The aim of the design is to urge users to perceive dynamic relations in the world.
This is based on the concept of nature as a continuance of people, not as an opposition. There is a close correlation between ourselves and the world inclusive of nature. Ourselves and nature can not be divorced from each other.
These ideas that thinks about nature in the world of relationship is expected to advance the improvement of environmental problems in the field of environmental ethics (Kitoh 2010). Morikawa also discussed the importance of understanding nature as a continuance of people (2010). However, environmental ethics are blind to the city or of people’s living environment and this is a crucial mistake for ecological reasons (Andrew Light 2001). In the investigation of the interconnection of meanings in life-world, philosophers, humanists, and social scientists tend to forget that the problems of body and spaces are related to these considerations (Yuasa 1987). Therefore, I think it is meaningful to translate the idea of world in the field of environmental ethics into the architecture. I believe it would help architecture to contribute to the improvement of environmental problems.
To materialize the dynamic relation of the world, I would like to assimilate Japanese classic theories into the installation. The reason is that Kitoh’s idea and Japanese classical theories may have similarity. In the design process, I explored the essential ideas lay down in Japanese classical philosophy generated by Dogen, Yuasa’s body-mind theory, Japanese classical architecture and garden to engage with environmental issues existing the world.
The installation is designed as a research in architectural design that engages with environmental problems (that would be my future project). It is an experiment in the possibility of architecture, whether architecture can inspire users to consider environmental problems.
The goal of exploring the material and structure of installation is perception that everything has dynamic correlation with each other; Nature and people, self and other.
The process and relation to theory
Original plan of the installation is the space filled by strings curtain(fig.1). The space is expected to change its shape by wind and body movement. People in the installation may feel the dynamic space through the strings touching their body. MDF board would be structure that support strings.
Firstly I choose the site carefully because the connection of outside world is highly important in this installation. I chose the site where direct sunlight and blowing wind can be obtained. The installation is located in front of architecture building, next to the castle (other students’ work). This is because to make contrast between static space of the buildings and dynamic space of installation (fig.2). I chose the tree standing against the background of the text “ARCHITECTURE + DESIGN” (fig3). It suggest the installation is for architecture + design. After the experiment in the installation, some of the user may find the text behind tree and may compare the dynamic space of installation and the buildings. These idea is based on “Shakkei” one of Japanese garden’s technique.Japanese gardens are not complete in themselves. They tell us that all of the mountains, sky, and the universe as a whole are an extension of a garden (Kuma, 2010). The essential idea of Japanese garden is similar to Dogen’s philosophy. Dogen’s understanding of the world is an extension of ourselves (Yorizumi 2005).
Second stage is placing MDF board under the tree. As wind is too strong to keep MDF board parallel with ground, MDF is fixed on branches (fig.4). Thirdly, the end of strings is fixed on MDF board. The strings do not work as intended in my aims. The wind move strings too much, therefore people cannot feel our body moving the strings. People may not be able to perceive strings movement caused by both of wind and body. Moreover, many strings became one bunch, looking like a thick rope (fig5). This original plan appears to have failed.
After a failure of first plan, the material is reconsidered. Translucent paper is tested instead of strings because it might be heavier than strings, but does not work too (fig.6). Wind move the paper too much for people to be able to feel the movement by their body.
Because of second failure, the structure may need to be reconsidered. When the other end of paper is fixed, it could save too much movement from the wind (fig.7). When the direction is changed from vertical to horizontal, the material could move softer, enough to create interaction between body and materials (fig 8). Changing direction to horizontal may have significant effect on looks. However, the form is not so important but to create interaction between body and materials is more important for my installation, based of the core theory. In the ‘Rediscovery of Japanese beauty’ written by Taut, he says that European architects remain in a world of forms, on the other hand Japanese architects have lived in a world of relationships. (Kuma, 2010)
Furthermore, material is also reconsidered. The strings may suit because it stronger than paper. There are many different types of strings at shops, for example plastic strings and cotton strings (fig.9). I chose cotton strings as it feels as if it is something comfortable to the body because I want people to enjoy their perception through their body long enough to notice the theory behind the installation. The physical sense of moving awakens the mind to shift in mental attitude (Kuma 2010). In the active status of body-mind identity, the ambiguous dichotomy of the body disappears (Zeami 1363-1443). If the installation works well, people may not feel body and mind are separated. If the space works successfully, people feel self and others are connecting.
The cotton strings and horizontal direction works better than any other test before, so I decide to use it. The strings are coiled between two trees (fig.10). Then the density of the strings is increased. I used 2 and half ball of the strings. 1 ball is approximately 530m, therefore, total length of strings is around 1800m. The strings are placed from the top of the trees to nearly ground. To enter the space, people need to bend their body, bow their head and lift some strings up. “The gentle motions of inclining the head or blushing aside the cloth is surprisingly amplified and makes us aware that we are passing into a space of a different quality (Kuma, 2010).”
The next stage is inviting people
and seeing their reaction (fig.12)
This artifact is not complete in itself. This installation works when people are inside to have interaction.
Caption next to the installation may need to avoid explaining the concept too much. The reason being that the aim of the installation is to perceive through the body without prior knowing from story telling. The perception through body is highly important in Dogen’s theory (Yuasa). I would like to let people feel something free. In the tea-room it is left for each guests’ imagination to complete the total effect in relation to themselves (Okakura, 1906). To make this design outcome as a research, I want to know what people feel without knowing it as a research project. Therefore, I put the installation but not explanation of the installation (fig.13).
To collect feedbacks, I prepared question and answer sheets. However, I could not get answer sheets as same number as people who tried the installation. Some people said to me the question is too difficult to answer. This question sheet may need to be improved. Finally I decide to be near the installation and talk with people to get feedback.
During the open day of the installation, I remove unnecessary structure, MDF board (fig.15). The reason is that the boards are not necessary to support the structure of installation, but might disturb people’s attention and their body. Around 8 people asked me about the MDF board on the branches. My final outcome ended up with using only strings (fig.16).
Accident happens. On thursday morning, I found that some of the strings are cut and some of strings have lost their tension. As a result, there is a less interaction between body and strings. On the other hand the movement of strings became dynamic and complicated. It may work differently compared to the day before. One more ball of strings (530m) is added. The density of strings become higher and the movement of strings become complex. I invited people again and looked carefully at the difference. This time, it looks like it gave people more surprise and is more entertaining.
Response to artifact / self reflection
From the question sheets and some interviews, most people have a strong impression of the strings. Some of the people mentioned wind and other people’s movement. However, nobody talk about the connection with the outside world. The installation may fail to evoke the infinite dynamic relations of the world outside. This installation does not work as an architecture engaged with environmental problems. However, based on these findings, it would allow me to explore other ways in the future.
People’s strong impression of the direct interaction between body and strings is more than I had expected. On the other hand, wind, other people or outside world did not give a strong impression, it may be because these elements do not touch the body directly. Perception through body might really be stronger than I expected, and perhaps this is something that I can use to explore to make a more material connection to outside world.
As a research, my project may need improvements to collect more feedbacks from various people. This will provide for more valuable data. Most of the guests are architecture students. One of the reasons may be because is a weekday. I think open days are too short to collect feedbacks. The question sheets should be easier to answer.
In conclusion, this whole project is a success because I learn a lot by reading and considering the theories to drive me to create the installation, which I have never done before. I find the possibility of exploring eastern body-mind theory in architecture valid, as most of people told me their special feeling of strings from this project. I also find that it may find a way to engage with environmental ethics if explored further. Through this project, my interest became clear too and I think this project is helpful for my further design work.
Thank you for everyone who came and had experience with my installation.
Thanks a lot.
Mako
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