charese.allen

group marketing

2011-05-01T14:40:00.000-07:00

for the mock firms competition, we collaborated with professional practice students who created our marketing package and branding documents. these documents included a brochure, business cards, organizational plan, meeting minutes, business plan, and a video. my contribution was recording minutes at our weekly firm meetings. all of these documents reflect the culture of our firm and keep everything unified. the result was a product we were all proud of. check out our firm's video! http://www.youtube.com/watch?v=h31PU4PFsSo

skyscraper : sketches

2011-05-01T13:37:00.001-07:00

diagrammatic models

2011-05-01T06:46:00.000-07:00

r&d : diagramming

2011-05-01T06:29:00.000-07:00

research & development

2011-05-01T05:45:00.000-07:00

personal marketing package

2011-04-29T06:38:00.000-07:00

one of our assignments for professional practice was to designing marketing package for ourselves. this was to include a resume, cover letter, business card, leave-behind, portfolio, and cd. this assignment was much needed for me, as i had yet to put a portfolio together. presentation is everything and these can make a lasting impression on a potential employer. it also gave me a chance to explore my graphic skills, which i am interested in continuing to improve.

one side of the leave-behind

cover of portfolio cd

sketch proposal

2011-04-29T03:31:00.000-07:00

our first assignment in preparation for the mock firms skyscraper competition was to brainstorm forms for the building. without any experience designing a building, this was difficult for me to get ideas flowing.

otto zenke competition [initial thoughts]

2010-12-13T15:11:00.000-08:00

[high rise] final boards

2010-12-12T14:16:00.000-08:00

[mcmansion]

2010-12-05T13:59:00.001-08:00

[ranch] : final

2010-11-05T07:56:00.000-07:00

the ranch we designed was located at 602 rockford road in greensboro. based on a painting entitled 'no. 1' by konrad cramer, my design vision was about seeing the big picture first, then observing the details. geometric forms and bold blocks of color greet the eye initially. as the viewer moves into the space, subtle patterns on surface treatments and intimate details reveal themselves. the overall goal was to recreate the experience i had when viewing cramer's artwork.

[ranch] : art analysis

2010-10-06T05:49:00.000-07:00

[bungalow] : final boards

2010-10-04T07:21:00.000-07:00

[bungalow] : process

2010-10-04T07:17:00.001-07:00

[bungalow] : initial sketches

2010-10-04T07:05:00.000-07:00

magazine research

2010-10-04T07:01:00.000-07:00

we researched home and design magazines throughout history. the magazine i was assigned was better homes and gardens for 2009. the recurring ideas for the year were home organization, achieving high style for low cost, mixing styles and patterns, using color and accessories to transform a space, and living a well-balanced lifestyle in all areas.

great buildings

2010-10-04T05:51:00.000-07:00

our first assignment of the semester was to research great buildings from history. i researched villa capra [vicenza, italy - 1566 - andrea palladio] and casa rotonda [stabio, switzerland - 1980-82 - mario botta]. both feature a centralized plan accentuated with natural light at the center. situated in the countryside, the residences are carefully positioned take advantage of the views while holding a specific dialogue with the landscape. villa capra was a residence used for entertaining and display of status. on the contrary, casa rotonda's role was that of a traditional private residence.

botta's intention with casa rotonda was to make the shell circular to eliminate any true facade, thus preventing any direct confrontation with surrounding buildings. the dialogue was between the landscape and the distant horizon. a central north-south sky light floods the interior with light, placing emphasis on the central corridor.

when desiging villa capra, palladio intended to provide a compass, a blueprint of the ideal building. the geometric nature of the plan and overall symmetry are imitated for years to come all over the world.

course expectations

2010-09-15T15:36:00.000-07:00

based on the name of our studio (bungalow : ranch : [mcmansion] : high-rise), i think it's safe to assume we are focusing on residential design this semester! having taken classes with patrick before, the studio will place emphasis on precedent studies. research into the background of a site, building type, or specific building paired with the investigator's own experiences will be allow us to synthesize a complete understanding of the world around us. from this studio, i hope to develop strategies to deal with all types of residential design. i also hope to learn more about my design process and refine it to make me more productive and holistic as a designer. i'm excited about what the studio has to offer!

design[ing] happiness

2010-04-26T19:18:00.001-07:00

i couldn't decide on just one space that makes me happy, so i decided to post three. different elements of each appeal to me and make me happy.

this room makes me happy because of the neutral colors and the large windows. i like a lot of natural light and floor-to-ceiling windows are a must-have for me! the stone walls on the interior give the room a natural, earthy feel which puts me at piece.

this second room also has the same neutral, calm effect as the previous one. the contrast between furniture frames and cushions, as well as the subtle bursts of color, appeal to me. the horizontal lines of the room make me feel comfortable and embraced.

this final room appeals to my new sense of color. i have recently fallen in love with the color scheme of grey, white, and one other color, preferably yellow or coral. this room uses grey, but manages to stay bright and cheery with the use of yellow and white to keep everything light, airy, and clean.

process reflection

2010-04-25T17:30:00.000-07:00

overall, i am happy with the final phase of the unity village project. it was interesting the way we narrowed our focus through the three phases from the entire range of residents down to a specific set of users. although i felt the project was a little rushed for the time frame we were allotted, i did learn more about how i work as a designer and the process i must go through. for example, using the trace paper to draw quick floor plan variations helped me step outside of the floor plan i thought i wanted to use and kept me from being stuck with one design. i also used this project to try a new rendering style. i printed out a sketchup perspective with textures. i then hand rendered over it, adding pen marks and shade and shadow using markers. it took several tries to get the final result, which i still felt could have been better. i would use this technique in the future with minor changes to make it look perfect.

looking back through the project, i appreciate the process work we had to collect because it is nice to follow the project from conception to realization. being able to see how the design developed is helpful not only for me as a designer, but also for clients. design is all about revisions because the first design is never the final design. after looking at the process books of my classmates, i realized how different everyone's process was. a good designer knows how to recognize which ideas can be developed further and which should be left behing. this semester has helped me improve this skill and appreciate the work and development that is required to create a good design.

floor plan development

2010-04-19T09:40:00.001-07:00

i tried this floor plan in which the two students share a bedroom. although it seems to help with the layout and integrating the communal spaces, i realize the importance of privacy and personal space. college students want a sense of ownership over their room and a place to call their own.

... so i went back towards the first plans i developed with two bedrooms. after desk critiques, i was encouraged to integrate the poker and living areas. the shape of the space is difficult to create a cohesive room. i also have been struggling on how to make the poker table adaptable/storeable. in this floor plan, i had the table folding out of the wall. however, it would be difficult get all the seats around it when poker is in session. back to the drawing board...

more inspiration...

2010-04-19T08:39:00.001-07:00

originally, i planned to use floor seating to manipulate the scale in the living room and create a new experience when viewing the television.

my idea for floor seating came from video game chairs. every guy i know that plays video games does so in a reclining position. my brother and cousins all have these game chairs, which sit on the floor. in the final space, i also will add ottomans as an alternative seating position. when i see people watch spots, including myself, they usually are in an upright forward position, often on the edge of their seats. the ottomans will offer that alternative in the living room.

i chose this kitchen because of the open shelves and simple colors that make it look clean and uncluttered. the contrast draws the eye to the countertop and emphasizes the horizontal lines in the room.

the entertainment center shelves are one continuous surface, which provides a fluid, integrated look. it also has a sleek, modern feel, which is what i want to bring to the space.

floor plan

2010-04-16T06:22:00.002-07:00

this is closer to the final floor plan for the apartment. it includes a living room, bar, kitchenette, poker area, full bath, and two bedrooms. the struggle was working with the curves and angles to accommodate all necessary space while minimizing wasted space. it is still a work in progress, but this is the stage i'm at right now.

programming

2010-04-16T06:22:00.001-07:00

jeff linn [design strengths]

2010-04-13T19:58:00.000-07:00

when asked to discuss the strengths of another classmate, i chose to talk to jeff linn. he told me he was good at bridging the gap between aesthetics and function with his designs. it is easy to design something purely aesthetic or purely functional, but a satisfactory balance is not as easily attained. thinking about jeff's work throughout the past semesters i find that i agree with strength. in our foods lab project last semester he created a healthy balance between the two. he found creative ways to solve spatial dilemmas while also creating an interesting and stylish interior. this is an important skill for any designer to possess. having knowledge of precedents that handle problems successfully and being open to unexpected sources of inspiration will help me also achieve the same success.

living area development

2010-04-12T06:38:00.001-07:00

in the living area, i wanted to create a multimedia environment that manipulated scale. there are four screens that can collectively show one picture (like a movie theater) or each can have a separate picture (great for watching multiple sports games or multi-player video games). the seating is at the floor level to make the user feel smaller compared to the screen
and the whole area.

these are the initial models done in sketchup. the top of the seat has an extended bar area, which can be used for dining.

a little inspiration for shape and scale...

space planning

2010-04-12T06:34:00.001-07:00

phase III : clients and concept

2010-04-12T06:07:00.000-07:00

for the final phase of the unity village project, my clients are grant jones and jamel clark. grant is a 23 year old undergraduate at uncg. he is an english major who needs complete silence when working on writings. he does not cook and eats most of his meals out. every tuesday and thursday, he hosts a poker night with his roommate. jamel is 21 years old, also an undergraduate at uncg. his major is computer science. he is captain of the lacrosse team and needs storage for his athletic equipment. he enjoys having friends over to watch sports and play video games. like his roommate, he eats most of his meals out or on campus.

based on the previous phase of this assignment, my concept about making connections between different times, styles, and people. in the design of the first floor, my group focused on using a mix of old and new elements, while also putting new twists on old ideas. i will push the latter idea further in the design of this apartment. i want to rethink the traditional atmosphere and feeling of an apartment and the elements within it... a new twist on apartment living.

collection of standards

2010-04-11T08:13:00.000-07:00

[bedroom]
-minimum bedroom width : 2.1 m
-minimum floor area : 11.4 sq. m
-minimum size for secondary bedroom : 10' x 12'
-double occupancy bedroom : net area 14.7 sq. m
-24" for major circulation path (door - closet, etc)
-36" in front of dresser, closet, and chest of drawers
-42" at one side of bed for dressing
-6" between side of bed and side of dresser
-22" on one side of bed for circulation
-12" on least used side of double bed (lease used side of twin bed can be placed against wall)

[closets]
-depth : 2'
-length : at least 5 linear ft
-at least 5'4" of clear hanging space
-lowest shelf not over 6'2" above floor
-one shelf and rod with at least 12" clear space above shelf

[living room]
-minimum width of living/dining room : 11 - 12' (but preferably 14')
-minimum floor area : 180 sq. ft (but preferably 200 sq. ft)
-desirable conversation distance : 10' in diameter

[bathrooms]
-shower minimum size : 36" x 42" (24" door/entrance)
-minimum area (for bathroom with double sinks) : 63 sq. ft
-sink dimensions : 19 - 24" deep ; 37 - 43" above floor
-distance from front of sink to wall : 48" (with 36" circulation space)

[furniture dimensions]
-stools : H - 36" W - 18" D - 20"
-sofas : -apartment size : 72 - 80" x 32 - 36"
-sectional : 92 - 96" x 72 - 76" x 32 - 36"
-loveseat : H - 30 - 36" W - 60 - 66" D - 32 - 36"
-lounge chair : H - 30 - 33" W - 26 - 39" D - 29 - 36"
-beds : -twin : W - 39" L - 75 - 80"
-full : W - 54" L - 75 - 84"

my strengths as a designer...

2010-04-10T11:21:00.000-07:00

my strength as a designer is in designing for the specific user group of the space. i strive to take a variety of elements into account and really design the space to suit their needs. in all that i do, i create an environment that is inviting and draws people into the space. i stay true to my concept and use that central idea to drive subsequent design decisions. the result is a cohesive environment that is tailored to the users.

user needs :: undergraduate male students

2010-04-10T10:55:00.000-07:00

unity village : floor plans

2010-04-03T05:43:00.000-07:00

[reflected ceiling plan]

[dimensioned floor plan]

unity village : first floor perspectives

2010-04-03T05:26:00.000-07:00

[main entrance hallway]

[reception desk at entrance] : this serves as an information hub for residents and guests alike. it is one of the main focal points on the floor.

[views of administrative offices]

[central lounge]

[convenience store] : rather than a traditional store atmosphere, we created an intimate boutique feel with the convenience store. the store hold all the essentials for each resident group without feeling impersonal or overcrowded.

[looking from the entrance to the community cafe] : with the intended aesthetic of old vs. new, i incorporated new interpretations of old ideas. instead of a coffered ceiling, i lowered the ceiling panels and made them lights. the carved legs as columns is an idea inspired by the work of marcel wanders. the central coffee counter has bar seating on the back side, also working to foster social interaction.

[view of computer lounge and back of community cafe] : the long, conference style table is meant to get strangers to sit together, encouraging conversation and community.

uv critique : neighborhood c

2010-04-02T13:07:00.000-07:00

[PART ONE]

Reviewing the Unity Village projects, I was pleased to see a range of solutions to the design challenges associated with the project. The neighborhood I evaluated was Neighborhood C.

Clairissa and Carlos designed the ground floor. Their main inspiration was the jellyfish and the organic, integrated lines associated with it. A major strength within their design was that they integrated all elements in a seamless way. They thought outside the box and did not get stuck in what a typical workout area looks like. With the idea of compression and release, I would challenge them to make the contrast between more areas more dramatic. I would also ask how the spaces meet the needs of all the users. How did you come up with the concept and how does that relate to the function of the space and the intended users. Overall, I think the final product will be very creative and unique.

Cassandra and Hailey Allen designed the first floor around the idea of chaos and order. The vibrant colors created an energetic feel and unified the space. However, using green on every wall became a bit monotonous and boring. Perhaps using different colors or variations of green to add a bit of differentiation between rooms on the floor.

The second floor was designed by Veronica, Wes, and Hailey Preston, with a concept of oasis : release. The open floor plan and circulation paths worked well with the concept, allowing free movement through the floor in all directions. Merging interior and exterior through the greenhouse was also a great way to increase the open feel. Some possible improvements are different seating arrangements or seating sizes to encourage social interaction. The forms in the space now do not seem to serve that function well. I would also utilize a recurring graphic to unify the space more than it is now. The images in the visual presentation were well rendered, but many of them were too small to be seen clearly. In the future it would be helpful to have the images larger for the audience.

[PART TWO]

Our design of the first floor in unity village as developed greatly from the beginning of the project. We did a good job of integrating new and old elements and starting to use old objects in new ways. This idea of new interpretations of old elements could be developed and pushed further throughout the entire space to make a bolder statement. The design was successful in creating an inviting environment that made users feel at ease and at home. In the future I would approach the inspiration-finding stage differently. I was just looking for images of vintage and new patterns, rooms, etc. It would have been more helpful for me to take the idea of old and new and abstract it to come up with a wider variety of ideas. I would have also trusted my crazy (out of the box) ideas from the beginning. For example with the large columns as old legs, which is an idea I got from Marcel Wanders. I considered using this in the beginning but thought it was too farfetched. This project has taught me a lot about my design process and how to start developing a concept and a subsequent design. In the future, I will be able to successfully abstract an idea to yield a strong concept that guides my design decisions. I will also start by thinking outside the box and voicing all my crazy ideas. From this I can tone down the ideas if necessary, but still have an interesting, creative design.

lobby from marcel wanders' mondrian south beach hotel : used columns as inspiration for community cafe in unity village

community cafe in unity village

unity village :: user experiences

2010-03-28T08:50:00.001-07:00

the first floor of unity village serves as a transition space... an introduction to the floors above for guests and residents alike.

a 42-year old mother works as a barista at the community cafe. she feels ownership over the bar, as it isa clearly defined center point in the cafe lounge area. throughout the day customers come and go, each bringing new perspectives and good conversation. the bar seating around the counter brings a diverse group of people together in close quarters, helping residents of unity village interact and form bonds. the barista feels satisfaction knowing she helped foster those connections.

as a 72-year old man enters the space, he is at ease with the nostalgic elements in the decor of the rooms. the wide halls and aisles make it easy to maneuver his wheelchair throughout the floor. he feels at home and visual cues help him navigate without confusion. folding glass doors in the cafe allow him to relax and enjoy the outdoors from the exterior balcony. the result is a calming, easy going experience that helps him release the stresses of the day before heading up to his room.

a 6-year old girl is able to go to the convenience store to get candy, then go to the cafe to play computer games. the space is wide open and she feels freedom to move from one area to the next openly. as she plays on the exterior balcony, she does not worry because she knows she is safe.

unity village : design standards

2010-03-23T20:32:00.000-07:00

OFFICES
Workstation Zone : 90 – 126”
Worktask Zone : 30 – 36”
Work/Activity Zone : 30 – 48”
Visitor Sitting Zone : 30 – 42”
Width of Desk : 60 – 72”
Chair Clearance Zone (from back of chair to wall) : 6 – 24”
Chair Zone : 18 – 24”

Task Profile (for Unity Village) : “Typewriter the primary tool for processing paper. Continued flow of materials is processed as it arrives at the workspace and is passed on to either another function or to group storage. Storage for permanent files and reference materials minimal”

Executive Office:
Workstation Zone : 105 – 130”
Work/Activity Zone : 42” min
Visitor Seating Zone : 23 – 29”
Access Area (in front of desk) : 10 – 14”
Chair Width : 24 – 28”
Space on either side of chair : 21 – 26”

RESTAURANTS
Intermediate:
2-person table : 5’4” – 5’6” [incl. table and two chairs opposite]
4-person table [sq. or rounded] : 5’8” – 5’10” across
Required 12 sq.ft. per person
Square Arrangement of Tables : 60” btw table tops ; 24” aisle ; tables 29 – 30” high ; 17
– 18” seat height
Diagonal Arrangement : 30” min btw corners of table tops
Seating for 4:: square table : 3’3” – 4’6” ; rectangular table : 2’6” x 4’ – 6’6”
Req’d 1’9” btw seat backs (not in aisle)
Aisle : 3’ [3’6” required for wheelchairs]; Passage : 2’
Seats 18” deep
“Coffee Shops with fixed seating should include some moveable eating for guests in wheelchairs and guests who have difficulty getting into and out of bench seating”
Wheelchair kneespace is 2’3” – 2’6” [2’6” requires table height to be 31” high, which is too high for most seating]

LUNCH COUNTER
Workspace behind counter : 36”
Counter width : 18 – 24”
Circulation zone in front of counter : 60 – 66”
Sitting Zone depth : 12 – 18”
Counter Height : 42”
Stool Height : 30 – 31”
Stool Footrest Height : 12 – 13”
Counter Overhang : 10”
Stool top to counter distance : 11 – 12”

BAR
Circulation Zone in front of bar : 54”
Bar Top Depth : 18 – 24”
Between seats : 24 – 30”

Building Type / Water Closets / Urinals

Lavatories / Drinking Fountains / Other Fixtures

old town draught house

2010-03-22T14:21:00.000-07:00

Old Town promotes social interaction through its design. Its small size force visitors to be in close proximity with each other. There are no divisions or walls within the interior. The bar dominates the restaurant, forming a long L-shape that is the longest surface in the space. Opposite the bar is another small bar against the wall. In the center is a long rectangular table with a raised portion in the center. The tables and bars provide the potential for strangers to sit next to one another and engage in conversation. Those sitting across form each other at the table are also likely to converse. The depth of the long table is less than normal, causing the two people opposite each other to be closer to one another than they normally would. Tables are close together and stools are moveable to encourage interaction.

The acoustics within the draught house should also be considered. During busy times, the sound bounces off the hard surfaces and makes the room loud. People in conversation are forced to move closer together. They are more likely to hold longer conversations because of their proximity, rather than having a short conversation across the room.

The outside patio is another method of bringing people together. The small patio forces tables to be close together. Although it seems a bit overcrowded, visitors do not mind. When the weather is warm, it is common to see people from different tables conversing and interacting with one another. The boundary of the patio meets the sidewalk, allowing passersby to connect with diners. Its location on the main thoroughfare through campus makes it privy to heavy foot traffic, making Old Town an easily recognizable icon at UNCG.

unity village : user needs

2010-03-21T08:55:00.000-07:00

what does design thinking mean to you?

2010-03-19T21:01:00.000-07:00

for me, design thinking is about considering all factors related to a project, beyond the obvious. when we design spaces, we have to account for many factors that can affect the way the spaces is experienced. it means thinking outside the box to solve problems in new ways. we have to think big and think about how our design affects others and future designs. the way i am incorporating this into current and future projects is by embracing the creative process and all the trials and errors that are necessary to arrive at a successful design. nothing is perfect on the first try. but when we consider precedents, unexpected inspiration, as well as our needs as humans, it is easier to develop a successful design. this is my intention with unity village and any future projects. i have learned that all ideas are valuable, even the ones that seem farfetched. sometimes these are the ones that work the best.

gateway phase II : rail[WAY]FINDING

2010-03-19T09:35:00.000-07:00

"the directional flow of railways facilitates connections between different cultures, people, and places. the result is an eclectic mix of thoughts and ideas that appeal to multiple groups."

railways serves as a gateway between cities and towns. they link different cultures and communities every day, spreading goods and ideas from one place to the next. although there is a strong sense of direction, it is a two-way system. the linear movement provides clarity and focus, yet the users, goods, and ideas transported, as well as the stops along the route, are an eclectic mix that add interest to an otherwise mundane track. that mix of elements [past and present, old and new, local and international, classic and modern] will permeate through the first floor at gateway plaza. an interesting variety of color, texture, pattern, and style will incorporate design for all residents of the building. this variety will also serves as a wayfinding device to help residents and guests alike navigate the floor.

..:: a little inspiration ::..

2010-03-19T09:31:00.001-07:00

chapter 6 :: ideation

2010-03-19T08:01:00.000-07:00

-ideation is one of the most important yet challenging stages in design. it an approach that drives the rest of the project by providing clarity and focus.

-part of this design approach is deriving a concept. these concepts should be selective, economical, and speak about the design solution.

-contrary to what many believe, a concept is not a single idea, but rather a handful that relate to one another. it is only reached through through a systematic process and insightful thinking.

-many students have problems developing concepts because: the concept simply restates the design problem; the concept is too broad to inform design decisions; the concept attempts to list every detail of the design elements in the space.

-when done properly, a design concept informs design decisions about the character or organization of the space.

-character concepts inform designers about the image and identity of the space.

-organizational concepts inform the layout of the space.

-a scheme can be developed from a concept to further unify the space. it should be appropriate to the project type and function of the space.

Unity Village

2010-03-04T09:10:00.000-08:00

[us] my sister's house

2010-02-16T14:48:00.000-08:00

monday was the unveiling of my sister's house, which urban studio has been working on for the past year. it was inspiring to see a real project that was designed, constructed, and finished by iarc students. the space was minimalistic without feeling sparse. it was easy for me to imagine what the bedrooms would look like with the residents' belongings. hopefully this will make the space seem less harsh. overall, i appreciate all the hard work adn dedication it took to finish the house. i hope to have the opportunity to work on a similar project in the near future.

makeshift shelter : wrap-up

2010-02-09T17:26:00.000-08:00

The idea of the Makeshift Shelter presented design challenges that were new to me. I had never before been asked to design a structure using found objects. The fact that this project was inspired by the devastation in Haiti gave it another dimension. It brought to light the basic human desire for a sense of place and security and our role as designers to achieve this in any circumstance. This project was helpful in reemphasizing the vital roles of process, revision, and group collaboration to produce a cohesive final product.

My group began the process by collecting as many objects as we thought usable, without any specific design concept in mind. We ended up with a wide array of unrelated materials that we had no idea how to incorporate into a structure. In hindsight, this approach may not have been the best because it led to a lack of focus from the very start. After this, it was difficult to develop a cohesive concept and a focused vision. We also had no conception of the space allocations we would be given, which allowed unrealistic expectations and unfeasible designs to take shape.

Once we were given writing and sketchbook assignments, we were forced to consider and discuss our desired vision of the final product. We had to vocalize the feeling we wanted our structure to evoke. With a new, more focused direction, we were able to put ideas on paper. In my sketchbook, I included quick sketches of each of our ideas as they developed, as well as my own personal ideas. Having sketches helped us express our individual ideas to the group while helping group members visualize the plans. I also had drawings of our final shelter in its intended setting: Foust Park. Looking back at my sketchbook allowed me to track our progress from the beginning to the end of the assignment. Another practice that accelerated our progress was the use of hands-on trials and full-scale models. More often than drawing, we used the actual materials and constructed our thoughts. This allowed us to decided more quickly whether an idea was usable or not.

The advantage of working in groups is that each person is different. We quickly learned to work off of each other’s strengths. An obvious strength within our group was Pamela’s construction experience. She was the ‘go-to’ person when figuring out how to make our shelter structurally sound. The strengths I put to use within the group were keeping the group focused on achieving a cohesive design and lettering. At one point, we had a structure and a vision, but it seemed the parts were functioning independently of one another instead of as an integrated whole. I brought this to the attention of my group and kept us on track to find new ideas. I also worked to keep us away from pieces that were purely decoration. We wanted each element of our design to serve a function as well as being aesthetically pleasing. I also did the lettering on the color block at the beginning of our presentation board and had a hand in the layout of the board.

Overall, I feel our group worked well together. We all had a wealth of ideas and were respectful of each other. Each person contributed to design decisions in the shelter. Once we all had a singular design concept, it was easier for us to generate and incorporate ideas into the project. My personal contributions were the guest book, the location of the hanging PVC elements, and stools of rolled magazines with embedded PVC reinforcements. Other design decisions I contributed were collaborative efforts, such as using paper mache as the roof covering.

The final shelter is one that I am proud of. Looking back at where we began the process and the progress we have made since then makes me appreciate the result even more. Our hard work paid off. It was rewarding to watch people interact with our space, leave sketches, and have a positive response to our work. It made me appreciate the creative process more than I had before. It also served as a sort of validation of our skills as designers. We are able to create a desired environment using unconventional objects. It is nice to know we can create something attractive out of materials that say otherwise. The sketches, photographs, and writings will serve as reminders of the project. However, I also plan to keep a small part of the structure itself.

The personal impact of the project has been to change my creative thought process. I have become more aware of how to pare down extraneous details and keep the design simple. Simple does not necessarily mean plain. The design must simply be thoughtful enough to manipulate materials in innovative ways. Although the design process can seem long and tedious, it is necessary to achieve good work. These shelters also have an outside impact. Of course, the context of the project brings awareness to the disaster in Haiti and their need of aid. It also brings to light the real role of designers. All humans have a basic desire for security, a sense of place. We are the ones who provide that. I feel that these shelters remind people of that need and hopefully they empathize with those who have lost that sense of security.

neighborhoods + communities : reading response

2010-02-09T17:08:00.001-08:00

The reading on neighborhoods and communities gave me new insight into the process behind building communities. Zoning and variances are put into place to keep the identity of the community in tact. While these regulations are primarily concerned with the visual aspects of community, I also appreciated the psychological aspect of how a community is defined. It is basic psychology that everyone, but especially children, models those around them. The theories mentioned about how members of neighbors influence each other caused me to consider my own neighborhood and the impact it has had on me. I recognize that based on the actions of children older than me, education and sports were important. Every child went to school regularly and eventually attended college. And every child was active in some way, whether through organized sports or free play in the neighborhood. The legislative and psychological ideas discussed in the reading relate to my own neighborhood in some way. As part one of the first minority families in my neighborhood, I have watched the community become more diverse as the city of Charlotte has grown and the suburbs where I live have become more developed. I find it interesting that these two events coincide with one another. Contrary to the common implications of an increase in minorities, property values in my neighborhood have actually gone up in the time I have lived there. I think this is important because it contradicts the trend of gentrification noted in the reading (p. 132). However, the reading was valuable in that it prompted me to analyze elements of my own neighborhood (i.e. the Homeowner’s Association) with a deeper understanding.

commUNITY case study

2010-02-05T09:11:00.000-08:00

Wolfson Building

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- Named after Sir Isaac Wolfson who funded the building in 1966.

-This structure was built for undergraduate students at Somerville College in Oxford, England.

- It was one of the first women’s colleges to be founded in Oxford, England.

- The college is located at the southern end of Woodstock Road, with Little Clarendon Street to the south and Walton Street to the west.

- Somerville College was converted into a hospital during World War I.

- It completes the enclosure of the Somerville’s large quad.

- Rooms face onto Watson St. and onto the quad.

- The staircases, located in the freestanding brick towers at each end of the block, form connections between the new concrete structure and its older neighbors.

- Each room has a very large singe-pane square window.

- The window projecting beyond the line of columns forms a lookout post and provides good light for the working wall that carries desks and bookshelves.

- The windows all reflect images of the other buildings located in the quad, bringing them all together.

- On the bottom floor of this building is the “Flora Anderson Hall” where many social events are held.

- Dorms hold events where people meet new friends.

- Living on campus creates a better sense of community and comfortability by seeing the same people each day.

- College campuses have everything you need within a small amount of land. There is food, lodging, social activities, clothing stores, and art supplies right on campus. You can stay in one place and still have everything you need.

- The dorms vibrant social life draws many students to it.

Grant Houses

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-General Ulysses S. Grant Houses is a public housing project at the northern boundary of Morningside Heights in Manhattan, New York.

-The project is located between Broadway and Morningside Avenue, spanning from 123rd Street/La Salle Street to 125th Street.

-The subways lines are 2 to 3 blocks away

-The bus lines are 1 to 2 blocks away

-General Ulysses S. Grant Houses in Manhattan consists of nine buildings, 13 and 21-stories tall with 1,940 apartments housing an estimated 4,519 residents. The 15.05-acre site was completed September 30, 1957 and is bordered by West 123rd and West 125th Streets, Morningside Avenue and Broadway.

-The complex, with the adjacent Morningside Houses, was completed in 1957.

-"At Grant Houses, for instance, 'bricks of mixed pink and buff' were added, with limited success, to break up the monotony of identical brick towers. The designers poorly integrated the colored bricks and they appear as an odd afterthought" (Bloom, 141).

-For maximum sunlight exposure the homes lie directly north of Morningside Gardens, which is a middle income cooperative in Morningside Heights.

-The New York Times noted the racial identification of the first five families to move into the Grant Houses, each from a different racial background.

-At Grant Houses, a few neighbors cared enough about the state of their community, their city and their environment to raise their recycling rate from zero to thirty percent. They've not only made it easy, they've made it possible for tenants here to do the right thing and recycle.

-Coming together for this single cause (to recycle)

-Different people living in one place (has same effect as a dorm)

-The garden project will primarily serve to provide low income grant housed residents access to nutritious and sustainable food.

-The garden project will increase interaction between the Grant Houses

-Lead to the cultivation of personal relationships between university students and Grant Houses residents, and helped to shape a collective vision

Works Cited
Bloom, Nicholas Dagen. Public Housing That Worked: New York in the Twentieth Century. University of Pennsylvania Press. Philadelphia 2008

Maxwell, Rober. New British Architecture. New York: Praeger, 1973. Print.

photoshop progression

2010-02-01T18:12:00.000-08:00

for visual communication, our assignment was to use what we learned in photoshop to convey two words. mine were energetic and mysterious. i was not happy with the first three iterations. after trial after trial, i finally decided on the last image as my final composition.

think about it...

2010-01-27T18:35:00.000-08:00

designers have to be aware of a variety of factors. we affect how people use a space, how they feel in it, how they interact with it... we have to be ware of the people and the environment. projects like this and others bring awareness to others of exactly what we do. we have to work with what we're given, but create a sense of place. having a sense of place / comfort / security is fundamental for human beings in any situation. with the disaster in haiti, those people still need to feel that sense of place even in the midst of a catastrophe. projects like this bring awareness to the importance of providing aid to help restore that comfort and well-being.

makeshift shelter : experience

2010-01-24T21:57:00.000-08:00

today is unseasonably warm for a winter in greensboro. it is sixty degrees, the sun is shining, and the campus is full of life. it is the perfect day to relax and escape the stresses of school and work. sitting here, i become more aware of all the activity surrounding me. the tree whose leaves wave in the gentle breeze. the student running to avoid being late. the couple tucked away under a tree trying to salvage what little privacy they have. each direction yields something new, both inside and outside this cozy space. as energy and inspiration flow through me, i can't wait to record the world around me. with a blank sketchbook in hand, i pick up the pen not knowing where to lay the first stroke. vibrant colors, patterns, textures, people surround me, vying for my attention. all fighting to be the subject of my artistic expression. the thought energizes yet soothes me because i am in control. the possibilities are endless.

blue group!!

2010-01-24T21:37:00.000-08:00

new year, new studio. our first project of 2010 is to design a makeshift shelter for sketching using only found objects. my group members are paris, hope, david, and pamela. while i am excited about the project, i am also aware that this will present many challenges. the fact that all materials must be found is the biggest. since we have no idea what materials are available, my group has decided to begin collecting materials before working on the design itself. hopefully after seeing the materials we will have a better grasp of what can and cannot be done.

case piece :: pantry

2009-11-25T14:34:00.000-08:00

this is just a snippet of my final studio project. we each designed a customized case piece for the space. mine was a pantry. it has a pentagonal shape with a tv, cabinet for ipod dock, and dry-erase board on the exterior. because of brother ali's hip-hop background, i felt the music and tv were important to make the space feel personalized.

concept composite

2009-11-25T14:27:00.000-08:00

our final project in studio is to design a residential kitchen for a celebrity. my client is brother ali and i chose a geode for my concept. i felt this fit him because he has two sides [hip-hop artist vs. family man]. the center of a geode is bright, bold, and unexpected, all qualities that i find in brother ali after researching him.

[F, F & E] close-up

2009-11-19T23:16:00.000-08:00

we are designing a residential kitchen in studio, so our drawing assignment this week was to show a furnishing, fixture, or electrical element that was unique to our space. I drew my wall cabinets and emphasized it by making everything else grey.

sytycd :: header

2009-11-19T23:11:00.000-08:00

we had a chance to re-do any previous assignment. since i was exempt from designing a blog header that week, i decided to do that assignment. the clock and hour glass symbolize the time we have spent in the major so far, but that our journey is only just beginning.

case study 9 :: axonometrics

2009-11-06T04:14:00.000-08:00

after we drew the floor plan, the next step was to do an axonometric drawing. these have gotten a lot easier for me since first year. the biggest challenge with these drawing was getting the level changes right. of these two drawings, i like the black and white better.

case study 9 :: rendered plan

2009-11-06T04:09:00.000-08:00

our running project has been working on the entenza house designed by eames + saarinen. we used their floor plan but put some of our own furniture in the space. here is my final rendered plan of the house.

so you think you can(t) draw

2009-10-25T08:45:00.000-07:00

our subject for the drawing competition last week was to draw scale figures. i tried three different styles of figures, while keeping the composition unified with them being beach scenes.

foods lab [re]design

2009-10-18T13:38:00.000-07:00

our second studio project was to redesign the nutrition foods lab in the stone building on campus. my concept was at thunderstorm weather system and i channeled the top-heavy, dark quality of the storm. i also used green materials throughout the room to have less of an environmental impact.

entrance into room - personal belonging storage area and laundry

view of student stations and cooking area

looking toward the teacher's station

gotta get some camera time!

2009-10-01T03:49:00.000-07:00

the drawing task for so you think you can draw was to draw a camera and show scale. i chose to draw an old camera because i thought the accordion folds were interesting. the style is a little looser than i normally use, but i had fun with the colors in the picture.

photoshop [experiment]

2009-09-24T05:00:00.000-07:00

in this image, i wanted to increase the contrast and make the shadows dramatic. i used the burn tool to get this effect. i like the fact that it makes the colors themselves darker, not just adding black or grey.

i flattened the colors to get a more cartoon-like feel. i used the brush tool with the darker color setting. this one took the most time out of the three because i had to color over each section.

for the last image, i used the polygonal lasso tool to highlight the couch, rug, floor and ceiling. i then used the hue/saturation tool to change the colors from the originals. the tutorial we had in photoshop was extremely helpful to begin to learn the effects we can create in our pictures.

color study

2009-09-17T12:58:00.000-07:00

our assignment was to render sketchup perspectives in different styles using four colors from a maud gatewood painting. the first perspective was a mixture of loose and tight rendering. i used no straight edges and only markers. i also tried adding shading on the back of the paper... but the color was too dark and ruined my back corner!

in this loose style, i referenced the style of ivo drpic. i added color in layers the way he does, which made this the most challenging of the three renderings.

this is the clean, precise style that i feel most comfortable with. i used colored pencils on top of markers and showed light in a slightly different way than i usually do. overall, i liked this assignment for the fact that it helped me step outside my box.

so you think you can(t) draw: wk 1

2009-09-17T05:07:00.000-07:00

this is my entry from week one. they task was to draw a joint... i am almost never caught without jewelry so this was an easy choice for me.

design autobiography

2009-05-07T19:47:00.000-07:00

i'm never caught without earrings [and coral is my favorite color]

i definitely want to go back to sydney

it doesn't get much better than natural light

fallingwater [amazing!]

citrus fruits [great taste and colors]

blandwood mansion [historic buildings in general]

venice [city of floating stone]

curves [graceful, elegant]

absolutely love the beach [relaxed, laid-back feeling]

i usually would rather have thunderstorms than a sunny day

final [drafting] portfolio

2009-05-06T23:25:00.001-07:00

...coming full circle...

2009-05-06T12:46:00.001-07:00

As designers get more creative and pull from new resources, INNOVATION is something to strive for. In my sacred space, I used copper walls, molded bamboo furniture, and movable louvers to set my design apart from others. “Botta has added a primal imagery that makes his buildings look very old and yet very new” (Roth 587). This is a hard thing to do, but it is something that can be achieved through innovation and forward thinking. This is what I hope to do in the future. My dream job is to design new houses with the old feel and character, but with a twist. Putting a new spin on old ideas, bringing something new to the table is what innovation is all about.

In my eyes, AUTHENTICITY is achieved in design that has strong roots. “Architecture is conceived of as a collective public entity, built up over time, continuing a dialogue with the past in the present” (Roth 593). I think this speaks to the authenticity of an object, building, or place. Like the nautilus shell, we carry the history of design along with us. This authenticity stems from designers recognizing this fact and taking that into consideration when formulating a design. They pay homage to the past in some way while also moving forward “not simply alluding in obvious ways to adjoining buildings, but by making a multilayered connection to a more encompassing history” (Roth 596).

When designing, it is important to consider the COMMUNITY around it. It is also necessary to consider the types and volumes of people using the space. It is about “creating environments for groups of people, living and working together in ancestral traditional ways” (Roth 607). For our final project in studio, we designed a sacred space for the graduate students. I created an area that could accommodate multiple students, but they could also get privacy in another area. Although it seems we have gotten away from catering to specific functions with our architecture, I think good design has to respond to the surroundings and intended use of the space in some way.

http://farm1.static.flickr.com/184/385290925_8306d2c683_b.jpg

STEWARDSHIP means protecting and caring for places or property. With the threat of global warming and environmental pollution, designers are striving to protect and care for the earth as a whole. Ken Yeang’s Menara Mesiniaga and Malayan Borneo Finance Building in Malaysia are examples of being a good steward for the environment. The open areas allow for easy air circulation throughout the building. The deep recesses in apartment terraces provide shade from the sun (Roth 609). Both buildings respond to the environments, which puts them on the path to more efficient and sustainable design. As we move further into the 20th century and environmental problems, it is more important to develop sustainable design.

This week (and semester) has been about discovering who I am as a designer. I know that I am interested in historic preservation, but how can I use what I’ve learned in these classes to further that exploration and create a unique niche in the world of design. I like older buildings so much because I’ve found, especially through this class, that everything can be traced back to something before it. I also love the fact that no matter how many years pass since antiquity, that period and its architecture will never be forgotten. Designers still reference qualities of ancient architecture. I hope to create timeless designs that are viewed in much the same way.

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

[pair]ing down

2009-04-29T10:39:00.000-07:00

Every building has some sort of conversation, whether it is a MONOLOGUE or DIALOGUE. Architecture takes multiple elements from a variety of places. Hans Scharoun’s Schminke House has a noticeable dialogue with the buildings of Gropius and Mies van der Rohe. It uses the same materials as Gropius and Mies van der Rohe, but has more energy. Sharp angular forms connect it with the dynamics of Expressionism (Roth 537). With the precedent analysis, the dialogue my building has with the HSB turning torso is best understood when considering the intention of the architects: to create a unique skyline. While these two buildings have a dialogue on one level, my building has a different dialogue with the surrounding skyline, and yet another conversation within itself.

Is it possible for a space to hold two opposing conversations simultaneously? This is the struggle I have with my Sacred Space design. I want to find ways to seamlessly integrate areas of CELEBRATION and MEDITATION into a cohesive whole. Aalto had some success with the library for Mount Angel Benedictine Abbey. The furniture is all wood, black leather upholstery on grey carpet. The color is meant to come from the books (Roth 547). This could be seen as a complete celebration of the purpose of the library – the books. Yet it is also a meditation. The neutral tones keep the energy subdued and restful, which is important in libraries. The effect of celebration vs. meditation can vary based on interpretation, time of day, or by looking at different elements within the room.

The rise of interior designers meant a change in what was ‘good taste’ in home decoration. Interior designers have a way JUXTAPOSING different elements to TRANSPOSE a space. The highly decorative, sometimes cluttered, Victorian features of the past were stripped away. Interiors were transposed to a simpler, cleaner, elegant look (Massey 127). This new style also involved the juxtaposition of dissimilar elements, such as a bold check curtain with a hand-painted wallpaper. Good designers can put elements together in unconventional ways that are still aesthetically pleasing. Surrealist painters “attempted to illustrate the threatening world of the subconscious in their paintings, most often by juxtaposing incongruous elements within the picture-frame to startle the viewer and undermine everyday expectations” (Massey 135). My goal as a designer is to take this same approach. In my sacred space, I have found a way to use marble, bamboo, and copper together in new ways to create a unique room.

In any design, LIGHT and SHADOW are important. Syrie Maugham’s signature was the ‘All White’ interior. She was successful with using shades of white and neutral tones to fill a room in a way that was still interesting. Richard Meier has similar success with his buildings, which were often all white. Yet there was simplicity and a play with light that was intriguing and immensely successful, such as at the Douglas House and the High Art Museum. The significance of the use of white and light in both of these cases is that light seems to represent something new, almost divine. The interesting thing is that Notre-Dame-du-Haut, white materials were used as well, but the emphasis was on shadow on the interior. Throughout history, designers have continued to explore the relationship between light and shadow.

One thing our teachers in studio have beaten into our heads is move away from the LITERAL! Get more ABSTRACT! I have found it easier to take inspiration and abstract it to get ideas for a design. It is helpful to start with the literal interpretation, but eventually this can limit the design and thought process. It is hard to push a design further without thinking deeper. In the image above, I created a pattern by painting around the edges of a leaf. However, sometimes literal is where the design stops. Michael Graves’ design of the Team Disney Building features actual caryatids of the seven dwarves. Instead of trying to convey the essence of Disney, he represented it literally. Salvador Dali took the same approach when designing the ‘Mae West’s Lips’ sofa. These designs communicate in a more straightforward way.

This week is about the voice that architecture has. The story or conversation it has with viewers and other buildings around it. Mario Botta recognized “…a need for architecture to speak once again to people, to become ‘presence’ once again…. a need to reestablish a partnership with people after decades in which architecture was so antiseptic, distant..” (Roth 567). These words get back to the idea of an architecture parlent. All architecture has a voice, an idea it conveys, an emotion it evokes. The words this week remind us of that.

action verbs...

2009-04-22T11:34:00.000-07:00

When we view architecture, we usually SPECULATE about concepts, what’s the purpose/idea behind the design. We may not know the designers thoughts, but from the architecture itself, we can speculate about the original thought process. This is what we are doing with the precedent analysis. Thinking about how that building relates to the context and the experience of the designers. Some designers make it easy to interpret the design because they had a clear, strong concept to start with. Architecture is made to challenge the norms and to make you think. The works of certain designers are considered modern because they were ahead of the times. Le Corbusier felt that "it is a question of building which is at the root of social unrest today: architecture or revolution" (Roth 530). They forced people to rethink the rules of design and to think about what’s possible.

http://www.dallassky.com/FP1.jpg

To encourage speculation, a space has to have a certain energy that draws people in. Designers employ a variety of techniques to ENERGIZE the space, product, etc. At Fountain Place, the architect used angled sides and a classic tapering ‘wu-wu’ construction to bring energy to the building. Not only is energy created in the building with the oddly shaped floors and angled windows, the city of Dallas itself is energized with the addition of this building to the skyline. The fact that he outside is all reflective glass indicates that a common way to energize architecture is with natural light. Alexander Girard used natural light wherever possible to provide a natural element within his spaces (Massey 150). At the Postal Savings Bank, Wagner brings energy to all the floors through a skylight and glass block floors that filter natural light through all the floors.

We SHAPE ideas, concepts, furniture, and perceptions (among other things). We posses the ability to craft things into what we want them to be. Charles and Ray Eames used a new technique to mold plywood in unconventional ways. The result was the famous Eames chairs that were like nothing else. The same can be said of a lot of modern furniture designs. “New techniques for moulding and glueing plywood had been discovered by American manufacturers during wartime production for the navy and were now exploited for furniture design, as were plastics with fibre-glass reinforcements” (Massey 155). Molded woods and plastics bring a new fluid aesthetic that is unprecedented. The mark of a good designer is to use already available and cmmon materials to create something unique and interesting. One of the reasons I like Fountain Place and the HSB Turning Torso so much is that they use glass, steel, and aluminum to create works like no other.

The way a design or presentation is COMPOSED reflects the original driving concept of the work. Every detail is important and works together to convey an overall idea. A musical composition involves the juxtaposition and layering of parts to create a harmonious whole. This definition of composition carries across disciplines. Designers must take into account the qualities of the individual parts and integrate them into a seamless whole. The Eames’s home “was constructed from industrial components.. that provided an appropriately Modern setting forth their furniture-designs” (Massey 156). Everything from the steel joints and decking kept with the Modern aesthetic. The TWA Terminal is also a great example. Saarinen took everything into account to express the idea of flight. Every single thing, down to the handrails, has a form that speaks to the idea of flight in some way. These parts flow into one another to create a well-integrated design. My goal is to do the same thing in my ‘sacred space’ project.

freepages.history.rootsweb.ancestry.com

Designers are constantly STRETCHING the limits and thinking outside the box. This is the only way to advance. With the changing times and urbanization, there has been a consistent stretching upwards as skyscrapers become the norm. In some areas, the stretching outward of the prairie and ranch houses provides different emphasis on being connected with the land and staying grounded. There has also been a stretching outward across nations. Movements like the Pop, Modern, International styles are spreading internationally. Modernism became "the appropriate progressive image for multinational corporations" (Massey 145). Designers are no longer reaching backward, but reaching laterally within the same time period to different locations. This brings more similarity across nations, rather than distinctions between regions as in antiquity. The result is more international integration of design.

Overall, this week was about how designs and concepts are formulated. Designers have a clear idea of what they want to convey and how they want the viewer to react. A lot of the modern architecture pushes boundaries and forces us to rethink everything we thought we knew about design. Thinking and speculating is the only way to learn and move forward into the future.

Massey, Anne. (1990). Interior Design of the 20th Century. London: Thames & Hudson

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

unit summary [reflections]

2009-04-17T08:43:00.000-07:00

The reflections unit was about deciding the best way to move into the future. Do we continue to recreate the past or do we completely move away from that in new ways? This unit saw designers choosing either of the directions; some used a combination of both. The rapidly changing times of the 18th and 19th centuries were a double-edged sword. Many designers took advantage of the forward thinking innovative atmosphere and pushed into the future in unprecedented ways. However, when things change too fast, it is natural to feel uncomfortable and to revert to what is familiar. These types of designers use forms and techniques they already knew.

An important part of this unit was getting back to the roots. You have to know where you came from to get to where you’re going. Frank Lloyd Wright conveyed this with the design of his personal home. It went back to the basics as far as composition is concerned. The façade features a steep triangular roof, bands of windows, and a door. Wright finds ways to connect with roots with many of his other designs. For example, at Fallingwater, he connects with nature and the surroundings by using local stone and building directly into the landscape. The same is true with other designers. A reconnection with nature seems to be a recurring idea. Designers pay attention special moments within nature and use those as inspiration for elements within their designs.

At the time of our nations formation, there was a struggle establishing an identity and developing a unique architecture. Designers worked hard to change European forms and styles to reflect who we were as a nation. An example is the Trinity Church of Boston, The Romanesque-inspired style used in this building soon became a unique American style used for civic buildings throughout the country. The most successful styles, such as Art Deco over the International Style, caught on because they were adaptable and they reflected the existing architecture.

When thinking about the reflections unit, it is also helpful to think about the word literally as well. With the new technology of mass production, glass and iron became heavily used in new buildings. Glass was no longer an exclusive material, but something that could be used frequently. The glass represented a new era, looking back the past but also moving to the future.

[road trip]

2009-04-15T11:32:00.001-07:00

Designers have to consider MATERIALITY when designing a space, product, furniture, or anything. The materials can limit the design or take it to the next level. We did material boards exploring the cost, benefits, disadvantages and uses of various materials. Each one has unique qualities that convey different feelings and fit into different designs. French art deco designers “used only the rarest of materials, including lizard skin, shagreen, ivory, tortoiseshell, and exotic woods” (Massey 94). These materials add to the exclusive, high-quality feeling of their work. Using more common materials might have suggested a more relaxed and lower-class feeling than they intended. The materials used say a lot about intentions of the designer, but can also speak to the context of the design.

Wright used local stone in Fallingwater. The landscape was the ROOT of the design, both physically and conceptually. The idea for a design can come from the past, the immediate context, or a variety of other sources. Just as the roots provide life to a tree, these sources of inspiration bring life to a building, a piece of furniture, or a painting. They affects the way a design is approaches, the elements that are within it, and how others interpret the design. These roots are the basis for everything else. The Art Deco movement had some roots in the ancient Egyptians. “The [sunrise] motif was probably derived from ancient Egyptian art, a popular source of inspiration…” (Massey 94). The use of the sunrise motif speaks to what the designers thought was important and how they related to antiquity. Architecture has “silently expressed how humans view themselves in relation to the cosmos, to their gods, and to each other” (Roth 519).

After studying numerous works of architecture, I find it easier to notice similarities between separate entities and how parts fit appropriately together within a whole. The planning of Fallingwater reflects CONGRUENCE with the context of the work. It is built from local stone, as well as being molded to fit into the landscape rather than changing the landscape. Fallingwater also has a special congruence with Walter Gropius’ Fagus Factory. At the factory, “the corners are not solid masses but the merging of transparent glass panes” (Roth 522). Wright follows this same idea in the window tower running between floors. As I though more about the idea of virtually eliminating a corner, I thought about the critique room in Gatewood. The corners of that room also feature windows coming together. Similarities can be found throughout time periods and building types.

CONCEPTS begin to emerge as we look as similarities between elements of a space. Concepts can only be successfully expressed when all elements are working together to reflect that main idea. Wright micromanaged everything detail at Fallingwater to ensure that his concept of an open, free-flowing natural environment was being conveyed. Sometimes the concept is not as successfully expressed. “The curious irony in the German Pavillion, designed as it was to demonstrate the ideals of achievement of German industry, was that it was painstakingly handmade” (Roth 528). Mies van der Rohe intended for the concept of showing industry and the importance of mass production, yet the parts had to be assembled by hand. So it seems that the real statement is that both machine and man are needed to create great works of architecture.

After visiting Fallingwater and Monticello, I noticed that although both had vastly different overall feels and concepts, both utilized the idea of COMPRESSION and RELEASE. Jefferson achieved this in his personal area with an alcove bed opening into a room with a high ceiling and a skylight. The compression and release was seen through the opening up of space, but also with the contrast of light between the areas. The same was true in Fallingwater. The narrow dark hallways led to rooms with a lot of window and light. This compression and release of light and space adds to the dynamics of these buildings. My goal was to achieve the same effect in my Light Habitat project.

Overall, this week is about bringing elements together to formulate concepts. My observations at Monticello and Fallingwater really got me thinking about how designers achieve this because both are successful in different ways. Even though the ideas, functions, or even forms between buildings are different, there are still a vast number of ways to make connections.

Massey, Anne. (1990). Interior Design of the 20th Century. London: Thames & Hudson

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

between silence and light

2009-04-08T10:28:00.000-07:00

With the invention of new technology, there was a lot of debate about which CRAFT was better: handcrafted or machine-made. Morris thought that “good design could only be produced by men and women working creatively with their hands” (Massey 12). The problem with handcrafted furniture and objects is the high cost involved. Mass production allowed the middle and lower classes to gain access to these goods. “Artistic merit was subordinate to matters of technique; but industrial processes were essential to provide for the increased numbers in the middle classes and their requirements for simple, comfortable, and lightly scaled furniture for apartment living” (Blakemore 350). But sometimes nothing compares to a handmade object. It makes the artifact unique and has a certain level of craft that cannot be achieved otherwise. “The more clearly expressed the construction the more honest the piece, and the greater the contrast with the machine-carved, highly polished veneers of mainstream taste” (Massey 15). I believe this is the reason the teachers in studio stress drawing development so much. Drawing by hand gives a better idea and essence of a room than computer-generated images.

VIRTUAL is a visual representation of something without its physical presence. These visuals allow us to understand a space without having to be there… or even without the space or object even existing at all. As designers, we have to do renderings of rooms that do not yet exist so that clients can visualize the space. Using real furniture and materials adds to the realism. The result is a virtual representation of a non-existent space. The same effect can come from faux finishes. “[Ruskin] warned against the common practice of making one material look like another” (Massey 10). Yet this technique is heavily used. At Monticello, the façade appears to be brick, but it is wood sprayed with sand and made to resemble brick. On our campus, the brick crosswalks often are not brick at all. They are asphalt that is heated then stamped into a brick pattern and texture. The faux finishes or false materials are accurate enough to pass as the real thing.

The only way to achieve the desired effects is through specific TECHNIQUES. In drawing, we have experimented with a variety of mediums, drawing styles, and papers to figure out what works best for each project. One thing we practiced earlier this semester was using one colored pencil to make a drawing interesting. I used the same technique above. Techniques can be carried from one discipline to another. A designer can make a room interesting using neutrals with shades and tints of the same color. The English Free Architecture Movement was all about this idea of creating a uniform language across disciplines. What works in one context can often be used or modified elsewhere. This is the story of the Crystal Palace, designed by horticulturist Joseph Paxton. To build greenhouses, he used modular columns and beams and standardized panels of glass that could be translated into a larger building for the exhibition. The result was the Crystal Palace (Roth 487). “In a few years, the same rapidity in invention and perfection would occur in the development of the high-rise office buildings in the United States” (Roth 489).

LANGUAGES can be a combination of multiple influences, each lending unique qualities. The aesthetic movement had heavy British and Japanese influences. “Soon afterwards [Arthur Liberty] opened Liberty’s, the shop that went on to establish the exclusive ‘Liberty & Co.’ look, supplying oriental ceramics and textiles with British-designed metalwork and furniture for the creation of fashionable interiors” (Massey 26). Looking at Monticello, it is interesting to see how the French culture has influenced his work. After he came back from France, he designed Monticello II, which included distinct parquet flooring, elliptical arches, and other additions. The merge of the French and American styles gave the house a new language that made it a standout building. We borrow often from contemporary styles, but just as often from previous styles. We bring old languages and styles from silence into light by emphasizing them in new ways. “The alternative was a new approach to building design in which historically- derived details were inventively manipulated in buildings planned strictly in accord with contemporary functional requirements” (Roth 482). Bringing together a variety of elements can give architecture new life and bring it into the forefront.

As royalty accumulates grand collections of exotic artifacts and designers create innovative masterpieces, they naturally want to move these items from PRIVATE to PUBLIC. “Enlightened European monarchs and princes had been opening their residences to the public so that their collections of painting and sculpture could be viewed and studied” (Roth 473). This is the reason Glyptothek (the Sculpture Museum) and the Altes Museum in Germany were built. These great, exotic collections were moved from silence into light so that others could admire and learn from them. The same events occurred at Monticello and Falling Water. These once private residences became icons in American history and needed to be shared with the world. The only problem with opening up these spaces to the public is that a lot of the original furniture and items in the houses had to be removed to make way for tourists to circulate. At both of these sites, I found myself wishing I could see these places as a visitor to the families, rather than as a tourist. With all of the original pieces still in place, I would have gotten a more complete essence of the buildings.

This week was about ways we transition styles, artifacts, and spaces from privacy or darkness into a more glorified light. There are so many great moments in architecture throughout the world that are not well-known because no one has shed light on them. The same can be said about nature. It is mind-blowing to think about the intricacy of nature and all the things we do not know about it. It is also exciting to think about all the new things we will discover about both architecture and nature in the future.

Blakemore, Robbie G. (1997). History of Interior Design & Furniture. New York, NY: Van Nostrand Reinhold

Massey, Anne. (1990). Interior Design of the 20th Century. London: Thames & Hudson

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

precedent analysis [fountain place]: rough draft

2009-04-07T13:55:00.001-07:00

Fountain Place is a towering gem that stands out in the Dallas skyline. Designed by Pei Cobb Freed & Partners, planning on the fifth tallest building in Dallas began in June 1982. Construction began in March 1984 and was completed in September 1986. Located on Ross Avenue and Field Street in the central business district of Dallas, this 62-story structure is easily recognizable. Originally, the plans were for a hotel and two identical towers turned at 90 degrees to each other. Yet the second tower and hotel were never completed.

The 720-foot tower boasts 62 stories and 1.88 million gross square feet, including a lobby, executive penthouse, boardroom, dining, and three levels of underground parking for 950 cars. The exterior is green reflective glass, with the inside being home to a variety of merchants and offices. The prism form of the building makes the structure unique, creating unconventional office spaces. Each floor is different in plan.

The clients, Campeau/Criswell Development, wanted to “establish a unique identity on the skyline and an inviting presence at street level.” The intent was to fill a void that they recognized in Dallas downtown. Henry N. Cobb of Pei Cobb Freed & Partners seemed to be the right person for the job. Looking at his body of work it is easy to see how Fountain Place fits in. Many of his previous projects feature towers of glass and angled, geometric forms. He takes the same approach at Fountain Place, while keeping in mind the desire for a unique, eye-catching design. The result was this prism shaped form. However he could not forget the clients desire for the building to be welcoming at street level. This is where landscape architect Dan Kiley came into play.

Dan Kiley is an established landscape architect famous for his use of fountains at the Ford Foundation building and the Lincoln Center in Manhattan. At Fountain Place, he found a way to add an element of human scale to the superhuman building through the construction of a fountain plaza at the entrance. This area welcomes pedestrians to the towering structure without intimidating them. As with any monumental building, it is essential to make people feel comfortable approaching it so that they feel they belong.

Although the concept and plans for the building were well thought-out, there was still skepticism. Critics had problems with the sloped windows and oddly-shaped offices. They expressed concerns about the top floor being only 8,000 square feet. Despite the criticism, both the designer and client were confident in the design. In 1990, the building won the National Honor Award from the American Institute of Architects and the Dallas Urban Design Award from the city of Dallas. The building has achieved its purpose and left its mark in architectural history.

light patterns... take 2

2009-04-02T19:55:00.000-07:00

this is the final version of my project. i changed the original version by cutting openings in some of the pieces to let more light in the structure. these openings also allow for more variation in shadows. this final product is sturdier than the original, allowing it to be seen from a variety of views.

for every action there is an equal and opposite [re]action

2009-04-01T11:08:00.000-07:00

MOVEMENT naturally draws attention. Even when looking at a large complicated scene, the slightest movement will instantly grab our attention. Designers want to spark this type of interest in the viewer through their designs. The Beaux-Arts style speaks to this idea. “The style is characterized by the asymmetrical whiplash line that gives a sense of dynamic movement wherever it is applied: to furniture, wallpapers, stained glass and metalwork” (Massey 32). Even in the highly lavish and extravagant interior, items with this whiplash mark will instantly stand out. In my design for studio, I created movement with overlapping curves, constantly leading the eye to new places. This also made me think about Kim Middlebrooks’ presentation for Retail Retold last semester. She designed a camera store with curved walls and digital wave on the walls to lead people through the space.

Movements can also be the organization of people to evoke change. In the arts they are a REFLECTION of the times. It can be a reaction to new technology available, social or political problems, or a new way of thinking. In reference to Ledoux’s city of Chaux: “… but it is significant that so much open space was set aside around it in a green belt. Ledoux was reflecting the new sensitivity to nature that arose in the Age of Reason” (Roth 452). When one person dares to be innovative and take advantage of the changes, others will follow suit. This is the story during the Industrial Revolution when manufacturing plants and mass production were in the forefront. Cast iron and glass became widely used because of their quick production and installation. But not all ideas are met with immediate approval. In reference to the Victorian period, John Ruskin “saw the ugliness which surrounded him as the unavoidable result of the miserable conditions for the majority brought by the Industrial Revolution. He took issue with the Victorian fashion for cramming as much as possible into a room to symbolize the owners’ wealth and status…” (Massey 10). Movements that came out of the Industrial Revolution may not have been approved then, but have become important precedents for modern-day architecture.

Reflection can also involve looking back. We can understand where things came from… their SOURCE. The source of the modern shopping mall is a mix of the Baths of the Diocletian and Burlington Arcade in London. As architects explore different time periods and styles, they “begin to mix historical references, in what could be called synthetic eclecticism, resulting in a new amalgamation of disparate elements” (Roth 470). Bringing ideas from a variety of sources generates new ideas. The source is usually recognizable, but has been adapted in new ways. The study of Greek temples influenced the church at Sainte-Genevieve, which in plan is a Greek cross. The church itself is like a Greek temple turned inside out, with an internal colonnade for structure (Roth 447). In my projects, the source of my inspiration may not be as easily recognizable as coming from a flower’s leaves. The same can be said of decorative artifacts imported by the West from China. The Chinese designed these based on the aesthetics of the specific countries. This time period is also the source/beginning of China’s trade relationship with the West.

As we make links across time periods and genres, we find that no styles or ideas are ever lost. Everything comes back around, just like with fashion. Design and ideas are on a ROTATION so to speak. Forms from antiquity are brought back, such as with the Grecian and Gothic revivals. No idea is ever lost, only put on the back burner for a while. When they come back to the forefront, they are adapted to react to the new context. ‘While designers imitated past styles they also made a conscious attempt to develop a new fashion’ (Blakemore 347). This allows old ideas to be used in new, relevant ways. The ottoman above takes the traditional form, yet revamps it in a new way, using rubber pieces all around. I find that the same is true with me and my designs and drawings. As we were rendering perspectives this week, vocabulary, design concepts, and critiques from last semester and earlier this semester have re-emerged. I had to react to these and find ways to address them in my current project.

Our project in studio is about ILLUMINATION. We were asked to design an artifact that reacts to natural light. I had to think about how each piece of my model affected light. It was interesting to see how light affected the tonal quality of the MDF. From these observations, I further revised my design to increase the control of the artifact over the light. Light can create a sense of theatricality, such as in the Ecstasy of St. Theresa by Bernini. Light can create a sense of divinity, such as in the Gothic cathedrals. Light can also be used to create a sense of openness. The glass and iron buildings created open spaces that let in lots of light and seemed to bring the outside in. Blending the boundaries between interior and exterior makes the walls seem to dissolve away. These are all things I considered when thinking of how to make my project react to light and vice versa.

This week was about how architecture and design reacts to context and about how people react to the architecture. Newton's third law is that every action has an equal and opposite [re]action. This is true in every facet of life, especially design. It is these [re]actions and influences that keep design moving forward.

Blakemore, Robbie G. (1997). History of Interior Design & Furniture. New York, NY: Van Nostrand Reinhold

Massey, Anne. (1990). Interior Design of the 20th Century. London: Thames & Hudson

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

[alternatives] unit summary

2009-03-26T19:45:00.001-07:00

a recurrent theme throughout the alternatives unit was the testing and breaking of boundaries. after all, this is the only way to come up with original ideas. to be truly innovative means to take ordinary objects and put them together in extraordinary ways. the city of venezia is a great example. the people living in the marshlands needed a way to cope with the environment and start building a city. they thought of pushing tree trunks down into the water and building on top of them. this had never been done before. however, with new situations and extenuating circumstances, architects must think on their feet. the result is innovative ideas to solve problems. sometimes innovation isn’t to solve problems, but to create a memorable impression. in the cornaro chapel, bernini did the ecstasy of st. theresa, but also put the cornaro family as an audience watching the scene from box seats. it adds to the sense of theatricality of the baroque period.

in addition to reaching past the boundaries, reaching upward was also prominent. many of the buildings we studied during this unit were churches. naturally, their desire is to be close to heaven. gothic cathedrals soared higher and higher. the walls got lighter and more filled with glass. it was all about the illusion of weightlessness. not to mention these structures were awe-inspiring because of the sheer scale. with the concept of reaching upward is the idea that the best things are at the top. the palazzo form is an indication of this, with the public store at the bottom and the private family quarters at the top. we organizing space, we do so through hierarchy of importance, function, etc. the ever-present power of three and porch/court/hearth re-emerges as we look at how spaces are organized.

transitions also seem to be of importance. throughout the unit, we saw the transition from the highly elaborate and vertical gothic period, to the rationality and rebirth of antiquity during the renaissance, and finally the emotionality and theatricality of the baroque. although they may not have built upon the immediately preceding period, each new style used elements from previous periods. even physical transitions bear significance. the way people move through the space can have more meaning than you think. stairs represent a way to elevate oneself and move to the next level. it is done progressively with steps rather than all at once. special attention is given to the design of stairs in the laurentian library and the spanish steps as two examples. the goal is to prepare the audience for the experience ahead. throughout the unit we have talked about how minor details can affect the bigger picture. this is just one example of how the everything in a space influences the overall experience.

a building that i feel represents the unit well is the villa rotunda. it is innovative in that there are temple fronts on all four sides. the use of the temple fronts adheres with the idea of reaching upward, not physically but symbolically (using the sacred for the profane). the form of the facades is reminiscent of the greek temple. on the interior, the sense of arrangement and hierarchy is upheld, with the working spaces at the bottom and private bedrooms at the top. the villa rotunda embodies many of the qualities that run throughout the entire alternatives unit.

grammar - syntax

2009-03-25T07:44:00.000-07:00

A neat arrangement makes work easier to read and understand. Around campus I noticed that the windows of the buildings follow a horizontal DATUM on each floor. To further emphasize order, some of the buildings, like the MHRA and EUC buildings, have a horizontal band that runs beneath the windows. It draws attention to the datum and emphasizes the order in the space. Throughout history, order has been an important factor in any design. “The provision of axes to attain spatial distance was an important planning concept. Corridors, enfilade arrangements, and other room adjacencies were employed for visual extension” (Blakemore 183). The organization of space facilitates communication of ideas. “Rooms in the enfilade were aligned one after the other, with connecting doors close to the exterior wall. Social order was reflected in this architectural arrangement…” (Blakemore 178). Even in presentations, datum is important. In our presentation about the EUC, we had to keep a clean datum between the pictures to keep the focus on the pictures, not on uneven spaces between them. The alignment allows effective communication of our ideas.

Throughout our studies, TRANSITIONS have always been a point of emphasis. They connect ideas or part of a space smoothly. This week, stairways have been a recurrent point of emphasis, which is fitting for the idea of transition. They mark a link between different levels or parts, almost like transitions between paragraphs in an essay. Think about Michelangelo’s Laurentian Library, the Spanish steps as a landmark in Rome, or stairs in Baroque buildings. “The staircase provided a space for spatial experiment; from the base one seemed compelled to ascend by indirectly lighted spaces” (Blakemore 181). All of these works invite the viewer to see what’s on the next level. The way people move through spaces merits just as much attention as the other parts of the building. In present-day high-class homes and lobbies, there is often a grand staircase just inside the main entrance. It is the first thing you see is usually elaborate and high on the hierarchical chain based on its placement within the building. Even in the EUC, the double curved staircase has a central location and is made to accommodate the large volume of traffic it holds every day.

Every building has a language that hopefully the AUDIENCE can understand. Every building is designed with an audience in mind. The way the audience views or moves through the space is an important consideration. Designers of churches had to keep this idea in mind because churches were made to be seen, visited, and admired. The architects have no choice but to think about the audience and how to accommodate large groups of people. The piazza and colonnade at St. Peter’s are a way to deal with this issue. “A broad space was needed to accommodate the crowds who gather at Easter” (Roth 408). An open space was incorporated into the design to meet the needs of the audience. Sometimes, the audience is installed in the work itself, as is the case in the Cornaro Chapel. “The marble-paneled sidewalls of the chapel contain ‘box seats’ in which Bernini depicted members of the Cornaro family reading and discussing the miraculous event being depicted” (Roth 403). Bernini included his own audience to the Ecstasy of St. Theresa. This part of the composition makes it unique in that he took his design a step further.

Designs often have many layers that are not understood upon a first glance. I chose to think of [RE]VISIONS as taking a second look. Things are not always what they appear to be and designs are more complex than they may seem. This was especially true of Baroque buildings. “Baroque buildings, in contrast, are so large and complex that they cannot possibly be comprehended in a single glance” (Roth 414). When you take the time to look deeper, it opens up more information about hidden details embedded in the work. This is the same process I am going through with my current studio project. We took objects from nature and used it as inspiration for our design. I started drawing a flower and leaves as I saw them. But when I looked closer at them, I found even more interesting elements that I had not seen at first glance.

Each building has an individual spirit or CHARACTER. It is the voice and language a building speaks. The architect, context, and data (single elements) that comprise it all affect the character of a building. These things make the building unique and give it a different language from others. Thinking about S. Carlo Alle Quattro Fontane, the undulating walls inside and out make it stand out from any other building. It interacts with the audience, making them want to know more about what it inside and the all the details that went into the design. I had the same feeling about the National Museum of the American Indian in Washington, D.C. My drawing above shows the exterior curves that reach out to the viewers, drawing them in. I was intrigued because it had such a unique language that contrasted with surrounding buildings. This is the effect I strive for in my studio projects. I want to create a memorable character that brings the design to life.

Architecture is composed of parts that come together to form a complete thought or idea; much the same way words come together to form sentences and thoughts. The same parts can be put together in different ways to create a whole new meaning or language. A designer’s job is to put the pieces together in the right way so that the intended message is conveyed.

Blakemore, Robbie G. (1997). History of Interior Design & Furniture. New York, NY: Van Nostrand Reinhold Roth,

Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

[drafting portfolio]

2009-03-19T13:15:00.000-07:00

PA : deliverables

2009-03-18T18:12:00.000-07:00

[Essay Outline]

I. The Basics
A. Designers
B. Location
C. Planning
a. Original plans for 2 towers and a hotel
D. Dates of Construction and Completion

II. Major Components
A. Square footage, height, and number of stories
a. Square footage for lobby, offices, penthouse, gardens, parking
B. Merchants/Offices

III. Anticipation
A. Original plans
B. Skepticism
C. Intentions of Designers
a. I.M. Pei and Partners
b. Dan Kiley (landscape architect)
D. Intentions of Client
a. Campeau/Criswell Development

IV. Context and Previous Work
A. General history of the ‘80s
B. Previous work of I.M. Pei and Partners
C. Previous work of Dan Kiley
a. How all three influenced the design

V. Awards

VI. Conclusion

[Drawing Proposals]

~Exterior perspective: ink and watercolor on watercolor paper
~Exterior perspective of entrance: colored pencil on bond
~Site plan (1/4" scale): ink on bond
~Floor plan lower floors (1/4" scale): pencil on vellum
~Floor plan middle floors (1/4" scale): pencil on vellum
~Floor plan upper floors (1/4" scale): pencil on vellum
~Section (1/8" scale): pencil on vellum
~Perspective exterior fountains and landscape: ink and watercolor on watercolor paper
~Perspective office space: colored pencil on bond
~Floor plan office space (1/4" scale): pencil on vellum

[Questions]
My only issue is finding floor plans for the building. I will try contacting the architecture firm to see if I can get copies of the plans.

[p] week

2009-03-18T10:54:00.000-07:00

Nothing comes out perfectly the first time around. There is a PROCESS required to get a polished final product. In studio, we talked about how designing and storywriting both have a similar process. I wrote an article about how both involve an initial idea or concept, a lot of editing, and close attention to details. All the steps in a process are necessary to get a well thought-out and successful final result. When designing for clients, we have to be able to express our ideas and process in a concise way. They will want to be informed of every step of the process. We can use storyboards and presentations to communicate these ideas. That way they will be aware of any changes that were made. The goal is to get better with each revision along the way. We learn and improve as we progress.

One way we show our progress is through a PORTFOLIO. This is a collection of work that showcases who we are as designers. It shows how we have grown to become better. Looking at my portfolio and work form last semester and even earlier this semester, I see what I have improved on and what areas still need work. Not only is it a learning tool for ourselves, but it is used in the professional world. Potential employers want to see what we are capable of through our portfolio. It is like a resume we use to market ourselves.

In the PROFESSIONAL world, designers have to market themselves, sort of like self-advertisement. The goal is to appear to be the most desirable for the job. Advertising agencies take this approach when marketing products. When I did this drawing of my phone, I was thinking of it as a magazine ad. The phone is the center focus and in the foreground, with the name of the phone clearly stated. The picture makes the viewer want to know more about the phone. This is what designers strive to do. They want to leave the employer wanting to know more about their work.

www.baseballpilgrimages.com/AAA/knightstadium.jpg

Potential employers also think about the unique PERSPECTIVE a designer can bring to a firm or a project. Everyone has a unique was of looking at things based on their individual background and experiences. Take Alexander Julian for example. He was asked to design the Charlotte Knights baseball stadium. He was chosen for the job because of his previous experience and the unique approach he took with colors. He used his past experience in the stadium with the multi-colored seats that align in a special way. He brought a new perspective to the project and as a result was selected for the job. His style as an apparel and furniture designer shines through, even in a stadium design.

Perspective can also be thought of in a physical sense. Moving around an object or room provides different views and angles. More information is revealed about the scene as the point of view shifts. With my drawing of my phone, I drew multiple portions of my cell phone. Some views were zoomed in while others were at a wider angle. With all the pictures in the same composition, it gives a complete view of the phone.

There is a fine line between innovative and just plain crazy. A forward-thinking designer knows how to balance on that line. Good designers live on the PERIPHERY and sometimes even push the boundaries. During his speech at DATS Nibo Qubein, president of High Point University challenged us to “dare to throw the box out of the window. Dare to be innovative. Dare to be different, not for the sake of being different, but for the sake of being better.” The only way to set yourself apart is to try new things. Using blind contour is a way for me to try new things. The image that is created is abstract and a nice departure from the realistic sketches I usually try to do. Designers push the envelope in all kinds of ways. That is what keeps design interesting and moving forward.

Overall, this week was about our future in the professional world. After we get out of school, the skills we have learned will carry us far if we use them to their full advantage. The thing that will set us apart from other designers with the same skill sets is our creativity; putting ordinary things together in extraordinary ways. Designers past have been able to do it and we will too.

final portal:panel

2009-03-11T20:13:00.000-07:00

euc revisited

2009-03-05T01:24:00.000-08:00

as i looked back even more closely at the inspiration image, i saw that his black lines were more defined at the ends than mine were. so i went back and made the edges of the black neater. i also filled in some of the white cracks in the black.

for this image, i created a cluster of people to create a concentrated area of black like the tree in my inspiration image.

i added more contrast in this drawing and emphasized line weight more, with closer objects being darker.

micro to macro

2009-03-04T10:51:00.000-08:00

DIAGRAMS are a way to communicate more in a visual sense than with words. In drawing class, we are learning about ways to diagram a space to effectively convey pertinent information. The drawing above is a diagram of my house, showing the hierarch of rooms. Drawings such as this one “make visible systems, relationships, circulation patterns… so that all concerned with the design of a building could better see what they are doing” (Lockard 25). Diagrams like these allow us to convey and receive specific information quickly. The idea of conveying information visually rather than in words is also used in architecture. In history we talked about how the stained glass in churches served as a visual storybook for those who worship there. “Thus in stone and colored glass, the entire [cathedral] became a Bible for the illiterate” (Roth 328). The designers of the cathedrals used the structures as living diagrams used to convey Biblical stories to those who otherwise would not know them. Even now in literate communities, churches use stained glass windows for the same function. My church in Charlotte has enormous glass windows in the sanctuary, partly for education, but I think mainly as a reminder of why we enter that space every Sunday.

www.richardgross.net/html/friendship_missionary_baptist_ch.htm

The windows are so large and located in the sanctuary for a reason. The sanctuary is the most important space in the building. It is the HEARTH of the complex. It represents the reason people come to church since it is where they hear the sermon and learn Biblical stories and lessons. But could it also be considered the COURT since it is where a majority of the people gathers? I think it could be considered both because when rooms serve multiple functions, the lines between the two begin to blur. Yet in the houses surrounding the monastery at Cluny, the lines are clearly defined. The lower level of each house consisted of a shop facing the street with a large window wall (PORCH), followed by a court, and finally a kitchen (hearth) (Roth 345). In this example, the sections are clearly defined. This trio of parts creates a foundation for the circulation throughout a building. Other rooms can be added to this core composition to create a functional space.

Gothic cathedrals share the cross-shaped plan, but differ in details and COMPOSITION. English churches are simple and horizontal, compared with Italian churches, which are highly colored and ornamented (Roth 333). The overall design and parts can remain the same, but differences in DETAILS can change the entire composition. Take this series of three drawings above; I drew the same table and lamp in each, yet they look completely different. I changed the line quality in each to create new looks. The same is concept is true of cathedrals. They all maintain the basic components (nave, aisles, choir, apse, transept), yet details make them unique. The white stone, geometric surface of Florence cathedral gives it a different look than the soaring, glass-filled walls of Saint-Pierre, Beauvais. By looking at a variety of buildings and drawings, I can understand how minute details can affect the bigger picture… almost like the butterfly effect. The same is true with anything in life. Paying attention to detail can make a world of difference and set your work apart from the rest.

While it is important to stand out, sometimes there need to be commonalities and unifying elements. This can also be addressed through details. My drawing above is a column found throughout the EUC, despite the varying functions and designs of the rooms. In our portal:panel project, our challenge was to create a unique design while also relating to neighboring doors and the hallway itself. We found unity in details such as the use of angles or columns with an overhang, yet the use of color helped us stand out. The designers of cathedrals went through the same process. Certain elements, such as light, link all Gothic cathedrals. “The presence of light, the symbol of god’s divine grace, became the pre-eminent symbol; the church building had to become transparent, and when it did so it was no longer Romanesque, but Gothic” (Roth 323). As light became more important, more attention was given to how light affected the interior space.

To me, one of the greatest examples of how subtle details (micro) can affect the overall IMPRESSION (macro) a building leaves is in the Gothic cathedrals. One technique is to use light to manipulate the impression of weightlessness and divinity. The soaring height of glass-filled walls enhances this impression. At Amiens cathedral, Roth comments, “further strengthening the sensation of height is the infusion of light in the Gothic cathedral, for the upper walls dissolve in light” (336). To achieve the sensation, the designer started with measurements and proportions. The proportions of the width and height of the nave contribute to the optical illusion of great height (Roth 336). Attention to subtle details early in the design process can impact the overall impression a building evokes.

This week ways about the exploration of how microdetails come together to affect the big picture. As a designer, I realize that attention to detail is essential. Small mistakes or lack of attention can detract from a potentially great design. At the same time, carefully thought-out details can put a good design over the top. The key is to take even the smallest aspects of your work into consideration.

Lockard, William Kirby. (1968). Drawing as a Means to Architecture.

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

[foundations] unit summary

2009-03-01T08:02:00.000-08:00

one idea that stuck out to me as i reviewed the foundations unit was about competing elements and striking a balance between them. how to you achieve balance between male and female?... real and ideal?... superhuman scale and human scale? … past and present? … civic and religious? … as with anything, it is difficult to achieve perfect balance, no matter how hard we try… sometimes we intentionally leave things unbalanced… and sometimes what seems balanced in one context is not deemed so in another.

balance can be approached in a variety of ways. hapshepsut is an example of achieving balance between male and female. as a female ruler, it was imperative to gain respect. she did so in the construction of both male and female forms. her temple was horizontal and built into the landscape, whereas the obelisk at the temple of amon soared vertically from the land (a wu-wu form). the same balance is achieved with triumphal arches and columns like the column of trajan. both of these elements can be integrated into the same structure, such as in the baths of the diocletian, which has rows of columns and arches throughout. the greeks, however, did not strive for balance. they denied reality and focused on the ideal. their cover-up of imperfections by using optical illusions speaks to this fact. the way societies deal with balance varies throughout history and can be interpreted in different ways.

throughout the foundations unit, the most recurrent design element was scale. our natural sense of hierarchy tells us that the largest object is the most important. exaggerated scale emphasizes the significance of the designer or the function (commoditie) of the space. the trend started in ancient egypt with each pharaoh trying to top the previous one with the size and grandeur of their temples and tombs. the greeks followed suit with the planning of the acropolis. the parthenon was the largest building and the focal point of the complex. the same is true in rome with the pantheon and florence cathedral, which tower over the neighboring city. reviewing each society, i find that religion was the most important thing in all of them. religious buildings were unquestionably the most dominant buildings on the landscape. looking at the scale of architecture has given us a clue to the ideas of a culture.

www.photoeverywhere.co.uk/west/paris/slides/eiffel_tower_night3030.JPG

one structure that embodies the qualities of the foundations unit is the eiffel tower. the obvious wu-wu shape is supplemented by arches (the female form) at the base. its construction achieves balance between male and female, but also between superhuman and human scale. although the tower was the tallest structure when it was built, there are gift shops, elevators, and restaurants that are human scale and make people feel comfortable inside this grand structure. as a designer, these are all things i must consider when creating a design. the design elements in this unit basically are the foundations of any good design. questions about scale, hierarchy, form, and function must all be answered before moving forward.

voices

2009-02-25T11:20:00.000-08:00

We naturally learn from the past to move into the future. There is always a PRECEDENT that we can draw inspiration from, whether we use it or not. Looking at the details and special moments in these previous buildings, we can use the elements that work and incorporate them into the new design. All civilizations have borrowed from those before. A building type favored by early Christians was the centralized plan, derived from royal tombs. The tomb Diocletian built for himself is an example (Roth 280). “Saint Peter’s and other early churches were clearly derived from the great imperial basilicas, but additional modifications were necessitated by the special needs of Christian worship” (Roth 282). Precedents serve as inspiration that is adapted to suit present needs. In drawing, our assignment was to mimic the style of other artists. However, the purpose was to expose us to new styles that we can use in the development of our own style.

The juxtaposition of opposites forces a designer to find a way to deal with the DUALITY. Dualities can occur on a variety of levels, whether from abstract ideas, or in the details of the architecture. The designer is forced to find ways to bridge the two… or keep them separate. these elements can serves a foils that bring out qualities in the other (much like characters in a novel). In studio, we designed a series of models based on the light/dark relationship. I handled the duality by contrasting the two and keeping them separate. The form of the basilica started out as a clash between the classic shapes of circle and rectangle. Eventually, designers found ways of integrating the two into one cohesive form. One solution was the dome on pendentives. After the development of the pendentive, Byzantine architects were able to evolve numerous plan variations with domes on top of large subdivided squares (Roth 293). Finding a way to accommodate dualities opens up new heights and special moments that otherwise would not be achieved.

A big part of what brings out the voice of a building or work is the MOMENTS within it. These are unique details that set it apart from its surroundings. Moments are usually achieved through details. In the critique room, a special moment might be the placement and form of the concrete columns, or the joinery of the beams in ceiling, or even the translucent ceiling itself. None of these elements are found in other buildings on campus. This idea of uniqueness should also be translated into a designer’s personal style. When I was looking for inspiration images for drawing class, it was interesting to see how each artist’s style was different and to notice the little quirks that make their style different from the rest. Moments in any type of work make it distinct and special.

It is important that a space evokes a feeling in the user. This makes the space memorable, but also allows the user to relate to it. How is this conveyed? The special moments and details create PRESENCE. In the Temple of Amon, the superhuman scale conveys an awe-inspiring and important presence. The space has a voice that is resonant and distinct. A lot of times in studio, we relate the appearance and presence of our artifacts to a type of music. The same can be said of buildings and the voices they possess. “Unlike the static and rationally perceivable forms and spaces of Classical architecture, [in Hagia Sophia] all seems in motion, surfaces curving and intersecting, bathed in a mystical, suffused light issuing from marbled walls and mosaics” (Roth 290). The architectural details and surfaces in Hagia Sophia give it a presence that makes it unique and lets the work speak for itself.

METRIC is defined as a way of thinking about a building as a system. Buildings are all a function of parts linked by a common element. I find myself looking at buildings in terms of circulation zones. How do the parts work together to direct (or not direct) people through the space? I created a model of a hallway in which a series of panels gradually opened up to create a less restricted flow. Gothic cathedrals direct flow in a different pattern. “The Christians required not only buildings that would accommodate large numbers of converts, but also enclosed spaces that would facilitate hearing the spoken word and chanted psalms” (Roth 279). The central nave is the largest space in the center. The walls reach upward, seemingly forever, creating a grandiose scale that draws people to that area. At the same time, the path to salvation is personal. The side aisles and ambulatory have lower ceilings than the nave and are the circulation paths around to the apse and radiating chapels. The smaller scale of the space invites the user to these spaces and makes them feel that they belong.

As we look at a building, we are at least subconsciously aware of the voice it has. All of the above elements are important to how a user experiences a space. The ultimate goal is to create a space that engages the viewer. A successful design speaks for itself and leaves a lasting impression on those who experience it.

Roth, Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

precedent analysis: justification

2009-02-20T06:26:00.000-08:00

www.panoramio.com/photo/1836906

my building of choice is fountain place, located in the arts district of dallas, texas. it was designed by i.m. pei & partners and completed in 1986. i am drawn to this building because of clean lines and apparent simplicity. it is not the tallest building in the city, yet it demands attention. its seamless construction gives it a sleek look. i also like fountain place as an example of designing from all angles. the view changes depending on where it is viewed from. through my research, i hope to understand more about the design process behind this building and to make connections between the designer's culture, american culture, and the context in dallas at the time. since i.m. pei is chinese, it will be beneficial to understand how fountain place reflects his culture and ours. i.m. pei's other work follows the same trend of being clean cut and intriguing at the same time. the use of all glass adds to that sense of awe and neatness. it also makes the architecture fit into the surroundings. i hope to uncover more information about the context and concept of the building.

parts:whole

2009-02-18T11:04:00.000-08:00

As humans, we naturally seek ORDER. We are constantly looking for ways to organize the space around us. Aedicules are ways of dividing a larger space into smaller spaces. Think about the way we put up dividers or use furniture to subdivide a large room. Order is used for clarity and ease of moving through the space. The Romans learned orthogonal planning from the Hellenistic Greeks, setting their cities on a grid pattern (Roth 253). For military reasons, having central axes facilitated movement through the city. Modern cities also use grids for the same reason of circulation. As designers plan their work, they organize the space so that their artifact is seen in a specific way. The Greeks relied heavily on this concept in the arrangement of the Parthenon and the Acropolis. The Romans followed suit in that they “set up an axis that dominated the orientation of the temple, the space in front of it, how it was approached, and how the temple was placed in relation to the forum” (Roth 250).

The arrangement and order that is established reflects the HIERARCHY of the elements within it. Objects near the center are deemed most important. At Pompeii, the civic buildings were around the largest forum near the entrance to the city. Residential building and the amphitheater were at edge of the complex. Public architecture was important to roman civilization because the city was their main focus (Roth 247). As designers, we decide what is important in a design and how to emphasize those elements while creating a complete whole. Traditionally, the most important things are in the center, at the top, or in front. In drafting, we use a hierarchy of line weights to delineate between foreground and background. The heavier lines indicate objects that are closer (but not necessarily more important). In either case, hierarchy provides valuable information that shows how a given object relates to its surroundings.

The surroundings of an object are just as important the object itself. An ENTOURAGE gives information about the full picture. The mood or atmosphere of a setting can be expressed through this small scene. With our drinking and drawing assignment, I tried to convey the subdued, low-key mood of Caribou Coffee by choosing the right colors and capturing the light in the space. I also indicated a hierarchy of importance by limiting the color to the girl in the foreground and leaving the other people blank. My thumbnails of the EUC are also an entourage used to convey the energy of the building through multiple drawings. However, an entourage doesn’t have to be sketches. The remains of Pompeii provide enough of a picture to help us understand Roman life as a whole. “When the site was uncovered… the first detailed evidence of everyday Roman life came to light” (Roth 264).

As designers we constantly look to others for inspiration and borrow bits and pieces of other designs. When we know the original SOURCE of these elements, it allows us to understand how its use and form has changed. Using fairytales and creation stories for inspiration, I created a 3-D model based on the interaction of light and dark. From that, I did thumbnails abstracting moments of that model. Knowing the original inspiration for my work can help a viewer understand my thought process and make connections to the initial light/dark relationship. The Romans were also guilty of borrowing. Unlike the Greeks, they used columns more for decoration than for support. Pilasters and freestanding were common (Blakemore 46). Understanding how the Greeks used columns allows us to see the ways the Romans adapted them to new uses.

Thinking about how societies use each other, the idea of PROTOTYPE/ARCHETYPE/HYBRID comes up. Ideas, concepts and designs are constantly evolving and building on previous models. Hopefully, later models take advantage of the failures and successes of predecessors to improve. I was thinking about examples of this concept and I thought about my thumbnails of the EUC. As I was drawing the main hallway, it made me think about the hypostyle hall of ancient Egypt. There is a row of relatively large columns that people walk through. I think I exaggerated the scale in my sketches, but nevertheless I like it and I think it works. The EUC hallway is a hybrid of the hypostyle and other works like it because our hallway bears a resemblance to ancient Egypt without copying it. There are plenty of other examples throughout the buildings I see on a regular basis.

Overall, this week was bout parts that create layers to form a whole. Understanding design is about collecting the information given, and using speculation to put the rest together. They always say you don’t know where you’re going until you know where you’ve been. To fully experience a design, you have to know the journey behind it. At the same time, the surroundings and context are equally important to get a complete picture.

Blakemore, Robbie G. (1997). History of Interior Design & Furniture. New York, NY: Van Nostrand Reinhold Roth,

Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

a glimpse of the EUC: thumbnails

2009-02-17T05:36:00.000-08:00

design defined

2009-02-10T19:41:00.000-08:00

UNITY: many things can create unity throughout a composition (color, ideas, scale, materials). The Greeks created proportional unity by basing all the measurements of a structure on the diameter of the columns. The tripartite system of the megaron is a system that unifies architecture throughout time periods. I found unity looking at my friends desk. I was thinking about my opus when I looked up and saw a sea of green, which seemed rather appropriate.

SECTION: things are usually not what the appear to be. This is why we look at section views of an object. They allow us to see what is beneath the surface. Sections of walls reveal the studs, insulation, and other components. The Egyptians also proved that things are not what they appear to be. They frequently used veneers of expensive wood or material over lower quality products (Blakemore 15). The use of veneers makes a statement about the fact that rulers built structures of increasing grandeur to convey importance, yet they may not have been as great as they believed themselves to be.

SCALE: throughout history, architecture at a superhuman scale has been used to create a sense of awe or otherworldliness. The ancient Egyptians used it in tombs and temples because the gods and pharaohs were powerful and important. Why shouldn’t they have the most imposing buildings on the landscape? Blakemore argues that the large scale due to the nature of the stone and materials used (2). I think it shows the importance of religion and the afterlife. My church at home is at a superhuman scale relative to the other buildings in the vicinity. There are many instances in which religious architecture is excessively large to convey importance, and perhaps be closest to the heavens.

BOUNDARIES: The boundary between outside and inside becomes increasingly important. The hot, sunny climate in Egypt yielded “features that fostered indoor-outdoor relationships, including flat roofs, porticoes and loggias, windows placed high on walls… and open interior courts” (Blakemore 3). It is sometimes desirable to blur the boundary between interior and exterior. They can also create distinctions between the spaces. Entrances are a transition into a new environment and designers use that them to set the tone for the space you are entering, such as with the Propylaia at the Acropolis. I do find it interesting that the Greeks were not open to welcoming citizens from other city-states, yet they placed so much emphasis on entryways (Roth 221).

VIGNETTE: snapshots or pinhole peeks into life can reveal useful information about the context of the scene. The ruins of ancient Greece and Egypt are in essence vignettes because they almost never provide a complete picture, yet they still reveal facts about that time in history. The difficult thing about Egyptian remains is that “once the forms of Egyptian religion, literature, art, and architecture had be defined… they changed very little for almost three thousand years” (Roth 191). These vignettes of ancient Egypt reveal the same information for each time period (to the untrained eye).

To sum it all up, I think the words this week are important in how we define designs. It is important to delineate the components of a design and to decide how they will be perceived. Defining the parameters of a design provides a setting for better analysis.

Blakemore, Robbie G. (1997). History of Interior Design & Furniture. New York, NY: Van Nostrand Reinhold Roth,

Leland M. (2007). Understanding Architecture: Its Elements, History, and Meaning. Boulder, CO: Westview Press

drinking [cinnamon dolce lattes] and drawing....

2009-02-09T20:24:00.000-08:00

i decided to go into work at panera early to get some sketches done and i found this guy. the caption says great food, free wi-fi... but he wasn't even eating anything! so great food for me, free wi-fi for him.

next stop... barnes and noble. i tried a cinnamon dolce latte for the first time... it was amazing! :) i also noticed that A LOT of people were there studying, which i could never do with so many distractions. while i was drawing, my friend and i were trying to figure out what language the people behind me were speaking... the only other language i know is french and that definitely wasn't it...

on to... caribou coffee. this is my favorite because i focused on not second guessing myself and putting lines on the page based on what i saw. this girl had the LONGEST hair! it was longer that what was visible to me. i wonder when was the last time she cut it (if she's ever cut it at all)...

showing scale

2009-02-04T19:31:00.000-08:00

richard lovelace uses realistic figures to show the scale of the building.

these are my favorite figures because joao catarino uses contrasts of light and dark, rather than lines, to show the figures. i love it!

james hobbs' figures are on the opposite of the spectrum. they are very simple and cartoon-like, which fit in with the drawing.

i like how enrique flores does his scale figures because they are quick and sort of abstract, yet you can still tell they are people.

i was also looking for other ways to show scale without using people. marina grechanik indicates scale with a glass

i chose this one because paul heaston shows scale with cars instead of people... it just shows other objects to use for scale.

designing a design

2009-02-03T14:24:00.000-08:00

idiom: region, culture, and context all influence the styles that designers use. egyptians used sandstone in their architecture because they were surrounded by sand. carvings of religious artifacts reflected their highly religious way of life. as we journey through the iarc program, the goal is for us to create our own idiom and style of work. as designers work, they develop a characteristic style that reflects their personality, time period, or region. their style manifests in their work.

materials: the context of a design impacts the materials. in turn, materials influence and sometimes limit the design. prehistoric civilizations used stones, wood, mud brick, and animal skins to build because these materials were readily available. many used naturally occurring negative space in the form of caves, such as at ajunta, india (roth 61). designing a combination chair/table/server out of mdf also presents challenges because we only had a 4’ x 8’ sheet of ¾” mdf. when planning the design, we had to be creative to create the maximum work area with the minimum material. designers must adapt and respond appropriately to the material available.

illuminate: throughout classes, we talked about ways to emphasize specific areas through contrast. every design has aspects that are more important or ideas that are being conveyed. one way to illuminate is through light. according to louis kahn, “there is no true architecture without natural light” (roth 85). in ancient Egypt, the sun was important because of its regularity and the sun god ra. when designing the pyramids at giza, the white limestone finish and gold peak were intended to direct sunlight in the four cardinal directions and to make the pyramids gleam and shine. using light to direct attention can also be seen in the ecstasy of st. theresa, with hidden natural light and golden rods illuminating the area (roth 86). i use watercolors to highlight an area of a drawing. when constructing designs, we think about the important parts of the designs and how to showcase those elements.

commoditie. firmness. delight: sir henry wotten says that “well-building hath three conditions: commoditie, firmeness, and delight” (roth 11). when constructing a design, we must think about how the work fulfills all these conditions in a cohesive manner. my design for pat’s chair satisfies these, with an emphasis being on commoditie. i also created a pair of earrings inspired by a fairytale. their function was to convey the essence of my story in a non-literal way. they were structurally sound and pleasing to the eye. the problem with delight is that it involves subjective responses that differ between individuals and cultures (roth 67). what is aesthetically pleasing in one culture may not be viewed the same way in another. the appearance of a work is determined by the creator’s background and cultural background.

a lot of thought and planning goes into a design. all of these elements discussed are things the influence or limit designs. bringing these things together makes a cohesive, well-rounded product.

a wearable artifact...

2009-02-02T15:28:00.000-08:00

these earrings were inspired by my fairytale the three languages. listening was important in the story because the main character listened to frogs, dogs, and birds to gain knowledge. The shape is linear and divided into three parts to reflect the journey throughout the story. a gold trinket emerges from the white because i felt the essence of the story was about emerging into triumph and success in the end.

express : design :: tell : story

2009-01-28T12:37:00.000-08:00

translation: adapting a word, phrase, or idea to a new context. a midsummer night's dream was translated to a more recent setting in italy for the movie. the lesson i learned from my nana after my father's passing are becoming words that i live by in all aspects of life. in history we talked about how the nautilus shell wasa source for golden proportions that are transferred into design. it was also used as a metaphor for the history of architecture and design. "architecture is the chambered nautilus shell of the human environment; it is the environment we build for ourselves (roth 3)."

cycle: nothing is ever lost. a lot of times, styles eventually come back. roth talks about how interest in history has influenced design, as egyption, asian indian, and other styles are being re-created (475). the houses of parliament are in gothic revival style. it was an attempt to return to the good values of the city during the gothic era. i chose this example because i first learned about it in art history last semester. the things we learn aren't bound to one specific class. they re-emerge in all classes.

artifacts: the objects around us are representative of culture, journeys, or experiences. they offer clues about the meaning surrounding it or the creator of the object. my five artifacts reflect the things and people that are important in my life and why they mean so much. jules prown talked about how artifacts can be assessed through description, deduction, and speculation. artifacts connect with the perceiver in a variety of ways as they try to derive meaning.

stories: "... if we wish to understand ourselves, we must take care not to eliminate the 'shell' of our past, for it is the physical record of our aspirations and achievements (roth 11)."everyone has a story, individuals and groups alike. we tell stories to convey a central message or meaning. i used my inspiration board to decipher the message presented in 'the three languages.' i also learned that the focus of 'a midsummer night's dream' was about love and affection expressed in different ways. architecture works the same way in that a building tells the story of the context in which it was built. listening and learning from these stories is important to make progress into the future.

overall, this week was about journeys and how we express these experiences though stories, artifacts, and other ways. these expressions give clues about the context of the creator and the time they were created. they are also ways to learn from the past to better understand where we are headed. as humans, we need ways to document our history as a way to distinguish ourselves from the rest of the world.

history timeline: 1975

2009-01-28T08:19:00.000-08:00

1975 AD

Technology
-Bill Gates founds Microsoft
-The microcomputer Altair 8800 is released
-Floppy disk invented in 1971
-LCD and VCR introduced in 1971
-Word processor and pong videogame invented 1972
-Ethernet is introduced by Robert Metcalfe and Xerox in 1973
-The laser printer invented in 1975... ink jet in 1976
-Cell phones, the Cray supercomputer, and the Walkman introduced in 1979
-NASA launches Viking 1 probe toward Mars
-The Energy and Conservation Act of 1976 sets gas mileage standards for cars

Institutions
-The first US-born Roman Catholic saint is St. Elizabeth Ann Seton
-Unification church couples are wed in Korea
-The oldest animal fossils in US are found in North Carolina
-NBC's Wheel of Fortune premiers
-Charlie Chaplin is knighted by Queen Elizabeth
-The musical 'Chicago' opens on Broadway
-The Weather Underground bombs the US state department main office in Washington, DC
-The US Coast Guard Academy admits first female students
-First successfully predicted earthquake in Haicheng, Liaoning, China
-Fire in the World Trade Center

Governance
-Watergate scandal
-Vietnam War ends April 30
-Victoria (Australia) abolishes capital punishment
-The UK implements the Sex Discrimination and Equal Pay Act
-Cold War ongoing
-President Ford signs Public Act 93-620 to enlarge the Grand Canyon National Park
-The US Trade Act of 1974 is enacted
-Italy broadens law on abortion
-International Women's Day is observed by United Nations
-After 3000 years, the monarchy in Ethiopia is abolished

Commerce
-OPEC raises crude oil prices by 10%
-Oil goes over $13 per barrel
-US unemployment rate hits 9.2%
-Begin TransAtlantic Pipeline
-First crude petroleum pipeline opens in Scotland
-New York City is approved for a bailout of $2.3 billion each year for 3 years
-Cost of living 1975 (US):
~Avg cost of new house: $39,300
~Avg income/yr: $14,100
~Avg monthly rent: $200
~Gallon of gas: $0.44
~New Car: $4,200
-Cost of living (UK):
~Avg cost of new house: 11,787 pounds
~Gallon of petrol: 0.72 pounds

1975 BCE

Technology
-Babylonians use highly developed geometry
-Horses are used to draw vehicles
-Earliest written form of Greek

Institutions
-The Hebrews wandered as shepherds in the land of Canaan
-Abraham dies
-Classical period of art and literature
-Mentuhotep 1 built mortuary temple at Deir el-Bahari
-Re-established pyramid building and every pharaoh after was buried in one

Governance
-Era of the Egyptian Middle Kingdom
-Mentuhotep reunites Egypt
-Amenemhat 1 founds a new royal residence near Memphis
-Egypt conquers Lower Nubia under Senwosret 1 and 2
-Minoan palace civilization on Crete
-Indus valley civilization

Commerce
-Indus Valley civilization produces wheats and barley
-Trade was made easier by bullock carts and flatbed boats on canal
-Used domesticated animals, including pigs, cattle, cats, dogs, and buffaloes

critique week...

2008-12-09T08:31:00.000-08:00

on friday dec. 5th, i went to a critique for students in the retail class. they had to design shops for either biomech mills or the shops at buffalo bridge. my favorite was for a store called overcast. it was a boutique for outerwear and luxury office goods. one of the first reasons i liked it is because of the concept and mood. i LOVE rainy days and overcast weather and the student did a good job of conveying that mood throughout the presentation. i know that i personally was drawn into her design and could visualize it as a real store. i could also tell that she put a lot of thought into developing her ideas from the precedent of a cloudy day streetscape. every detail was thought out and her drawings were amazing.

looking at all the presentations, i learned that it is important to really sell your design and concept. make the audience want to see your plan become a reality. i also learned that every detail is important. skipping a few minor things might not seem like a big deal, but it is guaranteed that somebody will notice it in your presentation. overall, i am looking forward to my future in this program. i got to see the kind of thought and process that goes into design work and i am excited to get to that level!

pathways.edges.boundaries: final model

2008-12-09T08:12:00.001-08:00

we decided to use a texture of circles and squares to mimic the shapes used by the oasis island directly across from us. we started with the base in the back, but changed to this configuration instead.

here is the mold for our final casting...

here i was cutting circles out of foam for the mold.

PATHWAYS... final exhibit

2008-12-08T20:10:00.000-08:00

EDGES... sketches and notes

2008-12-08T20:05:00.000-08:00

BOUNDARIES... first model

2008-12-08T19:33:00.000-08:00

we made our first model 12 in x 12in. above is the mold for the top of our structure, below is the base, which is uniform throughout the four structures in the building edge.

when we took the concrete out of the mold, it ended up cracking. this told us that we needed a bigger aggregate than kitty litter. so for the next model, we used pea pebbles.

pathways.edges.boundaries: research

2008-12-08T19:27:00.000-08:00

our first task was to do research about the history of the gatewood/weatherspoon parking lot. my group found out that in 1891 before the university opened, the land where gatewood is consisted of farmland. the area was unsuccessful as farmland and was willingly converted into the university. through the 1970s, the area around gatewood was residential. eventually the area was cleared for a gravel parking lot and later the gatewood building and the current parking lot.