Spatial Theory

In today’s society, we often find ourselves lost in the midst of infrastructure and inorganic material; our connection with nature is deteriorating. It is important to integrate indoor and outdoor setting to recreate that bond once more. Arataki’s Leaning Centre is a space that provides a venue for visitors’ learning experience(s). This project aims to generate and establish a multi function space that interrelates indoor and outdoor setting qualities that cater to the current and potential activities that may be held at the learning centre. Looking into artist models and inspirations such as Christopher Kelly - Waitomo Caves Visitors’ Centre, Kupla Architects - The Bubble and Students from Intermediate Unit 2 by Charles Walker and Marting Self - Swoosh Pavilion create an extensive connection between the environmental setting and complex curves and use that influence to inform their designs. The fluidity of the proposed design doesn’t just add to the aesthetic but it also creates a dynamic at the same time; we are constantly within and without. The simplicity of the proposed learning centre itself accompanies the complexity that the roof structure presents. 

What I need to improve after feedback:

- include more concepts and texts that inform me and my practice

- be more specific

This project aims to generate and establish a multifunction space that interrelates outdoor and indoor setting qualities. A number of artist models and inspirations (such as Christopher Kelly – Waitomo Caves Visitor Centre, Kupla Architects – The Bubble and Students from Intermediate Unit 2 by Charles Walker and Martin Self – Swoosh Pavilion) create extensive connection between complex curves and use that influence to inform their designs. Although their designs seem extremely complicated; however, this aspect was accompanied, ‘humbled’, and thoroughly balanced by the simplicity of exterior elements.

What I needed to improve on:

- expanding on points

- text used

- added research and supporting evidence

Upon reading the sample abstracts, I noticed that all of them have complex yet straight-forward approach which made it interesting for me, as the reader. The aim(s) were clearly stated as well as the main ideas that flow through. Some of the abstracts like Jerome Frumar’s one specifically stated the ideas that revolved around his concepts which was intriguing. There was also so contrasting ideas mentioned; I personally find it interesting when abstracts contain rhetorical question as it makes me curious and definitely makes me want to know what the project is all about even further. I believe that giving artist models are good too; however, personally I think it makes it slightly harder to resonate for those who don’t know about their artist models’ works. Relating the work alongside other concepts are very helpful because as the reader, I want to see how it ties in with other projects and ideas. Another interesting aspect was from Malte Wagenfeld where at the end of his abstract, he gives us a glimpse of what’s in the core of his project - this kept me wanting to read more about it. 

Citaiton:

Bachelard, G. (1958). Poetics of Space (La poetique de l’espace). Presses Universitaires de France. Retrieved from https://blackboard.aut.ac.nz/bbcswebdav/pid-4407673-dt-content-rid-8132480_4/institution/Papers/SPAD601/Publish/BachelardG_PoeticsOfSpace_Feb2018.pdf

 Keywords: imagination, dreams/ daydreams, childhood

  In Poetics of Space by Gaston Bachelard (1958), it was established that there is a significant correlation between imagination, reality and thought. Bachelard talks about imagination and daydreaming in connection with childhood; mainly because imagination is generally associated with younger, vivid minds. In saying this, children also tend to have very vibrant imaginations as oppose to adults.

 Bachelard mentions that “dream is more powerful than thought,” (Bachelard, 1958) which I agree to an extent. In design, we need a balance of both in order for it to be effective; however, I do believe that dreams and/ or imagination is crucial in design because without these, there is no vision to drive ideas. Bachelard’s notion of ‘dream/s’ could be interpreted as ideas, imaginations or visions. Dream in relation to imagination is powerful and needed in design because we visualize before we make and without this, there’s no ‘drive’ to create.

Citation:

Maeda, J. (2007). Designing for simplicity [Video file]. Retrieved from https://www.ted.com/talks/john_maeda_on_the_simple_life/details?referrer=playlist-design_giants

 Maeda, J. (2006). The Laws of Simplicity. Cambridge, Mass, : MIT Press. Retrieved from https://library.aut.ac.nz

 Keywords: simplicity, complexity, design, digital, computational design

 From John Maeda’s Ted Talk, Design for Simplicity (2007), he talks about how complexity and simplicity always work together in design. Maeda mainly worked on computers and his main branch was computational design – integrating art, design, digital techniques and maths all together. In this video, he talks about how it’s in our human nature to be drawn to simple things; mainly giving examples from his works and certain instances in his life and career – how he integrates simple elements to create complex forms and displays.

 But what is simplicity? Maeda also mentions in his book, The Law of Simplicity, “simplicity is about subtracting the obvious and adding the meaningful.” (pg. 89, 2006) I found this interesting because we associate simplicity with straightforwardness; however, Maeda refers to simplicity as a platform made up of complex thinking. As humans, we appreciate and embrace simplicity but what we don’t understand is that simplicity works alongside complexity.

  Although computational design and spatial design fall under two different branches of design, there are ideas that can be interpreted similarly. Our current studio project revolves around the notion of movement and it was interesting to see how Maeda’s works heavily portrayed fluid motions – whether it’s a static frame or there’s a literal movement involved. In every simple design, there’s a lot of heavy, complex thinking involved. For our waharoa (entryway), I wanted it to literally and figuratively execute the idea of movement and at the same time create a visual impact to those visiting the site. We experimented, combining simple shapes and forms; playing with different mechanisms and placements. What I learnt from Maeda is that simplicity isn’t just about minimizing and using less elements, it’s about integrating deeper understanding into the design in order to make it work.

Citation:

Frearson, A. 2016. Peter Zumthor creates buildings on stilts for tourist trail at a Norwegian mine. Retrieved from https://www.dezeen.com/

 Wagner, M.C. (2009, May). Peter Zumthor: Different Kinds of Silence [Video file]. Retrieved from https://www.youtube.com/watch?v=lufVOqRWpLQ

 Keywords: space, atmosphere, light, dark

 Manifestation of space and atmosphere can be made possible with external components. Peter Zumthor – a world-renowned Swiss architect, proves this through his Allamannajuvet Zinc Mine Museum (2016) project. The museum was built along the Norwegian cliffs; it is composed of three elements: black box that acts as the main area, timber for support and zinc roofing (Frearson, 2016)

 In Peter Zumthor: Different Kinds of Silence (2015), his previous works were thoroughly examined and explored; taking us through the depth of his designs. What I thought was interesting is the use of external elements to compliment the structure and/or building itself. His simple yet sophisticated approach to the project made it look more complex that it is - using contrasting materials to add texture and definition which compliments the light and dark aspects of the space.

Citation:

Birch, R. & Sinclair, R. S., 2013. Retrieved from

http://www.arcc-journal.org/index.php/repository/article/view/116

Waikato Regional Council. (n.d.) Maori and the Land. Retrieved March 26, 2018 from

https://www.waikatoregion.govt.nz/community/your-community/iwi/a-maori-perspective-te-ao-maori/maori-and-the-land/

 Keywords: connect, spiritual bond

 In the journal article, Spirituality in Place: Building Connections Between Architecture, Design, and Spiritual Experience by Robert Birch and Brian R. Sinclair (2013), “one of the primary goals is the creation of spaces and places that connect in a meaningful way.” They talk about their deep understanding of atmosphere and unearthly qualities of places and explore the direct link between spirituality and space – elaborating more on how Buddhism and Taoism influenced spaces. But in this case, their ideas also resonate well with Maori’s spiritual beliefs.

Citation:

Denton, A. (2018). Affective modes of cinematic inquiry: Oil and subjective distance in Crude (2016) and Flight (2016) [online]. PAN: Philosophy Activism Nature, No. 12, 2016: 195-202. Retrieved from: https://search-informit-com-au.ezproxy.aut.ac.nz/

 Harman, G. (2010). On the Mesh, the Stranger Stranger, and the Hyperobjects: Morton’s Ecological Ontology. American University in Cairo. Dept of Philosophy, pages 16-19. Retrieved from: http://dar.aucegypt.edu/handle/10526/3478

 Keywords: ecological crisis, connection, relationship

 In Andrew Denton’s “Affective modes of cinematic inquiry: Oil and subjective distance in Crude (2016) and Flight (2016)”, he presents the effects oil has in our current society – how majority of our ecological problems are caused by our heavy reliance on fossil fuels. By using films and photographs, he investigates, extract information and find a connection as to how this “ecological crisis” (Denton, 2016) came about.

After reading the article, it made me realise how much impact us humans have on the planet and how bleak this world has become – our ecosystems are getting weaker by the minute and majority of us are not doing anything to combat this ongoing dilemma. In my minor, urban ecologies, we discussed Graham Harman’s On the Mesh, the Stranger Stranger, and the Hyperobjects: Morton’s Ecological Ontology where he talks about Tim Morton – a philosopher who explores the interrelation between objects and ecological studies – and his idea of the mesh on how “everything is interconnected.” (Harman, 2010) This relates back to Denton’s Halo photo – although it shows opposing relationship between the oil tanker leaving Fort McMurray and the bus coming in with the workers, it somehow explores the contrasting idea of living and non-living things.  

 he refers to? 

Who is Alfred Gell? What are his key research areas in?

Alfred Gell was a British anthropologist. His most influential work concerned art, language, symbolism and ritual. He presented the theory of art based neither on aesthetics nor visual communication; acknowledging the importance of form, balance and rhythm.

Who is Jennifer G. Khan? What are her key research areas in?

Jennifer Khan is an anthropological archaeologist specializing in the prehistory of Oceania. 

What are three technical systems he refers to?

Technology of Production - technology as it has been understood

Technology of Reproduction - kinship

Technology of Enchantment 

What are the links between the cosmos, patterns and buildings? 

It was mentioned that “Narromanga Island refer to posts “sacred to the shooting star god”” - this means that cosmos, patterns and buildings are used as ritual attractors. These are usually associated with ancestors and gods. 

How do buildings tell the story of the divine?

A case study demonstrates metaphoric association of posts and ancestors in creation myths, where gods descend down the posts and/are transformed and embodies into house posts. 

For example in Hawaiian Islands, posts were used as backrests for high ranking peole and/or gods and/or ancestors which inhabited them so there’s a close correlation between the stability of the building and the gods/ancestors that “ruled/ governed” a certain place. 

What does binding signify in Pacific spaces and buildings?

Text: Bachelard, G. (2002). The dialectic of imaginary energies: The resistant world. In Earth and reveries of will: An essay on the imagination of matter (k. Haltman, Trans.) Dallas, TX: Dallas Institutre Publications (13-26).

Who was Gaston Bachelard?

Bachelard was a French philosopher who proposed that the history of science is replete with ‘epistemological obstacles’ or unthought/unconscious structures that were immanent within the realm of sciences. His key research of interest were fields of poetics and philosophy of science. He also focused on epistemological which is a branch of philosophy that studies and focuses on the origin, nature, methods, validity and limits of human knowledge.  

Bachelard often mentions the word dialectic in this reading - but what does it actually mean? Dialectic means the art of discussing the truth or art of investigating; reasoning or explanation in other words. 

In this reading, psychoanalysis was quite prevalent as well; but what is psychoanalysis?  It is set of theories and therapeutic techniques related to the study of the unconscious mind, which together form a method of treatment for mental health disorders. Upon research, I also found out that people can be cured by making conscious their unconscious thoughts and motivation and thus, gaining insight. In the reading there were a few points that explained psychoanalysis:

- it defines levels, layers, associations, complexes, symbols

- it is where human impulses are measured

- it is a detailed dynamology (science of forces) which explores the individuality of images

- content to define images according to their symbolic meanings

- it applies social interpretation

- fantasy is a secondary faculty

In relation with materials, it made me think that it’s almost seen as a symbol if you look at it using psychoanalysis. It may possibly be linked to religion or culture, it may also be how we perceive said material and how we can use particular materials to represent thoughts and ideas. 

Relating this back to studio work at the moment, we are currently using timber and creating structures with it. Now, timber is a very stiff material, it’s not easy to shape or malleable and it is pretty static, simple, bland. However, we tried working against the grain in order to make it less ‘fixed’. Therefore, our initial idea was to bend said material. 

(scanned copy of initial concept drawings, 28/02/2018)

As seen on the concept drawings, the material itself depicted movement - I think psychoanalysis is almost like reading different materials and seeing them in a different light. 

For this reading, we were also asked to think about these two phrases:

hypocritical hostility to softness 

An example of this would probably be metal wires. Although wires aren’t the first thing we think about when we think of the word ‘soft’; however, I thought about this in a very different way as oppose to being very literal. Wires are a malleable material but working with it in a larger scale is fairly difficult. Looking back at the statement hypocritical hostility - it means self-righteous and full of conflict. It is almost the same as working with wires (although I may be completely off with this analogy) it will not do what you want without a fight. 

provocative invitingness to hardness

An example of this would be marble. Marble is a very hard material, it is pleasing to look at and can almost be seen everywhere, whether it’s a print or an actual table top. Provocative in this statement can go two ways: it can mean irritating, annoying or it can also mean alluring or inviting. Both can be applied to marble. We see it everywhere and that’s why despite of it being so appealing to look it, it’s almost annoying. It loses its integrity as its also used in different things nowadays; bottles, tables, sheets etc.