Unit 1 – Amy Ma

Project 4 Material Objects Reflection

For this project we were tasked to explore materials on a one-to-one scale that will help us investigate and understand the physicality and substance of an imagined interior from our overall projects. It will also help us convey our ideas to a tangible affect. Touch, scent and visuals are all key to how a user experiences an interior environment and after reading ‘The Eyes of the Skin: Architecture and the Senses’, I understood the significance of it and this project helped emphasise the importance of these roles. It allowed me to see how my previous projects could exist in reality, on our plane.

“A remarkable factor in the experience of enveloping spatiality, interiority and hapticity is the deliberate suppression of sharp focused vision.”
Pallasmaa, 2012

Images taken from “The Eyes of the Skin”

The book talks about how skin, our oldest and most sensitive organ, is our first medium of communication and the importance it plays in interacting with an interior space. The sensory mode is a parent to all other sense including vision which relates back to tactility and the memories of having felt. It also mentions vision is the most noble of the senses and losing it is the ultimate physical loss. We heavily rely on this when designing a space so, as interior designers, vision is a driving sensory mode.

I thought this read related to this project the most. I am interacting with materials and using my sense of touch and vision to create. This inspired me to be aware of this when developing my sculptural object and use it to my advantage.

The object was suggested to contribute to the collecting aspect of the projects. I realised this is an opportunity to explore and hone in on Project 2 Window of Contemplation’s window frame which has built-in pockets to store my client’s air purifying plants.

I knew I wanted to use bamboo for the pocket framed structure as my projects so far especially Project 2 pays homage to Japanese culture and bamboo is widely used for many generations in East Asia as material for furniture and heavily used in construction as scaffolding in areas like Hong Kong.

The frame resemblances that of scaffolding so my next step forward was to explore bamboo tying techniques. It was very interesting to experiment with lashings as these primitive methods go back centuries and it added a sense of rawness to my project. It is versatile so I wanted to incorporate this woody feel all over.

Having not used glue, or drilling into the bamboo, I found an alternative to holding my structure together that ended up not being destructive to my materials. This meant I can possibly re-use these materials in the future and consider their future purpose.

I wanted to include real life air purifying plants into my sculpture to directly convey the function of my material object and how it relates to the collection. I decided to use coir to house the plants, after discovering and investigating many different sustainable pots and containers at the CSM library. I had a look at pulp, mycelium, wheat-bran, moulded fibre and found the most effective was coir for my intended use as it is very strong for outdoors, can withstand getting wet and has great soil properties so I could use it within the collection.

Sustainable materials at the CSM library

I decided to use rattan and weaving for the pocket base as this is also a traditional technique that used bamboo canes and prominent in Japanese culture. It brings a sense of intricate calmness. Many japanese artists such as Jiro Yonezawa and Shōno Shōunsai have used weaving and interlacing to create rigid sculptures that create the same environment. I would have liked to make my own weave but due to time constraints I sourced a pre-made weaved base from a basket I had already in my home. As I only tied this to the structure and used non-destructive methods, I can recycle this and return it back to its former purpose as a base for my basket. This solution means I am wasting less material and also participating in recycling and sustainability of my project as an artist.

I sourced the bamboo canes and coir from garden centres. Initially I wanted to use a coir pot that is pre-made however they were out of stock. However they had coco liners so I lined this on cardboard to portray the coir pot. I sourced bio-degradable twines from craft shops, and made sure it had enough friction to tie with. I then cut the canes to the proposed sizes, calculating each measurement for the 12 canes.

During trial and error, I found the Japanese square lashing acted better than the square mark II lashing as there was less vertical and horizontal movements and angle of rotation. I also used knitting needles to feed the rope into the weave to tie against the bamboo canes.

Overall I found this project to be very interesting as it was hands on and I had to consider practicality and not just think conceptually. It forced me to consider beyond the designing stage, and look into materials beyond the aesthetics of them. It made me explore the historical uses, composition of the material and how these apply and can play into the interior. I had to consider the language I wanted to convey visually with numerous factors like the stability, texture, colour and form.

Construction process:

H&T Project 3: Material Precedents

These are some material precedents that will relate to my project ideas and aid me in the creation of my sculptural object. These include methods of making, joining, finishing, etc. that highlight significance for my own design work and the evolution of creating my 3 dimensional installation.

The overall theme I want my sculpture to encapsulate is natural and primitive. I wish to pay homage to the Japanese culture of Zen and meditation. With my client’s collection of plants this will be a harmonious collaboration of the two.

Bamboo

The organic and natural material is used in parts of Asia and even in more urban cities such as Hong Kong. It is said to be more strong and flexible than Steel. It is easily available in these parts of the world, and cheaper since there is less process in creating these bamboo poles than steel or other metals and it is grown locally. They can be easily discarded and re-used for other purposes without much impact on the environment. It is a common construction material for centuries in China, thus is a well trusted method in creating a stable structure with the right tying techniques. It is one of the most fastest growing plants on earth and it self multiplies due to its root system. It is light-weight, faster to put up and take down than steel and has a higher tensile strength thus making it more flexible and easier to manipulate than steel. This material will be a suitable choice as the main frame of my structure as the layout is very similar to a temporary scaffolding structure, thus I will hopefully get trustworthy results using bamboo as it has been used for centuries in this way.

Traditional Bamboo Lashing

Japanese square lashing, a video demonstration | The Kid Should See This — Japanese square lashing tying two pieces together

Lashing is a primitive method of binding and fastening one thing to another using a cord or rope of some sort. It is more effective than metal fastenings. This method does not use glue or drilling, therefore it is a non-destructive technique for materials and minimises the use of equipment. I find it is a sustainable method of creating as it does not damage the structure of the materials, and uses minimal additions. All is needed is a tying rope and this could be natural and biodegradable. Since it does not damage the material, after its use, the objects and rope could be untied and used for another project. In my opinion, it is a great way of preserving materials so they can be recycled in another fashion without comprising their integrity.

Japanese square lashing is a fast alternative to other fastening techniques and I found it is a very tight binding method as there was minimal movement laterally and vertically with the two bamboo sticks. Traditionally, this knot is used with natural fibre rope to secure bamboo and other architectural structures in Japan. It is used by many Scouts since discovered by British Scouter John Thurman in 1962 during his tour in Japan. To note, this technique is used to secure bamboo sticks at right angles to each other. This will be a great method to tie my structure together and able to hold my plant, the main feature and purpose of the sculpture.

Weaving

The process of weaving can be done with Bamboo canes or Rattan which is also another type of cane. The strips are interlaced at right angles or plaited and woven. It is traditionally done in Southeast Asia such as Japan and China. This technique creates an air of relaxation and natural sophistication to an environment as it is a carefully intricate design yet organic. There are many ways of weaving the canes, some are more time consuming than others however give more strength and durability to the overall structure. Historically, cane was clean and hygienic making it very popular in furniture as parasites, mites and bugs had no place to live in the weave and over time the patterns have become more dense and intricate. The more densely traditional patterned texture will be a significant addition to my sculpture as this will act as a supporting base to house my client’s plant collection and my pattern can be woven around the bamboo structure, similar to how cane is woven around furniture frames.

Coir

Free Potted Plants Hanging Outdoors Stock Photo — Coir used as plant pots

Also known as coconut fibre, it is natural fibre and extracted from the outer husk of a coconut and used in products such as floor mats, brushes, baskets and pots. It is recently popular as a potting mix and organic soil as it increases air porosity. The fibrous material is strong, water resistant, slower to decompose than peat, lightweight and resistant to mold, fungus and pests. It is also sustainable as it is a by-product, bio-degradable, renewable and eco-friendly. This makes it a fitting material to house my plant in the form of a plant pot and possibly use in the soil mix.

Unit 1 Project 3 Reflection

Future Bathrooms

The Initial Bathroom

First starting this project, I was faced with a creative block as I found difficulty in designing past the barrier of a conventional bathroom, since I was used to seeing bathrooms in a way that we deemed we normal and I found it hard to elevate this. It is safe to say I hadn’t encountered a project so far that evolved to this extent in regards to the design and my thought process of how an interior space can be laid out.

My initial draft bathroom design is very different to the end result however am glad I experienced the journey I took towards the destination. The project pushed my creative boundaries, to think outside the box and see a greater potential for a space past a bog standard design criteria such as a bathroom.

When I first came up with the concept for the bathroom, I thought about the key words in designing for my client: well-being, healthy living and Japanese Zen. My client collects and grows plants that focus on promoting the well-being of others by bringing them into interior spaces. Therefore I wanted to base my bathroom design around his ethos and follow the Japanese bathrooms and rituals as they focus on mindfulness and spirituality which also contribute to ones healthy well-being. This will compliment my clients collection.

I researched into Onsen baths and bathing rituals, and found traditionally you would shower first before soaking in the bath which governed my design to have two separate cleaning zones. Japanese themed bathrooms such as the Fujiya Ryokan in Ginzan Onsen Village in Yamagata and the Nobu Ryokan hotel in Malibu inspired me to use wooden accents, similar to saunas, and raw materials like unpolished stone tiles and cedar wood which is known to be aromatic and relaxing.

Since my client collects air purifying plants, I wanted to incorporate natural ventilation and air flow into the bathroom. It seemed fit because bathrooms have a build up of hot air and condensation which can form mould if not ventilated properly. This is where I found the Maruhon Ryokan in Japan which cleverly utilises a buoyancy driven system where cold air enters through an opening and rises when it becomes hot into another opening at the top. The air pattern allows for a curved roof above the bath. I applied this to my bathroom design, so the top opening partially acts as a skylight for the shower and bath.

I drew up my sections and plans in AutoCAD and I found creating technical drawings with dimensions a lot easier to then create my drawings and become confident in my designs, having explored the functionality of my space and knowing it could realistically work. I produced perspective renders on AutoCAD and photoshop for the first time and I found this to be something I really enjoyed as my designs materialised from concept into digital visualisations that I could have control of.

After The Tutorial: Final Bathroom Brief

Following the tutorial, I learned that I was too hung up on the conventional bathroom design and I needed to elevate this further. I then developed my keywords into plant geometry, which later shaped the spatial layout of my bathroom. Developing a mood board helped me centre my concentration on fractals, the Fibonacci sequence and phyllotaxis which later developed into the golden angles of exactly 137.5 degrees.

After analysing the golden angle diagrams, I considered having separate zones in each of the golden angle. The angles are obtuse therefore they overlap so I knew I had to use layering and overlapping to distinguish the zones and angles. To do this, I wanted to create a bathroom that spirals upwards with height levels using steps, similar to how plant leaves sprouts and spirals in the golden angle. I wanted to create a central point, a vacancy, a common place that you gravitate towards to bring the bathroom together, similar to a plant stem where leaves grow from. I instinctively thought of the shower and having a natural waterfall coming into the centre point, eliminating the conventional shower head. Waterfalls are a design feature incorporated in many Japanese bathroom designs in the form of taps however I wanted to take it literal to reproduce the connection with nature. The shower being the main point and on ground floor, it logically made sense to place the bath at the highest level, so you are working your way up to bathe and following the traditional bathing sequence using the golden angle plant sequence.

The waterfall idea reminded me of the Jewel Changi Airport. I must have taken inspiration to this or saw the resemblance after incorporating it into the bathroom shower. This feature re-uses the water as it pumps it back up into the roof to create a cycle of constant flow. This was something to consider for the shower, to sustainably re-use the water with a filtering system. Also, the air movements create a spiral effect and active cooling system due to the drag force of the falling water, which was another aspect to consider.

Image 1: Jewel Changi Airport in Singapore

I delved into organic sink designs, as I wanted the bathroom to feel as earthy and raw as possible, to emulate a natural environment alongside the mathematical arrangement of the bathroom.

With all this in mind, I could create my drawings in AutoCAD, which helped me in visualising my atmospheric section. Drawing up dimensions always help me in creating a space that can work realistically and I can get an idea of spatial ratios.

Unit 1 Project 2 Reflection

Window for Contemplation

For this project brief, we were asked to design a window on a building of our choosing and an interior space to contemplate. This could be a retreat or a seating area and we had the option to have our client’s collection away from this space or somehow have it involved in our design, depending on our client’s needs and if they wanted to get away from it all.

I decided to have my client’s collection incorporated into the contemplation space as his ethos is healthy living among plants and well being, so it only made sense for my client to practise ones preaches and have them close by. I also kept my client the same, developing his profile further so that he collects air purifying plants. This choice meant that it was a conscious decision to have them by the window, as the plants will be able to purify the air when they are open and I will be able to have windows capable of being open and allow the potential to have my building located on a busy road or built up environment.

After looking at various window frame designs, I came across gridded and cuboid framed structures that divided the glass plane window. I knew I wanted to incorporate my plants within the gridded frame system one way or another. So I began sketching my ideas onto paper which when I began annotating, evolved.

My key words or phrase has subconsciously been ‘bringing outdoors into the indoors’ and blurring the lines between the two as I have been designing for my client. The ideology promotes what my client believes in so I decided that it has to be a core theme for my project.

I began researching green ways of living in outside and inside spaces and came across this study below. I also researched the type of plants for growing vertically and vines were a recurring result.

The use of neutral colours of wood, stone and concrete allowed green to become to feature colour and really made nature pop. The contrast inspired me to do this with my space and allow my client to contemplate on the importance of his work. The stepping down into the seating area creates a fully immersive experience with the surrounding greenery and accentuates the height of hanging ivy. There is a use of gravity, which allows yourself to let go of the world and contemplate on your deep thoughts.

Once I arranged my mood board I sketched the initial sections and what I envisioned my contemplation space to be, inspired by the key elements from my mood board. I then created sections in AutoCAD which was something I was still getting to grips with but I found this method arranged my design in a layout that made sense and felt realistic. I then created a visualisation of the space in Sketchup then Photoshop which I am also still unfamiliar with so this took up a lot of time, however I really enjoyed bringing my ideas to life and portraying it into the atmosphere I wanted to create.

I also created some axonometric drawings which I have never came across before so I decided to do this by hand so I had more control and intimate involvement of the process. I then rendered this over with colouring pencils.

After the Tutorial

Following my tutorial, I was inspired by Tadao Ando’s work and looked at his window frame arrangements of various shapes of glass panes that symbolised the complexity of humanity. I thought that this would be a great juxtaposition with the idea of holding the plants and how human influence plays with nature. The Greenbox project in Cerido was also another inspiration on how the steel frame becomes a support for the vegetation and the idea of wilderness growing outside into the interior so I felt I could relate this to my project and have the ivy really incorporated into my design by building them into the walls and window and really considering the root/water system.

Sketch collage – development of contemplation space and window design

My design transformed unintentionally into a Japanese inspired zen garden and a greenhouse space where my client could connect with his collection, nature and isolate this with the view outside for context which blurs the line on what is interior and exterior.

Model

Palimpsest Drawing

I worked in the mediums of watercolour, ink and pencil on paper and tracing paper to build up my layered drawing. As this is the first time encountering this technique called palimpsest, I researched artists Doris Salcedo, Idris Khan and Julie Mehretu’s work. I discovered palimpsest was originally used for writings and texts, and I realised that this was a way of communicating by layering evidence and history on top of one another. This was a good method for documenting the Sir John Soane’s museum as this site visit had a multitude of historical facets to the interior space and the collections.

I found experimenting with palimpsest took me on a journey throughout Sir John Soane’s collections and how he has arranged them in his rooms and also how he has positioned his interior spaces, openings and windows. It allowed me to investigate further the layering he has developed in his spaces and observe his space as more of a gallery of pieces beneath and on top of each other rather than one entity of a room.

I would like to take this technique with me on my journey on how to observe and design a space. It would be a great opportunity to layer materials, shapes, forms, views of the space and think about how the interior can open up to potential perspectives or possibly exterior views and control the intent of this.

H&T Project 2: Design Precedents

These design precedents will inform, inspire and influence my project 2 work of my contemplation space.

My definition of contemplation

*Figure 1 – Terra grass armchair, 2000. Designed by Andrea Sanna and Piergiorgio Robino of Studio Nucleo*

Originally this design was released at Salone Satellite until 2005 however they determined that self-producing these chairs were no longer sustainable. They are back with an updated version that lets you grow your own armchair in your outside space. The process of growing and setting it up builds up this sensitive connection and connects the belongings in a home with the person. An intimacy is formed with the object and its creator, which in turn encourages more use of the object. The natural seat allows for comfort that becomes part of the landscape and a place to rest. It. A contemplation spot is developed as the combination of the comforting curves of being seated in a reclined position and the texture of soft grass invites the creator to sit on their creation, ponder and be one with the environment.

*Figure 2 – Albert House in Sydney, 2017. Designed by Michael Bates*

Each stepping stone allows a second to contemplate, and take steps further into each thought. The suspended illusion and depth created by the use of levels and contrast of green hues and harsh concrete with plants growing underneath, concealing how the slabs are supported, creates a feeling of floating. This light feeling can evoke a powerful environment to contemplate as one can engage with themselves away from the heavy thoughts and interruptions of their surroundings.

*Figure 3 – Matabe in Naoshima, Kagawa, 2015. Designed by Hiroshi Sambuichi*

The Matabe is a private residence next to the Naoshima Hall and is part of The Naoshima Plan. They were created with the natural environment of the island in mind. Here, the use of moss aids the transition from interior to exterior, with the use of double walls to control the level of nature inside the space as well as open it up to the outside. This space acts as a purgatory between the two sides and lets the user slow down when travelling to either side and perhaps contemplate. The embedded pebble stones act as a guide and manipulate the journey of the person, possibly delaying them in changing their long strides into smaller steps, simplifying their path.

*Figure 4 – Villa Tan Dinh in Vietnam, 2020. Designed by MIA Design Studio.*

The aim for the house was to ‘create a miniature park-like space in the middle of the city’ (Dezeen, 2021) where ‘all the primary activities of the house will be connected throughout empty zone between plants, water as well as natural light.’ (MIA Design Studio) The woody vines gradually will spread across the steel netting system and create a filtered greenery for the house instead of a cold concrete one. They create a zone to contemplate and block out noise and interruption from the outside world. As the steps descend and lead to a below floor level pit, this allows the user to feel fully immersed in nature. The contrasting materials of stone and concrete highlight and permit you to focus on the colour of vibrant green.

Precedent studies relevant to my project

*Figure 5 – Shiba Ryotaro Memorial Museum in Higashiosaka, Japan, 2001. Designed by Tadao Ando*

Designed and built-in memory of Shiba Ryotaro, a writer on postwar Japan, the museum holds this giant window of glass. Ando’s work encompasses large concrete walls, combining wood and large windows whilst including natural elements such as sun, rain, and wind. The window overlooks and frames the garden where the author would walk and reflect. It is composed of various shaped and sized panels that filters the light through to fall into the space in many patterns. This was to symbolise humanity in all its forms and guises which Shiba expressed in his works. This is contrasting with the various sizes of panels frames that isolates different parts of the garden, giving focus to individual elements of nature outside. Overall, there is a theme of complex human behaviour with the playing of light patterns and the focus of nature.

*Figure 6 – Greenbox in Cerido, Raethian Alps, Italy, 2011. Designed by Act_romegialli*

The ‘Greenbox’ resides in Italy and was a project to renovate a disused garage into a weekend house. The metal structure becomes a ‘tridimensional support for the climbing vegetation’ (Divisare, 2011) and uses a ‘palette of man-made raw materials blends in with the natural ((Designboom, 2011). The house has an essence of growing the outside in the inside, and there is no definite boundary of the two. The green growth appears to be a part of the structure and fully take form of it, transforming the environment into its own entirety.

References

Dezeen (2021) Villa Tan Dinh: Longlists: Dezeen awards 2021, Dezeen. Dezeen. Available at: https://www.dezeen.com/awards/2021/longlists/villa-tan-dinh/ (Accessed: October 26, 2022).

Divisare (2011) Act_romegialli, Marcello Mariana · greenbox, Divisare. Available at: https://divisare.com/projects/180820-act_romegialli-marcello-mariana-greenbox (Accessed: October 26, 2022).

Hudson, D. (2013) ACT_ROMEGIALLI: Green box renovation in Italy, designboom. Available at: https://www.designboom.com/architecture/act_romegialli-green-box-renovation-in-italy/ (Accessed: October 26, 2022).

Unit 1 Project 1 Reflection

My design incorporates a live-work studio for my client and his collection which involves growing native plants and studying them, specifically from Surrey where he grew up. He transforms them into green walls and other green installations all to promote nature into interiors and the built environment. He does this outside his space, so my client focuses on growing and cultivating the plants himself.

Client Profile

My space is divided into two, the left as his living and right as his work space with 2 access doors on either side. This separation allows my client to freely come into his work space from the outside without spoiling his living space with dirt and other contaminants from the plants and outdoors. I have provided a space for my client to grow his plants with shelving racks with artificial lights along the right side of the room since there are three large south facing bay windows. I have created a plant unit in the centre which incorporates a built-in sofa, sink and desk study which acts as a tunnel between the two spaces. This allows my client to have a direct connection with his work but also live within it. Since he has a passion with plants and with regards to nature having a positive impact on our well-being, it only seemed fit to have the collection worked within the space and not have it segregated.

The plant unit also utilises layering with hollow cubes inspired by the artist Rashid Johnson. This ties in with the tiered system in my previous study of the Glossier seating area. I have included a bedroom and W/C mezzanine unit for space-saving, inspired by the use of levels in the Yurikugo House. The raised plants and bedroom allows my client to have an immediate view of his collection and this maintains relevance with the way he peacefully lives with his plants and his practice of promoting awareness of nature around us.

I found drawing my space by hand and to scale of 1:20 really helped me set out my initial layout and how I wanted to divide up the space. This tool really aided me in finding the correct proportions of my live-work ratio in relation to the room and it is something I will be taking on forward in future projects and my career.

H&T Project 1 Studies

*Yurikago House in Barcelona, designed by Mas-aqui*

This semi-basement apartment has been renovated with the use of half levels, utilising the height of the house. It has created more space on the upper storey and the levels are connected by small steps and internal stairs. It uses a mezzanine with a wooden slatted structure to let light to flood through. And the living room is raised with a tall arched window. I feel this will influence my project as I have tall arched windows surrounding my room which I could fully utilise by bringing the floor levels up to reach this window height as my client grows plants, this could be very beneficial for them.

*Newry House by Austin Maynard Architects*, *Melbourne*

Austin Maynard Architects works within the narrow space with the addition of a raised indoor bed beneath a skylight that sits above the dining area. A range of species are planted in the bed including a philodendron and ferns which creates a leafy border and a living backdrop to the built-in dining room. It has a greenhouse-like/conservatory effect, blurring the lines between the indoors and outdoors. This will help my project as I also explore this concept of building my client’s collection of plants within the way he lives and uses the space.

*Communal seating area in Glossier Seattle, 2019*

This seating area is designed to look like a terraced landscape or a set of hills, which is portrayed by stacking layers of thin cushions covered in green surfaces of leather and fabric. This could be an inspirational design for my project as I would like to incorporate my client’s work of growing plants into the space by stacking cube structures in this layout. The cubes will hold the plants so it will be very similar to the green layered design here.