[dajana nedic]

Durham Trip Response

2012-02-06T08:59:00.000-05:00

Based on our visit to Durham last Wed. Feb. 1^st, we had the opportunity to visit both the Freelon Group and the Durham South Regional Library. The library was designed by the Freelon Group architects and shows to be a project that took much initiative to serve the public in a way that is most effective. The library holds a L.E.E.D. Gold certificate due to its energy conscious design. Touring the office of the Freelon Group, we had the chance to see how an architectural group operates on various levels ranging from interns to CEO’s. The projects that were shown at the Freelon Group office were that of finished and well-crafted models, process boards, final project boards, and scale mock ups of upcoming projects. Their office seemed to be well organized in the sense that there were designated areas for everyone to work and not feel cramped or overwhelmed.

Compared to Paula Carr’s lecture about TVSDesign, it’s clear that both offices deal with projects that can range in scale as well as consumer interest. In contrast, however, TVSDesign seems like more of a established firm in that they have a variety of offices worldwide with a wide range of projects that extend both locally and internationally. The Freelon Group, on the other hand, seems to be a smaller office with a more intimate range of projects. Both the tour of the Freelon Group as well as Paula Carr’s lecture showed to be informative in a sense that I now have a better understanding of how interior design and architectural firms can operate. It’s a relief to know that often times, it’s not just a nine to five workday that your dreading, but that it is more meaningful and rewarding because it’s a job that is interesting. As a designer, I look forward to having an opportunity to do what I love in a place that can be very inspiring.

Parametric Modeling Response [IAR 311]

2012-01-18T09:02:00.003-05:00

image found here

After reading the article “On Building Information Modeling”, I would consider parametric modeling as a more structured and accurate way to consider design. As it states in the article, “Revit was designed from the ground up as a BIM platform to specifically address problem areas of the architecture, engineering, and construction (AEC) industry: communication, coordination, and change management”, I can see how this software and its design has become successful in helping designers/ architects be more efficient and aware of the overall design.

In my mind, parametric modeling is able to provide any user with the option of experimenting with different areas of the project and realizing how those modifications are able to affect the design. With parametric modeling, designers can save much more time by truly designing without the worry or hassle of having to go back and make sure everything is correct after any sort of change. If a window is drawn or added to a wall, Revit automatically updates and applies that information to all of the documents, making it much easier to continue with the project without having to double check your work. If a height is changed to a particular element within the project, everything else that applies to that element changes as well.

After experimenting with Revit for the first time recently and reading about the evolution of design through the use of computer programs/software, I am beginning to see that much more has to be taken into consideration when working on a particular project. With all of the advancements there are now many more codes and rules to go by within the software and building in general.

Looking onto my personal experiences with Sketch-up and Rhino, I can already tell that Revit fits right in the middle of it all. It is definitely a delightful medium between the two programs in my mind. Sketch-up, while it often provides a quick way to model and produce basic renderings, it lacks the substance to go further and apply itself to other technologies. On the other hand, while Rhino is a bit more difficult to understand, having to navigate your way around by typing in commands and making sure you are working in the right view, it is able to apply to files that can be used in the Universal Laser Cutter, the CNC mill, as well as any 3D printer. Realizing that sketch-up is mainly a program that should only be used for sketching out ideas quickly, it is a program that I use to simply analyze my design and figure out what can and cannot work aesthetically. However as far a Rhino is concerned, while it is mainly used throughout the industrial and product design markets, it helps to generally understand how the geometries and proximities of elements can come together and enhance the a design.

I would say that with my experience with Sketch-up, Rhino, and faintly with Revit, I have realized that Revit and Rhino are more advanced as far as what the design industry expects. These programs, as I’m sure with much of their kind, are able to be easily integrated and used for a professional platform of design display.

Analysis [Purdue University]

2011-12-19T19:22:00.000-05:00

During this Fall 2011 semester, our studio had the great opportunity to visit the 2011 Solar Decathlon in Washington DC. We had the chance to observe some of the current technologies and methods used in constructing an off the grid home. I specifically looked at Purdue University's [INhome], which was designed in a very traditional manner to stay true to the prairie style that is common in the midwest. Below are some diagrams and photos of the house. For more information about Purdue University click here. For more information about the 2011 Solar Decathlon click here.

Gatewood Studio Arts [Cooling Systems]

2011-12-12T09:40:00.000-05:00

Purdue University Ecotect Exploration

2011-12-12T09:30:00.000-05:00

Light Sketch Series Five

2011-10-18T21:54:00.001-04:00

Light Sketch Series Four

2011-10-13T00:51:00.000-04:00

Luminaire Study

1. 3rd and 4th Floor Stairway [Gatewood]
a. Type of Luminaire: Semi-direct.
b. Mounting Type: Surface mounted onto walls.
c. Lamping: 2 lamps, fluorescent, F32T8, Medium Bi-Pin
d. Construction: Length: 48in, Diameter: 1in, Shatter Resistant.
e. Manufacturer: TCP
f. Photometrics: Lumens: 3,400(initial); 3,200(mean); Color Temp. 4100K, CRI: 85
g. Material and finish: Acrylic, Plastic
h. Lensing: Acrylic
i. Function: fixed
j: Ballasts: specific voltage, non-dimming, program start, thermal fuse, internal to luminaire.
k: Environment: Dry
l: Shielding: Plastic covering, no baffles or louvers.

a. Purpose of space: Stairway, means of egress.

b. Purpose of lighting: Ability to navigate vertically through the space.

c. Effect of luminaire: Each luminaire acts as an accent light during the day whereas at night it shines bright in order to illuminate the stairway.

d. Recommendation for improvement: Some lights need to be changed in order to work properly. What could a vertically positioned light do in the space?

2. Yankee Candle Company [Friendly Shopping Center]

a. Type of luminaire: Flood Light: Downlighting; MR-16: Directional downlighting.

b. Mounting Type: FL: Recessed; Mr-16: suspended track lighting

c. Lamping: FL: 6 lamps (med. size) Halogen 2850K, 1100 Lumens; MR-16: 45 adjustable halogen lamps, 3000K

d. Construction: MR-16: Multi-layered Titanium Oxide, Dichroic Reflector

e. Manufacturer: FL: Plus Rite; MR-16: Ushio

f. Photometrics: FL: Beam of 40 degrees, 6 lamps with 75 watts each; MR-16: Beam angle of 36 degrees, 2000(CD) 45 lamps 50 watts each.

g. Material and finish: FL: cool white; MR-16: Titanium oxide coating, UV cut halogen axle.

h. Lensing: FL: Acrylic diffuse; MR-16: Acrulic UV Stabilized

i. Function: FL: fixed; MR-16: adjustable wallwash

j. Ballasts: FL: 130 volts, non-dimming, instant start, internal ballast; MR-16: 12 volts, dimming, instant start, internal to luminaire.

k. Environment: Dry

l: Shielding: No shielding

a. Purpose of space: Candle shop.

b. Purpose of lighting: To showcase the product.

c. Effect of luminaire: Shines a spotlight on the product to highlight the new stuff instead of what is old.

d. Recommendation for improvement: More lighting should be incorporated in the center.

3. Red Mango (Friendly Shopping Center)

a. Type of Luminaire: Flood Lamps: downlighting; MR-16: task lighting

b. Mounting Type: FL: recessed; MR-16: suspended track lighting

c. Lamping: FL: 31 lamps, med. size (E26), halogen, 2850K, 1100 lumens; MR-16: 18 adjustable halogen lamps, 3000K

d. Construction: MR-16: Multi-layered Titanium Oxide, Dichroic Reflector

e. Manufacturer: FL: Plus Rite; MR-16: Ushio

f. Photometrics: FL: Beam of 40 degrees, 31 lamps with 75 watts each; MR-16: Beam of 36 degrees, 2000 (CD), 18 lamps with 50 watts each.

g. Material and finish: FL: Cool white, MR-16: Titanium oxide coating, UV cut halogen axle.

h. Lensing: FL: Acrylic diffuse; MR-16: Acrylic UV stabilized

i. Function: FL: fixed; MR-16: adjustable wallwash

j. Ballasta: FL: 130 volts, non-dimming, instant start, internal ballast; MR-16: 12 volts, dimming, instant start, internal to luminaire.

k. Environment: dry

l. Shielding: No shielding

a. Purpose of space: Frozen Yogurt shop

b. Purpose of lighting: To brighten up the space and showcase the product.

c. Effect of lighting: suggests a clean environment, spotlights the toppings, and reassure customers of a friendly open space.

d. Recommendation for improvement: the lights over the cash register are somewhat unnecessary. Could reduce in the amount of lamps used.

Light Sketch Series Three

2011-09-23T19:23:00.001-04:00

This sketch series exercise led us to experiment with light meters in order to measure the amount of light that was filtering through the stairway of the Gatewood Studio Arts Building. This particular study took place on Thursday Sept. 22, 2011 at 11:30 am.

Light Sketch Series Two

2011-09-21T19:33:00.000-04:00

This sketch series project dealt with observing various fabrics in specific environments under four different lamps. We chose fabrics that included both warm and cool colors so that we could better understand how those lamps affected the material. Clearly, fluorescent lamps showed more vibrance in the materials whereas metal halide lamps gave off a yellowish tint. We observed familiar environments around our studio and documented that the lecture room [204] had mostly fluorescent lamps and some MR-16 lamps that accented the wall. Also, we observed the parking lot behind the studio building that is mainly filled with metal halide posts to illuminate the parking lot at night. Lastly, we used an LED flashlight in a dark room to observe the bright white light flooding the material. From this exercise, it's clear that lighting has to be specifically chosen in order to complement the materials within an interior.

Voxel of Light

2011-09-20T20:13:00.001-04:00

For this project, we were asked to create a 12x12x12" cube that was suppose to translate a lighting effect within a space. As a group, we decided to proceed with the concept of using Voxels which are elements of volume that constitute a three dimensional shape. With this idea in mind, we thought about any given space and breaking it down into voxels in order to get a sense of volume. A 12x12x12" cube is comprised of 1,728 voxels which all provide volume to the space. We essentially thought of these voxels as being their own separate entities to which we could apply a lighting effect. Instead of creating a space inside the cube to show a lighting effect we opted to have the entire cube be our lighting effect. We used two LED battery powered lamps and hooked them together with fishing wire. We also used tissue paper to diffuse the light so that it created a softer glow to go with the meditative feeling we wanted to portray. We incorporated a textured light-weight paper to provide a water rippled effect within a dark space. While, we have had some difficulties with these specific materials, we found that in order to provide just the amount of softness we would have to go with a warmer light. In addition, in order to provide a more structural shape, we would need to choose a material that was less flexible and more stiff. Overall, this process was more experimental and would definitely require more revision before we could arrive at the exact lighting effect we were hoping for.

Voxel diagram found at: www.volviz.com/topics.php

Studio Light

2011-09-01T20:12:00.000-04:00

As we read about light and its effects on the world around us. We take a step inward and document what goes on in a familiar environment that is our studio.

Daylight within the space at 5:00 pm

Electric light at 8:35 pm

Light and Health

2011-09-01T18:50:00.000-04:00

photo via: http://blog.amsvans.com/7649-practicing-meditation-for-pain-management/

Light and Health:

Thinking about how light relates to nature, time, the tasks, and places, it seems natural and without a doubt to think about the health issues and concerns that light brings up. It’s interesting to learn about how something as simple as light can have a huge effect on how we as human beings operate during the day as well as during the night. It is essential to our health that our circadian rhythms stay constant, which means naturally working during the day and resting at night. Disruptions of our circadian rhythms can cause tremendous about of health issues that build up over time and can be potentially threatening. Drawing from my own personal experience as a design student, I know what my body does and how it functions with sleep deprivation. I know that I will be fine without sleep for twenty hours, however beyond that I need coffee or some type of energy drink to keep me going. However, I also feel that it’s easier to deal with sleep deprivation if it is continued, although I know that I can become unresponsive and neglectful very quickly. Ultimately, our circadian rhythm is a clock, which keeps us on a path of self-rejuvenation. The body needs a period of rest to de-stress from the days work and recharge. According to the reading the sense of wakefulness leads up to sleep in a way where “These feelings are accompanied by changing levels of melatonin, a naturally occurring hormone that promotes sleep and increases in darkness”.

~Quote provided by article: Edelstein, E. (2009). Influence of Architectural Lighting on Health. InformeDesign Newsletter, 7 (2), 1-5

Light Revealing Architecture

2011-09-01T18:34:00.000-04:00

photo via: http://edgewatertech.wordpress.com/category/epmbambi/

Light and Place:

Looking back on my childhood I can still remember categorizing days and events based upon a certain feeling. Not until recently did I realize that all of those categories have something in common. This commonality that I keep going back to is light. Not specifically fixtures within interiors, but more specifically the light that seems to set the mood of a given day within a season. I can still clearly recall sitting on the front steps of my house, five or six years old, wearing a bluish-green sweater and blue jeans, and noticing a cool breeze play with my hair as I watched the thick fluffy clouds in the bright blue sky pass by on an early spring morning. The memory of that particular day seems to replay in my head from time to time as a reminder of total serenity and sense of content that I experienced as a child. As I think back on that day and on several others, it’s always the light that I seem to remember so clearly. It seems to often set the stage for a memorable feeling that leaves a beautiful stain on my heart and keeps me grounded. Growing up on both a farm and a vineyard where I watched cherry trees grow and sunflowers follow the sun, it was an interesting environment to truly experience shades of light. With views of nothing but farmland all around me, I especially remember the sunsets casting shadows that enriched the greens and browns of the land, which permitted the colors to end the day with a theatrical close. Summing up my childhood memories and first realizations of the significance of light, I can clearly reference back to the reading where the author discusses the character of the place. “Our experience of light is connected to specific places where light contributes to the identification of a genius loci, the peculiar character of a place as it is impressed upon our minds.” Light Revealing Experience.

Light and Climate/Nature:

Considering a quote from the article stating that light and climate “have to do with the spirit of place, with thermal comfort, and also with culture, since climate affects people, their habits, and their rituals”, it encourages me to think more about light from a cultural standpoint. A certain climate surely gives off a certain light. Tropical climates have a softer light offering shades of warm and inviting colors whereas colder climates have more of a crisp gloom that can provide great contrasts in colors. Living in a southeastern region of the country, we experience a moderate climate that provides appropriate seasonal climates throughout the year. The winters can be, the cold and dry, the summers can be hot and humid, which results in a range of climate changes. However with each change comes a specific type of light. Naturally the days are shorter in the winter because the earth is tilted away from the sun, although we also tend to experience a more intense sharp contrast of the world around us. As the earth tilts closer to the sun, the days get warmer and we experience a softer light that warms not only our bodies but also our perception of our surroundings.

Light and Time:

Closely related to Light and Climate, Light and Time begin to tell a story about a sequence of phases that we can experience and keep track of throughout the day, week, month, and year. Since we all experience light differently I can safely say that I wish I could experience it more with content instead of taking it for granted. Coming to appoint where we get accustomed to living in our studio, daytime passes by so quickly that I always find myself a little disappointed when night falls. Although I feel this way when I realize the day is coming to an end, I can’t help but to ask myself why I don’t feel more joyous during the day? The truth is I do feel joyous, I do feel content, and it’s not really disappointment that I feel when night falls, it’s the recognition of how fast time has gone by and another day is to begin with new expectations. Reading this article and reaching into my own experiences with light and time, I can easily relate with the quote referencing “Recognition of daily and seasonal rhythms of light and dark is one of our primal connections to this world”. Realizing the passing of time from day to day is one way of looking at the ever- changing environments, which we inhabit. However to really understand and appreciate the details of our surroundings, we should be more aware of the light and dark aspects we experience constantly.

Light and Task:

I strongly agree that, “Everyone has their own preference to the distribution and level of light”. We are all capable to perceive light and dark in different ways. Some people can notice solids and voids whereas other can see abstract images more clearly. Recalling my own experience working on projects at my desk in studio, and even distribution of light is almost never the problem. Now that we have completely revamped the studio and taken down the cubicles, which seemed to separate us in dark corners, we all can equally feel the days’ sunlight beaming through our windows and illuminating the whole floor. I don’t feel the need to sit next to the window to be able to have the most amount of sunlight as I am working on a project. Working in studio now as opposed to a semester ago, I feel that all this light filtering through is creating a balance within the workspace and setting a mood for motivation and progress.

~All quotes and from the article: Lighting Revealing Experience by Marietta Millet from the book Light Revealing Architecture, Van Nostrand Reinhold, 1996.

...long time no blog

2011-07-25T19:46:00.001-04:00

As it seems, I have been quite absent from blogging for some time. While I have been away from my blog due to major technical difficulties, I have had some time to think about the direction of this blog and what exactly I want to share. Mostly I post about school related subjects and recent projects. However this summer has been a complete learning experience for me and I would love to share all those wonderful experiences.

To start my summer off I had a great opportunity to participate in a small but very exciting project of re-inventing our CAM Studio. We mainly focused on a design that was inviting to the students offering enough space to work and display their projects. With a time frame of five days and a staff of six people, we worked day and night to recreate a suitable facility for digital fabrication.

Before we began, there was clearly very much to be done.

However, once we started putting the pieces together, there was no stopping us.

It finally started to look like a real studio!

It was truly a pleasure!

Recovering from the CAM Studio project, I caught up on some much needed rest and found myself getting ready for a spectacular wedding! Our long time family friends (practically family) were finally making their marriage official with a traditional church ceremony surrounded with close family and friends. The day was filed with smiles, laughter, and true love!

the very lovely bride outside of our church with her niece/flower girl/wedding theme planner =]

Following the fabulous wedding, and in the same weekend I might add, was the annual celebration of our church's consecration. While there were many many guests who came to be a part of this celebration, one little guest stood out.

This little cup cake made my whole day. Her parents dressed her up in a traditional serbian outfit where she made her debut with her grandmother in hand and caused a sensation!

Our main guest for this celebration was a group from St. Petersburg (FL) who, in true serbian style, danced, sang, and astonished us with performances that was completely breath-taking.

Having such a great group of "folklor" dancers perform for us was an honor. However, it wasn't too long before we were offered the same opportunity to perform in Atlanta at the Serbian Orthodox Church Saints Peter and Paul. Below are pictures of our group and a video of a dance we performed.

Jenga [7.0]

2011-04-29T18:39:00.000-04:00

Wellington, New Zealand

Site Justification

By Blakeni Walls

On the edge of the world sits a place where culture, creativity, lifestyle and intellect thrive and shine as bright as the golden sand that lies on its beaches. Standing on a measureless harbor that is ringed by a natural amphitheater of hills is a city that sits on the north island of New Zealand.

Wellington, the capital city, embodies and reflects the concepts of movement and unrestricted flow of our structure as a whole. The city is an artistic scene. Its picturesque surroundings prompt for walks around the beautiful harbor and hills.

Looking at the relationships and connections between the landscape and the structure, we interpret how the building relates to its surroundings through architecture. The climate is a temperate marine one that is generally moderate all year round, but the winds make it seem much colder than what the actual temperature may be. The natural winds of the landscape speak to the free flow movement of horizontal lines of the structure. The nearby ocean represents ideas of translucency and reflection and is shown through materialization by the excessive use of glass. The beaches represent a horizontal lifting within a semi-mountainous landscape. Areas of near by terrain allude to a sense of traveling upwards and establishing a language of vertical lightness much like the one we depict through the structure with the idea of lifting upward through the use of vertical beams that swell in and out on all facades.

The color palette and material choice was particularly inspired by the natural terrain and surrounding buildings around it. Our design achieves a sense of unity and integration between the structure and the landscape. Although Wellington’s population is 180,000, we ensure that our complex provides restricted access and privacy along with the benefit of extended stay. The attitude of the area, café culture and vibrant nightlife adds to the quality of living in such a place.

Initial Sketches by Kelly Harris

3-D Building Diagram

Final Building Model

WI 10- reflection [Connections]

2011-04-29T17:07:00.001-04:00

When the spring semester began I, along with the rest of my classmates, set specific goals that were to be addressed over the course of the semester. Personally, I wanted to work on establishing better time management, set aside more time for research through books rather than the internet, as well as to determine a specific style that would set me apart as a young designer. While those goals were but a few, I found that as I was trying to achieve them, I was actually setting more goals that were both motivational and realistic.

Due to the hectic jam-packed schedule, it was hard to keep up with even those three simple goals, however I find that I work better and more efficiently when I am under pressure. Having a busy schedule where I had to plan almost every detail of my day, made me realize how much time I spend actually working and being productive as opposed to procrastinating and putting things off to the last minute. With keeping a tight schedule it helped me prioritize what was most important and what should be worked on first and what can and should be left for the last minute.

Setting goals and working to achieve them provided room for both failures and successes. At the beginning of the semester, failure was something I faced almost everyday. Somehow I could not come to terms with settling for a design that was completely “in the box”. As my frustration was hindering me to move forward, I learned a valuable lesson in becoming content with thinking inside the box. Looking back, I can confirm that you have to know and appreciate the rules to be able to brake them and still have the confidence to justify your actions. Designing Jenga 2.0 and mainly focusing on one space and scheme, I found that If my growth as a designer was ever going to happen, I had to learn to appreciate and respect simple lines and minimalist concepts. Through this revelation, the idea of accentuating minimal spaces with meaningful details was re-enforced.

With this particular unit I was stuck in a state of needing to fill up the space to its utmost capacity.

With this square unit, which ended up being the final unit to move forward, I needed to learn how to stick to clear paths with clean and simple axial progression.

Gaining a sense of satisfaction with my individual unit design motivated me to move forward with other areas of my process. With less frustration and an open mind, we formed groups of three where we had to collectively agree on a unified design while at the same time staying true to our individual units. Working in a group of three, there was certainly less pressure on the three of us individually. Luckily, I had the chance to work with Blakeni Walls and Sharon Frazier to form team Caravaggio, and with whom I had no problem sharing ideas and working efficiently. Our design voices, though very different, spoke in harmony when it came down to what was significant to our collective design concept.

Harmonic navigational diagram from team Caravaggio

Moving into a group of six with Kara Kooy, Kelly Harris, and Cassie Bradfield to form team Trepide. Through some slight turbulence as far as the group dynamic, I found that with a slightly aggressive and, sometimes assertive, attitude, we as a group were able to produce a solid project that spoke correctly of our design intent. As we collaborated with team Emerge to form a group of twelve, Austin Loman and I were appointed group leaders. Taking charge and keeping the project’s details organized proved to be far less difficult than I had imagined. This is probably the prime example of how my goal for establishing good time management was promptly addressed. I now had eleven other people depending on me to take care of both major and minor details and I knew that I had to be correct and efficient. I must say that I enjoyed this role of keeping tabs and making sure everything was accounted for even though everything was not perfect. I learned that within a group, I have to understand my work ethic to be able to have patience and respect with and for my teammates.

Starting out with individual units and moving through groups of three, six, and twelve I find that my writing exercises and note taking skills prove to be constantly useful. Even with the hectic schedules that most of us have to endure at some point, taking moments out of the day to record the design process is very important to how we keep track of our growth as designers. For the first time in my design process, I had the chance to focus my attention to what a Prospectus meant for a design and how it came together to help solidify key concepts and overall intent of the teams. I really enjoyed how the categories of design intent, theoretical approach, team qualifications, and responsibilities came into play to really inform the public of the legitimacy of the project. Establishing the foundation and research of the entire concept helps me think more critically about my individual work as a designer.

Learning from my team mates, my work continues to get stronger.

In addition to the team prospectus, there were other writing opportunities throughout the semester, which also aided to my growth as a student. Recording my opinions through the writing intensive exercises encouraged me to think and express my thoughts critically within my work. As we evolved into groups at different scales, my views on the evolution of the Jenga project began to reflect and correlate with the opinions and thoughts of my group mates. While this emphasis on group work was important to our dynamic in studio, I had trouble keeping my design voice heard. Though being a leader and having that right to communicate clearly with my team, my voice would at least be considered. The writing also helped me express my individual perspective clearly and thoroughly.

Overall the knowledge that I have gained from only this semester has helped further my determination in this major. Even though the semester was packed with writing assignments, sketch-up models, and technical drawings, I can safely say that my efforts have evolved into a new understanding and appreciation for design. Through frustration, stress, pressure, and dissatisfaction I have experienced personal failures. However through those failures emerges an overall substantial success in simply knowing that I have plenty to learn and through every struggle I continue to have the will power to move forward and grow as a person.

First Year Reviews

2011-04-29T03:17:00.000-04:00

Finishing up my second year in the UNCG-IARC program, I have been given a chance to look at what some of the first year students were up to this year. As I think about where I was just a few semesters ago, I can't help but to realize what knowledge I have gained not only about the culture of design, but more significantly about myself as a small part of that culture. Just a few days ago, I had the opportunity to review a first year by the name of Danielle Mittman, who from I gather, had a playful energy about her design of a historic home. As some of her classmates provided traditional perspectives and linear plans and elevations, she stepped outside of that box and created a curvilinear scheme that reminded me of another classmate [of mine] that recently did just the same. As I sat observing Danielle's board from a distance, I couldn't help but to link her whole presentation to my dear friend Blakeni Walls and her design based on the word Bubble. Danielle's approach to material designation as well as a thought out plan for both the interior and exterior landscape really showed her dedication to this specific project. She definitely provided a new dynamic for a traditional rectangular space. However, with praise must come some critiques. For instance, it would have made a lot of sense to go as far as to design custom made furniture instead of settling for ordinary couches, chairs,etc...A final sketch model or even a circulation diagram could have helped to enhance the readability of the boards which would have also added to the rhythm of the presentation. Overall, I would say that Danielle had a strong grasp of her design intent which she clearly had no problem executing. I would suggest a slight boost of confidence for the presentation in that we all have to stand firmly behind our design and believe in it. Danielle shows great potential as a young designer and as an upcoming third year student I look forward to see where her skills take her in her second year.

WI 8- Analysis of Individual Process

2011-04-29T02:15:00.003-04:00

Deriving from the word Squeeze, the ideas of compression, navigation, and unbalanced axis developed into a cohesive message. Utilizing these ideas and designing three separate spaces in Jenga 1.0, resulted in many questions, concerns, and various points of confusion. Conceptualizing the spaces and figuring out how the kits would best fit each individual space was an interesting exploration of relationships and connections. However, with so many unclear resolutions, the process of developing these spaces underwent significant changes that helped other ideas emerge. Some techniques worked better than others, whereas some ideas could be applied more or less frequently. Several things such as materiality, clear diagrams, navigation pathways, and layout of the board were being poorly addressed or not at all. As these mistakes became lessons, the opportunity to learn from them came about in the next phase of Jenga 2.0

Focusing attention on one space and dealing with adding another level along with a means of travel within the entire interior was an interesting challenge. Creating stairs that would best relate to the kits of the interior were more or less strategic. Rebellious moments throughout this part of the design process inevitably arose due to dissatisfaction and unsure decisions that questioned entire concept behind this part of the project. Moments of frustration and a gradual lack of interest with the overall design was clearly evident questioned whether more input was needed. The mistakes from Jenga 1.0, however, were being acknowledged and modified in order to better understand the project as a whole.

At this point, the idea of working independently was not translating very well and the need for second, or even third opinion, was in high demand. Luckily Jenga 3.0 came about at the right moment as the proposal for a chance to work in groups was introduced. Teaming up with two other people to construct a complex from the three individual units seemed intimidating at first; however, it was surprisingly less stressful and mostly influential. Having the opportunity to also put together a project prospectus was a learning experience in itself. Collectively piecing together the most significant elements from all three individual projects flowed seamlessly. Utilizing all three concepts in the right manner at their appropriate times throughout the project helped the new design of the complex emerge as a strong central idea that housed not only the units but also the new cohesive elements developing within the team.

In the next phase, Jenga 4.0, the new twist was to double the complex from two levels to now four with the expectation of flipping at least one of the units’ 180 degrees or rotating it 90 degrees in whichever direction that made most sense to the design. After some thought and experimentation in sketch-up, a plan was devised and smoothly carried out. Attention to new details such as the addition of fire stairs and elevators was addressed in a way where the simplicity of open navigation was still intact. As the complex grew, so did the knowledge and skill level of each group member. Combining each members qualifications with certain responsibilities provided the whole team to learn and adapt new ways of approaching the project and working more efficiently.

As Jenga 5.0 rolled around, the group grew larger which gave room for more organized teamwork. Combining with another group of three, a total of six members, every member had a responsibility, which was carried out in their best ability. Although, the group was at a significant size, there were now more opinions and much more input that had to have its chance to come across the design. Agreements and disagreements were bound to happen and did, however, nothing was pushed out of line where it was going against the overall design of the still expanding complex.

Starting out a design individually from a simple concept word and developing it to the point of working with five other people who have gone through the same process was something I never really though in depth about. Looking at how detailed each phase of Jenga was, I get a clear sense of what independent work is compared to working within a team. Each have their advantages and disadvantages which are popular to some more so than to others. However, as far as defining a design voice and identity, independent work often provides room to experiment with personal style and specific wants. Group work can, and often is, much more of a learning experience. I could not know myself as a designer if I did not have a chance to work with others in order to see my interaction with them as well as our dynamic as we work and collaborate together. There is also that question of stress and how heavy it can be as an individual working on a project as opposed to within a group. I can say that both situations give result in a fair share of stress as well as a fair share of satisfaction with the design. Working with others, sharing successes and failures helps me as a designers to know what I can improve on as well as help others improve and become stronger within the team.

WI 9- Unit to a Whole

2011-04-29T01:42:00.000-04:00

Deriving from the concept of squeeze, the interior of my individual unit had to translate into a tight fit space that could be functional for living. Taking a cue from the book The Sacred and the Profane by Mircea Eliade, the small interior space could under all circumstances serve the needs of any occupant on a level that is simply minimal. The two intersecting axial walls divide the first level into four distinct zones: Food preparation, living area, sleeping quarters, and personal hygiene. Certain textiles and color choices emphasize and distinguish each area which helps to tie all corners into a central common denominator.

The finishes applied to the first level are dark hardwood floors, linear and geometric wall-coverings, and dark bold colors that carefully carry the eye from one area of the interior to the next. As the stairs, located on the wall adjacent to the main entry way, carry the eye towards a second level, the color palette becomes lighter providing an urgent curiosity to what awaits. As the first level shapes the central core of the unit, it is no surprise that a substantial volume of pressure is applied to designating certain areas and their connections through circulation. Re-visiting the initial idea of applying squeeze through distribution of matter, the space emulates this by introducing duality as far as furnishings and finishes are concerned. Through these elements, a clear understanding about minimalist vertical progression emerges and begins to hark upon the initial idea of Portmanteau’s structural concept.

Defining the spaces within as sole niches, describes a confined entity that is the unit as a whole, as well as how that unit shows relationships and connections to the complex within which it sits. The idea of squeeze in a language addressing architectural details and the foundations of the unit begins to shape how restricted areas work within public spaces. The flow of many individually distinguished units coming together influences the navigation patterns within the structure. While the simplicity of the intersecting walls tell a story of linear geometries, The notion of how those axial planes establish central strength within the space and shape the minimal complexities within a complex speaks to the level of detail addressed with finishes, furnishings, and structural aesthetic support.

Jenga [6.0]

2011-04-29T01:38:00.000-04:00

Looking at the relationships of open navigation and dematerialization, we emphasized those connections while providing a clear interpretation of how the building relates to its surroundings. Pauanui Beach on New Zealand’s Coromandel Peninsula embodies and reflects the atmosphere of a soulful paradise. The nearby ocean represents ideas of translucency, reflection, and unrestricted flow of movement. The beach represents a horizontal lifting within a semi-mountainous landscape. The open nature of the wrap-around patios is ideal for Pauanui's warm, balmy climate. Surrounding trees offer some sense of enclosure for the lower levels, while areas of nearby mountainous terrain allude to a sense of traveling upwards and establishing a vertical lightness.

Although Pauanui Beach welcomes visitors from all over the world, our complex provides restricted access and privacy along with the benefit of extended stay. The attitude of the area -relaxed and calm- adds to the quality of living in such a place. The color palette of our chosen materials, particularly the cream colored stucco and neutral wood flooring, reflects the buildings natural surroundings. Our design achieves a sense of unity and integration between the structure and the landscape.

Panuanui Beach, New Zealand

watercolor site rendering by Kelly Harris

rendering by Kelly Harris

*above perspectives by Blakeni Walls, Cassie Bradfield, and Sharon Frazier

Jenga 6.0 Final Board

Jenga [4.0]

2011-04-29T00:21:00.000-04:00

As we were promptly moving forward with our Jenga, now into Jenga 4.0, we had a chance to consider and experiment with doubling and stacking our units. We did this to further express the notion of traveling through a space that promotes lightness and mystery while still providing a circulation pattern. The idea of minimalist paths and open balconies within a tight complex corresponded with our concepts both individually and as a group. Below are process sketch-up views along with our scale model photos.

Blog-worthy: Yves Behar

2011-04-15T16:57:00.001-04:00

image found here

Ever since I discovered Yves Behar's Fuseproject company, I have been in awe of this man. Born in Switzerland with both East German and Turkish influence, he utilizes the idea of "an emotional experience through storytelling" in his design approach."When working with clients, my philosophy is to connect emotionally through ideas and content rather than style. It's less about this or that aesthetic and more about meaningful conversations where people come to agreement in terms of approach and direction" says Behar. Personally, I really appreciate his grounded sense for design. His views and goals for the future are very intriguing, to say the least, solely due to the fact that he stays true to the realistic sense of things. His design process, philosophy, and his story inspire me to think critically and acknowledge the realism about the world and the people for which we design.

Quote Source: http://www.hermanmiller.com/Designers/Behar

10 tips about VERTICAL CIRCULATION!

2011-04-15T12:59:00.001-04:00

As young designers, we sometimes struggle with different areas of our design process. With the help of my very good friend Sharece, we came up with ten tips to help not only our studio, but any designer, keep track of important details when conceptualizing vertical circulation within a space. Weather we design products, interiors, or even landscapes, we should always be mindful of how circulation, more importantly human interaction, plays an important role in the concept. Below are some helpful tips that can be applied.

or click here

image sources found here and here

image sources found here and here, oh and here!

image sources found here!

image sources found here.

Funny Little Limerick

2011-04-09T14:32:00.000-04:00

Discombobulation

Image found here.

I was standing at Brighton Station

In a state of exaltation

When I was told I was in France

By that old actor Charles Dance

Leaving me in a state of discombobulation

I woke with a discombobulated feeling

As I gazed up at my transparent ceiling

I peered into the sky

And a bird pooed in my eye

While I'd slept, the roof-lovers had been stealing

It's easy to discombobulate Ned

By telling him that blue is red

But when I mistook a blue ball

For a tasty apple

He laughed and said,

"The discombobulation has spread."

This funny little limerick was found here.

It was very amusing!

Jenga 7.0 [Moving on up]

2011-04-04T01:31:00.000-04:00

Image found here

Yes, the pieces are once again being taken apart and put back together. Coming from Jenga 3.0 and 4.0 and working in teams of three, we moved swiftly to Jenga 5.0 and 6.0, where we had to team up with another group to form a super-group of six. Now it has come time for the last and final Jenga 7.0 along with the chance to, yet again, team up and form a group of twelve. Each collaboration has been both a learning and growing experience that keeps me interested in every new aspect of the Jenga project as a whole. As team [E]merge and Trepide come together in this final iteration, we have formed team Portmanteau.>>

Portmanteau word: Another name for Blend; two meanings packed into one word.



...and yes, I do mean like the word "Brangelina".

image found here

The team name is a bit odd, however it explains in a simple view, how our two teams come together and realize the similarities shared within the two projects. Our clear emphasis on minimalist geometries helps us to better understand how to morph the two structures into one while providing a similar language through which each of our individual voices can be heard. Focusing on horizontal and vertical elements as well as combining the materials in conscious manner will help us establish common ground upon which we will develop our design concept for Jenga 7.0.

Definition source: http://dictionary.reference.com/browse/portmanteau+word

Unit Door Design

2011-04-02T19:34:00.000-04:00

The design for my individual unit door speaks about the axial nature of the interior. Capturing the linear essence of the interior kit of parts, both the interior and exterior design of the door translate a clear connection between vertical planes and clear navigation paths. The trim around the door is simple and does not take away from the lightness of the design. The interior is of a darker color palette emphasizing the idea of squeeze and feeling as if the space is closing in. The exterior material, a cream colored stucco, provides a textured contrast to the linearity, however does not overpower the glass and light wood that is used within the door. The light fixture located on the exterior provides a full light source that illuminates the complete side of the door suggesting easy orientation in the dark. While this is a first iteration, I want to keep experimenting with more styles and layouts that would complement both the interior of the units and exterior of the structure.

[Oldschool]

2011-03-26T17:01:00.000-04:00

image found here

One day, I will drive a mini morris.

What day that will be?...I have no clue.

Can't hurt to dream.

Renderings

2011-03-26T15:02:00.000-04:00

For our Visual Communication course, we were assigned to render a simple wireframe image in both Adobe Photoshop and Illustrator. As I’ve only worked with both programs for a short time, I really dove into both renderings without much thought. Initially I had small concepts for both renderings, but nothing too detailed. Personally, I wanted to get comfortable with using the programs more over actually having an amazing rendering. It was a bit of a challenge at first with figuring how things worked together and how to keep up with layers in Photoshop which, by the way, is the best way to work. Illustrator on the other hand, went about a little easier only because I have had a little more experience with the program.

Concept: Eastern European Church

Program: Adobe Photoshop

The scale figures in this rendering are actually statues that I used to emphasize the feeling of the space being a religious facility.

Concept: Earth-toned gathering space

Program: Illustrator

As far as how the renderings actually turned out, I can safely say that they could be much better. Although, as this was more of a learning experience for me, I’ve learned more about the advantages of both programs and can now use them more efficiently as I need them.

Chicago Chicago Chicago!!!

2011-03-24T17:21:00.001-04:00

Recently, our independent study class took a trip to Chicago and may I say that it was simply divine. The sights were amazing, the whole atmosphere of the city was calmer than what I had expected, and to my surprise none of us got lost. The fact that we got the chance to experience the city that we have learned about in our history course was surreal. All of the famous architecture was right there front and center posing graciously for our cameras. Here are some pictures that really took my breath away.

The city!

Cloud Gate-Anish Kapoor...LOVE IT!

Marina City

CHICAGO!

IIT Campus

YES!

See even they are obsessed with chairs!

Between the Barcelonas

great mural!

This trip was great!

The tight-fit ride in the van was not so great, but it was well worth it!

Charrette Reflection [Team: CARAVAGGIO]

2011-03-15T17:45:00.002-04:00

image found here

Caravaggio + Evolve

Collaborating over previous design concepts, both of our teams realized certain commonalities which were shared across both design approaches. Some of the main similarities include materiality and the investigation of vertical progression. As we discussed further developments of merging the two projects, we agreed to establish a light materiality to express and define the meaning of open circulation systems present in both structures. Through the process of communicating what the best approach to combining the two structures would be, we agreed to apply whatever technique would best fit and stay true to both design concepts. Overall, both of the design concepts seem to work well together given their clear similarities and material choice. Combining these two structures would create an interesting aesthetic on any landscape.

Caravaggio + Allure

With team Allure we shared some common interests; however our design concepts seem to be completely opposite. Their structural focus was based upon joining horizontal and vertical elements in order to establish a stacking effect resulting in the build-up of excitement. In contrast, we approached our structural concept with the idea of working from more horizontal planes and providing more public areas as well as private nooks within those public spaces. While we struggled to find commonalities that would be beneficial in enhancing both concepts, we did think about ways of joining the vertical and horizontal elements through materiality and interlocking. We also discussed possibly stacking the units, not on top of one another, but more in a way where they could morph together. Though our structures were caught in a battle of regular vs. irregular, we thought about meeting at a central axis in order to achieve a common balance through which the two projects could successfully come together.

WI 7-Jenga 3.0 [Jigsaw]

2011-03-01T14:08:00.004-05:00

JENGA 3.0

Dajana Nedic + Blakeni Walls + Sharon Frazier

SQUEEZE meets BUBBLE meets LEVITATE

About Caravaggio

Drawing inspiration from the Baroque style time period, the ideas of movement, tension, and contrast of light and shadow were significantly prominent with the work of painter Michelangelo Merisi da Caravaggio. The son of an architect, he tied physical observation with naturalism and chiaroscuro to provide a realistic style. Caravaggio’s name is derived from a small town in Italy, which embodies our ideas of working within a small community as designers, realizing the concept of a small community of units. With our conceptual ideas of lightness, compression and release, along with navigation, we will begin to defy our skills individually and advance to marry the separate ideas into a cohesive conceptual understanding with which to drive this project.

Theoretical Position

Translating the importance of language through stories and narratives helps us draw inspiration from architectural meanings. “It’s not the architectural sense of the buildings that captivates me, but the world they translate”, writes Jean Nouvel in the book The Singular Objects of Architecture. With this, we strive to extrapolate the truth behind the mystery of what shapes a space and how its connections can capture moments of lightness, floating, and compression.

“Photography is unclassifiable because there is no reason to mark this or that of its occurrences; it aspires, perhaps, to become as crude, as certain, as noble as a sign, which would afford it access to the dignity of a language” states Roland Barthes in his text Camera Lucida. Somewhat like Barthes idea of photography, we aim to translate our connections across the three spaces as those” noble signs” that begin to speak a distinct language of curiosity and intrigue.

Combining the three spaces, we conceptually recognize the advantages of pathways, destinations, moments of relief, and side trips. These spatial elements will aid us in linking and relating the three concept words of Squeeze, Bubble, and Levitate across all aspects of the project. “But for our purpose it is not the infinite variety of the religious experiences of space that concerns us but, on the contrary, their elements of unity” speaks Mircea Eliade in the work of The Sacred and The Profane.

Design Approach

Our aim for this design is to explore and examine the ideas of mystery, lightness, and materiality of the space. We believe that through both metaphoric and literal analysis we can begin to analyze how the use of words and strong concepts derived from previous projects can help bring our current design to life. We are prepared to include and enforce the use of materials, furnishings, and contrast of color to convey the connections that are evident within our concept as a whole. As our ideas are evolve over time, we ensure that our concept will be strong and prominent throughout the sum of the project.

Deliverables

In order to define our concept and present our collaborative process in a unified manner, we will start by proposing our ideas and developing a strong concept statement. As we begin to build a digital model, we will proceed to solidify the floor plans and sections, which will help generate the interior and exterior perspectives. We plan to utilize visual diagrams throughout our process in order to communicate the connections between the three spaces. Ultimately, we plan to realize the physical model of the entire space as a representation of our overall concept.

Team Qualifications

As a collaborative team, we bring an even balance of skills and innovation in order to provide a holistic perspective of three spaces coming together as one. These skills will help us to conceptually design and visually communicate an enriching space that tells a story and brings our ideas to life.

As originators we are confident that our design process will develop and further expand our knowledge in the conceptual, visual, and physical aspects of the overall project. Though we are close in relation to the design indicator scale, this can be seen as a positive trait for the team. Considering that we will most likely work in similar fashions, we can be sure that we will agree to do what is best and most important for the project. In addition to gaining a better understanding of our individual design processes, we will provide a healthy and creative variety to the entire collaboration.

Sharon, who is a 14 on the indicator design scale, brings ten years of experience in the field of European furniture, as well as working knowledge of the industries in that field. With a strong attention to detail, she shows passionate care for her work through clean craftsmanship and an inherent eye for balance, proportion, and harmony. She has a natural ability to abstract ideas develop them conceptually in order to bring the real and creative worlds together in a unique way. Her philosophical approach to design is necessary for understanding the underlying information that might otherwise go unnoticed.

Dajana is a 12 and in close proximity to Sharon, also shows close attention to detail as realized in her sketches and renderings. She has advanced experience working with Photoshop and Illustrator which will be a benefit to the team overall. Her conceptual ideas coincide with her structural ability to first think things through and carry out her ideas with integrity. Her open-minded attitude and ability to offer honest and straightforward critiques make her a valuable team player.

Blakeni, who is a 20, shows advanced creativity and an eye for color ultimately bringing visual strength to the overall aesthetics of the project. Her detail-oriented style results in a profound attitude that is prevalent in not only her personal style but also in her work. With unique characteristics unlike any other, she embraces the ability to create a vision and conceptually carry it through with every aspect of her life. Her work is never without reason, which reinforces her love for design and determination for expanding her knowledge. Her ability to fabricate ideas into concrete forms helps to better visualize her design process.

The Caravaggio team of three originators has proven to be a strength to the design process of the Jigsaw project. As we approached the overall conceptual design, we were able to see deeper layers of meaning and connections within the design framework. Having similar aesthetic visions the design process flowed well in crafting an original concept. The communication of the vision as a cohesive story began to highlight our different strengths and weaknesses in the digital realm. With varying natural abilities and experiences, each team member was able to bring forth into expression a different aspect of the presentation in the end.

On a personal note, Sharon’s inexperience in the digital format presented an opportunity for her to render the exterior perspectives by hand and an equal opportunity for cross training in preparing the computer generated drawings. Blakeni’s creative strength in color orientation and layout served well in presenting our plans and sections as a cohesive composition , but proved to be an opportunity for cross training and growth in Rhino. Dajana’s challenge with the finer details of model making proved to be a learning experience. But on a larger scale her strong organizational skills and leadership proved to be invaluable in overseeing the development of the project. Each member’s strengths and weaknesses helped to provide an opportunity to learn from each other, both in creative spirit and technical skill, as well as realizing the Jigsaw project in a successful way.

Goals

The collaborative efforts that our design team will capitalize on are shaped by our personal goals as defined at the beginning of the semester. Our goals will drive our own area of interests and involvement in this project as listed below:

Blakeni Walls - focus on representation and proficiency of our design digitally using the program Rhino, a concerted effort to be organized in the design process and documentation, and an effort to mesh more as a team than working more on her own as a natural tendency.

Dajana Nedic- attention given to her time management skills in exploring the design process with the team dynamic to help reinforce this goal, explore further the research phase of the project, and improving her communication skills in presenting her work as a collaborative whole.

Sharon Frazier - giving emphasis on exploring different ways of approaching the design process from conception to presentation, gaining a better understanding of how to use existing design work of precedents as inspiration however moving beyond them in a more original way, and more concisely and confidently communicating the design ideas during presentations.

Collaboration

Our team brings a strong collaborative spirit in working seamlessly together. It is our approach to work side by side in a concerted way helping each other complete work as the other team member becomes available. It is our strength to listen well and to offer a helping hand as a team foundation. Each designer will bring her own strengths to the design process and we anticipate the final conceptual outcome to be stronger as a result of our collaborative efforts than we could have accomplished solo. We plan to meet together in the studio on Monday and Wednesday from 3:30-6:00pm, and on Thursdays from 4:00-5:00pm. On Tuesdays we will work individually to bring the ideas together on the following day.

Responsibilities

The whole team is involved in the concept development and overall collaboration throughout the entire project. The following responsibilities are led by the noted team members, which are to be cross-trained across the whole team. As we have realized our individual strengths, we plan to combine and employ them as a team.

Dajana Nedic

· Concept statement

· Physical Model

· Public Space

Sharon Frazier

· Perspectives

· Diagrams

· Research

Blakeni Walls

· Digital Model

· Floor plan + Sections

· Ceiling Plan

We plan to meet daily from February 14^th to the 23^rd in the open space of the Maud Gatewood Studio Arts Building, with intention to explore, develop, and carry out the project conceptually, visually, and physically.

Jigsaw

We approached the design by using the interior axis pathways to align the existing units in a cohesive and meaningful way. We began to explore our original concepts of levitation, bubble and squeeze in the composed layout between the units of differing sizes and orientations. Also combined with our original concepts are the underlying themes from our chosen books: mystery, lightness, and materiality. The resulting design translates our three concepts into space and joins a system of architectural planes as floating platforms. Integrated in the platforms are floating staircases that unite the units. The overlapping and extension of these platforms creates a communal living area to be experienced as interior and exterior space. In the heart of the interior space we designed a minimal, outdoor kitchen as a communal area to be shared and experienced by the residents. A floating platform extends beyond the boundaries of the interior space to create an exterior living area. To add an element of safety and lightness in materiality, the floating platforms are surrounded by glass. The ground platforms are scaled back from the edge of the units to allow for plantings, which add richness and life to the communal environment.

Precedents

Christian Pottgiesser Architects

www.designboom.com

Elle Decoration UK Edition, June 2009, page 105

www.johnpawson.com

Hotel Puerta Americas

www.johnpawson.com

Plans, Sections, and Diagrams

Perspective views of the exterior platform and kitchen area.

Key

yum!

2011-02-24T20:22:00.000-05:00

Scrambling around in my old notebooks, I find that boring classes help me practice my sketching.

This particular doodle was from a previous english class that was less than exciting!

From what I can recall, sketching was my only highlight of the class.

Jenga 3.2 [Sorting the Pieces]--Diagrams

2011-02-20T00:59:00.002-05:00

Singular Objects of Architecture : Jean Baudrillard and Jean Nouvel

Camera Lucida : Roland Barthes

The Sacred and the Profane : Mircea Eliade

The Sacred and The Profane : Mircea Eliade, 1957

This book is divided into four sections: Space, Time, Nature, and Self, which mainly address the basic principles of religion and how that is distinguished through the idea of the sacred and the profane. It emphasizes the formation of the world and the role of centers resulting from the cosmos and chaos. This book provides a significant meaning to the reason why a certain place or space is designated as sacred. Some of the key points that I noticed throughout were the consistant separating details that ultimately relate to the whole. Also, the manifestation of ideas and knowledge that leed to a higher understanding of the divine.

..my interpretation of Kirby Mirrors!

2011-02-18T18:22:00.011-05:00

To my good friend Kirby--I think your a marshmallow!

Stay Puff Marshmallow Man! aka [Corry Mears]

Ghetto GAGA

2011-02-17T13:46:00.000-05:00

Studio really is fun!

We have cozy blankies and fuzzy stuffed animals.

But most of all, we always find time to laugh and enjoy those moments when we're not completely overwhelmed with work.

With Hammie in hand, Blake strides off to the computer lab ready to work work work.

when someone cares...it shows!

2011-02-16T19:38:00.001-05:00

It has been a rough couple of weeks and I haven't been the nicest person.

Luckily my friends are taking it very well, Kirby especially!

When someone cares, they know how to show it!

thank you kirby!

Current theme in Studio!

2011-02-16T17:24:00.000-05:00

via Conversation Pieces

this pretty much says it all!

Jenga 3.1 [Sorting the Pieces] --Narrative

2011-02-15T11:33:00.003-05:00

SQUEEZE + BUBBLE + LEVITATE

Navigating through the passageways of the space, one can feel invited at the entryway, which gives a signal of progressing forward. As this path compresses implying squeeze, it moves to a larger and less dense area of open space suggesting the idea of a bubble. This open space introduces an allure of floating elements and light forms describing the notion of levitating.

Jenga [2.0] Reflection

2011-02-12T18:18:00.001-05:00

Image found here

As this Jenga 2.0 is wrapped up, I feel a little uneasy about how satisfied I really am with how everything came together. I can safely say that there were moments of highs and lows, but ultimately it was more a learning experience than anything else. Staying true to the concept of Squeezing was not as easy this time around due to my constantly changing ideas. I felt better about this portion of the project solely for the fact that I could focus on one space and really see how it was going to portray the idea of squeezing. With this presentation being silent where we did not have a chance explain our processes, everything had to be evident in the deliverables we provided for the class. I think this was a successful technique for a presentation for the simple fact that the class as a whole had a chance to view everyone’s projects and, without any prior explanation from the designer, generate their own critiques about the information that was available. I have noticed details and techniques from other students in the class that have inspired me to include similar information on my future boards and in my models. I especially took notice and enjoyed Abigail’s perspective views where she zooms in on details that would otherwise go unnoticed as well as her flexibility within her space. I really appreciated the color coding in Jaman’s plans and sections which directly connect to his perspectives. Also, I applaud Kara for excellent board layout that read very well, clean craft, and elegant model making. Overall, I think Jenga 1.0 and 2.0 have both helped me to realize my mistakes along with the strengths of others.

Jenga [2.0]-Square SQUEEZE-

2011-02-12T16:33:00.000-05:00

With Jenga 2.0 we had to design one of the three spaces from Jenga 1.0. I had the opportunity to work with the square space that was 22’x22’ to which I had to add another floor that was half the size of the original space. Knowing that this was going to be a tight fit, it worked well for my concept word which was squeeze. In result to the addition of another floor to the square space, I wanted to reinforce the idea of distribution and how the force and pressure act on matter through a space.

[Sketch models]

[Beginnings of the final model]

[Sketchup views]

I chose to place the second floor addition on top of the first floor to emphasize the act of distribution ascending. The stairs are that connect the two floors are located at the right of the entryway, adjacent to the kitchen.

The axis has shifted to the opposite corner from the one in Jenga 1.0, in order to align with the wall on the top floor sectioning off the sleeping area. Overall, the space still speaks of tight-fit, crammed areas in contrast to those more open areas in the center of the residence designated for gathering.

[Board Layout]

[Final Presentation]

STUCK!

2011-02-04T22:18:00.000-05:00

image courtesy of apple pie

Lately, I seem to be on a downward spiral.

I'll have an idea and it just never seems to move forward.

I guess it's suppose to be good for me in a way, but I can't seem to snap out of it.

I feel as if there are so many ideas just waiting to be found and I seem to be limited to nothing more that a tiny little box!

Where is inspiration when you desperately need it?!?!!

Peer Review [WI3]- Austin

2011-02-02T01:03:00.000-05:00

Austin Loman adopts “Groove” in a way where it is crucial to think outside of the box. He utilizes this word in order to describe joining elements, the view from past to present, and its literal meaning. In the small narrow space that is 11’x 32’4”, using two walls and a column, groove exercises its placement on a different axis other than the center. Stepping away from the ordinary, the entire space follows an axis that sits along the windows of the residence which give it flow and effortless circulation.

Axon

In the square space that is 22’x 22’consisting of two columns and a wall, the concept is shifted to the precedents of temple forms. The A-symmetry of the space, implements a manageable distribution of movement throughout as well as a focus on the main access points within.

Axon

In addition, the space that is 22’x 32’4” lends itself to explaining how elements fit and connect. Using the two solids, grooving things together and making them belong with one another is the focus and main goal of this space. Though it is slightly off balance, the effect of simple accessibility is clear and works well for this particular space. Austin does a good job at associating these spaces with one another and making them fit as one.

Plan

This diagram shows the interlocking action of all three spaces in one.

Peer Review [WI3]- Alyssa

2011-02-02T00:04:00.001-05:00

Alyssa Hankus portrays the word “Epiphany” in a way where it is clear that she explored three different concepts that related and reacted to each other. With the largest space, she incorporates the two solids in such a way, creating a labyrinth through which the occupant has to travel, discover, and unveil what is inside. This could be considered a very interesting and mysterious space in that it encourages the occupant and the visitor to be adventurous and explore the space as a whole.

Axon

Alyssa also introduces another questionable impression in the square space with the idea of “real vs. surreal.” This space, consisting of two walls and a column, is purely enjoyable and all about inquiring and challenging the truth.

Axon

With the third and smallest space, she presents the idea of a transition from darkness to light with the use of one wall and two columns. The curved wall acts as a guide along which one must follow to escape the shadows and enter the area of enlightenment.

Plan

Through epiphany, Alyssa creates three spaces that embody this word in many different ways. She creates, for herself, a great foundation onto which these currently existing ideas can be processed further to develop into full scale projects.

This diagram represents the three spaces as they relate to the word Epiphany. The three concepts that react to each other provide an idea process that distinguishes the three spaces as separate entities. This helps to express the spaces independently as well as a connected unit.

Jenga [1.0] -SQUEEZE-

2011-02-01T15:35:00.003-05:00

1st Space, Kit: Two Solids

Plan

Ceiling Plan

Section 1

Section 2

For this space, utilizing the two solids was a challenge. Considering the word Squeeze I wanted to entertain the idea of an atmosphere that spoke of enclosures, layers, and journeys. My main concept for this space focused around a rainforest and how there are multiple habitats within that environment. What I tried to accomplish with this first space was to provide different areas that the occupant could travel through and understand that there was a divide between each space. Automatically from the entrance, the occupant is led through the seating/ gathering area where a canopy of lights can be seen above and to the work/storage area that eventually would lead to the hygiene space in the back corner of the residence.

2nd Space, Kit: Two Walls+ Column

Axon 2

Plan

Ceiling Plan

Section 1

Section 2

Though the square perimeter of this space would most likely suggest a more balanced environment, for the sake of my particular word I would suggest otherwise. With the kit consisting two walls and a column, I really wanted to express a more unbalanced character of the space. Instantly I thought about a shift of an axis and a distribution of matter that could clearly be noticed from the entrance point. The two walls interlock at a corner designating a hygiene area while utilizing the column as a built in toilet, sink, and shower all in one. The two walls also indicate the private and less occupied areas of the kitchen and sleeping space while enhancing the high populated area of the gathering space in the center.

3rd Space, Kit: One Wall + Two Columns

Axon 3

Plan

Ceiling Plan

Section 1

Section 2

Digging, tunneling, and creating niches were my main concepts for this third space. I first thought about ant farms and how intricately they are formed to provide enough space for circulation. This became a point that I wanted to really explore with this larger space. Once again, implementing multifunctional columns to serve as storage as well as check points inside the space, served as an interesting accent. Being greeted by these columns at the entrance gives the occupant the sense of a gateway through which to pass in order to reach another destination. Passing through the gateway, the curved wall slowly leads through the main part of the residence and around to the hygiene area that is lit with hanging lights. The tight hallway that leads to the hygiene area also leads to the opening of the sleeping quarters which is circular in shape.

Sketch Models

Updated Shoe Collection

2011-01-29T15:32:00.001-05:00

Every year, there is that one rainy day that makes you wear strange and sometimes very interesting shoes. Last year we came out with the ever popular sock-shoe from a paper towel as seen here.

However this year we have upgraded!

PLASTIC BAGS!

Found at any grocery store, these bags prove to be very helpful in times when shoes get flooded. Sure your feet might give off an unpleasant odor but don't we all have to suffer a little in the name of fashion.

Blakeni, being my "in studio" style icon, pulls this look off effortlessly!

In addition, next years look is already in the works!

[W2] = 1.1+1.2

2011-01-21T01:17:00.000-05:00

Thinking about small, tight fit spaces, “squeeze” seems to be the perfect word to describe this interior. Initially, for this particular space, I thought about the structure of a rainforest and how its sectioned layers provide their own narratives about the tremendous variety of species coexisting with that habitat. Working with a narrow space along with two solids, I wanted to recreate this feeling of coinciding with an environment that we can inhabit and testing its multifunctional limits. I also found that, for a tight, open area such as this, the idea of layers could very well work to distinguish the major domains designated for food preparation, sleeping, gathering, and hygiene. Ceiling changes and compartmentalized solids help establish the circulation throughout the space as well as to emphasize the hierarchy of public versus private. While the space is not designed for a large capacity, unlike the many layers of the rainforests, it certainly welcomes visitors who can expect to feel a cozy embrace by the interiors appealing atmosphere.

As I linger on this thought of an appealing atmosphere and how it can be achieved in a completely square interior, I start to think about the ideas of balance, distribution, and heavy versus lightweight. Thinking about the word squeeze, my mind automatically focuses on something being crushed or something being held significantly tight. However with this space, I wanted to exercise the idea of what actually happens as something is being compressed. My main point of interest was to try and emphasize one area, in this case, the main living space; in turn giving less attention to the small spaces tucked away for sleeping and bathing. Due to the adjacent walls complete with four centered windows in total, I wanted the larger area to have the opportunity to engage with ambience it would be receiving from these windows. Positioning two interior walls to create a larger, more fluid living space, resulted in darker private areas like the sleeping quarters and the area for hygiene. The kitchen stays divided from the main room, however it is still easily accessible and unrestricted. The overall circulation of the space takes a simple route only focusing on the main destination of the gathering area, thus establishing clear public and private zones throughout the whole interior.

For the third space that is significantly larger than the rest, I thought about tunnels and the creation of small niches. Essentially, I centered my ideas on the concept of an ant farm and how the system of tunneling creates passages and gateways through which circulation is possible. Taking this system of creating paths I wanted the space to be inviting from the start. The very moment someone enters, they are greeted by two large columns that serve multiple uses. Effortlessly squeezing through these columns, the guest is naturally led through the kitchen to the main destination; the gathering space. Much like the tunnels in the ant farm that lead to small niches and crevices, the gathering space directs the occupant to the sleeping and hygiene area. By placing a curved wall that separates the sleeping and gathering domains, a cozy nook is established that does not have to be the focus of the interior. The simple aesthetics of this space provide a system of circulation that is uncomplicated and manageable.

[1.1] Components

2011-01-18T10:53:00.002-05:00

1st Space: Kit: Two solids

2nd Space: Kit: Two walls + one column.

3rd Space: Kit: One wall + two columns

Analyzing the word “SQUEEZE” led me to think about tight spaces, distribution of weight, the creation of small niches, crowds, and gathering spaces. With the three kits of parts we were given to work with, I wanted to address circulation in a way where “SQUEEZE” could be used to describe the spaces. With all three spaces the kitchen is the main arrival area the leads into the main destination space used for socializing and gathering. Since most people like to congregate in kitchens and living areas, I wanted those to be close to each other in order to provide more space for each area. Private areas used for sleeping and personal hygiene are tucked away in order to create more room overall. Since the spaces are not exceptionally large in size I know that the furnishings will have to be somewhat compact and multifunctional. Navigation throughout the spaces is simple which, I think, gives each location a cozy feel.

[1.1] Narrative

2011-01-17T18:16:00.018-05:00

1st Space

Upon arrival to this cozy residence one can’t help but to feel joyous and alive when entering a space such as this. While the sun shining through the windows spreads its warmth throughout, the room comes alive and invites its guest for a blissful moment of relaxation. Throughout the day and even into the night, this peaceful space has an opportunity to engage in the entertaining activities of company. The narrow architecture of the room is not equipped for a significant crowd; however a few visitors are certainly welcome.

Small areas are assigned for food preparation, hygiene, gathering, and sleeping, which is why “simple, compact living” is a description that holds very true to this adorable pad. Guests can expect to feel acknowledged and special due to its quaint size and compressed furnishings. Its simple plan allows for less clutter and more flow throughout the space as a whole.

In the words of Shakespeare’s Juliet, “Parting is such sweet sorrow”. Whether saying goodnight to the bright moon through the clear windows or leaving the flat for the night, one cannot simply shut their eyes and walk away without feeling confident that this space will embrace its guest yet again.

Second Space

Awaken by the pounding rain that seems to be increasing by the minute; she struggles to step out from under the pleasant coziness provided by her comforter and warm blanket. With all the stresses of the day waiting just beyond the front door, she pulls her pillow over her head and refuses to accept that it is only Monday morning. Although this day is perfect for sleeping in, she fights to resist the grips of her soft blanket.

Tip-toeing over to the bathroom to get ready, she slowly adapts to the chilly temperature of the enclosed space. As she quickly gets dressed, she suddenly feels better about taking on the day along with all of the rain that seems to be never ending. Neatly straightening the pillows and blankets, she precisely organizes the small sleeping area to avoid clutter. Grabbing her bag and coat, she progresses into the larger living area which seems to only acknowledge and reinstate that the sun will not be making an appearance today.

Although the rain is pouring, the four large windows in the living area provide a front row seat to the spectacle that surprisingly seems to be offering a moment of complete awe. Taking a second to enjoy the show, at least before she has to step outside, she quickly steps over to the kitchen to prepare a cup of tea. As the water is heating she makes sure to prepare her galoshes for the many puddles she expects to encounter throughout the day. After the teapot announces its boiled water is ready to be poured, she does so and returns to the quiet living area. The room is still dark but she does not seem to mind as she slowly enjoys her tea before a day of chaos is to ensue.

The tea is gone and so time has come to leave for the day. Hesitant at first, she quickly grabs a pair of thick socks and puts them on knowing she will need them for warmth. She puts her coat on and secures her messenger bag diagonally across her torso. Slowly sliding into her galoshes, she grabs her umbrella and turns off the lights in the kitchen. As she is heading out the door and making her way down the stairs, she still wishes she could stay in her cozy apartment under a warm blanket.

Third Space

Long, grueling days at the office can be a strain. Sitting at a desk enclosed by a cubicle has more than once proven to be mundane. The company clock informs that it is five thirty in the afternoon and the workday is finally coming to a close. The drive home seems to take forever, but the setting sun is giving off a calming glow that makes the whole experience surpassingly bearable.

However there is nothing like walking through that front door to be welcomed by columns that automatically grab your attention and guide you through the rest of the space. The warmth from the setting sun still lingers in the kitchen and living room creating a cozy atmosphere that is well deserved. While enjoying the warmth and the view that is undeniably beautiful, it is quite difficult to say good night to such a delightful scene. Checking that everything is set in its place, the occupant effortlessly transitions to the bedroom. The wall that acts as a space divider provides for a much needed private area equipped with a small bathing space that is almost unnoticeable.

Ready for a good rest, the bed is inviting and undoubtedly comfortable. As the lights go off and the whole place is silent, nothing can be heard but the sound of a light breeze against the tall windows. The moonlight slowly spills into the room, giving a luminous gleam that ultimately creates a setting for sweet dreams.

[W1] Designer Revised Bio and Goals

2011-01-15T13:50:00.001-05:00

As the new semester starts we begin by setting some goals for ourselves that will ultimately help us grow as designers. Some of my goals include learning better time management, not being as reliant on the internet as my main source for research, and also trying to develop a style that is my own. According to the Change Style Indicator exercise we did in class recently I am considered an “originator”, an unconventional risk-taker who is open to new ideas, has an overall vision, advocates change, with a “do-it-myself” attitude. I can say that most of these characteristics hold true due to the fact that I approach every project differently now than I did when I first started this program.

As a person who is very analytical and detailed, I would like to really challenge myself and work towards achieving my goals and making them a habit. Keeping track of time, especially in this major, is hard enough as it is. However if good time management is practiced and applied not only in this major but in other areas as well, it would create less room for stress and more room for creativity. Along with practicing good time management, I want to shift my focus to using more book sources as opposed to mostly online ones. I would say that most of the time I can get distracted with “online surfing” that I lose sight of actually attaining information. Although the internet is faster at acquiring that information and making it available 24/7, it can also be a little overwhelming. Taking the time to actually sit down, read a book, and not be distracted by the need to check emails or facebook, a more substantial way of gaining and understanding information. Lastly I would also like to work on a style or technique that I can call my own. Developing a style that sets me apart from other designers is definitely a long-term goal that I think would make for an interesting before/after process.

WHAT?!?!?!

2011-01-11T20:46:00.001-05:00

Now that I have just shared my goals I am beginning to feel as if I shouldn't have!...Hopefully expressing my goals is going to only motivate me to achieve them!

[W1] Designer Bio and Goals

2011-01-11T19:53:00.008-05:00

Starting a new semester always means coming back into an environment full of creativity and long hours in the studio. As with every semester, we always have something new going on that helps us grow as designers. This semester however I’m setting some goals for myself to help inspire, challenge, and motivate my design process for the next four months. Starting out the spring semester of this second year in the IARC program, I really want to learn how to manage my time wisely and to my benefit. I also want to start using more books as research tools as opposed searching everything online. Above all I want to start establishing a style of work that I can be satisfied with and hopefully start exploring other areas of design not solely based on interiors.

With this goals set, I can use the strengths that I have acquired in this program to help me achieve them. According to the Change Style Indicator exercise that we did in class recently, I am an “originator”, an unconventional risk-taker who is open to new ideas, has an overall vision, advocates change, with a “do-it-myself” attitude. In all honesty, I really would not say that about myself but after looking at some of my projects in the past I can begin to see how some of those traits apply. I can say that I am very analytical and I like seeing how things connect and relate. However, due to the exercise, my friends say that I pay attention to detail and that I am not afraid to voice my opinions [true]. This exercise not only helps me understand what my strengths and weaknesses are, but also how I can now utilize them in order to reach my goals and grow as a designer.

..it might (not) be luck!

2010-12-28T22:24:00.001-05:00

Is luck measured by the fancy stuff that one owns?...or is it a measure of how happy that someone may be? hmm...

FAVORITE!

2010-12-28T21:52:00.000-05:00

Eurocrem has to be the best chocolate-hazelnut spread ever!!

[Nutella is a close second]

o how time flies!

2010-12-28T21:28:00.000-05:00

Once again winter has come and with it brought a bit of snow.

However I can't help but to think about the leaves that have fallen this past Autumn

and the lush greenery that will come back in the spring.

Time flies so fast these days and I wish I had more time to

enjoy these changes.

think outside of the juice[BOX]

2010-12-20T20:17:00.000-05:00

This little remix has evolved into a very funny joke in my studio. =]

Point [Explorations]

2010-12-10T16:04:00.001-05:00

image found here

At the beginning of this unit we are reminded of the importance of spaces, the idea of collecting, and borrowing from already existing art traditions. With the world’s fair of 1851 and the Crystal Palace, we begin to see the use of machine within the structure as well as a conceptual machine that brings all of the exhibits inside the palace together and to the eyes of the public. With the idea of so many different styles coming together in one place, it was a perspective that was now beginning to focus on modernity that was inevitable.

“We do not reject the machine, we welcome it. But we desire to see it mastered” quoted Charles Ashbee in 1888. This being said, it meant that the machine was to be used correctly and appropriately. As the changes in society urged scientific developments and explorations of new materials, major prototypes were to be the result of that. Such prototypes included the Brooklyn Bridge, the Eifel Tower, as well as the 1851 Exhibition building. These structures gave way to the Chicago school and the idea of building vertically. As Chicago grew in size so did the idea of stepping away from too much surface decoration and actually creating a separation that was accepted widely.

As the search for what was truly modern continued, so did the exploration of new styles and design ideas. There was now the notion of working with art to create meaningful spaces to occupy. This was an idea that clearly translates though the work of Antoni Gaudi with Casa Mila, Sagrada Familia (image above), and Guell Park in Barcelona. Here, the machine is used in a discreet way so to shift the focus on the substance of the building and not so much on the production of it.

Back in the states, the machine was used in the opposite manner. The machine was embraced and shown off to establish power and reinforce the industrial aesthetic. With buildings like the Chrysler Building, Empire State Building, and Woolworth Building, there was a new presence that came about that put big cities on the map. The introduction of processed goods and the boom of cinematic movies gave way for styles that were very streamlined and polychromatic. There was also a question of modern style being local or international and if it really catered to everyone. However, design in general most always raises these questions that are ultimately up to the public to answer.

With the Bauhaus school there came a whole new vision. The idea of machine was fully embraced members of the faculty like Ludwig Mies Van der Rohe as well as Walter Gropius and Marcel Breuer. The idea of modern was now an act of paying close attention to detail and knowing how to simplify something so that it still gives a strong presence. “A house is a machine for living – it should be as practical as a typewriter, a telephone, an automobile” Le Corbusier quotes. He stays true to the details that are involved in the design process but still ensures that they do not get out of hand. Ultimately, this final unit lets us explore all of what happens in the past in order to resolve issues that we may have in the future. It gives us a perspective and great inspiration to pull from so that we as designers can create spaces and places that are more enjoyable for all. It leads us to really explore commodity, firmness, and delight in order to become better designers and appreciators of good design.

Rhythmic Folding

2010-12-09T23:49:00.002-05:00

This project deals with the many styles of folding. In the beginning, we looked at mainly paper folds and what is popularly known as Origami. However, within our group, we decided to explore the definition of folding and what it really expressed. We found that we could use music as a map to guide us in forming a structure that could convey the idea of folding without actually folding.

Process:

[earlier process found here]

Final Model

Group Members: Kayla McDonagh and Daniel Salgado

Final Board

To view more projects from our class please visit our class blog!

Portfolio Board Fall 2010

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

This is my end of semester portfolio piece for my drawing class, Design Visualization III. Between all of the chairs and boxes we have rendered, I was glad I had more to show than just those. With everything that we have done over the semester, I have to say that I never took shade and shadow in perspective so seriously. Having to render materials was a bit tough but it's also something that I can work on and hopefully get better at.

counterpoint [Machine]

2010-12-08T12:39:00.001-05:00

Background image found here

The last counterpoint project was about how the explorations unit was presented as a machine. I chose the form of WORD at the scale of PLACE to represent how Park Guell by Antoni Gaudi worked within the city of Barcelona to bring about a rich and colorful cultural aesthetic. I am a big fan of Gaudi's work and I think that he steps outside of the box when constructing this park in that he thinks about how the people are going to react to it. It seems like a wonderful place to explore along with the whole city of Barcelona.

Reading Comprehension Seven

2010-12-01T22:29:00.000-05:00

Visiting the Greensboro Collects exhibit at the Weatherspoon Museum, there were many pieces of art that really made me stop and stare. Looking closely at the Work and Commerce theme of the exhibit, I found that most of the works focused very heavily on skilled labor that depicted more so the people involved rather than the environment which surrounded them. Roth states “Turning away from symbolic allusions and national building traditions, the purely pragmatic and utilitarian approach to design was to let functional requirements and structural solutions determine the result” (520). This describes why many of the pieces show a wistful balance between the media and technique that were implemented in creating the stories of these laborers. Although most of the pieces specified a person or people doing some sort of work, one of the pieces took a different approach. With the work of Gabriel Orozco’s “Dung Patties” (1996), I had to really think about what was being said in this photograph. The palette of photo comprised mostly of earth tones such as beiges, grays, and browns, where the contrast was really emphasized in the dark brown of the actual dung patties relating to the light beige of the wall behind it. As I analyzed this work of art, trying to decipher the relation to all of the other works within this theme, I kept thinking about Work and Commerce being characterized as tasks that seem unpleasant but still have to be handled. This photo also made me think about footsteps and progression with how the bars upon which the dung patties are placed seem to overlap and move forward.

With this diagram, I began to speculate how much of today’s society and the work that is being done progresses from unpleasantness to some sort of success. This makes me think about when the Contemporary style first came on the scene. As with any style in design it may have its downs but ultimately it can prove to have positives as well. “Thus the Contemporary Style provided an effective blend of the latest developments in American and Swedish design with British traditions…The whimsical and decorative nature of the Contemporary Style ensured its success with the consumer”(Massey 168-9). Whether it is in design, politics, or even self awareness, we are always starting from a point where we are forced to learn, adapt, and use that knowledge to reach some sort of satisfaction within our own lives. The transformation of footprints emphasizes that adaptation of knowledge and reusing it for the better.

As I think about this diagram and the progression to success, I began to look at another work that was on display by John Singer Singer Sargent. His work, titled Man at Office Desk, shows a man that has some sort of authority alongside someone who appears to be a co-worker or possibly an assistant. I would say that this also shows a progression within the workspace in that I can imagine a hard work day ending with the records of the day’s production amount. The use of watercolor and a dark palette also suggests a hierarchy of what was important within the composition. This reminds me of something that Massey also suggests in her writing about the Union Carbide Headquarters in New York City. She summarizes, “Hierarchies within the firm are symbolized chiefly by seating, with the management occupying the top storeys and places beside the window, but also by the size of work station and amount of privacy. This was the first office block to be fully carpeted in order to cut down noise. Such innovations marked the rise of so-called contract interiors, that is, interiors designed for commercial as opposed to domestic use” (147).

Pred zadnji sneg.

2010-11-25T19:28:00.000-05:00

Lyric by: Djordje Balasevic

hmm...

2010-11-25T19:26:00.001-05:00

this is my funny take on scale figures.

once upon a time...

2010-11-25T19:25:00.001-05:00

...I thought I wanted to be a fashion designer.

Much to my dismay that dream did not work out.

However, here are some sketches I would like to share.

Reading Comprehension Six

2010-11-17T14:13:00.002-05:00

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for

an understanding of styles in architecture and design influenced by fine art. Selecting either Arts +

Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your

answer, you should include evidence from the readings and at least two annotated images as support

for your analysis of influences. [15 POINTS POSSIBLE]

“Art Nouveau architecture strives to create a modern style free from historicism and academic traditions. Emphasizing the individuality of the architect, this new architecture incorporates raw materials and industrial processes and an emphasis on structure and function.” (Harwood, 488)This was a lesson thought to and by many designers which helped make the Art Nouveau style exceptionally popular throughout European nations such as Belgium and Spain. Both of these countries, among others, showed a very creative interest in this new style that was all about the impossibilities becoming possible. Belgium’s center for this creativity was of course Brussels, a city where designers like Victor Horta “exploited the formal possibilities of an exposed-iron frame by moulding iron pillars and beams into organic curves.” (Massey, 33) Belgium accepted this new avant garde design and proceeded to make their mark by establishing streets , buildings, and even parks of monumental status giving way to excitement of this new style era.

Image found in Harwood p.500

Images found in Harwood p.504

Spain was also heavily involved in promoting new reforms such as social, political, as well as cultural. With this, Barcelona became praised as the industrial center giving inspiration to the infamous Antoni Gaudi and his very avant garde designs of apartment buildings and churches. Barcelona also became famous for producing two trends that seem to make way for a smooth modern movement. These trends became known as the Modernismo, which related closely to those of the French and Belgian movements, and the Catholic Church view of modern life, which strived for a social intersection of theory and aesthetics among society.

Image found in Harwood p.492

Images found in Harwood p.497

These structures represent a modern movement that was very much resembling a lively way of functioning with and through buildings. Working from a skeleton-like frame and putting a humanistic skin on the building adds a sense of intimacy and warmth to this design and makes the viewer interested in exploring these interiors.

As Belgium and Spain were very much in compliance with Art Nouveau, the United States was not at all embracing this European modern movement. However some traces did seem to reside with the American design community. These traces included much of the decorative arts that were used on the interior and the exterior. Architects such as Louis Sullivan and Will Bradley used these decorative arts and used them as ornamental aesthetic and graphic design. With the lack of popularity in the United States of the Art Nouveau style, it still stood to show the importance of nature and organic motifs along with curvilinear forms and stylalized plants and flowers. Designers everywhere, across Europe and the United States, exemplified true Art Nouveau by “creating the exteriors, interiors, furniture, and decorative art with an eye to complete unity in form, color, and decoration. Individually designed, all parts relate to each other and the whole.” (Harwood, 499)

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply

influenced design and architecture of the twentieth century. The great debate raised by this new

approach to design involved the presence of the machine in the design process and final products.

SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on

design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient

image (cited) and annotation to help bolster your argument. [10 POINTS POSSIBLE]

Image found in Massey p.55

Image found in Massey p.54

As the Modern Movement created a sensation in the 20^th century, design was now becoming very broad. It was yet again an exploration of materials, color, and intimacy that was coming together to express a new perspective of what it meant to have a “machine for living”. Charles Rennie Mackintosh gives us a view of his own house at 120 Mains Street, Glasgow where he delicately creates “an intimate atmosphere in his dining room with the somber brown of the walls, which were covered with coarse wrapping paper” (Massey, 53). This helps to define the so called machine is a way where the explanation is simply that of a living space being an essential tool for how people live their lives. I believe that in order to function in any space, much less a living space, we have to have some ties to it. I think that Charles Mackintosh shows great relations between living simply as well as living in a modern era where there is minimal chaos of “stuff”.

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe

explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own

design exploration of that image through color, material, and light and appropriately annotate and cite

the image to prove this point. [5 POINTS POSSIBLE]

When I think about modernism as a design style, I mostly think about straight edges and strict rules. However, that is far from what the modern movement was all about. Design as a whole seems to be about thinking outside of the literal box and with that we must break rules and rethink and decipher what has already been done. With that, I think that Paul Poiret was a modernist at heart. Looking at this interior as a black and white photograph, it has as much intensity in its contrast as it would probably have in person with its rich and overwhelming influences from the east. This interior definitely breaks out and speaks a totally new language when it comes to the Modern movement because it stays true to its influences and adds such a sultry atmosphere to the space.

Sources:
Harwood, Buie. (2009) Architecture and interior design from the 19th century. New Jersey. Pearson Education Inc.

Massey, Annie. ( 1990, 2001, 2008) Interior Design Since 1900. London. Thames & Hudson.

VOTEEE!!!!!!!

2010-11-12T11:48:00.001-05:00

[Reflections] Summary

2010-11-11T19:15:00.002-05:00

With the clutter of the Victorian age we seem to have this reflection to the past that looks to all of the design ideas that had been popular. Daniel speaks about this chaos of design styles with a very fluid emphasis on how the reflections unit seemed to not only heighten this dramatic return to the past but also introduce new materials with which the 19^th century was mostly recognized for. These materials included glass, steel and iron which were mainly showcased in the Crystal Palace along with many of history’s most precious design achievements. He also compared the Crystal Palace to the modern day Guggenheim Museum in New York which also serves as a type of showcase that present day design appreciators can relate to.

image found here

We not only see what goes on in design history through the 19^th century in Europe but also what seems to be crossing over to the United States at this time. Kathryn seems to really emphasize the translation of moving from industrial Europe to the modern meaning of the American society by asking the question that seemed to be on everyone’s mind; what is modernity? She challenges us to answer this question even we are looking backward in time. She speaks about her image of the Royal Pavilion in which curiosity plays a big role by having a strong eastern influence in a highly innovative structure that is clearly not where it is designed to be.

image found here

Jasmine sums up for us a unit that was altogether a very interesting one. Looking back on history and designing from what we have learned doesn’t always work out perfectly. However those mistakes from the past can help us understand the solutions of the future. She mentions how the industrial revolution was a time in which not only materials were being introduced but also how with all of these culminations of stuff was beginning to have a strong influence on people’s identities. This goes to show that with new innovations, people struggle to find what true design really is. She uses an image of a Ferris wheel to show that design at some point or another always returns to a point in which is first started. This is essentially what modernity can most times be influenced by.

image found here

[Alternatives] Summary

2010-11-11T18:18:00.000-05:00

Sharece talks about how the alternatives unit goes from gothic to renaissance and proceeds to the baroque periods of history. She mentions Palladio and how he was considered an alternative thinker in his design of the Villa Capra. Something that really stands out to me about this essay is the image which shows road signs pointing in different directions. She explains how creativity does not really have a direction or a rule but it does show thought and decision making that begin to lead in new directions.

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Caitlyn speaks very clearly about how the rules of the classical world translated into renaissance vocabulary. This translation then took those rules and inverted them to create the Baroque period which completely stepped outside of the box and experimented with making things come alive. She uses the image of the cenotaph for Isaac Newton as a description of this rule breaking as well as a way of thinking forward in terms of structures that exceeded current expectations.

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Kacie mentions how the rules of the renaissance were used in a convenient way to alternate the ideas of past design elements and form new plans to provide theatricality for the future. She talks about the differences of Renaissance and Baroque styles in that, Baroque was much more challenging in nature and innovative in presence. Her image of the walkman and the iPod touch sums up how an object design for a certain use in the past can be revamped and be more convenient for the future.

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Point [Reflections]

2010-11-08T08:54:00.001-05:00

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The 19^th century was a time in history where design not only blossomed through advancements in production of new materials but also where design struggled to make one solid identity. With this idea of working form the rules of the renaissance, design was clearly evolving, once again, in a direction that was sought to be modernizing the whole idea of interior and exterior style. All of these ideas started turning the wheels of progression, and I mean that almost literally. The wheels in this scenario are represented by, not only the image above, but also the many revolutions that took place during the 19^th century. Not only the political and social revolutions, which by all means have their share of influence on design, but the vast stylistic revolutions that took place all over the world in order to show a great change in how people saw design altogether. Roth summarizes this pretty well when he says “The great irony of architectural development during the 19^th century was that while there were epochal changes in the creation of new building types that exploited new building materials, the architectural building forms themselves were overwhelmingly determined by historical precedent.” (469)

Reviving and reforming the past with the present has been a cycle that seems to continuously keep rotating back and forth. No wonder the 19^th century was such a mess! All of these revolutions, be it bringing back classical language, finding ways to interpret the renaissance, or even trying to decipher all of the design conversations that seem to be going on at the time, seem to be causing a heated debate about what true design really is. With the success of the industrial revolution and the introduction of caste iron, glass, and steel as a major material, all of these conversations were beginning to find their voice among those such as industrialists and the wealthy who could afford to put their two cents in. However, most importantly, the designers who were leading these conversations seemed to be shifting the rules upside down and moving outside of the box completely.

As the American Revolution illustrates a return to Grecian and Roman classical style, this was a period in which access amounts of “stuff” were applied to craftsmanship and to showing worldliness and gentility. With the state capitols such as Virginia, Washington, North Carolina, and Tennessee, we begin to notice the façade that links back to Palladio’s work as well as this similar language that seems to go on with the continuous use of lantern dome structures atop the buildings. In addition to this we also continue to see how England has such a great influence on much of the architecture due to trade.

Although England was such an influential power throughout much of this period, there was another power that was gaining force in design and it was coming from the east. Places like India and China were forming major trade routes with Europe which in turn caused a fresh exchange of decorative systems, abstracted art, and exotic atmospheres. There was yet again a strong emphasis on natural motifs through interiors of The Peacock Room as well as The Royal Pavilion. As the world is being showcased and translated through all of these techniques, this in turn expresses how the 19^th century was a major stepping stone in the formation of design ideas that would continue to progress forward.

Book Source: Roth, Leland M. (2007). Understanding Architecture: Its elements, History, And Meaning. Colorado: Westview Press.