[IARC BLOG]

Refelcting on Learning

2011-04-29T10:30:00.000-07:00

The spring 2011 studio proved to be a rigorous and challenging semester throughout. With all of the hard work lessons, and a valuable learning experience was obtained. First of all, this semester was our writing intensive studio; different from any other class I have taken in the department in terms of both assignment load and inevitably the great amount of produced work bolstering my time spent in studio. Writing has always been a task I have enjoyed, but it can be quite challenging translating my design language into paragraph from. Through the various writing assignments this semester, I feel I have reached the point where I can express this language of design process and decision making into written form. I learned numerous aspects about myself as a designer, and my own processes along this journey, expression being a crucial element to being able to wrap my head around my thoughts and ensuing practices. I found in order to process an effective design; I must take advantage of both verbal and written communication. “Talking it out” clarified a number of my encounters in designing this semester and allowed me the opportunity to truly analyze what path I needed to pursue.

[pic] Working at an individual scale to groups of three, six, and finally twelve, required different scales of communication, verbal and written expression linking all the Jenga projects together, and becoming not only an integral part of the designs required for this semester’s assignments, but also a lesson learned in how both forms of expression must be embedded in all of my own design work. Everybody learns about his or her process in a different way. Although some aspects I had previously charted as integral such as sketching, diagramming, and building models are still very much a part of my processes, this semester encouraged my to incorporate further verbal and written skills, which I must continue to practice upon throughout my life as a designer.

[pic]

I started out this semester with a shaky approach on time management. It was one of my main goals for the semester that I’d like to think I’ve come along way in. Learning many new skills while producing deliverables at a fast rate was a great challenge for me individually in Jenga 1.0 and 2.0. For starters, working in group projects helped foster my learning individually a fantastic amount. As everyone brings their own strengths to the table, working at all levels allowed me to gain new skills. The largest ones skills I improved upon were time management in groups of three, model building and team communication/ digital work in the group of six, and a big step for myself in the group of twelve was learning how to render in sketch-up plug in Podium while balancing group/individual work. There were features that bolstered each project throughout in terms of gained strengths such as hand rendering and Adobe workshop skills, which for the most part I learned on an individual scale, practicing through trail and error to achieve results that I was both proud of and my team members felts strongly standing behind. All in all, through the great amount of group work I learned an incredible amount. To list some things; Rhino, illustrator line weights, digital plans, diagramming, model building, time management, effective communication, and digital rendering were all crucial strengths I learned and built upon this semester with the help of my peers. I am not the same designer I was when I wrote wii-1, I believed my skills have changed dramatically in the past three months. Hard work at a fast pace pays off, especially when I can look back at the work I have completed this winter and spring and clearly see the improvements and strengths I have gained. All the way through this journey my classmates and I have been required to reflect and contemplate design in our writing, just as I am now. The last line of my essay on initial goals was “to reach an equilibrium in strengths of my ideas, results, skills, and designs”. Although I realize now that this is a never-ending goal, I feel a great jump closer to a unified designer coming out of IAR 202 this spring semester.

[pic] "Trotting away with a whole new mind of growth"

First year review

2011-04-29T04:21:00.000-07:00

Upon attending first year reviews this semester, I observed and critiqued Ms. Paige Hohlt in her work and presentation for the writers residence project. In terms of eye catching presentations for starters, it was clear Ms. Hohlt had been studying the famous chair cards assigned to her in her history class (I TA that class) as recognizable chairs showed up in her renderings such as the BRNO chair by Mies Van der Rhoe and also his Barcelona chairs. Sitting down to see something immediately recognizable caught my eye and keep my attention, I thought it was a classy touch. In a first year critique it is tough to evaluate all considerations of the project which would dictate a person actually being able to live in the space, but Paige addressed three considerations that I thought were quite successful. Everything in the space could easily have gone into much more detail such as attention to light and shadow in renderings more so in watching how the designed light would actually hit the space, but she included ceiling height changes to provide a sense of greater coziness in the space. With this, she also added recessed lighting by not carrying the ceiling heights all the way to the edge of the walls. In this I noticed that all of the ceiling height changes were the same however, I would be curious to see how different ceiling heights could add to different feelings in the space as one transitions through the rooms. Perhaps next time taking that into consideration as spaces transition from public to private, how does that affect the feeling of the space, and also how can you manipulate the room to achieve that effect. Reciting that the outside view to the residence were not the most lovely, she addressed her window treatments as well, a small attribute of the presentation that made her stand out from her peers. Built-ins helped define her space instead of an array of organized clutter which I commend her for as well. In terms of overall presentation, it is important to show to the audience all of these fine attributes before questions are asked, so I would recommend really analyzing what to present beforehand closer, the rule of thumb is; if you don't address it, you will probably get asked about it. In this and almost all presentations, there were a lack of labels. This is a good touch to add especially as a viewer, I am trying to connect all of your work together and understanding say were the section cuts were taken and were the perspectives lie without and finger pointing is relatively crucial in my opinion. This is something I have missed myself and seeing it in an others presentation brings even more clarity to how this can confuse the audience. Overall practicing speeches would help greatly, the audience for first year was rather large but she needed to look more at the audience and speak louder. Comments aside, a successful first year presentation in my opinion.

Portmanteau: jenga 7.0

2011-04-28T11:59:00.000-07:00

Our Selected Models

The Prospectus

INDIVIDUAL BOARD

MORE PROCESS WORK /FINAL PICTURES AND WRITING TO COME

[Trepide] Jenga 5.0 + 6.0

2011-04-28T11:49:00.001-07:00

(Left exterior, Right interior)
In this step (Jenga 6) one exploration further brought us back to our individual units in a postcard formatted rendering of what our unit's door would look like. I kept mine the light ash colored wood coming in the form of small horizontal grain strips. The design relates what to the circulation set forth in my unit as one walks in the door, the narrow strip cues the same route an occupant would travel to go into the bedroom. I wanted to keep the design simple with the wood bringing in the natural decoration to the door, simple steel framing, a glass transom, and opaque white plastic stripping on the actual door accompanying the wood.

Above is the result of a quick charette after our Jenga 5.0 digital presentation upon exploring a site for our building.
FINAL 6.0 BOARD

PROSPECTUS

5.0 MODELS

MORE TO COME...(WRITING, PROCESSWORK)

Jenga 7.0 "Lucky number 7"

2011-04-04T04:45:00.000-07:00

This semester is coming to a close, and along with all the other hustle and bustle our final project sheet was allotted to us on Friday. A great amount of deliverables were required as the final project of the semester is often the most demanding but that was hardly the catch in this last iteration of the Jenga series. Jenga 1.0 + 2.0 we worked individually, Jenga 3.0 + 4.0 we worked in groups of three, Jenga 5.0 and 6.0 we joined together for groups of 6, and as you may guess for this final project we will be working in team of twelve. That is quite alot of people to be contributing and pull all together to form a cohesive whole so organization is of course a must. Yesterday we met all together to decide group leaders, a team name, and preferred responsibilities. With 54 deliverables, it is essential to have team members consistently bridging the gaps between work to form this unified project, but also to divide the work in a way that team members are both working on responsibilities they feel they produce strong work for, and learning new skills in a timely manner. With so many considerations and people to keep track of, the easiest time for group meetings would inherently be our in class studio time. With an array of considerations well..considered, we merged team "Emerge" and "Tripede" into team "Portmanteau", a word that is defined as the combination of two words, ie: brunch. Moving forward with leaders Austin Loman and Dajana Nedic, I suggested that in the twelve story iteration we should narrow down our design language by discussing aspects of our projects that are essential to maintain and aspects to merge. Today in class our designs will be brought to the table after three one hour charettes, I am excited to both move forward and see the results.

Whole > Sum of its parts

2011-03-27T05:41:00.000-07:00

Working from Jenga 1.0 from 5.0 brought out an elaborate transition in not only in the original building proposal but also personal working style. Jenga 1.0 required more deliverables that I was ever used to producing in such a quick time period, bringing out moments of searching for three different interpretations of one definition or perhaps even three different definitions of my concept word flow. With an approach set on digging deeper into what flow really meant in a physical translation of space, initial efforts traced back to old ways of working. An ending lesson on the importance of working at the right pace although process should not be sacrificed along the way resulted as lessons were learned and practices changed. Throwing in constant process, precedent research, diagramming, new lessons in drafting and model making and meeting deadlines couldn’t of been more of a kick to alter the way I originally worked. There is no such thing as a true finish to these lessons let alone the continuous altering of design approach once new characteristics are added to a project. Finding this understanding that work never truly ends but is instead set up of for fine tunings, elaborations, and incorporating new elements, although simply stated in written form, was the largest conceptual challenge faced thus far, impeding and changing the way I worked since this beginning of this semester through the lessons of each project.

Jenga 1.0 and 2.0 threw me out into a pace not only was I not used to, but in fact entirely uneasy with. Working to achieve multiple perceptions of a single concept word required spread out thinking that started to touch upon bases I did not know I could extrapolate. One could not spend hours developing and hours producing, but rather a simultaneous effort was necessary in meeting new standards all at once. Setting these conceptual boundaries and yet opening doors allowed for new ideas to spurt out in my sketchbook, but new restraints on time of which to execute these ideas posed a great challenge to my original design process. For example, in the model making stage of Jenga’s 1.0 and 2.0, I used new materials and new techniques with little time allowance for inedible failures, so I picked up the practice of planning for these important aspects to take into considerations at the beginning of a project. Drawing so much individually really put my time management practices under fire when deadlines approached and process took twice, three times even four times as long as I thought they would. The only way to accomplish both necessary sleep and required deliverables was through a faster, better planned, lenience-scheduled, time management system that was crucial to stick to in order to both finish projects, and complete them to a growing personal standard. In my design processes through Jenga’s 1.0 and 2.0 I came to the realizations of how I would alter my designing practices in order to turn my ideas into a successful reality as my learning curve steepened quickly and I caught up.

As buildings emerged and grew taller I joined a group effort, which besides the collaboration of individual concepts drew in shorter deadlines and larger deliverables. Group work started with Jenga 3.0 in which we first were asked to craft a prospectus, a document meant to outline our efforts and forthcoming plans. Illustrating these first group shared efforts is interesting when looking back to see how the writing united us at first. The team name evolution was first suggested in conversation around this document and in a way the actual document was crafted in ongoing conversation. This is the result of spending a few days spreading and connecting ideas in written form through an approach that integrated all our individual efforts together, instead of the later coming “divide and conquer” system. Keeping this conversation flowing could have been the easiest or the hardest principle of group work for the following weeks as systems of working had to be altered for new concepts and approaches to shine through, but in a group effort continuous check-ins allow for the most unified project. My initial group members, Kara Kooy and Kelly Harris brought new talents in addition to new ideas. When the initial writing was complete we extrapolated our individual strengths as listed to produce physical deliverables. As both of my team members took a different studio course the fall semester, our varied ways of working allowed lessons within ongoing learning, and instilled new skills across the board in model making, perspectives sketch-up and plan drawing execution. This mainly meant learning new computer skills and making use of new amenities like the laser cutter. Continuing on a forward thinking route allowed our voices to shine through and learn from one another. Setting a time management schedule as reinforced by other team members led us to a positive experience in bringing forth our three concepts to a cohesive whole. This first uniting of ideas set the tempo, but working in a close area of one another to allow ideas to continuously bounce off one another really helped our processes to merge together rather than have a loose binding as three different concepts. My biggest strength in Jenga 3.0 was the perspectives that I enhanced with newfound skills, as I continued my learning in completing them. As we doubled our structure in Jenga 4.0, being allowed only one deliverable forced us to narrow down the variety of deliverables presented into what we thought would communicate our project best; a four story model. Our design evolved upward while the process of maintaining a concept within the collaboration improved our group-oriented learning. I came to find one of my most important design processes is talking out ideas, and when in a group not only is this possible, but also incredibly necessary. In the preliminary designing, carrying Jenga 4.0 through conceptually brought our designs together in a tangible form cohesively as we had already set a structure of which to grow and define further. In accordance, these conceptual boundaries taught me how to diagram, led my writing, and refined how I rendered.

For Jenga 5.0 we transformed the group oriented learned into an even larger scale in adding three new members; Sharon Franzier, Dajana Nedic, and Blakeni Walls. This meant our responsibilities were more spread out and overlapping, but our design work was still merged successfully. The binding of Team Caravaggio with Team Evolution brought more team member qualifications to learn from and emphasized our design approach, as we became a graceful fit. Building a careful design as we transcended into the next stage of the Jenga series, we adapted a new setting, of which a person’s cultural literacy turns into a positive interpretation of the physical environment we built from in our aim of the big picture we wanted to accomplish. Working in large groups requires your process to step constantly from this big picture vision down to the varying smaller complexities of the project. I was able to meddle with multiple tasks now in the timeliest manner yet. Working in groups not only facilitated a communal experience for the one we were building, it brought new approaches to my own design process. I can now speak conceptually and present physical evidence of my suggestions, but it is important to make note that group work allowed for an intertwining of others strengths with my own to present the opportunity of a stronger design voice from Jenga 1.0 to 5.0.

Below: a mental scroll of new considerations, It takes two to create one.

Photoshop Wireframe Rendering

2011-03-21T08:49:00.000-07:00

Rendered only in Photoshop.

Jenga 4.0

2011-03-17T11:23:00.000-07:00

Thoughts on an early morning Charette

2011-03-15T16:54:00.000-07:00

Monday’s charette allowed for the challenges of fast thinking and even more importantly, as quick swing back into studio pace after a relaxing spring break. In order to produce the deliverables allotted for our 8 story proposals in merely an hour, both sets of groups had to bind together quickly and efficiently to compose a conceptual framework tying our two projects into a unified whole. The first decision made in Team Evolution’s charette it our meeting with both Caravaggio and Interlinking was the fusing of the building’s external face. I find this interesting on looking back at the experience because I suppose if one were to squint their eyes at the result enough, that very well be the most important decision in unifying two different structures. Nonetheless there were many considerations to discuss and decide on in little time. During our first charette with team Caravaggio we spoke of adapting materials to create a flowing transition within the two existing designs. As both teams constructed four story models for the Jenga 4.0 project, it was easy to find connections within the two different forms in real life 3D. The concept of dematerialization through floating effects was an immediate connection in the two structures. As Team Caravaggio did not include forth-level patio to achieve lightness in space on their highest-level public space, we found that we could maintain this essence when stacking our forth level glass patio on top. From here we found that our projects would not be simply stacked four stories at a time, but instead merge to an even greater degree by coming together in alternating layers. There was a lively group spirit as we discussed how the fundamental nature essential to each project could me preserved while continuing the conversation on changes and new adaptations. This process cam together almost instinctively though as concepts related to one another when discovering existing similarities and. The second charette focused in quickly once again, but our designs did not flow together as naturally. We picked out prominent features essential to both our designs s like their built-ins and our columns to write a proposed framework through diagrams, sketches, and a cohesive project statement, but reflecting back on the two different charettes, Team Evolution did not interlink with Interlinking in as integrated a language as we did with Caravaggio. Part of this exercise was learning how to speak the same design language in a timely manner. However, the eight-story translation in our first meeting blended more successfully in the short time we had to produce our ideations.

[Evolution] : Jenga 3.0 + 4.0

2011-02-26T14:24:00.000-08:00

For this latest edition of Jenga in our studio, we paired up in groups of three to create an emergence of public space. Our team, self titled "Evolution" were joining Kara Kooy's concept of crystallize, Kelly Harris's concept of pendulate, and my concept flow to create the space in the perspective you see below. Before we got to that point however, a process led us in our design from the decision to dub ourselves team Evolution. In our design we actualized the underlying theme of flow through the procession of capture and release within moments of enclosure within solids and moments of release through the perception of void upon discovering the glass patio. Through form, materials, and light, we explored the sense of enclosure and openness along certain paths to create a free flowing space. The main moments of enclosure take place on the first level padio as existing structures create more privatized patio spaces. There is a flow of light through the glass tiled second floor patio which unites the two public spaces while also dematerialize the connection. To enforce this floating effect, columns become thinner on the upper level.

first level

second level

exterior shot

first level nook

MORE TO COME!!(PROCESS AND WRITING)

Evolution: joinery and flow [proposal]

2011-02-15T15:47:00.000-08:00

Reflection/Synopsis of Jenga 2.0 Critique

2011-02-12T16:15:00.000-08:00

This past Fridays critiques demonstrated a variety of creative designs made completely unique from one project to the next due to the different people, processes and concept words. Kacie Leisure carried out her concept word of “well up” within interesting patterns of stacking and repetition, whereas Faith Ramsey created a cave-like space in pushing and subtracting elements to fit her concept word “protrude”. I saw many excellent board ideas that worked well to highlight the most important information in understanding projects such as Dajana Nedic’s Axonometric, cascading vertically down the side of her board. As always, presentations are a great time to take away inspiration from other’s techniques. For this past project I was inspired by Sharon Frazier’s model making technique in which she builds a frame out of basswood and coats it with a clean white Bristol board delivering a very crisp looking model. Kara Kooy’s craft in this past critiques model though was definitely attention worthy though especially in checking out her stairs. Overall in observing other’s layouts, I plan to use computer graphics for my plan drawings next time around in addition to printing out a board as I saw the presentations with these tow components to be some of the strongest and most readable. In such a short amount of time, some major planning must be taken into account in order to achieve results amounting to the excellent examples I saw of Friday. I had some major weaknesses in my project that I know were clear and will work to improve, but at the same time each critique I have taken away inspiration from others strengths.

Jenga 2.0.

2011-02-12T10:44:00.000-08:00

Above: an interior of my model at 1/2'' = 1' scale. This is a food prep/dining office area. I placed a column right at the entrance to this space to enforce a straight path onto other areas of navigation. As my word was "flow", I used materiality to enforce this concept. In the pictures above this is shown through the continuous material from floor to built-in (dining/office nook) and through the vertical wood paneling transitioning across points of the room. I had imagined in true life this paneling to be a semi-shiny gray painted wood.

A ceiling plan demonstrating areas of capture and release through ceiling drops.

A perspective bringing the materiality into color. I personally like a loose hand rendering style for my perspectives to give the character of a quick glimpse of part of this space from behind a food-prep counter top.

Linking writing + reviewing

2011-02-01T20:05:00.001-08:00

Faith Ramsey’s first space (11’ x 32’) played upon her concept “protrude” to develop the idea of carving out protrusions, much like a cave. This space used the two solids to create moments of enclosure, one accessible via a stairway., the other similar in its carved out form. Both solids certainly protrude from the space, keeping true to the concept, but from the drawing, there looks to be some leftover space that is used for a bathroom, a perfect example of how many bathrooms end up looking like left over space. These solids were most clearly visible through the axonometric drawings. Faith paid crucial attention to the built INS and solids unifying the space with her concept. The second space used two walls and one column the play upon the idea of crystallization through different heights and measurements. Seen most clearly through her axonometric drawing, her parts are not to see what the word meant so much as what the word does in a three dimensional setting. Centralizing the parts could be tempting in this square space, but makes segregates the kit of parts into an odd circulation for human traffic.The third space used the idea of protruding throughout the space in the form of circulation. Using two columns and one wall, Faith allows the user to “protrude through and go through different elements in the space”. Her whole space includes protruding elements throughout, easy to understand in an axon drawing, but not so much in a plan drawing.

Check out Faith's work here!

Phillip'c concept was "reverberate". In the first space he focused on reverberating through continuity. This space was my favorite because the continuity was executed so well. The stair case pushed up against a wall had one stair that became a shelving unit, wrapping around a continuous material much like the rest on the ceiling and floor materials. The two walls were used to privatize certain nooks, while the column continue from the first floor to the platform, successfully breaking up the space and shown clearly in his axonometric. The second (square space) ensued forced relaxation using two columns and one wall. This forced relaxation was questionable in my opinion, but he did do a good g=job creating special nooks. For instance, the floor was dropped around a daybed and permanent sleeping quarters were elevated, accessible via a ladder. The drawing were not very clear for this space, although a perspective helped me to understand the idea of the ladder more so. The idea of centralizing most of his kit of parts was risk not completely met with reward because the plan drawings indicate one one real circulation route. The last and largest space was depicted as a sound wave. His concept was translated fairly successfully in this iteration as space in the third dimension operates on three levels like a sound wave. The two solids coincided with his concept as the three levels were translated well in the axonometric in a floor change, allowing these three levels to indicate levels of privacy as well.

Check out Phillip's blog here!

Process & Discovery : JENGA 1.0

2011-01-31T18:37:00.000-08:00

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

2011-01-20T19:29:00.000-08:00

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

2011-01-19T12:16:00.000-08:00

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.

Narratives

2011-01-17T09:09:00.000-08:00

For an upcoming project in my spring semester studio, we were instructed to fashion a narrative about the three spaces alotted to us. The spaces are small; 11'x 32' -4'', 22'x 22', 22'x 32'-4'' and maintain a strict kit of parts for each space to be used once. Given a concept word, the idea of this assignment was to write out ideas to gather an approach to the project, one space at a time.

Although all three spaces fit into the concept of "flow", they will be different expressions of this word. The first space (22'x32'-4'') will translate like a flowing tide rising and advancing.

Streamline. The word does not automatically cause one’s thoughts to jump to the idea of curvilinear movement. My own first thought is a “streamlined” kitchen in fact, complete with matching appliances, surfaces etc. throughout. Stepping away from my literal translation drawn from a previous experience of mine, I begin to break down the concept word that has been allotted to me; flow, streamline being the second word to enter into my thoughts upon hearing my concept. Within a space, I understand flow best in a sense of circulation, meaning the ability to move throughout a space freely. I imagine the occupant entering into the loft from an outside source whether it is a busy city or vast expanse of open space; this loft in itself is a transition from the outside world. From the doorway they will proceed from the source that encompassed them prior to this free form gathering of living. They will not be barricaded through walls but instead experience the flow of space through moments of capture and release, rise and advance of the ceiling and floor, much like a flowing tide. I imagine a place for sleeping fitting into the greatest edition of capture, being the most enclosed nook out of the whole. The space is dictated by these feeling of enclosure and expanse, a living room using elements of openness transitioning smoothly to a kitchen area slightly more enclosed. Ideas of free-flowing space come to mind in actions of coming and going. Walls will not compromise the openness of this space, but moreover simply act as aids to circulation. The ideas of ebb join my concept of flow in the elements of gradual change in this loft.

22'x22' Idea generation

A building may manipulate any activity within it, a flowing space is a successful one if its occupant may pause as they proceed throughout the space to take part of whatever activity it may be; walking, chatting, eating, or bathing to smoothly transition from each activity to the next. To imagine this continuous flow, I center my mind on circulation. The source is equally as important as a destination, just as the path in between is. Instead of moving about a space in a grid as if one was some kind of human Pac-man, a free and open plan can permit be an organized plan as well. With materiality guiding the user, the same wood that lines one wall in an eating area, may transition to the floor, stretching out o a living space, creating fluidity amidst the separation of activities. Any existing walls will dictate a sense of privacy, all other spaces will fall into the levels of emergence, flowing continuously and hierarchal like a stream feeding into a river. Columns dually function for storage needs and help shape special divisions. A curved wall allows the hint of a bed to be seen while bathing is tucked away in the heart of the curve; even the most private area has a curving opening beckoning human presence. Human circulation is based on the source from which they enter. One settles in on an activity, and then flows to the next.

11'x32'-4'' Idea Generation

A nest can provide many things such as food, warmth, and rest. To move in an everlasting flow, there must be some path involved. Each solid does not act so much as a barrier to movement but instead a guide to circulation. These solids function more than guides to circulation but also mechanics of living. The curve of solids enforces the flow of space as one does not become “pinched” into corners, entering the space one faces a wall of windows. Looking above, conscious ceiling patterns enhance sense of direction through various breams act as guidelines. The air of this space is illuminated in a light palette and overall openness. As one move too more personal acts (like bathing) angles of beams start to dip down as if the shelter is flexing to create a more enclosed space. As the general circulation of this space closely resembles that of an Infiniti symbol, the placement of each solid is meant to become a source of activity, but also an enforcer of this continuous, stream like flow. Taking a narrow rectangle and carving out forms, adding and subtracting until a sense of flow but also special division is established is my aim for this loft. A curvilinear form stretches throughout the space with a mirrored overhang shadowing above and two areas of rest back a middle soli of related form on each side. The user can still feel the fluidity of space as they move about and around these solids, but the distinction between public and private is apparent. As one moves from one activity to the next, there is always an underlying stream of movement

Designer Bio + Goals

2011-01-11T12:00:00.000-08:00

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 with the more experience and knowledge I gain. I hope that my goals and ideas will continue to reshape throughout this semester also as I continue discovering.

Although there are various underlying standards I hike up for my own design and process, the goals I describe narrow these self-achievements I believe I could gain more of or improve upon for the semester. Managing the appropriate amount of time beyond the required amount for each project is a major goal of mine I could meet more easily through better organization. In my experiences so far I get a lot more out of the project I bring closet 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. 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.

#8

2010-12-13T08:43:00.000-08:00

Towards the end of this semester the forth year students had planned a gala in a collaboration of efforts to raise money to build a school in Kyekyewere, Ghana. The students designed many models and wonderful drawings of possible ideas for this project, and our job as second years was to help showcase their hard work in the form of a time line for the gala. Working on illustrator our design was simple to call the most attention to some of the beautiful renderings and process of ideas. Although I apologize for the lack of pictures, this event was a wonderful opportunity to pitch into a great cause. For more information make sure to check out http://iarcghana.wordpress.com/!

Counterpoint: Machine

2010-12-11T13:52:00.001-08:00

For my final counterpoint project on a 8.5 x 8.5 canvas as always, my final pick was a paragraph about a building. The IBM tower in a way is a symbol for a future continuance of sustainable innovations. Dubbed a "business machine" this building is well suited for the explorations unit.

Point : Explorations

2010-12-10T13:59:00.001-08:00

The explorations unit takes a stand as an ever-changing expressions eventually turned into a sort of paste to slap on whatever decorative ideas come to mind in an half hour tv special. The beginning of this unit did not start with the rise of HGTV however. Some of the most renowned styles especially in American architectecture we still can see now in major cities like New York where Art Deco structures stand solid in form through examples like the Empire State building. Lavish surfaces compiled with symbolic meaning of making ones own fortune and the rise of industry invest an incredible amount of solidity to structures like the Daily Express building whose exotic materials and shiny surfaces only add to a vision of glamour backed up by an ever-growing film industry. In an opposite response to all of this glitz and glamour, Bauhaus or International style rose in the early 1920s to settle problems of excess and functionality that had plagued buildings for centuries prior. The introduction of new materials had already come into play long before this movement, but with the exception of art neveaux interiors, never had steel been celebrated so blatantly without reference to ancient Roman form. Marcel Breuer’s Wassily chair is a supreme example of a product fresh out of the international style which “ emulated the lightness and strength of the bicycle form in choosing tubular steel for the construction of his cantilever chairs” ( 75, Massey). This rejection of frivolous add-ons inspired one of the great residences of the time to come into being. Spoken highly of in my reading comprehension 7 response, is German architect Ludwig Mies van der Rhoe’s Tugenhat house. While still keeping a steady blend of lavish materials and functionality in its design, the Tugenhat house bridges the gap between surface and substance. On the same spectrum but very far away in my opinion is another minimalist response called Villa Savoy. Le Corbusier’s work explains the notion of functionality in a minimalist approach, but remains cold and austere throughout its surface. Softer modernism like Alvar Aalto’s Villa Mairea brought in much more wood accents along with curvilinear forms that brought warmth to the home perhaps because their contrast was not as stark as examples like Villa Savoy against their outside environment. Sculptural modernism seen in Eero Saarinen’s TWA terminal in the JFK International Airport take literal examples of taking flight to a new level leaving only gravity to define what are walls, ceilings and floors are. Whether you like them or not, all of the building’s above could be considered successes of their time, but not all modernist building could be considered in such a high esteem. As TWA airport successfully conveyed monumental symbolism Jorn Utzon’s rising shells on the Sydney Opera house did not function as intended. The acoustics were completely off turning a $131 million dollar project into a $400 million dollar one, bring truer the question if modern architecture could express its character while still achieving the principles of commodity and firmness. With this in mind, the Post-modernist era came at hand bringing in three major realms; Historic Preservation, Regionalism, and Deconstuctivism that attempted and are still attempting to figure it all out. Computer technology was founded making the framework of Frank Gehry’s Guggenheim in Bilbao Spain possible. “Suggesting that fundamentally, a building exists as an isolated abstract phenomenon” (600, Roth) many deconstructionist buildings disrupt the traditional way we look at architecture. All of this is made possible of course, by the rise of technology. Historic preservation recalls returning to the old. Regionalism promotes forming buildings to their site without any search for international commodity but rather local. In the end though, all three approaches take sustainability into account. As citizens concern towards renewable resources grew in the past decades, buildings adapted too in order to lessen or eliminate excess of buildings. Architecture is meant to support and facilitate the human community but can only do so if it reaches three expanding principles. From the ancient Egyptian pyramids to the IBM tower, the elements of architectural perfection trace back to Sir Henry Wotton’s conditions of commodity, firmness and delight. These interpretative conditions cover architecture through out the years past, present and even my own future design work to come.

I choose the image above as an interesting example of historical preservation piled with a deconstructionist approach, the glass almost looks as it could fold down into a flat pile while its base remains sturdy and heavy in materiality on the ground.

Portfolio

2010-12-08T16:39:00.001-08:00

Above is a sample of one of my portfolio cards. Instead of creating a book, I decided to span my project out in a series of cards which I could pass out with out any concern to what order they appeared in. Above is the back of my Luminaire project card with the triangular super graphic on the upper left and bottom right corner. This graphic was continuous throughout and translated to the continuous from graphic coming soon! This project got me thinking more and more about my work and what I would be most proud to stand behind. As my work continues more portfolio's will ensue, exploring different ways to depict my work to others.

Reading Comprehension 7

2010-12-03T13:51:00.001-08:00

In this diagram of John McGriff’s “Trucks at Rutkowski Farm “ I highlighted the diagonal elements of its composition and pop of color. The painting is divided into three major sections, the group of three diagonally oriented cars, the foreground, and the diagonal horizon. Another piece in the Town and Country section of the Greensboro Collects exhibit that is oriented much like this with shifts in its diagonals is George Tice’s “Two Amish boys, Lancaster PA”. Like many of the works covered in the explorations unit, this painting is a response to new vs. old in an awareness of surface and substance. Although the foreground and horizon are beautifully depicted, the greatest substance of the work lies in three diagonally oriented trucks with the greatest emphasis on the red truck closest to the viewer. The detail in the depiction of light on the red truck creates the heaviness that emphasizes its appearance as the central point to look at along with being the most contrasting color in the scene. Like the context of the painting, in an architectural sense this substance is “more than simply a benevolent provocative umbrella; at its best, it interacts with us on our behalf, informing our memory, allowing us to become more human” (612, roth). This diagonal element of these seemingly well loved or “old” trucks upon a rural landscape leads our eye to a building in the distance, situated in line with the blue truck that is farthest from the viewer blending into the horizon. According to Roth, architecture is “the built record of our priorities “ (roth 612). Relating to this idea this building in the distance in relation to the old trucks is how the artist addresses the conflict between new and old, in a bleak reminiscence of how this rural setting was taken over by other priorities in this case the replacement of farms with poorly planned housing developments. As this work is in a way an expression of how bad architecture can fail on a landscape, it brings truer the statement that: Architecture is the art we cannot escape”.

Reading Comprehension 6

2010-11-17T11:11:00.001-08:00

1.
Rolling into the twentieth century, all types of new inventions were on the rise. One developing in this early part of the of this century in particular was the automobile. Not only did the invention of cars affect the way people traveled, it also claimed its influence in art and architecture. This air of movement can be cited in the post-impressionism genre labeled expressionism and as well as the architectural style Art Nouveau. In the works of Kandinsky, we see an expression of free form movement, though not identical, still coincides with the ideas floating around Germany, Belgium, and Paris at the time through various structures. In Belgium, Victor Horta’s Tassel House captures great movement largely through the incorporation of a network of ironwork left unexposed in a celebration of the relatively new industrial material in the way of a seemingly vine-like lines continuously whiplashing throughout banisters surface decoration and supports. We see a similar “whiplash movement” in the ironwork winding through the staircase and hall at Atelier Elvira in Munich, designed by August Endell. This iron work is just as must an expression of movement as the work of Giacomo Balla in Italian expressionist art. A more geometric piece of this artist that incorporates free form movement along with contained form is his piece “Canto Patriottico a Villa Borghese”, easily relatable to the ironwork at the entrance gate in the Castel Beranger apartments in Paris. Kandinsky’s “Last Judgment”
follows through with incredible motion; guiding ones eye across the canvas much like the fluid movement in the ironwork seen in Art Nouveau spaces at the time. Even taking a larger step away from the organic curves of the art and architecture fusing above, in Berlin, Henry Van der Velde took on a more geometrically moving pattern at the Havana Tobacco company cigar shop. The pattern weaving along the wall is an abstract interpretation of the sweeping and curving of cigar smoke. An expressionist artist at the time, Marcel Duchamp also abstracts the literal in his work like “Portrait of A Chess Player”, coinciding with this shop. This German take on Art Nouveau was known as Jugdstl or “young style” (Massey) bringing about a new approach to design for the new century. To say one was influence by or before another is an impractical approach in my opinion, for at this point in the early 20th century the air of movement was winding its way through all levels of design. “To an even greater degree than others before them, Art Nouveau designers see no separation between the fine arts of painting and sculpture and architecture and the decorative arts…They strive for unity in design to create complete expressions or what they call total works of art” (Roth 485).

2.
Within the broad statement “less is more”, a plethora of boundaries can be applied and tested. The implication of words ”simplicity” and “less” often times give off a message of affordability for some. Regardless of this opinion, the modern movements in design and architecture in the 20th century more often than not implied that this simple, good design should be for everyone, the underlying statement being everyone that could afford it. A prime example of luxurious simplicity in the early 20th century is Mies van der Rohe’s Tugendhat House in Brno (1930). This house was imbedded in simple, yet lavish surfaces like silver-grey raw silk for the curtains, wool rugs, tan and emerald green leather furniture and marble dividing walls. Even with luxury imbedded in its surfaces, there was little to no surface ornamentation, but highly technologically advanced (for the time) artifacts such as a seemingly simple glass window that actually retracted into the basement like a car window with the push of a button. In the case of the Tugenhat house, its simplicity certainly delivers “A machine for Living” in more ways for its surface. For example, Air conditioning was a relatively rare and luxurious amenity that made up some of this house’s technological complexity that today is standard in houses, whether their surfaces read- Machine for living or not. Unfortunately in many U.S. neighborhoods, only the internal complexities of the home in its “Tugenhat House like aspects” are what is typical. Although there is a movement towards a new opinion of the famous dictum “less is more” the epidemic of garage-centered homes having semi-classical elements slapped onto the surface, continues through the middle class living situation. This poses a different idea; if good design can be for all…who can afford it…or intentionally seek it.

Above, a beautiful work of the past including thoughtful design in both its surface and substance. Below a modern day McMansion. Hopefully not the future of design, thinking only of how the surface appears to the outside. I would be surprised if this was not simply a copy of another, with no great thought even involved (translating into a big house...with little substance)

A view of Frank Llyod Wright's Falling water. He developed his own hue of the vibrate red you see streamlining the windows and in some other furniture pieces seen in the back of this space called Cherokee Red. As the assignment was to draw a modern interior we believed to explode the notion that modern interiors all come together in stark and cold back and white,Meant as a retreat for the Kaufmann family, this interior brings in nature while providing some vibrant hues to an overall relaxing atmosphere.

Alternatives/Reflections Review

2010-11-12T13:20:00.000-08:00

For the Alternatives unit, Corry Mears takes us through the different paths stranding off the ancient styles. Citing the ten rules of the rennaissance: single decorative facade, reviving the classics, man is the measure of all, separation of spaces, harmony through repetition, geometric patterning, patronage dominates the building industry, no building is one single style, boundaries/edges/borders are all vital, and separation of public/private, Mr. Mears guides us through how these rules are applied in the works of historical greats such as Andrea Palladio. Through his insight of Villa Capra and a few other renaissance master pieces, we get a clear depiction of what this unit is about. Abigail Buchanan follows a similar route in her alternatives point, also citing Villa Capra but carefully building her essay on the ideas of man as the measure of all things. Through her focus on the idea that much of the architecture of the unit displayed build upon forms from ancient classical works, her point is received successfully. Nicole Ware on the other hand, makes these similar points yet characterizes her point through breaking the rules instead of adding new ones. The reformation of design brought out a variety of new designs through her coverage of renaissance, baroque, and rococo architecture, but she concludes with the statement;" Through the ages we have developed ideas and a set of rules that correlate with these ideas. However, the people who break those rules are the ones that will be remembered in the end." The image above is a wonderful example of a beautiful Renaissance sculpture by none other than Michelangelo depicting mother Mary mourning over her son.

In the relections unit a number of different styles were approached, all around the globe. Interpreting this mix, Kayla McDonagh characterizes this units explorations like the motions of a cartwheel in that the first motion is formal and rule-abiding, second step out you explore, third motion you are upside down, breaking the rules, and lastly you are standing once more with a whole new set of rules. This is a wonderful way to look at this unit, especially connecting to the examples she cited such as Strawberry Hill's Pink room, Royal Pavilion, and Crystal Palace; all incredibly distinct works of architecture.Faith Ramsey looks at all of these different, and often times opposing style changes as bringing a sense of clutter to the reflections unit as a whole. Concerning heavily on what must have been going through the minds of the designers of the time, she uses her own inferences to point out how each style movement led to the next. Justin McNair on the other hand, labels the unit as an obsession with revolutions that no one can seem to make up their mind about, yet more and more people are talking as time goes on. He brings up excellent points in examples of how eastern trade routes and western exploration affect western design like the "eclectic surface decoration called Chinoiserie". Another wonderful observation is how industry and the rise of mass produced goods push design to stay into different styles, like Victorian clutter, but also great exhibition halls like Crystal Palace. The foggy New York skyline image above is on Justin's blog, assimilating the idea that the fog combines all of the once delightful stylistic madders as an unattractive whole ending that with all of this the rise of industry is becoming ever prominent.

Point 4 - Reflections

2010-11-08T12:47:00.001-08:00

The reflections unit covers a vast amount of amendments to what is considered “good” design throughout architecture history. Spanning from the end of the renaissance to the modern world of the 20^th century, evolutions are great, but can be very confusing as this block of time suggests many versions of what is “good” design. Architecture is no longer a luxury only suited to high society as a middle class emerges throughout this time period to add voices to the question of what tasteful design is. From Baroque theatricality to William Morris’s toned down interiors considered minimalist in comparison, there is a countless conversations sparked up throughout the reflections unit that all conclude in three options; revive, revolutionize, or a morphed combination.

Stemming off of the Renaissance, the Baroque period took all the classical forms we saw throughout the past only to elaborate and multiply them. At first an effort to bring citizens back to the church via theatricality, the style spread into all types of building forms as we see in the Paris opera where exterior columns are multiplied, and surface decoration which adorns the walls comes in such mass that a certain chaos is born. Toning back all of this chaos, the search for the right or most “tasteful” smile continued in the Neoclassical style, prevalent in much of Robert Adams work in England and also translated to the budding country America. Following antiquity in a simpler form than that of baroque theatrically (which pretty much broke the rules), but none the less accumulating classical forms to buildings like the Kenwood estate, except with a more exact rule system to abide by, especially when dealing with surface decoration. The Neoclassical style was thought to show knowledge as is borrowed of ancient forms, bringing antiquity into the home and other structures of society. A rise in foreign trade sparked an eastern influence in design of the west, as culture was picked up alongside materials. Counties of western Europe had never seen eastern styles from countries such as China, Japan, and India and in turn, imparted these ideas gained through visitation and trade into their own structures, once again adding to this “good” design conversation. By uniting design aspects from the east into their own buildings however, western countries like England ended up with structures like The Royal Pavilion in Brighton, England that look entirely out of place. Borrowing on Indian and Islamic minarets and surface décor, places like The Royal Pavilion were clearly influenced by the ideas coming back from trade routes like the Silk Road. As new materials were introduced buildings like the Crystal Palace encompassed a certain amount of confusion in their form as a green house like structure housed an array of classical objects. There was confusion concerning whether or not to hide iron supports or celebrate them in a classical form as we see in the French Biblietheque National. The mass production of the industry touched all levels of architecture, down to the artifacts that took up the space of the “modern” homes. At multiple points, even continuing in modern day people took on the philosophy that being surrounded by a lot of stuff would show insight into ones character; a very Victorian point of view. This is yet another style movement at the time, as the industries takes off; good can be manufactured cheaply and in bulk. This meant that the middle class could now afford to collect all of this bric-a-brac and a certain amount of clutter began to characterize Victorian homes. In response to this ranging and overly ornamental style, designers like Charles Macintosh and William Morris added their own input to the great design conversation. Through a style we now dub as Arts and Crafts, the designers attempted to create a singular style focusing on the craft of the buildings opposed to the amount of stuff adorning the walls. Morris’s own home, The Red House has white interior walls that contrast against the dark wood interior for example, with little or no surface decoration. By bringing in the handcrafted touch to his structures however, the price escalated making the movement unaffordable for the middle class at the time and limiting the span of this movement. The new industry introduced the materials iron and glass, changing the shaping of architecture forever. The question of modernism began in some eyes as far back as the end of the Renaissance, as people began on a quest for the right design. As more people started adding input, the conversation of what modernism is simply got more opinions, destined to be a continually alternating definition throughout time.

I choose this as my photo to describe the Reflections unit because at a certain point, there became so many options one could be utterly confused on which route to take upon constructing a new building. In my own design, I believe in influences although I certainly never want to be in this guys position. By citing specific examples one can clear up the blur that occurs when looking at this unit as a whole.

Powerpoint on Landscape Formation One

2010-11-07T12:49:00.000-08:00

Below are a few slides from my presentation on Landscape Formation One. The Presentation was mainly verbally presented as I believe Powerpoint presentations become hard to focus on when one is forced to read paragraphs of information on a screen. From the images provided below, a few key concepts are introduced visually with a more in depth verbal presentation attached at the time of presenting.

101 Years of Entertainment- Our Book

2010-11-04T11:18:00.000-07:00

A Tour of Our Book

My Work

The documentation of five works printed in a book. All information besides text is present in prior blog posts. I have never made a book before, so to do such a task we learned and worked in adobe indesign. I was very happy with the final product, but certain images were harder to balance out with the overall composition. Overall, the uniformed layout guides one through the book in an organized fashion.

Reading Comprehension 5

2010-11-02T17:49:00.000-07:00

Question 1:

For my revolutionary artifact, I choose the Iron and Brass bed (1-46, P. 29 Harwood). As one could say a place like the Crystal palace could represent the industrial revolution in its introduction of new building materials, this bed introduces the newfound usage of these materials at a smaller scale. Iron is malleable enough to bend to create beautiful curving lines as it does across this heart-adorned bed frame and strong enough to hold a roof up. The material of this bed is the cue of a revolution in material usage at all different scales.

Question 2:

ARTIFACT (photo)
This dish made by Frenchman Joseph-Théodore Deck (1823–1891) can be tracked to its eastern inspiration though both it's color and other surface decoration. The influence is quite prominint in this french adapted style when analyziing the red, turquoise, and white eastern stylized flowers sitting flatly on the deep blue background. Inpired by Chinese porcelain, this dish is the product of the designers imitation experimentation during the 1870s and is in fact a flambe glaze look-alike of similar. Chinese artifacts. Such artifacts were so popular at the time that Deck developed a modern soft-paste porcelain concoction so that they could be mass reproduced in factories.

SPACE (photo)
This space in London, dubbed the Peacock Room exhibits a great amount of Chinese influence on western interiors at the time. During this point in the 19th century, the fashionable trend cued for a presentation in the home in order to depict one's "worldliness" to guests. Seen here in the Peacock room, the traditional eastern surface treatments are ever-present. Bringing in lattice work and rich gold eastern ornament such as Chinese inspired painted peacocks, that tie together as they wind across the space. Overall, from the lighting treatment to the contrast of the rich green and metallic gold color palette, the Peacock room takes its "worldly" influence cues from China.

BUILDING (photo

The Royal Pavilion is a building I personally had never come across till my search in eastern design influences on 19th century western architecture. The inspirations are certainly clear in its Indo-Saracenic style that took over a great part of India during the 19th century. As a court for the Prince of Wales, the extravagance of eastern mosques can be clearly matched with the Royal Pavilion. A sense of exoticism being fashionable at the time, the oriental approach inside and out of this building is ever prevalent within its layers upon layers of surface decoration. The minarets are what immediately grabs me into associating this structure with a middle eastern temple. This replication brings eastern influence to Brighton.

PLACE (photo)
This British garden depicts a certain essence of Japanese culture. The influence is clear as Tatton park includes many elements of the traditional Japanese tea garden such as a Shinto shrine and a tea house. The British adapt the Japanese intention to emphasize the natural artifacts like plants and rocks. In addition, Japanese garden's were meant to be experienced slowly, in somewhat of a stroll. Paths and Bridges throughout the park work to slow down the occupant bringing awareness of natural surrounding.

Clock

2010-11-01T19:16:00.000-07:00

For my Clock at the conclusion of the Reflections unit i chose the scale of a place in 3D form. Using England as a guide through design movements, the Chiswick House marks an important and different movement in English architecture along with the Kenwood House, Crystal Palace, and The Orchard. The wooden hand in the middle does in fact move, but is meant to be placed at the point in history corresponding to the images. Throughout each of these structures, can can see a blurry reflection of past works and ideals.

Perspective

2010-11-01T15:29:00.000-07:00

For the Alternatives unit counterpoint, I choose the scale of a space and put it in the form of word. The essence of the word echo is essentially to repeat. The idea of repetition carries through in the layered vaults of the gothic cathedral but also throughout design history, as the saying goes...

This layered perspective shows the repetition of classical elements, repeated from the Romans and molded into a gothic perspective.

Point: Alternatives

2010-10-20T21:16:00.000-07:00

In a glance at the alternatives unit, we travel in time through the Renaissance, Baroque, and Rococo periods. When architects sought after ancient examples from the forms that the Greeks and Romans left behind, a new adaptation of classicism arrived in a wide rage of forms. Each society after the 15th century exemplified classical principals and forms in their structures to produce their own alternative revision of classical ideals varying by region and place in time. Man became the measure of all things and the “rebirth” of classicism known as the renaissance arose. Patronage to built works and art was taken on by high societal figures such as popes, merchants, and other wealthy elites who commissioned a vast amount of new architecture in order to give their city’s a sense of delight based on the numerical proportional systems which displayed a sense of intelligence and vestige in a time where knowledge was sought after by looking to the past. Scholars such as Vitruvius wrote the standards of perfect classical form for architects of the time and centuries later to follow, though his own reinterpretation of classical concepts, passed down though time only to be reinterpreted again and again. “Emboldened by their flourishing urban (and urbane) culture, they set out to match the intellectual and artistic achievements of the ancients” (Roth, 353).
Renaissance church floor plans such as Filippo Brunelleschi’s Church of Santo Spirito in Florence were based off of the system originating off of a Roman Basilica. Capturing monumentality through the use of arches, massive scaled Corinthian columns and pilasters were developed by the mathematical proportions, using a great deal of care to achieve such spectacular results. The commissioning of these great buildings was a form of cultural representation often times depicting a show of human accomplishment. New building types became more prevalent opposed to the churches and palaces that reigned over architectural commission in the past. The Ospidale Innocent was a founding hospital, which took on a different “riff” of old forms. Throughout the Renaissance we can see a marriage of past principals given new light such as the basic stacking and layering of arches and columns to develop new ways of thinking about old ideals. Overall, Renaissance architecture was a simple arrangement of, circle, square, and rectilinear forms used in ancient times expressed in mathematical proportion. This concept can conceivably be seen the easiest in the examples of Andrea Palladio. (photo credit)This celebration of human knowledge though, would soon be transformed into dramatic Baroque theatricality, and later, Rococo embellishments as new ways of stimulating human emotions through interiors were approached. In an effort to drag citizens back to the church, buildings took classical forms such as columns, vaulting, arches, and pilasters and teemed them up with chaotic ornament, changing the rules of classism. The visual complexity of structures like Bernini’s Cornano Chapel in Rome depicted a heavy use of art in the form of frescos which created the optical illusion of three dimensions, showing perspective on a two dimensional plane. In Bernini’s churches, the central plan that had been mimicked over and over, transformed into a longitudinal direction, molding the Basilica template in a new exploration. Concepts such as axial arrangement became embedded in French architecture through examples like the extravagant Versailles. In England, excessive ornamentation brought theatricality again in Blenheim Palace, which took classical forms on a dramatic skew once again. The last step away from the heavy architectural elements and rich colors of Baroque interiors was the Rococo movement that began in Paris in the 1720’s as elites moved out of the city and into the county to only spread across many regions of Europe. This response to the heaviness of Baroque style took a lighter approach in its ornamentation through narrower swags, shells, and other nature-inspired décor became curvilinear and delicate. Femininity reigned as a focus on light seen in the light pallets and focus on manipulating natural light itself though cleverly positioned windows mirrors and filigree reflected the idea of bringing the outside in. The regeneration of Architecture is seen throughout this chunk of history, however, this “regeneration: is a concept applied daily in modern times as much as the past. In order to start designing, I often look a past precedents. This is not to replicate these forms, but rather, improve them on my own terms, distorting inspirations into something completely new. Architecture throughout the Alternatives unit used this same approach with classical precedents to develop new styles for changing environments and times. “…These avant-garde architects now sought to create a rational modern architecture reformulated structurally from the ground up in the light of a new understanding of ancient architecture”. (Roth, 435)

I Choose the image below as my description of the Alternatives unit because of the changing adaptation of old forms throughout this bit of time. Mimes adapt to new situations as well, contorting their human form to mimic different characters observed in the past.

photo credit

Reading Comprehension 4

2010-10-17T13:21:00.000-07:00

Question One

The artifacts come together as one through their symmetry and order on the basis of shape, proportion, and embellishment added greatly to their scale in comparison to the architecture that surrounded them. The artifacts listed as the Sheraton chair, State bed by Robert Adam, Tall clock, Windsor chair, and desk all hold highly ornamental aspects, some more than others as they are derived from different places and style periods. Across the board however, the intricacy in the artifacts is clearly defined in their construction. The Windsor chair for instance is perhaps the least ornamental out of the bunch, yet holds an attention to detail through its delicacy with an appearance of boundaries shining through in its shape and proportioned. No geometry within these pieces is random. We see a repetition in motifs, speaking a similar classical language, like the swags depicted on the tall clock. Developing from past designs, these artifacts represent the attention one devotes to more personal objects within a space while displaying the owner’s wealth and learning.

The spaces listed including Holkham, Gunston Hall, Marie Antoinette, Saltrame House Saloon, and Garner Pingree range greatly in their renditions of symmetry and balance. Maries Antoinette’s room is certainly theatrical, but order is still slightly prevalent, developed through pattern. It is still so excessive in its details this “order” feels somewhat chaotic, while in Gunston Hall the architectural element of the stairs are celebrated though symmetry and balance of space through evenly spaced banisters in repeated form. The Garner Pingree has subdued, centralized ornament however, through the placement of urns. Order is brought through transition as the molding following the lines of the room bridges the gap from wall to ceiling, creating fluidity within the space. Classical motifs are brought in spaces like the Saltram house saloon showing repeated forms while in Hokham the repetition and contrast in the placement of patterns brings an organization to the space. These spaces celebrate many classical elements while adding and subtracting ornament, using various techniques such as contrasting ceilings and wallpaper to bring balance throughout the space.

Choosing a different take on classical design, the buildings listed as Chiswick, Drayton Hall, St. Genevieve, Nathaniel Russel, and Monticello all take on ideas such as repeating elements at different scales, built with classicism in mind to depict the owners learning and wealth to visitors. Monticello has an octagonal dome similar to Chiswick, showing to design risks in the formation of complex geometric shapes opposed to a more simply circular shape; a new take on classicism. Contrasting, St. Genevieve takes a more literal approach to classism within its monumental scale and great contrast between solid and void. Drayton Hall and St, Genevieve shares an emphasis on their front facades, similar to that of the Romans. While St. Genevieve is perhaps based off examples such as the Parthenon, Nathaniel Russel takes cues from palazzo Medici going from bottom to top, and public to private.

Taking in the built works of the places listed as England, America, and France, we can observe the influence of Classical architecture of Greece and Rome carry across the regions. With different regions however, come different cultural standards. For example, Classical language within English architecture showed signs of an owner’s education while the classical elements in the newly birthed country of America served as a form of setting standards while legitimizing education much like England. French architecture takes on a much more detail oriented approach in a spin off of Rococo. Addressing the different takes on classical elements Roth discusses “ The Classical elements of column, entablature, pediment, and arch remained, but the intellectual formal austerity was replaced with a new, deliberate sensualism. This change, only hinted at in Mannerist whimsy, shortly would be transformed in full-flown Baroque Theatricality. (ROTH)

Question Two

All and all, I have found the designs begin to encompass three main aspects in my analysis. These are a step towards residential design for the middle class. No longer is “good” design reserved for royalty and the extremely wealthy, the main materials used include a heavy use in wood as it is bountiful across the landscapes, and basic classical principles are tweaked and often simplified to create a less formal atmosphere.

In Boston, The Parson Capen House stays true to classical ideas within the idea of symmetry, and the dark exterior translates similarly to the Hurt House interior in its emphasis of used dark wood as a main material choice. From the beamed ceiling to mixture of contrasting elements throughout the Hurt House, although simple, uses the basis principal of repetition, an aspect carried through in the Gateleg table as well. The repeated geometry within the simple ornamental motif adorning the Gateleg table provides a great staple for each of the space, building, and places within this group, which is a level of functional grace.

The use of contrast is the main principle linking the second group together. Within the light walls and dark wood of the Governor’s Palace we can also see some steps towards simplicity. This is translated in St. Augustine as patterns become much less chaotic. Repetition of geometric shapes is present within the entry of Columbus House and the repeated motifs bring a balance of horizontal and vertical elements in the artifact Fraileros.

The use of compartmentalization stands true in the designs of New Orleans as storage pieces include double doors in their wood form. We can observe these boundaries at the Single Brothers House thought the use of boundaries, compartmentalizing of a larger scale,. Although simplistic, these boundaries are also set within the floor plan of Parlance Plantation throughout the separation of public and private spaces.

In New York, German influence is prevalent in the Jackson house as we see a functional hierarchy in the balanced space of the shrank. Andrew Jackson’s parlor and chamber uses this balance of space to create a multifunctional atmosphere.

“By the beginning of the nineteenth century, architects were turning increasingly to specific source models, in a wide variety of historical styles resulting in revivals of Greek and roman Classicism, medieval and Gothic architecture, as well as Egyptian and even more exotic re-creations.” (ROTH)

A sketch of a Palladian influenced Baroque floor plan.

Question Four

Looking at the Baroque theatricality in architecture within the style period, the buildings do tell a story much like a theatrical show or musical/dance performance. To speculate wether the theatrics or the architecture came first though is quite iffy in my opinion though. Just as buildings, spaces, and artifacts come into different scales of ornament, playing off each other, culture and the activities surrounding it shape architecture as architecture shapes culture vis versa. It would be very hard to not stand in awe at the excessiveness of Versailles just as it would be hard to to move forward in a metro station. When done to meet intention, form translates function, and therefor a culture within a building.

Diagramming in Perspective

2010-10-14T12:29:00.000-07:00

For this Project I continued diagramming Zaha Hadid's Landscape Formation One in Wheil Am Rhein, but took the route of communicating to non-designers. Through pictorial perspectives I hope to showcase the longitudinal stretch of the building and feeling emergence between the natural topography of the land with its artificial re-imagining.

Final Board

Interior Perspectives ( scale figures included on large format )

Exterior Perspectives

Site Plan

Plan Including Shadows ( people depicted by points in shadow )

Point: FOUNDATIONS

2010-10-04T21:43:00.000-07:00

Ancient civilizations introduced the foundations of what we know to be empires of progress, passing on knowledge to each proceeding civilization. Across regions, we see architectural development borrowed, improved and elaborated on. Not immensely distant from Ancient Egypt, Minoan Greece incorporates structural columns in the Palace of Knossos in Crete. Design expression in the form of artwork becomes seen vividly throughout structures by tile work and mosaics. In civilizations to come these forms are used to tell stories and advertise retail goods and services to the illiterate mass. Ancient Greece develops a distinct idea of the temple design or first interactions of the megaron and its development. For instance the temple of Hera I (530 BC) has a row of columns in the middle of the four sided rectilinear shape, supported in a post-lintel style fashion with a four sided colonnade lining the outer side, while the temple Hera II (460 BC) advances to two rows of parallel columns guiding the occupant.. Having linier navigation comparable to the hypostyle hall, temple features from between the two societies gives light to cultural and religious differences between the two ancient societies while showing development in architectural form. By and large, Grecian architectural design concentrated on the aspect of symmetry, balance, and order. Creating the perfect proportion in each structure from insights in geometrical studies, this style deemed in history as “classical” was the basis for many of the Roman and Medieval architectural feats to come. Strategies such as building to a scale so monumental, the structure engulfs its occupants in building types like temples, are passed down to each of civilizations following afterwards in the Foundations unit. However, these massive houses of worship mold to the needs and beliefs of the societies constructing them and therefore in no way exact copies, but rather “riffs”. Grecian examples such as the Parthenon could be seen to serve as a kind of template for later societies to style into their own form of excellence. “The Greeks cared little for immortality on a spiritual plane, but rather, they sought to ensure their immortality in human memory…The Parthenon is proof they succeeded in living forever”. (Roth) The basic Megaron was molded as new innovations were discovered, an example being the Roman creation of the arch, which in turn allowed domes and vaulted ceilings. Transitioning from Acropolis to Rome, we see the temple and its basic system of navigation change dramatically as a different culture has its own take on it. The addition of a triangular shaped gable roof and one set of steps opposed to the three equal sided steps of the Grecian temple designate a clear entrance to an occupant. Budding again from this basic post and lintel system though, Mankind was able to create incredible structural improvements as mathematics and play of geometry (symbolism attached) allowed for the “trappings of an empire”. Roman being one of the major empires of progress, some of these “trappings” include the bath, market, aqueduct, villa, dome, road, arch, coliseum, and basilica. Architecture had long since molded to provide basic shelter, but rather conform to the needs of a growing society. Baths oriented to Roman neighborhoods show the development of mankind conforming to what we now consider to be “civil” ; a water united society, rich in learning. The Basilica perhaps was one of the most influential of the Roman designs, becoming a template in itself to create architectural master pieces in the Gothic Cathedral architecture of the high middle ages. Although the overall theme of cathedrals could be considered entirely different than the concept of Greek and Roman temples and Basilicas, the contrast only resides because of the developments made on the basis of the Greek and Roman innovations that Gothic cathedrals elaborated on to create such emphasize on verticality and light throughout the Cathedrals that went up such as Amiens in France and Cologne in Germany. The flying buttresses created at this time allowed the extreme verticality to enter the landscape. Architecture throughout the foundations unit became more innovative taking ideas to build up and out interpreting previous designs in new ways, while still following a similar chain of design elements.

In my own design, I try to step back from all the land statements made to figure out why these altercations took place. Although these ancient societies copied the architectural forthcomings of each civilization prior, no structure is identical from one society to the next for good reason. Molded by developments and beliefs, the concepts of architecture changed in each era of time. I have learned that no belief or design principal should be ignored or possibly just as worse- grouped together. Societies and structures should be analized for what they are individually as each form as a specific story and reason behind it. I must have reason to hide, conceal, build up down, or around emphasizing thee story of design and what it took to get to the final product.

I choose the picture below to sum up the foundations unit as it serves as both a reminiscent look into Roman developments and segway into a different outlook of these developments in a new era. Peeling back the layers of the Florence cathedral, this photo depicts how each innovation allowed this design. The architect Brunelleschi drew back on the foundations of Rome to construct the tallest dome since the pantheon.

click here for photo source

Reading comprehension 3

2010-10-01T10:55:00.000-07:00

Below is my colored pencil depiction of Cologne Cathedral in Cologne Germany. Construction dates 1248-1560 & 1842-1880

As the monumental verticality of the cathedrals engulfs its occupants, light pours in sectioned off, mainly through the passageway of arched windows. This “engulfing” could be considered to many as a divine attribute, very fitting for the structure type of a cathedral. The pointed arched windows found in both Cologne and Salisbury cathedrals follow the same verticality along the walls they adorn. Elongated forms, allow the illumination of these buildings in daylight. Light can be viewed as a source of life, which allows humans to produce, and stay warm. At a time when so many were searching for refuge often in the simplest form of having shelter, the concept of staying alive was a main priority many had to work towards, in a day-to-day struggle. This sense of light and warmth could possibly define the “Dark Ages” because of this principal that one needs light to live. The illumination of the Cologne and Salisbury interiors thus, automatically designates the structures as sanctuaries along with being places of worship. Adding to the stretches of vertical windows letting in massive streams of light, from bottom to clerestory, the stained windows often tell a story of their own. Other sources such as candles and reflections from thereof provide a more mystical sense of light and warmth, more indispensable at night. Overall, both Cologne and Salisbury cathedrals center on verticality and light. Light permits life and provides virtue of the divine.

The world did not add a layer of shadows in between the time of ancient Romans fall and the start of the “Dark Ages”. In fact to allow the amazing structural innovations such as barrel vaulted ceilings and flying buttresses to arise, the collaboration of many laborers was necessary in its development and construction. The designers logically would be higher up in social hierarchy in comparison with the many laborers. This is in assumption however, that such structural innovations were well thought out, requiring an educated designer, not just the makings of some “happy accident”. Although many were fleeing for sanctuary in the “dark ages”, some of the lucky individuals had the blessing of structural enclosure. The time that wasn’t spent preparing for the daily grime was allocated to great thought, perhaps enough to develop such structural strategies. Popping up in a time that has been looked at so drearily in history, we must observe aspects of the Cologne cathedral such as the ceiling in comparison with the vaulted ceiling at Amiens to look at the validity of this idea. The technological innovations in architecture seem to cross-regions without extreme alteration. Though we find more distant variations in the more elaborately adorned flying buttress at Cologne computed to its French neighbor (Amines). A focus on intricacy is more of a style change I would note as the most contrasting element between the two churches. The over-all compositions of the cathedrals show regional distinctions in style. As the result of taking a more artful approach we may easily see aspects such as exterior details that depict distinct styles. Their main contracting element once again being the level of intricacy, the Cologne is the cathedral, which takes on a more elaborate language. If anything, this showcases the great thought that must have been involved in creating these structures at a time we now consider to be “dark”.

Cologne

Amiens

It would be easy to suggest that a reiteration of a classical form such as the dome in Duomo cathedral in Florence suggests a degree of change leaning towards the beginning of the Renaissance as we correlate forms between historical periods. The circle as we know it, represents the divine form, appropriate for a place of worship as it symbolizes such perfection that man could not create. Perhaps this bold move in architecture was a calculated one based on the knowledge of Roman symbolism behind certain geometric forms. The cross of Cologne cathedral carries a human centered approach in the language of antiquity according to this belief. If all knowledge is based on the past we could regard that the forming of Cologne cathedral having a more humanistic core in comparison with the Florence cathedral was indeed purposeful. The architect Brunelleschi of Florence cathedral however, did in fact study ancient Roman architecture for a period before designing the dome, ringing true the idea that a skyward centered church was an intentional and past rooted creation. We see this shift without question when comparing the Cologne and Florence cathedrals’ crossing. The whole form of the Florence cathedral could be considered much softer as the result of these curves and a more prominent use of shingles. The Cologne cathedral protrudes as a defining landmark to it's city as well, but in a much different fashion of boldness. Instead, the spiky towers are more on the side of poking the sky along with protruding. Although both Cologne and Duomo cathedrals are astonishing masterpieces, they speak very different languages in terms of their design.

Plan-Cologne

Plan-Duomo

Imagining out of the various forms of domestic medieval Architecture that this woman depicted was working in a castle, we can assume a variety of attributes amongst her interior environment based on the information mainly provided to us my Harwood. The windows at this point are probably relatively small out of concern for safety. We might find some fabric wall hangings as these textiles travel easy in a time of consistently seeking refuge. Firelight torches and possibly some candles provide light and warmth in this space. From the looks of the given photo, the walls are whitewashed and the floors are made out of some type of dirt or stone. Judging by the outfitting and action being performed of this woman (working) however, a fabric hanging would be the possession of a wealthy master.

Compass

2010-10-01T08:46:00.000-07:00

For this "compass" i used the following definition
5. archaic a circular course
8. to achieve; attain; accomplish

Using the artifact of the Corinthian column in 2D form. I placed the Roman stable in the context of a re-imagined Basilica Ulpia. The Roman's achieved quite after the Greeks. When it comes to narrowing these accomplishments down though, the Corinthian column serves as a excellent way to navigate how the Romans designed. Taking many Grecian architectural forms and elaborating and expanding on them was some what of a standard for the Romans, who turned the supportive column into an exterior detail at the colosseum. The capital of the corinthian, made out of stone/marble is the most intricate of the orders and therefor represents Roman accomplishments the best.

Maps

2010-09-29T07:35:00.001-07:00

For this project I was instructed to place the Atrium town house of Pompeii, the Boston Public Library, Finnish Pavilion, and Osterley House into a map consisting in the forms of 2D, 3D, word, and paragraph. The below photos show how i translated this task. The Atrium town house was an obvious choice in my opinion as a 3D demonstration seemed to me the only way to "map out" this structual component so important to architecture, even thought of as only of the earlier forms of air conditioning. Keeping this in mind, my 3D form shelters the project. Theres alot to be said about each of these structures, but the context of learning in the Boston Public Library is what drove me to place this particular stucture in paragraph form. The word was challenging because it was just broad. Filligree, such a fanciful term is the first word that comes to mind when I think about the ornate roccoco style of Adams Osterley Park. Lastly that great wave of structure Alvar Aalto is had to sum up with out a straight visual guidance. Built separately, mapped together

Diologue: Part Two and Three

2010-09-28T12:18:00.000-07:00

Egypt-Greece-Rome Summary

2010-09-20T17:00:00.000-07:00

Below are some major ideas from what we can see today of the Ancient Egyptian, Grecian, and Roman structures and artifacts.

The permanence of Egyptian architecture is astounding, as its monumental presence can still be on looked 5000 years after when we believe structures like the pyramids existed. In a society focusing on the eternal after life though, it makes sense to some degree that we still have evidence of their presence today. The main lessons are the preservation of the building, which holds simple principals like stacking, developed to be able to penetrate the sky in an attempt to reach the heavens on earth. The post-lintel system also used by the Egyptians carried in through in not only holding up their structures, but also filtering light, and in turn controlling temperature through the development of the column. (Example: Hypothstyle hall) Scale-wise the ancient structures were massive using mainly stone. Artifacts left behind like furniture were made out of wood protected and existing today perhaps only because of the lasting structures that preserved them.

The Grecian culture focused on finding the perfect balance and order. More stylized columns were developed out of stone to support the post-lintel system seen in many of the monumentally scaled temples. (Example: Parthenon) The study of mathematics is evident in their building seen in their attempts to achieve this perfect balance and order, especially through proportions. The corner columns of various temples are even thicker than others to create the illusion of balance from the perspective of an on looker coming up to the temple. The Greek art preserved today shows much more humanistic figures than Egyptian art but still was used partially to depict actions and stories.

Ancient Rome took the Greek structures they observed and garnished and advance d many of the forms. A great example of this would be the more elaborate of the column orders; the Corinthian. The Romans achieved many feats such as the arch, which changed architecture then forward. Focusing on symmetry, balance and order, the immense scaled temples, bathhouses, basilica, coliseum, aqueduct, domes, markets, and villas are all productions of a culture seeking perfection. Artwork found in the form of mosaics was often colorful and meant to advertise, tell stories, and hold symbolism.

Portfolio

2010-09-18T12:37:00.000-07:00

At the Beginning of the fall semester 2010 of my second year, I was asked to create a portfolio of some of my work. I choose a few pieces from first year ranging from people, spaces, places to presentations.

Reading Contemplations (comprehension) number two

2010-09-14T06:44:00.000-07:00

1. Throughout my years in school I have never heard the idea that Greek architectural elements, when broken down and examined closely could represent symbols of sacrificial practice. However, this is not to say in any way that this proposition should not be entertained as valid given Hersey’s argument. In his opinion, just about everything in the Greek temple as we know it holds a symbolic undertone dealing with the process of a sacrificial ritual. He cites the tryglyph as representing the 3 different parts of the femur (a bone kept after the sacrifice), the wrapping around the base of columns meant to represent how the sacrificial animal’s feet were bound with rope, moldings and ornamentation representing teeth, and the list goes on, as just about every element represents a part of the body. With no previous experience upon considering this notion before, it is problematical to determine whether Hersey’s argument is in fact valid. Textbooks such as Roth’s Understanding Architecture only touch upon the concepts of Greek architecture being a balance between lift and load (vertical and horizontal elements), action and rest, all sculpted to perfection using the best materials available. Although looking at elements such as the capital of a Greek column (ionic and Corinthian to be more specific) and viewing them as head garlands, hair and horns is a fairly reasonable thought to entertain given my own previous knowledge, or lack there of-Greek sacrifice. Perhaps one of the more convincing arguments Hersey proposes is that tracholion and hypotrachallon derive from the Greek word for throat. Hersey notes that the head/skulls of the sacrificial victims’ were possibly exhibited atop wooden columns. One could see upon their reading alongside visual components that the capital of the Ionic column for instance could have been more than merely crafted scrolls and curls, representing the horns of an animal sitting atop the column for display given my knowledge that pagan religions were not necessarily foreign to the practice of ritual sacrifices. When reading Hersey’s arguments given the visual components he provides, it is not difficult to acknowledge his propositions as quite possibly valid, despite the fact that without any other research on the madder it is challenging to determine the true validity of his argument.

2. As the result of today’s quick and easy access to information, many times invalid or misinterpreted information is conveyed without a second glance to the concern of the true accuracy of the gathered “facts”. People do not inspect the information they happen upon as closely as what is necessary, possibly because the word is written. Upon creating a context involving people, places and things, a sense of actuality is often taken too seriously even without multiple sources on the given subject to truly establish its validity. In the case of the character of Carson in McCaulays Motel of the Mysteries, a story is recited that is entertaining, but lacks the cultural context given its topics needed in order to be recognized as valid. To avoid such shaky territory one cannot simply rely on merely one source of information, especially from the Internet that spans such a wide web of “facts”. In order to create a valid argument, one must avoid the gaffe first by using multiple sources, moreover sources from all different mediums, including recognized books and journals, in addition to Internet research.

3. Protruding from the earth, the pyramids at Giza are massive stacks, which display the eternal life of the pharaohs Khufu, Kafre, and Menkaure. The massive scale, and visual solidity certainly demonstrate the onlooker the pharaohs’ highest rank in society, nearest of the statues of a god in Egyptian society. Rising high in verticality, these pyramids stand pointed to the heavens as to emphasize the pharaohs communication an connection with the God(s), Queen Hatshepsuts funerary temple takes on an entirely opposite approach to eternal life, laying amongst a mountain in great contrast to the tombs of the rulers before her; the pyramids that seem to penetrate the sky out of nowhere. The queen’s temple accentuates its horizontal components instead with opening aligning its front, adorned with a ramp protruding from its center. This is a sharp contrast to the pyramids that seemed to have no entrance, no deviation in form as to lessen the heaviness of the structure or welcome any onlookers. The idea that Queen Hatshepsut’s tomb is a more welcoming structure in part to its array of openings deviating the heaviness of its mass could quite possibly reflect her role as a woman in Egyptian culture as the opening s and ramp invite the viewer in awe, rather than strike their senses as the pyramids do from their impenetrable mass.

4. Although separated by the Mediterranean Sea along with a place in world history, Egyptian and Greek civilizations share many similarities that we can find in their design response, specifically in the construction of their sacred temples. As expected in different civilizations, the Egyptians and the Greeks formed entirely different cultures. We can see their cultural differing reflected in their building forms. In the words of Roth; “ The Greeks cared little for immortality on a spiritual plan, but rather, they sought to ensure their immortality in human memory, through their intellectual and artistic excellence”. In the essence of this quote, the Greeks couldn’t have been more contrasting in their values than the Egyptians, whose primary focus in life was the idea of the eternal afterlife. When analyzing the different temples produced by the separate cultures however, the Grecian Parthenon and Egyptian hypostyle hall, we can see some merging in architectural style. Looking at the plans of the tow buildings, the similarities appear at the center of the structures. Both temples include a post-lintel construction, but more importantly both the Hypothstyle hall and Parthenon include a set of parallel columns in their hearth, which lead up to a more enclosed, thus more spiritual area. Contrasting, the Hypothstyle hall includes many more columns actually encompassing the parallel set in its hearth. This aspect creates a much darker atmosphere coinciding to the differing religions of the two cultures, as the less lit of the two structures was built by the one which focused on the afterlife…a relatively dark subject. In comparison to the Grecian culture that worshipped the gods for whom hey believed to have allocated their blessings in life, the Parthenon only has two extra layers of columns filtering light from the centralized enclosure. This does not mean that this center was any less holy then that of the Hypothsyle hall, for in was supposed to lead up to a great statue of the goddess Athena who was adorned in gold. This greater amount of light was necessary in order to reflect on the statue, creating a gleaming and divine presence. As the Parthenon leads the worshipped to an enclosure of light, the Hypothsyle hall leads the worshipper to the darkest part. A last important element in this illustration is the idea of the enclosure, guarded by layers of columns. Each layer peels back a more private space cued by the columns creating a holier realm within each realm, in the case of the Parthenon a lighter space of worship, Hypothstyle hall having a darker sense of spirituality.

5. Egyptian culture kept the underlying theme of eternity throughout just about everything they left behind. In turn the pharaohs left their permanent mark on society. Thanks to this concept, we can observe the remnants of this “eternal” culture they left behind. As the pharaoh’s tomb was meant to last forever, the heavy structure consisted of what Napoleon deemed to be enough material in the three pyramids at Giza “to build a wall 3 meters high and 1 meter thick around the whole of France”. So why would the ideal of eternity not carry through as strongly in Egyptian furniture, which was constructed out of wood? Quite possibly they valued the structure more than its interior furnishings, aware that the structure would be the component of their existence that was truly eternal. One could also contemplate that the furniture was mainly meant for their time on earth and became more of an afterthought amongst the grand scale of the pyramids. The heaviness of the pyramids also maintains strength necessary to be apart of an exterior while less attention was devoted to the interior, as furnishings were less important than the enclosure itself in the afterlife.

6. Depicted on the two urns are two images portraying male dominance over women. Both of the urns show the male figure seated on a throne (maybe a king/god), while on one urn one woman and the other two women stand tending to the seated male. These illustrations certainly characterize a nurturing role of a woman and a more leadership centered role for the man. These reflections of a male dominated society can be supported as Harwood notes that males possess ownership and independence as he notes that women in Grecian culture are “their fathers or husbands property”. To delve deeper into Grecian culture these urns surely support Harwood’s claims along with contributing another piece of evidence that the Greek culture was a male dominated one.

The Wall

2010-09-13T08:38:00.000-07:00

Dialogue: Part 1

2010-09-08T14:11:00.000-07:00

Point: THEORIES

2010-09-08T06:02:00.000-07:00

Transitioning through time, theories of architecture have formed just as humans grew into being. Starting at the core of basic human needs, shelters such as Terra Amata, the Homo erectus dwelling excavated in Nice, France represent the earliest known dwellings constructed by human beings. Built to provide a necessary living environment for gathering people, these basic requirements for human living quarters would expand in the centuries to come as human’s basic needs in their architecture would become as complicated as the people themselves. For in the beginnings of man, basic function was the prime reason for containing people within a space, as we must have shelter to prosper as human beings. In the words of Louis Khan “Architecture is the unavoidable art”. Although even in primitive times, we’ve learned that art in its very beginnings is much more than décor, as the quest for survival ranked first on the list of early natives concerns in their structures. At the very beginnings, spiritual undertones ruled people’s daily actions. However, it seems that when basic needs are met even the earliest of mankind took pleasure in what most of society does today. As mankind gained greater control over the materials of the earth which surrounded him, structures began having more and more specific uses to consent to these aspects of life such as eating, drinking, musical and other performance, and material goods that we enjoy in modern time alike. Architecture started to cover more than mankind’s basic need for shelter and the concerns for longevity against the elements aesthetic concerns, and the ability to control human interaction in the made space brought the biggest movement in history in terms of architecture to our knowledge in modern day.

Architectural critic Lewis Mumford once noted that; “the greatest problem of the architect is to mold the essential structural form in such a way as to perform all the purposes for which the building exists.” Shifting from the point at which human beings were able to spread their concerns beyond the basic ideal of staying alive, Architecture became an elaboration of the concepts that became issues the same time at which people decided to live together. The idea of architectural happiness arose and Sir Henry Wotten established the notion that good architecture “hath three conditions”, these conditions included commodity, firmness and delight. The Romans surely excelled in terms of Wotten’s definition of firmness as we see the ancient structures still standing today. However, buildings of modern times do not invest in that kind of economy or management of resources (by economy- referring to the Greek meaning of nemein which means to manage). Rather we have been testing out new materials throughout the past century most specifically in hopes that they will too stand the test of time. For when new ideas fail as the John Hancock Center in Chicago did when it could not stand the lateral pressure of the wind, we learn and rebuild accordingly. This is where my understanding of architecture comes in; we build to fulfill our needs, and when the architecture that encompasses our daily lives does not harmonize with our own agendas, we rebuild. I must learn from my mistakes in studio, specifically when building to see what does and does not work. The only solid sources of wisdom I can gain is from mistakes of my own and others throughout history. “The Hidden Dimension” depicts how crucial it is to step back and draw from history, as all people across the globe are not alike. This reading suggests that different cultures experience space in different ways, a concept demonstrated though many historical precedents I have read about as the structures’ vary greatly from the east to the west just as they do from the north to south. Through this reading one can find that the variation has occurred since the beginning of mankind just as mankind in its entirety is made up of a variety of cultural differences. The best I believe, which is a major task in and out itself is to be able to understand at this or any point, the idea of true accommodation and its shifts concerning every aspect of the inhabitants, place, purpose and time.

BIBLIOGRAPHIC CITATION:
"taj mahal." Bollywood Food Club. Web. 8 Sep 2010. .
[NOTE: Italicize "Bollywood Food Club"]

PARENTHETICAL CITATION:
("taj mahal")
Mumtaz

I choose the Taj Mahal as my image to describe the theories unit. This elaborate and outstanding structure has stood the test of time, its commodity still prevalent as it is in use still today. This ornate structure is indeed beautiful at the expense of its modestly but as Roth notes; "A modest structure for a modest cost would have provided durable and hygienic protection for the mortal remains of Mahal and Shah Jahan. But by spending more- by some estimates, about $8 million-Shah Jahan got the Taj Mahal. It has rejoiced the world ever since. Surely this was sound economy. Our test should be similar. The most economical building is the one that promises to give the greatest total pleasure for the price.".

Reading Contemplations (comprehension) numero uno

2010-08-31T11:25:00.000-07:00

I. Select an object or a building from any time period that you believe meets Wotton’s
definition (as cribbed from Vitruvius) of commodity, firmness, and delight. With an
annotated image, take care to EXPLAIN the ways in which you see the definition
realized through the object or building. Use design language and concepts discussed
in class for dealing with precedents

Alvar Aalto's Vippuri library/auditorium certainly meets the standards of Wooten's definition of commodity, firmness and delight. Focusing on the auditorium section shown in the picture above, the space is designed to be an acoustic masterpiece. Using relatively new-to-the-time materials, Alto dequises the techtonics of the structure with an undulating wood ceiling creating a softer approach to the modern design that could have had a completely different rank on my scale of architectual delight had its mechanics underneath the wood been exposed. The use of the wood material creates a whole different feel to the space allowing the occupant to emerse themselves warmer environment less sterile than simply a concrete and steel room. The repeating curves of the ceiling create a wave that descends throughout the auditorium which establishes a means of hierachy throughout the space as the room an its entirety needs as much attention from the front as it does from the back. For instance, an occupant listening to the a performance seated in the back of the space deserves to hear it the same as they would had they sat in the front and vis versa. Following the wave takes the occupant in a streamline throughout the space as a whole. This gliding movement of a natural material makes for a pleasing vision of the emersion of the outdoors with the indoors, ranking high on my interpretation of delight. Of course the addtion of the wood is completly nessessary though to create its high condition of commodity. The undulating wood ceiling is a main acoustic benefit to the principal function of the room as an auditorium. In conclusion, the building stands and has no major stability flaws to my knowledge therefor Wooten's condition of firmness is checked off.

II. Working from Harwood et al’s concept of cultural precedents, select one of the
contemporary textiles illustrated above and PINPOINT the influences you see from the
eastern world on the production of fabric in the west. Concentrate on motifs and
patterns provided in Harwood’s text

The farthest right textile, which depicts a series of overlapping spirals and wave like forms (similar to what people would now call paisley) are part of a contemporary design whose influences wether known or unknown, actually came from eastern designs from long ago. The roots of the wave and spiral design can be tracked back to the geometric motifs made by the native peoples of the eastern hemisphere. Originally created for function before aesthetic beauty, the spiral and waves motifs could be seen woven into baskets and other small furnishings, many times as storage. The early versions of these designs were inspired by the native's natural surroundings and embedded with ulterior meanings as the spiral and wave combo is said to have have represented rain, prosperity, and fertility across various eastern cultures. Although in todays western society, we simply find this cultivation of shapes a harmonious pattern of which we find visually pleasing rather than symbols to various aspects in the circle of life, early eastern motifs are the original source of many forms we see in moderns textiles.

III. When considering perceptions of personal and social space, Hall and others
suggest that different cultures have different space needs and attitudes. Most
consider that citizens of the U.S. generally feel a need for more space. How does this
play out in the classroom in which we gather for iar222?

As the next McMasions rises in the distance, we become more certain that a new breed of architecture has formed in America. Not that I'm personally a fan of the latest and most popular developments, but they are certainly telling of modern American perceptions of personal and social space, which is much greater than what is once was and even many other cultures today. An outstanding example would be the difference in the average space from the 70s today; 1.800 ft graduated to 3,150 from the 1970s' to 2010. Although the average American home seems to have grown in recent decades, I wonder if that translated evenly into how much personal space was expected/wanted from the 70s to today. One building, or room more specifically causes me to delve into such a subject...for Ferguson 100, built in the 70s could be considered relatively weak in compatibility with its occupant and perhaps be rated even lower on a scale of overall delight felt upon interacting in this room. Both classes I have taken and am currently taking in this room are lecture courses, therefor my major activities in Ferguson 100 include sitting, listening, watching, taking notes, and asking the occasional question. This auditorium of sorts is entirely too compacted to achieve any sort of pleasant commodity with its users, even if all they are doing is sitting and staring (I take notes). At 5'7" , I do not consider myself a gigantic human being, so most spaces should provide necessarily leg and arm room. Unfortunately leg and arm room are completely lacking in this space. I find myself switching between which leg to cross and attempting to keep a still position, arms by my notebook or at my sides in order to not violate my neighbors personal space. When it comes down to it however, just sitting with two other persons on each side of me in a way is a spacial violation we have simply come to accept . To have a face to face conversation with a neighbor opposed to a side face to side-half front combination would be a luxury in this space planning from around forty or so years back, unless one wanted to shift into an entirely new (still uncomfortable) position. As enclosed spaces go, Ferguson 100 exudes a rather compressed dungeon like vibes compared to most classrooms and lecture halls i have occupied in my existence.

IIII. SPECULATE about whether or not there can be an architecture of happiness, as de
Botton writes in the work by the same title. Provide a juicy quote that helps give
evidence to your views from the passage that you read. Include an annotated image of
a happy object, space, building, or place and specify WHY and HOW your example
exudes happiness

Architectural happiness can be achieved, at the same time certain spaces can also cause feelings of uncomfort, sleepyness and even fear. The point that must not be missed in de Botten's text is the discussion of what magnitude architecture can effect ones mood; say if you are already have the blues. Spaces can certainly shape how to feel to an extent, but not how your day goes. However, certain objects, people, and places can provide a sanctuary of comfort to us. Take for example the chair one sits back in and first relax after a day of pent up stress. If this becomes your favorite chair and has that certain association attached to it, the design of the chair can only add to its happiness. I choose the loge easy chair designed by Gerard Van den Berg in 1989 (Made in Holland by Montis). It provides literal comfort with a seat made to slide into, its curvilinear form swoops across your visual track as if to show you exactly how you could glide into comfort in this well designed lounge chair. This object may not inspire design happiness for everyone, but it should be noted that this chair has the "apparent shape of being low and deep, but the seat is actually shallow on the inside, the Loge is also suitable for tall people", a key point i found seeing that many modern stylized chairs are more appeasing to the eye than they are comfortable. When good design and comfort collide though, a certain happiness is born. This chair has all the the potential to be the one to glide into and take your first sigh of relief, finally being able to relax after a stressful day in your (my) favorite chair. "It has provided not only a physical but also a psychological sanctuary. It has been a guardian of identity." (Botten)

Autonomy

2010-05-11T07:28:00.000-07:00

Right at the beginning of the semester, my class was asked to start thinking about how we go about designing. Over the course of the semester we were to do an independent project showing our process of design.

Personally, have to write a paper before I type it so I suppose it would make sense that my design process keeps this same notion in mind. Driving back from spring break, I was in the passenger seat of my friends car, tired, sitting, and staring. I know this sound awfully unproductive, but this led to noticing some of the smaller things going on at this time. Raindrops had formed a trail across my friend's windshield and with the bright highway lights casting down on them they started to sparkle amongst the rest of the setting dusk sky. This light effect is small, but beautiful. My head had already started churning the idea of a rain light, so my first step was to jot this down, along wth any of my other ideas for this proposition no madder how good or bad they were. Next step was to refine these drawings and lastly play around with materials. In the above photos I experimented with many effects. These included adding hot glue to plexi glass, real glass, making cuts into plexi glass, frosting real and plexi glass, adding water color to hot glue on plexi glass, adding acrylic paint, and using a hot air gun to bend plexi glass. By taking different papers such as tracing and marker paper and adding color created multiple effects. I also found that holding these papers at different distances created the effect of the rain simulations coming in and out of focus. None of the above photos shows a final rain light, but rather the process.

Presentational Thinking

2010-05-02T13:59:00.001-07:00

Presenting, so I have learned is the balance of many things. One should address as much information as possible in a condensed amount of time. Know which points are most important to cover in order to deliver the best interpretation of what you saw the design as to your audience. Amongst all this, balance defending your ideas without coming off as too aggressive when they are questioned or commented on in a less than positive light . This can be a challenge especially after spending a great amount of time on a design you feel almost connected too, but then again it is important to step back and recognize that being asked a question can usually help the process of a design by (hopefully) giving you some light on shortcomings. Overall, to achieve this balance, a presentation must be well thought out and planned.

The days leading up to my own presentation, I was up for hours upon end trying to produce the best images and components for my board I would be representing. I redid many renderings I was planning on using and about everything else I had originally planned to be part of my final board. Although I am glad I invested so much time and hard work into my final board, I know it took a toll on how well I balanced my actual presentation. Without rest, I can become a bit scatterbrained, and overall unbalanced. The day of my presentation came to studio extremely weathered from my days of being awake. Although I had practiced my presentation, I think my nerves interfered with how well the interpretation of my space came across in the light that it could have been more fluid, and addressed much more that after I sat down I realized I had failed to cover. Overall though, I think speaking to a large audience is a task that one gets better as with more practice. From this I learned a presentation, in many ways should be just as thought out as the project itself. In fact this presentation was a notable learning experience, especially since I was very self-critical how my own presentational balance was delivered. Presentations deserve as much care as a project does. I was inspired by many of my classmates of whom I thought did a wonderful job of maintaining a balanced presentation. It was watching others that made me realize that there were certain aspects to their presentations that made their interpretations of how they transformed either the administrative office, or loading dock into a design of their own. There is a flow that some achieved that provided the audience with a clear and understandable vision of the space. Come to a presentation well rested and well prepared. Although, speaking in large groups can be a bit nerve racking, practice makes perfect. Through watching others and being a harsh critic to myself, the presentational aspect of “Rituals in Space” project shed a lot of light to how I will go presentations in my future. From both good and bad experiences I found that to become skilled at something as confrontational as a presentation to a live audience, a great deal of care and consideration is an absolute must.

Studio Space for Pop Artist Peter Max

2010-04-30T13:11:00.000-07:00

Rituals in space: Design a studio for an artist or designer using an already constructed space including a space to rest, eating/dining/food prep, bathroom, and floor/ceiling change. The artist i choose for inspiration was Pop artist Peter Max, and my space was the administrative office in the studio arts building of UNCG. Below is my process throughout this project.

At first as a group other IARC students and I measured the space, above is the rough version of a plan jotted down in my sketchbook.

From here we started our first iteration of plans and elevations of the actual space, uncontrolled by our designs at this point, i apologize for the fact the drawings are hard to read...I blame it on the pencil, there is an extent where photoshop can only be so magical in creating more contrast in pencil drawings, especially.

Tracing paper plan of my initial idea of how I was going to change the space.

INITIAL SKETCHBOOK IDEATIONS

For me, personally in order to start designing I must jot down any and every idea that comes to mind, whether i sketch it or write it. Below are my initial considerations regarding how I would change this administrative office space.

A few questions to be addressed...

Concept # 1. My space would be focused on the studio space, making it large and open in thinking that this space was the true purpose of the artist to reside here to begin with.

Ideation of room for easy ideation in the space. I originally wanted most wall to be coved in dry erase board to allow ideas to be jotted down at any time or place within the studio.

This wall divides the space yet keeps an openness through its filtered nature from this precedent i was inspired to make the filtered wall storage below, taking this photo above, adding thickness and a grid to form shelves, shown below.

Staircase ideas...the pictures included in these sketch book {above and below} were very cool. I loved the below restactable staircase however as it fit into a wall of concealed storage eliminating the large amount of space a staircase typically takes up. I liked it so much that i used it in my final design to maximize the space.

First Iteration of perspectives...

Kitchen/Dining area ,concealed storage shown in bed bath area shown here as well. I felt that since this is a studio space, bar seating would be more space efficient than a table. In order to store the retractable staircase {seen on the wall with the diagonal stripe of color} the wall would have to be about 2.5 ft thick. At this point I though the concealed storage that surrounded the ladder-staircase should be accessible from either side of this wall, although the ladder-staircase could only be pulled out on the bed/bathroom side.

Multiple private activities going on in a single space sheltered from the office by a single curtain wall.

Office/ work space area showcasing the white board wall i planned to place on any and all of the larger walls to allow the artist to sketch and/or produce ideation at any given place without having to search for say a sketchbook..or napkin {I have personally ran into such a circumstance} Idea boards filled with idea amongst the space. Since this space was not planned to be an extremely private area, I did not want my artist to be separated for the studio/painting area of the space by a full wall. Inspired from the picture and notes in my sketch book in the above page from my sketchbook, I decided to incorporate this filtered storage wall that gives a separation of space while still allowing one to see into the next room {studio space}.

Below is a set of perspectives, which i think are kind of wacky looking, the toilet and appliances are unneeded in this perspective as i learned from my professor, Stoel. That is unless i choose to design my own special toilet..maybe someday. Any way showing my plans for the bathroom, originally to go under the lofted bed accessible by the retractable-sliding staircase coming out from the concealed storage wall. I picked this room to do perspectives on because of the storage designs I wanted to showcase and the range of personal activities going on in one space, an aspect of this space that I would later change. Also is pictures of a process of elevations, which had changed about 4 times..along with another layered photo of the many plan changes.

Elevations upon elevations, when change comes about.. {drawings must follow}

In greater consideration of the ideations above i decided to change the original ideas and plans in order for the artist to use the space in a more efficient way. For instance, in the above drawings and plans, you can notice that the office space is huge. When stepping back I found this was ultimately an unnecessary use of the space I had, my artist is a painter so I thought I should give the studio the maximum amount of space possible. I also made the choice to privatize the bathroom more in consideration of a variety of circumstances deeming my more open bathroom, sheltered only by a wall screen seem a bit too open. Below is my process of how I came to the final plan and studio entirety.

Playing around with many different floor plans to get some more perspective on how the space could be used..

The computer rendering program sketch-up is most definitely a helpful tool in putting yourself in the space. For example, I decided to make the filterd wall a more abstract design instead of squares all the same size. Sketch-up gave some light to the idea this design would be more visually interesting. My sketch-up renderings were more of a frame for my hand renderings which i personally think have a lot more character to them. Regardless I plan to become much better this program by training my self this summer so I can develop a greater sense of the spaces I design.

Practice can make perfection closer. At least i got some more practice with this loose rendering style. The below views are the final iteration of my studio-space, focusing on the open use of the working space itself in order to allow creativity to be expressed through a variety of mediums, an open kitchen including a large sink for the painter I choose for inspiration to wash complete with bar seating, properly informal given the context, i thought. Looking through to the graphics center/office is an integrated storage system acting as a wall screen as well, unseen through the kitchen is the lofted bedroom. When facing this wall, The bathroom is to the right of this room, but set back in order to allow circulation space for the private entrance. My main focus of this design was the studio space itself as it is the largest and most open of the spaces divided within the altered administration office.

The Final Board, my layout was carefully placed to guide your eyes across the given information and take you through the space left to right, first understanding the plans and elevations and then being able to relate that information to the rendered perspectives and details. The colors are bright as my artist is Peter Max, famous for his use of "psychedelic" colors, bold in their compositions. I put in a super graphic simply consisting of scattered dots similar to some of the splotches Peter Max has used on the sides of his paintings, simple enough to not take away from the drawings. Dealing with the brightness of the renderings in comparison to the stark nature of the technical drawings was my biggest challenge in organizing this board. Spread the vibrancy!

Below are the final plans and elevations

Rendering these bold palettes was also a major challenge. I am used to saturated and heavy rendering with markers ( My medium of Choice) , and not leaving as much room for the looseness I wanted to depict in my drawings. I felt that with my bold pallette a more complete rendering of the soace would look just that; heavy and saturated. I attempted this various times and I wish I had gotten to do so even more as my perspectives leave much room for improvement. Throughout my process however, I believe these final drawings are a few steps up from where I started.

A detail drawing of how the retractable staircase works, fitting into the wall of triangular concealed storage, sliding along track on both the ceiling and floor when out.

Lofted area perspective along with a pop-art inspired color palette.

My scale figure is climbing to the loft space, this perspective showing the below area where a computer rendering desk across from the filtered storage wall resides.

An open studio space, a step up to an open kitchen to be used for cooking along with enough countertop room to use for art purposes, as my client was a painter I made sure the sink for instance was large and easy to get too from the working space.

My design revolved around two aspects, keeping the studio space large for the possibility of work in a variety of mediums, and using storage systems to allow this space to be open and uncluttered by supplies and other personal items that the artist would have in their stay here.

This wall became the only one to incorporate the original plan to include white board everywhere. With a little research I found that porcelain is actually a much better choice for dry erase markers because it does not stain over time like dry erase board tends to. A wall for ideation to occur as well as a ledge to place work upon.

Kitchen, filtered wall with opening to loft and office, bathroom set back excluded as a more private space, and private entry {solid door opposed to glass door for public entry tells others of its more private nature}

Overall this project was a fantastic learning experience.Although I will still defend some of my propositions, I think my deign could of used alot of development, given more time. Going through this I found that you absolutely must keep stepping back from your initial ideas to better your design. I worked very hard to achieve my final product, and although I am happy with it, I could not say I am completely satisfied which should be interpreted in the light that I feel even more betterment could have come about. Project development takes both time, and the ability to not get stuck on any one particular idea. Some big changes would have happened to this interior if given an extra week most likely , but regardless, life has deadlines which we all must meet so at a certain point you have to go with what you have..As a designer I hope that in my future, I will allow more time consider any and all possibilities that can make the human experience in any given environment, a pleasing one.

More on Perspectives and rendering

2010-04-30T04:34:00.000-07:00

Evolving more on perspectives, In Design Visualization we learned a tool to create more accurate perspectives (proportions often come out wacky because of underestimated or overestimated foreshortening). This was to develop a grip starting with adding notches to the vertical and horizontal lengths of our back wall for the room we were creating, the ceilings could be any height. So I decided to explore a bit and make my ceiling a whole twenty feet, plenty of room for, well lots of things including an airiness to the space So from there drawing lines from the chosen vanishing point you create the diagonal lines you see along my grid which run off the angle of the notches I made via the vanishing point. The next step was to fill this room up with stuff, but to get the proportions correct we first used red and blue colored pencils atop tracing paper to first box our furniture and ornamentation in, then draw it too its true proportions. An extra step before the final interaction of this room in particular was to go over these lines in pencil on anther sheep to that when I traced them it would be more legible. The final space divided onto 4 different sections of paper challenged us to explore different mediums on different papers when rendering this room. Lastly, we traded spaces with a partner, and revamped their room, changing basically anything we wanted besides the core structure like the wall heights. Recently coming back from Frank Lloyd Wright's Falling Water, my woodsy interior took a few cues such as the dropped ceiling, stone facing, shelving...okay so maybe more than a few, but hey...in my opinion, the late Mr. Wright did more than a just few things right!

pimp my ride

2010-04-29T10:06:00.000-07:00

So for these next clues our assignment was to:

1.Draw a car ( i choose a HOTROD)
2.Morph this car into something new, which i choose a more...morbid take on. <
3.Render and place in context.

A mixture of "death proof" and maybe Herbie fully loaded given the teeth, i tranformed my hotrod into a kill mobile. Notice the mutillated sclae figues under the car, intestines flowing gently off the back to top.

Clue2

2010-04-27T09:01:00.000-07:00

Scavenger Hunt!

2010-04-22T13:01:00.000-07:00

Clue one: Sketch to places on campus that have meaning to you, I think my drawings speak for them self.

Materials, Color schemes, Applied perspectives

2010-04-15T19:38:00.000-07:00

Rendering some possible materials...

Color wheel assignment. First we made our own color wheel's, I did it by making a wreath out of paint swatches. Then we demonstrated monochromatic, complementary, split complementary, and analogous color schemes using a perspective from a different studio assignment. I choose a color similar to the granite.

Monochromatic: Different shades of taupe? browns?

Split complementary

Complementary

Related/ Analogous

Above and below is the pop art inspired scheme for Peter Max's (imaginary) studio

Monticello & Falling Water

2010-04-15T10:36:00.000-07:00

This past weekend I traveled via bus from North Carolina up to Jefferson's pride and joy, Monticello, then to Frank Lloyd Wright's Falling water. Luckily, both visitation days were gorgeous, and so was the architecture itself, although extremely different. Below is a relatively quick sketch of Falling Water from its premium viewing point and and even quicker sketch done while sitting on the lawn in front of the backside of Monticello.