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2006 AIA Los Angeles Design Awards ID q720.92

From the weekly readings on ‘Poetics of Space’ and other related books you have read; discuss the meaning and significance of metaphors. Using appropriate examples of metaphors translated into spatial designs, explain:

1. How metaphors can be a useful tool in conceptual development.

2. How these metaphors are related to the social/political/geographical/programmatic context.

3. How the psychology of the inhabitants are affected by these metaphors.

You may focus on a particular designer or an idiosyncratic design movement from 1950 – 2006. Illustrate your 3000-word essay with appropriate sketches and photographs. Academic conventions in writing research papers are required.

Credits Breakdown

Forum participation                       - 10%

Individual essay                             - 35%

Academic writing conventions     -  5%

______________________________

Assignment 3 total credits           - 50%

References:

Metaphors in Design  – Charles Jencks, Karim Rashid

APA academic writing conventions – Citation style

 ______________________________________________________________________________________________

From the weekly readings on ‘Poetics of Space’ and other related books you have read; discuss the meaning and significance of metaphors. Using appropriate examples of metaphors translated into spatial designs, explain:

1. How metaphors can be a useful tool in conceptual development.

2. The relevant metaphors related to your research topic.

3. How these metaphors can be translated into design strategies within your design narrative for design project B.

You may focus on contemporary case studies that are directly related to your research topic. Illustrate your 3000-word essay with appropriate sketches and photographs. Academic conventions in writing research papers are required.

Credits Breakdown

Forum participation                       - 10%

Individual essay                             - 35%

Academic writing conventions     -  5%

______________________________

Assignment 3 total credits           - 50%

References:

Metaphors in Design  – Charles Jencks, Karim Rashid

APA academic writing conventions – Citation style

_____________________________________________________________________________________________

Research Topic 3: Index

Andy’s Research
Metaphors: It’s Relationship, Significance and its Impact in Design

Christine’s Research
Metaphors: A Creative Design Approach or Theory?

Joey’s Research
Metaphors for Inspiration

Leena’s Research
Metaphors in Design

Metaphors for Inspiration by Joey Chong

METAPHORS for Inspiration

“… for if a City, according to the opinion of philosophers be no more than a great House and on the other Hand the House be a little City…”

Leone Battista Alberti[1] 

DEFINITION OF METAPHORS

Ask any average person to define metaphor and they will tell you what we were all taught in grade school. “The difference between a metaphor and a simile is that a simile uses “like” or “as”. In fact, the word “metaphor” has a much deeper and pronounced meaning to it. Originally, the word “metaphor” was a Greek word meaning “transfer”. The Greek etymology is from Meta, implying “a change” and herein meaning “to bear, or carry”. In modern Greek, the word, “metaphor” also means transport or transfer. [2]

A metaphor carries an idea from one are of thought to another. In the simplest case, this takes the form “The [first subject] is a [second subject].” More generally, a metaphor describes a first subject as being or equal to a second subject in some way. The device has been used in literature, especially in poetry, where with few words, emotions and associations from one context are associated with objects and entities in a different context. [3]

Metaphors have an essential creative role in literature and the arts, in planning, architecture and design. They provide a system of thought that can supplement or bypass logic. A creative fusion of two entities takes place in a metaphor and it constructs meaning of an essential part of creativity.

In cognitive linguistics, metaphor is defined as understanding one conceptual domain in terms of another conceptual domain. For example, using one person’s life experience to understand a different person’s experience. A conceptual domain can be any consistent and orderly organization of experience. This idea and a detailed examination of the underlying processes was first extensively explored by George Lakoff and Mark Johnson in Metaphors We Live By. [4]

George Lakoff is a professor of linguistics. Although his research involves questions surrounding certain linguistic construction, he is most famous for his ideas about metaphor to human thinking, political behavior and society. Lakoff is famous for his concept of the “embodied mind” which he has written about in relation to mathematics. Recently, he has applied his work to the field of interest in politics and found a progressive think tank, the Rockridge Institute.

Lakoff’s original thesis on conceptual metaphor was expressed in his book with Mark Johnson entitled Metaphors We Live By in 1980. [5]

In most cases, metaphor has been seen within the Western scientific tradition as purely a linguistic construction. Lakoff’s work has been the argument that metaphors are primarily a conceptual construction and indeed are central to the development of thought. He says, “Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.” For Lakoff the greater the level of abstraction the more layers of metaphor are required to express it. Conceptual metaphors typically employ a more abstract concept as target and a more concrete or physical concept as their source.

At some point of time, Lakoff, Chomsky and Jacobs all devoted a significant amount of time to events which are happening at this moment and political theories. All pointing towards linguists or theorists of conceptual metaphor that may lead to channel their theories into political activism. On the other hand, if conceptual metaphors are as basic as all of them seem to think, they may literally have no choice in doing so.

Lakoff also suggests that the cognitive-metaphor position has no objections to the scientific method instead considers the scientific method a finely developed reasoning system used to discover phenomena which are subsequently understood in terms of new conceptual metaphors. [6]

Metaphors can be identified under three broad categories, namely, intangible, tangible and combined. Intangible metaphors are those which are created with particular individuality such as a concept, an idea, a human condition or a particular quality. Tangible metaphors are those which can be visualized such as a castle or the roof of a temple as the sky. Lastly, combined metaphors are a mixture of both intangible and tangible metaphors. [7]

A metaphor, according to I.A. Richards in The Philosophy of Rhetoric in 1936, consists of two parts, namely, the tenor and vehicle. The tenor is the subject to which attributes are ascribed. The vehicle is the subject from which the attributes are borrowed. However, there are various different types of metaphors which have been identified under the above mentioned categories. Following are types of metaphors that can be found.

TYPES OF METAPHOR [8]

1. an extended metaphor or conceit is one which sets up a principal subject with several subsidiary subjects or comparisons

2. a mixed metaphor is one that leaps, in the course of a figure, to a second identification inconsistent with the first one where two commonly used metaphors are confused to create a nonsensical image

3. a dead metaphor is one in which the sense of a transferred image is not present >>> dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a “dead metaphor” whose origin most speakers are entirely unaware of (such as “to understand” meaning to stand underneath a concept) and a dormant metaphor, whose metaphorical character people are aware of but rarely think about (such as “to break the ice”). Others, however, use dead metaphor for both of these concepts and use it more generally as a way of describing metaphorical cliche

4. an epic or homeric simile is an extended metaphor containing details about the vehicle that are not, in fact, necessary for the metaphoric purpose. This can be extended to humorous lengths

5. a synechdochic metaphor is one which a small part of something is chosen to represent the whole so as to highlight certain elements of the whole.

6. an active metaphor is one which by contrast to a dead metaphor, is not part of daily language and is noticeable as a metaphor

7. a complex metaphor is one which mounts one identification on another

8. a compound or loose metaphor is one that catches the mind with several points of similarity

9. an absolute or paralogical metaphor(sometimes called an antimetaphor) is one in which there is no discernible point of resemblance between the tenor and the vehicle

10. an implicit metaphor is one in which the tenor is not specified but implied

11. a submerged metaphor is one in which the vehicle is implied or indicated by one aspect

12. a simple or tight metaphoris one in which there is but one point of resemblance between the tenor and the vehicle

13. a root metaphoris the underlying association that shapes an individual’s understanding of a situation >>> a root metaphor is different from the previous types of metaphor in that it is not necessarily an explicit device in language but a fundamental, often unconscious, assumption. Religion provides one common source of root metaphors, since birth, marriage, death and other universal life experiences can convey a very different meaning to different people, based on their level or type of religious conditioning or otherwise.

14. a conceptual metaphor is an underlying association that is systematic in both language and thought. For example in the Dylan Tomas poem “Do Not Go Gentle into That Good Night,” the conceptual metaphor of “A Lifetime is a Day” is repeatedly expressed and extended throughout the entire poem.

15. a dying metaphor coined in his essay Politics and the English Language, George Orwell calls a dead metaphor one that has been worn out and is used because it save people the trouble of developing original language to express an idea. It is all but dead. In short, it is cliche.

The category of metaphor can be further considered to contain the following specialized subsets. However, there are certain types of metaphor which have not been identified and some are not universally accepted.

• Allegory :   an extended metaphor in which a story is told to illustrate an important attribute of the subject

• Catachresis :   a mixed metaphor (sometimes used by design and sometimes a rhetorical fault)

• Parable :   an extended metaphor told as an anecdote to illustrate or teach a moral lesson

Throughout this century, the use of metaphor as a means of communication to architectural creativity has been rather popular. This usage has been found to be a very powerful tool. This usage is found to be more useful to the creator than to users or critics. In some cases, the best metaphors and their best uses are those that can not be visualized by users or critics, thus these metaphors became the creator’s “little secrets”.

Metaphors also act as an useful tool to the architecture instructor. In recent years, many instructors have used them and through design exercises, it is possible to test and to develop students’ fantasy and imagination. For those students who are already imaginative, they will not have problems with “metaphor” and “metaphor” will only act as an extra tool that expands their fantasy and imagination. [9]

Metaphors have been widely used in literature and language and metaphors are often associated with simile.

So, what is the meaning of metaphor in space? How can metaphors be translated into spatial designs?

Winston Churchill enjoyed the experiences of large-scale metaphors and he used them to manipulate large-scale concepts. In 1942, he saw the south shore of the Mediterranean as a springboard for an attack on “the soft underbelly of Europe”. The idea was almost instance. In 1946, he told an American audience that “An iron curtain has descended across the Continent”. This metaphor framed the Cold War period and may have inspired the Berlin Wall. [10]

Churchill used the “iron curtain” and “spring board” metaphors for strategic planning

Winston Churchill admired the master of metaphor, William Shakespeare, like most English authors do. Shakespeare often created new words by fusing older words so that the meaning of “an idea from one area of thought to another” still exists. Shakespeare also created metaphors that reflected Churchill’s and many other’s “view of their native land”.

This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings.

William Shakespeare [11]

A fortress; a precious stone; a blessed plot; a nurse; a mother: these metaphors have had a profound influence on Britain’s strategic planning. The power of metaphor has been greatly appreciated by respected architectural educators, who have even considered it to be the basic principles or facts of imagination which will offer opportunities to see one’s work in another light, probe new sets of questions and suggest new interpretations.

Japan’s leading literary critic, Kojin Karatani is perhaps best known for his imaginative readings of Shakespeare, Soseki, Marx, Wittgenstein and most recently Kant. His works, of which Origins of Modern Japanese Literature is the only one previously translated into English, are the generic equivalent to what in America is called “theory”.

Karatani’s writings are important not only for the insights they offer on the various topics under discussion but also as an example of a distinctly non-Western critical intervention.

Kojin Karatani is a Japanese philosopher who teaches at Kinki University, Osaka and Columbia University. He is the author of Architecture as Metaphor (MIT Press, 1995) and Origins of Modern Japanese Literature. He founded the New Associationist Movement (NAM) in Japan in 2000. [12]

Karatani detects a recurrent “will to architecture” that he argues is the foundation of all Western thinking, traversing architecture, philosophy, literature, linguistics, city planning, anthropology, political economics, psychoanalysis and mathematics. In Architecture as Metaphor, he analyzes the complex bonds between construction and deconstruction, thereby pointing to an alternative model of “secular criticism”, but in the domain of philosophy rather than literary or cultural criticism. [13]

As Karatani claims the “will to architecture” is practically non-existent in Japan, he must first assume a dual role from his point of view. One that affirms the architectonic (by scrutinizing the suppressed function of form) and another one that pushes formalism to its collapse (by invoking Jurt Godel’s incompleteness theorem). His subsequent discussions trace a path through the work of Christopher Alexander, Jane Jacobs, Hilles Deleuze and several others.

Finally, the drive that motivates all formalization, he confronts an unbridgeable gap, an uncontrollable event encountered in the exchange with the other thus his speculation turns towards global capital movement. While in the present volume he mainly analyzes familiar Western texts, it is precisely for this reason that his voice discloses a distance that will add a new dimension to our English-language discourse.

Metaphor can be helpful in achieving the “new” at many points in the building and the design/conceptual process. Ever since the discovery of the cave, humans have made use of nature’s geological formations. [14]

Only recently, the developments in structural engineering have made it possible to engage the earth’s surface as a building element in its own light. With an increasingly awareness of our planet’s limited natural resources and with landscape architects exerting ever-greater influence on contemporary design, the most acclaimed architectural practices from around the world are building into the earth, merging man-made forms with the contours of the land.

The results are at once preternatural and breathtaking. From Zaha Hadid’s Tram Terminal in Franceto Snohette’s Bibliotheca Alexandrina in Egypt, from Future System’s hill-burrowing house in Wales to Antoine Predock;s Spencer Theatre in the United States, over fifty projects expose the breadth and depth of this new direction in architecture. [15]

Geometrical metaphors are essential to city planning and regional development. Planners speak of grid cities, radial cities and organic cities, though it is only the street patterns that have these characteristics. The advantages of having these metaphors came from the help they give to planners in thinking about large and complicated issues. [16]

Alternative town geometries – when drawing or planning “rectangular”, “radial” and “concentric” cities, planners are overusing their metaphors

“Buildings replace the land. That is architecture’s original sin. A building makes something new but does not do so in a void. What was once open land, filled with sunlight and air, with a distinct relationship to the horizon, becomes a building. The artifices of human supersede what nature has deposited on a given place. The bulk of a building stops air, sunlight and views. The memories that we built up around that particular place, either individually or as a culture, also disappear. In their place is a structure that is new, if only for a moment and that aspires to have a perfect form, function and appearance. Some buildings even hope to move as far away as possible from the land on which they rise. In all cases, a building is one thing above all else – not the land.” [17]

More attractive metaphors create more popular buildings. In the Water Pavilion for the Delta Works, Neeltje Jans, the Netherlands, the edge between water and land becomes blurred. Nox demonstrated the fluidity of form which expresses how the Dutch make land out of water and how water itself takes many forms to allow from transportation and field irrigation.

The pavilion is a monument to an element that is threatening the life-giving. On one hand, it is a timeless object whose abstraction yet brings to mind prehistoric creatures and on the other, it is a fluid sculpture of natural conditions with shapes that are complex enough to demand continual interpretation or experience. [18]

“Articulate” comes from the Latin for “jointed”. Designers have found the idea very useful. But it is only a metaphor. Patently, it is not possible to design a town without having a series of views or joints between successive spaces.

The Tree of Life has been a significant symbol since ancient times and can still guide spatial planning. Jung believed that the tree symbolizes the growth and development of psychic life, as distinct from intellectual life (Smith et al., 1989). The Tree of Life represents humanity;s undying sense of bring part of a continuous process which extends from our distant past into the life hereafter.

One finds the Tree of Life in manuscripts, in textiles and in architecture. In the Bhagavad Gita, for example, “They speak of an imperishable tree with its root above and branches below. It leaves are the Vedas; he who knows the tree, is the knower of the Vedas’ (Smith et al., 1989)”. A good king was one who planted trees along the sides of the roads to provide shade. Abercrombie’s open space plan for London might have gained strength from being conceived as a Tree of Life. Individuals and community groups could think that they were adding branches, leaves and roots to the tree. [19]

Anthropomorphic metaphors can also be used to plan spatial relationships. A path can be thought of as kissing a hill. The hill can hold a conversation with another hill. One of the two hills can be clad with a forest. The edges of the forest can be frayed or cut on the bias. A town might crown the hill or march through a valley. Anthropomorphic metaphors help people relate to places. Longer metaphors, in the form of stories, allow more sophisticated relationships.

In the summer of 2000, a beach appeared in the middle of Queens, New York. As part of an ongoing series of site-specific installations by architects at Rs.1 Contemporary Art Center, New York collaborative SHoP used closely spaced slats to lay out a ripping landscape through the courtyards in front of the building. Lawn chairs and beach umbrellas completed the feel of sandy beaches and dunes frozen into hillocks and caves but whose articulate surfaces gave them an urban sensibility.

In May 1968, the situationist promised “the beach below the paving stones”. SHoP, however, made a new beach – perhaps revolution can be avoided through art? [20]

CONCLUSION

Metaphor is being used increasingly in recent years as it acts as a reflecting tool and also bringing an idea from one area of thought to another. Therefore, a concept, an idea, a human condition or a particular quality can be re-looked upon.

Metaphor for Inspiration?

The word “inspiration” means stimulation or arousal of the mind and feelings to a special activity or creativity. From my point of view, metaphor’s existence inspires architectural and spatial design. This existence created new ways of looking and perceiving a particular element and therefore opened new doors to future designs. From all the research I have gathered, metaphors are used universally and are inspirational in all dimensions.

FOOTNOTES AND REFERENCES

[1] Quoting from Leone Battista Alberti in POETICS OF ARCHITECTURE: Theory of Design, Anthony C. Antoniades, Van Nostrand Reinhold, United States of America (1992)

[2] Quoting from http://en.wikipedia.org/wiki/Metaphors

[3] Quoting from http://en.wikipedia.org/wiki/Metaphors

[4] Reference from METAPHORS WE LIVE BY, Chicago, University of Chicago Press (1980)

[5] Reference from METAPHORS WE LIVE BY, Chicago, University of Chicago Press (1980)

[6] Reference from http://en.wikipedia.org/wiki/George_Lakoff

[7] Reference from POETICS OF ARCHITECTURE: Theory of Design, Anthony C. Antoniades, Van Nostrand Reinhold, United States of America (1992)

[8] Extracted from http://en.wikipedia.org/wiki/Metaphors

[9] Reference from POETICS OF ARCHITECTURE: Theory of Design, Anthony C. Antoniades, Van Nostrand Reinhold, United States of America (1992)

[10] Reference from http://www.gardenvisit.com/landscape/architecture/7.2-metaphor-and-planning.htm

[11] Quoting from William Shakespeare in http://www.gardenvisit.com/landscape/architecture/7.2-metaphor-and-planning.htm

[12] Reference from http://en.wikipedia.org/wiki/Kojin_Karatani

[13] Reference from ARCHITECTURE AS METAPHOR, Edited by Kojin Karatani, Translated by Sabu Kohso (1995)

[14] Reference from LANDSCRAPERS: Building with the Land, Aaron Betsy, Thames & Hudson, London (2002)

[15] Reference from LANDSCRAPERS: Building with the Land, Aaron Betsy, Thames & Hudson, London (2002)

[16] Reference from http://www.gardenvisit.com/landscape/architecture/7.2-metaphor-and-planning.htm

[17] Quoting from LANDSCRAPERS: Building with the Land, Aaron Betsy, Thames & Hudson, London (2002)

[18] Reference from http://www.noxarch.com/flash_content.html

[19] Extracted from http://www.gardenvisit.com/landscape/architecture/7.4-metaphor-and-space.htm

[20] Reference from http://www.metropolismag.com/html/content_0501/shp/index.html and http://www.ps1.org/cut/press/shop.html

Metaphors: A Creative Design Approach or Theory by ChristineWonoseputro

WHAT IS METAPHOR?

The word metaphor derived from grammatical language or phrase of expression. In language grammatical structure, the word metaphor defined as a direct comparison between two or more seemingly unrelated subjects. The word metaphor itself derived from Greek phrase: metaphoric rhetorical trope – which in the simple case, a metaphor describe as a first subject is being equal as the second subject in some ways. Thus, the first subject can be economically described because of the implicit and explicit attributes or meaning from the second subject, in order to enhance the description of the first one. Being known in its usage in literature, especially in poetry, metaphor has been described in few words, emotions, and associations from one context with objects and entities in any other different context or meanings.[1] The meaning in linguistic could be the denotative meaning and connotative meaning. The denotative means the positive, the real meaning of a context. Connotative means the implicit meaning of words, sometime it could be the negative or the hidden meaning of a word.

The basic of metaphor is almost similar with the term analogy in literature, but metaphor itself is more powerful and assertive than analogy itself [2]. Metaphor has the similar acknowledgement and closely related to other terms and grammatical structure that use in grammatical style such as simile, metonymy, allegory, hyperbolic, parable, pars-prototo, totem pro-parte,and synecdoche.

Basic on George Lakoff’s statement about metaphor, this grammatical term has the relation between the source and the target. Source means the thing or object which sends the message or the impulse, and target means the recipient of the impulse itself. The target could be audience or viewer. Being related to the target or the audience or the viewer, metaphor has been describe open interpretation which this kind of language style sometimes has being known as cognitive language, which its interpretation depends on the mind of the viewer itself.

TYPES OF METAPHOR IN LINGUISTIC:
Basically, there are 3 kinds of metaphors [4]

a. Dead metaphor,is one in which the sense of a transferred image is not present. Example: “to grasp a concept” or “to gather you’ve understood.” Both of these phrases use a physical action as a metaphor for understanding (itself a metaphor), but in none of these cases do most speakers of English actually visualize the physical action. Dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a “dead metaphor” whose origin most speakers are entirely unaware of (such as “to understand” meaning to stand underneath a concept), and a dormant metaphor, whose metaphorical character people are aware of but rarely think about (such as “to break the ice”). Others, however, use dead metaphor for both of these concepts, and use it more generally as a way of describing metaphorical cliché.

b. Extended metaphor sets up a principal subject with several subsidiary subjects or comparisons.

c. Mixed metaphor is one that leaps, in the course of a figure, to a second identification inconsistent with the first one. Example: “He stepped up to the plate and grabbed the bull by the horns,” where two commonly used metaphors are confused to create a nonsensical image.

Other typeof metaphors which have been recognized but not universally accepted :

1. An active metaphor is one which by contrast to a dead metaphor, is not part of daily language and is noticeable as a metaphor. Example: “You are my sun.”

2. A complex metaphor is one which mounts an identical identify on another. Example: “That throws some light on the question.” Throwing light is a metaphor and there is no actual light.

3. A compound or loose metaphor is one that catches the mind with several points of similarity. Example: “He has the wild stag’s foot.” This phrase suggests grace and speed as well as daring.

4. An absolute or Para-logical metaphor (sometimes called an ant metaphor) is one in which there is no discernible point of resemblance between the tenor and the vehicle. Examples:

                   I.  “The couch is the autobahn of the living room.”

                   II. “Six Flags is the aquarium of roller coasters.” An implicit metaphor is one in which the tenor is not specified but implied. Example: “Shut your trap!”

5. A submerged metaphor is one in which the vehicle is implied, or indicated by one aspect. Example: “my winged thought”. Here, the audience must supply the image of the bird.

6. A simple or tight metaphor is one in which there is but one point of resemblance between the tenor and the vehicle. Example: “Cool it”. In this example, the vehicle, “cool”, is a temperature and nothing else, so the tenor, “it”, can only be grounded to the vehicle by one attribute.

7. A root metaphoric the underlying association that shapes an individual’s understanding of a situation. Examples would understand life as a dangerous journey, seeing life as a hard test, or thinking of life as a good party. A root metaphor is different from the previous types of metaphor in that it is not necessarily an explicit device in language, but a fundamental, often unconscious, assumption. Religion provides one common source of root metaphors, since birth, marriage, death and other universal life experiences can convey a very different meaning to different people, based on their level or type of religious conditioning or otherwise. For example, some religions see life as a single arrow pointing toward a future endpoint. Others see it as part of an endlessly repeating cycle. In his book World Hypotheses, the philosopher Stephen Pepper coined the term and proposed a theory of four ultimate root metaphors–form-ism, mechanism, organic-ism, contextual-ism.

8. Aconceptual metaphor is an underlying association that is systematic in both language and thought. For example in the poem “Do Not Go Gentle into That Good Night,” by Dylan Thomas uses the conceptual metaphor of “A Lifetime is a Day” is repeatedly expressed and extended throughout the entire poem.

9. Adying metaphor : essay of George Orwell, calls a dead metaphor one that has been worn out and is used because it saves people the trouble of developing original language to express an idea. It is all but dead.

        Similar through the explanation above, Antoniades, [5] the author of Poetics of Architecture, describe these kinds of metaphor in his own architectural language terminology:

a. Tangible metaphor or the visual metaphor is similar to the analogy of form. Such as if you build a hamburger stall, which adopted the form of hamburger and people will recognize that the building is a hamburger’s stall.

b. Intangible metaphor is the metaphor of text or context. This is the extension of tangible metaphor, that architecture is not only playing with visual image of the form, but it play with the hidden message of it.

c. Combine is the combination of tangible and intangible metaphor.

METAPHORS, GRAMMATICAL STRUCTURE, AND ARCHITECTURE

The demolition of Pruit – Igoe’s building as the” death” of modern era.

Architecture which is form of visual art and communication, also bring visual language of communication. Becoming the part of visual language, architecture contains of grammatical structure is sending its impulse of messages. Grammatical structure builds the proper visual language to transfer the idea and body of concept from its author.

The word “metaphor” appears in Post Modern Architecture — the form of protest to modernist architecture. In his book, The Language of Architecture [6] Charles Jencks wrote that architecture itself can be read as a language. As visual language, architecture has its own grammatical structure to state the mind. And metaphor is become one of the most powerful Post Modern Architecture’s tool, to state critic and parody of the Modern era. It strongly states the failure of modern architecture and make joke of the death of modern era.

In post modern architecture, the position metaphor as architectural grammatical structure is becomes the part of the grand “SEMIOTICS”, the system of sign in Architecture. Basically, Semiotics and the system of sign are rooted on Ferdinand de Sausage’s Structuralism Concept in Linguistic and Levi-Strauss in Anthropology. Structuralism always divide the phenomena of things in elements that is believed the caused of abstraction [7]. Structuralism believes that the relation between objects or elements is caused phenomena [8]. Structuralism teach us that to understand the phenomena of things or objects, it always see matters in what they have called: THE BINARY OPOSITION. Structuralism is seen everything in this life in its own way, such as:

a. Cause and effect (J.J Rousseau)

b. Speech and writing (C. Levi-Strauss)

c. Presence and absence, signifier and signified (Ferdinand de Sausure)

d. Non material – material (Antoniades)

According to the concept of philosophy that being stated by those philosophers, Architecture adopt that philosophical thinking. Architecture itself is being seen as the most complex and complicated branch of knowledge from “ART”, which its manifestation is in visual and material. Architecture is being bound by gravity, climate and weather, topography, hierarchy, movement, space, and other things such as memory, social hierarchy, soul, programs, and many other things. That is why architecture is facing a lot of things, in order to accommodate a lot of programs and natural bounds. At last, the complicated oppositional of architecture has to be translated into material. The process of transformation of abstract aspects into material is being called as the process of “Metaphoric Process”. The most “successful” metaphoric process is probably Notre Dame du Haute – Ron champ Chapel of Le Corbusier, which begins the idea of a crab, but could be interpreted as many other things by its viewers.

Le Corbusier

Le Corbusier’s Ronchamp chapel – multi interpretation of metaphor.

The multi interpretation of Ronchamp

According to Prijotomo’s [9] lecture notes, post modern era itself differ into the “post-modern” [10] era or called the after or late modern era and the post- modern architecture or the new modern architecture. Both of them has different technique and different translation system in using metaphor of architecture. The late modern and its architect, such as James Stirling, Robert Venturi, and Charles Moore choose more conventional items as his own metaphorical tools.[10] From Asian architecture, Tadao Ando has also been being known as the late modern architect from the eastern world that use nature and the poetic of nature to form his metaphoric tools in architecture. The new modern or neo modern architect, which most of them is being known as deconstructionist architect, is dividing into deriddean architects and non-deriddean architects.

Scheme of “Post Modern Architecture”:

Post-modern Architecture:

1. After Modern Era:

a. Late Modern Architecture ( Tadao Ando, early Gehry’s works,etc )

b. Post Modern Architecture ( James Stirling, Charles Moore, Robert Venturi, etc. )

2. New Modern Era

c. Neo Modern Architecture: Richard Meier,etc- High Technology ( High _tech ) : Norman Foster, etc

 d.Deconstruction

1. Deriddean( Peter Eisenman and Bernard Tschumi )

2. Non- Deriddean( Frank Gehry, Zaha Hadid, Coop Himmelblau, Morphosis, etc.)

   Lebbeus wood ’s dystopia of the future – the metaphor of non- deriddean architecture

       The Deriddean Architecture would look like the”simplest” deconstruction architecture in using the metaphor of form, because their playing tools is the text and the revelation of text in design. The word conservative doesn’t mean that they use the simplest metaphor. Mostly deriddean architect play with the intangible metaphors or the extended metaphors. Source has stated that this deconstruction is the most complicated and hard to understand. They adopted Derrida’s concept from “Of Grammatology”, which is wrote by Gayatri C. Spivak [11]. Peter Wiseman and Bernard Tschumi are two architects that have been intensively used this concept. Setiawan [12] called these two architects as the metaphors of text. The manifestation of their designs is not as chaotic and fractal as the non- deriding architects. Aaron Betsky, [13] wrote his book The Violated Perfection”, which categorized 210 architect of the non deriding Architect, into 5 main groups:

1. Revelatory Modernist:” Pure form has contaminated, transforming architecture into an agent of instability, disharmony conflict” that is the proper statement of this kind of architecture. According to its concept, this group is the most conservative in non -deriddean architecture. They use function, principle of abstraction, and composing the fragmentation of pieces, programs, and contexts to fabricate metaphors of architecture. Emilio Embasz, Jean Nouvel, Helmut Jahn, Eric Owen Moss, and Gunter Benisch are part of these architects.

2. Shard and Sharks: the most radical of deconstruction architecture. They play with slate and plane. The composition is chaotic and fractal. The metaphor is rebellious [13], chaotic, and the beauty of ugliness. Prijotomo called this kind of deconstruction as the “ugly duckling” –the hidden beauty of design. As being mentioned by Gehry in his Inaugural Lecture in NUS, October 2006, he use his architecture as the

Frank Gehry In His Inaugural Lecture at Singapore, being drawn as the Simpson and his concert hall model.

       metaphors of urban chaos, the mixed use topography and the messy environment. He said that architecture is become mirror of its era, giving archieves to next generation about how that time when architecture is being stated looked like . So, as what Himmelblau has stated, that architecture has mission to carry, as a story teller. Architecture must burn. Frank Gehry, Zaha Hadid, Kazuo Shinohara, Coop Himmelblau, and Gunter Domineg are the part of Shard and Sharks movement.

Zaha Hadid

Frank Gehry

Frank Gehry’s Fred and Ginger building – metaphor of Fred and Ginger, a famous dancer couple.

3. Textualist: this group has also being told as the” built language” architecture. They feel that architecture as the interpreter must be used as the creative probability of interstitial composition between language, photography, and movie. Ben Nicholson, Steven Holl, Bernard Tschumi, and Diller are parts of this group.

4. New Mythologist : using the utopia as myth which has existed along the time, and being revaluated by the failure of “International Style” as the utopia of Modern Architecture, this new mythologist create dystopia or vision of self destruction which is not developed in human minds to stay preserve the life. This group tries to create the new utopia of the past, present, and the future. Being inspired by the science fiction movie and time machine, Lebbeus Woods, Paolo Soleri, and Hodgett & Fung design association are parts of this group.

5. Technomorphism : the metaphor that being used is the metaphor of machine and technology. Architects think that technology is being created to help human. Technology make space and time become shorter and easier. For example in medical world, the life support of human being has already been helped by machine , such us artificial and metal bone, machined heart support, artificial blood vein, and the latest innovation in Japan, the androids. This group of architect has been translating technology and its impact in human life as technomorphism deconstruction. Betsky mentioned that Macdonald and Salter, Toyo Ito, Morphosis, and Holt is the part of this group.

SOUTH EAST ASIA EXPERIENCE IN ARCHITECTURE OF METAPHORS : THE SOCIAL, GEOGRAPHICAL, AND POLITICAL CONTEXT IN ARCHITECTURE EDUCATION

How about South East Asia Architecture? Learning from architecture and design development of the world, the impact of globalisation and post modern language also give the strong influence through south East Asia and other developing countries, such as Singapore, Malaysia, Thailand, Indonesia, and Philippines. The using of Metaphors as one of the Post-modern tool in doing the design, many young architects create innovation in design. The post-modern world has brought communication and media closer to people. The information become open source and the global network of architects give strong influence through South East Asia education and development, too.

Work of Ito, Gehry, Hadid, and many other architects can be found everywhere in South East Asia, including Singapore. According to this situation, some Seminars and Design Conference in South East Asia, Young architects’ conducts public discussion in developing the language of own local identity of South East Asia’s architectural design tools. For example Singapore has 25 – 40 young architects, which actively publishing their portfolio of works and sharing their way of thinking in design. In Indonesia, AMI[14] (Arsitek Muda Indonesia) or the Young Architects of Indonesia become the front liner of new design innovation. MARA in as a school of architecture in Malaysiastart to think about the root of Malay architecture and developing the language of Malay architecture.They conduct the first Malay Architecture International Seminar in 2005, collaborated with trisakti University and National University of Singapore. Nowadays, South East Asiakeeps developing their own architectural language in order to finding their own local genius. Dr. Johanes Widodo from National University of Singapore [15] has mentioned that as Eastern World, we have to develop our own identity in architecture, by finding and keep searching our own local architectural language. Nowadays our scholars and architects still borrowing western grammatical language to perform their building design. South East Asian architects has to be brave enough to show their own local heritage of metaphorical transformation.

Learning from Japan, which has  probably been the most active in searching and developing Asian local values as the grammar of metaphor in design. Japan has Kisho Kurokawa, Tadao Ando, and Toyo Ito have been globally known as Asian front liners in developing “new language” that brings Asiato the world through its architectural metaphors. Kisho with the concept of Architecture of Symbiosis, Symbiosis, Metabolism, Information, Recycle, Ecology, Intermediate Space, Fractal, etc. has been the most influence Japanese architect of symbiosis and metabolism metaphors.[16] Kisho’s concept of design has been recognize worlwide, and architecture public has apreciate his works. ( Kisho Kurukawa :The Philosophy of Symbiosis ( 1992 ) ).

Trying to be one step ahead, Deconstruction Architecture Seminar has been presented in Surabaya, Indonesia, Sardjono Sani[17], as the representation of AMI has stated that through his own understanding, he produce the design. He looks at architecture as media that can produce programs that adopted complexity and contradiction. The complexity is architecture is depends on architects subjectivity, modernity and it dependence of hierarchy, and human as an object of form and space. So, he said that he does not want to be trapped in deconstruction or any other form of style, but, he has his own of thinking [17]:

a. That his architecture could be interpreted as multi dimension of interpretation, because architecture as a branch of art is open to many interpretations.

b. In Architecture, the most important is “the life” inside of it, the changing of its context and the “eternal” value of space and form that could be used by the users.

c. Taoism, Surrealism, Dadaism,are his tool to help him producing his own architectural metaphor. The design progress is being helped by using theme in design scenario, understanding the aim, meaning, and individual response (client) along the design progress. Architecture is not only work by the subjectivity of the architect, but must be done progressively with the client.

Learning from those experiences, it will be a great homework for South East Asia and a lot of school of architecture and design to produce scholars that proud of their own local architectural grammar.

SUMMARY AND DISCUSSION

1. Metaphor is the transformation process from abstracts into material or visual image. Analogy is the fundamental level of metaphor. In analogy, the concept is directly applied to design or context without process.

2. Metaphor is part of system of sign or Semiotics. Semiotics, which divide into icon, symbols, and Sign, is the representation of denotative and connotative meanings in linguistics into architecture. This signify, signified, and signifier is the three points that construct the semiotics system.

3.  Design approach or theory? Probably it is the most difficult question to answer, because most architects still use it as a design tool. To make it as a theory, I think it still need a long road toward recognition. In my own undestanding, metaphor as part of of architectural tool is strongly bound with the local context and local understanding. To become a theory, metaphor should be recognized as a general and global concept. Actually, the using of metaphor is not a new issue in architecture. Ancient Architecture, which use a lot of signs and symbols has already adopted it as a grammatical tool to represent their concept, especially for spiritual and sacred buildings.

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FOOTNOTES

1. Quoting from http://en.wikipedia.org/wiki/Metaphor: ” In language a metaphor ( from the Greek : metapherin … ) is seeming relate the two subjects that seemingly unrelated subjects… “, IA Richard , The Philosophy of Rhetoric ( 1936 )

2.Anthony C. Antoniades, Peotic of Architecture : Theory of Design ( 1992 )

3. http://en.wikipedia.org/wiki/George_Lakoff

4.Quoting from http://en.wikipedia.org/wiki/Metaphor

5.Anthony C. Antoniades, Poetic of Architecture : Theory of Design 1992 : 30

6. Charles Jencks, The Language of Posmodernism ( 1991 )

7. Geoffrey Broadbent, Deconstruction : A Student Guide, London Academy Edition ( 1991 )

8.Heidegger in Dr.Bagoes Wirjomartono, The Conception Background of Deconstruction Architecture, presented in Seminar of Deconstruction Architecture in Surabaya, 1995.

9. Dr. Joseph Prijotomo, Hand Book of Theory and History of Architecture – Architecture Department of Petra Christian University Surabaya (1998)

10. Charles Jencks, The Language of Posmodernism ( 1991 ): The metaphor after modern era is slightly conventional, vernacular, and parodical. The vocabularies that they use is borrowing the value of the past, such as using the greek or roman column as joke to critic the modern architecture and the international style. Compare to new modern vocabularies, the emotion is  brutalism, chaotic, and rebellious.

11. Aaron Betsky, Violated Perfection : Architecture and Fragmentation of The Modern, New York, Rizolli International Publication ( 1991 )

12 Aaron Betsky in Aloysius Joseph Setiawan , The concept of Derridean and Non-Derridean in Architecture of Deconstruction, presented in Seminar of Deconstruction Architecture In Surabaya ( 1995 )

13.Frank Gehry In Inaugural Lecture In National University of Singapore, October 2006 – http://en.wikipedia.org/wiki/Frank_gehry

14.AMI – Penjelajahan 1992 – 1995, AMI : The Long Toward Recognation ( 2005 )

15. Quoting from Dr. Johanes Widodo in International Malay Architecture Seminar in Jakarta : “Today our architects still borrow western language to produce their own methapors… south east asia architects must be proud of its own local vocabularies….” ( 2005 )

16.Contemporary Japanese Architects, Taschen ( 1995 )

17.Sardjono Sani in Aplication of Deconstruction Architecture, presented in Deconstruction Seminar In Surabaya ( 1995 )

Metaphors in Design by Leena Deshpande

Metaphor is a powerful, conceptual tool for structuring and thinking about an unusual, new, or abstract of experience or knowledge in terms of another aspect that is more familiar or concrete. Many designers use spatial metaphors to classify and structure the expected environment by the end user of a selected space. Although spatial metaphors provide a useful framework for development and inspiration they also raise additional challenges. While looking at the ways the metaphors highlight, emphasize, and enable some ways of thinking about design, these reflections may point us to new ways of seeing and doing design.The term metaphor meant in Greek “carry something across” or “transfer,” .The transferring of things and words from their proper signification to an unseemly likeness or approximate a psychological sense of an encounter.Design metaphors are influential devices that can help to describe and explore new ideas in terms and concepts found in more familiar domains.   

“…one generation’s realizations of a metaphor can become part of the next generation’s experiential basis of that metaphor” (Lankoff 1993). 

Many have argued that the power of a metaphor to explain, organize and structure the unfamiliar terms answers to problems that are due to use of that metaphor.

 Why are some designers more creative than other?  What are the personalities attributes of creative people. Fundamentally we conceptualize design as a process. This has also been design as a cyclic process or period of convergent and divergent activities. Each of these conceptualization help us justify our actions and decide what to do next. Very often we conceptualize a design as a process with the solution as being the goal. Metaphors play a large role in design and structuring our thought about how we can approach .They can act as an intuition, provoke imagination and inspiration. Metaphors are indirect representation of a concept which makes it more interesting. If any design solution is too direct or specific then it kills the spirit and impact. Metaphor is pervasive in every day life, not just as in language but in thought and action.       

Our ordinary concept system in which we both think and act, is fundamentally metaphorical in nature. (Lakoff & Johnson, Metaphors we live by1980).Metaphors in their more traditional sense are regularly applied to design in the role of inspiration and image. This is undoubtedly a dominant tool to improve and guide the design process. the influence of Metaphors in design we are studying here is both subtle and more pervasive.

 In the dictionary, the meaning of a “metaphor” is: A figure of speech in which a word or a phrase that ordinarily designates one thing is used to designate another, thus making an explicit comparison. E.g. All the world’s a stage- Shakespeare. In describing what is taking place in a vibrant metaphor such as “Society is a sea “the power of particular metaphor lays in its use in particular context of understanding and surroundings. With metaphor, we can build layers and layers of understanding such that the metaphor is refined, and thus a long to create (X )one object from  translated in to (Y) another object. Understanding the problems people experience and digging beneath the surface to reveal the underlying causes, and either creating or applying solutions .In this metaphor the essence of design is not a collection of methods; the essence of design is critical thinking. Critical thinking is what is needed to discover the underlying causes of the experienced problem, and recognize the actual potential causes from mere appearances. In other words metaphors is a tool or bridge designers use to connect with users through physical appearance, performance and function or even emotional value of the space. A metaphor activates imagination and transfers the user into other world.  

  Our behavior in certain space is always linked to surroundings. The space determines some particular purpose of our existence, may be working, playing, traveling etc. Initially before this modern materialistic world design and creation of space was a more social and vernacular process with certain aspects of culture. Bryan Lawson (2001) .The requirement of space is global one and its roots can be found in fundamental characteristics of humans. The essence of a good design is to facilitate all kinds of relations that intend to take place in that space, without any stress. Any good and useful design enables its users to communicate about what is happening now, what has happened and what might happen in future. Hence a space conveys stories about the past, present and future. Bryan Lawson (2001)

Louis Kahn’s (1901-1974) work infused International style with a choosy highly personal taste, poetry of light. One of the most powerful aspects of Louis Kahn’s architectural space is his handling of natural light. He believes that architecture stared with the “making of room” and Light. Kahn used passionate light and functional light, glaring light, indirect light, warm light and cold light, each working differently in his architecture. According to Kahn natural light gives mood to space, time of the day and seasons of the year, as it enters and modifies the space.It would hardly have been possible for an architect who had carried the attitudes and to quickly and effortlessly carry off the attempt to become an unconditional proponent of modern architecture. Indeed, with Kahn it required a very long and tedious process to integrate modern with the tried-and-proven, and the prosaic with the noble, into a process which bore his own, individual signature.Greek Architecture taught him that the column is where light is not, and the space between is where the light is .It is a matter of light and no-light. A column and a column bring light between them. To make a column which grows out of the wall and which makes its own rhythm of light and no light is, that is the marvel of the artist.              

Louis Kahn’s metaphor of light can be is explained in the following statement. “A Building begins with light and ends in shadow” and “The sky is the roof of a square” and “A room without natural light is not a room. Hence it is said Light is the architecture of Louis Kahn.

 The effects of day light in Kahn’s structures make them alive and do interact with the users of that space. Kahn mixed his deep desire for mass and volume with a high level of transparency which is added through light. The space has its own character which changed according to day light and seasons of the year. The appearance is not permanent and hence is poetic. A sense of light promises the existence of some holy spirit around you. Every building, every room should have natural light because natural light gives the mood of the day. It can even be said that sun never knew how great it was until it struck the surface of the building.His control of light, light modulation, the play of light and shadows in his buildings, the amount of light in relation to this space and structure, and the change which a building undergoes as natural light varies throughout the year. His metaphor is translated into function as well. An individual window to be a formal and functional entity, one which in turn, became a highly essential component of his spatial structure. Kahn’s many different experiments also included the functional and formal integration or separation of window and ventilation opening. Archaic openings and forms particularly characteristic the architectural impression made by those of Kahn’s buildings was subjected to extreme climatic conditions, and for which sunlight must be filtered such as works for India, Angola, Bangladesh and Israel. Giant Light filters were designed here on one hand which furnished the shadow; on other hand ensure sufficient ventilation and a view towards the outside. His designs caters for all Social, political, geographical and programmatic context.

Kahn realized relatively few buildings, yet the formal restraint and emotional expressiveness of his Jonas Salk Institute, Kimbell Art Museum and the Capital Complex in Dhaka are regarded as an inspired progression from the International Style. Convinced that contemporary architects could – and should – produce buildings which were as monumental and as spiritually inspiring as the ancient ruins of Greece and Egypt, Kahn devoted his career to the uncompromising pursuit of formal perfection and emotional expression.

Kahn worked with simple materials, notably brick and concrete. Kahn applied his principles to create buildings instilled with the spiritual qualities for which he strove through a masterful sense of space and light. From the 1951-53 Yale Art Gallery extension, to subsequent projects such as the 1954-59 Trenton Boathouse in New Jersey and the 1957-62 Richards Medical Towers in Philadelphia, Kahn combined visually compelling spaces with drama as the changing light transformed the sensory experience of being in the building at different times of the day and night. By the time he began the 1959-67 Salk Institute in La Jolla, California, Kahn had mastered this approach to create his first masterpiece, an extraordinarily inspiring sequence of buildings.Louis Kahn achieved his goal of creating a monumental modern architecture, which is at once spiritually uplifting and humane. About Louis Kahn, one of the titans of modern architecture is akin to a Kahn building: squarish, monumental, monkish yet passionately designed. The layout is exemplary, the straightforward chronological account of Kahn’s career interspersed with conceptual histories of each of his important buildings, from theYale Art Gallery to the Salk Institute to the National Capital of Bangladesh.He was drawn to investigate monumentality in architecture, creating buildings out of heavy, solid materials and forms and incorporating vivid plays of light, in complete contrast to the lightweight glass and steel structures being created elsewhere by his peers. This monumentality was also imbued with his concern for the ritual of human experience. His career, although extending to just over twenty years, was a rich and varied one, where he continually readdressed the issues of light, mass, structure, monumentality, geometry and materials.

Architect Louis Kahn discovered late in life how to transform the ruins of ancient Rome into modern buildings. His pursuit of an ideal geometric order was informed by a keen sense of history. Based on platonic shapes, his buildings, at once monumental and human in scale, marked the end of the international style and opened the way for a revival of vernacular and classical traditions. His best known works, located in the United States, India, and Bangladesh, were produced in the last two decades of his life. They reveal an integration of structure, a reverence for materials and light, a devotion to archetypal geometry, and a profound concern for humanistic values.

Kimbell Art Museum- 

 Fig.1   Kimbell Art Museum                                             Fig. 2 Natural light illuminating the ceiling     

The interior of the Kimbell is highly praised, largely for the quality of light. Although the light is indirect, it is for the most part natural light, although it is sometimes described as being quasi-mystical. Skylights run down the center tops of the vaults, admitting natural light. At the same time, metal reflectors underneath bounce the light back to the ceilings and diffuse the light. The ends of the vaults have a thin arc of glass between the wall and ceiling creating this unusual light. The support free structure gave a great deal of flexibility with in the exhibition area. One particular feature makes Kimbell Art museum a very independent structure which is the horizontal quality which is alien to Kahn.  Kahn shows another aspect of his architecture, always very important to him, that of retaining and perceiving wholeness of the parts that help him to shape the design.

   Fig.3 play of shadows.   

National Capital of Bangladesh (Dhaka).

The key design philosophy was optimum use of space but clearly representing Bangladeshi heritage and culture through the architecture. The architecture evolved from the basic human requirement of protection from the glare and fury of nature. This has been achieved by organization of the enclave into different groups of buildings. External lines are deeply recessed by porticoes with huge openings of regular geometric shapes on their exterior, forming the outer visual impact of the building. Klaus-peter Gast (2001) Thus need to provide traditional protection for external windows has been removed while adding compositional effect of these huge openings which befits buildings of huge scale.  In the assembly he has introduced a light-giving element to the interior of the plan. If you see a series of columns you can say that the choice of columns is a choice in light.

      Fig 4. Pattern of light.                                                   Fig 5. Light filtering through voids.

The overall structure is tied together by the homogeneity arising from is tied together by the homogeneity arising from concrete as material and the contrasting light marble strips, alternating casting shadows like relief. The columns as solids frame the spaces of light. Now think of it just in reverse and think that the columns are hollow and much bigger and that their walls can themselves give light, then the voids are rooms, and the column is the maker of light and can take on complex shapes and be the supporter of spaces and give light to spaces. He worked to develop the element to such an extent that it becomes a poetic entity which has its own beauty outside of its place in the composition. In this way it becomes analogous to the solid column.  Kahn stated that” Assembly is of transcendent nature. He thought that when walking through the mail entrance with the prayer room above, the building required an appropriate spiritual character. This Kahn calls the parliamentary building calls a “citadel” for the legislative assembly. Klaus-peter Gast (2001). The assembly building is surrounded by water and thus tends to reflect the Mogul architecture, yet the name “citadel” is not intended to give it the quite unmotivated character of a fortress. The secure strong qualities of the citadel are transferred symbolically to a spiritual one initiated by the mosque. The different buildings of the complex linked in circular shape emphasize on concentricity motif of Kahn’s design. Klaus-peter Gast (2001). The impressive shadow drama of its façade figures doubles in the secretarial and office area, their geometrical openings, and cut outs, stand in sharp contrast with concrete cubes, which is almost white in the sunlight. They define light volume-spaces designed with out exception for the moderated light and acquire independent light. Their archaic and symbolic character intensifies the spiritual “aura” for the building as a whole. Kahn explained the form of the openings as especially resistant to the danger or earth quakes and tried to call pragmatic spirits down with this. He also has mail building constructed in concrete for the reason related to terrain. This material is alien to the country and requires its own manufacturing methods. He also combined the “masculine” with marble as apparently a “feminine” character. Klaus-peter Gast (2001) As sunlight entering through glass blocks into the roof, flows like a stream of water over the walls and into the interior. The character, the atmosphere of the common space changes with the daily progression of sun. The archaic, ponderous, castles like, language of the assembly complex seems to stand in contradiction of the fragile vaulted roof. He mentioned above as a giver of light. It was not belief, not design, not pattern, but the essence from which an institution could emerge. The Assembly complex is indeed Louis I. Kahn’s most fascinating work characterized by the idea of modulation of light.

    Fig.6 Exterior view of Assembly building.                                                        Fig.7 Bright Geometric cut outs.

The presence or light in Kahn’s work gives a heavenly experience. Light is omnipresent like the almighty and introduces purity, serenity and divine presence. The space enlightens the soul and the aura makes you feel the difference in the environment. Conclusion The studies of metaphors provide a valuable insight to an ordinary abject which acts as an inspiration and understanding the language. A designer will have to do a deep study and research to explore a particular thought to transform it into design. Metaphor as a part of the design studies appeal to tradition of thought and also common experiences of architects till today. The psychology of an inhabitant in the space, he experiences and reacts to the physical, social and geographical context. The belief of metaphors also reflects to certain branches in psychology and cognitive science. Hence designers make themselves less ordinary by cultivating a high order of sensibility and create a resonating design with use of metaphors.

References  1. Bryan Lawson (2001). Language of Space .Architectural press ,Burlington
United Kingdom. 2. Mary Cambert (2004) Top Architects of the World.(Trans) Mark Holloway,Eva Marin. Ferre Olsina SA,
Spain.3. Urs Buttiker (1994) Louis L. Kahn LIGHT AND SPACE, (Trans)  David Bean,
Singapore. 4. Jonathan Hey(May 2004) Creativity assessment report-(Neutral Theory of Thought and Language.)

5. Yan Yan Qian (May 2004) Metaphor’s as Design Inspiration, The University of Texas at Austin, Masters of Fine Art.

6. Birkhauser (2001)Louis .I Kahn The Idea of Order, Trans-Michael Robinson, Birkhauser –Publisher for
Architecture ,Germany.

7. Website – http://en.wikipedia.org/wiki/Louis_Kahn

8. Website- http://en.wikipedia.org/wiki/Kimbell_Art_Museum

9. Website- http://en.wikipedia.org/wiki/Metaphors

10. JSTOR Journal of Architectural Education (1984) Vol_48, No-2 (Nov-1994) pp 113-125.

11. Richard Coyne, Adrian Snodgrass and David Martin , Metaphors in Design studio ( University of Sydney).p 113.

12. Website – http://members.ozemail.com.au/~ddiamond/analog.html

Metaphors: It’s Relationship, Significance and its Impact in Design by Andy Chua

As designers in this 21st century epoch, we are incessantly in acquaintance with metaphor. It is by and large that we are engaged with it knowingly or sub-consciously. At its most simple echelon, metaphor explains and describes the use of body knowledge and language about one’s concept to understand or even to comment on a different or another concept. Metaphors in design are particularly a powerful when used to understand a concept that we are foreign to, or a concept that appears unapproachable to us. Metaphor is also the expression of an understanding of one concept in terms of another concept, where there is some similarity or correlation between the two. A very good example will be Alberti conceived of the city “. . . no more than a House . . .” [1]In which he suggest that readers should conceive the House as a “little City”. He in addition invites his readers to visualize one thing of something else. He requested them to shift their concentration and to think of the dwelling as a city, conurbation and vice versa. In other words, he asks his readers to employ an allegory so that they could understand or acquire a better understanding on the metaphor he employs. Most of us carry out metaphoric acts firstly, whenever we are attempting to transfer references from one subject to another. Secondly, when we are making an effort to “catch a glimpse of” a particular subject or object, as if these subjects or objects are of something else. Lastly, we transfer the focus of our scrutiny from one area of concentration or from one inquiry into another. This is done in anticipation that by balancing or from beginning to end by addition we possibly will clarify our scrutiny of a subject matter in an innovative way. The subject here refers to either the concept or the object that we wish to transfer, “see” and displacement of our focus.

Another classis example of metaphor not related to design. The use of metaphor is the attempt to understand death and dying: in religious belief aside, there is no definitive explanation of what will happen to a person’s consciousness after death has been established. In this case consciousness is been define as soul, karma. However on a direct level, the majority of the people have no clear idea or understanding of this milestone. However on the contrary, most people do have a personal concept of what will happen at death, and this concept is usually based on metaphor.

Be it in design usage, language or other applications, metaphor are often been perceived as a trope. A trope[2] is the figurative use of an expression. Figurative language is a departure from what speakers of a particular language apprehend to be the standard meaning of words, or the standard order of words, in order to achieve some special meaning or effect.

At its most complex level, metaphor is considered a type of figurative language, specifically a trope or “figure of thought”. Figurative language[3] is typically divided into two classes, tropes, in which words and phrases are used in a way that effects a conspicuous change in what we take to be their standard meaning, and schemes [as distinct from schemas, see below], in which the departure from standard usage is not, primarily, in the meaning but in the order of the words. In a simile, a comparison between two distinctly different things is indicated by the word “like” or “as”. In a metaphor, a word or expression which in literal usage denotes one kind of thing or action is applied to a distinctly different kind of thing or action, without asserting a comparison. In metonymy, the literal term for one thing is applied to another with which it has become closely associated. In synecdoche, a part of something is used to signify the whole, or more rarely the whole is used to signify the part[4]

Metaphor is a powerful tool for understand concept, social, political, geographical and programmatic context. A simple metaphor can evoke a broad array of elements that will affect our way of thinking. And it is with this we can accomplish this evocation of understanding metaphor with a slight hint. It is with this slight hint or the simplest element; we develop a better understanding on the concept of employing metaphor. Along with this conception, we can swell into a structure of elements and relationships.

Schemas and simile are powerful because they are ways of organizing characteristics, information, relationships, and things into recognizable and manipulate-able structures. Schemas help us apply meaning to concepts. Metaphors are powerful because they provide shortcuts to concepts — sometimes a single word can call to mind a broad and complicated topic — and provide ways to hash out meanings for less understood concepts. And this can only be approached through metaphor. Thus by doing so, we can use it on conceptual development. It is perhaps; the best substantiation on the strength of metaphor application, schema and simile is pretty straightforward and simple. To the same degree, we use it unconsciously for the most part of design concept development. As designers, we are constantly using metaphors, schemas and similes to generate a better understanding on the concept.

Metaphor, been a very powerful channel, it is more useful to the creator than to the users or critics. It is in reality; the best applied or employed metaphor and its practices cannot be revealed by users or critics. In these cases, metaphors are been classified as “little secrets[5]. Again the power of metaphor can be consider as a core structure of imagination. This means that metaphoric channel can be very useful and beneficial to whoever uses it or created it. This procedure allows us a vast amount of opportunities to see a contemplated work in another perspective. This will compel us to probe for new sets of questions and come up with new interpretations. This will allow the mind to transit into a previously unknown aspect of territories. The use of such metaphoric acts can be universal. However, this does not mean that everybody finds it easy to understand, and let alone use it. For those who use it, they can be known as devotees of these metaphor applications. These people are often grateful to the vast horizons open up to them. Metaphor can be useful and helpful in achieving the “new” elements and concepts in points of building, designing and conceptual development. The overall organization can be seen as more expressive in terms of its contents. Through metaphor, especially when it is approached with the technique of displacement of concepts, (Schon 1963, 1967), one may apply the knowledge and interpretations already understood for the case of the named item of displacement[6]. This may be object, subject, a situation or another art.

Metaphor can be grouped into several categories. They can be grouped into Intangible, Tangible and Combined. In intangible metaphors, these are which the metaphoric departure for the creation is a concept, an idea, a human condition or particular qualities. Particular qualities can be listed as individuality, naturalness, community, tradition and culture. In tangible metaphors, these are the metaphoric departure stems strictly from some visual or material character. This can be a house as a castle, the roof of the temple as the sky. In combined metaphors, these are the conceptual and the visual overlap as the main ingredients of the point of departure and the visual is the excuse to detect the virtues, the qualities, and the fundamentals of the particular visual container. This can be the computer, the beehive, both being “boxes” of relevant proportions, yet having the qualities of discipline, organization and cooperation[7]. And these are the types of metaphor that can be found or are present. They are: -

1. An extended metaphor, or conceit, sets up a principal subject with several subsidiary subjects or comparisons. The above quote from as you like it is a good example. The world is described as a stage and then men and women are subsidiary subjects that are further described in the same context.
2. A mixed metaphor is one that leaps, in the course of a figure, to a second identification inconsistent with the first one. Example: “He stepped up to the plate and grabbed the bull by the horns,” where two commonly used metaphors are confused to create a nonsensical image.
3. A dead metaphor is one in which the sense of a transferred image is not present. Example: “to grasp a concept” or “to gather you’ve understood.” Both of these phrases use a physical action as a metaphor for understanding (itself a metaphor), but in none of these cases do most speakers of English actually visualize the physical action. Dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a “dead metaphor” whose origin most speakers are entirely unaware of (such as “to understand” meaning to stand underneath a concept), and a dormant metaphor, whose metaphorical character people are aware of but rarely think about (such as “to break the ice”). Others, however, use dead metaphor for both of these concepts, and use it more generally as a way of describing metaphorical cliché.
4. An epic or Homeric simile is an extended metaphor containing details about the vehicle that are not, in fact, necessary for the metaphoric purpose. This can be extended to humorous lengths, for instance: “This is a crisis. A large crisis. In fact, if you’ve got a moment, it’s a twelve-story crisis with a magnificent entrance hall, carpeting throughout, 24-hour porter age and an enormous sign on the roof saying ‘This Is a Large Crisis.’” (Black Adder)
5. A synecdoche metaphor is one in which a small part of something is chosen to represent the whole so as to highlight certain elements of the whole. For example “a pair of ragged claws” represents a crab in Eliot’s Love Song of J. Alfred Prufock. Describing the crab in this way gives it the attributes of sharpness and savagery normally associated with claws.

Other types of metaphor have been identified as well, though the nomenclatures are not as universally accepted:

1. An active metaphor is one which by contrast to a dead metaphor, is not part of daily language and is noticeable as a metaphor. Example: “You are my sun.”
2. A complex metaphor is one which mounts one identification on another. Example: “That throws some light on the question.” Throwing light is a metaphor and there is no actual light.
3. A compound or loose metaphor is one that catches the mind with several points of similarity. Example: “He has the wild stag’s foot.” This phrase suggests grace and speed as well as daring.
4. An absolute or Para logical metaphor (sometimes called an ant metaphor) is one in which there is no discernible point of resemblance between the tenor and the vehicle. Examples:
5. “The couch is the autobahn of the living room.”
6. “Six Flags is the aquarium of roller coasters.”
7. An implicit metaphor is one in which the tenor is not specified but implied. Example: “Shut your trap!” Here, the mouth of the listener is the unspecified tenor.
8. A submerged metaphor is one in which the vehicle is implied, or indicated by one aspect. Example: “my winged thought”. Here, the audience must supply the image of the bird.
9. A simple or tight metaphor is one in which there is but one point of resemblance between the tenor and the vehicle. Example: “Cool it”. In this example, the vehicle, “cool”, is a temperature and nothing else, so the tenor, “it”, can only be grounded to the vehicle by one attribute.
10. A root metaphor is the underlying association that shapes an individual’s understanding of a situation. Examples would understand life as a dangerous journey, seeing life as a hard test, or thinking of life as a good party. A root metaphor is different from the previous types of metaphor in that it is not necessarily an explicit device in language, but a fundamental, often unconscious, assumption.
    Religion provides one common source of root metaphors, since birth, marriage, death and other universal life experiences can convey a very different meaning to different people, based on their level or type of religious conditioning or otherwise. For example, some religions see life as a single arrow pointing toward a future endpoint. Others see it as part of an endlessly repeating cycle. In his book World Hypotheses, the philosopher Stephen Pepper coined the term and proposed a theory of four ultimate root metaphors–formism, mechanism, organicism, contextualism.
11. A conceptual metaphor is an underlying association that is systematic in both language and thought. For example in the Dylan Thomas poem “Do Not Go Gentle into That Good Night,” the conceptual metaphor of “A Lifetime is a Day” is repeatedly expressed and extended throughout the entire poem. The same conceptual metaphor is the key to solving the Riddle of the Sphinx: “What goes on four legs in the morning, two legs at midday, and three in evening? –A man.” Similar to root metaphors, conceptual metaphors are not only expressed in words, but are also habitual modes of thinking underlying many related metaphoric expressions.
    Because they both underlie more than just the surface metaphoric expression, root metaphors and conceptual metaphors are easily confused. For example: In the United States, both conservatives and liberals use ‘family’ metaphors for the national politics, though in different ways. Both types of usage would ultimately resolve to “organic” root metaphors in Pepper’s nomenclature, while Lakoff would distinguish between several different varieties of the “A Nation is A Family” metaphor.
12. A dying metaphor Coined in his essay Politics and the English Language George Orwell calls a dead metaphor one that has been worn out and is used because it saves people the trouble of developing original language to express an idea. It is all but dead. In short, it is cliché. Example: Achilles’ heel. Orwell suggests that writers scan their work for such dying forms that they have ’seen regularly before in print’ and replace them with alternative language patterns.

The category of metaphor can be further considered to contain the following specialized subsets:

1. Allegory: An extended metaphor in which a story is told to illustrate an important attribute of the subject
2. Catachresis: A mixed metaphor (sometimes used by design and sometimes a rhetorical fault)
3. Parable: An extended metaphor told as an anecdote to illustrate or teach a moral lesson

Extracted from http://en.wikipedia.org/wiki/Metaphor

These categories of metaphors have been employed by architects and have experienced a varying extent of triumph. These examples can be found in the 20^th century. Some of the major movements in architecture of this century have been identified by the metaphors they employed. For example, “The machine was the metaphor of the Modern Movement; the ruin has been attributed as the metaphor[8]”. Other branches or schools also applied these metaphors as their basis for inspirational departures. Alvar Alto, one of the foremost Finnish architects of the century, whom based on the usage of insubstantial allegory, developed metaphoric acts based on the hypothesis of individuality, naturalness, community and so on. These actions allow us to produce buildings based on the insubstantial metaphor of humanity, which is perhaps the most greatest of all metaphors. Many of the developments envisage as metaphors often display problems of scale. This is maybe owing to the fact that metaphors have a tendency to produce aphoristic, utopian, universalized[9]results, in spite of the initial good intentions of the originators.

In Japan, the architects there are great devotees of metaphor applications. It was said that these architects have long favoured metaphor. Some of these recent best architects who have used or employ metaphors are, Arata Isozaki, Kazuhiro Ishii, Minoru Takeyama, Kazuo Shinohara and Kisho Kurokawa. These architects remedy metaphors as a source for inspirations. Take Arata Isozaki for instance, he is one of the most poetic and prolific architect and writer of theoretical essays. He was given the priority to metaphors as a connotation to architectural creations. Although many of his works became as a literal interpretation, in which one of it, a club house building which looks like a question mark. The departure of his creative quest is usually metaphoric. His critical sense of the architecture of his peers is also at its best when he uses metaphoric screening.

To most of us practicing design, architects or designers alike, may not out of necessity have to have all these metaphors in mind. Well, it is after all how we interpret them. It is us who uses these metaphoric interpretations for our own creative design purposes. We require further reading, study and contemplation to understand the suggested metaphors and to draw our own personal conclusions. We on our part should be receptive to the widely accepted metaphoric interpretations that have come to us in forms of history, tradition, culture, political, nature, geometric and geographical representations because only through their acceptance, then will we be able to build for and within the intellectual context of a particular community and its people.

In metaphor, design benefited from it. One of the famous town planning concepts, the Finger Plan for Copenhagen[10], was based on a metaphor. It was based in a metaphor of a great hand resting over that city[11]. In 1947, that great hand has guided Copenhagen[12] developments into a merchant harbour, after which the city was named. It sits in the palm of a guiding hand. The fingers pointed ways to new development. Power lines, telecom lines and mass rapid transit lines follow the bones, arteries, veins and the nerves of the fingers. Between those fingers, we found the green land of Demark, Holland. Copenhagen was made into a garden city but the hand itself, urban development was grey by itself. Geometrical metaphors have been playing an imperative responsibility in the city planning and regional improvement. Town or Urban Planners often seek to speak of the grid cities[13], radical cities and even organic cities. It is through these spatial patterns that these characteristics convert Copenhagen into a city with green heart. The lower part of Holland has been seen as a ring city. The corridors were seemed as haulage passageways as well as expansion poles. The benefit of these metaphors arises from the assistance they presented to the planners in thinking about huge and obscured issues. Dis-benefits are capable of take place when concerns are becoming over-simplified. A city should be so much more than a street pattern; surrounding countryside should be so much more than a “green’ belt. Road plans do not show the city structure: they show one of many structures.

Some interesting metaphors create more popular buildings. Le Corbusier’s chapel at Ronchamp can be perceived as a crab, a duck, a hand, a hat and much else. Utzon’s Sydney Opera House can be seen as shells, a flower, or sails. The soaring curves of Saarinen’s TWA terminal in New York symbolize flight. The Archigram building concepts of the 1960s were described as pods. There is something in common; these buildings were curvilinear in designs. Curves “carry’ ideas from the natural world. Rectilinear is a metaphor for intellectualism and the works of man. Geometric can be used as a metaphor too.

Kisho Kurokawa[14], born April 8, 1934 is a well-known Japanese architect and one of the founders of the Metabolist Movement. Born in Nagoya, Aichi, Kurokawa studied at Kyoto University, graduating with a bachelor’s degree from the Department of Architecture in 1957. He continued his studies at Tokyo University School of Architecture under the guidance of Tange Kenzo, achieving a master’s degree in 1959 and a doctoral degree in 1964. Together with some colleagues, he founded the Metabolist Movement in 1960; its members were known as Metabolists. It was a radical Japanese avant-garde movement pursuing the merging and recycling of architecture styles around an Asian philosophy. The movement was very successful, peaking when its members received praise for the Takara Beautillion at the Osaka World Expo 1970. The group broke up shortly thereafter. Kurokawa has a daughter from his first marriage, who works as a landscape architect. His second marriage is to Ayako Wakao, an actress with some notable films in the 1950s and 1960s. Kurokawa’s younger brother works in industrial design, but has also cooperated with Kurokawa on some architecture projects. Kurokawa is the founder and President of Kisho Kurokawa Architect & Associates, established on 8 April 1962. The company has its head office in Tokyo, and branch offices in Osaka, Nagoya, Astana, Kuala Lumpur and Beijing. The company is registered with the Japanese Government as a First Class Architects Office.

In 1960, at the age of 26, he made his debut into the world as one of the founders of the Metabolism Movement. Since then, he has been advocating the paradigm shift from the Age of Machine Principle to the Age of Life Principle. Concept he advocated such as Symbiosis, Metabolism, Information, Recycle, Ecology, Intermediate Space, Fractal, etc. are all important concept based on Life Principle. His publication includes “Urban Design”, “Homo Movens“, “Thesis on Architecture I and II”, “The Era of Nomad”, “Philosophy of Symbiosis”, “Hanasuki”, “Poems of Architecture”, “Kisho Kurokawa Note”, and “Revolution of City”[15]. “Philosophy of Symbiosis”, which was awarded the Japan Grand Prix of Literature, was first published in 1987 and was revised in 1991. The book “Philosophy of Symbiosis” was translated into English and was cited Excellence from the AIA in 1992. His major works in Japan are the National Ethnological Museum, the National Bunraku Theater, Nagoya City Art Museum, Hiroshima City Museum of Contemporary Art, the Museum of Modern Art, Wakayama,1994 Ehime Prefecture Museum of General Science, Osaka International Convention Center (Grand Cube Osaka), Oita Stadium, Toyota Stadium; his major works abroad are the Japanese-German Centre of Berlin in Germany, the Chinese-Japanese Youth Center in Beijing, China, Melbourne Central in Australia, and Pacific Tower in Paris, France, Republic Plaza, Singapore, the Kuala Lumpur International Airport, Malaysia, and 1999 New Wing of the Van Gogh Museum, Amsterdam. His recent works include: The Japanese Nursing Association Building, The National Art Center, Tokyo, which will open in 2006, the Zhengdong New City of 1.5million for the Zhengzhou City, China, New Kunming Airport City, China, International Financial Center, Chunking, China, Maggie’s Centre, England and Tea house and Japanese Garden of Frank Lloyd Wright Foundation, U.S.A.

The School of Metabolist Architecture[16] was started in the late 1959, where a group of Japanese Architects and city planners came together and form the Metabolist Group. Their forethought for a city of the near forthcoming to be inhabited by mass civilization was to be characterised by a large scale, flexible and extendable structures that could enable an organic growth process. In their view the traditional laws of form and function were obsolete. They were strong believers on the laws of space and functional transformation that held the future for the city and culture.

Famous projects include the floating city in the sea (Unabara project)[17], K. Kikutake’s tower city, the wall city, the agricultural city and the ‘Helix City‘ by Kisho Kurokawa.

Kiyonori Kikutake

Over the last 4 decades, Kisho Kurokawa had created architectures that have attempted to challenge the Machine Age and have moved towards the age of the Life. The key concepts of his principles are metabolism and symbiosis. These 2 words are chosen by him with intention. His works are constantly revolving around these concepts. He fiddles with the forms, styles and materials in his designs. This is done in accordance with the weather, program, cultural identity and the geographical of the given project. He felt that architecture is slowly moving away from the World of Machine and is opening up to the world with a dialogue[18].

Take his work on the Sony Tower in Osaka, Japan, 1973, was designed as a solid showroom for Sony Electronics. From the beginning, Sony Tower was planned to be a real-time, on-line “information tree”, connecting other Sony Towers in New York, London, Paris and other major cities by satellite. Along the outside of the central display space, the stairs, elevator, escalator, and toilet are capsulated. The capsules are the same size as those of the Nakagin Capsule Tower, but the exterior is made of stainless steel. To connect the basement to the public parking lot, the utility rooms are all placed on the roof. The utility pipes are exposed, also like those of the Nakagin Tower, to facilitate the maintenance and recycling of the pipes. The Sony Tower is another prototypical example of sustainable architecture.

Metamorphosis ’65 designed in the 1961, was a radius expansion of large cities that has reached the limit of structural growth. The linear structure of network city must be constructed to reform the radius pattern of urban structure with its single-cell type public and service centres located in the heart of the city. Shrinking stage of cities of matured countries need to reconstruct urban area, to make a compact linear network city. In the linear city, nature and urban life are in parallel, there is no city centre and there is considerable growth potential. Super high-rise building will be designed freely on fractal surface, along with land surface and land form.

Another example would be the Fukui Prefecture Museum of Dinosaurs, 2000. Japan’s first dinosaur museum and research centre is located in Katsuyama City, the largest excavation site of prehistoric remains in Japan. Visitors first enter the museum by taking an escalator from the ground floor, and are then guided through a display of fossils still embedded in rock, and then, quite suddenly, enter an enormous exhibition hall. Because the display path opens up into a gigantic space, one can understand their place in the museum. A series of egg shaped pavilions tantalise the imagination with images of a giant dinosaur egg. This understanding of place creates a space for the visitor to take part in the display, allowing it to be an interactive experience and was placed as though buried in the centre of the topography; the abstract rotated ellipse shape of the research section stands out.

Hiroshima City Museum of Contemporary Art, 1989 was located on the top of Hijiyama Mountain, it is the first art museum built in Japan after the war. The circular space at the centre of the architecture is intentionally empty, the cut notch indicating the direction where the atomic bomb was dropped. The stones beneath the columns are those exposed to the bomb. The left side of the central circular space houses the museum’s permanent collection, and the right side hosts the special exhibitions. The many gabled roofs come together as an entity like that of a village, the symbiosis between part and whole.

In summary, the metaphoric conduit, to design and architectural creativity that analysis the buildings and concepts as if they were something else about what the designers or the architects should have a specific erudition and channel that is treated with an elementary and systematic manner. The metaphoric channel has been one of the largely fashionable during the contemporary years and has been well-received due to its theoretical handling at this juncture by radiating a precision in the definitions, categorisations and even right down to the weighing of the various factors of metaphoric practice for design purposes, addressing and discussing the use of metaphors by individual designers and architects. Lastly, attention is also required while focusing on the issue of factual vs. metaphoric fundamental, as this is crucial for its appropriate use of metaphor under any creative circumstances.

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[1]As Aiberti observes “conceive of the City” (Poetics of Architecture: Theory of Design 1992 : 29)
[2]Lakoff, George. 1987. Women, fire, and dangerous things: What categories reveal about the mind. Chicago: University of Chicago.
[3] Johnson, Mark. 1981b. “Introduction: Metaphor in the philosophical tradition.” In Johnson 1981a 3–47.
[4]Johnson, Mark Ed. 1981a.Philosophical perspectives on metaphor. Minneapolis, MN: University of Minnesota.
[5] As Anthony C. Antoniades A observes “little secrets” (Poetics of Architecture: Theory of Design 1992 : 30)
[6] Poetics of Architecture: Theory of Design 1992 : 30
[7] Poetics of Architecture: Theory of Design 1992 : 31, 32
[8] As Anthony C. Antoniades A observes “The machine was the metaphor of the Modern Movement” (Poetics of Architecture: Theory of Design 1992 : 30)
[9] As Anthony C. Antoniades A observes “a tendency to produce aphoristic, utopian, universalized . . .” (Poetics of Architecture: Theory of Design 1992 : 34)
[10]Extracted from http://www.copcap.com/composite-8109.htm
[11] Extracted from http://www.inro.tno.nl/transland/Copenhagen.html
[12] Reference from http://en.wikipedia.org/wiki/History_of_Copenhagen
[13] As Aiberti observes “conceive of the City” (Poetics of Architecture: Theory of Design 1992 : 29)
[14] http://en.wikipedia.org/wiki/Kisho_Kurokawa
[15] Kisho Kurokawa Architects & Associates: The Philosophy of Symbiosis From the Age of the Machine to the Age of Life
[16]http://en.wikipedia.org/wiki/Metabolist_Movement
[17] http://www.kikutake.co.jp/e/top/top.html
[18] Kisho Kurokawa Architects & Associates: The Philosophy of Symbiosis From the Age of the Machine to the Age of Life

Research Topic 4 (Critical Design Analysis)

This final assignment is meant for you to integrate theory, research and new perceptions of the semester in the form of an annotated slideshow and analytical essay. The 1500 word individual essay will incorporate a built work of an internationally renowned architect/designer. Students will be expected to examine the intricate layers of spatial meaning within the chosen work in a critical manner. Below are some suggested research topics that you may want to consider for your research topic. Illustrate your essay with appropriate sketches, images and photographs in a form of a 15-20min Flickr slideshow. All slides must be annotated with a brief description on each slide.

1. With reference to Zaha Hadid’s current exhibition design at the Singapore Art Museum and her built work at One North, discuss the metaphors and grammar of Hadid’s forms. What are the construction methods and detailing of her forms used at the Singapore Art Museum?

2. Shigeru Ban’s belief in using recyclable materials in his projects has earned him a reputation of the most environmentally friendly architects of our time. With reference to his latest work at the Singapore Biennale Pavilion at the SMU grounds, evaluate critically his design approach and materials used in this project.

3. Discuss the metaphors, colours and textures used in contemporary home interiors in Singapore.

4. Discuss the use of digital processes in Dagma Richter’s Dom-In(fo) House. Evaluate if spatial and formal investigations in the digital environment can be translated into experimental designs in practice.

5. With reference to the visits to entertainment venues during the inaugural Archifest 07 in Singapore, evaluate the success of lighting schemes between the various clubs.

6. Evaluate the works of Kerry Hill and Peter Muller in Bali, in particular, their interpretation of the ‘Balinese spirit’ from their designs.

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Credits Breakdown

Group collaboration – 10%

Slide presentation – 20%

Written/illustrated documentation – 20%

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Assignment 3 total credits – 50%

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Research Topic 4: Index

Leena’s Research
Shigeru Ban

Christine’s Research
Zaha Hadid

Joey’s Research
Design Elements for Contemporary Home Interiors in Singapore

Andy’s Research
Dagmar Richter’s Dom-In(fo) House

Listed below are the various workshops conducted by Kent Neo. Follow the links to see students’ works from the various workshops.

Radiosity Workshop (Year 3 ID Diploma) Duration – 11 weeks with 3 hr workshop/week. Prerequisite – 8 weeks of basic modeling & lighting workshop in Viz 2007 in year 2.

Furniture Modeling Workshop in Rhino (Year 3 ID Diploma) Duration – 8 weeks with 3hr workshop/week. Prerequisite – only for 3rd year furniture design major students.

Generative Funiture Design Workshop I (Year 2 Furniture design elective) - 8 weeks with 3hr workshop/week. Presequisite – to have 1 pre-designed furniture with physical massing model & sketches.

Generative Funiture Design Workshop II (Year 2 Furniture design elective) - 8 weeks with 3hr workshop/week. Presequisite – to have 1 pre-designed furniture with physical massing model & sketches.

Generative Design Workshop in Rhino Duration – 8 weeks with 3hr workshop/week. Prerequisite – none, for all students interested in evolutionary design processes.

Non standard Non euclidean modeling workshop – 8 weeks with 3hr workshop/week. Prerequisite – must have completed one Rhino workshop of 8 weeks duration.

Grammatical Design Workshop , Introduction to MIT shape grammars – 2 weeks with 3hr workshop/week. Prerequisite – for degree students only.

Grammatical Design Workshop in Rhino Duration – 4 weeks with 3hr workshop/week. Prerequisite – for degree students only.

Glass Design Workshop in Rhino – 8 weeks with 3hr workshop/week. Prerequisite – none, for all students interested in rendering in Flamingo.

Web presentation with WordPress and Flickr – 2 weeks with 3hr workshop/week. Prerequisite – none, for all students interested in creating online journals.

The Grammatical Rules of Mondrian and Pollock – MA (SP)

Ice Ray Workshop in Rhino – MA (SP)

Derivative processes on Pollock’s grammar , from art to virtual spaces – MA (SP)

We shape our buildings and afterwards our buildings shape us – Winston Churchill  

Shigeru Ban’s architecture is in some way a radical update of traditional architecture, as much as in the spaces that he forms as in the materials that he uses. For Ban, one of the most important themes in his work is the “invisible structure”. That is, Ban doesn’t overtly express his structural elements, but rather chooses to incorporate it into the design. Ban is not interested in the ‘newest’ materials and techniques, but rather the expression of the concept behind his building. The materials he chooses to use are deliberately chosen for how they aid the building to do so. [Ref. 3]

Ban learned not only fundamental elements of architecture, but also gained an interest in ‘architectonic poetics’ or the creation of three-dimensional poetry. As in the traditional Japanese houses, there is a physical continuity between the interior and exterior that has been achieved by the use of sliding divisions (transparent or opaque).According to Emilio Ambasz: “Ban converted commonplace materials into dignified structural elements. In this way the traditional bamboo house returns in a new way with cardboard tubes “.It has been the efforts made by Shigeru Ban ,along with the structural studies carried out by Gengo Matsui, which have led to the structures of paper tubes being approved by the Ministry of construction of Japan. Ban states learnt that every thing is possible if the design is credible and one has a desire. He has used these kinds of structures on many occasions such as the Odawara Festival Hall (1990), The MDS Gallery (1994), or the paper house (1995), Singapore Biennale (2006). He has also investigated into the possibility offered by other economic elements such as prefabricated concrete pillars, special card framework (in the triangular roofing of Nemunoki  Art museum). In many of Ban works, he rediscovers materials used in traditional Japanese Construction, Such as paper, His enthusiasm to experiment with existing materials along with his strong ethical compromise with the conversation of the environment has led him to exploit the possibilities of building with cardboard tubes, a low-cost material which is easily recycled.

For example, In the Curtain house, the separation between the interior and the exterior has almost been eliminated and nothing more than a large white curtain which covers the two floors of the building offers visual protection and shelter from the elements. The house can be closed off by sliding glass covering so that it is habitable in winter. These elements come from the shoji and sudare screens of traditional Japanese architecture. Another example of the 9 Square grid House. This is a “universal “square space that can be subdivided into nine parts (rooms) thanks to sliding screens.

Ban considers being an ethical obligation to propose some architectural models in natural disasters. Ban mentioned doubts about the contributions architects make in society. The existence of armed conflicts and natural disasters that destroy people’s life and leave them homeless is on increase. The way architects can serve society, particularly the minorities, will be a decisive factor in forming a character of this age, writes Ban. The architect has managed to unite his professional career, his ethical commitments (his preoccupation for the refugees, his ecological concerns) with his constant investigation into spaces, structures and materials. His view of what it means to be an architect in these agitated times is complete and generous.

Shigeru Ban makes it look easy. Winner, less than two years ago, of the Japan Institute of Architecture’s “Best Young Architect of the Year” award, Ban has a knack for putting together structures whose design elements, while certainly not simple, are easy to grasp, even for the layman. One reason for this may lie in Ban’s tendency to “pursue architecture with an invisible structure,” a result the architect achieves, paradoxically, by concealing almost nothing in his buildings. But more than form, it is the stuff his new structures are made of that cause Ban’s work to speak so clearly to our understanding – for the 41 year-old architect is building buildings out of paper.

“I don’t think I’m a revolutionary architect,” explains Ban, “I am just using existing technology and materials in a different way.”

An initial reaction that included at least a hint of incredulity would be normal. Looking at photographs of some of Ban’s cardboard-tube houses, one may suspect that the photos have been doctored. Paper and cardboard for the models, steel and cement for the actual structures, right? Wrong. And stepping out onto the rear terrace of Gallery Ma to regard the cardboard-tube canopy erected overhead is all the empirical evidence one needs to know, pure and simple, that Ban’s paper buildings are refreshingly real. One of Tokyo’s premiere architectural showcases, Gallery Ma in Minato Ward is now presenting “Projects in Process,” a show of drawings, models, and documentation covering Ban’s work over the last several years and focusing on an ongoing collaboration with Frei Otto for the Japanese pavilion at Expo 2000 in Hannover, Germany.

A highlight of the show is coverage of the shelters Ban designed while he was a consultant to the United Nations High Commissioner for Refugees (UNHCR). Composed of plastic tarpaulins stretched over a cardboard-tube frame, the quick-construction structures first appeared in
Rwanda several years ago when UNHCR realized that their original policy of sending a plastic sheet, instruction book and hatchet was leading refugees to cut down too many trees. When alternative materials were considered for the shelters’ frame, the prospect of aluminum, for example, being sold-off by unscrupulous elements in the distribution chain could not be discounted. Enter Ban’s cheap and lightweight cardboard tubes. Ma has a full-scale refugee shelter installed in their second level exhibition space which visitors can enter to watch a video documenting the project.

But the show of Singapore biennale has to be Ban’s recyclable pavilion, of which there are several large models and a fascinating collection of sketches, plans, and architect-engineer correspondence. The structure’s truss roof is composed of cardboard tubes covered by a membrane of treated paper, and rather resembles a low-rise biological version of one of domes. While Ban’s work becomes much more involved, there is still the very Japanese transparency that Ban strives for in his structures. Long members running the length of the structure joined together, edge to edge, in a continuous zigzag. This system of diagonal trusses was held in place between shorter lateral running across the structure. Through his exploration of the structural capabilities of organic materials, such as paper tubes, bamboo and wood, Ban has created a new vocabulary for contemporary architecture based in environmental and social concerns.This system of diagonal trusses was held in place between shorter lateral running across the structure. Through his exploration of the structural capabilities of organic materials, such as paper tubes, bamboo and wood, Ban has created a new vocabulary for contemporary architecture based in environmental and social concerns. Some of his best-known constructions are made from cardboard tubes and reinforced paper panels called Sonoboard. He has used steel fasteners and strips of plywood, but the overall effect of his structures is of extreme lightness. They look as if a few strong men could pick one up and move it to a new location like moving an armchair or a sofa. And yet they also seem to embody strength, a braced and balanced toughness like the wings of a biplane.

Be that as it may, who’s who of art and architecture insiders circulate under the artist’s 10 meter high cardboard frame and paper-skin canopy, there is a certain buzz in the air that compliments the childlike excitement in Ban’s eyes. The bonus of fully-bilingual and easy-to-understand attendant texts and an excellent catalogue make the show a wonderful introduction – even for those who have never visited an architectural exhibition in their lives – to the work of one of the most fascinating architects in Japan today. Ban is attracted to using paper because of its low-cost, its recyclable, low-tech and they’re replaceable. The last aspect of Ban’s influences is his humanitarianism and his attraction to ecological architecture. Ban’s work with paper and other materials is heavily based on its sustainability and because it produces very little waste. Humanitarianism is an informal ideology of practice, whereby people practice humane treatment and provide assistance to others. Humanitarianism is based on a view that all human beings deserve respect and dignity and should be treated as such. Therefore, humanitarians work towards advancing the well-being of humanity as a whole.

Ban is most-famous now for his innovative work with paper and cardboard tubing as a material for building construction. Cardboard is a lay term used to describe a variety of heavy wood-based types of paper notable for their stiffness and durability. Cardboard furniture is furniture designed to be made from cardboard or heavy wood-based types of paper.  It is thin material produced by the amalgamation of plant fibers, which are subsequently held together without extra binder, largely by hydrogen bonds and to a large degree by fiber entanglement. The fibers used are usually natural and composed of cellulose. The most common source of these kinds of fibers is wood pulp from pulpwood trees, largely softwoods such as spruce.

Ban fits well into the category of “Ecological Architects” but he also can make solid claims for being modernist, a Japanese experimentalist as well as a rationalist. “I don’t like waste” is an apt quote from Ban, summing up his philosophy, known as “Paper Architecture.”

Conclusion
Although ban has become an icon for advocates of ‘green’ and ‘eco-friendly’ architecture, his intention behind his work is slightly different. It’s more a philosophy against waste.
It’s about creation, inquisitiveness, innovation, and about tackling problems with a sense of humor. All of his work is permeated by a solid sense of Japanese architectural history and he has translated it in a very contemporary manner by re-examining existing natural materials, or metamorphosing banal materials into proud structural elements.
Shigeru ban creates new spaces that are in tune with the original function of shelter, he tries to improve people’s lives in time of natural calamities and with eco friendly materials.

 http://www.flickr.com/photos/85582035@N00/?deleted=193890904

References 

 1. Bryan Lawson (2001). Language of Space .Architectural press ,Burlington
United Kingdom. 

2.  Mary Cambert (2004) Top Architects of the World.(Trans) Mark Holloway,Eva Marin. Ferre Olsina SA,
Spain.  3. http://en.wikipedia.org/wiki/Shigeru_Ban 

4. http://en.wikipedia.org/wiki/Cardboard  

5. http://en.wikipedia.org/wiki/Singapore_Biennale

6. http://www.hno.harvard.edu/gazette/2003/02.20/09-gsd.html

Zaha Hadid: Reading Her Biography Through Her Metaphors in Design by Christine Wonoseputro

1. ZAHA HADID, A Leading Woman Architect In 21^st century

In the past decade, there has been a turbulent for architecture and design in Britain. With supported by the crown Prince of United Kingdom, Prince Charles, architecture has been in the front line of public debate. There are a lot af school of architecture that being developed and also a lot of creative and talented young architects that being born in United Kingdom. Among a lot of young architects that bring avant-garde way of thinking through their work, Zaha Hadid appear as one of those avant-garde thinker in doing design,especially architecture and some other design fields. Among male domination, there are not so many female architect has become so intens in doing their works and projects like what has being done by Zaha Hadid.
In 1977, Rem Koolhaas has reported that Zaha Hadid fifth year at the Architecture Association included that she was a rocket that took off slowly to describe a constantly accelerating trajectory ( Koolhas in Fawcett, 1991 ).

Zaha Hadid was born in Baghdad in 1950 from a rich family. In 1968 – 1971, she was taking maths at the American University of Beirut and continued her study at Architectural Association School ( AA School ) in London, United Kingdom in year 1972 – 1977. After completing her architectural studies, Zaha Hadid join the OMA – Koolhas ( the Office of Metropolitan Architecture ) and collaborating with her senior, Rem Koolhaas, Zaha began her own career. Became a London – based architectural designer whose work encompasses all fields of design, ranging from urban scale through the micro-space design, such as products, furniture, and interiors. Her concern was a simultaneous work of teaching, researching, and practicing, without any compromising to the modernising. From the beginning of her career, Hadid has reworked the concept of how to organize the public space. Hadid has a deep concern through art. It is probably because she likes to paint. Hadid’s work has attracted Philip Johnson who made it as the focal point of “Deconstructionist” exhibition that took place in Museum of Modern Art in New York. Now, her suprematist theme has been realised in myriad excisting projects, such as her first built schemes in Japan, called Folly 3 ( 1990 ) in Osaka for the Garden Festival and MoonSoon, a spectacular restaurant interior in Sapporo, North Island. Since winning the prestigeous Pritzker Prize for Architecture in 2004, work has been pouring for this Iraq born-London based architect.

Through her recent architectural and installation art project in Singapore, Hadid has shown her deep concern about how art and space should make collaboration in order to speak up about good metaphor.We can see that along the decades, she probably the leading woman architect who has innovation and creativity in her work.

2. An Architect Called Zaha Hadid

To be more understand of what has she done in her works, I use the “Geoffrey Broadbent theory” about architecture and human science.( Broadbent, 1974 ). Broadbent first investigates what an architect is as a person. Trying to understand how an architect thinks and what sets him apart from the other members of a building design team. Although Broadbent has mentioned that the reports are inconclusive about what characterizes an architect, he has mentioned that there would seem to be great difference between the personality of the architect an average personality.

Broadbent defined that a building as a means of modifying the thinking idea of the architect itself can be viewed as a creative process, that very similar to general problem solving as performed by many people in different situation. Broadbent mentioned that there are interesting investigations about different types of thinkers that can be identified. One classification is between convergent thinkers and the others are divergent thinkers. Convergent thinkers are generally associated with the science, these type usually work with one answer about the problems. The other type are divergent thinkers that will respond well to open ended questions, taking pleasure from the task of proposing many alternatives to a given problems. Divergent thinkers seem to enjoy ambiguity in a problem and happy to work in this kind of situation.

According to Broadbent’s theory, we can see architect as a unique figure, that can be understood from the way of his or her works.He mentioned that along the design process, The alternative solution that being taken by the architect or the designers come from the experience and experiments that has been done before. The experiences has make the basic of the cognitive problem solving throughout the design itself. So does Hadid’s works. In some of her project, we can see that she is a person with broad experience, full of energy, and more to become a divergent thinker, even-though she has once being trained as a convergent learning. She mentioned that her precious childhood has traced some habits in her works. She said that she used to draw masp and stuff like as she was a child. As a child, she travelled frequently with her father, Mohammed Hadid, aho was a businessman and a democrat. She raves about Iraq of the 1960s to the United Kingdom, the place where people embraced education and ambitions of becoming doctors and scientists. In her teens, Hadid has been encouraged by her other siblings to have an independent voice and her own taste. After completing her major subject in Beirut, she jump to architecture and entering the prestigious AA School in London. After completing her architectural studies, she join the Dutch Architect, Rem Koolhaas. In those early days as an architect,she got a lot of benefits. Working from home, than she was submitted a lot of design competitions. To survive, she gave lectures at her almamater for about 10 years. In 1985 she opened her own studio, now she has 136 employees.

3. The Story Behind : Reading Her Biography Through Her Works – Case Study Of One North In Buona Vista and Singapore Biennale 2006 Project

The main idea that we can read from Hadid’s work is that her controversial design evolve from a unique and her personal interpretation of some experiments that being carried out earlier by the Russian Suprematists[1], ( Betsky, 1991 ) which can be seen as anti-gravity architecture or design that against the nature of science.

Mainly, through her recent project, that being done in Singapore Arts Museum that become the “centerpiece” of the whole Biennale event in August until November 2006, has shown that her idea is like a spiritual metaphors, that the main idea, is not supposed to be read in the physical existence of the form, but supposed to be read in the meta-physical existence of being, or the intangible meaning.

In Singapore Biennale[2], the idea has been described in organic shapes, that being floated in the whole of Exhibition space, like ghosts that being appeared in the old building of St. Joseph Catholic Boy School. In void area, “the ghosts” remain stop flowing, and turn its direction – because we can see that in the front yard, the shape is more like a giant flower that blooming very nice and seems like greeting everyone who were visiting the exhibition area. And in the other void area, those shapes are standing up, facing the sky and pointing to upside direction , like fingers that pointing up.

What can I see through that project is actually the playing of vertical and horizontal mode of the shape. When it appear inside the building or in the interior, it flows like wind and water but when it appeared in the open space or void area, it stop and turn vertically.

The other interesting part of her work is, actually the way of how she put the accent. The accent usually intriguing, like screaming, and interrupting, and sometime shocking. Like inside the museum gallery, suddenly the shape try to make cross-border through the physical partition, like it want to breakthrough the concept of modern space that being formed by the site existing.

The other thing that should not be miss is the way she choose materials and structure. To present the concept of”out of the box” she choose rather uncommon material for outdoor sculpture, which is foam, and being coated by special ingredients to protect it against weather. She use with colour with texture to finish up her installation and hanging it , so it would look like light weight sculpture that against gravity.

The other project is OneNorth masterplan[3], the project of Hadid’s collaboration with JTC-Jurong Town Council,Singapore $ 15 billions New Economy Hub project in Buona Vista.The main concept of the One North master-planning is actually represent Singapore as a place of exchange, the life exchange, vista exchange, and central exchange. It because, as Hadid has said, that Singapore – located one north degree from equatorial, has been developed as a melting point across the countries. The programs are mixed unit buildings among residential units, commercial hubs,tertiary, and reserach institutes, sports facilities, and green spaces planned for One Northe envisions a new creative environment that is conducive for innovation and experimentation in living space.The rush complex of geometry extends to the glazed building that hug the base of each building and extends also into the recreated landscape, the latter benefiting from the hilly terrain it sits on from some dramatic slicing of rock masses and water features. The landscaping and programing of the interstitial fissures hold promise of physical lubricant for community to take shape. With putting the public-social space gathering, by putting cafes, restaurants, salubrious sitting bench, and latter replete by water, timber decking, and greenery the social meeting really facilitated.

The Phase1 of the development, called Biopolis 1 is the metaphor of life exchange. It madeup of 7 buildings named Helios, Nanos, Proteos, Genome, Matrix, Centros, and Chromos. She was tempting to think that Biopolis 1 is as large piece of Rock that being broken into small pieces.

From both of Hadid’s project in Singapore I see similarities between both designs, the fluidity in space and the way how she is looking architecture, not only as a frozen being, but the element that can speak up. The element that can represent herself, through it shapes, structure, and materials that she has chosen. As we now that Hadid is the deconstructionist of Shard and Sharks movement[4] – who works with slates and planes elements , she seems like comfortable to work with this kind of methodology in design development. Probably, it was because Hadid has been trained as mathematician, so she use her convergent learning background in order to support her divergent thinking. The concept of speed and fluidity, fractal and anti gravity has make her design metaphor really become Hadid’s authentic design trade mark.

4. Conclusion

Her works has revealed that Zaha Hadid is an independent and energetic person who has authentic works and brave enough to speak up about her own taste. As a woman, her design metaphors has represent the spirit of “sharp-energetic-feminine” figure in architecture which idea is probably intriguing with our minds but in the other side it really has strong message, to say about the who is figure behind, and give prominence on marking the architectural design of 21 st century.

————————
Footnotes :

[1] Suprematism is an art movement focused on fundamental geometric forms (squares and circles) which formed in Russia in 1913.When Kasimir Malevich originated Suprematism in 1913 he was an established painter having exhibited in the Donkey’s Tail and the Blaue Reiter exhibitions of 1912 with cubo-futurist works.He created a Suprematist ‘grammar’ based on fundamental geometric forms; the square and the circle. (http://www.wikipedia.org/suprematism, 2006 )

[2]The Singapore Biennale 2006 (SB2006), Singapore’s inaugural international biennale of contemporary art, is open to the public on 4 September 2006. This major international contemporary art exhibition will feature more than 95 artists and artists collectives from over 38 countries and regions including Singapore. B2006 highlights Singapore’s prominence as an international visual arts hub, not only providing new opportunities for Singapore artists, curators and arts businesses, but also as a key enabler of exchange and collaborations for the global arts community. The presence of SB2006 is also a significant opportunity for the Singaporean public to develop a stronger relationship with contemporary art. (http://www.singaporebiennale.org/, 2006 )

[3]One North project is set to be breakthrough community in western part of Singapore. The main concept is being developed in order to morphing the organization age to the creative age. They are designed to embrace an environmentalism with the use of pneumatic waste, conveyance system, direct air conditioning system, and intelegent building automation system. (http://www.one-north.com/, 2006 )

[4]Shard and Sharks: the most radical of deconstruction architecture. They play with slate and plane. The composition is chaotic and fractal. The metaphor is rebellious, chaotic, and the beauty of ugliness. Prijotomo called this kind of deconstruction as the “ugly duckling” –the hidden beauty of design. As being mentioned by Gehry in his Inaugural Lecture in NUS, October 2006, he use his architecture as the metaphors of urban chaos, the mixed use topography and the messy environment. He said that architecture is become mirror of its era, giving achieves to next generation about how that time when architecture is being stated looked like . So, as what Himmelblau has stated, that architecture has mission to carry, as a story teller. Architecture must burn. Frank Gehry, Zaha Hadid, Kazuo Shinohara, Coop Himmelblau, and Gunter Domineg are the part of Shard and Sharks movement. ( Wonoseputro, 2006 )

References :

1. Betsky, Aaron (1990). Violated Perfection, 1990, United States of America : Rizolli, New York, 12, 30-36.

2. Broadbent, Geoffrey ( 1973 ). Design in Architecture : Architecture and the Human Science, United Kingdom: John Wiley and Sons.

3. Fawcett, Anthony (1991). At RAndom : Zaha Hadid-Nigel Coates, New British Interiors, Kyoto: Kyoto Shoin Publisher.

4. Lim, Vincent ( 2004/2005, 023 ). Creative Fiss : A Review of Biopolis Phase 1, d + a ,08-12.

5.http://www.one-north.com/

6.http://www.singaporebiennale.org/

7.http://www.wikipedia.org/suprematism

8.http://www.wikipedia.org/zahahadid

9.Wonoseputro, Christine ( 2006 ) . Metaphors : A Creative Design Approach or Theory ?, Retrieved November, 01 2006 from

http://www.transmaterialasia.wordpress.com/2006/01/11

The Digital Architecture of Dagmar Richter by Andy Chua

There are some forms of familiarity concerning non-standard architecture and digital architecture. For non-standard architecture, the use of digital tools and computation for architectural conceptual productions has been around for quite a while. In some areas, these boundaries are gradually softened, with schemes being metamorphosing and time sequences are slowly breaking down. The principles of interrelation, variability and simultaneity now immerse itself very much into the process of defining non-standard architecture.

The widespread use of application programs based on the algorithmic systems changes in design and production tools. To many practitioners, non-standard architectures are a self-reflection on the language of architecture and its applications. This is because we are basing it on the foundation of the convention of the digital elements. Many of the traditional construction methods can now be contrasted with production based on the prototyping of prefabricated architectural component; this is due to the fact that digital process enables the entire architectural ‘development’ visible enough, right from the conceptual stage. This is done through an assortment of experimental entities and prototypes. Thus, through this process a reinterpretation of the history of art and architecture in terms of movement and its nuance.

Many might enquire what does ‘non-standard’ consigns to? This eventually brings us right back to the world of mathematics, for their major theoretical breakthroughs (in which regards themselves non-standard) that cleared the way both for fractal and catastrophe theory and for artificial intelligence. The notion of ‘non-standard’ first appeared in the field of mathematics in 1961, with the work of Abraham Robinson[1]. Its implications are manifold and affect every discipline to which algorithmic systems can be applied, such as artificial intelligence or morphogenesis (the development of structure). Non-standard architecture can now be a part of history which is now being revitalised; this is credited to the development of propositions which were long muffled by the standardisation and technological limitations in the past. The scrawny form of the non-standard – variations from its many norms – has become fairly widespread, but the challenges for non-standard architectures are of a much more radical order: the generalisation of singularity[2], within a new order: the non-standard. Non-standard architectures too have a relationship with Unprocessed Architecture.

Organic architecture itself is a viewpoint in which it encourages social harmony between the human locale and the natural world. This is done through a series of design approach experimentations, in which this belief will then blend itself by accepting and well integrated itself with the surroundings and the furnishings, thus to become a part of a unified, interrelated composition of the universal environment. Architects such as, Gustav Stickley, Antoni Gaudi, Frank Lloyd Wright, Louis Sullivan, Bruce Goff, Rudolf Steiner, Bruno Zevi, Imre Makovecz and most recently Anton Alberts are all famous for their work with organic architecture.

The term “Organic Architecture” was coined by the famous architect, Frank Lloyd Wright (1867-1959), though never well articulated by his cryptic style of writing:

“So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials…”

- Frank Lloyd Wright, An Organic Architecture, 1939[3]

Digital Architecture too was somehow related to Non-Standard Architecture. The emergence of Digital Architecture is dated back in the year 2000. At the end of the 20^th century and the beginning of the 21^st century, the applications of computer have changed the entire design methods. This is evident in the areas of technology showcasing virtual reality, CAD/CAM technology and internet applications. It is through the usage of computers, it enables famous architects like Frank Gehry and Peter Eisenman to create many wonderful designs. Several of the architectural components had been redefined, as such that functions, forms, volumes and space are been experimented and tested out on digital platforms. This new type of structural design produced by the amalgamation of new architecture efforts and digital technology is generally called digital architecture. However, the debate of the computerisation has been shifted from its original focus. That is it has shifted its focus from the more technical issues into areas which relates itself towards the identity of digitally architecture issues and concerns, such as “is digital architecture a transitory phenomenon or a permanent revolution?”. Others might post this question such as “will digital technology hurt the architecture that we are not familiar with?”. Many architects and designers are also facing the real “threat” of revolution by digital architecture, as some of them are trained the conventional ways.

Many architects and designers are trying to demarcate the real definition of digital architecture. They are asking whether digital architecture is a form of new tools, new theory, new age or new revolution towards the conventional architecture. To be sincere, digital architecture in reality is a mode of new contrivance. However, if digital machinery does not manipulate the way we conceive design thinking, design methodology and eventually spatial theory, then this new tool can be classified as a form of new tool, which has little or no impact on the above mentioned items.

No doubt that digital technology is been regard as a breakthrough in architecture practice, on the contrary, it is just merely regards as a tool. However, this form of tool is far more powerful than the drafting invented during Greek Time[4] or the modelling in the Renaissance era. Digital Architecture might also be regarded as a form of new theory. As it is being used to aid and assist in the design thinking process. At the same time, design theory from the Renaissance period[5] will also be changed greatly by the computer aided design and the design with computer. On the other hand, if the design approach, thinking pattern and spatial theory are all changed by the digital architecture, digital architecture will be more than a hypothesis. The digital architecture might thus form a new age if it is considered to have an overall impact on architecture. We should pay more attention to it because if the digital architecture really forms an era, it will influence not only on architecture, but also the value system and aesthetics, as well. Finally, digital architecture can also be defined as a revolution. Every revolution changes human history and life style, agricultural revolution and industrial revolution. Since architecture is only a small part of the social evolution. We can only wait to see what drastic socio-cultural changes will emerge in the digital age.

However, there are gaps in digital architecture. It is not easy to predict the future of the digital architecture, although, it is still progressing with the full speed. There are still gaps between the architectural education, society culture, and digital architecture. The first lull identified here is the gap between professional and non-professional. Why these 2 words. The reason behind this is because, for the latter when it comes to design training, which has long existed without the aid of technology. And many of those who are trained in the various aspects of designs are done in a manual way. However, the former when it comes to training and thoughts are more “dependent” and thus could accept the advancement of technology. The second is the gap between two exiting generation and digital generation. We define the generation every 10 years. It’s not easy for the different generations to communicate with each other. The generation gap between the existing generation and the digital generation can be easily seen in the debate of architectural design process, presentation, space, volume, concept and aesthetics. Digital generation uses computer to white, thinking the traditional writing time-consuming, while the other generation criticizes the writing in the e-mail as “the writing without quality”. The third is the gap between the architectural and non-architectural field. Focusing more on the arts, history and culture, architecture always reacts slowly for the technology revolution. For instance, the communication has been totally digitalized, the architects still merely use metal and glass to express the avant-guard architecture, without digitalizing the design process. Meanwhile, the architectural education hardly puts any effort to keep up with the rapid change of the digital technology.

The last is the gap between digital technology and human science. Emphasizing its philosophical, historical, social and cultural context, architecture is always the essential part of the human science. However, I sincerely believe, the computation will enhance the cultural development a lot, same as the architecture. Thus this could be identified as a new form of revolution for design and architecture. And when it comes to defining architecture in the digital age, a new vision is heavily criticized by the contemporary society. Only few of these new visions can be confirmed and recognized as master pieces. The vision of digital architecture also needs both the personal creativity and the social appreciation. Many people are making their most efforts to define digital architecture. This is another form of digital revolution in digital architecture.

Dagmar Richter is one of them. Her continuous research into the usage of digital technology in architecture forms an invisible layer of revolution in the digital architecture community. She strives to reassess the commonly held notion of territory as an “extension” or “free domain” where architecture is enrolled for the development of town-planning requirements. Rather than using the concept of available space to ascertain the prior qualification of any zone, she substitutes the memory of the events comprising it. The immediacy of this archaeology constitutes the project’s basic material, in a renewed understanding of the urban approach. Beyond any post-modern assimilation, this relationship to history is directly material and tectonic, and it reconstitutes the ground in symbolic sedimentary layers which the architect then uses as a formal resource. To design in architecture is to transform found spatial structure. Dagmar Richter uses the example of the Le Corbusier[6]’s Dom-ino structure. Dom-ino concept was a simple statement about the possibilities of reinforced-concrete construction: a frame of six columns, set back from the edges not unlike the six dots of a domino piece, supporting floating floor and roof slabs, with a cantilevered stair linking the different levels to the ground and the roof. Experimentation with this model provided Le Corbusier with the basis for his Five Points of Architecture. This standardized prefabricated framework of floors, stairs and load-bearing columns were the only fixed parts of the house; everything else was non-structural and hence entirely flexible – allowing an open plan and non-structural façades. The walls, windows, etc were independent and could be added in any arrangement and style that appealed to the owner.

She chose Le Corbusier’s Domino skeleton to test out the spatial and material postulations which were deeply grounded in our design methods and design thinking. This was so; especially with Le Corbusier believe that he had originated a pure and total concept of construction. Dagmar’s research studio had started the process by looking at the construction in layers. The first layer, the hierarchy of the slabs, as the slabs formed part of the communication portion of the construction. The transformations of the layers allow us to take a closer look into the areas of the nomadic life cycles in a constructed environment and permanent constructed biography of the local context. Dammar transformed the found spatial structure and layers in an adaptable domain of changes where this spatial text put forward in different forms of representation, in forms of atmosphere, humidity, temperature, light, recycling, diagrams, photographic material, filmic material as well personal experience, which in turn is automatically transformed through the interpretations of digital technology. Thus the first layer is being break down into a form of skeleton.

As the next layer, the skeleton was extra been transformed into sections where further introduced as a transformative influence. These digital revolution changes of Le Corbusier’s Domino skeleton allow us to witness the different types of living prototypes of typology of living. This is been identified with an unswerving connection towards the surfacing new role of architecture in terms of the surface. The surface here refers to the performance level of the surrounding that has a contributing factor towards the skeleton structure. In which mass has an important factor in the transformation of the newly created digital form of the Le Corbusier’s original creation.

Another contributing factor that can be discussed here is the ‘veneer’ and the ‘furnishing’ aspect of the Dom-in (fo) House. Damgar had tried to demonstrate the development of the new conversion via the extensive application of facade created by her research team. This is done by generating fundamental geometrical prototypes and typologies. Testing them against various different performance criteria, such as visual access, filtering, shading, body support and the ability to contain and use water within a specific given dimension.

The test resulted with a possible solution in the stacking of a high-rise structure for either short or long term period. This is essential especially within the areas of metropolitan living are concerned. In areas where, dense living is an issue, the newly digital converted allows the structure to be connect through layers and levels of vertical cityscapes. The options of the low-rise construction methods through the single attached units in the suburban context also establish a platform to allow test for a duration between short and long term living. This second test platform allows, Dagmar Richter to test out the association of the recently designed digital domino assembly with a possible connection the surrounding landscape to the different living units, as well as interconnecting and interweaving water, the outside and inside, and neighbouring constructions. With the results of using digital technology, Dagmar Richter realised that they had experienced a massive paradigm shift in the deeply rooted modernist architectural ideology, in terms of logic of tectonics. The resulting models are attempts to illustrate a new prototype of a topology for living in this digital revolution era.

Let’s take a look at the planning model for Manhattan of 1997 by Dagmar Richter. The region between pier #16 and #18 at Lower Manhattan has been chosen for investigational analysis regarding the new use of digital technology in its relation to spatial zoning planning. The main idea was register on any changes of the society instantaneously to the dynamics of the city as an urban organism. To this area, around the East River, data was collected in terms of spatial and statistical, in which it was then transmuted into a cerebral animated 3 dimensional spatial atlas. These 3 dimensional digital animated layers were then used to understand the inherent and unpredictable dynamics of the city, understood as a large organism[7], influenced by inside and outside events, are the force that animates the model. This new 3-dimensional digital effort allows the creation of a more complex program for the relationship of the city’s section and creates the possibility of the expansion of more public space throughout the volumes of the buildings. Further zoning, was done to understand zone sponge around the areas surrounding the piers. This is to understand the meshing effect scenario on the types of programming that could occupy the data cape of Manhattan. The end results of these digital experimental, envisage that the resulting architecture would then operate itself within a given outline within its volume of the urban organism. This overall, new zoning model generated by digital means would provide a new re-programming and multi-programming within a section of a new urban fabric

Another project by Dagmar Richter; Shanghai Residential Design Competition 2000 was based her project on the tradition and design of Chinese garden when she came across a piece of Chinese painting. The entire reflection of the design scheme was based on the issues of cultural heritage and the precedence in the non-western cultures. This is because; many Asian cities that had been admit defeat to Western prototypes. And Asian architecture setups were just simply been regarded as an art of stylistic copy. First of all, she has interpreted the current situation as a complex network of complicated conduit which serves a wide range of varied communal spaces. Water and mountains, these two elements which are dominant in the Chinese gardens typology, which help her to create alternative solutions to the current well established western techniques of housing design. Instead of a direct translation of the formal vocabulary of the singular high-rise or low-rise building of the West, she used the old tradition of artificial hill construction to achieve dense and, in some cases, relatively high housing volumes by 3D animation means. Based on the symbolic magnitude of the pinnacle of mountains surrounding Shanghai, she distributed the densely spaces urban housing plan evenly. Water element was also used in order to create voids and distances, thoughtful mirror surfaces which divide evenly but not separate it from the local context.

Spatial and its formal forms are presently connect in an edgy investigate for solutions and experiments to vital questions about the natural world and the identity of the discipline, and digital technology is the prevailing agent for prevailing innovations in design methods and design process thinking. Although, this is really nothing new, as new technology has always been a catalyst for new ideas in design methods, design experiments and design process thinking in our daily practice as a designer or an architect. Digital spatial and formal forms have found it with new forms of digital representations, as information reconfigures into digital visualizations, and projects evolve further as digital fabric fabrications. However, a clear and critical definition of new principles has to be examined in the wake of these new tools driven towards our implementations of digital forms in spatial fabrications.

The digital box itself has gone from being an isolated box to become part of a gigantic digital network of networks, which shapes our collective future and helped in our creation of forms and spatial language. There are at least six digital phenomena that directly affect the architectural world: miniaturization, being everywhere, global, communing globally in real-time, networking everything, vitality and anamnesis. These phenomena have squeezed, stretched, restructured, reconfigured, and redistributed most major human institutions and architectural theories of the Renaissance period. Consequently, the world’s role in digital architecture and its importance and nature have changed over the years. Architecture has always been traditionally understood as a periphery before has been changed. Many practices now have, however, have been repositioning themselves to take advantage of the new opportunities beyond the bounds of traditional architectural practice with the help of these digital technologies.

To conclude, design, practice, fabrication and construction are increasingly becoming an affair of networking design lab in all design studios and design institutions. These new tools allow practitioners in the design and architecture scene, to be in touch constantly with connectivity and speed via experimentations before been realised in our daily practice. The digital architecture revolution has created a new world which has been recognised and conventional designers and architects are starting to take these transformations and thoughts differently in another mode as compared before the emergence of digital architecture.

[1] http://en.wikipedia.org/wiki/Abraham_Robinson
[2] http://en.wikipedia.org/wiki/Mathematical_singularity
[3] http://en.wikipedia.org/wiki/Organic_architecture
[4] http://en.wikipedia.org/wiki/Technical_drafting
[5] http://en.wikipedia.org/wiki/Renaissance
[6] http://en.wikipedia.org/wiki/Le_Corbusier
[7] X Y Z, The Architecture of Dagmar Richter 2001:140

Design Elements for Contemporary Home Interiors by Joey Chong

The metaphors, colours and textures used in contemporary home interiors in Singapore.

1   Introducing metaphors, colours and textures in relationship to interiors

The meanings of metaphors, colours and textures in interior spaces >>>

There are various types of metaphors being identified in “Metaphors for Inspiration“. A metaphor carries an idea from one area to another and it has an essential creative role in literature and the arts, in planning, architecture and design. They also provide a system of thought that can supplement or bypass logic. A creative fusion of two entities takes place in a metaphor and it constructs meaning of an essential part of creativity.

Metaphors can be identified under three broad categories, namely, intangible, tangible and combined. Intangible metaphors are those which are created with particular individuality such as a concept, an idea, a human condition or a particular quality. Tangible metaphors are those which can be visualized such as a castle or the roof of a temple as the sky. Lastly, combined metaphors are a mixture of both intangible and tangible metaphors. [1]

No doubt, some types of metaphors are more relevant to interiors than others, such as

• a compound or loose metaphor which catches the mind with several points of similarity
• an absolute or para-logical metaphor (sometimes called an anti-metaphor) which has no discernible point of resemblance between the tenor and the vehicle
• a submerged metaphor which the vehicle is implied or indicated by one aspect
• a root metaphor which associates shapes to an individual’s understanding of a situation [2]

The word “colour” may refer to a hand full of things. It may refer to “colour” as a visible property of light and of objects and substances under the colour category or “political colour” as colours used to represent a political stance, ideology or a position on the political spectrum under society and religion category and various other meanings of “colour” under the television and movies category and the music category. [3]

Here, I am more interested in the meaning of “colour” as a visible property of light and of objects and substances.

Colour is the visual perceptual property corresponding in humans to the categories called red, yellow, white, etc. Colour derives from the spectrum of light interacting in the eye with the spectral sensitivities of the light receptors. Colour categories and physical specifications of colour are also associated with objects, materials, light sources, etc. based on their physical properties such as light absorption, reflection or emission spectra.

The science of colour is sometimes called chromatics. It includes the perception of colour by the human eye and brain, the origin of colour in materials, colour theory in art and the physics of electromagnetic radiation in the visible range. [4]

“COLOUR is literally the ‘wavelength’ medicine of the future. It calls to us and asks us to recognize its value as an alternative medicine that the environment can provide.”

The Power of Color [5]

The most interesting part of “colour” is “colour therapy”. Colour Therapy aims to balance and enhance our body’s energy centres/chakras by using the seven colours of the light spectrum, which can help to stimulate our body’s own healing process. Each of the seven colours resonates with one of the main seven chakras.

Each of the spectrum colours is simply light of varying wavelengths, thus each colour has its own particular energy.

The energy relating to each of these spectrum colours resonates with the energy of each of the seven main chakras of the body.

 violet – crown

 indigo – brow

 blue – throat

 green – heart

 yellow – solar plexus

 orange – sacral

 red – base

Lastly, a short introduction of the word “texture”. Texture refers to the properties held and sensations caused by the external surface of objects received through the sense of touch. Texture is sometimes used to describe the feel of non-tactile sensations. Texture can also be termed as a pattern that has been scaled down where the individual elements that go on to make the pattern not distinguishable.

Texture can be found in music in terms of the way we describe the overall sound of a piece of music, painting in terms of the feel of the canvas based on the paint used and its method of application, crystalline in terms of the property of a material’s individual crystallites sharing some degree of orientation, geology in terms of the physical appearance or character of a rock, such as grain size, shape, and arrangement, at both the megascopic or microscopic surface feature level and mapping in terms of the application of a bitmap image to the surface computer 3D models. [6]

2   Contemporary home interiors in Singapore

The word “contemporary” means current and modern. In other words, “contemporary home interiors in Singapore” can also mean “modern home interiors in Singapore”? Let us look at two very different modern homes in Singapore as an appetizer of how a contemporary home in Singapore looks like.

The two following interiors namely Garlick Road House by Kerry Hill Architects and No63 & No 65 Emerald Hill Residence by Teh Joo Heng Architects shows some distinctive contrasts in terms of metaphors, colours and textures used. Although there might be similarities with both as both architects uses mostly natural tones but the metaphor, typography and language used are noticeably different. There are also slight difference in the palette of natural tones both architects have chosen. Hand in hand, these two homes gave us a totally different touch and ambiance walking through the spaces.

GARLICK ROAD HOUSE by Kerry Hill Architects [7]

Kerry Hill Architects is based in Singapore. From this island city state, they create many projects in various other countries. A project in Singapore is somehow a rarity which is also quite ironic and so, it is a treat to find a work in Singapore.

 Upstairs gallery

View from guest bedroom terrace & view from rear garden

Entrance & view from master bedroom terrace

The Garlick Road House is in a pleasant, quite neighbourhood. The house is a carefully sculpted composition of boxes, it asserts its presence yet harmonizes with its surroundings. The careful modulation of volumes creates a scale that sits harmoniously on the site. The deft modulation of materials and textures creates a pleasant harmonizing atmosphere instead of an imposing and jarring intrusion into the landscape. The house welcomes you grandly. A sequence of experience emphasizes the different layers of the spaces. The layers are an interesting discovery in this house. The layering allows an unfolding of views, of spatial qualities, of spatial scale and textural impressions. The layering also allows blurring of distinction of spaces while firmly defining spatial boundaries and qualities.

NO 63 & 65 EMERALD HILL RESIDENCES by Teh Joo Heng Architects [8]

No 63 and No 65 is a pair of identical, original terraces nestled in and amongst a row of about ten others in the same series. Interesting enough, the houses, located side-by-side are owned and inhabited by two brothers and their families.

No 63 Walls speak a strange language with the light it catches here

No 63 The suspended family area sandwiched between two lightwells & gazing up through the delicately positioned perch towards the top rim of the lightcatcher

There is not much to prepare you for the spectacle that awaits in No 63. You enter through a typical forecourt, slightly deeper than those you would find along Cairnhill. It leads you to the home’s threshold, as is typical, by the requisite six-feet-deep veranda. At this point, your eye is drawn towards the back of the hall – to the ceiling in particular, where a continuous section of it seems to have been deliberately removed. Through what you now realize is a glazed floor, you glimpse the back of something large, seemingly floating. You are naturally drawn towards this strange structure by the copious amount of light that fills the space which contains it.

No 65 One’s attention is deflected and focused on the living room’s “gallery wall” shown here sans glass installation

No 65 The language of the right angle pervades & the loft like master bedroom connects into the main living spaces beyond and below

A simple, unassuming door is all that separates this reality from that which exists on the other side of the divide. In many ways, this door and the party wall which contains it, mark a line of symmetry between both homes. Rear accommodation are almost carbon copies of each other. Both homes utilize an identical palette of finishes (natural timber, which painted perforated steel sheets and a proliferation of clear glass) and the two share common construction details.

3   The use of each element in contemporary home interiors in Singapore

I have combined my understandings of metaphors, colours and textures under one roof - I call them the “design elements” and here, I will be exploring the essential use of these elements in contemporary home interiors in Singapore. Why are these elements important in interiors? How can these elements affect an interior space? and perhaps, how can each of these elements change a space and its space within? 

I have chosen three works done by the SCDA Architects in Singapore to further discuss these design elements and the questions above. Following are the works of Soo Chan I have chosen to discuss, namely

• East Coast House – 1996
• Coronation Road West House – 1998
• Andrew Road House – 2000

“Working within the framework of a given vernacular presents opportunities to study and reinterpret inherent spatial typologies and their relationship to the climate and place. Construction, craft and material are integrated through careful assemblage of the various components. The inherent beauty of the natural materials used easily appreciated through the clarity in construction details. Spaces are often characterised by their relationship to courts, pools and landscape – engaging the elements and grounding the project in the climate nuances of place”

Soo Chan, January 2002 [9]

EAST COAST HOUSE

The East Coast House is in essence a narrow three-storey box sharing a party wall with an adjoining house. There were no external views that could be exploited and consequently the house is focused inwards.

Other familiar elements in SCDA’s architectural vocabulary are evident in the East Coast House. These include the detached gable wall, the louvred screen as part of a layered facade, the sheltered patio and the reflecting pool

The expression of planes, surfaces and voids is immediately apparent upon entry

Cantilevered stair treads lead to a steel and glass bridge that spans the central lightwell and connects the two bedrooms at second storey level & detail of glazed timber trellis skylight over spiral staircase

Various elements in planes forming an abstract composition

The prayer room at second storey level

An exhilarating view of the pool at the foot of the central atrium, from the glass bridge at second storey level which daylight enters through the narrow glazed rooflight between the house and the detached gable wall & sunlight filters through louvres located below the glazed roof of the central atrium

View of kitchen and dining from yard at the rear

A sensuous top lit bathroom

The study at the third storey level is a steel and glass box surrounded by timber louvres. Seen at night from the surrounding area it has the appearance of a rooftop lantern

Detail of the master bathroom and dressing room

A small palm court contributes to the overwhelming sense of calmness in the internalized world

CORONATION ROAD WEST HOUSE

This house has a wide frontage and a shallow depth and it is arranged parallel to the across road. The form is a balanced composition of planes and boxes, more specifically, a reinforced concrete wall inscribes a heavy line across the site. The wall is anchored at one end by the house – a heavy box – yet balanced by a smaller, lightweight and more transparent box that sits atop and cantilevers out from the other end of the wall. The fulcrum of this asymmetrical composition is the entrance lobby which is centrally located on the site.

There is a duality evident between the front and rear of the house. The former is solid and exclusive, the latter open and embracing. A motorised timber screen moves across the west facing windows at the second storey

The view from the living room to the external paved court and the swimming pool that is terminated by a granite wall

Detail of the staircase wall at powder room

View of master bath

The elegant main staircase features a steel and glass balustrade and diffused lighting reveals the tactile surface of the off-form concrete wall

A lightweight louvred box sits atop the concrete wall that defines the front setback line. It functions as a study and provides shade to the open-to-sky court below & the view across the swimming pool towards the paved courtyard and the sliding louvred screen beyond

View out from the studio. The horizontal timber louvred panels swivel to catch the breeze and to reveal diverse vistas while simultaneously maintaining privacy

ANDREW ROAD HOUSE

The house consists of three flat-roofed rectangular blocks on a rectangular site that slopes approximately four metres from east to west. The three blocks respectively: a long, rectangular, timber-clad block; a simple block enveloped in a light metal screen and the third block in the form of an open-sided pavilion. All have flat roofs of zinc titanium.

The view from the vehicular entrance drive. Pedestrians are directed from the gateway to an opening in the granite wall

A textured granite wall shields the house from the road and conceals the entrance court & SCDA’s familiar strategy of choreographing a route is again evident. The visitor turns instinctively from the reception pavilion towards the principle living areas

View from the reception pavilion towards the dining terrace & view from the entrance pavilion towards the swimming pool and the upper floor of the guest suite beyond 

At the eastern end of the entrance pavilion is a circular arrangement of timber blocks that houses hi-fi equipment and acts as a giant lantern when lit

The principle living space overlooks the entrance courtyard and the landscaped garden

Daylight filters into the linear space that provides access to the bedrooms at the second storey level

4   Concluding “Design Elements for Contemporary Home Interiors in Singapore”

These three design elements have played an essential role in designing contemporary homes in Singapore today. Without them, a space is just an empty shell without “soul” in it. From the above works of Soo Chan, simple materials such as timber has been used in various ways, creating different spatial experiences. And of course, a careful mix of colours found in his interiors enhances itself. Colours and textures found in an interior space not only refer its structure, to me, it also means its furnishings. Colours of furniture and decorations complete the theme and brings ”life” to the space and the space within.

Together with examples of Garlick Road House by Kerry Hill Architects and No63 & No 65 Emerald Hill Residence by Teh Joo Heng Architects and the three works of Soo Chan, the metaphors, colours and textures used in contemporary home interiors in Singapore are extending its meanings. Extending its meanings in interior spaces and I believe these three design elements will and can be explored to the next level in the near future.

Footnotes and References

[1] Quoting from http://en.wikipedia.org/wiki/Metaphors

[2] Reference from POETICS OF ARCHITECTURE: Theory of Design, Anthony C. Antoniades, Van Nostrand Reinhold, United States of America (1992)

[3] Reference from http://en.wikipedia.org/wiki/Color

[4] Quoting from http://en.wikipedia.org/wiki/Color

[5] Quoting from The Power of Color: Creating Healthy Interior Spaces, Sara O. Marberry, Laurie Zagon, Wiley (1995)

[6] Reference from http://en.wikipedia.org/wiki/Textures

[7] Reference from SINGAPORE ARCHITECTURE 231: Homing Instincts, February/March 2006

[8] Reference from SINGAPORE ARCHITECTURE 231: Homing Instincts, February/March 2006

[9] Quoting from SCDA ARCHITECTS: The Master Architect Series VI, Selected and Current Works, Images Publishing, Australia, 2004 

Research Topic 1 (Innovation & Technology Assignment 1)

You are required to submit an online essay with illustrations in the form of a Weblog space shared by your classmates. Your assignment will explore the impact of innovation, change and technology on a particular form of space that you are interested in (e.g. children’s space). Name 3 innovative materials that can be incorporated in this space. You have to specify the nearest supplier of these materials, lead time for delivery upon confirmation, cost per unit (in relation to bulk order, maintenance cost and the average life-span. The essay should have a minimum of 1500 words. Sources of images and references should be acknowledged

Credits Breakdown

Forum participation (2% per topic)     - 10%

Individual essay                                 – 30%

___________________________________ 

Assignment 1 total credits                   – 40%

_________________________________________________________________________________________________________________

Research Topic 1 : Index

Leena’s Research

Transmaterials in Office Space – New renewable materials in Office Space

Christine’s Research

Transmaterial in Children’s Space – How Children’s Behaviour affect the use of the materials in space 

Joey’s Research

Exploring – Exploring Innovative Materials for Architecture and Design 

Andy’s Research

Transmaterial and Human Behaviour – Understanding Human Behaviour

Transmaterial for Office spaces By Leena Deshpande – Part 1

Syndecrete is a solid surfacing material (pre-cast lightweight concrete material) developed by Architect David Hertz at Syndesis, as an alternative to limited or nonrenewable natural materials such as wood and stone, and synthetic petroleum based solid and laminating materials.Syndecrete is a restorative product, reconstituting materials extracted from society’s waste stream to create a new, highly valued product.

           Environmental Friendly material 

The advanced cement based composite contains natural minerals and recycled materials from industry and post consumer goods which contain up t0 41% recycled content. Such materials include metal shavings, plastic regrinds, recycled glass chips and scrap wood chips to name a few. These materials are used as decorative aggregates, creating a contemporary reinterpretation of the Italian tradition of terrazzo.Syndecrete’s broad range of applications and its unique aesthetic qualities differentiates the product from other environmentally friendly building materials. The provision of custom Syndecrete products often initiates the use of recycled and environmentally friendly products to a high-end, design oriented market segment which might not otherwise be predisposed to seek out recycled products. Its own emphasis on the outstanding environmental qualities of Syndecrete will stimulate the growth of “environmental quality” as an important product selection criteria in the building and design industry.Syndecrete is an advanced cement based composite using natural minerals and recycled materials as its primary ingredients. There are no resins or polymers. Syndecrete is a solid surfacing material which provides consistency of color, texture, and aggregate throughout. It is less than half the weight with twice the compressive strength of normal concrete and is available in a variety of densities ranging from 35 — 100 lbs/c.f

http://www.syndesisinc.com/index-syndecrete.html

Transmaterial for Office Spaces By Leena Deshpande Part -2

Kirei is a Japanese word signifying many meanings, including Clean, Pure, Truthful and Beautiful. These combined meanings are the starting point for our company philosophy, which is to bring beautiful, natural materials to market. Kirei Board is made from rapidly renewable, reclaimed agricultural fiber, with a low-VOC emission adhesive. Kirei Board is manufactured from reclaimed agricultural fiber from the Sorghum plant grown around the world for food. The stalks of this plant are usually burned or thrown into landfills after harvest. By using them in the production of Kirei Board this material is removed from the waste stream, reducing landfill need and air pollution, while giving rural farmers a new source of revenue from a previously unused waste material. Each of products uses reclaimed, non-toxic materials to lessen our impact on natural resources and contribute to a clean, healthy indoor environment. Kirei Board is used for all interior architectural millwork applications, including: Wall Covering, Ceilings, Cabinetry, Cabinet doors, Furniture, Retail Displays, Flooring etc.

                    Kirei, renewable material for interiors

Kirei Board is manufactured from Sorghum grown in Northern China. The factory is placed in the center of the agricultural area where the sorghum used in its construction is grown.

Cutting: Prefinishing material with a sealer coat can help avoid chipping along saw cuts. For best results use a high-quality saw blade, feeding the material at a uniform speed through the saw. Solidly back panels to prevent chipping along kerf on the saw tooth exit side.Drilling: A high-speed drill is recommended. To avoid chipout or breakage on the exit side, back the panel with scrap material.Routing: A speed of 20,000 RPM is recommended using double-fluted router bits.Filling: Standard wood putty can be used to fill any chips or holes caused by cutting and sanding. Select a color that best matches the color of Kirei Board or your finish color.Fastening: All fastening methods may be used, including nail, staples, rivets, screws, bolts, glue or combination. Type A or AB, sheet metal, twin fast types and fully threaded screws designed for use in particle board offer better withdrawal resistance than wood screws. Pre-drilled pilot holes are recommended for the size screw used. If nailing, use spiral or ring shank nails for extra holding power.(Note: Nailing or screwing into edge grain may result in lower screw holding power due to fewer cross-layers being engaged.)Finishing: Kirei Board panels can be filled, sealed, painted, stained or varnished with most commercial finishing materials including short and medium oil length primers, fillers, lacquers, and synthetic base coats and topcoats and high temperature bake and acrylic and epoxy systems. The panels should be at stable room temperature (70 degrees F and higher) when coated. Kirei recommends Low-VOC emission finishes.Edge Treatment:The exposed edges of Kirei Board are intended to be finished, unless the type of application does not require a more finished appearance than sanding affords. If shaped exposed edges are required, filling, sanding and painting of the edge will provide a satisfactory finish. Kirei Board can be edge banded with most commercial edge treatments using standard adhesives.Ordering information

Transmaterial for Office Spaces – Part 3

Tension Fabric Structures

 Fabrics as Light fixtures.        Use of Fabrics in Ceilings.

 Traditionally fabric was used only for upholstery, but now we are experiencing the innovation and exploration of fabrics in interiors as well as exteriors.There is a very wide use of these fabrics in interiors, public spaces, educational spaces, Landscape area’sThe fabric structures can be also used in permanent areas like Canopies, tensioned membrane systems, awnings which are aesthetically pleasing as well as functional. Providing shades for parking area, walk way, covered play grounds, cruise ships and yachts.Textile architecture is the perfect balance between functionality and aesthetics.Textile architecture is considerate of the environment and allows a non-negligible economy of raw material. Translucent fabrics create also a bright and convivial environment, the daylight bringing a smooth and natural interior lighting. At night, translucent fabrics and interior light emphasize building design.

                   Temporary canopy.

Functionally……Compared to classic architecture, textile architecture involves the use of a smaller amount of material, an undisputable advantage for large projects. Textile architecture means a huge scope of creative and attractive designs. Tensile architecture is based on a tensioned membrane system, often using cables and wires, offering unlimited design possibilities. There are 4 main types of shape that can be combined together. These fabric structures are best suited for temporary and removable covered places, banners, signs etc. PVC polyester is the most common fabric in textile architecture and has been used worldwide for over 50 years. It is a cost effective material with a lifetime of 10 to 20 years. PVC polyester fabric is safe material and a fire resistant product. It has a light transmission factor between 0% and 25%, and a UV transmission of 0%. A special additional coating creates an effective protective layer against dust, pollution, mildew and discoloration. The fabric is available in many colors.Celanese Acetate, a business of Celanese Corporation, manufactures cellulose acetate products used in filtering and other industrial applications.Derived from highly purified wood pulp from re-forested trees, cellulose products are “natural” and “environmentally friendly. Cellulose acetate flake can be converted into a wide range of products from tough, clear, impact-resistant plastics to soft, drape able, absorbent fabrics.Acetate is made from a renewable resource – reforested trees.Celanese Acetete Three park Avenue
New York,NY
10016,Phone: 212-251-8050

www.celaneseacetate.com

 1. Transluscent Concrete

   Transluscent Concrete as vertical partition

Transluscent concrete has been developed by LiTraCon. It is called Light transmitting concrete ( transparent concrete ) that has been invented by Áron Losonczi. This kind of material has made a new look of traditional concrete. We know concrete in the past as a solid and rigid material, which can be made either cast in-situ or pre-fabricated. Because of its transluscent character, this material can be developed as the playing equipment, such as to make transluscent tunnel or transluscent partition which can attract children in both side of space to interact each other. This material is also developed the heat insulation for its use which will create a great effort for building and environmental design in tropical climate.

If the research being succesfull, this materials could be a great demands. Through building design, not only in children’s spaces, but also for other public buildings in tropical region. The source also mentioned that this kind of material is still under further research for its application of a large scale building is still under development. Aplication of This Material The aplication of this material is quite broad, which can be use as flooring parts, partition, or even interior accessories.

We can see the shadow of human body through transluscent concrete.

The modul of this material is in : 35×35×5 cm which now the pavement block is available.

Price for a light block : Eu.570 + shipping.

We can se the shadow of the body because of the transluscent character of the concrete
Data of this material : ( based on the source )

Form: prefabricated blocks/panels Components: concrete, optical fiber

Fiber ratio: max 5vol%

Light transmittance at 4vol%

fiber ratio: 3% (compared to clear floated glass)

Density: 2100-2400kg/m³

Compressive strength: A: 49N/mm² B: 31N/mm² C: 56N/mm²

Bending strength: C: 7,7N/mm² Block size

Thickness: 25-500mm

Width: max 600mm

Height: max 300mm

Finish: polished

Heat-insulation: possible (under development)

All other technical data are under testing.

Sources:

http://www.inhabitat.com/

http://www.litracon.hu/project-pavements.php#

http://www.techeblog.com/?p=1176&cp=4

2. Memory Foam

Children are the most active in their early developing stages. They like to jumping, crawling, or even rolling on the mattress. It would develop their psychomotoric skills. The memory foam will stimulate them to play, because it leaves the trace of the body parts or other children’s body parts. It is also interesting to be applied as children’s sleeping mattresses because its ergonomics and comfortless, which can supports the body structure, so children will grow in good posture. This product was being introduced by NASA, in order to make comfortable equipments to the astronauts inside the space crafts. But actually it doesn’t work very well in outer space, because this material is so sensitive, especially to temperature changing. Its contains of three layers of foam, which is compressed into compact foam.

Data of This material :

Memory Foam left the hand print for about 20 – 30 until 60 seconds, depends on its quality.

This kind of material has already been sold worldwide, even in Singapore. One of the brands of this kind is Sleep Aid, and has been produced most in Asian factory. We can already find this material in Singapore. We can found these material in various range of prices.

For instance, A high quality of memory foam shouldn’t cost more that U$2,400 in a king size mattress. But these kind of foam also available in unbelievably low price depends of its quality. From other sources, memory foam is also available in back pillow memory foam ( U$ 69.90 ) and sleeping pillow ( U$ 19.90 ).

Source :

http://www.a1mattress.com/foam-buyer-guide1.html

http://memory-foam.directory.alibaba.com/

3. Mood Lighting 

Music can developed the balance of left brain and right brain development, especially for the children in their early developing stages.

Some expert has mentioned that music, especially the classical kinds of music can build the intellectual development during the developing stages. So music becomes the important part in children learning environment.
The interesting material which can support the children to learn about the music would probably the mood lighting.

It is because moonlighting can change the color of the light rhytmically.

I think that this material could be fun for children during their playing or learning time, because they can interact with the light color changing.

This interesting lighting was being produced and developed in
Germany, but nowadays it has already been produced in Asian factory. Mainly in China and will be coming soon in
Malaysia.

Application of This Material:

This kind of lighting could be placed either horizontally or vertically. It could be use in walls, ceilings, or even in floor, but should be covered by protection layers, such as glass shield or acrylic shield.

The cost of This Material:

It has already been found in Singapore market ( such as parkmall or other lighting distributors ), and it being sold per-piece in 60×60cm panel, contain of 4 parts of lights.

Each panel will cost S$850-980.

Source :

www.ylighting.com http://www.elights.com/traxon-mood-light.html

4. Living Surface

While children are playing, they love to explore more about something that attract them. Previous research learn that they interesting on moving and colorful objects which make the elements of surprise in the essence in playing. The elements of surprise will enrich the making of place for children. The enjoyment of playing will bring the sense of children emotion in space, which will make the space, belongs to them.

  The color will change if we touch the surface

The liquifloor/ living surface will be this kind of material, which will enrich the making of place for children. It was being developed by the B’Lab, consisted of layered acrylic that will interacted on touch and vibration which enable the pigment of color mixed.

It could be applied either to floor or playing tables in children’s spaces, which will make them follow the pattern of the color changing and following the air bubbles interactively by touching the surface.

Probably this equipment has been the part of learning spaces itself, because without toys, it has already attracted them as a “toy” or playing tool itself.

There are various kinds of color that the designer can choose, either monochromatic or bichromatics. It can arrange into a nice composition with the entire playing environment design.

Data of This Material:

Living Surface - Produced by B’Lab (Italy )- Contain of 2 sheet of acrylics which is competed together with colour pigment or metal

- Application: partition, decoration, top table, etc.

- Have various kinds of modules.

- Type : line, points, and free line ( source :www.blabitalia.com )

Line:The application of this material is doing in line, especially for its finishing edge. They have 60 x 60 and 80 x 80 cm modulo and 60/80 cm diameter for circle. (see the www.blabitalia.com for further detail ).

Points:The application of this material is doing in points for wood base and can be edged in several wood finishes ( see the www.blabitalia.com ).

Freeline :Characterized by it texture surfaced and the color resin trim with delimits the edge.

This type is only produced in bi-chromatic variation.

Liquifloor

- Produced and developed by B’Lab (Italy )

- Contain of 2 sheets of acrylics compacted together by colour pigment or metals.

- Application : Flooring or decorative tile.

- Have various kinds of moduls.- It produce into 3 type : sketch, geo, and metal.

Sketch:Is the bi-colour liquifloor , which contains of 2 kinds of color pigments .

Geo :Is the mono-chromatic liquifloor, which contains of 1 color pigment.

Metal :

Is the tile which contains floating metal elements. The metal series surface reacted to pressure with slow subtle movements slightly altering the color tones. The touching hands or shoes’ sole will reacted to the surface an leave as temporary drawing or written text which can slowly fade away.

http://www.livingglass.it

http://www.cafeinteriors.co.uk/livingglass.html

http://www.blabitalia.com/

Conclusion :

The new innovation will bring new design issues and also support the new design issues. These new innovations seem also very interesting to be applied in children’s space design. It seems fulfilling the ambience and coloring the enjoyment of playing. However, looking for qood and high quality material take a very high cost in completing our projects and designs, especially for Indonesia and other developing countries in South East Asia. So the homework for us to think about is how to put high cost demands and these innovation together. The other important thing is also reminding us that eventhough there have already been innovative materials that could support the spatial design, we still should be very selective to put and to arrange them together.

Exploring Innovative Materials for Architecture and Design by Joey Chong
Some of these materials are not catalogues from the supermarket. It is a glimpse through a half-open door that invites you to enter a rich world still brimming with surprises. This is just the beginning. Human curiosity will not be satisfied until we have a zillion polymorphous materials that together can be seen as a universal modelling clay for crafting everyday life.

We are on the verge of witnessing a veritable revolution, one that will lead materials for every requirement imaginable. Nanomaterials are already revolutionizing our knowledge, our concept and our control of the elements, opening the door to an infinite store of new materials and new qualities.

Full Blown

Sheet steel inflated under presure. Full blown is a successful combination betweenj the toughness and density of the metal and the apparent lightness of the inflated structure. A modernistic innovative technique which takes the raw strength of metal and completely changes our perconceptions of the material by creating harmonious beauty through a deceptively soft, organic appearance that defies its strength and rigidness.

After two sheets of steel (from 0.3 to 2 mm thick) are arc welded together around the edges, air is injected under pressure to create a three-dimensional volume. Borrowed from industrial processes used to make certain types of reserviors, this technique produces aesthetically unique cushions – no two alike.

Applications

Furniture, walls, windbreakers, accessories and scuplture

Dimensions

Range from 5 to 250 cm

“Extreme Forces fashion the metal, naturally contorting it to produce an equal but individually unique form.”

For each piece, permulations of finishes on stainless steel are used from a surreal pallet of many highly reflective mirrored surfaces and rich colours, giving stunning variations of different lighting conditions.

Full Blown Metals_Unit , The Clocktower_Buildings_Haverthwaite_Ulverston_Cumbria LA12 8LY_England

T +44 (0)709 2126 874

info@fullblownmetals.com

www.fullblownmetals.com

Shock-absorbing Foam

Shock-absorbing foams (SAFs) made of polyester are distinguishable from conventional foams because of their pronounced viscous-elastic behaviour. The reaction of the material varies with the rate of application of force. The viscous-elastic behaviour is strongly dependent on temperature (the foam becomes more pliable with warmth as from the body) and humidity.

The elements of SAFs help prevent bedsores, they are often used in the manufacture of orthopaedic and medical mattresses and cushions. The material ensures uniform pressure distribution even with heavy loading and offers a support similar to gel or liquid cushions. The relatively open-pored foam structure can “breath”. It provides good air circulation and reduces excessive perspiration. For protection and for reasons of hygiene, matress and cushion covers are recommended.

Composition

Polyester

Properties

Sound-absorbent, high density, open-pored (easily soiled), flexible, strong, returns to original shape after compaction

Applications

Health care (mattresses, cushions, earplugs) and architectural construction

Maintenance

SAF underlays and overlays can be washed, machine-dried and autoclaved.

Mute Room 2001

Commissioned by the CCA Wattis Institute, San Francisco, CA

Created for the Rooms for Listening exhibition, Mute Room invites visitors to recline upon a wave of memory foam that fills the gallery space. As a room-sized device for listening to experimental electronic music, a contour of the foam’s surface operates as a sound baffle to enhance clarity. Similar to the way that musical notes “decay” in the air before dissipating, this surface has a transitory quality 0 impressions linger until fully erased by the slowly acting foam.

Thom Faulders of Beige Design fashioned an intriguing installation with SAF for the Rooms for Listening exhibition (California College of Arts and Crafts), which featured a spectrum of experimental electronic music and sound. The installation, called Mute Room, is composed of 1800 square feet of pink memory foam (SAF 60120), enough to fill the entire gallery like a fleshy hill, a gently rolling landscape coaxing visitors to walk around, sit down and curl on its surface.

Crossing the foam surface is like walking on wet sand, footprints gradually fading away. The “smart foam” erasers itself while retaining the original imprint in its memory. It contours the shape, typically a body part, giving both a satisfying feel and a high degree of support. The material creates an ideal lounging environment for experimental electronic music – the room becomes a cushion in which the music is paramount.

Swisstex_PO Box 9258_Greenville SC 29604-9258_USA

T +1 864 845 7541

F +1 864 845 5699

swissinfo@sprintmail.com

www.swisstex.com

Beige Design_The Tannery_738 Gilman Street_Berkeley CA 94710_USA

T +1 510 525 9602

F +1 510 525 9672

info@beigedesign.com

www.beigedesign.com

Jelly Tile

Soft, supple and viscous, Jelly Tiles adhere to all flat, smooth surfaces. The design of a wall decorated with Jelly Tiles can be changed every day if desired, as the tiles are quite easy to remove and rearrange. To restore their sheen and adhesive properties, simply immerse them in a basin of warm water. Thanks to the translucence of the polyurethane gel used to make the product, Jelly Tile can be combined with lighting to create any number of unique visual effects.

Dimensions: 125 x 125 x 11 mm

Keiko Oyabu_7-30-14_Tamagawagakuen_Machidashi_194-0041 Tokyo_Japan

T +81 (0)42 7259 655

F +81 (0)42 7255 769

keoyabu@attglobal.net

Living Floor

Modular Liquid Floor Tiles

Floor tiles which contains colourful fluids. Walking on them creates movement of light stimulating sensations of nature and atmosphere. The Mono-chromatic tiles leaves a memory and trace of a footprint behind due to pressure. The immiscible colours create an endless range of patterns.

“Walking on the LIVING FLOOR stimulates memories of nature like walking on a sandy beach or across a green pasture.”

They are produces in three different versions namely – METAL, SKETCH (one colour and bi-chromatics) and GEO.

METAL

This tile series contains floating metal elements. The METAL series’ surfaces react to pressure with slow subtle movements slightly altering the colour tones. The touch of a hand or the sole of the shoe can temporarily leave a written text or drawings on the tile which slowly fade away.

SKETCH

The SKETCH series gives the illusion of watercolour painting. Vivid colours on white base with multiple shades of underlying colours which appear and disappear on the white background while you interact with the tile surface.

GEO

Earth tone liquids placed on coloured backgrounds create a more intense movement and composition of colour.

Technical Data

Measurement: 497 x 497 mm

Thickness: 6/7 mm

Weight: 10 kg/mq

Fire Reaction: Class 1

Information

The recipe is simple – take two sheets of flexible PVC, weld them at the edges and encapsulate one or two colour fluids between then two – but the realization is complex. The external PVC tile is a non-slip surface and the lower layer is shockproof. The two sheets are combined with rigid PVC becoming a single piece.

Installing

Tiles should always be laid on smooth and flat surfaces. The surface has to be – HARD (use supports, non dusty and non friable), DRY (test the dryness by using a hydrometer, the degree of humidity should not be more than 3% in weight) and SMOOTH (in order to respect the perfect planarity of the entire surface, please apply a levelling product before installation. Make sure that the surfaces is completely horisontal as any differences in level can cause a non-uniform colour distribution).

Storage

Tiles should be superimposed two by two in order to avoid the bending of the tiles themselves. The tiles must always be kept in a horizontal postition. These floor tiles resist at temperatures up to 60 degree celsius, however the best reults are obtained at a room temperature between 10 to 40 degree celsius.

Maintenance

The tiles resist to diluted acid and most common products and detergents used for cleaning. Avoid carpet and mats with rubber supports (put a PVC or Polyamide protection under furniture and chair legs).

B.Lab_Via Marmolada 20_21012 Gallarate (VA)_Italy

T +39 0331 7744 45 _ F +39 0331 7348 44

living@blabitalia.com

www.blabitalia.com

GLOSSARY

abrasion – the process of scraping or wearing down by friction

adhesion – the property of sticking together or holding fast

elasticity – the property of a material that enables it to deform in response to an applied force and to recover its original size and shape upon removal of the force

fluid – a substance, such as a gas or a liquid, that is capable of flowing, yields easily to pressure and conforms to the shape of its container

foam – any of various light, porous, semirigid or spongy materials used for thermal insulation or shock absorption, as in packaging

nano – a prefix denoting a factor of 10-9

PVC – (polyvinyl chloride) a white, water-in-soluble, synthetic thermoplactuc material made by polymerizing vinyl chloride. Properties depend on the added plasticizer. PVC is widely used in the manufacture of floor coverings, insulation and pipes. Other applications are showes, garments and moulded articles

shape memory – a property exhibited by certain alloys able to recover their initial shape when they are heated after having been plastically deformed

vinyl – any of various though, flexible plastics made from polyvinyl resin, especially PVC