I will have opportunities to witness what I have brought to visitors, what experience they appreciate and what they really like. Through this project, I could understand more about the requirements of users and craftspeople and be prepared for the next design with these growths. Therefore, a crafted space brings the majority of advantages that related to socialising and fascinates visitors to get it to gain an unprecedented experience. Hopefully, I prospect my design could have the power similar to the ant hole that everyone comes inside just for the home and sharing the food and journey.
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PERSONAL OVERVIEW Passing through this research, Artisans and the Art of Craft - V - the Artifice of the Interior Designer, I personally regard that it
does bolster a lot of my insight and wisdom. Comparing two or more things together is kind of interesting while observing every detail of them. In line with this observation, I tried to examine them in contrast and had them to be a clear way to wholly express their characteristics. Some of them might have the similar points while comparing but to focus on the analogous position is very exciting. Why do I say that? By contrasting both same points, I detected that there were made of some familiar design or even the same material but all the resulted feeling of the design is entirely different that is astonishing to witness. For example, two metal art pieces, one designed as crafted the other one as machine-made, they are all made of metal, but they represented differently. I have realised that the machine-processed one is soulless and lifeless when comparing with the human-crafted one. The repetitive and copied metal products could be purchased everywhere but the crafted one cannot. In addition, the soulless product does not communicate with you that tells you they are unique and made of passion. For instance, those affections came from the heart of the creator. They tried to consider about what they are going to make and how they achieve the masterpiece. Moreover, creators might sometimes fail with their artwork, but they will try to determine another way to accomplish; it could be changing the material, replacing a better quality of equipment, moving just a little distance of design and doing it in a different energy.
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fter exploring those crafted products, I have recognised how makers enjoy their journey and keep changing their idea and design through the process and after the long voyage, and they did genuinely pay their heart into the crafted masterpiece. It does not only look like a simple craft which require you to just make a simple step but also it might follow your life while you are spending time with them. In other words, creating work you hurt yourself with tools, the scar will remain almost a long life with you. It is just as a designer, we never surrender to ourselves because always try to think better and greater. We do not design a project with a single plan, idea, concept and energy because we are like craftspeople. Hence, keep trying, experimenting and changing are our design and development. For this reason, I absolutely appreciate those creators. Nevertheless, I could comprehend that how joyful and enjoyable they felt because I have researched, made the craft and enjoyed the progress. If there is no one perceive how they enjoy their journeys and dedications, those artefacts will not be given them a fantastic value. As the significant value given to the art piece, I started to consider that the most important thing in a respected work of art is the development. For me, an interior trainee, I firmly believe the working process is the most vital part in a craft and interior space. Therefore, a spatial art in an area could not tell you directly about their growth and process. Also, we are likely to explore more ideas and how other designers have achieved their design, what they enjoy the most and what have inspired them to create that art rather than watching a craft for a long time.
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y primary idea was expected to create a crafted area with some interior elements or concepts. Besides, I did not predict about the put souls and life to my project that makes them speak and introduce themselves through their personal peculiarities. Now I could assume if I bring more souls into my project, there will be the majority of people discussing my design and interacting with each other, not just only people but interior space. This protracted journey doubtlessly took me a further vision and thinking rather than the previous mind. Furthermore, it made me explore more ideas and possibilities could be utilised and designed for my future project and I will not consider a soulless and cold design in a project. In the future, I will pay attention and discuss with visitors for their personal feedback about my project. Given that observing Upper Street’s every single corner and design, I have analyzed that the advantages and disadvantages. Some of them are lifeless, and some of them are lifelike. Thus, if I could create a charming hot spot to attract visitors to get in and socialise with workers, walls, ceilings, floors and guests, the Upper Street can be more lifelike and be concentrated within the location.
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hile walking on the street, I have noticed that many things happened in during the time. For example, witnessing broken glass on the road, I focused sharply on the detail. That was just gorgeous and appeared a fragmented moment on the street. Moreover, there is some staff try to attract nations to come to their store or buy their product via some ringtone and musical instrument. Why have I noticed that? Before started the research, I have never paid attention to those sorts of details when going outside but now I will fixate on some widows’ details, gates, skirting, shopfront and so on. As a result, learning many ways to explore an entire street has significantly boosted my investigating skill and paying more attention in a wide array of details of buildings, shopfronts, and interior spaces. From now on, I could generally experience how crafts have been made and how their makers have enjoyed because I witnessed piles of the crafted moment that told a story of each of them. Those art moments just like a crafted interior space in which illustrates an own journey and development. What do you think if we are an artefact? I believe that we could be the similar concept because we have our own life personal journey and experience since we were born. I will enjoy more art moment in the future.
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PERSONAL REFLECTION T
hrough both first design project and this research completed, I have received lots of information now. First, I did not realise that we could not create an exaggerated shopfront on the Upper Street because we should abide by the Islington guide and their building regulation. Yet, I have gained a broad range of information and details that related to craft after I finished studying it, but I did not concentrate on crafted moment and space in the previous project, which was cold and lifeless design. Since I could comprehend the emotion of art while spending time with it, I can now experience the whole process and development with a single craft; it might be simple and easy while focus on it, but the creator has spent many times and their passion for it. They did it happily and enthusiastically. I personally consider that if I could put spirit and psyche into the previous, it will enhance a lot better rather than a lifeless design. Moreover, I have experience that how the time is passing by on the Upper Street and how they have changed their appearance and history.
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conclude the entire Upper Street has remained almost the same with hundred years ago, but there is only the technology has evolved some parts of the street, such as shopfront, vehicles and some traffic lights. Why did not I notice that the first time I walked on the street? I thought it was just a simple street with some Victorian buildings, but it entirely changed my mind. Why did not I have a look at many crafts on the street and some crafted moment on the road? Now this research has much precise information directly to me about those times and moment. They looked like why I observed them, why I focused on them, why I took photographs crazily and why I kept telling the story about each of them and made some comparisons. Through those analyses, I strongly think that I could bring these critical elements to the final major project. Furthermore, I have to not only unleash these powers and utilise them to a further level but also demonstrate them with my research to the public. Therefore, I believe that I could convince nations how I have achieved my research and exert them into my final project together. I will present them about my personal crafted moment in the coming future.
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BIBLIOGRAPHY 1. Margetts, M. and Moran, L. (1991). International crafts. 1st ed. New York, N.Y.: Thames and Hudson. 2. Courtney, H. (2001). 20/20 foresight. 1st ed. Boston, Mass.: Harvard Business School Press. 3. Biscopink, K. (2015). 2015 Crafter’s market: how to sell your crafts and make a living. 1st ed.
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4. Pathways to tactile design - thedesignpoet. (2011). Cargocollective.com. Retrieved 15 February 2017, from http://cargocollective.com/thedesignpoet/pathways-to-tactile-design 5. Behar, Y. (2008). Designing objects that tell stories. Ted.com. Retrieved 15 February 2017, from https://www.ted.com/talks/yves_behar_on_designing_objects_that_tell_stories? 6. Jude Nicholas. From active touch to tactile communication. 7.
Islington Shopfront Design Guide. (2012).
11. Bricks & Brass: Bricks and Brickwork. (2017). Bricksandbrass.co.uk. Retrieved 15 February 2017, from http://www.bricksandbrass.co.uk/design_by_element/external_wall/bricks_and_brickwork_in_period_home.php 12. On the Western culture the symbolic meaning of colors - Research Papers Center. (2011). Eng.hi138.com. Retrieved 15 February 2017, from http://eng.hi138.com/ culture-papers/western-culture-papers/201110/355785_onthe-western-culture-the-symbolic-meaning-of-colors.asp#. WKTIujuLRPZ
Craft Council (2010). making value full report
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22. Taylor, G. (2014). When the machine made art. 1st ed.