Critical Analysis of a Manager's Conflict Management Style

Critical Analysis of a Manager’s Conflict Management Style
Every touching experience of architecture is multi-sensory; qualities of matter, space and scale are measured equally by the eye,
ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, one’s sense of being in the world,
essentially giving rise to the strengthened experience of self. Instead of mere vision, or the five classical senses, architecture
involves several realms of sensory experience which interact and fuse into each other.
Juhani Pallasmaa, ‘The Eyes of the Skin: Architecture and the Senses’ (1996), Academy Editions, London. pg28.
Brisbane Undercover : A Poetic Design Intervention / Insertion:
Project 2 is an applied design project and will focus on pedestrian spaces in the Brisbane City and near environs. The spaces to be
utilised as the sites for this project will be selected by students in consultation with their tutor. The sites will have widely differing
qualities and students will need to carefully observe and analyse the potential for creating the sense of place that each exhibits.
Each student will select a space in consultation with their tutor and design a poetic architectural insertion that captures, enhances
and/or adds to the qualities of the place, and the broader experience of visiting the Brisbane City. As the name of the project
suggests, these architectural interventions will provide new elements of pedestrian shelter. These architectural installations are to
be modest in size, adding both a new aesthetic and functional dimension to the experience of moving in and around the city. There
should only be carefully considered and minimal change to the existing physical setting. The new project must work closely with the
existing context and primarily add to, or in some cases, replace what is already there. The projects should take account of the broad
spectrum of people who move around and use the city and offer a sense of delight that adds to their experience.
There are already many awnings and a myriad of other elements such as bus shelters etc throughout the central city area. For the
most part, while these existing architectural elements provide protection from the rain and sun, they offer no further delight to the
pedestrian. The aim of this project is to propose installations that offer an enhanced and ‘delightful’ experience.
School of Design • Queensland University Of Technology
Like the previous assignment, this project creates a further opportunity for you to demonstrate your understanding of the relevant
ideas, theories, arguments, for and about place and placemaking that we are exploring in DAB220. It will be an opportunity to
integrate and extend into your design work this knowledge and discussion. You will record, reflect on, and make informed design
judgements through your design proposal about the ‘sense of place’ to be found and developed in the Brisbane City environment in
general and the site of your project in particular.
Projects need to take into account and address the following considerations:
Selecting a Site:
Each student must select a site in the Brisbane City or near environs as contained in the ‘coloured’ part of the location map attached,
within the thick red boundary line indicated. (This is non-negotiable). Spend some time walking around the city area and observe
the range of architectural elements that currently provide pedestrian shelter. These include free standing built structures such as the
giant glass and steel canopy located at the intersection of Albert and Queen Streets, the towering structures strategically placed
along the length of the Queen Street Mall, and more modest shelters such as those at bus stops etc. It also includes the simple
horizontal projecting awnings attached to many buildings that provide continuous cover to the footpath as you walk along many of
the City’s streets. Students may choose to select the location of an existing structure and provide a proposal to replace that
structure, or alternately choose a site where there is no existing pedestrian shelter. This may be a piece of open footpath or part of a
square, plaza, or park used by pedestrians.
The project and site should be modest in size. It could be defined by the width of an existing building and footpath for example. The
designed structure should not be more than 12 metres at its longest or widest dimension, but it could be as small
All sites will already have unique qualities and a particular location and relationship to buildings and streetscapes. A sunny location.
A protected location. A location with lots of traffic moving past, or perhaps on a quieter side street. A location that is part of or
adjacent to a larger park or open area. A site with a view of the river, or some other distinctive building or architectural landmark.
Examine and record how these qualities are marked or expressed. Can these qualities be enhanced or developed? Does there
need to be a new or additional expression? Could this architectural insertion contribute to an understanding or enhanced expression
of the qualities of the City?
Sensory Response:
A key aspect of each of the proposals will be engaging in a heightened way with the senses; recognising and responding to the
immediate bodily experience of moving through and ‘touching’ the place created in your project. Projects should achieve a
stimulating sensual response that considers such things as sight, touch, sound, smell, and taste. At the most basic level the new
project must offer pedestrian shelter. It must provide a degree of protection from the elements; protection from rain, the sun, and
the wind. It does not have to provide protection from all these elements, but you will need to clearly define the scope and nature of
your project and offer a reasoned explanation as to the degree of shelter provided. Shelter might also be provided from noise or the
impact of city traffic to provide a safe and secure haven.
Scale Response:
Projects need to respond to both the scale of the human body, and make reference to the wider City setting through its physical,
cultural, historical, and/or social context(s). These works are a link ‘placing’ the individual into the City setting. They provide a way
of reasserting the relationship between the self and a broader existential sense of the world.
Functional Aspect:
In addition to offering a sensual and poetic experience to those that pass by and engage with the proposed installation, each project
must provide a functional component that will contribute positively to the pedestrian experience in the Brisbane City area.
As described above this may simply be shelter from the sun and rain, but it could also include such things as a:
? place to rest (seating)
? place to shelter (shade devices, roofing)
? place to meet or wait
? place to understand (way-finding)
? place to exercise
? etc
Process, Tasks, and Timetable:
The development of the design project will be supported by the lectures and tutorial sessions. Tutorial sessions will be a
combination of group focused activities and one-on-one discussions where possible with the unit tutors.
The minimum submission requirements are set out below. All items must be included:
GRAPHIC PANELS: (to include text, drawings, sketches, and photos.)
? Location Plan. A jpeg file of the attached Brisbane City map will be provided on Blackboard. Each student must download
and use this map in their final presentation and submission, indicating precisely the location of their place / structure.
? Plan. A minimum scale for the e-copy submission and in-class presentation of 1:50.
? 2 Sections. A minimum scale for the e-copy submission and in-class presentation of 1:50.
? Development sketches. A minimum of 2 x A3 sheets.
? Photographic and/or other graphic illustrations indicating the character / context of the site surroundings. A minimum of 1 x
A3 sheet.
? Photographs of the model you have produced and as physically presented during in-class oral submission.
(These requirements should translate into a minimum of 6 and maximum of 8 x A3 sheets).
? Written statement (max 300 words).
? Include site location + context, reason for selection, ideas generating design, and brief description of design as a minimum.
? The text (inc written statement) should be incorporated into your panels (refer above) and the written statement included as
a separate A4 “word” document.
PHYSICAL MODEL (scale 1:20):
? a physical model at the scale of 1:20 (this scale is non-negotiable).
? the base-board of the model is to measure 600mm X 600mm (standard size for all students)
? the model will illustrate the design proposal.
? a detailed consideration of the qualities of the model will take place in tutorial sessions.
? the model will be presented and exhibited in class in Week 11
? students will be asked to read their written statement in class (max 5 mins/person).
? students are required to present their finished design proposal in class, and may not make any changes to this work before
submitting the e-copy version on Blackboard. (a penalty of 10% will apply for not presenting in the scheduled class
and no late submissions will be accepted without an “approved” extension).
? teaching staff for the unit will evaluate the proposals and lead critical discussion about the projects.
? hard-copy graphic and text panels and written statement will be retained by tutors.
? physical models are to be removed from the studio following the in-class presentation session.
Selected sites must be contained in the coloured area within the RED boundary line indicated (this is non-negotiable).
There is a plethora of potential sites contained within the area shown. Site selection will be very influential in your ability to be
creative with your (poetic) design intervention / insertion if you are willing to investigate the possibilities and fully analyse the context
in a critical manner.