Mass Matching Customization, Configuration & Creativity

Transcription

1 Mass Matching Customization, Configuration & Creativity Proceedings of the 5th International Conference on Mass Customization & Personalization MCPC 2009 Helsinki, Oct

2 Mass Matching - Customization, Configuration & Creativity: Proceedings of the 5th International Conference on Mass Customization & Personaliation MCPC 2009 Aalto University School of Art and Design Publication Series B 102 ISBN (pdf) ISSN Aalto University School of Art and Design and the authors Proceedings editors: Jarmo Suominen, Frank Piller, Mikko Ruohonen, Mitchell Tseng, Susanne Jacobson Layout: Kirsten Sainio Logo: Taivas Font: Klavika Ref. Suominen, J., Piller, F., Ruohonen, M., Tseng, M. & Jacobson, S. (eds) Mass Matching - Customization, Configuration & Creativity: Proceedings of the 5th International Conference on Mass Customization & Personalization MCPC 2009, Helsinki Oct 4-8, Aalto University School of Art and Design Publication Series B 102. Helsinki: Aalto University School of Art and Design.

3 A Search for the Meaning of Function in Space University of Art and Design Helsinki Abstract. This article looks at the meaning of function in space. The question raised stems from a dissertation entitled Space within Space. In the article a new perspective for spatial design and a new concept of space will be proposed. Keywords. Function, space, conceptualizing. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 1

4 Introduction I will begin by addressing the following question: How can a space be designed from functional point of view? Before I can answer this question I will consider the meaning of function in the context of architectural studies. How is the architectural view represented itself in buildings and spaces? At the end of the article I will present another point of view regarding architectural design. This proposal is a concept of space which indicates how a building can be designed according to the actions of people and not determined by typical categories of space such as kitchen or bedroom. The proposed concept is based on my dissertation Space within Space. Liturgy and Space in Dialogue at the Altar. In this dissertation the organisation and transformation of altar space in the modern Evangelical Lutheran Church of Finland ( ) was examined from a liturgical and architectural perspective. 1 Form follows function There is a very well-known saying: Form follows function attributed to Louis Henri Sullivan ( ) or indeed function follows form in the words of Ludwig Mies van der Rohe ( ). Moreover, the term function has been understood in several ways, perhaps because the meaning has been unclear. The term functionalism is understood in general, and defined as a functional act. In some cases the term function has been determined too narrowly and the analysis has been unfinished. These facts may offer us reasons for understanding functionalism more like a style than a method which can solve problems. 2 What is meant by this? Let us take an example. In early 1930 s Finnish architecture there were a divided group of architects designing churches. They had a disagreement of style regarding these buildings. Modernists, so-called functionalists, wanted to design churches in a functional manner but there was one problem: How could they define the function of church when belief is an abstract act? They resolved that a church should be designed like a concert house because of the actions of the parish in playing the organ and singing psalms. This displayed an interpretation of function by music and shows that a perspective for design categorized the building by a function of acts. 3 The term 'function' is understood in this article as a functional manner and a tool for house and space design. The function is defined from the acts of individuals, happening in some frame of space. The function is relative to something. Usually, relative has meant between an individual and their act and 1 Dhima Periäinen 1967, 38 39; Eskola 2005, Periäinen 1967, 38. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 2

5 a space. Space is determined functionally when an individual and their act receive support from the surrounding area - space. Defining space Research has studied space in several ways. There has been an ideological, art historical, sociological and contextual viewpoint for space for example. 4 These examples of research are focused on searching for values which have been reflected in a space or interpretations of values in a space. There are also many pieces of research which have been done from a psychological point of view or have used semiotic theory, and a few items of research which are focused on form and shape. 5 Several architectural studies are considered more in terms of a building or zoning map than through a theory of design or the analysis of interiors and the behaviours of individuals in acts. The design of space has been conducted in the same manner for a long time because conventions of building have been the same. 6 Instead, materials and technical possibilities have increased the scale and number of spaces. Modern churches, for example, have a larger than a church hall (includes chancel), sacristy and entrance when compared to the Middle Ages. A parish centre includes many spaces for several activities and the church hall is one space among the others. At the same time, the design of space has shifted from stable to dynamic form. The dynamic nature of space has meant fewer fixed pieces of furniture versus movable items. Spaces have been made to be movable and unfixed, often with walls which can be opened and closed as the need arises. However these developments do not solve all of the problems in the design of space. Movable pieces of furniture and walls can solve spatial problems in theory but it doesn t necessarily mean the same in practice and everyday life. Usually people are too lazy to change the order of furniture. As was already mentioned in my dissertation regarding altar areas, the research indicated that the pieces of furniture have a fixed order. In certain instances, fixed furnishings had been substituted by movable pieces or, moreover, new pieces of furniture and paraphernalia such as musical instruments, pieces of art, tables, chairs and plants were brought in. It is worth considering if the altar area had been planned in the beginning in a fully functional manner, whether there would be any need to bring in new pieces of furniture or objects. So, the point of this means that functionalist architects thoughts of church function cannot be determined only by music. 4 Hillier & Hanson 1982; Eräsaari 1995; Reijonen 1995; Lefebvre 1991; Casey 1996; Arlander 1998; Eräsaari 1999; look also Homsi Ching 1979; Stenros & Aura 1984; Stenros Leiviskä 1976, 32. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 3

6 All in all, the tendencies of the liturgical movement in the western church have had a notable effect on the altar space. Actions and restrictions Design of space can be problematic if space is defined too narrowly. As was already pointed out, the functionalist architects have aimed to design a church along the same principles as a concert house. The function of a church in worship is much more than just singing psalms or playing organs though. By looking at the order of worship we can see that the worship also includes praying, reading, participation in the Eucharist (which means eating bred and drinking wine), walking and standing for example. Figure 1 displays the order of Mass in the Finnish Lutheran Church, a liturgy of church service. There are four parts in the worship which are the introduction, word, Eucharist and ending which have been marked with icons to indicate the related piece of furniture in the altar area. The colours of figure 1 show the user of a piece of furniture or instrument and the order of their use. Figure 1 points out the parts in which the organ is played, and it can be seen that the icons of the altar or the pulpit are used much more often. This example shows that a space cannot be designed by only copying that which has been done before. Indeed the meaning of function would need to observe the needs of acts and specifically the needs of users. One space will usually have several needs. Because of that, the space cannot be defined by one act alone, and design must take into account the other users of the same space and be aware of their role. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 4

7 Figure 1. Order of Mass. 7 Acts of the Mass Piece of furniture / instrument 1. Introduction Bless / Say introduction words / Confession / / Read Psalm / Kyrie / Gloria / / Pray / 2. Word 1. Read text of the Old Testament 2. Read text of the New Testament Read a Gospel / Give a sermon / Credo / Prayer of intercession 3. Eucharist Pray (of Eucharist) Pray (Pater noster) Pax (piece) Wish peace Say words of Eucharist Invite Offer bred Offer wine Say ending words Pray (of thanksgiving) 4. Ending Praise / / Bless / Send / 1/1a 1b Altar Pulpit Baptismal Organ Lectern 1. Pastor 2. Pastor Church social worker Cantor Member of church 7 Dhima 2008, 140. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 5

8 Conceptualizing space In this article so far we have claimed that the principles in the design of space have not changed even though there is an increasing need to design spaces which are different than before. Architecture is still done by classifying types of spaces, such as a school class instead of designing space which supports actions such as studying and learning. I think that architectural design should arise from user activities and needs and that such a conceptualization of space can work as a tool for creating architecture. In the process of conceptualizing space the space is understood from the perspective of acts which have order - just as the Mass has a liturgy. To define the order of acts one needs to know of the events that take place in the space. The actions of the event should be listed in parallel with the process of the event from the beginning to the end. There is also a need to define the participants of the event as users and to take account of the different roles these users may have. The users can have several roles in an event and those should be defined. The viewpoint of conceptualizing can be shown from a main user standpoint which must be determined first. By switching the main user one can change the perspective and the emphasis of different elements of the event. Different roles are determined from within the event and there is a need to notice all of the actions in that role. A person plays a role with a certain amount of functions, like a cast in a film. In practice the conceptualizing space I have used can be viewed as stops and stations in the image of metro map. The stops and the stations are parallel to the actions of one event. In that case the event is a platform or space for all activities and individuals in the roles. I have used a party as an example of concept with a clear beginning and end (figure 2). A case party is chosen for the event (for example) and there is list of activities which belong to the party. For example, actions may be to make a list of guests, invite them to a party and send invitations, buy or order food, set a table, welcome the guests, drink, serve up, have a dinner, converse with the guests, enjoy a performance or dance, say goodbye to the guests, clean and give a thanks. The party s cast roles are a party s host, service and guests. The tendency towards mass customization will occur when the roles and situation of the affected persons are taken into account. When people and their roles are studied in the different situations, more knowledge regarding the needs of the customer will be gained. 8 Their differing situations will be seen to relate to one another, and by understanding the relation of these situations a space can be created that is functional and supports the actions in question. The course of the event could be made in many ways. The needs and wishes of the customer are defined by the relation of the resultant situations. The process of conceptualizing space will help to respond to the customers' requirements and their demands in the various situations. 8 Tseng & Piller 2003; Ahoniemi et. al Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 6

9 Figure 2. A party case example. Each different icon signifies an action from beginning to end. By a process of conceptualizing space it is possible to notice the demands of an event and to create guidelines for architectural space. So far functionalism has been understood as a matter of determined space and function. In that sense the analysis of acts is missing and because of that a design is based more on a fiction of user behaviour in space than in reality. Spaces have seldom been created for one act and a defined name for space can restrict a vision of design. It is possible however that a position of architecture can develop more user centred design. We will find out whether it does in the future. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 7

10 References Bibliography. Ahoniemi L. et. al. (2007). Massaräätälöinnillä kilpailukykyä. Teknologia teollisuus. Helsinki. Arlander, A. (1998). Esitys tilana. Teatteritaiteen taiteellispainotteneinen tohtorintutkinnon kirjalinen osuus. Diss. Teatterikorkeakoulu. Helsinki, FI. Bondestam, M. (1981). Arkkitehtuuri elämyksinä. Suom. Sirpa Eskola. Rakennuskirja. Helsinki, FI. Casey, E. S. (1996). How to get from Space to Place in a Fairly Short Stretch of Time: Phenomenological Prolegomena. Steven Feld, Keith H. Basso. (ed.) Senses of Place. School of American Research Advanced Seminar Series. Santa Fe (NM): School of American Research Press, USA. Ching, F. D. K. (1979). Architecture. Form, Space, and Order. 2nd ed. John Wiley & Sons, New York, USA. Dhima, S. (2008). Tila tilassa. Liturgian ja tilan dialogi alttarin äärellä. Diss. Practical Theology. University of Helsinki, FI. Eräsaari, L. (1995). Kohtaamisia byrokraattisilla näyttämöillä. Diss. University of Jyväskylä. Architecture. Gaudeamus, Helsinki, FI. Eräsaari, L. (1999). Luostareista teknologiakeskuksiksi. Jyväskylän yliopisto julkisen tilan massoittumisen kuvaajana. Minna Sarantola-Weiss (ed.) Yhteiset olohuoneet. Näkökulmia suomalaiseen sisustusarkkitehtuuriin Otava, Helsinki, FI. Eskola, T. (2005). Arkkitehtuuri käsitteenä. Arkkitehftonis-filosofinen tutkimus rakennuksesta modernissa. Diss. Arkkitehtuurin perusteet ja teoria. Teknillinen korkeakoulu. Hillier, B. Hanson, J. (1982). The Social Logic of Space. University of Cambridge Press. Cambridge, UK. Homsi, E. (2004). The Ritual of Orientation. Gesture, Script and Space in Islam, Journal of Architecture Theory, Datutop, no. 24, Laitinen, R. (2004). Johdanto tilan kokemisen kulttuurihistoriaan. Riitta Laitinen (ed.) Tilankokemisen kulttuurihistoriaa. University of Turku, Lefebvre, H. (1991). Production of Space. Donald Nicholson-Smith (transl.) Blackwell Publishing, Oxford, UK. Leiviskä, J. (1976). Rakennustaiteen keinot tänään. Kritiikin näkökulmat. Arkkitehti, no 5, Nyman, K. (2001). Talojen kieli. Rakennusalan Kustantajat RAK, Gummerus, Helsinki. FI. Periäinen, T. (1967). Funktion käsitteestä arkkitehtuurissa. Tutkimuksia II, Arkkitehti, no. 6, Reijonen, M. (1995). Tilan kolmet kasvot. Tutkimus kirjastotilasta. BTJ Kirjastopalvelu. Helsinki, FI. Stenros, H., Aura, S. (1984). Arkkitehtuurin muoto ja sisältö. Johdatus arkkitehtuurin muoto-opin ja ihmistiedon yleisteoriaan. Rakennustieto, Helsinki, FI. Stenros, A. (1992). Kesto ja järjestys. Tilarakenteen teoria. Diss. Teknillinen korkeakoulu, FI. Tseng, M., Piller, F. (2003). The Customer Centric Enterprise Advances in Mass Customization and Personalization. Springer. Tunturi, J., Syrjämaa, T. (2002). (ed.) Eletty ja muistettu tila. Suomalaisen kirjallisuuden seura. Helsinki, FI. Submitted to 5 th World Conference on Mass Customization & Personalization MCPC2009 8