Process & Discovery : JENGA 1.0

Within three spaces, my assignment was to capture the concept of "flow" using a unique kit of parts. The spaces were as follows:

-22' x 22' ( 2 columns, one wall )

-22' x 32' - 4'' (2 walls, one column)

-11' x 32' -4'' ( 2 solids that would not engage with the walls )

To start off, within the word flow, I thought of great movement without the need for walls blocking off circulation. I did have a kit of parts though so my thought began to move towards how I could accomplish a flowing space without halting circulation with the kit of parts assigned. In my own design process, I like to start off with a mixture of sketching and precedent research. Inspiration is everywhere if your eyes are open to it. In fact, I found the most inspiration just looking up the different definitions of flow. With this I abstracted the literal definitions into concepts of space. For the 22' x 22' square space, I choose to go in the path of the flowing procession from source to source. The 22' x 32' - 4'' space derived from the concept of rising and the advancing, translated then into a certain capture and release. For the narrow 11' x 32'-4'' space, I decided there would be a stream- like element to it...derived from the comment "A constant stream of humanity flowed by".

Right from the start, I did not want to simply cut off sections of the spaces to fit in the different activities of bathing, living, and eating. In order to create a flowing space, ceiling drops were the route I took to generate a different feeling from one space to the next, to create enclosure, and in one space, the idea of capture and release. Using the 2 walls and one column for the 22 x 32' space I first started playing around in my sketches with rises and drops within areas i thought should be more private such as bathing and sleeping, thinking of using the walls to shelter bathing. (sketchbook pic)

The first sketch model had curvilinear walls and a column that placed in a way one had to weave in and out of the space. I decided to throw out the idea of curved walls in this space and then worked to create the sketch model below which is closest to my final design. The first ceiling drop would be as one entered the space in a kitchen area a 3' space was made between the countertop and a column to allow passage, although I eventually pushed the column back to the door way to enforce the "capture" in entering the space, along with guide the user directly to the kitchen area with out room to venture into the living/meditative room immediately. This is shown in the model directly below.

The ceiling drops guide and help the occupant to navigate the space through levels of privacy. For example, the ceiling angles down where a toilet is placed. The bedroom is the second lowest ceiling drop, and the living, meditative area (lined by all the windows) eventually takes form in a low angle. The space in between the ten foot wall between the kitchen and bed/bath area and the two foot wide storage walls is a 3' unofficial doorway where one experiences the full 14' ceiling height before entering in the more enclosed bedroom.

22'x 32'-4''






















11' x 32' -4''

Conceptual Frame----> Physical translation

In my 22x 32’-4’’ expression of flow, I dissected the word more as the feeling one receives in transitioning from space to space. In light of the ebb and flow of wave patterns, I began to see a physical translation of this natural process in my design process; upon recalling the ceiling drops of falling water. It was not the literal historical precedent, which guided me in designing this space, but rather its concept of capture and release. In tune with this idea, my mind started working around manipulating the ceiling of this space first. An entry point would hold the essence of capture, fitting in the activities of food prep and dining in this area as well, while a neighboring window-lined living space would have a more open air to it. In order to control this “release” in the living area, I set up an angled guideline that protrudes along the entire 32’ window lined side of the space, both allowing a sense of defined space and direction. As one circulates into an area of cleansing and rest, two different sized “walls”; one below full ceiling height in the form of a 12’ long by 2’ wide storage wall which streamlined the window wall along with a rest area (perpendicular 3’ gap in between window wall and resting area, one space flowing into another), the second wall opposite the entryway allowing a gap between the perpendicular storage wall. The smallest ceiling change defines the rest space along with its semi-enclosed walls, as it is a more private area. The cleansing/bathing area is treated with another degree of privacy as two triangular angles dip down to create “capture”. Through special definitions the idea of capture and release takes form by manipulating ceiling heights to capture rather than totally enclose spaces with walls.

The 11x32’-4’’ space, a very long and narrow rectilinear space…I choose to use my two solids to define space rather than cut off the minimal space there already was. This physical translation stems from the concept of everlasting flow inspired by a preliminary formation of space I sketched, which allowed the user to circulate in a pattern similar to an infinity sign. The highest ceiling height takes on a rectilinear reproduction of this symbol as the edges of the ceiling drop to 11.5’ in order to create a nook to install lights that would cast evenly on every wall. In the middle of the space two solids protrude from both ceiling a floor. The ceiling storage units/ space dividers would be glass in order to allow a feeling to less enclosure in such a tiny space than what is physically there. They would be connected to the ceiling of course, dropped at 11’. By adding and subtracting parts, I ended up with a space similar in circulation to an infinity symbol, a direct expression of its original inspiration-continuous flow.

For the 22x22’ square space, I saw flow as a series of water sources welling from the compression of a stream all the way to the expanse of a river. In physical form, the ceiling would allow this transition from source to source, flowing movement from an activity in one space much different from that of a different activity. The lowest and smallest drop starts in a meditative area ending with a “floating” column. The next lowest ceiling drop would occur in a kitchen/dining area. The third slight drop transitioned to a living space where the actual entry way was place (opposite experience from this point). This leaves a corner in which a curving wall whose interior was enclosed enough to allow full ceiling height (14’). My kit of parts came into play as functional elements, one doubling as a lazy Susan, the other, enforcing a segregation of space between the meditative area and more over dining/living area. The physical form of this square space acts as a stem from one activity to the next, much like a stream eventually becoming a river or lake.

Designer Bio + Goals Take Two

Entering into the spring semester of my second year in the IARC program I have a more specific understanding of my short-term and long-term goals. From the fall semester of my first year in the program to current day this outlook has been molded as I gain more experience and knowledge. I hope that my goals and ideas will continue to reshape throughout this semester also as I continue to discover.

Although there are various underlying standards I hike up for my own design and process, the goals I describe helped me to narrow these achievements I believe I could meet this semester. Managing the appropriate amount of time beyond the required amount for each project is a major goal of mine I could meet through better organization. In my experiences so far I get a lot more out of a project I bring the closest to my personal satisfaction. With pressing deadlines it can be easy to halt your ideas from germinating to their utmost potential, which automatically takes a toll on the process of a project. With better use of my time hopefully I can produce to a new standard. Its all about the particulars in the end when distinguishing a good project from an outstanding one. I would also like to strive for innovation on my own level. Through producing my own answers fully in a process, I can hopefully learn about my ideas and answer the questions that arrive regardless of whether or not someone else has encountered a similar challenge or documented their own answer. The process of arriving at an idea adds a lot more value to the overall discovery of a budding thought.

In terms of my own style though, our class completed the “Change Style Indicator” exercise this past Monday, which placed me in a moderate mix of a true pragmatist and strong originator. Although I could very well just list the benefits of both, the way I see it is that there are strengths and weaknesses in every kind of person let alone designer being mindful of both is crucial. My greatest goal is to reach equilibrium in the strengths of my ideas, results, skills, and designs.

The illustration above is some watercolor and ink labeled "unraveling the solution" . I was inspired to show ideas and questions blossom into something else. There is light bulbs, lips, a staircase, and a plethora of questions waiting to be developed.