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.
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