The review went really well. I wasn't expecting such great comments that the jury all congratulated me,
Hidden for me means to encounter the unexpected things, which could also translate into the negation of preconceived expectations. My project is about dwelling through four rooms that provides similar spatial experience and then come to an end with a unexpected fifth room in the center. The genealogy of the form was essentially a diagram showing how four volume respond to sheering force and created/concealed the elevated hidden space in slanted walls. The devices I used to create the hiddenness was to juxtapose the preconceived systemacity and the sudden encounter of the singularity. To emphasize the systemacity, symmetrical geometry and circulation are the primary motivators in that the four rooms are in similar shape with two interior walls slanted thus creating an ambiguity to the space on the other side; circulation runs in a symmetrical fashion which also goes under the center volume. On the other hand, to de-emphasize the singularity of the last hidden room, the slanted walls and walking within the chasms helped to conceal the central volume and disorient the dwellers; while on the lower level, visual transparency to the other rooms helped to set up the unexpectedness of the overhead volume, which is further accentuated by directing the dwellers to walk "pass"/(underneath) it through circulation. Therefore, having set up the preconceived regularity of the rooms through symmetrical circulation and leaving very little clue to the overhead elevated volume in the center, the dwellers would be really surprised to discover the hidden room in the end.
The jury liked the way I made the model (elegant) and also enjoyed the moment of passing by underneath the bridge. Also the variation in space differentiate the hidden room and the rest, which is nice to see as a end product that goes beyond what is required (meaning, after all, architects want to create interesting spaces!). Critiques include reconsidering path configuration and expand the intensity/tension of the lower space, and the project is not necessarily just about the hidden room itself. Also, it is possible to open up the floor and create more variations in lighting conditions. But overall, they all liked the project very much and want me to keep it up in my next project :)
Things I learned:
1) moments of thresholds are key to the construction of the hiddenness, so as the markers
2) There is an intrinsic irony in this project, that the designer has to explicitly construct the hiddenness while the dweller has to anticipate and experience the thing inexplicitly; Also, the regularity of the four rooms contradicts the singularity of the fifth; the resultant has to be an interplay between the contrasting concepts through creating spatially meaningful volumes and circulation.
3) one thing I learned, which is very important to me, that you should always ask yourself what kind of space did you create in the end? the project and the requirement are indeed very important, but looking beyond that, the end product can be as boring simply as a thing that fulfills all the requirement, or intelligently manipulate the space so that you get exciting spaces and volumes out of that?
4) sometimes, to revolve the primary, first problem you have encountered in your design, is far more fruitful than coming up with random configurations that bypass that; but just be cautious of mind traps. (4 versus 5 question)
5) do not make space in need of operation, but rather deliberately make the space so that it is symbiotic of volume and porche
6) interconnected symmetry makes it less redundant - if you want to question the meaning of symmetry
7) tessellation can be a good geometric motivator
8) representational tricks: longitudinal section model to highlight the sloping; renderings to depict experience as well as lighting/key thresholds; dismountable model - floor by floor to follow the circulation (Gu Jia); sectional model to show morphing geometry (see heng); model suggesting movement (Johanna); unfolded section
At the end of the day, design does not have to be complicated at all. Just be conscious of what you are creating and be confident about it. It is also very important to constantly question the design and push it to a place where you find the thing interesting/satisfactory enough. Be ambitious, but do not over do it.
I think now I understand why Inge did not push me that hard. She thought it was a very neat project and through this I need to learn how to draw plans and sections properly, also get to know what is good and bad in design. Retrospectively thinking, if I did not push myself and work from the critique by Cameron, I will not be able to make the last jump. Anyway, always push it a little harder!
KEEP IT UP :) YOU CAN DO IT!
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