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reflection on "Increasing awareness of the design process: a step to authenticity"

presentation of Wouter Cornillie at the GRC-EU Toonweekend, St. Lucas Gent, 18-19-20 november 2011
by

wouter cornillie

on 7 February 2014

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Transcript of reflection on "Increasing awareness of the design process: a step to authenticity"

design & teach research
design & teach
about design
design & reseach
about design
Uit 'Wonen, Architectuur in het denken van Martin Heidegger' onder redactie van Jacques De Visscher en Raf De Saeger - Nijmegen: SUN. 1991
hoofdstuk 'Architectuur als vergaring en verlijfelijking, door Christia Norberg - Schulz,
"It is not what you want,
but what you become aware of in the order of things,
that tells you what you need to design." Louis Kahn.
"Het is niet dat wat je wilt,
maar dat waarvan je je bewust wordt in de orde van de dingen, dat je vertelt wat je moet ontwerpen." Louis Kahn.
of & by
design
explain
understand
willen / bewust / moeten
want / awarenes / must
the river
Uit 'dwell, Architecture in the thinking of Martin Heidegger' edited by Jacques De Visscher en Raf De Saeger - Nijmegen: SUN. 1991
chapter 'Architectuur als vergaring en verlijfelijking, door Christia Norberg - Schulz,

"It is not what you want,
but what you become aware of in the order of things,
that tells you what you need to design." Louis Kahn.

Wouter Cornillie
1972
2004
1997
interior architect
architect
1995
design practice
1996
2006
teaching
2007
1998
teaching
Studying great projects, art and designers
Coaching student designers
How to inspire and motivate
others to make authentic projects?
explain
understand
"I try to avoid flashy design
and design projects as if they were already there."
I try to be invisible.
And let the design come into being from
the site
the client / user
the question.
treasure hunt
the gardener
the river
a filter
a tube
teaching arts
design process
free shape,
nature of each designer
strategy,
motivation,
analysis and research
sense,
logic & homogenety,
constrains
restrictions works liberating!
Designing is a process of elimination! Narrowing of the beds which filtering operates only place for relevant material in the design.
internal restrictions
external ristrictions
ZUID
NYLON
MOTE
PROJECTS
METAPHORES
the charioteer
the designer
authority,
complexity & homogeneity
a filter
a tube
restrictions works liberating!
internal restrictions
external restrictions
about
design
treasure hunt
free shape
the nature of each designer
authenticity of the designer and his/her designs
the gardener
TO WANT
a strait jacket
AWARENESS
restrictions liberate!
strategy
motivation
analysis and research
sense, causality
logic & homogeneity
constraints
the river
Narrowing the riverbed stimulates creativity.
the charioteer
holism
complexity & homogeneity
authority
teacher =
designer =
a filter
process control
elimination
tube
connect
preserve
strengthen
2003
2011
1998
Open interior spaces in a good balance with the sun.'
Urban planning rules determined the use of pitched roofs and the depth en the heigth of the building.
the office:
inverted light fixture
Increasing awareness of the design process: a step to authenticity
wouter cornillie
GRC-EU & Toonweekend
18 - 19 -20 november 2011
By working on their process and increase their commitment to design projects.
diverse program in a compact monolith with no back
street atmosphere in the hall
enough specific: to express the product, tiles
not too specific, for other uses in the future
external restrictions
MOTE
2011
tile company
MOTE
2011
tile company
a filter
strait jacket
15 coulours random
=ASELECT ( ) * 14
Gerhard Richter
'4900 colours'
Cologne Cathedral, 2007
Version II, 49 plates, each 97 x 97 cm.
Version II, Serpentine, Londen, 2008
treasure hunt
the river
the charioteer
Jürgen de Blonde
after completion
MOTE
2011
tile company
'dwangbuisbaby', 1992
'straitjacket baby', 1992
'mama I want to play'
'released?'
'straitjacket baby'
By working with their authenticity.
internal
restrictions
external restrictions
strait jacket
internal
restrictions
treasure hunt
confetti space as a
a colour shower
ZUID
1998
ZUID
1998
ZUID
1998
ZUID
1998
wouter cornillie
more than
just assessing their product!
space
as
to unclog the tube
next steps:
finishing the reading 'How designers think, the design process demystified' of Bryan Lawson.
Read: 'The language of space' of Bryan Lawson.
Read: 'Spatial Intelligence, new futures for architecture', of Leon van Schaik.
Reflect on my research.
Look out for an institute for my Phd and promoters.
Write a proposal for a Phd.
Automaticly from the
spread sheet.

Nice,
but we didn't need
'fire'.
One of our
first proposals.

Not nice.
To pale.

To much
white and
pink.
the colour circle with the tiles that are available

Maybe

Is it enough
vivid?
to touch or control
randomness
Automaticly
from the
spread sheet.

Nice,
but to
monochrome.

We need
colours!
Happyness!
the river
a filter
space
as
a sponge
the
designer
in
design
the
designer
=
the
designer
=
=
space
a drain plunger
= the designer
=
design
= process
absorb
release
=
space
teacher =
a sponge
the
designer
=
absorb
release
=
space
presence & visibility
Julia Peyton - Jones,
Serpentine Gallery:"
'4900 colours' is about the joy of looking. And it's about the joy of looking at objects that on the face of it have no form an yet are full of form."

Richter was in an shop for paint;"
I saw these little colour cards. And I thought 'How beautiful'. Some moments ago I metioned Albers, and he was holy man because he claimed that only special colours go together with each other, and this is high art to bring them together. And I toughts - that's not true -you can put every colour with every colour.
showroom for tiles on the 1° floor
Perhaps with the base colours for pigment,
blue, yellow
and red?

too much vived,
too much contrast
Perhaps with the base colours for pigment & light,
green, blue, yellow
and red?

too much vived,
too much contrast
The contrains:
Sign on a (to) big format: A0.
Draw the object close, so it does not quite fit ont the sheet. Go'in' the project.
Draw with charcoal
Don't draw lines as much as possible but color and wipe your surfaces and erase, with hands en rags until your image arises.
Students from the 1° interior architect. (20 in my group)
In week 6 of their education.
Assignment: week 5, an expressive sketch of your design.
Without have been given any examples.
week 6
NYLON
2003
art exhibition
architect - artist
a little bridge in a realy bad condition
habitability of the arboretum
NYLON
2003
'9000 colours'
"Creating is like shaking the tree,
as saying:"Wake up!".
It alerts on certain topics."
awareness naturality
wouter cornillie
PROCESS
CONCLUSIONS
keynotes:
the gardener
treasure hunt
the strait jacket
the tube
the filter
the river
the charioteer
the sponge
"It is not what you want,
but what you become aware of in the order of things,
that tells you what you need to design." Louis Kahn.
internal restrictions
external restrictions
'dwangbuisbaby', 1992
'straitjacket baby', 1992
'mama I want to play'
'released?'
'straitjacket baby'
Students from the 1° interior architect. (20 in my group)
In week 6 of their education.
Assignment: week 5, an expressive sketch of your design.
Without have been given any examples.
internal restrictions
external restrictions
internal
restrictions
external
restrictions
internal
restrictions
external
restrictions
internal
restrictions
external
restrictions
internal
restrictions
external
restrictions
?
?
LOOP:
"100m circulation"
in a rowhouse,
as the start of
an interior design
internal
restrictions
external
restrictions
Title: “Increasing the awareness of the design process, a step to authenticity.”
Reactions:
1. Student: “What is your next step? (on the slide: reading and work on the framework, in a supplementary answer: reading, work on the framework, to fine tune it) I should think, not like that but more do the reflection on the design projects.
2. Carl Bourgeois:” May be you should go on in the theory and create labels with the metaphors, but may be define them as questions.”
3. Gerard De Zeeuw:”authenticity as a concept. Would it be possible to design non-authenticity? What would that be? When you would look at the internet for a definition of authenticity you would see that it has something to do with no authority. Or do you define authenticity as ‘being true to yourself’?
4. Claus Peder Pederson:” If you are so sure of all this, why you would do a Phd anayway? Louis Kahn is not really scientific. Where are you unsure about? Where does it not work?
5. Bourak Pak:” If you want to teach in a more objective way, you can do research about metaphors. …..:” Metaphors ‘suggest’ things. Difference
6. Adam Jakimowicz:” An impression: By defining these metaphors, you make an assumption, and probably you accept that they are true. Uncertainty is a possible way to look at things. May be the metaphors are wrong.
7. Corneel Cannaert:” If the building is a portrait of you, what parts of the building is not a portrait of you? What about the authenticity of the images you use? You use some artefacts, but what with the drawings you use for the metaphors? Are thy authentic?
8. Gerard De Zeeuw: as a conclusion: “It is an interesting point, to do research to the uncertainty of all this. Try to break open the theory you are constructing.”
Reactions
What did I present? On Sunday 20/11/2011.

1. I explained some metaphors that I use to make any design process more negotiable, on a more objective way. I showed a diagram that shows some relationships between these concepts clearly. I explained where there are linked on, on the quote of Louis Kahn. And that this in turn, is linked to my basic goal as an architect or artist, namely balancing between an ostentatious way of designing and a more invisible way.
1.1. That is more clearly en more objective and that makes it easier to define goals in a assignment for students.
1.2. The notions where
1.2.1. Shaking on the tree
1.2.2. Invisibility
1.2.3. Treasure hunt
1.2.4. The strait jacket:
1.2.5. The tube
1.2.6. The drain plunger
1.2.7. The filter
1.2.8. The river
1.2.9. The charioteer
1.2.10. The sponge


2. I explained tree projects, of 1998, 2011 and 2011, projects where I am the most proud of, and where some of the notions arises. But where those notions really the keynotes of each project? They were just illustrations, perhaps to explain better the notions by themselves. Like this was necessary to do.
3. The only depth where I came in to about the notions was the evolution of the balance between what I called internal and external restrictions. This fact is perhaps obvious. Only, for my practice it is clear we have to work more on that issue, to build up a more powerful vision about art and architecture. That is what the research really makes clear for me. In a way, I knew that, but it never comes up to the surface. Now I van not deny.
4. Another theme where I talked about a little more in the presentation was the design of the filter-aspect of the entrance hall of the tile company. And how I choice, and found, the concept of what I first called ‘the confetti hall’, joy as opposed to almost a little too rigid conception of the whole. By do more research in the colours for the randomness, I became more convinced of the function of these happy colours; ‘to washes away any assumptions of any visitor about colour and taste.’ This whole process really went through a lot of uncertainty en fear. The client doubted a lot, for a long time. I had many discussions with them, with them and several partners of them. I doubted as well. That really just stops by seeing the realisation of the coloured tiles. That was a moment of energy, enthusiasm and gratitude.
5. A nice addition of this little story was the contact with the musician Jürgen de Blonde of Köhn, who brought me to the work of Richter. The greatest joy came only when I discovered parallels between the response of work for Richter, Köhn and ours. They were almost identical and I am proud that we came out on similar project.
6. What I feel I have to do is set more projects in a line, in an overview. Even the project I am may be not so proud off. I want to discover what notions where important for each project and get a better understanding in what I do, how I do it and how I can do it better in next projects. Then, I want to experiment in new projects by test my new understandings. I can’t wait to start this.

Wouter Cornillie, 2011/11/21
1995

1996

1997

1998

1999

2000

2001

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

information for on the timeline:

time
projects
kind of projects
interesting things on the project
budget?
collaborators?
...
I see every where unclogged spaces,
clear circulation lines.
Is it possible, some experciënces, when I
as a child, and was loocked up, two times,
that do me do what I do, unclogging spaces?

predicting behavior
The main entrance is barricaded with a container.
The open container is a resting place in the museum tour and offers a view of the surroundings.
This is the door ajar.
Unlike the door was locked,
when I was 5 or 6 years old,
have experienced two times.
Another time was on holiday in a toilet.
A big boy was climbing over the wall and liberate me from the inside.
the lock was stuck, too strongly for me that age.
The fear of being trapped,
to be pinched.
Once was at a school when the group went out and I finally left behind, locked up. I had to use bare hands to break a window to alert the group to attract and escape.
Dig in my experience of spaces.
Full transcript