Narratives

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

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.

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.

#8

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

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

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

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

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”.