ARC 6989Reflection onArchitectural Design Hua Li
Front cover image: A cityNote: author's own photograph
\"For those who pass it without entering, the city isone thing; it is another for those who are trapped byit and never leave. There is the city where you arrivefor the first time, and there is another city which youleave never to return.\" (Calvino,1978).
CONTENT 06-07 08-2901 Introduction 30-3502 Narration 36-3903 Experimentation 40-4104 Assembling05 Conclusion
Figure 1. A digram of UK Border Project Note: Author's own photograph6
01 INTRODUCTIONThis essay will give a reflection on architectural designmethod and knowledge I get from the ARC6989 course andhow I apply them to my studio works.Our first studio project aims to explore the relationshipbetween architecture and border geographies by spatialborder research. Our group worked on the UK borderproject (Figure 1). We need to focus on the dispersed border,where the effects of the border can be felt across the wholeterritory and not just at the physical border. In our group,we started with looking for the invisible border from ourindividual journey to the UK by mapping and narrating.After our re-mapping, we designed a spatial model andorganized them by montage to narrate the story of UKborder. In this project, our research is from bottom to up,from the details to the whole country.Our second studio project is about Zaatri refugee camp. Wefocus on refugees, as border crossers, and their daily life inthis camp. During our field trip, we used the different waysto do our research. Mapping with photos and using differenttypes of walking as the main ways for us to read the camp.In our field trip, we have an opportunity to participate aworkshop with architecture students from Jordon. We useddifferent materials to redesign the fences from the camp.Assembling different materials helps us to build a friendlyspatial experience for the refugees and NGOs. After the fieldtrip, we design a scenario game as an experimentation tocontinue our research. 7
Figure 2. Cretan labyrin (left). Mies van der Rohe,Brick Country House (right). Note: Psarra, S. (2009). Architecture and Narrative: The formation of space and cultural meaning. Routledge.8
02 NARRATION2.1 What is architectural narrative?\"All discourse is narrative\" Lyoturd suggested.(Best & Kellner, 1991)The architectural narrative is to use “narratology” as analternative method for analysing, understanding, creatingbuildings. It can also be used to re-examine the relevanceand strategy of architectural elements, spatial structure,and semantic order. It means that the architecture can betranslated into a possible language system, and thus toestablish the social and cultural significance of the buildingeffectively. (Psarra, 2009) 9
Figure 3: A film poster of Citizen Kane, 1941 Note: Anonymous (1941). Retrieved from http://www. leninimports.com/orson_welles_citizen_movie_poster_14a_ e.jpg10
2.2 NarratorsFigure 3 is one poster of movie Citizen Kane. In this film,after Kane suicide, He became a lot of 'Kanes' from differentpeople's narratives. \" Narrator is one of the most importantquestions we have to make it clear when we are talkingabout architectural narrative. Who can be the narrator inarchitecture? And how do they narrate? The answer will bevery multifarious. 11
Figure 4, Poetry from 'S, M, ,XL' Figure 5, Diary from 'S, M, ,XL' Note: Koolhaas, R., & Mau, B. (1995). S, m, l, Note: Koolhaas, R., & Mau, B. (1995). S, m, l, xl. xl. Figure 6, Cartoon from 'S, M, ,XL' Figure 7, Continuous Monument Note: Koolhaas, R., & Mau, B. (1995). S, m, l, Note: Superstudio. (1969). Retrieved from: xl. http://icancauseaconstellation.tumblr.com/ image/6195353224112
ArchitectsFirst of all, I want to mention about architects. As anarchitect, to narrate their design seems like one of theirinescapable responsibilities. Usually, they use the differentdiagrams to illustrate their design process and concepts. Oruse their design as a way to narrate the future events willhappen in their design. Are there any other ways can beused by architects to narrate their works?• Poetry. (Figure 4) This poetry published in ‘S, M, L, XL'(Koolhaas, 1995). Koolhaas used a poetry with some spatialpictures to narrate his design for Kunsthal II in Netherland.• Diary. (Figure 5) Those pictures come from the same book.Koolhaas narrated a story of his design for the Very BigLibrary competition, in Paris, by his diary.• Cartoon. (Figure 6) This cartoon picture also came from ‘S,M, L, XL'. Koolhaas used them to narrate a story about therelationship between government and his company.• Collage. (Figure 7) Superstudio used lots of fascinatingcollages to express their thinking of the new world and thefuture of cities. (Branzi, 1984) 13
Figure 8, Half a house, designed by Alejandro AravenaNote: McGuirk, J. (2009, January). Alejandro Aravena. retrieved April 10,retireved from: https://www.iconeye.com/404/item/3895-alejandro-aravenaFigure 9, Kowloon Walled CityNote: Anonymous (1987). Retrieved from: http://greggirard.com/work/kowloon-walled-city--13
UsersUsers are also great architectural narrators. \"The Death ofthe Author\", this view of French writer Roland Barton, hasinspired Jonathan to reconsider architecture. And Jonathanbelieves that a complete architectural design creationhas to consist of two parts: the architect's design and theinnovative use of users. (Hill, 2003)• ‘Half a house' (Figure 8) is a project designed by AlejandroAravena. After building a half of the house, architect gavethe narrative rights to users to narrate their different storieswith the rest part of the house.• Kowloon Walled City, Hong Kong (Figure 9). It was alargely ungoverned densely-populated settlement in HongKong. People was living there used their knowledge andliving skills to narrate thousands of stories by this city. 15
`Figure 10, image copy from 'Great leap forward' Note: Chang, C. J., Inaba, J., Koolhas, R., & Leong, S. T. (Eds.). (2001). Great leap forward. Koln: Tarchen. Figure 11, image copy from 'Great leap forward' Note: Chang, C. J., Inaba, J., Koolhas, R., & Leong, S. T. (Eds.). (2001). Great leap forward. Koln: Tarchen.16
Government&Property developersFigure 10 and 11 came from ‘Great Leap Forward'.(Chang, Koolhaas & Leong, 2001) This book discussed thegovernment and developers played a major role in the rapiddevelopment of Shenzhen, Guangzhou, Zhuhai. Actually, forthis tree cities development, the narrators are governmentand developers, they planned the future and the buildingsof these cities by their power. 17
Figure 12, Map of London Figure 13, Monuments Of PassaicNote: Booth, C. (1903). Life and Labour Note: Smithson, R., & Flam, J. D.of the People in London (Vol. 2). (1996). Robert Smithson, the collectedMacmillan and Company. writings. Univ of California Press. Figure 14, Photoes of Los Moscos Note: Author's own photograph18
OthersAre there any others could be architecture narrators? Infigure 12, 100 years ago, a social reformer named CharlesBooth, used maps and tables to narrate the life of peopleand labour, who lived in London. (Booth, 1903) In figure13, an artist, Robert Smithson, use lots of photography tonarrate the site and make land art to keep narrating hisconsider from his reading of site. (Smithson, 1996) I took thisfigure 14 in London. It shows another artist, Mark Bradford,used mixed medias, most of them came from the pieces oflocal people's life, to narrate a story of a street around hisstudio. 19
Figure 16, Mapping of our journey to UKNote: A digram of UK Border Project, author's own photographFigure 17, Invisible influence of UK Figure 18, Hiding location of IRCsNote: A digram of UK Border Note: A digram of UK Border Project, author's ownProject, author's own photograph photograph Figure 19, UK border design Note: Author's own photograph20
So many people could be architectural narrators. Differentperspectives can help architects to get more informationand more understanding about their project. Narrating is atool for architects to read (research) and write (Design) theirsites and works. In our UK Border project, we used differentperspective to read the border.• Users (Figure 16)As border crossers of UK border, we mapped our journey tothe UK. It makes us know more about the feeling and theexperience to the border.• Government (Figure 17)When we found the invisible borders, we used another viewto re-examining them. We focus on the process of the borderworking, the function of different borders, the purpose ofthe border.• Reporters (Figure 18)We use a different view to narrate our project and foundthe conflict between users and government. Then webecame a reporter. We want to use reporter’s view to collectthe information about what will happen after the conflicthappened between immigration and government. We foundIRCs.• Architects (Figure 19)All the research happened in different perspectives. Butarchitects’ view is always with us. We found the UK culturesfrom our rooms in our countries, found the room which likesprisons for the illegal immigrations in IRCs, and found thehiding location of IRCs site.Different narrators’ view gave us a more comprehensiveunderstanding of UK border. This method also used in ourrefugee camp project. When we play the scenario game, wesimulate different perspectives of agencies which involvedin the camp (refugees and NGOs). Thinking with refugees’view and NGOs' views helped us to consider the life and thepower system in the camps. 21
Figure 20. Salk Institute by Louis Kahn Note: Anonymous (2013). Retrieved from: http://imgur.com/Bf4f4t822
2.3 Architectural narrative semanticIn chapter 2.1 and 2.2, I discussed narration as a methodto help us to do research, and narration also can be analternative method to help architects to represent their ideasand design. Now let's focus on the semantics of architecturalnarrating. Sophia Psarra suggests that when you use thelanguages of architecture to do narrating, there are twotypes of semantics can be used. One is inner semantic whichbased on configuration, and the other is outer semanticwhich based on signification. He explained that \"the former(inner semantic) refers to the notion of interdependence ofelements that are intrinsic to architecture seen as a systemof spatially situated practices and embodied experience. Thelatter (outer semantic) concerns what architecture refers tobeyond its pattern of space, like power, religious structures,and social or political ideology.\" (Psarra, 2009)In these two types of semantics, there are two kinds oftime be brought into the architectural narration. In anarchitecture narration by inner semantic, mental time asthe timeline brought into a design. People in the buildingthrough the activities to experience the sense of time. In anarchitecture narration by outer semantic, natural time as thetimeline be brought into the narration. 23
Figure 21, Notre Dame du Haut Note: Author's own photograph Figure 22, UK Border Design Note: Author's own photograph Figure 23, Jordon Workshop Note: Author's own photograph24
Inner semanticFor inner semantic, the form, space, events, materiality ofbuildings as the core of this kind of narrative combinedwith the spatial experience and mental time to form anarchitecture narrative. One of the most commonly usedmethods is the montage.Figure 21 shows the Notre Dame du Haut followed thetour route from far and near, outside to inside. Visitors canexperience strange, familiar, mysterious, primitive, heavy,light, self and God in turn, along with the course of the tour,and the visitors can experience different mental changes.Le Corbusier used montage as one of design methods tonarrate these fantastic spatial experiences to visitors by hisdesign.In our UK border project (Figure 22), we also used montageas one of our design methods. In our design, we designedthe final spatial model based on our spatial experienceinclude the form of airport customs (as a visible spatialborder), the events happened in different spaces. Wereorganized all of this spatial models by montage methodfor our final design.In our field trip in Jordon, we participated a workshop withthe students from the University of Petra. In the workshop,we redesigned the fences which distributed in Zaatarirefugee camp. (Figure 23) We want to optimize the elementsof the existing space. The fences are full of confrontation,estrangement elements. We want to redesign the refugeecamp's spatial experience more friendly to bringingrefugee mental experience changes. As well as that it is anarchitectural narrative in inner semantic. 25
Figure 24, ‘Exodus, or the voluntary prisoners of architecture', by Koolhaas Note: Koolhaas, R. (1972). Exodus, or the voluntary prisoners fo architecture.26
Outer semanticFor outer semantics, the whole design or the whole cityis the subject of the narrative. Outer semantic narrativefocus on the meaning of architecture, which is beyond itspattern of space, like power, religious structures, social andpolitical ideology and so on. In the dimension of naturaltime, to consider architecture meaning with a more macroperspective. The important thing is not just the specificarchitectural design method but more like to use a macroarchitectural view to re-examining the meaning of theworld.In Koolhaas' 1972 Architectural Association thesis, \"exodus,or the voluntary prisoners of architecture.\" (Figure 24) Heused a romantic architectural design to narrate his thinkingabout many questions, not only with the space and functionof the buildings. In this design, he used a lot of collagepictures to show his consideration of ideal and reality, socialdistribution system, human desire, the role of architecture,social structure, the current political system and so on.The whole design as an ironic metaphor to consider thearchitecture and urban design have been passive to becomea political tool. The architecture also formed an invisible wallto the public by itself. 27
Figure 25: Digram of UK Border Project Note: Author's own photograph Figure 26: Model design of refugee camp project Note: Author's own photograph28
In the UK border project, we also made an outer semanticnarrative attempt. When we look at the UK border witha global view, we got more discovery. (Figure 25) The UKas a major country of cultural output and value outputin the world is using its influence to exchange for moresocial resources from other countries. For the border, it isnot just to open its door for theses valuable resources, butclose the door to useless resources. At this point, UK bordercan be seen as a machine. It keeps attracting people cometo the UK, and build the relationship with the UK, bringtheir business, money, knowledge and everything usefulto the UK. The country got more and more resources. Thusit becomes more powerful to disperse its influence to theworld and bring back more resources.In refugee camp project, we want to visualize the powersystem in the camp by our model design. (Figure 26) It is alsohelped us to realized lots of the invisible confrontations,classes, and the relationship between NGOs, government,and refugees. I would like to do more research about thatkind narrative in future design. Individually, I consider that isa kind of outer semantic narrative. 29
Figure 27: Bio-architecture Note: The Bartlett School of Architecture(2016), Retrieved from:https:// www.flickr.com/photos/bartlettarchitectureucl/33026743346/in/ album-72157677194686073/ Figure 28, Robotic arm Note: Lloyd Alter(2016), Retrieved from:https://www.treehugger.com/green- architecture/computer-lays-the-prettiest-brick-walls-since-eladio-dieste.html30
03 EXPERIMENTATIONFor experimentation, I would like to divide it to architecturaldesign experimentation and architecture experimentation.Architectural design experimentation includes most of theexperimentations of architectural design practices. Base onthe cross with science and engineering disciplines, try to findmore new technologies which can be a design method, soas to achieve the possibility expansion of architectural formand space creation. For example, bio-architecture (Figure27), the construction by the robotic arm (Figure 28), theinvention of new building materials, and so on. 31
Figure 29, Diagram of Dasein Note: Martin Heidegger (1960), Retrieved from:https: https://esbocosfilosoficos. com/2013/03/17/heidegger-e-a- superacao-da-metafisica-3/ Figure 30: Dough – Foam – Island : Moments of Interconnectivity Note: A response to Peter Sloterdijk’s ‘Foam City’. Retrieved from: https://archandphil. wordpress.com/2011/04/14/ dough-foam-islan/ Figure 31: Stockholm sporten master plan, rendering Note: BIG (2010), http:// Retrieved from: www.archdaily. com/121770/stockholmsporten- master-plan-big/stp_image-by- big_0132
\"If the first globalisation was the affair of philosophers andgeometers and the second was the affair of cartographersand explorers, then the third one is the affair of designersand architects.\"(Morin, 2009)Figure 29, 30 & 31, show how do idea from philosophy comeinto an architectural design.Architecture experimentation, I prefer to consider it as anexploration of architectural theory. These experiments areexpressed in the way of thinking about the ideological, socialstructure, human consciousness, and philosophical aspects,by architecture view. When architects give themselves moreresponsibilities, like social responsibility, world responsibility,human responsibility, political responsibility, they shouldbe more extensive thinking and deeper thinking. Then,architecture has not just as a way to solve problems, moreimportantly, we should through continuous thinking,exploration, experiment to find the potential problems;through thought, experiments to question the potentialproblems in the current or the future. Such as the feministarchitecture, regionalism and globalisation, architecture ofthe Anthropocene, philosophy and architectures. 33
Tarek قراط Hasna ءانسح Abdul دبع Alaa ءالع Rifat تعفر Noreen نيرون Name: Tarek Name: Hasna ACTOR 1 Name: Abdul Name: Rifat Age: 45 Age:57 Age:45 Name: Alaa Age: 50 Name: Noreen Gender: Male Gender: Female Gender: Male Age:35 Gender: Male Age:35 Nationality: Syrian Nationality: Syrian Nationality: Syrian Gender: Male Nationality: Syrian Gender: Male Family: A wife and 2 kids Family: One son and a granddaughter Family: Live with his mother, wife and Nationality: Syrian Family: a wife and a child Nationality: Syrian Job: A sweet shop owner Job: was a middle class in Syria, have a their child Family: Lost his wife & 3 chidren in Syrian Job: Peddler with a donkey Family: Has 2 kids. Lives with them and Education: High school graduation beautiful garden. Job: The link between NGO and refugee Civil War Education: Junior high school graduation her husband. Income: 30JOD/month Income: 20JOD/month Education: Primary school graduation Job: Full-time worker in recycling center Income: 25 JOD/month Job: None Income: 70JOD/month Education: Junior high school graduation Education: BA in Home Science مسالا: ءانسح Income: 60JOD/month مسالا: تعفر Income: 20 JoD/month رمعلا: 57 مسالا: دبع رمعلا: 50 مسالا: قراط ىثنأ عونلا رمعلا: 45 مسالا: ءالع ركذ مسالا: نيرون رمعلا: 45 ةيسنجلا: ةيروسلا رمعلا: 35 رمعلا: 35 ركذ ةرسألا: ةديفحو دحاو نبا ركذ ركذ ةيسنجلا: ةيروسلا ركذ ةفيظولا: ايروس يف ىطسولا ةقبطلا ناك، اهيدل ةيسنجلا: ةيروسلا ةيسنجلا: ةيروسلا ةرسألا: ةيلهألا برحلا يف هتلئاع عم عطق ةيسنجلا: ةيروسلا ةليمج ةقيدح. ةرسألا: امهلفطو هتجوزو هتدلاو عم شيعلا ةرسألا: و هتجوز دقف3 يف لافطألاب ةصاخلا ةيسنجلا: ةيروسلا ةرسألا: لافطألاو ةجوزلا2 لخدلا: 20 JOD / رهشلا ةفيظولا: ةيموكحلا ريغ تامظنملا نيب ةلصو ةيروسلا ةيلهألا برحلا ةيروسلا ةلئاعلا: هيدل2 لافطأ. اهجوزو مهعم شيعي. ةفيظولا: تايولحلا لحم بحاص ةفيظولا: ريودتلا ةداعإ زكرم يف لماك ماودب لماع ةفيظولا: رامح عم لوجتم عئاب ميلعتلا: ةيوناث ةسردم جرخت Note: نيئجاللاو ميلعتلا: ةيوناثلا ةسردملا نم جرختلا روينوج ميلعتلا: ةيوناثلا ةسردملا نم جرختلا روينوج ةفيظولا: ءيش ال ميلعتلا: ةيوناثلا ةسردملا نم جرختلا لخدلا: 60JOD / رهشلا ميلعتلا: ةيسيئرلا مولعلا يف سويرولاكب لخدلا: 30JOD / رهشلا Hasna was a tailor in Syria. She have a لخدلا: 25 رانيد/ رهش good income before. لخدلا: 70JOD / رهشلا Note: لخدلا: 20 رانيد/ رهش Note: She was living in a house with a beatiful Note: Note: garden in Syria. When she came to Zaatri Rifat is a man who has a wife and a child. refugee camp and got a shelter, she Abdul was born from a poor family in Alaa was a very luky father in Syrian untill However, his income just enough to Moved to camp with husband and 2 kids 4 begain to make a garden in her place. Syrian. He graduated from primary school the war taken off his chidren and wife. maintain the daily life of his family. years ago. She is well educated and good and changed a lot of job. Before the war, But he never give up the life. When he at communication. She aspires to travel She is very skillful woman, and really he just lost his job in the factory. came into Zaatri refugee camp after a Although he just had the education of the world. kgnraonwddthaeugimhtpeor.rtSAahCneTt eOovfReen1dmucaakteiosnpatoceher long journey, he have to settle down, and junior high school, he is hard-working and from kichen to help his granddaughter In the camp, he is a famous guy. He is begain his new life. modify his cart. Travelling silently from Very attached to her children. She wants have a ' study room'. easy going and friendly. Now he likes his place to place trying to sell small objects them to be fully educated. new job and have an ambitious planning Cause he was working in a factory as a is the only way to earn money and no one Health about the future. He lives with his mother, would careAwChTaOtRth1ing he actally sells. wife and their son, he feeAlsCTsaOtRis2fied worker, now he got a job in the recycling Both husband and wife don’t have jobs or although he is always too busy. Health centeArC. TOR 3 ACTOARC1TOR 4 ACTOR 2 any iostwheilrlisnogutrocefionfdingcaoinmfeulineAmtChpeTloOcyaRmm3epn. t ACTOR 4 She Please do not ask the story of Alaa in Syria, let the man just move on his life. to support her family. Health Health Health Health Money Happiness Money Happiness Money Happiness Money Happiness Money Happiness Money Happiness Influence Education Influence Education Influence Education Influence Education Influence Education Influence Education ACTOR&1 Power ACTOR 5 & Skills ACTOR 2 ACTOR 6 &ACPToOwRer1 ACTOR 3 & SkillsNGOACTOR 1 & Power ACTOR 2 & Skills ACTOR 5 & Power & ASkCiTllOs R 4 ACTOR 1 & Power ACTOR 1 & Skills ACTOR 1 ACTOR 1 ACTOR 2 ACTOR 3 & Power ACTORA4CTOR 1 & Skills ACTOR 4 ACTOR 3 ACTOR 6 NGO ACTOR 2 ACTOR 3 ACTOR 4 ACTOR 5 ACTOR 6 ACTION PLAN UNHCR start to build the Zaatri camp. The number of regufees reached 156,000 Refugees have the ability to develop their NGO and Zaatari camp become the fourth own living environment and the right to largest city in Jordan. build facilities they want. ACTOR 5 ACTOR 6 NGO ACTOR 5 ACTOR 6 NGO ACTOR 5 ACTOR 6 NGO Monetary Capacity Funding begins Ideal scenario Prediction according to the to stop result of Scenario Game. Probable scenario UNHCR Funds stop fully 2012 Infrastructure Development by UNHCR the people - Strategy Introduced. Time of the development of 2017 Zaatri camp ...... Probable Obstructions/ Scenario Points for Trou- ...... bleshooting Zaatari refugee camp was first opened Regufees achieve their daily essentials and The main street develops market- in 2012 to Syrians fleeing the violence start to develop their business to maintain like structures where goods like daily in the Syrian civil war. their life standard. products and clothes. Figure 32: Diagrams of Scenario game Note: Author's own diagrams34
In our refugee camp project, we used scenario game as adesign method for a more in-depth understanding of therefugee camp, predict what will happen in the future. (Figure32) Scenario game is a kind of architecture experimentation.We collected our information we got from the field trip,then use this information to help us to design the scenariogame (experimentation). Use the experimentation to helpus find the things we want to do more research or design.At the same time, we rethink our project with sociologyview and to re-examine the classes and social power in therefugee camp.The limitation in the scenario game appeared in our studio.The game needs players to participate in, but the playersare our students, not the refugees. Every decision madeby players based on the players' background and theirunderstanding of this refugee camp. It influenced the resultof this experimentation directly. The scenario game is notsubstantial enough. 35
Figure 33: Diagram of my privous project Note: Author's own diagrams36
04 ASSEMBLING\"Even a brick wants to be something\" – Louis KahnAlthough in recent years, the definition of architecture hasconstantly been extended, but for a long time, architecturehas been considered as a practice discipline. As architecturestudents, we have to focus on materials, constructions, andforms. If we look building as a narrative story, the materialwill be the words we can use. What kind of words will beused in your design and how to build them together, inmy opinion, is the same important as how to use narrativesemantics. 37
Walk Along Walk Daily life in campamp Materials in camp Figure 34: Jordon Workshop & Materials in the camp Note: Author's own photograph 38
k Into In the workshop at the University of Petra, we assembled different materials in the fences friendly redesign. (Figure 26) For example, in the iron fences, we try to fill the fence with some colorful plastic. For the assembling of iron and plastic materials, we considered a lot of things. First of all, we noticed the cost of the materials and the availability of this material. Then, these plastic materials, which we can easily get from the recycling factory in the refugee camp. AFoftreNrInGthfOaostr,,swwtreeadctatoukner'teatcihcnoinuckantmthtpheye safety of the material. allowed we to reduce the protection function of these fences. The last but not the least, these materials can help us achieve the goal of improving the space experience for refugee and NGOs. That is the way we choice materials. Similarly, in our other fences redesign, based on these considerations, we used plants, posters, wood to assemble in our fences. About assembling, I will also use it to next step in the design of the refugee camp project. Our studio's work is about refugee camps facilities and power. We focus on the refugees' daily life, the power of NGOs, government participation. But the value of refugees, as a workforce, has been ignored. Could we help them participate more in the ongoing construction of the camp? How do refugees can work together with the NGO to create more value? I think this is another assembling we can do next. 39
Figure 35: Break Note: Author's own photograph40
05 CONCLUSIONThis essay discussed narrating, experimentation andassembling from the architecture view. And how themethods and methodology be used in my studio works.In the narration part, I discussed different perspectives ofarchitectural narrative and different methods of architecturalnarrative. Then, I talked about the semantics of narrative byinner semantic and outer semantic. In the experimentationpart, I discussed the architectural design experimentationand architecture experimentation. At the third part of thisessay, I talked the materialises assembling by our workshopworks. And it will also help me to develop our studio works.Before I came to Sheffield, I was bored with the commercialarchitectural design in my previous company. Individually, Ialways ask myself, what is architecture could do? But fromthis one-year study, the course of critical spatial theoryand this reflection in architectural design makes me feelexcited. It likes a power be given me to break cage that Imade it myself before, like the figure 35 shows. Architects isnot just able to create spaces or to solve some problems ofarchitectural design. There are plenty of interesting thingsarchitects could do with their knowledge and skills. They canuse their architectural views to find the problems in differentfields. And try to find out a way to represent it or to solve it. 41
ReferenceBest, S., & Kellner, D. (1991). Postmodern theory: Critical interrogations. Guilford Press.Branzi, A. (1984). The hot house: Italian new wave design. The MIT Press.Booth, C. (1903). Life and Labour of the People in London (Vol. 2). Macmillan and Company.Calvino, I. (1978). Invisible cities. Houghton Mifflin Harcourt.Chang, C. J., Inaba, J., Koolhas, R., & Leong, S.T. (Eds.). (2001). Great leap forward. Koln:Tarchen.Hill, J. (2003). Actions of architecture: architects and creative users. Routledge.Keynes, J. M. (1971). The collected writings. Royal Economic Socioety.Koolhaas, R., & Mau, B. (1995). S, m, l, xl.Koolhaas, R. (1972). Exodus, or the voluntary Prisoners fo architecture.Koolhaas, R., 2014. Delirious NewYork: a retroactive manifesto for Manhattan. The Monacelli Press, LLCMorin, M. E. (2009). Cohabitating in the globalised world: Peter Sloterdijk's global foams and Bruno Latour's cosmopolitics. Environment and Planning D: Society and Space, 27(1), 58-72.Psarra, S. (2009). Architecture and Narrative:The formation of space and cultural meaning. Routledge.Smithson, R., & Flam, J. D. (1996). Robert Smithson, the collected writings. Univ of California Press.
Contact address:223 Upperthrope, Sheffield, S6 3NGTel: +44(0)7874074117Email: [email protected]
Search
Read the Text Version
- 1 - 44
Pages: