Theory of design: The Jelly Retreat

Brief:
Based on John Hejduks 9 Square Grid, explore and
design a series of 27 m models in 9 square grids.
Developing the models from 2D to 3D and from
simple to complex. The challenges require the
space to establish qualities of the interior and
articulation of exterior.
The design needs also to obey psychological,
emotional, anthropometrical, ergonometric,
feasible, and visual objectives.

Metamorphosis (medmrfss):
The word metamorphosis derives from Greek
, "transformation, transforming", from
- (meta-), "change" and (morphe), "form".
Known as the biological process by which an
animal physically develops after birth or hatching,
involving a conspicuous and relatively abrupt
change in the animal's body structure through cell
growth and differentiation.

Morph (mrf):

undergo or cause to undergo a gradual process of

transformation.

Design Concept
My designs concept was inspired by the Aurelia
aurita or Moon Jellyfish. I decided to use it as
jellyfishes in general are known to be very relaxing
to watch, as the repetition of the dynamics of the
tentacles causes one to feel relaxed, as well as that
the jellyfish depends on sea wave for movement. I
picked this specific species as it is a very common
species found throughout every ocean. I wanted to
design a place as universal as the Aurelia aurita for
people to relax in.
Hence, I decided to have the genius loci of the
space to be relaxing, implementing the idea of sea
wave movement and the metamorphosis of the
jellyfish for the design.
Throughout each of the metamorphosis of the
model, I wanted to add a new element of emotion
into it. Each stage representing the metamorphosis

of the jellyfish, as well as psychological emotions

one would feel in each stage.

The Design Process

Perception is the mechanism which links people
to the environment. Visual perception is the result
of complex interactions between external visual
stimulus and prior knowledge, goals, and
expectations.
In the first stage or the planula stage, I wanted to
create a place, where visually, it would trigger
enclosure and to emulate the feeling of being in a
planula. Hence, based on the form of the planula, I
decided on an organic, compressible, flowy
curvilinear form as the datum of the model.
Through the slits one would catch only glimpse of
the outside, hence would become curious on the
external world.
In the second stage or the polyp stage, I wanted to
create a place, where one would feel the need to
explore. Hence, I designed an elevated plane as
well as an additional elevated plane protruding out
the datum. The anthropometry of the space
requires crawling and climbing to get through.
In the final stage or the jellyfish stage, I wanted to
create a place you could finally relax in. Hence,
inspired by the sea waves, I designed an open-area

space where you could walk through and relax in.

The blue plastic sheet reflects blue light and
resemble water.

Well-structured and ill-structured

problems.
The problems highlighted were very definitive and
solvable, where I wanted a relaxing place, yet as I
added new elements, it created new problems and
emotions as well.
For example, I wanted to have a relaxing place
inspired by wave motions and jellyfishes. However,
the stages of emotions as I added elements into
the design might have set adrift my ultimate goal.
These caused conflicts of emotions in my design.

Design Method:
My design process was very cyclic, as I had many
explorations on form before settling on my final
design. I first analysed what geometrical patterns
or organic freeflow patterns would be suited, then
began craftmaking and presented my design and
idea to lecturers and fellow studiomates. The
process repeated until I had achieved my ideal on
the form and shape of my model which met the
requirements I needed.

Design Creativity
Poetic attitude of the design
I decided rather than playing with dull rectilinear
forms, I would use only curvilinear forms
throughout the entire model. To express the flowy
organic shape of the jellyfish, also to mimic the
movement and flow of the jellyfish and the
hierarchy towards the final design.
While in the restful, contemplative state associated
with observing or interacting with water, its also
common to experience feelings of awe. The
emotion of awe invokes feelings of a connection to
something beyond oneself, a sense of the vastness
of nature and an attempt to make sense of the
experience.
Tangible and Intangible approach to
creativity
Tangible approach is through the form, where you
walk through the design in a radial matter,
touching and feeling the articulation of the
materiality and also the physical exertion as you
pass through the space.
Intangible is the play with lights and vertical
planes. You feel curiousity and relaxation in a space
as such.

Form Making
The form of the design is in itself very organic.
Where I experimented with many organic
curvilinear forms and geometrical forms before
deciding on my final spiral form. The composed
form is of addition of organic plans. And I was
heavily inspired by biomimicry in my designs.
A quote by Eugene Tsui on biomimicry,
I do not look to nature as an inspiration merely to
mimic its form as other architects have done. I am
concerned with the profound intelligence of nature,
the hows and whys of its designs and living
processes, to understand the very mind of nature
and the universes to free the heart and mind of
man.

Proportions
Proportions which I implemented are of harmonic
and the golden section. Whereas the space centres
about a central datum (the gourd shaped structure)
in a harmonical balance as well as decreasing in
ratio as in the golden section rule of architecture.

Proportionally, the form of the structure is 2metres

against the average human height of 1.6metres in
Malaysia.
Orientation and configuration
Radial counterclockwise form used as after
research and anthropometric study, majority of
people are right-handed hence railings and flow of
the structure can support majority of the
population.

Conclusion
Through the first project of semester 2, I have had
a wider knowledge about spatial relationships,
biomimicry, the designs of nature, emotional
aspects of architecture according to the harmonic
and anthropometrical proportion of the forms.
The Jelly Retreat of whom I designed has been a
very fruitful and interesting project which I have
explored a great deal in.

References
1.Lawson, B. (2006) How Designers Think: The
Design Process Mystified, Architectural Press.
2.Francis D.K. Ching (2014) Architecture: Form,
Space and Order, Wiley.
3.Lawson, B. (2001) Language of Space,
Architectural Press.
4.Eugene Tsui, (2000) Evolutionary Architecture:
Nature as a Basis for Design, John Wiley &
Sons.
5.Russell, F.S. (1953) The Medusae of the British
Isles II. Cambridge University Press, London.