DistruptDisrupt Thethe Propre Project Report

FT MA – Design Critical practice

Chang Hee LEE

Nov. 2012

According to Edward William Soja, “Space makes an inventory of the adventures of

knowledge, omitting nothing; knowledge traces a cartography of known lands,

omitting nothing” (1996, p.26). This may suggests that the space never drops

something loses anything and will constantly shape itself regardless ofaccording to

any condition. In Golden Square in London is one of the historic squares of England.

It has existed for three centuries and serves as an excellent example of a space that

has been transformed over time. Tthis essay, I will mainly focuses on my

interpretation of thea design project which is planned to disrupt the space and how I

both encourage but disrupt the space with my design practicein the square by

placing a transparent contemporary designed statue right in the centre of the square,

which will capture the attention of passers-by and provide them with a unique visual

experience, through the interaction of the transparent statue with the natural

elements of rain, wind, and the sun.

This essay is structured as follows. Firstly, I will briefly talk about this essay

discusses the history of Golden Square and will explores its space usage of space

in of the past to compared with the present. A diagram which contains Photos and

descriptions of the square are included to illustrate the square my understandings

and properties will then be discussed in relation to ‘object’, ‘practice’ and ‘space’.

The ongoing practices and its the surroundings of the Golden Square will be

scrutinized elucidated and these will then be linked link to my the design practiceof

a. I am going to narrow down more detail to my aim and will discuss my

understanding the conceptualisation of the space in relation will then be related to

the project’s content: ‘Disrupt the Propre’.

[[설명]]

[ Fig.Figure 1]: Golden Square Horwood Map. 1792. Google Earth.

Exploring and traveling the Referring to history may be the one of the significant

parts to understand those fundamental aspects of the ‘Space’. To put it another way,

history might carries carry fragments and essences of the place and this may lead

one to reflectively understand the core value of the space. The Golden Square is a

small Square located on near in Soho, Central London. “The name Golden Square

would appear to originate from Gelding Close which referred to the land being used

for the grazing horses” (History and By-laws). The A building license was granted

for the land in 1673. At the time it was described as a very handsome attractive

place surrounded with elegance elegant houses inhabited by the gentry on all sides.

At the beginning of the Eighteenth Century, the place was considered as a significant

political center. Between the years 1724 and 1768 it was the address of foreign

diplomatic diplomats from “such countries such as Bavaria, Genoa, Poland and

Russia” (Ibid). This may means it was a place where diverse social and political

activities happened. Famous Ppeople like Elizabeth Gamberini:, a dDancer, ;

Caterina Gabrielli,: a Ssinger; and Martin Archer Shee:, Past President of the Royal

Academy of arts,; Scottish anatomist John Hunter, and the first female painter of the

Royal Academy Angelica Kauffmann also lived here and as well as other more

notable people, lived here at the end of the Eighteenth Century. It was also the place

where the first ‘Grand Piano’ was invented (Ibid). During the Second World War the

garden’s iron fence was taken for salvage. The Square was closed until the war ends

ended and the paved garden was opened again to the public in November 1952

Comment [z1]: References usually have authors and dates, quotes should have a page number if there is one.

Comment [z2]: You don't want a reference here

Comment [z3]: make sure you later format these the same as the regular text

(Ibid). These historical events and data possibly reflects the artistic cultural aspects

of its this space and there certainly has is an interesting feature if make a contrast

with the present-day Golden Square.

[[ 역사 ]]

[Fig.Figure 2:] Golden Square Top View. 2012. Re-Adjusted Google Earth Image.

The Golden Square is an Octagon shape space that is surrounded by buildings,

houses, galleries and most of them are companies. Ironically, just like the past they

are all related to creative industries or relevant. Brands like Absolute Radio, M&C

Saatchi, Sony Picture and various Ggalleries are surrounding the Square, and it

tends to beis fascinating that the way of the use of the space usage still carries the

elements of related to its history. Generally, people who stay in visit this small

sSquare are not only from surrounding companies, but they are from everywhere

afar and they also perform their own role in constructing the features of this space.

For instance, they look for rubbish bins, calling take calls on the their mobile

phones and playing play ping-pongPing-Pong and it seems such practices creates a

certain identity of the space. “‘Space’ is commonly defined as a delineated or loosely

bounded area occupied cognitively or physically” (Queers in space, 1997, p.20). This

may suggest the space exists because there are constant physical or and non-

physical practices going on. Therefore, the difference between practices and practice

may construct a threshold an identity of spaces. Then In this case it is worth

considering the question of what might create practices.?

[[기본 identity 역사와 어떻게 조화]]

[Fig.Figure 3:] ‘Objects’, ‘Practices’ and ‘Space’ Diagram. 2012. Personal Work.

[Fig.Figure 4:] Objects and Practices. 2012. Personal images.

Exploring these usual practices that occur in a space cautiously led me to realize is

a good starting point to realise where the practices begin. The diverse and constant

practices re-enforce each other to shape an identity of a space (Certeau, ,p ). This

may advise suggests that consistency of practices might define certain orthodox

features of one a space. The diagram in [Fig.Figure 3] is designed for better

understanding of gives an illustration of the project in relation to the ‘Object’,

‘Practice’ and ‘Space’. I may possibly For the purposes of this essay consider

‘Space’ is considered as a dimension, ‘Practice’ as a line and ‘Object’ as a point. It is

thought-provoking to explore things that can produce practices. It seems

understanding an origin of practices is a crucial aspect to discover its space. In other

words, to ‘Disrupt Thethe Propre’ it has to make changes from very fundamental

stages. It is like discovering how to demolish or making make an impact on a certain

cosmos. In [Fig.Figure 4], shows how it is existing facts that practices are starting

from objects. For instance, people view statues because they are there to be viewed;

and people play ping-pong because there is a table available for people to play the

game. Consequently, it can be seen that In addition, everyday practices and even

thinking requires objects to perform than. ThusTherefore, I may possibly consider a

‘Space’ is shaped by ‘Practices’ and ‘Practices’ are summoned influenced by

‘Objects’.

[[ 연습들은 어디에서 오나 오브제 다이어그램.]]

According to Stuart Hall (1997, p.2), “In any culture, there is always a great diversity

of meanings about any topic, and more than one way of interpreting or representing.”

This gives me clues to think that Therefore, people probably often interprets and

treats an object in very diverse ways. For instance, some people may treat a Ping-

Pong racket table as an entirely something elsein different ways. They might

understand its original purpose of design, but it will still have possibilities of for

different interpretations. For instance, some people may interpret a Ping-Pong table,

as the perfect objects to lay out a picnic. This Which means any ‘Object’ can create

multiple practices and share different contents without exception. This may link

connects to the Roland Barthes’s ‘death of the author’. Barthes (1967) states (1967)

that “the writer can only imitate a gesture forever anterior, never original”. Therefore,

various interpretations create diverse practices.

[[이해의 다양한폭 그리고 그것들이 다양한 연습을 만든다 오브제 이해방식]]

The Golden Square has many ‘Objects’ that can create practices. Objects like

benches, bins and trees are the main objects that are constructing the Square and

they are normally used by in whatever ways people prefer. Sherry Turkle states

(2008 ), "We think with the objects we love; we love the objects we think with". An

‘Object’ has an inspiring power to flexibly evoke our mind and thoughts. Any ‘Object’

may stimulate people’s exercisesuse of that object, and a rare ‘Object’ inspires

unique practices because it literally delivers and communicates with exceptional

information. Thus, I planned to design a uniquen ‘Object’ that can uniquely

encourage people’s general interactions in a way that so those interactions may

design and lead the space to another unique horizon; which is ‘Disrupting Thethe

Propre’. Designing such an ‘Object’ is like requires the designer to take into account

certain assumptions about the likely seriously assuming users of that object’s regular

practices and scenarios. Practices never do not always follow a designer’s

intentions and it the actual practices entirely depend ons how users interacts with

the object. This may give a clue that designing an “Object” is like designing flexible

potential situations and possibilities that can exceptionally happenedoccur when

Comment [z4]: removing “I” because it is not normal to use the first person when writing essays. If I had your instructions for writing this essay I could know this with more certainty. In this case safety is best, and I am not changing the meaning.

people interact with the object.

[[골든스퀘어의 오브제 그리고 이보케이티브 오브제]]

[ Fig.Figure 5:] Golden Square Side View. 2012. Personal Images .

[ Fig.Figure 6, 7:] Golden Square. 2012. Personal Images .

The site of the Golden Square is quite unique due to its unique environmental

specific location, and the surroundings of the location. In Fig.figures 1, 2, 5, 6 and 7,

it is very clear this specific sSquare is designed in an oOctagonal shape and it is

almost entirely surrounded by houses and buildings from on the outside and by

benches and trees from on the inside. This particular geographic location naturally

demands encourages people to face the its central point regardless of any their

situations. To put it another way, whether sitting on the benches, looking outside from

the buildings windows or leaving any buildings they and people will be literally

should face facing the central centre of the sSquare. Currently, they have in the

centre of the square is an historical statue: Fig. 7 at the central which represents of

King George II [as shown in Figure 7]. This King’s statue of the King also gives a

clue that the central part of the space square is the one of the key areas of its space.

Thus, I might define the central point of the Square can be defined it is as a ‘cCore

pPoint’, which is a crucial point that can possibly is likely to get maximum attentions.

Hence, the central area can be a ‘Ssignificant point’ of the place.

[[골든스퀘어 유니크 지리, 그리고 센터에 대한이야기.]]

[ Fig.Figure 8:] Golden Square four paths. 2012. Re-Adjusted Google Earth Image .

The ‘sSign’ is the most fundamental element of semiology. A Ssign is a unit which

contains meanings and anything that possesses meaning can be recognized as a

sign (Saussure, 2001, p.79). Therefore, making a sign can be making establishing a

meaning. Object An object delivers certain meanings and it may deliver certain

semiotic messages. This notion of a sign has been used to inform the design of the

proposed disruptor of the space, the transparent statue. A key element of the

proposed design is to I was thinking a strategy which can fascinatingly signify and

disrupt the space in a fascinating way and let people feel poetically poetic emotions

when they stay or enter and spend time in the place. In Fig.Figure 8, 1 and 2, shows

how the surrounding buildings gives four ways form four passengers to to enter the

sSquare and each path road will directly leads the people directly to the square,

which and therefore these roads can be considered as a four gates of the four

entrances to the square.

[ Fig.Figure 9:] Transparency structure or layer designtransparent sculpture: [ Light Resolver]. 2012

[ Fig.Figure 10] [Left]:: Reflection Experiment: Water, Light and Transparency. 2012. Personal Image.

[ Fig.Figure 11] [Right]: Hanging view of object 1. 2012. Re-Adjusted Google Earth Image.

[ Fig.Figure 12:] Hanging view of object 2. 2012. Personal Image.

I was amazed by tThe weather in London seems to be unexpectedly changeable and

in some ways weather in London. From my half year’s practical experience in

London, weather seems to be unpredictably changeable and I was actually inspired

by such a phenomenological weather pattern can be seen as representative of the

city’s own unpredictability and changeable nature in terms of its residents and their

activities. It somehow rains five minutes and it stops and suddenly appears beautiful

sunshine then it disappears again. Nevertheless, this changeable weather

represents dynamic London in a certain way. I planned to hang a transparency As

the weather is a common feature of the city that residents and visitors notice, it

seems natural to try to encapsulate this into the design of the transparent sculpture

and this has been accomplished by considering the way in which the statue will

interact with its environmentcontainer (Fig.9 and 10).

at the top of tThe statue, which is shown in Figure 9 and 10, will be located in the

centre of the, as this is the best focal point and also because the center is where the

king’s statue is located. It will appear to be hovering in space, as it will be suspended

in midair by connecting from it to the four buildings that surroundings surround the

square (Fig.Figure 11). This sculpture to dominate the ‘attractive point’ will become a

focal point, at the centre of the square. The main intention of this transparent layer is

to create a visual performance. When it rains, the rain will interact with the statue as

rain droplets will bounce on the surface of the statue, and on its roof and to collect

rain droplets will be collected to create a certain visual performance. As I revealed

earlier, the best attention point in this case possibly is the center where the king’s

statue locate. Main intention of this transparency layer is to In addition to this, when

it is sunny, the transparent layer will bend and resolve refract the sunlight when the

light path passes through. Whenever the light path passes through the both curvy

structure of the transparent layer and the any water on it, it will irritate influence the

light passing and will produce unique reflective shimmer shimmering patterns at the

other side of the layer; which is completely disturbing the original purpose of the light

and breaking the space and then re-juxtaposing its value to ‘Disrupt The Propre’. The

design of the transparent layer will gently provide very pure create a wide variety of

light patterns of light without spending any materials but only by environment and

geographic issuesin response to the rays of light that penetrate it. This curvy form is

entirely shaped designed for its function of creating a visual performance from

sunlight and in addition to this it may possibly be considered be an exquisite

transparency transparent sculpture even without its performance.

As well as this, eEven a little small rippling of the water surface by the wind can

change the whole pattern of light emitted from the other side of the layer. It is like

marriage between the light, water, wind and object, which is a beautiful interaction

that can create a the result of an incredibly aesthetically credible aestheticpleasing

interactive performance. It will communicate with its audience broadly from every

angle and the unique performance experienced by individual people may unlock

those its potential practices. s Therefore it will be impacted by the space in which it

resides, and at the same time o it may will impact whole mesh works of the space

because it will act as a shield against rain or direct sunlight and it will also capture

the attention of people in the square.

[[주위와 작업설명 대해서]]

Comment [z5]: I deleted something here because I could not understand it

Diagram: ‘Objects’, ‘Practices’ and ‘Space’. 2012. Personal Work.

In conclusion,

It seems that every space carries its regular practices and it reflectively becomes

part of the identity of the space. Therefore, a space needs to be conceptualised as

much more than a geographical location. In addition to this notion, a space should be

considered as a unique individual experience and these experiences vary from

person to person. From this point of view space represents a physical location as

well as a mental construction uniquely shaped by the individual. Although we cannot

determine the precise conceptualisation of a space, we can look at how a space has

been used in the past as well as how it is used in the present and reach some sort of

a view of that space. This then puts us in a position to disrupt that space by changing

it and changing the way people use and view the space.

Disrupting the space is about making changes from very fundamental stages. It

starts from one point and grows further and re-enforce its space then expands its

territory. tThe project ‘Disrupt Thethe Propre’ questioned questions me us to re-think

about the meaning of space and the identity of the space. The design of the

transparent statue is expected to disrupt the space because it places a

contemporary piece of artwork into a traditional square. This makes the statue

standout and it is also likely to provoke a wide range of reactions and emotions from

people who view it. In fact it is this unpredictability that leads to its likely destructive

value. It is quite conceivable that there could be a range of opinions ranging from a

practical shield from the rain or an interesting visual performance; to the other

extreme of an eyesore that should be immediately removed. If this wide range of

opinions and emotions are indeed manifested then the design will have achieved its

disruptive purposes.

It seems that every space carries their regular practices and it reflectively becomes a

space identity. I may consider disrupting the space is about making changes from

very fundamental stages. It starts from point and grows further and re-enforce its

space then expands its territory. There are massive ways to understand the design

and space. More,,,, More….

You may add me more body and especially the

conclusion in relation to above Diagram. I want to make

it look more credible and professional. Any more

information please email me. I am checking it 24 hours.

1. Golden square basic 'history' (briefly)

2. Golden square 'Space', ’’Practice’ and ‘Object’ / Correlation.

3. Evocative 'object', things that I think with.

4. My object and will talk why.

5. Edward W Soja

6.Stuart Hall (1997, p.2),

7. In “The Death of the Author” (1967)

8. Author: Jan Baetens

Published: May 2008

Evocative Objects. Things We Think With.

Edited by Sherry Turkle

Cambridge, Mass.: MIT Press, 2007.

352 pp., 70 illus., $24.95/£15.95 (cloth)

ISBN-10: 0-262-20168-2

ISBN-13: 978-0-262-20168-1

9. (Rose, 2001, p.79).

****** References

RA info: http://www.british-history.ac.uk/report.aspx?compid=41463

***** Info

** http://onegoldensquare.com/2008/09/a-brief-history-of-one-golden-square-by-

adam-bowie/