Dhizaini Aesthetic Lab Kirasi naPei Ting Yu ndiye mukundi anokudzwa zvikuru wemubairo unoremekedza we2022 Mubairo weBronzi we A' Design Award muChikwata cheKukwikwidza cheNzvimbo yeMukati neMusangano.

BronziMukati· 2022

Aesthetic Lab Kirasi

na Pei Ting Yu

Mutengi: Taiwan Design Research Institute

Mukundi weMubairo weBronzi we A' Design Award muChikwata cheMukati

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Mavara

Dhizaini

Nezvekwa Aesthetic Lab Kirasi

Aesthetic Lab ikirasi yakagadzirirwa dzidzo yezvinoyevedza (aesthetic education) muchikoro chiri muNew Taipei City, Taiwan. Nzvimbo ine mamita masikweya 110 ine madziro machena, denga uye michina yakachena, saka basa revadzidzi ndiro rinopa ruvara munzvimbo iyi. Mavara mana anoyerera kubva padenga kusvika pasi, achiratidza mutsetse mukuru wepakati (central axis) uye golden ratio, uyewo achishandiswa semudziyo wekudzidzisa. Chitsuwa chiri pakati chinounganidza mapombi emvura, magetsi (power outlets) uye nzvimbo dzekuchengetedza pakati pekamuri. Matafura nezvigaro zvinopetwa zvinogona kufambiswa zvakasununguka, zvichiita kuti kirasi iyi ikwanise kushandiswa mabasa eboka, hurukuro (lectures) uye miratidziro (exhibitions).

Kuzivikanwa

Nezve Mubairo weBronzi we A' Design Award

Mubairo weBronzi we A' Design Award wakahwinwa ne Aesthetic Lab Kirasi, rukudzo rwakakwirira kwazvo runopiwa kumadhizaini akasiyana anozivikanwa nekugadzira, njere nekungwara. Vakunda veBronzi mabasa ane unyanzvi hwakakwana uye kugadzira kunoshamisa kunosimbisa ruzivo rukuru, pfungwa nehunyanzvi hwevagadziri vawo. Aesthetic Lab Kirasi inotarisirwa kuva chinhu chinokudzwa kwazvo, chinoremekedzwa uye chinodiwa, chine hunyanzvi hunoonekwa uye zvitsva. Dhizaini iyi yakahwina Mubairo weBronzi we A' Design Award inosanganisa maitiro akanakisa muhunyanzvi, sayenzi, dhizaini netekinoroji uye yakasiyana nekutarisisa zvidiki. Aesthetic Lab Kirasi inogutsa zvinodiwa zvakanaka, inobata zvishuvo, inokwezva manzwiro uye inomutsa kuda kuziva.

Shure kweDhizaini

Bepa Renhau

Zvikwereti, nhengo dzetiimu nezvimwe zvakadzama zvakapihwa nemudhizaina.

Hunhu Hwakasiyana: The value of aesthetic education courses is gradually becoming acknowledged in education circles. We lead the way in advocating the transformation of classroom spaces for the purposes of aesthetic education and came up with the concept of Aesthetic Lab. The hope is that the classroom will become a place for student’s to seek and explore aesthetics knowledge, turning it into a receptacle for the chemical reaction between rational knowledge and perceptual imagination.
Kukura & Kupakiwa: 110m2
Matagi: Interior, Campus, Classroom, CMYK, Children, School,
Tekinoroji Yekugadzira: The space adheres to the visual composition techniques of equal balance, centering, and symmetry, and applies the golden ratio to the dimensions of the items inside the classroom. While intangible concepts are conveyed to students, the flowing lines on the floor are a manifestation of the knowledge applied within the space. The four colors draw out the central axis of the space and the golden ratio, doubling as teaching materials for aesthetics exploration in the classroom. And since this classroom has already been imbued with rich knowledge, it is up to the students to come in and make discoveries.
Changamire yeDhizaini: Communicating with the school took quite a bit of time. Our plan called for the placement of a six-meter central island and sink in the middle of the classroom, a design element that smashed people’s preexisting impressions of classrooms. But the main reason why discussions took so long was the break with convention in terms of layout and material usage. Thus, during initial discussions, there was a lot of apprehension about the classroom’s functionality, safety, and future maintenance, and we had to dedicate some time to building everyone’s confidence.
Tsvakurudzo: We started off by studying the context of the development of aesthetics education in the curriculum of junior high and elementary schools in Taiwan. We found that what was most lacking was contact with aesthetics in daily life. Moreover, discussions with school officials revealed that aesthetics courses have become more and more diversified in recent years, extending beyond simply drawing pictures. Therefore, our design objective was to make this classroom a space that opens up more possibilities for the future. We also hoped that this classroom itself could serve as a teaching tool through which students can personally experience aesthetics. While in this space, students would be able to perceive the aesthetics principles that were purposely applied and also learn the concept that aesthetics coexists with rationality and sensibility. An additional objective was to do away with the students’ preexisting impressions of classrooms.
Chikurudziro: The first step of the transformation process was making the space a blank canvas. Encompassed by white interior walls and ceilings, children’s rich and diverse imaginations are able to run freely. Furthermore, in order to give students a more complete and pure visual experience, the colors of the space were strictly controlled, with all of the facilities and equipment inside the classroom rendered white.
Nguva yePurojekiti: The project completed in January 2021 in New Taipei City , Taiwan
Mafambiro eBasa: The only colors that were left to flow throughout the space were the four primary colors.

The colors flowing down from the ceiling are the visual focal point of the entire space. The central island integrates water faucets, outlets, storage space, and other functions in the center of the classroom. The purpose of centralized storage is to return the space to the users by maximizing the usage area and accommodating the moving of student desks and folding chairs used for meeting the needs of different course requirements. For example, the space appearance can be rearranged freely for the usages of small group creation, lectures, and exhibitions. During the modification of storage spaces, teachers were also advised to cooperate in using storage boxes to classify teaching materials and equipment. The placement of the storage boxes can be adjusted according to size and frequency of use in order to more effectively utilize teaching materials and avoid unnecessary clutter. Students can also use the top of the central island’s storage cupboard as a tabletop for project operations such as editing projects. Additionally, it can be used as a platform for the display of projects at semester-end exhibitions, wherein upon students’ replacing of the ceiling’s rail-mounted lights with projection lights to illuminate their projects, the classroom is transformed into an exhibition space. It is hoped that through the presentation of works in the exhibitions, students can achieve a new level of experience in aesthetics learning, and even connect it with life experiences.
Nhengo dzeTimu: Director: Yu, Pei Ting
Zvikwereti zveMifananidzo: Image : Photographer Jason Chen