mystiegreen's design journal

iar 302: a cultural self-portrait.

2012-01-13T11:17:00.000-08:00

iar301. assignment 2.0 - schematic design.

2011-10-17T16:26:00.001-07:00

For studio assignment 2, each of us in Travis's studio designed a Solar Decathlon-style house based on a personal analysis of the way we live within our own dwellings.

My design was grounded by several basic ideas:

-being sheltered/surrounded by nature

-the articulation of corners

-public and private separation

-capture

Inspiration came from nature in general (specifically, dense foliage and greenery) and the work of Frank Lloyd Wright, although not initially. Rather, my design had already progressed quite a bit before I realized how it related to any design precedents.

Some process work:

The design:

public entrance

private entrance

Renderings:

Physical scale model:

iar301. assignment 1.0 - analysis.

2011-10-17T13:02:00.000-07:00

This semester, Travis's IAR 301 studio has been focusing on the Solar Decathlon, a zero energy residential design competition held every two years. This year, the competition took place on part of the national lawn in Washington, DC, where each house was constructed on site from modular parts traveling in from all over the world.

From the beginning, each student in our class was assigned a different team's design to analyze through research and the production of two- and three-dimensional diagrams. During the weekend of September 30th-October 2nd, our class traveled to Washington, DC and toured the houses firsthand.

Below is my personal analysis of the Living Light house, designed by the University of Tennessee.

(construction documents borrowed from http://www.solardecathlon.gov/team_tennessee.html)

iar 202. wi10.

2011-04-27T10:28:00.000-07:00

The end of this semester marks the end of my experience as a 2nd year IARC student - a point in time which once sounded so far into the future. I can safely say that much of my transformation as a designer has taken place in Patrick and Claire's studio, as previous semesters focused a lot less on designing buildings and interiors. This semester, I was able to produce more work than I thought I was even capable of within the given timeframe. Coming into the semester, I had absolutely no idea that I would inevitably be participating in the design of a 16-story structure. Although our final project could have gone a lot smoother, the experience is nothing I will ever regret.

On the first day of studio, I articulated the following goals:

develop a better understanding of how people move, behave, and interact within interior spaces
develop better time management skills to reduce stress and improve the quality of my work
have more confidence in my work as I develop a more professional outlook on interior architecture and design in general
integrate the principles and elements of design more fully into my work and my descriptions of it
develop a clearer identity of my unique design style

Although none of these goals are fully accomplished, all have been addressed during the course of this semester. The biggest development seems to be an improvement in my time management skills. There were certainly all-nighters this semester, but surprisingly few of them. Along with time management skills have come improved confidence and a clearer perception of aesthetic quality in my own work as well as the work of others. Overall, I also have a better understanding of how interior space can be manipulated to accommodate the needs of people. I still find it difficult to pin down exactly what my design style is. As far as design preferences are concerned, I appreciate innovation in design and a more minimalist approach. For the most part, traditional design styles and decorations are no longer attractive to me, although ideas and elements can be drawn from them for inspiration.

Along the way, writing has been a catalyst for the clarification of ideas. Reflecting on my own thoughts and intentions through written language has occasionally helped to resolve ambiguities in my thought process. The conceptualization involved in narrative writing exercises evokes new ideas as one mentally walks through a proposed design. While writing one of my narratives for Jenga 1.0, I stumbled across the notion of spiraling "thought paths," which eventually led to the design of my "crystallization of an idea" unit. The idea was already in my mind; I simply needed the writing exercise to draw it out.

Writing out my thoughts led to design inspiration.

Reflective writing, on the other hand, synthesizes and reinforces what has already been learned. It helps to have learning experiences documented in some readable format so that they are not lost to time or memory.

Because they offer more learning experiences, I still prefer group projects over individual ones. My group of three (team Evolve) demonstrated a good balance of skills and strengths. I feel that our writing successfully complemented our deliverables and explained aspects of the design process. Kelly's prolific flow of ideas, Cassie's abstract thinking, and my attention to detail resulted in well-chosen words and sentences. The most appreciated learning experience came in our group of six (team Trepide), as multiple ideas and opinions came together to produce a harmonious and well-considered design. In a group of this size, a favorable outcome can be achieved, with the added benefit of five other individuals to learn from along the way.

This simple diagram demonstrates the synthesis of various ideas.

During this phase, our written group analysis benefited from the efforts of three other group members, especially Sharon's clean and descriptive writing style.

In a group of twelve, however, too many differing ideas and a lack of sufficient communication can result in confusion and discordance within a design. Although our group Portmanteau functioned well when fractured into smaller subgroups, we had difficulty deciding on anything as a whole. In the end, however, we were able to produce a respectable design. My process of writing for the prospectus helped to clarify design intentions and group responsibilities.

Following is a list of lessons I have learned or have been reminded of during the course of this semester:

design is a process; produce deliverables as you design, not simply afterwards
trust the competency and creativity of your peers; there is always something they can do better than you can, and it is important to learn as much as you can from them
design primarily with people in mind; mentally put yourself in the place of potential occupants of your design
question traditional assumptions of how designed objects should look or function
in writing, limit passive sentences and formulate active ones in their place (but passive sentences still have their usefulness)
customized scale figures are a great way to be just a little more creative! (inspired by Cassie Bradfield)

Note: Audrey Hepburn scale figure, via Adobe Photoshop and Illustrator

More lessons will no doubt come to mind in the coming days. As I mentioned before, I have gained more confidence in my abilities as a designer. My writing and rendering skills have been honed, although there will never cease to be room for improvement. While holding onto my positive "left-brained" attributes (attention to detail, insistence on accuracy and carefulness, etc.), I still strive for more creativity and a superior understanding of the whole in relation to its parts.

iar 202. first year review for Caitlyn Whisenant.

2011-04-27T10:25:00.001-07:00

Hi Caitlyn,

My name is Kara and I'm reviewing your final project!

First of all, your perspectives were beautiful - they demonstrated careful color selections, effective use of contrast, and gradation in color to represent the effect of light on physical objects. (My first year final project perspectives didn't have any of those…) I couldn't see if there were scale figures in all of them. If so, great. If not, then that's something to remember.

You made smart use of both public and private space, addressing them with equal importance. The theatre concept was interesting and really showed up in your design. Kudos for addressing both the floor and ceiling within the space.

Also, I loved your secret, "sneaky" revolving door into a private study.

The details of your technical drawings were hard to read from far away, but I understand that clarity is very hard to achieve when it comes to those. Also, I was a bit too far away, so that definitely had something to do with it. I wish I had an opportunity to see your work up close at the time of the presentation.

Also, there was that space issue that Tommy mentioned - a walkway being a little tight. From far away, it did look tiny, but again - I wish I could've seen it better.

Overall, strong work and presentation! Your voice projected well and you defended your ideas successfully.

iar 202. jenga 7.0.

2011-04-25T13:26:00.001-07:00

For Jenga 7.0, our team Trepide merged with team Emerge to form Portmanteau. Our combined efforts resulted in a 16-story structure with a focus on the intersection of horizontals and verticals.

Physical models (photos courtesy of Kelly Harris):

gestural model of entire structure

detail model of first atrium space

miniature model of chair design; detail model of joinery method

Each of us also revisited our individual units, picking up from where we left off after Jenga 2.0.

process

final board

zoomed-in plan rendering

rendered elevation

window treatment

Specifications:

Individual essay:

Portmanteau's building complex celebrates the joinery of opposites, seen clearly through the juxtaposition of solid and void, horizontal and vertical. Diaphanous expanses of glass contrast tastefully with heavy, structural masses, creating a pleasant balance. Likewise, strong horizontal and vertical elements create a harmonious and visually engaging intersection of lines. Eames furniture and textiles emphasize warmth and human scale.

The "crystallization of an idea" unit is conceptual as well as functional, abstracting key concepts from the larger structure yet existing as a unique, livable entity. Simplicity of form and line unites it with its immediate surroundings, while a unique arrangement of elements sets it apart. The designer has placed particular emphasis on circulation as a symbol of and vehicle for intellectual journeying. In contrast to the horizontal elements of the unit, a strong upward focus leads the occupant toward a pinnacle moment on the upper floor, relating through form to the pronounced verticality of the larger structure. The etched pattern in various glass elements echos this verticality. To demonstrate a sense of gradual dematerialization within the unit, the designer has chosen to explore directional focus, physical light, and gradation of glass transparency. As one ascends, there is an increase in the amount of natural and artificial light.

Hardwood flooring is present in both levels of the unit, as are Eames DSR molded plastic chairs. In the upper level, the Eames circle textile, celebrated in the public spaces of the complex, appears on two separate cushions. Contrasting materials reflect the idea of contrast in the building as a whole; the warm wood tones and relaxed fabric pattern balance the starkness of the corian. Solid masses are joined to translucent or transparent sheets of glass.

iar 202. jenga 6.0.

2011-04-25T13:00:00.000-07:00

For Jenga 6.0, team Trepide focused on a proposed site for our eight-story structure.

Individually, we each designed a door and a light fixture for the entry to our private unit.

exterior view

interior view

iar 202. jenga 5.0.

2011-04-25T12:02:00.000-07:00

Jenga 5.0 resulted in the joining of two teams to produce a team of six and an eight-story design. Our concepts fit together seamlessly to produce what I believe was the most successful Jenga design that I was involved in. We became team Trepide, building upon previous concepts of flow, dematerialization, and capture and release.

Design program and appendix:

Physical models:

detail model

iar 202. jenga 3.0 + 4.0.

2011-04-25T10:43:00.000-07:00

For Jenga 3.0, we organized ourselves into teams of three to design a two-story structure with public spaces that reflected our initial concept words. Cassie, Kelly, and I became team Evolution, with respective concept words of flow, pendulate, and crystallize. Our design reflected the ideas of change, flow, and transparency.

As part of Jenga 3.0, our group produced 4 papers to demonstrate the main points of the books we read for this semester's studio. Three of the boards were individual, while the fourth presented a combination of ideas.

Following is my 8.5 x 11 composition, depicting the main points expressed in Witold Rybczynski's Home: A Short History of an Idea:

For Jenga 4.0, team Evolution (Cassie, Kelly, and I) doubled the number of units in our design, rotating and stacking them on top of our Jenga 3.0 structure. The result was a four-story building that reflected the same concepts in a more developed way. The following team proposal/prospectus documents both Jenga 3.0 and 4.0:

Physical model for Jenga 4.0 (photos courtesy of Kelly Harris):

iar 202. jenga 7.0 initial thoughts.

2011-04-03T21:36:00.000-07:00

With each new project presentation, I am increasingly impressed by the work of my peers, particularly the level of detail attained in each group's design. I feel that our group Trepide (Kelly, Cassie, Sharon, Dajana, Blakeni, and I) was fortunate to be joined with team Emerge, consisting of Abigail, Corry, Austin, Leslie, Kathryn, and Kacie. Their presentation last Friday was clean, well organized, and professional.

During this afternoon's group meeting, the twelve of us decided on the team name "Portmanteau," underscoring the joining of the two groups. We also discussed the differences and similarities between our two designs. One common approach was a strong emphasis on contrasting horizontal and vertical elements. In Trepide's design, we expressed horizontality through the use of patios jutting out from the building mass; to accentuate the building's verticality (as well as our concept of gradual dematerialization), we designed columns extending through the patios, decreasing in diameter with each successive level. Team Emerge achieved horizontality through elongated, C-shaped patios and verticality through lengthy, upright beams.

It seems that our respective design strategies can be tweaked and used in conjunction to communicate these common concepts. As a group, we entertained the idea of designing a structure in which the first floor is the most unified, expressing strong connections between various parts, while upper floors begin to deviate from that sense of connectedness. Emerge expressed a similar concept in their design. In my thinking, such a design strategy would work well with Trepide's concept of dematerialization. However, Austin mentioned that our potential design could be viewed in the reverse: as disconnected elements ultimately coming together at the bottom floor of the building.

As of now, these ideas are quite abstract and have yet to take shape or undergo revision.

iar 212. illustrator rendering.

2011-03-17T07:38:00.000-07:00

iar 202. 4+4=8 charrette.

2011-03-15T16:33:00.000-07:00

This past Monday's studio class - the first day back after spring break - presented our team Evolution (Cassie, Kelly, and me) with the challenge of two charrettes. In each charrette, we were to collaborate with another team of three to merge our group's building design with theirs, resulting in an eight story structure. The deliverables required were as follows:

[1] A statement of approach discussing how both projects would come together under a conceptual framework that accounts for materiality and the readings we have completed

[2] Concept sketches: one overall exterior, one perspective of a public space, and one detail

[3] Diagrams illustrating circulation, systems, and design language

We were only given one hour for each charrette. Based on what we were able to produce, Patrick and Claire will decide which two teams should be paired up for the upcoming Jenga 5.0.

The first team we collaborated with was Caravaggio, consisting of Dajana, Blakeni, and Sharon. We were fortunate in that our designs were somewhat similar and our concepts blended well. Cassie and Sharon took care of the written statement, Kelly and Blakeni produced the concept sketches, and Dajana and I worked on diagramming. Being that our concepts were similar, it felt very natural to discuss and devise diagrams with Dajana. We were able to work quickly and efficiently as we documented the ideas of openness, accessibility, flow, circulation, alternation through materiality, verticality merging with horizontality, moments of enclosure, and a progression toward lightness. Upon finishing the charrette, it seems that we all had a sense that our two teams should be chosen to work together for the next assignment.

The second charrette paired us with team Interlocking, consisting of Brian, Jamaan, and Audra. Unfortunately, Audra wasn't in class that day, so we had one less person to help put ideas together and produce coherent deliverables. Nonetheless, we were able to complete our work. Kelly and Brian tackled the concept sketches, Cassie and Jamaan diagrammed, and I attempted to pull everything together into a written statement based on what I could observe. Although I do not have my finished statement on hand, here is what I am able to post based on a rough draft:

"The design language implemented by Evolution and Interlocking is about the stacking and interlocking of ideas. Also, a sense of anticipation guides circulation through the use of wrap-around patios, which also serve to unify the levels. Circulation is essential to both of our previous designs and is dictated by the use of systems.

For our materials, we have chosen a richly-colored concrete for the building facades and a polished concrete for the first seven floors. Wooden details would add richness. All columns would be wooden and the eighth floor would incorporate wooden walkways."

Although I feel that it would be easy and enjoyable to work with team Interlocking, I admit that our team's design and concepts didn't merge as well with theirs as they did with team Caravaggio's. In the end, the outcome is up to Patrick and Claire.

iar 212. photoshop rendering.

2011-02-25T06:24:00.000-08:00

iar 202. jenga 3.0. team proposal + narrative and diagram.

2011-02-16T05:36:00.000-08:00

iar 202. jenga 2.0 reflection.

2011-02-12T13:15:00.000-08:00

Yesterday morning in studio we had a "silent" critique of Jenga 2.0. We were not allowed to say anything about our own work, but were to discuss the strengths and weaknesses of each other's work.

As a group, I think we did a great job on this project. I am always impressed by my classmates. I was a little bit surprised about the positive critique of my work, I suppose because only I notice all the little mistakes…

My decent time management paid off this time, and just in time. The things I need to work on relate mostly to board layout. The text should be integrated more fluidly with the images on the boards, and there needs to be some more visual contrast and depth. For both Jenga 1.0 and 2.0, I didn't focus very much on color, partly because I wanted to focus mostly on form. However, I think my project - and my boards - could have been more interesting with little bits of color here and there. I did include a dark orange hue for a few parts of my boards, but printed in black and white (cheaper at Kinko's). So that was kind of useless.

Indeed, it seems that board layout is what we as a class need to work more on. It should be said, however, that our board layouts would inevitably improve if we had more time for each project…

I am looking forward to the group project we have just embarked on. I've been stuck with just my own ideas for a little too long.

iar 202. jenga 2.0.

2011-02-12T12:23:00.001-08:00

Jenga 2.0 required us to further develop just one of the three spaces we designed in Jenga 1.0. We were required to add another level (either below or above the existing level) that comprised only 50 percent of the area of the original space. In doing so, we could revise our original design if needed. The space chosen for me (by Patrick and Claire) was the "idea room" - the one that focused on the crystallization of an idea.

The text on the second board reads:

"These two spaces (which function as one whole) are all about circulation and how it can symbolize the formation - or crystallization - of an idea. One enters from the smaller, lower level and begins a journey as one's path travels upwards and spirals inwards toward the center of the larger space above. A kitchen area and a workspace are located on the lower level. Carved into the solid that forms the "spiraling" platform in the upper level are a bathtub, a toilet, and a sink. An alcove on one side of the solid provides a private space for sleeping.

A tall, cylindrical platform in the center of the space marks the final destination and symbolizes the complete crystallization of the idea. It is essentially a place for rest and meditation. Its circular shape contrasts with the square elements of the room, thus setting it apart as a unique feature. The staircases and platforms in the spaces are made of DuPont Corian acrylic.

Lighting, provided by recessed lights in the ceiling, is minimal in the lower level but increases as one travels inwards toward the center of the upper level. The largest of the lights is located directly above the cylindrical platform."

iar 202. jenga 1.0 - peer review for Jasmine

2011-02-01T23:02:00.000-08:00

Jasmine's concept word was "clockwork," and she did a good job of abstracting this word in order to design three different spaces. In examining these spaces, I have included images of her hand-drawn floor plans because, of all her drawings, they seem to communicate best.

space no. 1:

For the 11' x 32'4" space, Jasmine focused on the idea of rhythm. The space has an axial plan, and she used her kit of parts - two columns and a wall - to communicate a regularity in the space, suggesting a rhythm.

diagram:

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space no. 2:

Jasmine's 22' square space is all about the precision of clockwork. Just as a clock ticks evenly, the room has an "even" and balanced feeling. Jasmine explains it: "In this 22x22 space not only is the space with in itself even the rooms are also equally subdivided. Clocks tend to move at equal intervals and the space also plays of the idiom "like clockwork". The kit in this space was two walls one column. The column can be used as a light to tell time lighting up in twelve section (1 light= 1 hour). The two wall start at 3 and 9 and turn like the hand of a clock to face 12 and 6."

diagram:

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space no. 3:

For the 22' x 32'4" space, Jasmine focused on the movement of clockwork. She used two solids to evoke the idea of gears without being too literal. To bolster the idea of movement, Jasmine included a movable table in her design. She explains, "There are also level changes in the space to signify the interworkings of a clock a different points."

diagram:

Like Abigail, Jasmine did a good job of presenting her project despite having stayed up all night. Her concept was clear throughout.

iar 202. jenga 1.0 - peer review for Abigail

2011-02-01T21:01:00.000-08:00

For our first studio project, Abigail's concept word was "joint." Using this one word, she designed three retreat spaces that revolve around this concept, each in a different way. A common theme in Abigail's three spaces is the fitting together of different parts, not necessarily a person's circulation of space throughout the room. Therefore, it is easier for me to diagram individual parts and/or concepts rather than each entire room.

space no. 1:

In the 11' x 32'4" space, Abigail wanted to emphasize the joinery and craftsmanship of woodwork. Wooden beams on the ceiling reinforce this idea. Her kit of parts for this space was two columns and a wall. She manipulated the columns quite cleverly by "bending" them to give them both a vertical and a horizontal quality. In this way, they can provide horizontal surfaces for food preparation and consumption. The two columns appear to be "joining together" at their ends. For this space, her axon drawing demonstrates her concept most clearly.

diagram:

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space no. 2:

In the 22' square space, Abigail wanted to emphasize the idea of two things joining together into one. She chose to use two solids for this space. The solids are located at opposite ends of the room.

Because my own words would be inadequate, I would like to quote her at this point: "On one side of the space, everything is carved from the wall. There is a place for sleeping, a closet, a table, and a place for bathing. On the opposite side of the wall, everything that was negative space on the right wall, was extruded as a solid on the left wall. So, in theory, of a force was to push the two sides together, they would fit together as a whole like two puzzle pieces."

Her section drawings most clearly present this space, as they show how the two sides of the room could potentially fit together.

diagram:

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space no. 3:

In the 22' x 32'4" space, Abigail focused on what she calls the "mechanical aspect of joints, like a joint found in the body." For this space, her kit of parts was two walls and a column. She demonstrated her concept by making one of her walls a movable wall which can fit perfectly together with the other wall if desired. For this space, Abigail's axon drawing speaks most clearly.

diagram:

For all three spaces, Abigail's presentation was clear and well thought out. She was remarkably alert after the long night we had all just endured.

iar 202. jenga 1.0.

2011-02-01T10:42:00.000-08:00

http://chestofbooks.com/food/science/Experimental-Cookery/images/Fondant-15.jpg

Crystallization... interpreted three ways.

space no. 1: the "crystal" room

kit of parts: two walls and a column

This space is intended to reflect the properties of a crystal in its symmetry and transparency. The space measures 32'4" by 22'. One enters the room from a door centered in the wall and ascends six steps to a higher level which rises three feet from the ground. A small pool, seven feet square and three feet deep, welcomes the occupant upon ascension. The pool serves for bathing, relaxation, and meditation. A glass column rises from the center of the pool. Directly above the pool, a projection from the ceiling echoes the interior void of the pool. Built into this projection are lights to illuminate the water. Natural light comes from six windows on the wall opposite the entrance and four windows on the wall to the right. A seven foot long inward-facing couch faces the pool on either side, the back of which is a glass wall, eight feet high. The walls, although transparent, provide divisions within the space to set apparent various activities. To the right of the pool, behind the glass wall, is a kitchen area. To the left of the pool, behind the second glass wall, are a toilet and a sink.

To enhance the luminosity of the room, pendant lights hang from the ceiling, above the higher level. Each pendant has a center light source, around which delicate slivers of mirror hang to catch the light.

ceiling plan

section A-A1

section B-B1

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space no. 2: the "liquid to solid" room

kit of parts: two columns and a wall

This space is about the process of crystallization - a shift from liquid to solid, water to ice. The room is very linear, measuring 11' x 32'4". One enters opposite a long wall containing six windows. Six windows are located on the wall opposite the door, which serves to illuminate the entire space. The left side of the room has asymmetrical and transparent qualities and houses the bathroom and kitchen facilities. A glass wall, seven feet long and seven feet tall, shields the shower and toilet from view. The bottom half of the wall is frosted for privacy, whereas the top half becomes increasingly more transparent. Beginning halfway along the length of the room, on the right side as one enters, six stairs ascend to a higher level, which rises three feet from the ground. Above, the ceiling plane mirrors the floor level change exactly, creating a very "solid" feeling, as if the ceiling and the floor are closing in on the occupant. As one ascends the stairs, a column on either side serves to frame the space and enhance the feeling of solidarity. The "solid" half of the room - consisting of the floor and ceiling alterations and the columns - is reserved for sleep and relaxation. Recessed lighting in both ceiling elevations illuminates the room.

ceiling plan

section A-A1

section B-B1

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space no. 3: the "idea" room

kit of parts: two solids carved for occupation

This space is the most conceptual of the three, and therefore the one that I prefer. It is about the crystallization of an idea. The space is a square - 22' x 22', with two windows on the wall opposite the entrance and two windows on the adjacent wall to the right. One enters opposite one of the window walls and immediately begins a journey as one's path spirals inward and upward toward the center of the room. In the four corners of the room are objects to serve the necessities of life. In one corner is a cushioned bench for sitting/resting/sleeping; in another corner, a kitchen area for food preparation; in another, a bathtub for bathing; and in another, a toilet for the elimination of waste and a sink for cleanliness. These objects are placed intentionally on the periphery of the room. One may step off the "path" to engage in these activities for a time, but must return to the path in order to arrive at the final destination. Positioned centrally in the room is a stair-like platform which forms the first solid and represents a continuation of the journey one undertakes in the formation of an idea. Inside the first solid (but not entirely enclosed) is a raised circular platform - the second solid - upon which one sits after ascending by means of the first solid. This represents the complete crystallization of an idea. Recessed lighting illuminates the entire room, but the majority of the light is focused on the two solids. Directly above the second solid hangs a glowing sphere, representing the purity and completeness of the crystallized idea.

plan with circulation path

ceiling plan

section A-A1

section B-B1

iar 202. wi2.

2011-01-20T21:29:00.000-08:00

The first space I designed reflects the properties of a crystal in its symmetry, brightness, and transparency. The room is 32'4" x 22'. The "kit of parts" I chose for this space was two walls and a column. One enters the room from a door centered in the wall and ascends several stairs to a higher level. A small pool, seven feet square and three feet deep, welcomes the occupant upon ascension. The pool serves for bathing, relaxation, and meditation. A column rises from the center of the pool. Directly above the pool, a projection from the ceiling echoes the interior void of the pool. Built into this projection are lights to illuminate the water. Natural light comes from six windows on the wall opposite the entrance and four windows on the wall to the right. An seven foot long inward-facing couch faces the pool on either side, the back of which serves as a wall, seven feet high. The walls provide for additional semi-private spaces, in which one can relax, prepare food, eat, etc. On the lower level, a toilet and a sink are located left of the stairs, in a little nook that receives the most privacy from the outside. A shower head projecting from the wall is located to the right of the staircase.

The second space reflects the process of crystallization - a shift from liquid to solid, water to ice. The room is very linear, measuring 11' x 32'4". For this space's "kit of parts," I chose two columns and a wall. One enters opposite a long wall containing six windows. Six windows are located on the wall opposite the door, which serves to illuminate the entire space. The left side of the room is rather asymmetrical, informal, and free-flowing. It consists of bathing and food preparation/consumption facilities. A wall separated the different functions. Beginning halfway along the length of the room, six stairs ascend to a higher level. The stairs and the higher level form the "solid" and "crystalline" side of the room. This side is completely symmetrical. A bed projects from the shorter wall and faces the stairs. A column frames the bed on either side for symmetry and a sense of formality.

The third space reflects the crystallization of an idea. The space is a square - 22' x 22', with two windows on the wall opposite the entrance and two windows on the adjacent wall to the right. The "kit of parts" I chose was two solids carved for occupation. One enters from the far left side of a wall and begins a short journey around the room, walking around the perimeter on a raised platform - one solid - and gradually "spiraling" inward and upward towards the center. This represents the journey one undertakes in the formation of an idea. The spiraling path also reflects the idea of meditation, as one ascends slowly and methodically. Along the way, in the corners of the room, are areas for food preparation, bathing, and using the bathroom. In the center of the room is a semi-enclosed nook - the second solid - with a cushioned seat, symbolizing the realization - "or crystallization" - of the idea. From this nook, one can look out towards the two windows of the wall opposite the entrance.

iar 202. wi1 revisited.

2011-01-18T09:21:00.001-08:00

In last Friday's studio class, we were asked to revisit our "design bios." So far this semester, my flow of ideas has been rather labored. However, I feel quite a bit more confident about this first assignment than I did the first few days after it was given to us (as is to be expected). Once the details of what is to be expected have been mentally digested, this tends to happen.

Unfortunately, it will be hard to work out a concrete schedule of what I plan to accomplish each day in the next week or so because I'm still working through the design. I've decided on how to approach my concept - crystallization - in three different ways (one for each space I am designing), but a lot of little details need to be worked out before I can do most of the work that is required for presentation. I don't have very good time management skills due to the fact that I'm so methodical in my design decision-making. I spend too much time thinking and not enough doing.

In my last post, I typed out a list of my original goals for the semester. While all these goals still hold true, I can now narrow down the list according to what seems most relevant at the moment. Right now, I am concerned with improving and speeding up the flow of my ideas. I am also planning to become more familiar with certain computer programs in a matter of days, as utilizing them will certainly save time. For my perspectives, I plan to render them with markers on tracing paper, a technique I've used for previous assignments and was very pleased with.

I believe that I am capable of more than I think I am; it is just a matter of pushing myself to that point.

iar 202. wi1.

2011-01-11T16:15:00.000-08:00

In Monday morning's studio, we were first instructed to write down some goals for the semester. Thus, I hope to…

…develop a better understanding of how people move, behave, and interact within interior spaces, which will improve my designs in a practical way…

…develop better time management skills to reduce stress and improve the quality of my work…

…have more confidence in my work as I develop a more professional outlook on interior architecture and design in general…

…integrate the principles and elements of design more fully into my work and my descriptions of it…

…develop a clearer identity of my unique design style (do I have one yet?)…

We were also asked to write down some of our design strengths. This is the list I compiled for myself:

- detail-oriented

- good at communicating with words (writing and grammar)

- perfectionistic (a strength and a flaw at the same time)

- decent drawer

- careful with craft

To this list describing my strengths, Cassandra and Kelly added:

- able to produce thorough design layouts to communicate to an audience

- good at defending ideas

- produces clean work

The change style indicator exercise categorized me as a "conserver," borderline "pragmatist." This seems fairly accurate, but is not exactly what I wanted the result to be. I tend to be a bit rigid in my approach to problems and projects, but I have a strong desire to generate explosions of creativity!

Throughout my life, my brain has not been able to decide whether it wants to be "left-brained" or "right-brained," a fact which resulted in some identity frustration. As a kid, I always loved to draw, but during my later teenage years, I went through a very "left-brained" stage in which I nearly abandoned artistic pursuits. I credit the Interior Architecture program with the re-awakening of my artistic side. I chose this program because of a nearly life-long interest in designing and decorating spaces, but I wasn't quite sure what I was getting into. As I move through the program, I understand more and more what Interior Architecture is about. I am interested mostly in the design of individual interior spaces as well as product design.

Learning new ways to "think outside of the box" is another fervent goal of mine. Being in this program has definitely helped to stimulate my mind, but I still have a long way to go.

In my designs and drawings, I would like to develop a unique and recognizable style. I hope to endow my future drawings with a slightly stylistic and whimsical quality without sacrificing necessary elements of realism. Nature has been and will continue to be a preferred influence.

iar 222. point : explorations.

2010-12-09T13:29:00.000-08:00

http://johnfudrow.files.wordpress.com/2007/10/searching.jpg

The search for "modern" continues.

This search defines the final unit of our study: Explorations. In the late 19th and early 20th centuries, artists and designers alike were searching for a new style to characterize a new century. Art movements such as post-impressionism, fauvism, cubism, expressionism, and futurism provided ample inspiration for architects and designers. A short-lived design movement known as Art Nouveau emphasized curving lines, asymmetry, dynamism, and a break from historical precedents. Victor Horta's Hotel Tassel is regarded as the quintessential Art Nouveau interior. Art Deco developed in the "era of the automobile," a world where the ideas of motion and speed were valued. It also developed in response to the "glitz and glam" of the Hollywood scene.

Art Deco and Art Nouveau were new and edgy, but to certain designers of the early 20th century, they did not constitute good design. The Bauhaus School was created in 1919 by Walter Gropius. The goal was simple: form determined by function alone, and the elimination of all ornamentation and historical references. From the Bauhaus School, International Modernism (as it was called) developed with the same goals of design. Designer practitioners included Ludwig Mies van der Rohe and Le Corbusier. From the beginning, this form of modernism was criticized for lacking warmth and consideration for human needs. Many of these structures failed to take context into consideration, and their large expanses of glass trapped heat from the sun, raising interior temperatures to an uncomfortable degree. Moreover, the idea of "good design for all" was not quite the case. The reality was closer to "good design for all … who could afford it."

Modernism developed a softer, more expressive side in the works of design practitioners such as Eero Saarinen, Alvar Aalto, Hans Scharoun, John Utzon, Bertrand Goldberg, and others.

Reactions and challenges to modernism were bound to follow. The vein of Historic Preservation busied itself with restoration projects on structures such as the Louvre in Paris and Monticello in Charlottesville, VA.

"High Tech" architecture is perhaps best represented by the Lloyd building in London and the Centre Georges Pompidou in Paris, by Richard Rogers and Renzo Piano. These structures are famous for having their "guts" displayed on the outside for all to see. Roth describes the Pompidou center as "an immense rectangular box of glass, with all of its hardware pulled to the exterior so that the interior could be a series of huge Miesian universal spaces." He continues, "The exterior, therefore, is a maze of color-coded air ducts, electrical conduits, and Plexiglas-enclosed escalators. It is an exoskeletal building, with the skeleton made up of exposed steel members … It is architecture-as-machine elevated to the most prestigious cultural level" (Roth, 574-577).

In contrast, Regionalism sought to reintroduce the importance of context into the design of structures, demonstrated by buildings such as Hassan Fathy's market building for a new agricultural settlement in Egypt (1967).

The reactions to modernism are many. Roth discusses a long list of late-twentieth-century architectural styles loosely described as "postmodern." To give an idea of its diversity, this list consists of Late Modernism, Sculpted (Shaped) Modernism, High Tech, Megastructures, Ironic Classicism, Populist Modernism, Latent Classicism, Fundamental or Essentialist Classicism, Canonic Classicism, Creative Postmodern Traditionalism, Neoexpressionism, Deconstructivism, Critical Regionalism, and Green or Sustainable Architecture.

It strikes me that in all our units of study, the theme of each phase of design history is essentially one of uncertainty, of searching for what is proper, true, and desirable. The Theories unit introduced the various ways in which the subject of design has been approached. In the Foundations unit, the ancient civilizations of Egypt, Greece, and Rome all differed from one another in their outlook on life, which was reflected in the materialization of different design principles. Alternatives presented a struggle between classical and non-classical. The theme of "searching" is especially pronounced in the later units, namely Reflections and Explorations. The 19th century's numerous historical revivals juxtaposed with a proliferation of new building technologies created a dilemma of design. By the beginning of the 19th century, with the development of Art Nouveau, what can be called "modernism" had begun. Of course, modernism is a highly relative idea, a fact which entails a continual searching. This concept can be seen in M. C. Escher's 1953 lithograph print entitled "Relativity":

http://en.wikipedia.org/wiki/File:Escher%27s_Relativity.jpg

iar 222. counterpoint : machine.

2010-12-07T19:45:00.000-08:00

form: 3D

scale: artifact

iar 222. reading comprehension 7.

2010-12-02T16:08:00.000-08:00

For this final reading comprehension, my group was instructed to visit the Weatherspoon Art Museum and select a painting from the "abstraction : form + progress" section of the GREENSBORO COLLECTS show. Also, we were to include in our discussion a bit about another piece of artwork from the same theme. The first painting I chose was Dismembered Disk (1949) by American artist George L. K. Morris. The medium is oil on canvas. Here is the diagram I came up with for this piece:

The painting consists of many intersecting lines creating dynamic shapes, highlighted by a rich color palette of yellow, red, green, and blue, as well as black and white. It has a fractured and chaotic quality about it which creates a sense of movement. It almost looks like it is supposed to resemble something - perhaps a person. In the upper portion of the painting, there is a small black circle that seems to me like it should be an eye.

The second painting I chose was Harlequin (1947) by American artist Adolph Gottlieb (1903-1974). The medium is oil on canvas mounted on a board. This painting is opposite from Dismembered Disk in that it appears rather static and grid-like. I chose to make a diagram for this piece as well, to demonstrate how it is different from the first piece of art.

Harlequin has a sense of orderliness in that everything seems to keep its place, without overlap. Within the grid-like structure are various abstract shapes. There appear to be a few abstracted human figures, as well as an eye, diamond shapes, triangles, circles, etc. The predominant color is a deep turquoise, supplemented by black, gold, and a hint of red.

Although these art pieces are quite different from one another, there are ways in which they are similar. Both are abstract, colorful, and were painted in the same medium around the same time by American artists. One would very likely refer to both of these paintings as works of "modern" art.

Indeed, these art pieces can be compared to the architectural modernism of the 20th century. Besides Harlequin's abstract allusion to a snippet of the medieval past, the two paintings are free of historical references. Harwood explains, "For the most part, Modernism strives to design for the present and eliminate most traditions, forms, and elements of the past" (Harwood, volume 2, p. 613).

The abstraction of shapes seen in these paintings is another aspect that connects them to the modern movement. Speaking of the design aesthetic of the Bauhaus school, Harwood says, "Parts are arranged in a series of geometric shapes and forms usually with linear elements" (Harwood, volume 2, p. 592). The International Style of modernism, spawned by the Bauhaus school, excelled in this clear abstraction of elements. Practitioners rejected ornamentation, insisting that function be the sole determinant of form. It is in this way that modern art differs sharply from the modernism of Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier, and others. The goal of paintings like Dismembered Disk and Harlequin is to express an idea or a feeling (although that idea or feeling is often up to interpretation). A complaint against International Modernism is that it ignores a human need for beauty and expression beyond that produced by function alone. Speaking of architectural critic Lewis Mumford, Roth says, "In his 1949 essay 'Monumentality, Symbolism, and Style,' he argued that is [sic] was not enough for a contemporary building simply 'to be something and do something; it must also say something'" (Roth, 539).

iar 211. assignment 6.0 - communicating through photos + slides.

2010-11-23T12:21:00.000-08:00

iar 211. assignment 5.0 - communicating through print.

2010-11-23T06:58:00.000-08:00

For this group project, I worked with Corry, Cassie, Leslie, and Nikki to compile a booklet documenting our precedent studies. Below are some selected images of the book, courtesy of Cassie.

My section of the book:

iar 222. reading comprehension 6.

2010-11-16T16:25:00.001-08:00

1) Art Nouveau was a groundbreaking style at the turn of the century that looked forward rather than borrowing from the past. Most Art Nouveau interiors emphasize organic, curving lines that suggest energy and movement. These whiplash curves can be seen in the work of Art Nouveau designers such as Victor Horta, Hector Guimard, and August Endell.

Tassel House by Victor Horta : Brussels, Belgium

http://4rts.files.wordpress.com/2009/11/victorhorta_tassel_house_1892_01.jpg

Entrance hall for the Castel Beranger apartments by Hector Guimard : Paris, France

http://www.arch.mcgill.ca/prof/schoenauer/arch528/lect10/b12.jpg

Atelier Elvira by August Endell : Munich, Germany

http://4.bp.blogspot.com/_EWY1PJsPzBA/SrDxV3X6SfI/AAAAAAAAAF8/Ry3TOEYPDbg/s320/atelier_elvira4.jpg

A similar sense of energy and movement can be found in paintings of the early 20th century, particularly those of the art movements fauvism, cubism, expressionism, and futurism. Like Art Nouveau, these art movements were groundbreaking and controversial. Restless lines, organic curves, and a sense of emotion are present in works such as the following:

Fauvism

The Joy of Life by Henri Matisse

http://chisnell.com/art/Expressionism%20%20Fauvism/matisse-joylife.jpg

Cubism

Les Demoiselles by Pablo Picasso

http://www.sniffapaloozamagazine.com/Les_Demoiselles_d_27Avignon.jpg

Expressionism

Yellow-Red-Blue by Wassily Kandinsky

http://www.paintings2enjoy.com/assets/Paintings/Yellow-Red-Blue.jpg

Futurism

Dynamism of a Dog on a Leash by Giacomo Balla

http://www.friendsofart.net/static/images/art3/giacomo-balla-dynamism-of-a-dog-on-a-leash.jpg

Futurism

Nude Descending a Staircase by Marcel Duchamp

http://mtidry.files.wordpress.com/2010/02/nude-descending-a-staircase.jpg

These interiors and paintings are evidence that designers and artists were seeking a new and fresh style to characterize the 20th century and set it apart from everything that had come before. The feelings provoked by these works were considered just as important as the works themselves.

2) Le Corbusier's Villa Savoye (1929-31) is a superb example of a "machine for living."

http://coolboom.net/en/wp-content/uploads/2007/03/savoye1.jpg

http://static.guim.co.uk/Guardian/arts/gallery/2008/jan/02/art/galllecorb-3597.jpg

According to Roth, "The house is a square, lifted up on what Le Corbusier called pilotis … An elaborate retreat, it incorporated all of the five points that Le Corbusier had stipulated in an article published in 1926" (Roth, 532). The house's open plan is made possible by a structural frame of concrete rather than supporting walls. Roth explains that "the turning radius of an automobile determined the curvature of the glass wall of the ground floor, for there, under the shelter provided by the raised living level, is a covered driveway, a three-car garage, a reception area, and other auxiliary spaces" (Roth, 532). Like a machine, there is nothing superfluous about the building; there are no unnecessary elements, only whatever is functional and purposeful. Le Corbusier believed that because ornamentation served no true functional purpose, it had no place in design.

International modernism was controversial from its beginning. Not surprisingly, a common complaint was that it lacked warmth and feeling. Massey explains that, in response to Wells Coates's "Minimum Flat" at the 1933 Exhibition of the British Industrial Arts in Relation to the Home, "The response of critics and public alike was that the Flat showed that Modernism could be successful in the design of a kitchen or bathroom where efficiency was important, as well as for new types of interior such as Underground stations and broadcasting studios, but that it was not appropriate for the sanctuary of the British living room" (Massey, 90). But despite being viewed as "cold" by many throughout the 20th century, the International Style has continued to influence design to this present day. Many today seek clean, sleek, open, and sparse interiors such as this one by WHIM Architecture:

(absolutely beautiful, by the way)

http://www.architeria.com/villa-design/sustainable-wood-villa-bh-by-whim-architecture

3) Rendering of a modern interior:

Director's office, Bauhaus, Dessau, 1926.

Massey, Anne. Interior Design Since 1900, third edition, page 72. London: Thames & Hudson Ltd., 2008.

When I first saw this interior in Judith's IAR 221 class, I was surprised by the colors and patterns used for a "cold" and "lifeless" interior. Despite being virtually free of ornamentation, the International Style uses form and color to create beauty.

iar 222. point : reflections SUMMARY.

2010-11-11T19:05:00.000-08:00

For the "reflections" point summary, I read the point essays of:

Dajana (http://nedicdajana.blogspot.com/)

Abigail (http://abigailbuchanan.blogspot.com/)

Blakeni (http://mydoodlepages.blogspot.com/)

~~~

Dajana writes about the many revolutions of the 19th century and the struggle to find the nature of "true" design. The image she chose conveys the idea of "the wheels of progression" turning, and many different revolutions occurring at the same time. She also talks about the influence of eastern design on that of the west. She writes, "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."

~~~

Abigail touches on the idea of certain time periods being revolutionary and yet reflective at the very same time. Such is the case with design as it was taking shape in America. Classical design was chosen for the capitol building in Washington, DC as a way to demonstrate knowledge and power on behalf of the new nation. Despite the revolutionary nature of their split with England, Americans still reflected on the past in order to express themselves.

Abigail also talks about the implications of the Industrial Revolution: new building types, materials, and design languages. This part stuck out to me: "The problem with the period subsequent to the Industrial revolution was that too many design languages were competing for a voice in the world, and interiors were becoming cultured with items that all spoke a different language. Because of one revolution, there was a need for another." The image she chose (of the Crystal Palace in London) demonstrates this Victorian eclecticism.

~~~

Blakeni stresses the idea of reflections being distorted versions of what they are reflecting. The image she chose does a great job of conveying this idea. Underneath the image, she writes,"when things get reflected, sometimes the image that we see is what we think we see or what we want to see... we miss things, leave them out or change it to our desires just like design."

Blakeni also talks about the debate concerning handcrafted vs. machine-made goods. In her essay, she quotes Charles Ashbee: "We do not reject the machine. We welcome it. But we desire to see it mastered." This statement attests to the usefulness of the machine but recognizes the importance of a human element in design (although, of course, humans did design and build the machine, did they not?).

iar 222. point : alternatives SUMMARY.

2010-11-11T18:52:00.000-08:00

For the "alternatives" point summary, I read the point essays of:

Justin (http://jgjmcnair.blogspot.com)

Anna (http://suseannasophia.blogspot.com/)

Kelly (http://kelysiarcblog.blogspot.com/)

~~~

Justin writes about the idea of breaking boundaries, moving through time from the Middle Ages to the Renaissance to the Baroque period. Each period, he seems to say, was revolutionary in its own way. He writes, "The Gothic style was itself a revolution initiated in the way people considered the earthly world to be mundane and the church reacted by created a architectural revolution based on a heaven bound focal point." In contrast, a strong belief in human potential drove the people of the Renaissance to strive for perfection. During the Baroque period, the breaking of boundaries can most clearly be seen.

Justin supplements the image he chose with the following very true statement: "This image clearly depicts the struggles of the alternatives unit to break free from the oppressive restrictions of our limited understanding of the world and the capacity to overcome boundaries that hold us back. It is human nature never to be content with the here and now but in the curiosity of the possible, of the dream, of the potential that has not yet been reached. Each design revolution brings about a temporary satisfaction until our restlessness sets in and once again we struggle to break the boundaries of the previous generation."

~~~

Anna writes about thinking outside of the box, an idea that is very effectively communicated by the image she chose. An interesting thing she mentions is the way simple elements can be combined to produce complexity. She says, "Basic shapes are extremely important in everything. They are so simplistic, but when they are played with and altered from the original form, can turn into something very interesting." As an example, she talks about the combination of different design styles in order to produce a unique statement.

~~~

Kelly also writes about breaking the rules as a way to strive for novelty and individuality. The image she chose conveys this idea well. She says, "Even in today’s modern world classical subjects such as the Madonna and child are being reinvented in unconventional ways. 'The Madonna of Port Lligat' by Salvador Dali is a perfect example of this classical subject reinvented. The figures are painted with rectangular holes in their torsos to represent their transcendent nature. Thus creating the art of alternatives."

Something else I appreciate about Kelly's essay is the following observation: "Most often successful innovation comes from trial and error. Despite it’s negative connotation, failure isn’t always a bad thing, it is how we learn from our past experiences." She mentions an example from history (the front façade of the Ospedale degli Innocenti by Brunelleschi) and also complements her statement with an example from an experience she had while folding paper in studio. This idea of learning through failures is important to remember when projects or situations go awry.

iar 222. point : reflections.

2010-11-07T11:20:00.000-08:00

In the Reflections unit, we studied the architecture and ideologies of the 18th and 19th centuries, a time period encompassing many revolutions as well as revivals.

The so-called Modern era had its beginnings in the Age of Enlightenment, which followed a series of revolutions - including a population explosion - and lasted roughly from 1720-1790. Beginning around this time, a more pragmatic mindset began to set in as interest in scientific inquiry grew. Philosophers such as John Locke, Baron de Montesquieu, and Jean Jacques Rousseau put forth various political theories. Monarchical rule began to come under scrutiny, a fact which would lead to the revolutions in France and America. Many individuals during the Age of Enlightenment desired a pure and rational architecture that lacked the excess surface decoration and "artificiality" of the Rococo style. This desire was especially strong in the French philosophes.

The American colonies reflected back on the design styles they knew from their mother countries in Europe. They largely built in the Classical and Gothic styles, depending on the country of origin. The work of Thomas Jefferson - which includes the Virginia Capitol Building, Jefferson's Monticello home, and the University of Virginia - all follow classical principles.

The Industrial Revolution, which began around 1750 in England, forever changed economies, societies, cultures, business, industry, and technology in Europe and America. According to Harwood, "By altering the way that people live and work, the Industrial Revolution affects the appearance and planning of communities and public and private buildings, ushering in new types, new construction methods, new technologies, and new materials that increase comfort and convenience for all levels of society" (Harwood, volume 2, p. 3). A a result of industrialization, a rising middle class began to gain prominence and to set design trends. Harwood continues, "Throughout the 19th century, exhibitions and expositions are innovative testing grounds for new design ideas and the introduction of new products. They also are fresh sources for the introduction of new concepts in interior decoration and furnishings. Manufacturers create their finest, most innovative pieces for these exhibitions and architects design impressive new buildings that affect architectural development" (Harwood, volume 2, p. 5). Iron was increasingly used as a building material, which allowed for the construction of buildings such as the Crystal Palace in London, England. Built for the Great Expedition of 1851, the Crystal Palace was built from prefabricated parts - cast iron and glass - in only a matter of months. It was a marvel of the Industrial Revolution, a testament to the capabilities of machine labor. Designed by gardener Sir Joseph Paxton, it was modeled after the greenhouses and conservatories of the 19th century. Inside the Crystal Palace, countless machine-made items were put on display to show off the "Works of Industry of All Nations." But while these items were innovative in that they were the products of machines, they were unoriginal in that they took on the forms of the past. Herein we notice an incongruity of the 19th century, that is, an inconsistency between moving forward and looking backward. While such great advances in building technology were being made - as Roth explains it, "epochal changes in the creation of new building types that exploited new building materials" (Roth, 469) - the century was nonetheless steeped in various revivals which embraced design styles of the past. Harwood explains, "During most of the 19th century, buildings, interiors, and furnishings look backward in design instead of forward, almost an antithesis of progress" (Harwood, volume 2, p. 6). Among the many revivals occurring in the 19th century were the Greek Revival, the Gothic Revival, and the Egyptian Revival. An interest in exotic design also characterized the century. And yet Roth entitles the chapter on the 19th century, "The Development of Modernism."

In reaction to industrialization, the Arts and Crafts movement (as it is now called) came into being, emphasizing the importance of handcrafted goods inspired by nature. William Morris played a large part in this design movement, which looked back to medieval influences for inspiration. An offshoot of Arts and Crafts was the Aesthetic Movement, which championed "art for art's sake." Another offshoot was the work of architect Frank Lloyd Wright, whose notable works include Falling Water in Pennsylvania and the Frederick C. Robie House in Chicago, IL. Wright differed from William Morris in that he did not reject the use of machines, but realized their usefulness. In his architecture, interiors, and furnishings, Wright sought to create an authentic American style.

At the turn of the 20th century, the Chicago School built skyscrapers that influenced the architecture in other cities. The extensive changes experienced in the 18th and 19th centuries were necessary elements in the further development of "modernism" in the 20th century.

http://2.bp.blogspot.com/_xjs5t_0y-hw/THxDObZevSI/AAAAAAAAAIQ/QAyvTm2oQvQ/s1600/fast-forward-vs-rewind.jpg

This image seems to be asking the question, "Should we move forward or look backward?"

iar 222. counterpoint : clock.

2010-11-04T11:16:00.000-07:00

Form: 2D

Scale: place

iar 222. reading comprehension 5.

2010-11-02T23:28:00.001-07:00

1) The 19th century experienced sweeping changes. Among these changes were an expanding urban population, new scientific developments, the use of new building materials, and the development of single-function rooms in houses. The Industrial Revolution forever changed the nature of architecture, interiors, and furnishings.

According to Harwood, "Furniture for the home, the workplace, and the garden illustrate many changes from the Industrial Revolution. Office furniture becomes more diverse in function, type, selection, and materials - this diversity and the exponential growth of industry lead eventually to the rise of major office furniture manufacturers in the 20th century" (Harwood, volume 2, p. 26). The office chair pictured above (found on page 26 of Harwood, volume 2) represents these changes in furniture design, as organization and convenience became important aspects of the office experience in the 19th century.

2) Eastern influences in Western design:

http://www.cmarianiantiques.com/images/catalog/263_1.jpg

The bases of these 19th century lamps are in the Chinoiserie style, reflecting a Western understanding of Chinese design. The lamps depict Chinese architecture and a Chinese figure in a peaceful naturalistic setting. Images of two exotic looking flowers, delicate in form, adorn the lower portion of each lamp. The iridescent images glimmer against the dark background. The entire composition is flowing and reflects the compositions found in Chinese landscape paintings.

http://3.bp.blogspot.com/_QyORxNttLq8/S7qIz54X_0I/AAAAAAAAAxc/9vaQhWorA94/s1600/peacock450.jpg

http://2.bp.blogspot.com/_QyORxNttLq8/S7qNW7RuMyI/AAAAAAAAAxs/v4kbp7v99DE/s1600/peacockswide400.jpg

The Peacock Room, decorated by American painter James NcNeill Whistler in 1876-1877 for his client Frederick R. Leyland, exemplifies the Anglo-Japanese style. The room's purpose was to display Leyland's Chinese porcelain collection, but Whistler's exotic design effectively overpowers the pieces on display. The room's focal point, displayed above the mantel, is Whistler's painting "The Princess from the Land of Porcelain." The painting depicts a woman in Japanese dress standing in front of a Japanese screen. Throughout the room are iridescent paintings of peacocks. For these images, Whistler drew inspiration from birds depicted in Japanese artwork. The color chosen for the room is a rich turquoise resembling the color of peacock feathers.

http://www.zionchapel.co.uk/app/webroot/userimages/image/Royal%20Pavillion.jpg

The Royal Pavilion in Brighton, England was originally built in 1787 for George, Prince of Wales, but was expanded and redesigned by John Nash between 1815 and 1822. The exterior of the building is very Indian in appearance, complete with onion domes, minarets, spires, and Indian arches. In contrast, the pavilion's interiors are largely Chinoiserie but can be described as a hodgepodge of eastern influence. The large banqueting room is especially striking, rife with vibrant colors from rich fabrics and paintings of eastern-inspired figures and designs.

http://www.evanevanstours.co.uk/site-images/kew-gardens-1.jpg

The Royal Botanic Gardens, also known as Kew Gardens, are located in England. Winding paths, exotic plants, and fish ponds make the gardens a peaceful and meditative place, much like a Japanese garden. In addition to various other structures, a large Chinese pagoda and the Chokushi-Mon (a large replica of the gateway of the Nishi Hongan-ji temple in Kyoto) grace the premises. Around the Chokushi-Mon is a reconstruction of a Japanese garden.

According to Harwood, "By the middle of the 19th century, Europeans and Americans begin to lose interest in the prevailing styles, such as Greek Revival and Gothic Revival. Their desire for new and novel styles opens the door for exotic influences. At the same time, designers are looking for new sources of inspiration apart from the rampant historicism. Eclecticism, a dominant force in design during the time, encourages the exploration and appreciation of the architecture and decorative arts of other cultures" (Harwood, volume 2, p. 212).

iar 222. point : alternatives.

2010-10-24T20:16:00.001-07:00

In the Alternatives unit, we studied the architecture and ideologies of the Middle Ages, the Renaissance, and the Baroque period.

Following the collapse of the Roman Empire in the west, the architecture of the Middle Ages gradually deviated from classical design principles. The Gothic style of architecture (in my opinion, perhaps the most beautiful) emphasizes lightness and verticality. Despite the fact that their structure is exposed, not hidden, Gothic cathedrals boast immense stained glass windows that fill interiors with ethereal light, thus dematerializing structural mass. These churches were built to glorify God and the Church, dwarfing man and providing glimpses of the heavenly realm. The great Notre Dame Cathedral in Amiens, France is considered the hallmark of the French Gothic style.

The Renaissance, beginning in Italy around 1400, marked the rebirth of antiquity. Classical thought and design concepts were resurrected from the distant worlds of Ancient Greece and Rome, and humanism dominated European thought, as man again became the measure and measurer of all things. The goal of architecture and the arts shifted from heavenly aspirations to a glorification of mankind's place in the universe. According to Roth, "To the Italians of the fifteenth century, Gothic architecture, with its roots in northern European sources, evoked an uncivilized, brutish period that they began to call the dark age that separated the glories of ancient Greece and Rome from their own time. Emboldened by their flourishing urban (and urbane) culture, they set out to match the intellectual and artistic achievements of the ancients" (Roth, 353). The famous Renaissance architect Andrea Palladio designed villas based on clear mathematical proportions. His Villa Capra - commonly known as the Villa Rotunda - is the most widely copied building in the world.

A playful new style known as Mannerism, in which the rules of classical design were intentionally manipulated or broken, began to appear during the High Renaissance. Michelangelo Buonarroti, whose designs emphasized more complex forms instead of the clear and rational ones found in Palladio's villas, led the way to Baroque architecture.

The Baroque period was an age of drama and theatricality. Roth describes Baroque architecture as "complex, multilayered, molded, and plastically or sculpturally shaped" (Roth, 397). It is an architecture designed to awe and impress by stimulating the senses. While Renaissance art and architecture can be described as staying within the confines of a box, Baroque art and architecture break outside of the box's boundaries. Faced with the threat of the Protestant Reformation, the Catholic Church employed dynamic Baroque art, architecture, and theatre as a means to attract followers and prevent Protestant conversions. In France, the ostentatious style of Louis XIV dominated architecture.The royal palace at Versailles was designed to display the power and the glories of the "sun king," as Louis XIV was known. Its Galerie des Glaces (Hall of Mirrors) clearly demonstrates the palace's holistic design. Designed by Jules Hardouin-Mansart and added to Versailles between 1678-1688, the Hall of Mirrors provides a dazzling spectacle in which windows, mirrors, glass chandeliers, and gilded surfaces interact to captivate the viewer with light.

The Merriam-Webster online dictionary describes an "alternative," in part, as "something which can be chosen instead." The Alternatives unit explores the design world's struggle between established norms and their alternatives. Since antiquity, some designers have chosen to distort or turn away from classical design principles in hopes of expressing novel ideas and themes. This is demonstrated clearly by Gothic architecture. Although Renaissance architects, designers, and artists looked to classical examples, they interpreted classicism in their own way to express the uniqueness of their time. The Baroque style didn't discard classicism but amplified and distorted it.

As designers, we endeavor to distinguish ourselves from others by manipulating designs in unique ways or even blatantly "breaking the rules." Even still, as King Solomon observed in the Old Testament book of Ecclesiastes, there really is nothing new under the sun. Whenever and wherever there have been rules, there have been rule-breakers.

http://faculty.evansville.edu/rl29/art105/img/gothic_intamiens.gif

Yet another image of the Amiens cathedral.

Gothic architecture distinguished itself as an alternative to classicism.

iar 222. counterpoint : perspective.

2010-10-24T14:12:00.000-07:00

Form: word

Scale: space

iar 222. reading comprehension 4.

2010-10-18T10:10:00.000-07:00

1) The Neo-Palladian/Georgian, American Georgian, Louis XVI/French Provincial, Late English Georgian, and American Federal periods all display some similarities in design characteristics.

artifacts:

Desk/bookcase w/ Chinoiserie

Windsor chair

Tall clock (Martin Carlin)

State bed (Osterly Park)

Sheraton side chair

All these artifacts are balanced and symmetrical, with some repeating elements. Curvilinear forms create a sense of softness and delicacy. All are made of wood, with smooth and carefully crafted details. All are functional, serving a practical purpose.

interior spaces:

Holkham Hall saloon

Gunston Hall stair hall

Marie Antoinette's bedroom, Fountainbleau

Saltram House saloon

Gardner-Pingree House parlor

All these interior spaces convey classical design language, symmetry, and repetition of elements. Patterns are dense, soft, and naturalistic. Materials are rich and create contrasts. Each space has a sense of formality and serves to display the importance of its owner. Each is balanced in its distribution of furniture and other elements, but also shows emphasis through focal points.

buildings:

Chiswick House

Drayton Hall

Pantheon (St. Genevieve)

Nathaniel Russel House, Charleston, SC

Monticello

All these buildings strongly demonstrate classical design language. Balance, symmetry, and proportion are important in the design and ordering of architectural elements. Repetition of forms is also evident. Overall form is relatively simple and geometric. Entrances are strongly emphasized. Materials create contrasts on the facade.

places:

London, England

Williamsburg, Virginia

Paris, France

New Town, Edinburgh, Scotland

Washington, DC

In all five of these places, similar design themes and characteristics are present. Symmetry, order, balance, and proportion guide design. There is a general feel of formality. Classical details and motifs are important elements in architecture and interiors. Naturalistic motifs and geometric and curvilinear forms are also common design features.

Classical design is clearly present in these artifacts, spaces, buildings, and places because of the impact of the Renaissance. Roth describes Renaissance architecture as "rationally comprehensible, formed of planes and spaces organized according to clear, numerical proportional systems, its edges and intervals delineated by the crisp elements of the ancient architectural orders" (Roth, 391). To varying extents, this description can be applied to the architecture and design of these later periods.

2) English Colonial architecture, interiors, and furnishings are generally simpler and less refined than their inspirations in England, but a common design language can be found. Symmetry and order are important, although classical language is not strongly evident. Roofs are steeply pitched with tall chimneys, as in English Renaissance residences. The focal points of interiors are large fireplaces. Textiles continue to be important, and English decorations and motifs are used. Furniture demonstrates symmetry, repeating elements, and curvilinear forms.

Spanish Colonial architecture, interiors, and furnishings clearly draw inspiration from those in Spain, but are simplified. Surface decoration is emphasized, showing Moorish influence. White-washed interior walls contrast with dark wood trim. Decoration is concentrated around doorways, which often have ironwork. On floors, tiles with geometric patterns are common. Furnishings, although not as ornate as those from Spain, display curvilinear decorations.

French Colonial architecture, interiors, and furnishings also demonstrate simplified characteristics from the mother country. Facades demonstrate symmetry, repetition, and horizontal divisions. Roofs are steeply pitched. Interiors show symmetry and rectilinear elements. Furniture follows French styles. Pieces are symmetrical and often rectilinear in form, with some curvilinear elements. Armoires, for example, have simple cornices, double doors, and little decoration.

German and Dutch Colonial architecture, interiors, and furnishings are similar to one another and to their European inspirations. Architecture emphasizes symmetry and verticality, but with horizontal banding across the facade. The concept of stacking is especially evident. Roofs are steeply pitched. Interiors frequently display wood. Storage furniture is symmetrical and has horizontal banding as well.

In American Colonial designs, forms and decoration become simpler than their European inspirations. Generally, wood is used for construction because of an abundance of trees. Buildings are smaller, less formal, and less refined. Opulence is diminished as structure and practicality are more important. Gradually, other influences besides European begin to take effect.

According to Roth, "There were no classical ruins in the New World from which Americans could learn something of what made for good design" (Roth, 459). Thus, American colonies turned to what they knew: European designs.

3) Possible Palladian villa, derived from simple mathematical ratios and fractions:

4) The Baroque period is indeed referred to as the age of theatre. Baroque art and architecture were all about drama, theatricality, and inspiring awe. The Catholic Church, as part of the Counter-Reformation, used the Baroque style and theatre to attract new followers and prevent Protestant conversions. According to Larry F. Norman, "After the Council of Trent (1545-63), the Church launched its powerful propaganda campaign against the Reformation, using all the powers of persuasion at its disposal: opulent architecture and decor, eloquent sermon oratory, powerful painting and sculpture. Despite its continuing distrust of the immorality of theater (actors were, for example, excommunicated), the Church could not easily afford to disdain the persuasive powers of the stage" (http://fathom.lib.uchicago.edu/2/10701023).

Louis XIV of France used awe-inspiring theatricality at Versailles to bring glory to himself and his reign. Exquisite architectural opulence and stage productions displayed the power of the "sun king."

Individuals in the Baroque period looked to the theatre to learn how to conduct themselves in social situations. According to Larry F. Norman, "The elaboration of a civilization of manners in Renaissance Italy, exemplified by guidebooks to courtly refinement and culture such as Baldassare Castiglione's Il Cortegiano, spread across Europe as the former feudal and warrior class of the aristocracy was domesticated under centralized monarchies and modern states (Elias). Concurrently, the rising bourgeoisie, often freed from day-to-day business concerns, increasingly mingled with the aristocracy while imitating its manners and decorum. The birth of this new large leisured class created a world in which distinction was no longer political or economic, but instead performative: an accomplished person of quality played his or her role in the social comedy with winning grace and wit. Theater became a metaphor for social role-playing as well as a school where spectators learned to improve their own performance at Town or Court" (http://fathom.lib.uchicago.edu/2/10701023).

iar 211. assignments 3 & 4

2010-10-13T08:18:00.000-07:00

assignment 3.0 - seeing: exploring relationships

building to site:

structure to enclosure:

unit to whole:

natural light to form/space:

circulation to use:

material to form:

final presentation board:

~~~

assignment 4.0: communicating to non-designers

plan:

site plan:

exterior:

living room:

dining room:

final presentation board: