Reflection on the feedback from my tutor

For my feedback, I received an overall “well done” for my good quality work and ability to adapt to changing circumstances due to COVID-19. Reflecting on my feedback I decided to underline positive feedback in green colour, negative in orange and suggestions for future/ changes in blue. It helped me to focus on specific parts better and understand which parts shall I focus on in the future.

I am glad to know that I managed to compile information from different sources and produced thorough research on Innovative Materials as well as giving interesting varied examples on Truth to Materials. I also made an insightful observation about distinguishing materials through touch and I should remember to include it in my research too. I was praised for writing about architecture in my region Tekov and bringing my ideas an personal experience in my work. I have to remember not to overuse InDesign, as although I manage to produce a clear and concise design, my outcome did not show much from the mind making process. When presenting information I should focus on presenting as relevant information as possible. I should also include much more process of mind mapping, analysing and thinking in my research rather than my final work. Mind mapping is about connecting information gathered and I should not be scared to use lines to connect them, the mind mapping is not only about putting together all the gathered information. When it comes to my writing I should use my own words as often as possible and use direct quotes in moderation and my tutor reminded me that it is okay to disagree with the views of others too. For my assignment, I was suggested to include more of the information I gathered to communicate the key aspects of the space better.

Based on my feedback I decided to change or update some of my previous work.

• Adding Fixing Methods in my Material Chart as in future it will be important to know which materials work together

materials_viktc3b3ria-kosztolc3a1nyiovc3a1Download

• Uploading my Innovative Materials sheet to the student forum for peer feedback.

• Printing my mindmap and adding my personal notes, connections and ideas in it.

• Making the information I present more relevant and specific. Example: Fondazione Prada Location

• Updating my final Assignment and presenting all the essential information gathered in more detail.

assignment-two-changed-after-the-feedbackDownload

Personal Reflection on Part 2: Research: Context & Material

Reflecting on Part 2 I think I had much more space and opportunities to have a look at other designs and designers, which I think significantly broadened my knowledge and the reason behind designs. At the same time, I believe I was less afraid of making assumptions or just thinking out loud, like in Exercise 3.2 where after unsuccessful online research I just wrote down my ideas and analysed the building based on material I had or found. When I come to my drawing I believe there is still space for imprvement even though I tried to focus on drawing more and I am hoping to improve even more in Part 3 as well as getting more engaged in OCA community.

Exercise 3.3

Before doing my research into vernacular architecture I decided to write down some question which I thought should be answered in order to understand this topic. I was working mainly with online sources and managed to gather a sufficient amount of information.

References

Homebuilding & Renovating. (2018). What is Vernacular Style? | Homebuilding & Renovating. [online] Available at: https://www.homebuilding.co.uk/vernacular-style/.

http://www.etymonline.com. (n.d.). vernacular | Origin and meaning of vernacular by Online Etymology Dictionary. [online] Available at: https://www.etymonline.com/word/vernacular [Accessed 30 Mar. 2020].

Achitecture. (2013). Origins and vernacular architecture. [online] Available at: https://shashayhelle.wordpress.com/history/origins-and-vernacular-architecture/ [Accessed 30 Mar. 2020].

Naturalhomes.org. (2019). Vernacular Architecture across the World. [online] Available at: http://naturalhomes.org/vernacular.htm.

Fig.1
(n.d.). Available at: https://en.wikipedia.org/wiki/Vernacular_architecture#/media/File:Velika_planina_031.JPG [Accessed 30 Mar. 2020].

Fig.2
(n.d.). Available at: https://en.wikipedia.org/wiki/Vernacular_architecture#/media/File:Church_St_Lavenham_Geograph-2482585-by-Roger-Cornfoot.jpg [Accessed 30 Mar. 2020].

Fig.3
(n.d.). Available at: https://en.wikipedia.org/wiki/Vernacular_architecture#/media/File:Church_St_Lavenham_Geograph-2482585-by-Roger-Cornfoot.jpg [Accessed 30 Mar. 2020].

Fig.4
(n.d.). Available at: https://shashayhelle.wordpress.com/history/origins-and-vernacular-architecture/ [Accessed 30 Mar. 2020].

I come from a small town Levice which belongs to a bigger region called Tekov. I decided to dive deeper into the vernacular style of this region as it is very close to me and I spent a lot of time here as a child.

References:

Anon, (n.d.). Región Tekov – Región Tekov. [online] Available at: https://regiontekov.sk/ [Accessed 30 Mar. 2020].

Přispěvatelé projektů Wikimedia (2006). Slovenská architektúra. [online] Wikipedia.org. Available at: https://sk.wikipedia.org/wiki/Slovensk%C3%A1_architekt%C3%BAra [Accessed 30 Mar. 2020].

http://www.ludovaarchitektura.sk. (n.d.). Ľudová architektúra Slovenska. [online] Available at: http://www.ludovaarchitektura.sk/ [Accessed 30 Mar. 2020].

a.s, P.P. (n.d.). Ako sa vyvíjala architektúra na Slovensku. [online] http://www.sme.sk. Available at: https://www.sme.sk/c/2725137/ako-sa-vyvijala-architektura-na-slovensku.html [Accessed 30 Mar. 2020].

(2005). TEKOV. [online] Available at: https://is.muni.cz/el/1421/podzim2016/ETBB88/um/TEKOV1op.pdf [Accessed 30 Mar. 2020].

Fig.1 (n.d.). Available at: https://regiontekov.sk/mapa-tekov/ [Accessed 30 Mar. 2020].

Fig.2 (n.d.). Available at: https://relaxmagazin.sk/2020/03/09/kremnica-alebo-martinhodte-si-mincou/ [Accessed 30 Mar. 2020].

Fig.3 (n.d.). Available at: https://ziar.dnes24.sk/dedina-roka-2019-potesila-stiavnicky-region-hned-dvakrat-tieto-obce-ocarili-340573 [Accessed 30 Mar. 2020].

Fig.4 (n.d.). Available at: https://www.nehnutelnosti.sk/3274893/rd-novy-tekov-s-rozsiahlym-pozemkom/ [Accessed 30 Mar. 2020].

Exercise 3.2

Unfortunately, I did not manage to gather much information nor get historical photos or plans of my chosen site. On the webpage of Café Stein, I found only the paragraph bellow.

”Since 1985, Café Stein offers a place for every former and future Viennese student. Being positioned in the ninth Viennese district, our Café is close to the city center and Ringstraße. The nice view of the famous Votivkirche invites many business people, tourists, students and many more to stop by. The mix of Viennese charm and a modern hot spot add up to a cosy retro-chic-style.” ( Café Stein original website)

Fig. 1 Café Stein Interior

After another round of research in English and German, looking on old maps and analysing the space I decided to at least do a bit of freewriting on the topic of the history of my chosen space. Looking at the exterior and interior of the building I would categorize it in the renaissance period. The reason I think the architecture of this building belongs to renaissance is that the building has a square, symmetrical appearance, there are decorative columns visible in the exterior, semi-circular arches in the interior which might be kept from the original design. Interior was probably renovated as the look seems more modern and minimal, no decorations on pillar or wall carvings. I find it hard to identify the former use of this building. It is very close to the dominant Votiv Church and the University of Vienna which was established in 1365. Could it be a space used by students also in the past?

Fig.2 Café Stein Exterior

Reference:

Anon, (n.d.). About us | Cafe Stein. [online] Available at: https://www.cafestein.at/index.php/en/about-us/ [Accessed 29 Mar. 2020].

Fig.1
(n.d.). Available at: https://www.cafestein.at/index.php/en/about-us/ [Accessed 29 Mar. 2020].

Fig.2
(n.d.). Available at: https://www.tripadvisor.co.nz/LocationPhotoDirectLink-g190454-d790114-i116465531-Cafe_Stein-Vienna.html [Accessed 29 Mar. 2020].

Exercise 3.1

As I already mentioned in the previous exercise, the majority of public places are closed in Vienna to stop the spread of coronavirus. As in the previous exercises, I also decided to do this one from home. I was working with the already existing photos I found online or I took in Part 1, google maps and sketches.

Use & function of the building

My site is used as a cafeteria where the majority of its customers come to have good coffee, meet people, work on their projects and assignments, have meetings or have family gatherings.

Photo of Café Stein interior from Part 1

Geographic location

Geographic location of Café Stein

Location of the interior space within the building

We could divide the Café Stein into 4 floors. Floor -1, 0, 1, 2, 3. There is also one small semi floor dividing floor 2 and 3.

Rough sketch of floors in Café Stein

Entrance locations and types

I used a floor plan I made in Part 1 as I believe it is specific enough and all the entrances are marked.

Existing buildings & their uses

Café Stein is located in the central part of Vienna, surrounded by a big Sigmund Freud Park and a garden which belongs to the Votiv Church. We could also find many cafeterias like Café Le Marché, Café Francais, bars and restaurants like Das Kollin or AIDA around as this is a very popular part of Vienna for gatherings and hanging out. I decided to mark compass in my map which will help me with drawing sun path later.

Sun path

I was drawing the sun path based on the map and photos I gathered. I marked West and East and organised surrounding buildings and trees to see if anything is blocking direct sunlight. I also marked which sides of the building are covered by windows and which are without any windows.

Exercise 2.3

cork_viktoriakosztolanyiovaDownload

Reference:
Amorim Cork. (n.d.). Diversity of Applications – Cork. [online] Available at: https://www.amorimcork.com/en/cork/diversity-of-applications/ [Accessed 26 Mar. 2020].

Cancork Floor. (2019). Cork Applications – Cancork Floor. [online] Available at: https://www.cancork.com/cork-applications/. [Accessed 26 Mar. 2020].

Dezeen. (2019). Dezeen’s top 10 innovative materials of 2019. [online] Available at: https://www.dezeen.com/2019/12/29/innovative-materials-2019/. [Accessed 26 Mar. 2020].

Dezeen. (2019). Digitalab turns cork into thread for sustainable furniture and lighting. [online] Available at: https://www.dezeen.com/2019/03/15/gencork-cork-thread-sustainable-furniture/ [Accessed 26 Mar. 2020].

eba (2014). MATERIAL # CORK :: Portugal Pavilion by Carlos Couto Expo Shanghai (2010). [online] ___ architecture for the 99. Available at: https://likemyplace.wordpress.com/2014/04/15/material-cork-portugal-pavilion-by-carlos-couto-expo-shanghai-2010/ [Accessed 26 Mar. 2020].

http://www.gofox.pt, G.- (2013). Five reasons to consider cork in interior design | General | News/Press | MURATTO | Natural surface design. [online] http://www.muratto.com. Available at: https://www.muratto.com/en/newspress/1-general/2-five-reasons-to-consider-cork-in-interior-design [Accessed 26 Mar. 2020].

Fig.1
(n.d.). Cork In Interior Design. Available at: http://desig.kristinejaynephotography.com/cork-in-interior-design/ [Accessed 26 Mar. 2020].

Fig. 2
(n.d.). Cork Bedroom Wall. Available at: https://www.thurstonreed.com/blog/interior-trend-youll-be-loving-in-2017-cork-is-coming-back/ [Accessed 26 Mar. 2020].

Fig.3
(n.d.). Cork Furniture. Available at: https://www.google.sk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwix-MSWiLboAhUPNOwKHT76C2YQjRx6BAgBEAQ&url=http%3A%2F%2Fyeppe.digitalfuturesconsortium.org%2Fcork-in-interior-design%2F&psig=AOvVaw3AuI95CBbhqwaDFAkm0xK4&ust=1585240068281826 [Accessed 26 Mar. 2020].

Fig. 4
(n.d.). Cork Tree. Available at: https://www.smithsonianmag.com/travel/cork-trees-soft-skinned-monarchs-of-the-mediterranean-31526/ [Accessed 26 Mar. 2020].

Fig.5
(n.d.). Cork in fashion design. Available at: https://sk.pinterest.com/pin/371124825525327568/ [Accessed 26 Mar. 2020].

Fig. 6
(n.d.). Portugal’s Pavilion entirely covered with cork. Available at: https://likemyplace.wordpress.com/2014/04/15/material-cork-portugal-pavilion-by-carlos-couto-expo-shanghai-2010/ [Accessed 26 Mar. 2020].

Fig.7
(n.d.). Cork based chairs. Available at: https://www.yankodesign.com/2019/10/10/cork-based-product-designs-that-show-why-this-sustainable-material-is-trending/ [Accessed 26 Mar. 2020].

Fig. 8
(n.d.). Cork lamp produced through advanced digital fabrication processes Digitalab. Available at: https://www.dezeen.com/2019/03/15/gencork-cork-thread-sustainable-furniture/ [Accessed 26 Mar. 2020].

Exercise 2.2

This exercise requires revisiting the site chosen in Part 1. Currently, due to the critical situation all around the world, this was not possible. To stop spreading of coronavirus Austrian government has decided to close all the public places ( except for pharmacies, bank, supermarkets and post office) in Vienna where I am currently based. My chosen site was also in Vienna and nobody knows when is it going to be open again. I decided to email my tutor to get some ideas on how to handle such situations and improvise and I decided to do this exercise based on the photos taken in Part 1 without revisiting my site.

I printed my photos and annotated them with sticky notes helping myself with the material chart I made in Exercise 2.1. Later I made two sketches of different places in Café Stein and also annotated materials found there. Some of the materials were obvious other ones are left with question marks and would need to revisit the site in the future.

In general, I think I could identify the majority of the materials without bigger problems using my material chart and secondary research ( comparing my photos of materials with the ones found online or searching for uses of material in public spaces). The difference is that you can not touch the material through pictures and nowadays we can find many “fake” materials, plastic which looks like stone, artificial leather looking like real leather, plywood cover looking like wood… these things could sometimes be distinguished more easily with touch.

Annotated pictures from Part 1 taken in Café Stein, materials found in Café Stein

Annotated sketch materials in Café Stein

Annotated sketch materials in Café Stein

Exercise 2.1

Looking back at this exercise I found it amazing how many new materials or producers I learned about. When creating my chart with information about producers or suppliers I looked for information directly on the webpage and copied relevant parts to my notes/ chart. The missing parts mean I could not find the information or perhaps it is missing on the webpage. I was very pleased to see that almost every webpage had a section about the environment and sustainability and many of them support no waste or recycling. I might add more information later but for this task, I tried to not spend more than 15min on one supplier/ producer.

Creating a chart for materials

materials_viktc3b3ria-kosztolc3a1nyiovc3a1Download

Weltevree. (n.d.). Corten steel | Weltevree – How to maintain corten steel? [online] Available at: https://www.weltevree.eu/maintenance/corten-steel/ [Accessed 17 Mar. 2020].

http://www.formica.com. (n.d.). Formica Laminate | Formica Group. [online] Available at: https://www.formica.com/en-gb [Accessed 17 Mar. 2020].

HI-MACS® official website. (n.d.). HI-MACS® official website. [online] Available at: https://himacs.eu/en [Accessed 17 Mar. 2020].

http://www.bolon.com. (n.d.). Bolon | World leader in woven vinyl flooring and rugs for public spaces. [online] Available at: https://www.bolon.com/en [Accessed 17 Mar. 2020].

kvadrat.dk. (n.d.). Kvadrat | The global design textile company | Kvadrat. [online] Available at: https://kvadrat.dk/ [Accessed 17 Mar. 2020].

http://www.tektura.com. (n.d.). Wallcoverings and trade wallpaper for commercial interiors. [online] Available at: https://www.tektura.com/ [Accessed 17 Mar. 2020].

Wood Flooring. (n.d.). Real Wood Flooring | Havwoods UK. [online] Available at: https://www.havwoods.co.uk/ [Accessed 17 Mar. 2020].

http://www.forbo.com. (n.d.). Forbo Corporate – Divisions & Company Overview. [online] Available at: https://www.forbo.com/corporate/en-gl/ [Accessed 17 Mar. 2020].

http://www.lowinfo.com. (n.d.). Lowinfo.com. [online] Available at: http://www.lowinfo.com/ [Accessed 17 Mar. 2020].

Moz Designs | Architectural Products + Metals. (n.d.). Moz Designs Home. [online] Available at: https://mozdesigns.com/ [Accessed 17 Mar. 2020].

Chelsea Artisans. (n.d.). Chelsea Artisans bespoke glass design. [online] Available at: https://www.chelsea-fusion.com/. [Accessed 17 Mar. 2020]

Contextual study point 2.2.2 Truth to Materials

Artsy.net. (2016). Henry Moore. [online] Available at: https://www.artsy.net/artist/henry-moore. [Accessed 15 Mar. 2020].

Daevas Design. (2016). Bauhaus | Truth To Materials As A Central Principle – Daevas Design. [online] Available at: http://www.daevasdesign.com/bauhaus-truth-materials-central-principle/.%5BAccessed 15 Mar. 2020].

Designingbuildings.co.uk. (2017). Truth to materials. [online] Available at: https://www.designingbuildings.co.uk/wiki/Truth_to_materials. [Accessed 15 Mar. 2020].

Designculture.it. (2013). Designculture • Adolf Loos. [online] Available at: http://www.designculture.it/profile/adolf-loos.html. [Accessed 15 Mar. 2020].

gardengallery.uk.com. (n.d.). Truth to Material. [online] Available at: https://gardengallery.uk.com/blog/43-truth-to-material [Accessed 15 Mar. 2020].

Modern British & French Art Dealer. (n.d.). Maurice Lambert biography. [online] Available at: https://www.courtgallery.com/artists/192-maurice-lambert/biography/ [Accessed 15 Mar. 2020].

Tate (n.d.). Bernard Leach 1887-1979. [online] Tate. Available at: https://www.tate.org.uk/art/artists/bernard-leach-1478 [Accessed 15 Mar. 2020].

http://www.woodworkinghistory.com. (n.d.). Glossary–Truth-to-Materials. [online] Available at: http://www.woodworkinghistory.com/glossary_truth_to_materials.htm [Accessed 15 Mar. 2020].

Wikipedia. (2019). William Pereira. [online] Available at: https://en.wikipedia.org/wiki/William_Pereira [Accessed 15 Mar. 2020].

Wikipedia. (2020). Maurice Lambert. [online] Available at: https://en.wikipedia.org/wiki/Maurice_Lambert [Accessed 15 Mar. 2020].

yalebooks.yale.edu. (n.d.). Bernard Leach | Yale University Press. [online] Available at: https://yalebooks.yale.edu/book/9780300099294/bernard-leach [Accessed 15 Mar. 2020].

Fig.1
(n.d.). Henry Moore OM, CH Recumbent Figure 1938. Available at: https://www.tate.org.uk/art/artists/henry-moore-om-ch-1659/henry-moores-sculptures [Accessed 15 Mar. 2020].

Fig.2
(n.d.). Animal Head 1951 Henry Moore. Available at: https://www.tate.org.uk/art/artists/henry-moore-om-ch-1659/henry-moores-sculptures [Accessed 15 Mar. 2020].

Fig.3
(n.d.). Henry Moore’s maquette studio at Hoglands, Hertfordshire, as he left it on his death in 1986 Photograph by John Hedgecoe. Available at: https://www.tate.org.uk/art/artists/henry-moore-om-ch-1659/henry-moores-sculptures [Accessed 15 Mar. 2020].

Fig. 4
Beggi, L. (n.d.). Henry Moore working on Three Way Piece Carving 1972 Henraux marble quarry. Available at: https://www.tate.org.uk/art/research-publications/henry-moore/sebastiano-barassi-and-james-copper-henry-moore-and-stone-methods-and-materials-r1151462 [Accessed 15 Mar. 2020].

Fig 5
(n.d.). Red Stone Dancer c.1913. Available at: https://www.tate.org.uk/art/artists/henri-gaudier-brzeska-1143 [Accessed 15 Mar. 2020].

Fig.6
(n.d.). Henri Gaudier-Brzeska Mermaid 1913, cast c.1965–6. Available at: https://www.tate.org.uk/art/artworks/gaudier-brzeska-mermaid-t00846 [Accessed 15 Mar. 2020].

Fig.7
(n.d.). Henri Gaudier-Brzeska (französisch, 1891 – 1915),      Garden Ornament 1 (Bird Bath) , 1914. Available at: http://www.artnet.de/k%c3%bcnstler/henri-gaudier-brzeska/garden-ornament-1-bird-bath-05P43HO2d2Kwnmn2rBPqCQ2 [Accessed 15 Mar. 2020].

Fig. 8
(n.d.). Seated Woman 1914, posthumous cast. Available at: https://www.tate.org.uk/art/artworks/gaudier-brzeska-seated-woman-t00836 [Accessed 15 Mar. 2020].

Fig. 9
(n.d.). Head of a Woman exhibited 1938. Available at: https://www.tate.org.uk/art/artists/maurice-lambert-1458 [Accessed 15 Mar. 2020].

Fig. 10
(n.d.). Man with a Bird. Available at: https://www.tate.org.uk/art/artworks/lambert-man-with-a-bird-t03756 [Accessed 15 Mar. 2020].

Fig. 11
Yvonne Gregory (n.d.). Maurice Lambert. Available at: https://www.npg.org.uk/collections/search/portrait/mw145690/Maurice-Lambert [Accessed 15 Mar. 2020].

Fig. 12
(n.d.). Goldman & Salatsch Vienna, Austria 1909-11. Available at: http://www.designculture.it/profile/adolf-loos.html [Accessed 15 Mar. 2020].

Fig. 13
(n.d.). Café Museum Vienna, Austria 1899. Available at: http://www.designculture.it/profile/adolf-loos.html [Accessed 15 Mar. 2020].

Fig. 14
(n.d.). Steiner House Vienna, Austria 1910. Available at: http://www.designculture.it/profile/adolf-loos.html [Accessed 15 Mar. 2020].

Fig. 15
(n.d.). Thrown Bowl by Bernard Leach. Available at: https://de.m.wikipedia.org/wiki/Datei:Thrown_Bowl_by_Bernard_Leach_(YORYM-2004.1.166).JPG [Accessed 15 Mar. 2020].

Fig.16
(n.d.). Spherical Vase c.1927. Available at: https://www.tate.org.uk/art/artists/bernard-leach-1478 [Accessed 15 Mar. 2020].

Fig. 17
(n.d.). Studio Ceramics sugar bowl by Bernard Leach. Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwipo_-pxZzoAhVOhqQKHetnBB8Qjhx6BAgBEAI&url=https%3A%2F%2Fde.m.wikipedia.org%2Fwiki%2FDatei%3AStudio_Ceramics_sugar_bowl_by_Bernard_Leach_(YORYM-2004.1.2022.3).JPG&psig=AOvVaw3zvSIuIh_nXgUCh21jYmxV&ust=1584363821026049 [Accessed 15 Mar. 2020].

Fig. 18
(n.d.). Ethical teaware by the Leach Pottery. Available at: https://en.wikipedia.org/wiki/Ethical_pot#/media/File:Studio_Ceramics_set_by_Bernard_Leach_(YORYM-2004.1.2022).jpg [Accessed 15 Mar. 2020].

Exercise 1.5

When looking at the Exercise I noticed that all the questions and many more are answered if I connect my little mind maps into one complex one. It is easy to navigate yourself in the mind map, the structure is very simple and pictures and keywords help to find any specific information. Therefore I was thinking to use this mindmap as my final presentation of my research instead of creating a new one.

Later on, when going through my mindmap I felt like it would be a new challenge to try to select the most important information and filter my research so I created a new presentation.

In general, I found the research enjoyable but also challenging. It was very new for me to go so in-depth in researching a single building & designer but afterwards, I definitely broaden my understanding not only about the design or designer but reasons behind a design, impact of the design, noticing patterns or connecting information gathered into one bigger piece. I would say I have gathered enough information and I have been critical when choosing what to include and what to leave out, both when working with various pages offering information on this topic and choosing the right photos to help illustrate written information.

For the future, I would always do brainstorming before a task to shortly write down what I see as an outcome of a task and how is it going to help me understand the design of a building better. I would also start by taking 1-2 minutes by writing down more questions relevant to a specific task rather than trying to stick to the already written questions in my textbook. I would also include more hand drawings & handwriting rather than making everything digitally.