DW JOURNAL by Yi TAN

DESIGN WORKSHOP REFLECTIVE JOURNAL

TAN YI 812975 1

CONTENTS

1 2 2

INTRODUCTION

DESIGN THINKING

3 4

DESIGN SPRINTS

COMMUNICATOIN DESIGN IDEAS

5 6 7

CINEMA + ARCHITECTURE

DESIGN DECISIONS

WHAT TO DO WHEN STUCK

8 9

DEVELOPING DESIGN IDEAS

EVALUATING & SELECTING BETWEEN IDEAS

DESIGN COMMUNICATION

1 4

INTRODUCTION

Designers are driven not by their KNOWLEDGE but by their CURIOSITY.

KNOWLEDGE is already defined in the past. It is always framed by others but referred to SAFETY. CURIOSITY is not yet understood that will be driven by self. It usually refers to RISK. There are no right or wrong answer in designs, and there are no natural way to find out the best way for designing. All the things we can do is to find the own way as a designer. DESINERS can change the world about the FUTURE.

TEAM EMPHASE TECHNOLOGY

TECHNICAL and MATERIAL aspect of designs

AMENITY

FUNCTIONAL, PROGRAMMATIC and/or OPERATIONAL aspect of designs

POETRY

AESTHETIC, EXPERIENTIAL and/ or SYMBOLIC aspect of designs

These THREE KEY TOPICS have great influences on the studies of designing techniques, the significant point at this stage is to have a deep and full understanding of these topics and consider how to combine these ideas into the process of designing projects. Gibbs' reflective model gave me a breif understanding of how to think and develop when I receive a new idea following this structure. However, at this moment is quite hard for me to combine it with my design project in other subjects with difficulties.

LECTURE EXERCISE Quick sketching of 25 housing projects (20 seconds each) Pick three of interest. Try to say what makes the project distinctive + WHY you find it interesting. There are three housing projects that give me great impression: no.7, no.13 and no.24. No.7 is a japanese tree house that maintains the inherent qualities of materials and create a harmony atmosphere in between the man-made building and natural environment. No.13 is a residential house with extremely simple design located at riverside in the forest. This simple minimalist construction with great use of glazing reminds me the typical style of Mies Van der Rohe. It brings a communication between interior and exterior freely. No. 24 is a conceptual design of house that made up of simple geometric shapes. This combination of circle and rectangle gives a comfortable feeling. And its proportion of the plan not only provides a free open space but also keep a private zone for the users. 7

NOTES WITH DEEPER THINKING COMPOSITION

Basic and fundamental of architecture as assemblages of various elements; Importance of FRAME and LAYOUT that divided the spaces for different purposes. For example: create empty, open spaces, closed areas, etc.

ARCHITECTURE

Three kinds of spaces: 1. CREATION of the space The first step, to imagine the FUTURE in mind 2. PHYSICAL space The second step, communicate and translate the idea into words or other media 3. SPECTATORIAL space The final step is to consider the ideas and thinking from the spectators or the users. Key point is to consider their EXPERIENCE. 8

EXERCISE Wa t c h t h e f i l m " TA R R WINDOW", consider his typical styles and make a short film taken in MSD following this style of presentation. http://www.youtube.com/watc h?v=itFKWnifczk Our key idea of this video is to transfer the viewpoint from countless holes to the exterior environment and finally finding out that it is a view from the window inside a building. This kind of zoom out techniques can bring interest and various aspects of observation to the audience (and also the user).

KEY WORDS for DESIGN EXPERIENCE FUNCTION / PRACTICALITY BALANCE

KEY WORDS for POETRY

Communication; Symbolism; Repetition; Arrangement; Alliteration; Accumulation; Metaphor; Rhythm; Color; Aesthetic; Imagination; Emotion&Feeling; Narrative; Awareness (phenomemology); Landscape; Harmony (physical space & landout); etc. The point is to create images from touchable elements to intouchable issues.

KEY WORDS for TECHNOLOGY "Designs come from EXPERIENCE."

This sentence gave me ideas about the importance of the experience of users. Therefore, in the process of picking key elements for my design ideas. Secondly, I choose function because I am influenced by the design of Le Corbusier and his ideas of functionalism. Finally, I think that the balance between the building and the context must be consider at the very beginning of any design projects.

Process; Construction; High-technology (eg.VR); Sense; Furniture; Physical model; Storyboard; etc. To make the conceptual idea become the reality.

KEY WORDS for AMENITY

Function; Efficiency; Feeling; Safety; Operation; Interation (Person engaged with space); Movement (ideas changing from"Moving in the space" to "Moving to a space"); Physical & mental comfort; Closure; Light & shadow; Access (windows and doors); etc. The most important point is to consider the experiences and feeling of spectators that try the best to achieve physical and mental comfort. 9

1. Design a Logo for yourself Create a image (character) for myself and combine with the middle letter

2. Read Alex Selenitsch's piece: Supporting Creative Work

HOMEWORK

PRACTICE Brainstorm with images/photographs/objects (relavant) and useful collections (books/periodicals/website, etc.); and then move to progress and various angles; Finally, refreshment and music GENERAL Camera and Sketchbook (for traveling) Work on parallel projects (bring cross fertilisation); result to lateral thinking DRAW and WRITE ALL THE TIME Talk with others if they ask and show the works (note their reaction) and the explaination helps creative flows Gathering points (records) Idea generation and representation via different media Time management (notice the DEADLINE) Analyse similar projects Look back the project again after a break (more than 24 hours) "Always

turn every thing or experience and observation into an image."

DESIGN THINKING

DESIGNERLY THINKING There are several kinds of style: Convergent & Divergent Thinking; Left Brain & Right Brain Thinking

LEANING STYLE

KNOWING STYLE

Active : Reflective Sensing : Intuitive Visual : Verbal Sequential : Global

Absolute Knowers Need exact details of how to obtain facts required for assessment & Need exact details of what is expected of a student Tend to treat lecturerâ&#x20AC;&#x2122;s remarks as truth Transitional Knowers Like hunting Can be encouraged to experiment with ideas But need assurance that they are getting close to the correct answer That is, they believe truth exists Independent Knowers Know knowledge is open to interpretation Are aware of individual theories, interpretations and experiences Search for arguments and rationale Contextual Knowers Are independent thinkers Are comfortable judging how their knowledge and skills may apply to a situation Can connect concepts to an applied situation Most closely resemble End Target Learners

END TARGET LEARNERS Are people using different learning strategies under different learning conditions. Be a pretreated learner, learn how to perform. In the studies of this part, I notice that the most significant things for designers is to pay attention to FUTURE and making suitable proposition. And finally, to test the assumptions by using various method to making the properest desicion 12

DESIGN AGENDAS + DESIGNER'S AGENDAS

LECTURE EXERCISE

Prepare a DESIGN AGENDA for designing a chair When I am doing this exercise, I start with 3 different aspect: user information; material selection and major function or requirement. After doing the first step for limiting the design idea, I start to design its detailed appearance and compare with similar examples which I have learned from the previous studies. 13

DESIGNER'S FRAMES OF REFERENCE PLOWRIGHT'S THREE FRAMES Patterns Resolution of frame Concepts

DESIGN PROCESS THEORY & EXPERIENCE Inspiration & Perspiration Linear, Feedback & Cyclic Refinement Models Pre-Design; then to Sketch Design; then to developed Design; finally to Documentation Preparation; then to Incubation; then to Illumination; finally, Verification Generation; then to Exploration; finally to Evaluation of Ideas

THE MOST IMPORTANT LESSON

After studying this part's lesson, I started to think about various possibilities and impossibilities. In my previous design project, I always started immediately when I got the topic. When I had any possible idea I would continue finishing it and made it better. However, sometimes I would feel that I was not actually what I want in the very last part of my project which made me depressed and hard to get a perfect work in my mind. The topic mentioned in this part inspires me a different way of thinking in selecting and choosing ideas within various possible answers.

Never immediately try to do or to design the best or the most â&#x20AC;Ś Always, try to tease out what is possible (even if it looks very strange at first). THEN choose REMOVE IMPOSSIBLE, POSSIBLE WILL BE LEFT.

TUTORIAL EXERCISE DESIGN BRIEF Design a subway entry for a new rail link proposed for the Melbourne University Campus. This subway entry can be anyway on campus. Explore the campus Take 6 images (Think about images: focus/focal point; key ideas being expressed; convey that the drawings) Direction; Composition; Depth of the field; Scale;Image layers (different layers of image refer to depth/ distance); Framing; Juxtaposition; off-screen; etc.

DEEPER THINKING "Design Programme" = Function User: referred to BEHOLDER (a person who sees or observes somebody or something) Connectivity: site; context; exterior and interior spaces & people Site features/links to existing infrastructure Access: defining how many by behaviour of users; regulation; SITE ANALYSIS Spatial experience: MOVEMENT; motion; circulation; JOURNEY; light; height; texture; material (feeling associated with); scale (long shot or short scale); SENSE; smell; transition; personality of various users; phychology of space Materiality

HOMEWORK

DESIGN SPRINTS

DESIGN PROCESS PERSONNEL: EMPATHETIC

EMPATHETIC is a important element for a designer while he or she is doing a design project. It has positive effects on bringing INTERACTED DESIGN THINKING which can provide a better experience for users/spectators. In previous chapters' studies, I have learnt the importance of creating a perfect experience for clients. And this chapter may tell how to approach to "INTERACTED DESIGN THINKING" during the design process. It may work for various consultants: Project Manager; User; Engineer; etc. However, it is always OFFER TO CLIENTS

FRAMING DESIGN PROBLEMS

DESIGN BRIEF PRECEDENT CASE STUDY

SITE ANALYSIS OBSERVATION

SITE ANALYSIS RESEARCH 19

FRAMING DESIGN PROBLEMS USER OBSERVATION

TREND MAPPING MEASURING DESIGN

"Strength each other and build a comprehensive understanding of the problem" which is an important issue for forming up an good design sprints. In this part of studying, a large number of fundamental problems or questions that we will usually meet with during the process of doing design project have been mentioned. Some of them are the problems I have already met in my previous projects, such as cannot catch the key points for PROJECT NEED; lacking reasearch and comparison with successful or unsuccessful projects which might give me great improvement; etc.

EXPLORING DESIGN IDEAS Take notes (Problem list) Mind map Crazy nine (explore good & bad sketch ideas) Storyboard (use 3 drawings) Silent critique (base on what people understand on sketch, ask them to just vote the one they like) Open critique (explain in one sentence to see whether other people will vote for other ideas) EXPLORE IDEAS AND FEEDBACK

LECTURE EXERCISE CRAZY NINE EXERCISE Draw nine sketches of a topic within the limited time 1. Draw a space with 3 enclosing walls 2. Draw an opening/window on a wall 3. Draw a roof structure

DECIDING DESIGN IDEAS Conflicting ideas: search for the theme; categorize these ideas Analysing ideas: again problem line; develop to mindmap; then to measuring design Best shot or battle royale Pro in ass test: do the problems & intension & assumption & test

DEVELOPING DESIGN IDEAS Draw; WRITE; Model: record the feeling/emotion of the design Fidelity Check: make sure projects are still relevant to design brief & problem list & measurement; and then to refine the final project

DEVELOPING DESIGN IDEAS Validate your projects validate your thinking

TUTORAIL EXERCISE HOTEL DESIGN HOTEL for the ARTIST

This exercise is my first following the idea that DESIGN WORKSHOP has taught us. It starts with AMENITY part that analyze the design brief and pick out every key element in this design project. After the analysis, try to limit the idea and choose the most suitable one to develop which comes to the POETRY part. In this part, we analyze what we have got in detail and finally develop the idea into drawings. In the last part which is the technology part, refine the final projects with finishing the user experience by doing the storyboard. This projects brings me a new understanding on designing projects. 22

1. Five design decision styles

HOMEWORK 2. Google Ventureâ&#x20AC;&#x2122;s Design Sprints Prep Portfolios for Future Builds Design sprint is a quick five day process where you can get any team really to understand their customers build something really fast and get feedback. Therefore, it is a kind of compressed version of a user-centered design cycle. It is a good way to compress a long term project down into five days and replicate down the line: on Monday, learning everything about the business; on Tuesday, sketching design solutions; on Wednesday, deciding which one to test; on Thursday, building like a super high fidelity prototype; on Fridy, showing it to real customers. And at the end of the week, we'll know which things are mistakes and which things worked well really fast and then we can clarify about what to do. 23

4 24

COMMUNICATING DESIGN IDEAS

MODELS, DRAWINGS, DIAGRAM + TEXTS = DESIGN DIAGRAM

WHEN TO USE DIAGRAM

Tools for thinking with Recording what your present understanding is Forming suggests bases for further exploration Can be three-dimensional (model)

Capturing ideas + giving them form (organization; UX; geometry; sitting; context; blocking & stacking) Consolidating diverse data as one possibility Exploring options (use hands to design) Consolidating diverse outcomes as one project Explaining the design

EXERCISE What kinds of DIAGRAM help you to explain your design?

During the studying of this lesson, I realized the significance of DIAGRAMS which have positive effects on helping me to explain and develop my idea from untouchable to touchable. Previously, I thought that diagram can only help data analysis. In this part, during the process of drawing /making diagram, I can consider my ideas in various aspects and refine them by picking out impossible or unsuitable ideas. Sometimes, it can inspire me some completely new thoughts or new ways which is good for my design development.

DIAGRAM TYPES

Design a set of questions for your classmates in respect to one of these three key topics: POETRY; AMENITY and TECHNOLOGY.

TUTORIAL EXERCISE

Because I joined the POETRY group last week, therefore, I choose the to p i c o f P O E T RY i n t h i s we e k ' s exercise. Firstly, I find great difficulties in considering QUESTIONS for my classmates. Following the instruction, the key point of these questions is to TEACH them the main ideas of POETRY by finishing the questions. Therefore, I start to summary the ideas of POETRY and then I draw a mindmap. During this time, I gradually realize the key elements of POETRY which might be ASETHETIC; EXPERIENCE and SYMBOLIC, and I develop them in detail. Finally, I decide the questions that reflect on these elements. 27

1. WATCH VIDEO: The beauty of Data Visualisation This video tells me a truth: A PICTURE IS WORTH A THOUSAND WORDS. The visualization of data allows us to reveal truths and make connections that would otherwise remain hidden. And I would say that data visualization is truly a merger of numbers and scientific artwork that across our daliy lives. It's an ability to simply and quickly explain complex data and context that we should learn as a designer.

HOMEWORK

2. Diagram the experience of walking from Flinders Street to Myers via laneways â&#x20AC;&#x201C; preferably including Degraves St, Gog & Magog, and the Causeway.

1. Flinders Street Station

2. Degraves St

3. Collins Street

4. Gog & Magog

5. The Causeway

6. Myer

CINEMA + ARCHITECTURE

ABOUT CINEMA

Consider how to learn from films and filmmaking tecniques. Meanwhile, the approach to the thinking of film-making, and how can we translated to architectural context, and what can we learn from film are also significant for this topic's discussion. Nieland’s analysis of Lynch as a designer of moving environments continues a marked shift evident in recent scholarship on the director. While earlier critiques of Lynch tended to focus on questions of gender, sound and, in particular, his affiliation with postmodernism, critics in the last few years have begun to confront in various ways the unique spatial qualities of his cinema. In Todd McGowan’s influential schema, each of Lynch’s films is composed of two distinct spatial units – a sparse world of desire and a heightened world of fantasy. Akira Mizuta Lippit has explored the ubiquitous passages operating in Lynch’s films, while Tom McCarthy has focused on Lynch’s intricate networks. Notably, contemporary architects have for a long time been interested in the spaces Lynch has designed: in 2009, Frank Gehry incorporated images from Inland Empire in his plans for a cultural centre in Łódź; in 2000, Jean Nouvel, ‘impressed by David Lynch and his aesthetics,’ decorated a Swiss hotel room with a still from Lost Highway; while, as far back as 1991, Peter Eisenman highlighted how Lynch upsets our conventional expectations: ‘All our lives are spent learning how to get it: Lynch un-learns us’. Learning from Lynch, then, might be considered to be foremost a lesson in counter-intuitive design.

MONTAGE THEORY Sergei Eisenstein

Montage and collage may be counted among the principal artistic strategies in modernity. Their impact has been discussed widely with regard to disciplines such as painting and sculpture, literature, music, and, most importantly, film. As far as architecture is concerned, montage and collage and the respective theoretical concepts have been referred to frequently in postmodern discourse, albeitâ&#x20AC;&#x201D;for the most partâ&#x20AC;&#x201D;on a purely metaphorical level.

MONTAGE THEORY

Simply, using different fragments has positive effects on generating new meaning. In the example above, a man combined with different elements can create a completely different feelings and imagination. In building, it is possible to make spatial montage of the assemblage of different functions and creatie new meanings by them. 32

COMMONALITIES MOVEMENT Perceive architectural in movement: taking journey to different spaces and bringing emotion

TIME SPATIAL ARTICULATION Depth/Volume/ Masses/Recessed vs Protruded spaces

SCALE Close-up/Medium Shot/ Long-shot Sub-human/ Human / Architectural (scale) Materiality/Furniture / Buildings Details / Objects / Interiors Hand / Body/ House

PERIPHERAL VISION

You are not looking at the thing you are looking at You are not looking only at the thing you are looking at (There is a main character moving around or repeating the same movement, but the point is not to focus on the character but the surrounding environment)

EXTRA DIMENSIONS: VIRTUAL ARCHITECTURE, SOUND...

Sergei Eisenstein (1940)

The best way to film architecture and buildings, is not cutting between different points of view. The best way is having a continuous and uninterrupted take and uninterrupted movement of the spectator to see the architecture. It is how you perceive architectural in the real life. For showing this, we can use the combination of plans and perceptible views to show the direct feeling and experience of the person in this place. As we move to the spaces, you are perceiving this point of view and the continuous and uninterrupted movement. 33

Firstly, I make a simple plan following the design breif without any deep consideration. In the part, I use papers as various parts of this house and arrange them in different ways which give me more ideas.

TUTORAIL EXERCISE RESIDENCE DESIGN Design an ARTIST RESIDENCE for 2 persons. It should include: 1. 2 bedrooms 2. 2 bathrooms 3. 1 kitchen

IDEA DEVELOPMENT CIRCULATION & MOVEMENT Spaces collect other spaces (such as corriders) How to move from 1 room to another room PICK A KEY SPACE Areas surrounding Relation & connection with different spaces (circular, linear, different alternative) Size and scale Distances 34

After that I try to use another appoarch to helpe me consider which is mindmap. I draw several mindmaps and pick one which I think is the most suitable one and make a clear plan of it by using the paper props. Adding corridors and doors can help inderstand the connection.

PHYSICIAL MODEL

In this part, I try to make three-dimensional model to give me a more specific images about my plan. Moreover, I have never considered any double layer building structure of this project before I making this three-dimensional model. It brings me a completely different way to rethink this projects. And beyond of me expectation, double layer building might be suitable for this project which can distribute the space more efficiently.

FINAL MODEL WITH DETAILS

ENTRANCE

BEDROOM A BATHROOM A KITCHEN

STUDIO BEDROOM B BATHROOM B

Consider the detailed elements including furniture (what kinds of furniture should be placed; what are the scales; where to place; etc.) Size & scale Three dimentional model People model

FINAL MODEL WITH DETAILS In this weekâ&#x20AC;&#x2122;s tutorial exercise, we are asked to design a residential apartment together. This is the second time that the whole class doing the task together. Similar with the previous one, we are divided into three groups which are amenity, poetry and technology. I am in the poetry that mainly in charge of making paper models based on the babble diagrams drawn by the amenity group. During the process of model making, we realize that it is important to consider the circulation in the proper way. A well-designed circulation affects the way that rooms with different functions connect to each other. Meanwhile, it is significant to consider not only the functions of the room but also the convenience of users. In order to provide a better experience for users, we try to draw storyboard and consider each detail carefully. Finally, select the most suitable plan as the design of this project. Another problem we have found is that the size and scale. According to the babble diagram from the amenity group, size of each room should be decided. However, in the actual situation, the size is not decided because of lacking consideration. Therefore, we design the size and also ensure the scale of model fits the plan have been drawn which is a hard work but full of challenges.

1. Design a faรงade based on the spaces of film[s]/filmmakers yo

One of my favourite movies is INCEPTION which gives me great impressio imagination and the scene filming. Espcially the scene that the whole city is crea and cars can drive from the horizontal plane to the vertical plane impresses me

HOMEWORK

ou like.

on on its amazing ated up side down a lot.

FACEDE The most remarkable elements from this movie is the TOTEM which is the object distinguishing whether is in the dream or back to the real world. It also represent the hero's strong aspiration of going back to the reality and his children. Therefore, I use this shape as the key theme of my design of this facade. On the other hand, there are a large number of scenes taken in France where buildings remain architectural style in 17th to 18th century. I also try to mix this typical style into my design. Finally, comes to this picture which might be the facade for a hotel in European country. 39

2. Make a short film about an architectural element.(Try to convey the spatial experience of the architectural

CORRIDOR

3. Design an architectural element that provides an atmosphere similar to the experiences you depicted in your film. Do not copy its form and focus on spatial experience. Use the technique of storyboarding to communicate and try to utilise the same frames and compositions as the shots of your film.

In this exercise, I film the corridor in an apartment. During the process of filming, I find that the spatial experience is changed by the use of light, construction material and the shape of walls. For example, most of the corridor is illuminated by incandescent light bulb and when I walk to the corner with warm light I feel the space become larger and gives me a comfortable feeling. Moreover, replacing the right angle corner with a circular angle corner can also bring a better spacial experience of this bigger corner. 40

DESIGN DECISION

DEFINITION A moment you choose between options: during the decide process Resolving a QUESTION inherent in your project Selecting a design METHOD to employ next: site analysis; desiced to do some mapping exercises Selecting to edit and reduce elements in your design Selecting a METAPHOR for your project S e l e c t i n g t h e S C A L E at which you will focus on the next stage developing: focus on the facade; playing with the form ...

WHAT ATTACK THE CONTEXT Appraise the situation - what am I trying to achieve Alter your thinking - How am I thinking and relation to this Apporach the context

SUSPEND THE JUDGEMENT Delay your respoense Open opportunities Create new perspectives - the first idea is not necessatily the best or THE ONE

EMBRACE THE COMPLEXITY Do not reduce scope, or be aware that you are doing so and why Do not be afraid of having many oppertunities, or many options Recognise your assumptions - talking through with others often help this Stop your assumptions

SUSPEND THE JUDGEMENT Expand your knowledge through research Broaden your field of understanding - precednets are good Speculate and reflect on what you have discovered

HOW SEARCH FOR PATTERNS Identify and explain pattern, in your designing or design thinking Did you follow the same process while your are designing projects What are the differences compared to the previous works

DEEPEN THE THEMES Develop the potentials to bring design project further Work at multiple scales: playing ideas with metaphor Interplay ideas with each other: layers to your projects Investigate many options to achieve the same aim

SHARPEN THE FRAMES Framing of your research Communicate your interpretations clearly: understanding what your assumptions are? Reflect on this: Is this logical?; What I intended?

BE PREPARED Support your interpretation to show your journey Explain to someone

OUTCOME CREATE THE MOMENT Communication Get expert advice Discuss with your peers Ascertain your assumptions Ensure your assumption if they are logical

CREATE THE MOMENT Intergrate these into your design I choose this graph at this part because I think it is helpful for my s t u d y. I t illustrates three kinds of themes that I will probably meet during the process of evaluating the design and the questions that I should deeply consider. 44

CREATE THE MOMENT Doing in stages Documented what you did and illustrated strength and weeknesses Potentially strategy to help you improve

DEEP CONSIDERATION What is successful and useful? What did not work for you - argument with teammate? Suggest strategies for how you can do a better exercise

HOW TO MAKE DECISION Design Brief and clients' requirement Context and site analysis Experience Visual quality Regulations Circulation and movement: connections between inside and outside Simplicity inform and meaning: personal design style Comparison to the precedents: consider their strength and weakness Size and magnitude and scales: consider whether it is situable for the site, ect. climate Light and shadow Time and working schedule Material Budget ... 45

OUTCOMES

COMPOSITION

VARIETY

INSPIRATION

CIRCULATION

COST

OBJECTIVES

SITE

CONCEPTS

PROGRAMMING

TEXTURE

ANALYZE

RESTRICTIONS

RESEARCH

SCALE

DESITY

1 BRIEF

2 CONTEXT

What is the BIG PICTURE ?

How can you address the restrictions ?

3 PRECEDENT What ideas can you take from the precedent to add to your design ?

4 LAYOUT What is the best layout for your design ?

5 MATERIALS What materials best address the brief objectives ?

In this week, we mainly focus on design decision. In fact, before having this weekâ&#x20AC;&#x2122;s lecture, I have never conside Previously, when I was doing a project, I usually just did what I thought should be done in this stage. For example theme for my project and then develop this idea into real model following the design brief. I never considered th always started with the similar beginning, nevertheless, during the developments changes happened that due to to each project I have done and find that each time I met different objective or subjective problems such as imp This is an important observation that points out all the problems I have met that reflects on my weakness in vario I will try to make proper design decision in the next time. 46

DIGITAL MODELLING FINALIZE

PERSPECTIVES

FILM/PHOTOGRAPHY

PLAN/SECTIONS

SYSTEMS

REFINEMENT

PRESENTATION

PHYSICAL MODELS

FEEDBACK

DOCUMENTATION

FORM

6 SKETCHS Does the form justify the context ?

7 PROTOTYPE How does this help you further develop ideas?

8 DEVELOPMENT Has your design developed in the right direction ?

REFLECTION

8 FINAL DESIGN Have you successfully adhered to the brief ?

ered this question before. Actually it is not a question, but a key point that is necessary for our design studies. e, I usually wrote down the design brief at the first stage and analyzed it in detail. After that I would decide a key hat I followed the same structure of the process of designing. After this week’s studying, I noticed that actually I every time I finished the project in different ways. In order to find out the reason why this happened, I look back proper time management, wrong material selection, great difference between imagination and real model, etc. ous aspects. Meanwhile, I notice that to have a nice design decision is helpful and efficient for projects ‘designing. 47

Attempt to create a list of 20 questions to ask yourself when you are conducting reasoning, understanding, identifying and deciding when you take on a design project.

HOMEWORK

1. What is the design brief? 2. What is the main theme/topic for this project? 3. Where is the site and what should I consider about the site? 4. Can I take advantages of the landscape and how? 5. What is the scale or the size of this project? 6. In order to show the topic, what material should be used? 7. How about the circulation and how the people move around the building? 8. How many accesses and windows should be in the project? 9. How to manage LIGHT and SHADOW properly? 10. What are the funcitons of this project? 11. Are there any precedent works that I can compare with? 12. During the process of drawing the plan, are there any questions or problem? 13. How to solve? 14. After finishing the plan, to make the physical model based on the plan. During this process, are there any questions or problems? 15. How to solve 16. How do the users feel when they experience this building? 17. During the process of drawing the storyboard, are there any questions or problem 18. How to manage the time properly? 19. Looking back to the design brief, are there any points missing or misunderstanding? 20. Intergrate all elements and informations, what can I learn from this project designing.

WHAT TO DO WHEN STUCK

GETTING UNSTUCK Take a Break Changing Designerâ&#x20AC;&#x2122;s Frame of Reference Changing Medium of Working: make a paper model or paint Changing When You Work: for example Change you working time from morning to evening Arbitrary Exercises: put yourself through an exercise Arbitrary Time periods

LECTURE EXERCISE 1. Design a PERFECT ROOM.

3. Think and write down three points for each on why these tasks were so difficult. The key words for topics is hard to define: "PERFECT" OR "MOST BEAUTIFUL". The question is too broad that brings to many ideas. It is impossible to catch the key point that lacks of details.

2. Design THE MOST BEAUTIFUL SPACE you can imagine.

TO PRODUCE A GOOD DESIGN, THEN ... Never try to do or to design THE BEST or THE MOST BEAUTIFUL, THE PERFECT or etc. Always, try to tease out what is possible (even if it looks very strange at first), then choose.

BLOCKS

PERCEPTUAL Cannot see problem or useful information Eg. through stereotyping

Spending great amount of the money building the skyscraper and the rest parts of the city are considered as its landscape.

EMOTIONAL F e a r o f r i s k , u n a b l e t o t o l e ra t e ambiguity, prefer to judge not generate, cannot relax There are no right answers that brings scare to the first year student

W h e n t h e r e i s a ra i ny d ay, rainwater will be collected by the gutter and run throung the pipes which will make music.

CULTURAL Taboos, play is for children, emotions bad/ logic good, tradition better than change

Teahouse Tetsu tree house. A Japanese teahouse in a tree by architect Terunobu Fujimori. The inside of it is simple and modern whi le the outside is pure fantasy. You can find this tree house surrounded by gorgeous cherry blossoms (sakura) at the Kiyoharu Shirakaba Museum in Hokuto City, Japan.

BLOCKS

ENVIRONMENTAL Lack cooperation, trust; autocratic leader, distractions, lack of support for realization About the teamwork

Columns outside are vertical, but the columns inside incline at a certain angle. Floors are parallel to the horizontal line.

INTELLECTUAL I n f l e x i b i l i t y, i n a d e q u a t e u s e o f a p p ro a c h e s , i n s u f f i c i e n t a n d /o r incorrect information

EXPRESSIVE inappropriate language/mode of approach, inadequate language/mode for

Set design from modernist plays or modernist operaPlay with scales, play with perspective and trying to have emotional effects on it.

TUTORAIL EXERCISE Consider the design process that you have followed while you are doing the previous design project, and write down the step of decision making. Find the rules for decision making and consider why. In the first part of this task, to design an exercise that can teach the main idea of "amenity, poetry and technology”. Firstly, I consider that instead of designing 3 completely different tasks, it would be better to design a series of exercises on developing one project. Secondly, based on the essence of these three topics, I start with “amenity” and then to “poetry”, finally come to “technology”. Considering about the meaning of these three topics on designing project: AMENITY Analyze the requirements or aims given by the question in order to find out the design brief for this project. Develop with details and consider different aspects (such as site analysis) to deepen the theme and requirements. POETRY Based on the design brief given by the first step, design various plans for this project Think about the strength and weakness of each plan and choose the best one which is the most suitable for the design brief. TECHNOLOGY Make a sketch or paper model for the plan which has been chosen in the previous step Consider the details of this plan (such as furniture, finishes, etc .) In order to show the spatial experience of this project, draw a storyboard and look back to the design brief. Finally, QUESTIONS are decided: Design a house for a family: father is a gardener; mother is an artist; there are two children in this family whose are around 8 years old. They want a double-storey building for their new home. Please design this project follow the steps have been mentioned above. 54

Here are the tasks given by my classmate: SPACE / GREEN / CONNECTIVITY 1. Looking at the 3 words individually, sketch the first 3 images associated with each word (such as 3 images of “SPACE”)

2. Take one word from each category you are most interested in or want to explore and then design a building that people can vacate. (focus on façade or general framing or shape of building)

3. Think about context, what is purpose of building? Design interior connections, what is essential for building’s main purpose, etc. And think about location of building (intangibles, such as public transport, hospitals, parks, shops, etc.)

Feedback about the work I have done in the tutorial: Generally speaking, these three tasks are designed quite well and suitable for these topics. They are not similar with the task I have designed in the previous part that questions are all under one project development. These questions are started with an abstract concept and then develop them to become realistic which I have not been thinking about. The first question is similar to the exercise that we have done in the first tutorial. Making graphical interpretation has positive influences on the understanding of key words in various aspects. It is a good exercise for broaden our imagination and divergent thinking. However, there are still some problems in these tasks. The biggest one is that the project asked to design is too board and without any restriction. Actually, in the second question, I am asked to design a building based on the imaginations that made in the previous question. Nevertheless, most of the sketches have been drawn are reflecting on abstract ideas. Therefore, to design a building based on few abstract ideas refers to “just design a building”. It makes this question really hard to solve. It remains me of the exercise have been done in the lecture of this week that is also to design something with a very board idea. It illustrates that the importance of implementing to details.

HOMEWORK

1. 29 Ways to Stay Creative

2. Creaitivy in Education: Creative Block and the Surrender of the Ego

Make lists Carry a NOTEBOOK everywhere Try free WRITING Get away from computer Quit beating yourself up Take breaks Sing in the shower Drink coffee Listen to the new music Be OPEN Surround yourself with creative people Get FEEDBACK COLLABORATE DON'T GIVE UP PRACTICE, PRACTICE, PRACTICE Allow yourself to MAKE MISTAKES Go somewhere NEW Count your blessings Get lots of REST Take RISKS BREAK THE RULES Don't force it Read a page of the dictionary Create a FRAMEWORK Stop trying to be someone else's PERPECT Write down your ideas Clean your workspace HAVE FUN FINISH something

This video tells me that in order to be creative, we need to be surrender which means that we have to surrender cognitive control. Creative act requires letting go of overthinking it. The problem is from a psychological perspective that a person's sense of self is based in great part of our thinking. Therefore, the idea of letting go of thinking, letting go of cognitive control takes us in the opposite direction of what we need for a sense of psychological comfort stability soothing staying glued together. To let go into creativity is going to be accompanied by a fair bit of distraction it's what psychologist call resistance. And this resistance has the capability of undermining the whole creative enterprise. It reminds that when it comes to creating something new whether it's a piece of art or our lives that the work of creativity against nature.

DEVELOPING DESIGN IDEAS

OVERALL STRATEGIC MATTER KEY DETERMINANTS OF DESIGN OUTCOMES SCAMPER Bob Eberle's modification of Osborn's Evaluative Checklist

Designer's FRAME OF REFERENCE: A grid of possible approaches Foci Starting points Emphases

SCALES OF CONSIDERATION: One way to develop a design idea is to deal with additional scales

SUBSTITUTE something COMBINE it with something else ADAPT something to it MODIFY or MAGNIFY it PUT it to some other use ELIMINATE something REVERSE or REARRANGE it

CLASSES OF STRATEGY FOR DEVELOPING DESIGN IDEAS FORMS OF COUNTERBALANCE

CLONING

DECOMPOSING

The root ideas for emphasis

The root ideas, increasing complexity

REPETITION SETS SERIES VARIATIONS on a Theme Other MULTIPLICATIONS

Hierarchic DECOMPOSITION FRACTURING FRACTALS

DIALECTIC or OPPOSITION SUITES (recognizing &/or developoing the ideas as part of a set of complementary elements) SCORES + COUNTERPOINT ( = musical composition) NARRATIVE

Developing from very simple geometric shape and FRACTURES them into various small shapes. Keeping this kind of DECOMPOSING the simple shape might change to much more complicated shape but still maintain its formal characters.

This building is made up of a number of "blocks" with simple geometric shapes. After careful arrangement of this blocks, a unique construction was created. It reminds me that it will be better not limit myself to develop "single object". Sometimes, the use of SUITE might bring fantastic ideas with a image that single object cannot create.

In this example, squares are repeated to form a large square shape and meanwhile the circular shapes are also repeated to form this semicircle which illustrates the CLONNING techniques obviously and forms a harmony geometric designs.

CLASSES OF STRATEGY FOR DEVELOPING DESIGN IDEAS ELABORATING & EMBELLISHING Using developments of the root ideas

Building on hints in the ideas (intellectual DOODLNS) MUTATING an idea MORPHING the idea (= continuous rather than stepwise Mutation)

The first shape is created by connect those little points. The second picture is created by repeating the first shape six times. And the final one is created by repeating the second one six times. They show a kind of systematic doodlns that forms completely different styles of images with great impression. 60

GRAFTING + MULTIPLE IDEAS

SEQUENTIAL ENRICHMENT

Adding quite different ideas to the root ideas

Generating the site Generating the properties Recording from speaking the name of department

This example illustrates that one building can be running many ideas in the same time.

Unfolding an idea Stepwise, higher resolution

This example clear illustrates every stages of this project and it will be simple to explain each step during your design development. Different criterion in each steps are also obviously noted that help refining your design in the finishing part.

TUTORAIL EXERCISE

POP UP SHOP DESIGN

Desgin a pop up shop in Melbourne centural: consider shop category, clients information, interior design, and so on. When I get this topics, the first idea come up to my mind is to design a boutique. Melbourne central is one of the busiest shopping center in Melbourne city with a large amount of visitors flow rates. Meanwhile, according to convenient public transportation, it is popular to young people. Therefore, it would be a good idea to design a boutique for young ladies, students or families. After determining the category, the next step is to analyze clients information. H e re ' s t h e mindmap which help me with this issue.

I also try listing three kinds of different types of customers to help me figure out the design idesas:

TUTORAIL EXERCISE POP UP SHOP DESIGN After analyzing the customers information, I consider that it is also important to have a strict criterion to evaluate this shop in various aspect. Therefore, I try to make an assessment rubric to help myself to evaluate the design and brings positive effects on its development. I make the rubric focusing on three aspects: USER EXPERIENCE; FUNCTION and AESTHETICS which are corresponding to three key topic in this subject AMENITY; TECHNOLOGY and POETRY. 62

TUTORAIL EXERCISE FINAL DESIGN

PLAN

STORYBOARD

According to observation and different kinds of analysis, I started to design the final plan of this boutique. I combine the idea of "MAZE" which guides the customers to visit this shop in a specific way. This can led the customers have a look at all the goods to the maximum extend and the make use of all the possible spaces to create a better spacial experience for visitors.

Revisit the Scales of Consideratio slide and its diagram Replace the column headings with Technology, Amenity and Poetry Replace the original entries at each scale with approproiate ones Discuss in relation to your own design project(s)

HOMEWORK After revisiting the SCALES OF CONSIDERATION form, I try to redo it and make a "TECHNOLOGY, AMENITY and POETRY" version which is tightly links to my design project. In relation to my Earth final project, for example, the first step I do is to decide the key design theme of this project under the design brief which is MAZE. After that I develop this idea and determine the major technical design of this project which is a three-level gallery built on the riversite. This three steps are the first three steps I do in my design process which are also the entries I choose for the "LARGEST SCALE" of POETRY, AMENITY and TECHNOLOGY. 64

EVALUATING & SELECTING BETWEEN IDEAS

EVALUATION & DECISION MAKING

METHODS Checklists Performance Specifications SWOT Analyses Decision Trees De Bonoâ&#x20AC;&#x2122;s Six Thinking Hats Value Management Post-Occupancy Evaluation Delphi Method Trade-Off Games Decision Matrices Computer-supported Decision Systems

BASES OF CHOICE Between known alternatives â&#x20AC;Ś Let the Market decide Arbitrary procedure C o m p a re w i t h a c c e p te d Canon Develop universally valid set of criteria Develop criteria based on the differences between items to be compared Judge each work against its own intentions

BASES OF CHOICE Commonly: collective decision tool, given finite number of known alternatives

EVALUATION & DECISION MAKING DELPHI METHOD

TRADE-OFF GAMES

Can be either a forecasting technique OR a decisionmaking technique An iterative group method for coming to a consensus decision on very difficult issue(s) T i m e ta ke n d e p e n d s o n g ro u p s i ze a n d t h e contentiousness of the issue(s) Groups own the decision, having participated painstakingly in it. Group size small for forecasting, as large as necessary or possible for decisions:

Can be within a group, between groups or carried out by individuals Need a system of tokens – indicating the options between which choices must be made (eg a set of pictures or cards) Need a basis for comparative value of options OR of variables against which options are to be assessed – this may be monetary or some other basis (eg for a school, say: pupils throughput per dollar or grade point average per pupil throughput):

Each participant records their position on the matter(s), with or without supporting argument and/or evidence Recorder/supervisor reports all positions to group, noting percentages of support and arguments, evidence – without identifying who supports what After reading that material, each participant records new position Process iterated until consensus reached.

Play is conducted either until team(s) agree to stop or, better, within a specified time Feedback on the consequences of choices made Sometimes: Replay either on new or same bases Iterate Steps until consensus reached or time runs out.

CRITICISM ATTOE'S MODEL

THE CRITIC’S FOCUS

THE CRITICAL SITUATION

Normative Criticism Before the work Self-criticism Expert criticism Belief in external principles, norms, standards Analysis Peers Ecological, geographical context Doctrinal, ideological Designing, thinking Critics, Historians Historical, history of ideas, Interpretative Criticism Consultants Client genealogy Tries to get you to adopt critic’s point of view Lay criticism Authorities Socio-political, economic The man in the street Advocatory criticism Legislative context Surrogate experience Biography of the author(s) Descriptive Criticism The client, the task, the brief Tries to be factual Repertoire of current Disciplinary During this week's study, I find out that interests in order to select the most suitable and On the work itself "perfect" designing ideas from all the The creation, the design process THE CRITIC’S INTENT early thinkings, the evaluation of your Form (eg ‘type’), geometry, existing ideas has positive influences Describe architectonics in solving this problems. And this topic Provide surrogate experience After the work has been developed in detail in the Consequences, impact, derivatives Point to antecedents: sources, allusions, lecture that provides a large number Reception - by client, peers, public alternatives, parallels of methods that can help me in this Production Explain - through doctrine, theory / system, issue. Meanwhile, keeping criticzing Marketing standards yourself is also important for refining Advocate your ideas and has great effects on Provide a new work of art creation during the design process. 68

TUTORAIL EXERCISE

Early design of an AQUARIUM, including: Brand logo; graphic style; key design themes; etc.

DESIGN BRIEF For every project, to fully analyze the design brief is always the first step to begin your designing. Only if you are able to understand comprehensively as a designer what your clients actually want, your ideas can develop in the right way.

DESIGN THEMES & BRAND LOGO LESS IS MORE Aquarium, always gives me a image that families and couples gathering shaing their time walking in a number of exhibit spaces with different styles. What I want to do, is to simplify the exhibit areas with a uniform style. Affected by Mies Van der Rohe, I want to design this project based on his famous themes less is more which can present my thinking perfectly.

How should your own design work be assessed? Set out the Criteria you think should be used How should they be weighted? Complete the construction of a Rubric for assessing your own design projects.

DESIGN RUBRIC

HOMEWORK

DESIGN COMMUNICATION

is your 0 What design position? . . . . Grab audiences attention and enable them to evaluate your design on your terms.

FRAMING YOUR DESIGN, as a solution to your interpretation of semester agenda

a form 1 Narrative of story telling . . . . To guide your image + technique selection, your layout of pages and verbal communication.

STRUCTURE

DRAWINGS

Response to The BIG IDEA Clients or users agenda Concept (vision) Your agenda as a designer Context (why act) The context Agendas (clients/yours/audience) Strategies for your: Massing The design Skin/materials Plans Atmosphere/experience Sections Structure Renderings in context and inside Programme/functions/brief Model Flows/circulation . . views/ sun/people Extra Diagrams about how your design is to be used

U a C T ( C

QUESTIONS Where does idea come from? What influences helped create it? What does the design look like? How does it relate to the setting? From what is it made? How is it built? What would it be like to inhabit? 72

explain your DESIGN IDEAS and their SUCCESSFUL realisation (not all of the things you did but the key elements that support your design!)

F in T s

your insights 2 knowing and concepts . . . . and using your graphics to illustrate.

CONCEPTURAL DRAWINGS

Using diagrams advances the process of an idea. Complex ideas need to be made explicit This requires a LANGUAGE of abstraction (graphic + verbal) Chart the process of concept to reality

PARTI

Form and expression of the central ntellectual ideas The essence of the design reduced to a single diagram

Use precedent

. . . . and research to support your outcomes Illustrates the composition of innovations, past experiences, knowledge Illustrates the model followed or adapted (when coincides with the spirit of idea)

Three levels of communication

VISUAL SCANNING First, overall impression (entire composition) Main image on the page Secondary detail to support your idea (both written + graphic)

Look at built (and unbuilt) local and international examples of components included in your project

Observe life around you Movie for spatial experience or qualities Nature Words explained or defined. . .

Presentation Techniques

SINGLE GLANCE GRAPHIC SWITCHED FOCI GRAPHIC Graphics dominate the text Colour dominates grayscale Large dominates small 73

The observation

. . . . and therefore ensuring layout supports viewing legibility.

HOW THE EYE WORK Eye detects MOVEMENT + CHANGE Seeks greatest visual interest Contrast in info: intensity; location; size; tone; scale; proximity; etc. Antidote to visual boredom

Laying out the page

What is your first impression you are creating? What is the focus of each page? What are your is your big Idea that you are testing with this design? concepts? What presentation skills do you have/want to develop? What drawings will best communicate your design?

Also look at …. Counter balance [assemetry] Visual novelty

MESSAGE AREA Message area coincide with visual interest "….the message areas usually coincide with and are signaled by the greatest degrees of contrast in an image, a hierarchy of contrasts sequentially drawing the eye through layers of information at key points along the visual ‘journey’ around the format." 74

DRAWING TO INCLUDING The BIG IDEA Concept (vision) Context (why act) The design Plans Sections Renderings in context and inside Model Extra Diagrams about how building is used

Talking to your pages or slides

Focus on things that can not be visually scanned by audience Set the scene (first 3 sentences critical) Focus on relationships between Use your VOICE and GESTURES to highlight Engage your audience (face them!) Sound passionate about your project Don’t start with an apology or highlight a problem

Mock up of your presentation boards of final design presentation for your current design studio, or most recent past studio (if you are not currently doing a studio)

HOMEWORK

These are the presentation boards of my final projects of Earth Studios: In the first page, I put a large perspective drawing in the middle to catch people's eyes. On top of that drawing I put my previous works and site analysis with smaller sizes. And below then, there is a small site plan with a perspective drawing on the actual site that matches up with the site analysis above. The second page, can be divided into two parts: the above part is made up of two sections and two elevation drawings surrounding major plan; the below part is a large perspective drawings that decomposing the whole building by different layers and plan drawings are placed beside each floor which can help explain how the building is constituted in detail.

DESIGN WORKSHOP, this subject teaches me not only a number of techniques in how to design but also brings me a completely different way to think as a designer. It leads us go through the whole process of designing from the every begining, such as how to analyze design brief and developing you initial ideas and then to choose the most suitable idea from impossible to possible. Moreover, how to refine your ideas by comparing to precedent projects and discussion with your team. Finally, it provides various useful techniques on design presentation that helps us to explain your ideas clearly. All of these, are taught by DESIGN WORKSHOP that improve my fundamental skills in designing. I know that to improve my design skill, it is not enough by only studying this subject. All I need to do, is to think more, to practise more and to design more. I will use all I learned from DESIGN WORKSHOP to be better as a designer.

DESIGN WORKSHOP REFLECTIVE JOURNAL

TAN YI 812975