Documente Academic
Documente Profesional
Documente Cultură
DESN 7401/6301
Studio Project
Belly buttons punctuate a life story written on a mattress-map in Guillermo Kuitca’s Untitled, 1989.
“Like a film, the bedroom map retains and explores ‘folds’ of experience. It charts the private
inner fabric of our mental landscape… Reproducing the immobility that allows us to travel the
unconscious, it traces the very itinerary of our unconscious journeys… It is our life map.” (Bruno,
2002: 240)
Introduction:
Film:
Film is a kind of language, a language to create atmosphere which contains its creator’s feelings,
thoughts, memories and emotions. Film is different from written or spoken languages. It creates
meaning with images, camera movements, sound effects etc. However, when an audience
watches a film, ‘the observer is not simply a consumer, but an active – or potentially active
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participant in the process’.1 This is the process which relates with the audience’s own
An interior space, whether a physical space within a building or a virtual space within a film, has
the ground, walls and light. It is formed by shape, light, colour and materiality. However, there are
differences between the two kinds of spaces. The physical spaces engage embodiment relating
to the temporal and unrepeatable aspects of everyday life. Physical space is changing and
moving depend on “how the space has been used, who used or are using the space, and how it
develops, even for the further changing” 2. In physical space, a person’s experience and
memories are merged; memories are transformed into experience upon the physical space that
is personal and privileged. Different from physical space, the virtual space within a film is not
about physical surroundings and bodily inhabitation, but perception and imagination.
architecture through filmic processes. He concludes that Khedoori’s architectural painting seems
to be isolated in a world, and the isolation belies the nature and time of architecture perfectly3.
Toba Khedoori’s architectural painting (see one of his paintings, Untitled: Black window) implies
the possibility for understanding architecture frame by frame. More particularly, the ‘frame by
frame’ is able to represent the nature and time of architecture more clearly because each frame
relates on specific time and aspect in this architectural space. In other words, architecture can be
read and understood more meaningfully through isolated time, and hence, be more meaningful
1
Monaco, How to read a film: the art, technology, language, history and theory of film and media. P.130
2
Grosz, Architecture from outside: essay on virtual and real space. P.7
3
Vidler, Warped space: art, architecture, and anxiety in modern culture. P.155
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Toba Khedoori Untitled (Black Window) 2006
This studio design project invites you to critically examine the relationship between
virtual space in film and physical interior space, and to investigate the following question.
Sarah Treadwell states that a motel is a temporary and secondary homeliness which is like an
imagining of everyday life without routine and closure4. Motel often means mobility, the mobility
of inhabiters and spaces. The mobility can be constructed, as Treadwell suggests, ‘by the way of
montage with its ability to destroy the linear continuity of narrative (the return of the past as the
present)’. 5
A motel is also more like a second home than a hotel because it is likely to be more accessible to
stay in casually and is supplied with everything you need for basic domestic accommodation6. It
is a secondary home connecting the road and many domestic spaces. Inhabiters sleep, eat or
have a shower in the private space which has also been occupied and will be occupied by
4
Treadwell, Motels: images of elsewhere; presented in 20 th annual conference of the society of
architectural historians, Australia and New Zealand
5
Treadwell, Motels: images of elsewhere
6
Treadwell, Motels: images of elsewhere
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The design project – innovative interior design of a guest suite within the motel
You are required to conduct an individual investigation and study a film about a story in a motel/s
and small spaces to research the spatial qualities of creating atmospheres. You will need to
explore the filmic languages to capture the temporary quality of mobility and the
guest suite. You will study the film and your chosen site to unfold the memories, experiences and
We are expecting to see evidence of your consideration and understanding from your research in
your design project. You should use a range of media such as freehand sketches, drafting,
modelling, filming and animation to articulate your design concepts. You need to design your own
Schedule:
Thursday Morning 9:30 – 12:00 Rm. 1159: Pin-up group sessions (every student has to attend
group sessions)
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Week 9 (5-May): introduce assignment; develop brief; research ideas discussion;
Week 10 (12-May):
Provide the basic information of the site – motel: name, location, type and etc.
•
Research – film and physical space; the history of the site; theoretical context of motel
•
(you will need to choose four keywords to indicate your ideas. For example,
Present your documents and the basic information of your site; four key words to link
•
(22 – May) Thursday: Process presentation– You will need to present your design brief
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Focus on the elements you have found from your research (view, frame,
•
relationship/difference/connection between the space in the film and the space of the
site?
• Develop your design with the emphasises of shape, lighting and materiality
• Develop details
design project
Final Crit.:
Hand-in:
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Week 15 (16 -June) 9.30am
Hand-in requirements:
• Perspectives/animations
• Material experiments
Learning Outcomes:
• To demonstrate an engagement with conceptual and theoretical ideas from the investigation
• To develop the potential for the research to inspire innovative interior design
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Assessment criteria and weighting:
1. Analysis: 20%
Analysis involves initial evaluation of a brief for opportunities and possibilities, i.e. the generation
of ideas. It includes the establishment of parameters/boundaries for operating within the brief and
the subsequent management of design process within these parameters/boundaries. On-going
analysis of both practical work and theoretical research ensures that concepts are developed.
Analysis also ensures design process is productively shaped and appropriately focused. Analysis
of personal contexts, situational contexts and cultural contexts surrounding the making and
'reading' of work (i.e. of the implications of the work) will allow for strategic exploration, synthesis
and communication.
2.Exploration: 20%
The investigation and development of ideas through extensive practical exploration (i.e. the
making of work). The making of work is a means to both explore and articulate the motivating
concepts or intentions. It is also a means to explore the mechanisms of language, visual and
other.
3.Research: 20%
Research is the process by which the factors influencing the development of a design are
identified, explored and framed within the context of the design intent. Resulting information or
material gathered is used directly or indirectly to inform subsequent design decision making. Links
between research activities and subsequent work need to be evident and justifiable in a form
relevant to the design activity. There should be a considered and strategic approach to practical
exploration and theoretical research with the one informing the other.
4.Synthesis: 20%
The bringing together of all outcomes of practical exploration, theoretical research, and analysis
so that they can interact to form an overall holistic entity. This whole may be complex or simple
but is variously informed and thus constitutes an enrichment of design process and outcome.
Synthesis is a key component in an on-going feedback loop that helps the design process
develop through generation of new ideas, new explorations, new research, new analysis and new
synthesis.
5.Communication: 20%
Communication explicit and implicit means of all ideas, concepts and issues addressed within a
brief including all aspects of the design process. The selective and appropriate use of elements of
visual language as well as (where appropriate) verbal, written or other means of communication.
Communication is affected through the process of making work (i.e. making ideas manifest
through process and product) as well as by means of presentation. Communication strategies
should be evident and appropriate. There should be, either explicitly or implicitly, a rationale for
the communication strategies used to match perception (audience's 'reading') with concept
(maker's intention).
Readings:
Bruno, G. (2002). Atlas of emotion: Journeys in art, architecture, and film. New York, Verso.
Friedberg, A. (2006). The virtual window. Cambridge, The MIT Press.
Grau, O. (2003). Virtual art: From illusion to immersion. London: The MIT Press.
Grosz, E. (1995). Space, time and perversion. London: Routlege.
Grosz, E. (2001). Architecture from the outside: Essay on virtual and real space.
Massachusetts: The MIT Press.
Ballantyne, A., Ed. (2002). What is architecture. New York, Routledge.
Monaco, J. (1981). How to read a film: the art, technology, language, history and theory of film
and media. New York, Oxford University Press.
Pallasmaa, J. (2001). The architecture of image: Existential space in cinema. Helsinki:
Building Information.
Plummer, H. (1987). Poetics of light. Tokyo: A+U Pub.
Schwarzer, M. (2004). Zoom scape: Architecture in motion and media. New York:
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Princeton Architectural Press.
Movie Resources:
The Million Dollar Hotel (2000) - Directed by Wim Wenders
Four Rooms (1995) - Directed by Allison Anders, Alexandre Rockwell, Robert Rodriguez and
Quentin Tarantino with each of them directing one segment of the film