Project A.N. --- Part 5
5. Explanation and evaluation of the design process
The design process of this hotel design is linear and consists of 3 different phases: Concept, Solution, and Design. These 3 phases must follow an arranged sequence because the result of the previous phase will be the starting points for the following phase. Inside each phase, many activities will usually happen at the same time and the result from each activity can contribute to the other activities. At the end of each phase the results from all the activities will be integrated and generate a final result for the next phase.
5.1. The first phase: Concept
Generating the appropriate and unique concepts is the most crucial goal in the phase of “Concept”. In my opinion the appropriate and unique concepts come from the research of different aspects. The subjective points of view should be accompanied with the objective consideration of different aspects. That’s why several activities start together in the beginning of this phase because the results of these activities are used as the starting points for developing concepts. These activities are described as follows:
I. Research in the beginning of this phase
II. Generating concepts
After the research in the beginning of this phase is finished, the results from different activities are gathered together. Among the research from different aspects, the conclusion of site analysis, the characteristics of the chosen target group, and the reflections on the Japanese capsule hotel are used as the starting points to generate concepts. The concepts from 4 different aspects are generated as follows:
- From the guest’s aspect --- Create unusual experience
- From contextual aspect --- Create continuous experience of landscape
- From architectonic aspect --- Create an interior garden
- From aspect of room --- Bed is the center of the room.
5.2. The second phase: Solution
The most important mission in the second phase is to generate the solutions step by step. It is crucial to transform concept to approach which can become the discipline for the follow-up volume study, program of demands, and concepts of room and façade. With the help of finding references from art work and the other related example of architectural design, the approach can be more inspired and unique. Approach is further realized by volume study, program of demands, and concepts of room and façade. At the end of this phase the integration of program of demands and the selected volume generates the complete guidelines for the next phase. The strategy, method, and technique adapted in this phase are described as follows:
I. From “Reference” to “Approach”
i. Learning from Chinese garden
- Symbolism:
An important characteristic of the Chinese garden is that it tries to symbolize the universe in the enclosed space. In the book” the Chinese Garden--- History, Art & Architecture” the author has mentioned that” it(the Chinese garden) tries to incorporate a bit of every experience within a tight space; and it restlessly oscillates between polar opposites, the yin and yang, the solid and void….In short the garden symbolizes the universe through its formal devices. This partially explains what is so characteristically strange to us about the Chinese garden: its cramming of a density of meaning into a very small space, its tight packing, and its restless changing aspect…” (2) To create continuous experience of landscape and interior garden, the symbolization in the Chinese garden can also be adapted to create abstract and artificial landscape in the interior space by symbolizing the natural elements.
- Rocks & Water
“The Chinese word for the landscape is “shan shui”, which literally means “mountains and water”. (3) In the Chinese garden rocks is used as the analogy for mountains, and water must exist where there are mountains (rocks). It is because that “to the Chinese water is not just physically beautiful in a garden, but is absolutely necessary to balance the mountains, and so to represent the totality of Nature in perfect harmony.” (4) That’s why rocks and water are the two most important elements which are widely used in the Chinese garden to create artificial nature.
- Opening & Scene
The Chinese garden is usually divided into some small gardens by wall. Doorway and window are two common openings on the wall to visually connect the different landscapes on both sides of the wall. The doorway is usually used to highlight the existence of the courtyard on the other side of the wall, and the window is usually used to frame special scene in the garden.
The approaches generated from the study of the Chinese garden are:
- Use real and abstracted natural elements such as water and rocks
- Route: outside à inside; real nature à abstract and artificial nature
- Enhance the presence of nature on the other side
ii. Learning from Minimalism & Minimalist interiors
The intention of this study is to learn how Minimalist Art simplifies a work of art to the minimum number of colors, values, shapes, lines and textures. In the notion of Minimalist Art there is even no experience or object to be represented or symbolized. The reduced form is pure self-referential and all external references are emptied. However, this doesn’t totally correspond to my ideas because in my design the form simplified from the natural elements should contain the representation and symbolization of abstract and artificial nature. From the study of Minimalist interiors, I found that using single color can avoid the distraction from multiple colors and create homogeneity of space which melts all the odd pieces of furniture in the space into one unity. For example, in Shigeru Ban’s House Without Walls (5), the continuity between interior and exterior is established by eliminating delimiting factors. Wall is replaced by movable panels and the partition is completely free. Therefore, the white interior space is surrounded by the view of forest which creates vague existence of the interior. When the interior space is simplified and purified by using single color, the simplicity and homogeneity will makes the existence of the interior space less noticeable just like a background in the painting or a photo frame.
Fig. 6.1 Shigeru Ban, House Without Walls, Nagano, Japan
II. Volume study & Concept of façade
3 working models of volumes are made for the volume study, and at the end one of them is selected to integrate with the program. The concept of façade is considered at the same time.
III. Concept of room
A concept model with the scale of 1/20 is made to study how bed can be the center of the room.
IV. Program of demands
The program of demands is developed from the approaches and the concepts of room and façade. It describes the guidelines for the design. It consists of several aspects such as: the demands of spatial use, room, SPA, climatic control & installation, and spatial design.
The design process of this hotel design is linear and consists of 3 different phases: Concept, Solution, and Design. These 3 phases must follow an arranged sequence because the result of the previous phase will be the starting points for the following phase. Inside each phase, many activities will usually happen at the same time and the result from each activity can contribute to the other activities. At the end of each phase the results from all the activities will be integrated and generate a final result for the next phase.
5.1. The first phase: Concept
Generating the appropriate and unique concepts is the most crucial goal in the phase of “Concept”. In my opinion the appropriate and unique concepts come from the research of different aspects. The subjective points of view should be accompanied with the objective consideration of different aspects. That’s why several activities start together in the beginning of this phase because the results of these activities are used as the starting points for developing concepts. These activities are described as follows:
I. Research in the beginning of this phase
i. Site analysis
Site analysis focus on 4 aspects: urban context, spatial experience, functions of surroundings, and transportation. Site analysis doesn’t only provide insightful information about the site, but its conclusion also has direct and strong influence on the decision of choosing target group and the development of concepts.
ii. Choosing target group
- Target group & the conclusion of site analysis
Guest always plays the leading role in the hotel design. Therefore the target group of guest must be decided and clearly defined in the beginning of this phase. The decision of the target group is totally based on the conclusion of site analysis because the target group must perfectly correspond to the characteristics of the surroundings.
- The chosen target group --- the Culture Creatives (the CCs)
After site analysis I began to search for the possible target group whose lifestyle and characteristics correspond to the characteristics of site perfectly. Because the most important characteristic is its location where the density of museum and gallery is the highest in Rotterdam, it must be very attractive to the aggressive consumer of art and culture. However, how can I define this kind of people more precisely? Do people who live in this lifestyle already exist? How many people are they? Finally, a friend of mine recommended me to read a book called “the Cultural Creatives— How 50 Million People Are Changing the World”. In this book Paul. H. Ray and Sherry Ruth Anderson have defined a new group of people called “the Culture Creatives” (the CCs). (1) The new lifestyle of the CCs is now followed by 50 million people all over the world. The characteristics of this site correspond to the lifestyles of the CCs correspond perfectly which made me decide to let the CCs become the target group of this hotel. The comparison between the lifestyle of the CCs and the characteristics of the site is as follows:
Lifestyle of the CCs v.s. Characteristics of the site:
Site analysis focus on 4 aspects: urban context, spatial experience, functions of surroundings, and transportation. Site analysis doesn’t only provide insightful information about the site, but its conclusion also has direct and strong influence on the decision of choosing target group and the development of concepts.
ii. Choosing target group
- Target group & the conclusion of site analysis
Guest always plays the leading role in the hotel design. Therefore the target group of guest must be decided and clearly defined in the beginning of this phase. The decision of the target group is totally based on the conclusion of site analysis because the target group must perfectly correspond to the characteristics of the surroundings.
- The chosen target group --- the Culture Creatives (the CCs)
After site analysis I began to search for the possible target group whose lifestyle and characteristics correspond to the characteristics of site perfectly. Because the most important characteristic is its location where the density of museum and gallery is the highest in Rotterdam, it must be very attractive to the aggressive consumer of art and culture. However, how can I define this kind of people more precisely? Do people who live in this lifestyle already exist? How many people are they? Finally, a friend of mine recommended me to read a book called “the Cultural Creatives— How 50 Million People Are Changing the World”. In this book Paul. H. Ray and Sherry Ruth Anderson have defined a new group of people called “the Culture Creatives” (the CCs). (1) The new lifestyle of the CCs is now followed by 50 million people all over the world. The characteristics of this site correspond to the lifestyles of the CCs correspond perfectly which made me decide to let the CCs become the target group of this hotel. The comparison between the lifestyle of the CCs and the characteristics of the site is as follows:
Lifestyle of the CCs v.s. Characteristics of the site:
1. Most of the CCs are aggressive consumers of art and culture <---> The site is nearby the central cultural area in Rotterdam. Also, Rotterdam is constantly having cultural events through the year such as movie festival, music concert, museum, art gallery, and unique architecture.
2. The CCs love nature. <---> The site is sat between the green streetscape and inner garden.
3. The CCs take public transportation or drive hybrid cars. <---> Convenient public transportation
iii. Case Study --- Japanese capsule hotel
Case study is always a very helpful way to know the general ideas and different types of a certain kind of design in a short time. This time the samples of case study consist of 7 different types of hotels. Among those hotels I chose “Japanese capsule hotels” to analyze because of their unusual spatial experience created by revolutionary spatial use under the urban context. Also, same as our site, the location of Japanese capsule hotel is in the city center, and their effort of optimizing spatial use is also very inspired for the small hotel in the city center where the land price is very expensive.
2. The CCs love nature. <---> The site is sat between the green streetscape and inner garden.
3. The CCs take public transportation or drive hybrid cars. <---> Convenient public transportation
iii. Case Study --- Japanese capsule hotel
Case study is always a very helpful way to know the general ideas and different types of a certain kind of design in a short time. This time the samples of case study consist of 7 different types of hotels. Among those hotels I chose “Japanese capsule hotels” to analyze because of their unusual spatial experience created by revolutionary spatial use under the urban context. Also, same as our site, the location of Japanese capsule hotel is in the city center, and their effort of optimizing spatial use is also very inspired for the small hotel in the city center where the land price is very expensive.
Fig. 6.1 Capsule Unit in the Capsule Inn Ahibahara, Tokyo, Japan
II. Generating concepts
After the research in the beginning of this phase is finished, the results from different activities are gathered together. Among the research from different aspects, the conclusion of site analysis, the characteristics of the chosen target group, and the reflections on the Japanese capsule hotel are used as the starting points to generate concepts. The concepts from 4 different aspects are generated as follows:
- From the guest’s aspect --- Create unusual experience
- From contextual aspect --- Create continuous experience of landscape
- From architectonic aspect --- Create an interior garden
- From aspect of room --- Bed is the center of the room.
5.2. The second phase: Solution
The most important mission in the second phase is to generate the solutions step by step. It is crucial to transform concept to approach which can become the discipline for the follow-up volume study, program of demands, and concepts of room and façade. With the help of finding references from art work and the other related example of architectural design, the approach can be more inspired and unique. Approach is further realized by volume study, program of demands, and concepts of room and façade. At the end of this phase the integration of program of demands and the selected volume generates the complete guidelines for the next phase. The strategy, method, and technique adapted in this phase are described as follows:
I. From “Reference” to “Approach”
i. Learning from Chinese garden
- Symbolism:
An important characteristic of the Chinese garden is that it tries to symbolize the universe in the enclosed space. In the book” the Chinese Garden--- History, Art & Architecture” the author has mentioned that” it(the Chinese garden) tries to incorporate a bit of every experience within a tight space; and it restlessly oscillates between polar opposites, the yin and yang, the solid and void….In short the garden symbolizes the universe through its formal devices. This partially explains what is so characteristically strange to us about the Chinese garden: its cramming of a density of meaning into a very small space, its tight packing, and its restless changing aspect…” (2) To create continuous experience of landscape and interior garden, the symbolization in the Chinese garden can also be adapted to create abstract and artificial landscape in the interior space by symbolizing the natural elements.
- Rocks & Water
“The Chinese word for the landscape is “shan shui”, which literally means “mountains and water”. (3) In the Chinese garden rocks is used as the analogy for mountains, and water must exist where there are mountains (rocks). It is because that “to the Chinese water is not just physically beautiful in a garden, but is absolutely necessary to balance the mountains, and so to represent the totality of Nature in perfect harmony.” (4) That’s why rocks and water are the two most important elements which are widely used in the Chinese garden to create artificial nature.
- Opening & Scene
The Chinese garden is usually divided into some small gardens by wall. Doorway and window are two common openings on the wall to visually connect the different landscapes on both sides of the wall. The doorway is usually used to highlight the existence of the courtyard on the other side of the wall, and the window is usually used to frame special scene in the garden.
The approaches generated from the study of the Chinese garden are:
- Use real and abstracted natural elements such as water and rocks
- Route: outside à inside; real nature à abstract and artificial nature
- Enhance the presence of nature on the other side
ii. Learning from Minimalism & Minimalist interiors
The intention of this study is to learn how Minimalist Art simplifies a work of art to the minimum number of colors, values, shapes, lines and textures. In the notion of Minimalist Art there is even no experience or object to be represented or symbolized. The reduced form is pure self-referential and all external references are emptied. However, this doesn’t totally correspond to my ideas because in my design the form simplified from the natural elements should contain the representation and symbolization of abstract and artificial nature. From the study of Minimalist interiors, I found that using single color can avoid the distraction from multiple colors and create homogeneity of space which melts all the odd pieces of furniture in the space into one unity. For example, in Shigeru Ban’s House Without Walls (5), the continuity between interior and exterior is established by eliminating delimiting factors. Wall is replaced by movable panels and the partition is completely free. Therefore, the white interior space is surrounded by the view of forest which creates vague existence of the interior. When the interior space is simplified and purified by using single color, the simplicity and homogeneity will makes the existence of the interior space less noticeable just like a background in the painting or a photo frame.
Fig. 6.1 Shigeru Ban, House Without Walls, Nagano, Japan
The approach inspired from this study is to make a “WHITE” building to create simplicity and homogeneity of space.
II. Volume study & Concept of façade
3 working models of volumes are made for the volume study, and at the end one of them is selected to integrate with the program. The concept of façade is considered at the same time.
III. Concept of room
A concept model with the scale of 1/20 is made to study how bed can be the center of the room.
IV. Program of demands
The program of demands is developed from the approaches and the concepts of room and façade. It describes the guidelines for the design. It consists of several aspects such as: the demands of spatial use, room, SPA, climatic control & installation, and spatial design.
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