Aesthetic Lab Sehlopha sa Thuto ka Pei Ting Yu

Moralo oa Aesthetic Lab Sehlopha sa Thuto ka Pei Ting Yu ke mohlodi oa khau e hlomphehang haholo ya 2022 Moputso oa Boronse oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Sebaka sa Ka Hare le Dipontsho.

BoronseKa Hare· 2022

Aesthetic Lab Sehlopha sa Thuto

ka Pei Ting Yu

Moreki: Taiwan Design Research Institute

Mohlodi oa Moputso oa Boronse oa A' Design Award Mokhahleong oa Ka Hare

14,465

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #132502

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Aesthetic Lab Sehlopha sa Thuto

Aesthetic Lab ke phaphosi ya sehlopha e etselitsweng thuto ya botle (aesthetic education) sekolong se New Taipei City, Taiwan. Sebaka sena sa 110 square metres se na le mabota, marulelo le disebediswa tse tsoeu, hore mosebetsi wa baithuti o fane le mmala. Mebala e mene e phalla ho tloha marulelong ho fihlela fatshe, e tshwaya mothamo o bohareng le karolelano ya kgauta (golden ratio) mme e sebetsa jwalo ka thepa ya thuto. Setlwaedi sa bohareng se kopanya diphudulo tsa metsi, dibaka tsa motlakase le polokelo bohareng ba phaphosi. Ditafole le ditulo tse menyang di ka sisinngwa ka bolokolohi, e le hore phaphosi ya sehlopha e lumellane le mosebetsi wa dihlopha, dithuto le mananeo a pontsho.

Kamohelo

Mabapi le Moputso oa Boronse oa A' Design Award

Aesthetic Lab Sehlopha sa Thuto ke mohapi oa Moputso oa Boronse oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo e ikhethang e tsejoang ka boqapi, bohlale ba ho qapa le bohlale. Bahapi ba Boronse ke lintho tse nang le bokhoni ka ho felletseng le boqapi bo hlollang tse tiisang boiphihlelo bo bongata, mohopolo le bokhoni ba ho iphumana ba baqapi ba tsona. Aesthetic Lab Sehlopha sa Thuto e lebelletsoe ho ba ntho e hlomphuoang haholo, e ratoang le e ratehang, e nang le boprofeshenale bo bonahalang le mehopolo e mecha. Moralo ona o hapileng Moputso oa Boronse oa A' Design Award o kenyelletsa mekhoa e metle ka ho fetesisa bonong, mahlaleng, moralong le theknolojing mme o hlahella ka ho tsepamisa maikutlo lintlheng tse nyenyane. Aesthetic Lab Sehlopha sa Thuto e kutloisisa litlhoko hantle, e ama litakatso, e hapa maikutlo mme e tsosa takatso ea ho tseba.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: 110m2
Lithegi: Interior, Campus, Classroom, CMYK, Children, School,
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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.
Nako ya Projeke: The project completed in January 2021 in New Taipei City , Taiwan
Tsamaiso ya Mosebetsi: 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.
Litho tsa Sehlopha: Director: Yu, Pei Ting
Litlotla tsa Setshwantsho: Image : Photographer Jason Chen