Spilt Inkwell

2011-04-29T02:16:00.000-07:00

2011-04-24T05:01:00.001-07:00

finalfulton

Networking Assignment

2011-04-08T05:40:00.000-07:00

On Monday, April 4, I went to North Carolina State University’s AIA triangle speaker series, located in Raleigh. Each presentation within this series touches on current issues and events happening in the design world. It is open to members of AIA and public alike. The lecture I went to was titled: ‘Infrastructure as Architecture,’ and was given by current NCSU teaching fellow, Katrina Stoll.

The presentation highlighted the importance of urban design in shaping and benefiting our future world. We, as humans, have taken over the world, leaving virtually no land that has not been touched in some way. Technology and other advancements are lending to a strong connection amongst the continents. Globalization is taking effect and, according to Stoll, producing a more diverse world. Humans are no longer bound by oceans and distance, which is creating a massive cross-continental networking city. Katrina Stoll’s lecture asks designers to adapt to the growth that is occurring, on an urban scale. She notes that people should find a connection between design and conditions such as: social, political, and economic circumstances. In doing so, the future development will be beneficial on various levels.

The second networking event I went to was the Global Studio Event in the lobby of the Studio Arts Building on April 8. The event was held to pay tribute to the successful studio, and subsequent build of a school in Kyekyewere, Ghana. The event was set up, museum style, with various artifacts from Ghana. Student models of the school were displayed, showing the guests how hard the studio worked. Process work and Ghana information were also shown. There were apparels and images for sale, taken by the art students who traveled to Ghana with Iarc.

I found this event to be very interesting to go to. Since I did not have the Ghana studio last semester, I did not know as much about the projects as some of my peers. A lot of time and dedication went in to the production of the school, and I congratulate all of my peers for doing this. It is a great community based project. Not only were the students raising awareness regarding the need for a school in Ghana, but they were also reaching out, far beyond Greensboro, to make this world a better place. It reinstates the idea that community is essential in the design process. As designers, it is our duty to create a space that draws people together, further biding a strong community. Community by design has been in our curriculum for the past 4 years, and it will continue to be with us in our professions.

Research Paper

2011-04-05T05:28:00.000-07:00

The research paper provided us the opportunity to write about a topic we were interested in. I chose to write about sustainable preservation. People get excited by the prospects of a new LEED certified building; it is sustainable and good for the environment. What they do not take into account is how much energy they are using to demolish the existing structures. While researching, I found some very useful facts that may get people to reconsider rebuilding, and start thinking more about re-using:

According to Charles Lockwood, “Existing Buildings in the United States outnumber new buildings by more than 100 to 1."

In 1900, 41 percent of the materials used in the US were renewable, but by 1995, only 6 percent remained renewable (NTHP).

According to the EPA, it is estimated new sustainable buildings that optimize as much as 40 percent of recycled materials would still take around 65 years to recover from the energy used in tearing down an equivalent existing structure

Mock Firm Branding Document

2011-04-05T03:31:00.000-07:00

here is part of our helix design inc. business plan and branding document for the mock firm competition:

katie and i were in charge of the graphic portion of the branding document.

Weekly Meeting Process: Business Cards

2011-03-31T04:08:00.000-07:00

katie and I worked on the business cards for the mock firm this week. given the design that helix chose for the logo, we worked with it and narrowed the options down to these three cards:

mid-term review: fulton

2011-03-18T16:04:00.000-07:00

branding for mock firm: logo designs

2011-03-01T03:34:00.000-08:00

at our weekly meeting, it was our assignment as pro-practice students to come up with some logos for the mock firm. here are some of mine:

Avenues Event

2011-02-28T04:18:00.000-08:00

February 23rd was the Avenues Event, an afternoon where professionals came to talk students regarding portfolios and interview suggestions. I spoke to Kathryn with Lisa Sherry Interieurs about residential design. She was interesting to talk to and explained the process of talking to clients, as well as developing a project. I am not interesting in interior decorating as a job, but it was definitely beneficial to hear her talk about the business.

Portfolio

2011-02-17T03:57:00.000-08:00

Portfolio 1

i enjoyed this self-marketing assignment; it allowed for me to finally organize all of my work into a single document for future job prospects and networking.

Leave Behind

2011-02-17T03:52:00.000-08:00

Front:

Back:

this is the leave behind we had to create for our self marketing package. i wanted this leave behind to be simple, yet graphically appealing

Resume and Portfolio Page

2011-01-31T03:39:00.000-08:00

below are my resume and single portfolio page for the first assignment in pro-practice. i chose to include projects with various styles to display all of the programs and techniques we have learned in iarc:

Vance Chavis Life Long Learning

2010-12-12T12:06:00.000-08:00

Stacks:

Outdoor Perspective

New Library Concept:

The Vance Chavis Library is dedicated to the living cycle of life long learning.

The library represents the continuation of past traditions, embraces the present, and welcomes future growth.

Floor Plan

*autocad by maiken shoenlieber

Reflected Ceiling Plan

Lounge

Work Area
Stacks/Computer Area
Detail:Computer Desk

Details: Info/Circulation Desk and Stacks

Model:

model by Kurt Huizenga

photo by Jessica Crews

2010-12-11T12:44:00.000-08:00

Building Design Phase

2010-12-10T12:51:00.000-08:00

Initial Renderings

These renderings mark the beginnings of the design process. Before the building was divided up into smaller groups for added detail, the collaborated and came up with the initial building design.

The Start of it All

2010-12-09T13:41:00.000-08:00

After the first building design charette, the groups split up and designed their interpretation of the building. These are images of the design which was chosen to further develop.

Diagram

2010-10-04T13:56:00.000-07:00

2010-10-03T10:55:00.000-07:00

2010-09-15T14:03:00.000-07:00

The University of North Carolina at Greensboro prides itself in being a campus rich with landscape and outdoor communal spaces. In the warmer months and sunny days students can be found sitting on the benches, steps, and grass. They gather, they read, they observe. Though not without quality outdoor spaces, the school could use a new one, different from any other.

The new pedestrian bridge crosses at the intersection of college avenue and spring garden; a densely traveled area. High above the bustling street lies, not only a means of safely crossing, but more importantly, a new destination spot. It provides students with more places to sit with a fresh perspective of their surroundings.

The bridge will provide students an outdoor gathering space able to accommodate every comfort or way of seating. From oversized steps to tables and benches, the bridge allows the students to observe the campus from a new vantage point. From ground level to feet above the road, the students will read the life around them

internship

2010-08-09T11:53:00.000-07:00

summer revit project: slat house

2010-06-27T08:47:00.000-07:00

exo skeleton

2010-05-11T08:06:00.000-07:00

In the event of a natural disaster, communities regress, relying on basic needs to get by. Following the February 27th earthquake that struck Santiago, Chile, many of the natives were left homeless. Desperate for shelter, people began to assemble makeshift structures. Though flimsy, the Chileans needed a solution in regards to shelter for the new found homeless.

This system of disaster relief shelters is a response to the Chilean earthquake. Simple in materials and flexible, it will provide quick assembled, temporary relief for the victims. Each unit relies on a pole system, or the exoskeleton of the shelter. The vertical elements are supported by the poles, thus making the horizontal elements non-load bearing. Each unit houses two people with a central community unit shared by all. The end result is a system that is not only architecturally connected, but socially as well.

Assembly:

Minimal materials and straightforward design make the assembly process relatively effortless. Both the stretched canvas roof and walls come pre cut, as do the wood pieces (poles, decking, etc). Construction will begin by digging two foot holes large enough to place the cement blocks into the ground, followed by the poles. From there, the structure will be built on the poles with support provide where needed. After the wood frame is installed, the walls will be clipped to the poles. The fabric walls may be manipulated how seen fit; they are subject to change with the individual’s privacy preferences

Materials:

Southern yellow pine

Tarp clips

PVC coated double ply material

Metal fixtures for canvas attachment.

Cement for foundation blocks

Optional mosquito netting

in season

2010-04-08T19:30:00.000-07:00

2010-02-11T12:28:00.000-08:00

Project 3: Durham Fire Tower

2009-11-23T10:35:00.000-08:00

CBI Showroom

2009-11-18T11:39:00.000-08:00

edge : node : vista

The CBI Durham showroom is a space defined not only by the purpose of the company, but the surroundings of Durham as well. With wayfinding as the core of the design, the space suggests good organization and circulation.

Upon entering the space, it is soon apparent that the building is divided into sections with various purposes enclosed. Each section of the space, or node, is where the main activity takes place. These zones are further separated by the edges; the edges define the boundaries of the nodes. These entities also connect the layers of the space, thus performing as a guide through the extents of the building. As the nodes and edges progress through CBI, the visual sense of a vista begins to form. As one enters the space, the branding of CBI serves as the iconic view, whereas upon exiting, the view of the Durham Post Office reigns superior.

Each of the three components work together to create a space that is engaging, not only with the products, but the company, as well as the surrounding downtown Durham.

Conceptual Diagram:

Spatial Allocation:

Perspectives

Rendered Floor Plans: With Section Cuts

Floor:1

Floor:2

Sections

Finish Floor Plans

Data Plans

Reflected Ceiling Plans

Details

Animated Walk Through

Design Development 2

2009-10-16T04:21:00.000-07:00

edge : node : vista

edge: boundaries between two phases, linear breaks in continuity

node: centers of attraction that you can enter. A node is a center of activity

vista:A distant view or prospect, especially one seen through an opening, as between rows of buildings or trees.

A view that defines the integrity of the space around it.

concept

The CBI Durham showroom is a space defined not only by the purpose of the company, but the surroundings it is submersed in. With navigation and wayfinding as the backbone for the design, the space evokes good organization and circulation. Upon entering the space, it is soon apparent that the building is divided into sections with various purposes enclosed. Each section of the space, or node, is where the main activity takes place. These zones are further separated by edges; the edges define the boundaries of the spatial nodes. These edges are far more significant than mere boundaries, for they also connect the layers of the space, thus performing as a guide through the extents of the building. As the nodes and edges progress through CBI, the visual sense of a vista begins to form. As one enters the space, the branding of CBI serves as the iconic view, whereas upon exiting, the view of the Durham Post Office reigns superior.

Each of the three components work together to create a space that is engaging, not only with the products, but the company, as well as the surrounding downtown Durham.

Floor Plans

Sections

Cross Sections

Long Section 1
Long Section 2

Details

Stair Details

Reception Detail

Kitchen Detail

Wall Section Detail

Perspectives

Showroom

Chair Showpiece

View of Post Office and Reception Area

Lounge/Kitchen

View of Upstairs

Node:Vista: Design Development

2009-10-14T05:04:00.000-07:00

This past week saw design developement for the CBI Durham Project. With the aid of our program document, as well as any other information we had gathered, Leah and I started to design the space itself. Below is a compilation of our work. It is by no means finished, but it is a glimpse into what we have as of yet. The next phase is to further polish the design; it should be interesting.

We are extracting the notion of a vista and translating it’s essence into a physical form that people are able to interact with. In this respect, the vista/architectural statement becomes a node through which people can walk. It serves to bind the two forces behind the construction: CBI and Downtown Durham. The NODE : VISTA will guide clients through the space as a means of way-finding, connecting all layers, levels, and pathways created.

First Floor Plan

Second Floor Plan

Reflected Ceiling Plan

Long Section: East
Cross Section: South
Stairwell
View Of Showroom
Alternative View of Showroom
Conference Area

Kitchen/Lounge

2009-09-30T18:47:00.001-07:00

Response to Group Work:

Today, Leah and I partnered with Kaytee and Toby to review our projects. So far, we have built the foundations of the project, and now we are schematic designing. With the aid of North Carolina Building Code, Site Analysis, and Conceptual exploration, the next step in the project is to analyze the spatial layout of the building. This step includes circulation and zone planning, spatial allocation, voids, and various other interior details.

Kaytee and Toby’s concept is ‘Note Bene.’ Latin for ‘note well,’ their interpretation of the CBI showroom is defined by a central focal point. A spiral staircase serves as the focal point of the space as well as a circulation statement. Platforms and walls provide zoning and separation for each function. When we met today, they were in the initial layout design of the space. They were experimenting with various floor plans, as well as furniture layout.

The first response we had to the design was the changing of the staircase. Leah and I felt placing the spiral staircase in the center of the space would promote and highlight the circulation and way finding. We then concluded that circulation could be the focal point that Toby and Kaytee wanted to emphasize. In turn, the space could radiate out, spatially determined by the various functions. In their initial design, they had platforms in the space. We thought that they should use platforms and wall heights to add layers to the building and further determine the spatial allocations. It would provide separation without unwanted privacy. Materials could also be used to determine way finding.

Where they are in their project, there is no doubt that Kaytee and Toby have an interesting and innovative concept and design. Both Leah and I are interested in seeing the progress.

2009-09-30T10:54:00.000-07:00

Codes:

Basic Features

Building Classification: M (mercantile)

Construction Type: Type III B

noncombustible exterior

combustible interior supports

2 Exterior bearing walls

0 Interior bearing walls

Exiting

Occupant load per floor:

Basement: 53

First: 53

Second: 26

Required exits for each space:

2 per floor above grade

Exit table

Exit Access: Table

Arrangements of width of exits:

3’ minimum

Minimum Travel Distance:

The straight path between two exits should be at least half the diagonal distance of the entire space (the longest diagonal possible)

Distance between exits should not exceed 200’ without sprinklers. With the addition of sprinklers, the distance between exits can be increased.

Corridors (minimum width): 3’

The staircase would be required to be rated, as it serves entire floors. A 1 hour fire rating is the minimum, as the occupancy is greater than 30 on 2 levels.

Doors:

Door opening minimum is 32”

Barrier-Free Design (ADA)

Accessibility Route:

Location: At least ADA compliable route from exterior

Width: The minimum width of an accessible route is 36”

Passing Space: 5’x5’ passing/turnaround space minimum

Head Room: Space shall have 80” clearance

Surface Textures: Surfaces should be stable, firm, and slip resistant

Doors: Clear openings of 32” should be provided

Egress: Accessible route from the exterior will be used as the egress

Plumbing Fixtures & Toilet Rooms:

Sinks: Sinks shall be mounted no higher than 34” above the finish floor

Water Closet: The height of water closets shall be 17-19”, measured from the top of the toilet seat.

Drinking Fountains: 50% or more should be ADA compliable.

Floor Surfaces:

Surfaces should be stable, firm, and slip-resistant.

Protruding Objects:

Objects shall not protrude from walls more than 4” into walks, halls, corridors, passageways, or aisles.

Detectable Warnings:

Detectable warnings shall consist of a surface of truncated domes aligned in a square grid pattern. Contrast to regular surface is key.

Signage and Alarms:

Letters and numbers on signs shall have a width-to-height ratio between 3:5 and 1:1 and a stroke-width-to-height-ratio between 1:5 and 1:10.

Seating (Accessible wheelchair spaces):

If seating spaces for people in wheelchairs are provided at fixed tables or counters, clear floor space shall be provided.

Plumbing System Requirements

Lavatory: 1 per 750 occupancy

Drinking Fountain: 1 per 1,000 occupancy

Other: Service sink

Signage: Legible sign designating sex shall placed in a visible location.

Sound Rating Requirements

Indoor Classification Sound Levels:

Environment: General Office

Subjective Evaluations: Moderate

Sound Level (DBA): 60

Schematic Design:

Wayfinding:

Node

Central Pathway

Glass wall displays the stars to the various levels

Furniture Arrangement

Lighting

Signage

Display Windows

Minimum Dimensional Requirements:

Reception: 144sf

Node: 60sf

Showroom: 816sf

Conference: 350sf

Office: 450sf

Lounge: 190sf

Bathroom: 72sf

2082

x .25%

2602.5sf

Adjacencies:

Desired Relationships:

Storage/Stairs/Elevator

Entrance/Reception

Reception/Showroom

Showroom/Stairs/Elevator

Stairs/Elevator/Office/Lounge

Lounge/Bathroom

Lounge/Office

Office/Conference

Zoning:

Private:

Basement Storage

Work Zone:

Office

Conference

Showroom

Semi Private:

Conference

Public:

Bathroom

Showroom

Reception

Offices

Lounge

Users In Zones:

Private:

Cleaning Staff

Employees

Work Zone:

Cleaning Staff

Employees

Clients

Invited Groups for Events

Semi Private:

Clients

Employees

Public:

Universal

Spatial Allocations

Perspectives

Node:Vista

2009-09-23T13:53:00.000-07:00

Precedent Analysis: Group Review

2009-09-21T17:20:00.000-07:00

For this assignment, the class was to pair off into groups and research two showrooms: one actually visited and one found in a magazine or online. For each showroom, we were to create a precedent analysis, determining many aspects of the space. After interacting with the site, or else viewing images of the showrooms, we were to find the concept and how it relates to the circulation, zones, and various structural integrity.

Once we finished our own precedent studies of the showrooms, we were to critique the content of the other groups' work. The various sites had similarities and drastic differences, but the overall notion of the Showroom purpose kept them connected.

Concept: It seems that the Showrooms' designs were more about function and circulation than they were clear and abstract conceptual statements. Salone Del Mobile displayed its concept in dramatic designs and the various Apple Store used branding as Conceptual Marketing. The other Showrooms more revolved around the display of the space client perception of the products.

Generally speaking, the circulation and zoning layout of the Showrooms are influenced by the products as well as the public/private space. The customers and clients are able to interact with the products and move freely without accessibility issues. Other similarities that predominately all spaces had were the color and fixture choices; the showrooms were visually neutral and simple as not to detract from the products.

From the review of the various groups, we are able to understand the design and conceptual aspects of various Showrooms. It will aid as reference in our continuation and exploration of our product and subsequent design.

2009-09-04T12:16:00.000-07:00

Sketch Up Model Images

2009-08-30T19:00:00.000-07:00

Birch Bark

Berries/Ivy

The Nature of Design

2009-08-26T18:22:00.000-07:00

Starting off a new year, our studio is taking advantage of the surrounding environments. We are connecting nature to design, so far in the most literal way. The first part of this assignment asked us to find 5 items in nature. From there, we were to observe and note characteristics of the items chosen. Nature and Digital Design combine in the next portion of the assignment, for we are to take two of the items, and recreate their properties in sketchup.

Pod

Berries

Flowers

Birch Tree Bark

Magnolia Pod

And So It Begins...Third Year

2009-08-26T18:21:00.000-07:00

Yet Another Year Starts Up...

2009-04-30T20:03:00.000-07:00

Happy Birthday, Mom

(2 days late...)

Final Project

2009-04-28T21:39:00.001-07:00

Hipster Haven

View from Mid Floor Landing

Stratification:

Inspiration:

Upon entering the Warehouse, Lauren and I noticed the history it evoked. It was apparent that, with each new use of the space, a layer of the previous function was retained and left behind. Wanting to preserve the past, our initial design aimed to build on, all the while displaying the layers that this project had to offer.

Inspired by the simple, yet complex nature of a sedimentary rock, we were determined to create a space that would embody the qualities of this object so rich in history. Equally important was the idea of single layers bound together to create a unified whole.

A unified whole was prevalent in the layout, as well as overall schematic design of the space. The units would be a universal size of 25’-0”x 36’-0.” The exterior of each unit would remain simple; the layers within from the residents would personalize the spaces and thus create unique interior atmospheres.

Building on the concept of Stratification, it was apparent that the units would have to interact with all layers of the building in order to be successful. Instead of lofting up, the excess space would extrude into the ground, and protrude into the level below. Designed to accommodate either parking or storage below, the unit itself, as well as a rooftop Terrance above, the residents would own every layer of their 900 square foot space. The residents would, in turn, literally live within the layers of their space, as well as the Warehouse itself.

Final Shared Poster Layout

Individual Space:

Concept: Exposed Antiquity

The design utilizes the idea that the space is kept open and simple; it is up to the residents to manipulate the space and thusly display the layers of their lives via their possessions. Since the concept pertains so much to layers, horizontal orientation is highly relevant; vertical elements are rare. The main horizontal elements in the space are the interactive wood paneled walls. They penetrate both levels of the space and, in doing so, bind all layers of the unit together. They are considered interactive walls due to the fact that all of the other separating privacy walls and storage extend and extrude from the main wood walls. They create spaces and shelving units for residents to place their belongings; almost as if they are creating artifacts and moments within the layers.

Concrete Wall Section

The two other walls of the unit would remain white. Seen as blank canvases for the residents to manipulate, the white balances the wood, thus eliminating a visually overwhelming space.

View from Bedroom

View From Kitchen into Family Room

Layout:

Once again, the layout was determined by the overall layer design, as well as manipulation of the building itself. The space is, therefore divided into three categories: public, semi-public, and private. Each function has a form of separation with the public space on the top, and the rest layered below. The three spaces share a common origin; they are all centralized from the unit’s focal point, the staircase.

View From Family Room Into Kitchen

Floor Plan: Level 1

Reflective Ceiling Plan

Floor Plan: Level 2

Section:1

Section:2

Section: 3

Section: 4

Staircase:

Staircase: Sketch Model

The central staircase literally cuts through the layers, thus exposing each layer within. In addition to the main staircase, stairs step up to the living space above, while stairs step down to make room for supplementary living space below. Descending the staircase, the further one goes into the space, the more private it becomes. Simple in design, the staircase in itself, is comprised of horizontal layers. This is to say that the whole staircase is made up of smaller, exposed entities.

Open Nature:

The space was kept open to maximize light exposure, as well as accessible flow. The spaces are minimally divided, with horizontal elements and materials insinuating separation. Due to the open plan, full interior walls are kept at a minimum and doors are places only where necessary.

Lighting:

It was important that the unit included a lighting design that achieved a sense of openness via natural light sources. Windows o the outside are placed in the public living space. Wall windows trim the ceiling and therefore connect the unit to the surrounding factory. Kept open, light is meant to filter through the stairwell, into the spaces below. Where light cannot penetrate, and for the night time, artificial lights are dispersed accordingly.

Materials:

FF&E Speculations

Materials Board

As mentioned before, the materials are kept simple. They are used as both a navigation tool, as well as backdrop to the resident’s possessions.

Floor: Cement with Darker Wood Datum Line that runs the length of the unit, connecting the stairwell to the space itself.

Walls: The walls would be a medium wood paneling as well as the extruding storage

Kitchen: Black and White walls counters with a sedimentary rock countertop such as limestone or sandstone in a very neutral color.

The color would present itself in the wood, but more importantly, in the belongings. The homeowners are able to bring life to their space, and thus create their own record within the layers.

Final Individual Layout

WPA Poster

2009-04-28T05:35:00.000-07:00

As the last assignment for our visual communication class, we were to create a poster that voiced our views on a certain topic. Opinions aside, they were also meant to draw inspirations from the mid century WPA posters.

The WPA posters were a way to visually communicate to the viewers of the time. Combining Graphics with Communication, these posters supported the addition of art in daily life. The Posters seemed to be one of two formats; either strong in graphics and simple in text, or the exact opposite. I chose my graphic to carry the piece, using as few words as possible. I wanted the poster to carry itself with little explanation. Though simple it may be, it was in the simplicity that the original posters made such an impact. The composition aided the power of the message, rather than detract from it.

2009-04-26T10:03:00.000-07:00

Object Persuasion

2009-04-21T08:06:00.000-07:00

Weekend Sketching

2009-04-14T12:34:00.000-07:00

Urban Pathway

2009-04-08T15:50:00.000-07:00

This Week focused on image editing via the Illustrator software. Using the pen tool to literally trace the object, we were to transform an image, in this case an Urban Pathway, into a dynamic Graphic. The picture I found was in color, but I opted to make it grayscale as to annunciate the Figure.

Scene of Discourse

2009-04-01T22:23:00.000-07:00

This particular assignment was the product of image manipulation in Photoshop. The final result is a composition of various image layers, altered to embody the two words given to us. Mine were Energetic and Industrial

Final 3DS Max Renderings

2009-03-31T04:32:00.001-07:00

These are the final renderings from the program 3DS Max. Though the program was, in my opinion, more challenging than Sketch Up and Podium, it produced some fairly decent renderings.

Hipster Haven

2009-03-26T21:03:00.001-07:00

Plan View: 3/32": 1'-0"

Each Unit is comprised of a space amounting to 900 square feet. The universal dimension is 25'-0"x 36'-0"

Perspective 1: Community Area View Upon Entry

From point of main entry, a datum line of space would run along the building, leading to the roof top terrace stair. Upon entry, residents would visually interact with all of the community space. The coffee shop and Information areas are situated on either side of the datum line. It is meant to accommodate a speedy lifestyle, with the end goal in mind (hence the central placement of stairs).

Perspective 2: View of Residential Hallway

As not to detract from the space itself, each space was designed to work around the columns. They establish boundaries and points of interest rather than unjustifiable coordinate points.

Photoshop: Pattern Perception

2009-03-23T15:45:00.000-07:00

To kick off this portion of the class, we were assigned the task of creating a pattern via image and Photoshop technique. After cropping, copying, transforming, and applying paint to an image of a Chicago bridge, I found myself pleased with the pattern created. I look forward to learning more as far as Photoshop manipulation goes.

A Place To Bathe: Encompassing Reliance

2009-03-05T15:49:00.000-08:00

Encompassing Reliance

Perspective: Interior Hallway

Concept:Encompassing Reliance

This spa embodies the notion that water is a huge component in everyday existence. It aids the environment, provides recreation, quenches thirst, and even composes the majority of the human build. However manipulated, water is the constant datum line in our daily lives. We, as living organisms would cease to exist without it. This Spa celebrates the life and consistent cycle of such a renewable resource.

Inspiration/ Initial Research:

In researching bathing rituals and the alike, I was inevitably drawn to the Ancient Egyptian’s dependence on the Nile River. Snaking through the civilizations, the Nile promised constant re-growth. It was a resource that saw no bias or judgment; everybody used the Nile. It was manipulated to be a factor in nearly everything the civilizations did, from agriculture to bathing. The Nile was, after all, known as the Backbone of Egyptian life.

I also found inspiration in the composition of the civilizations. The structures were centered around the dominating river, true, but I found the environment they created to be far more powerful. The Nile and the Structures such as the Pyramids and Ziggurats made statements in themselves. They were prominent as well as stimulating visuals and they provided the terrain in an otherwise flat environment.

Function- Circulation Diagram

Scale:

People:

Inspired by the universal manipulation of the Nile, the Spa aims to bestow an environment suitable for all. It provides both handicapped accessible areas and non, to ensure a balance between the users. In doing this, the spa evokes a comfortable atmosphere amongst involved.

Sketch Model: 1/4":1'-0"

Space:

The Spa, and space it entails, are designed around the concept of unified and encompassing reliance. Inspiration is drawn from the various manipulation and sheer dependence on the Nile. The form can be perceived as separate components united by the constant flow and cycle of water. The flow is embodied by a staggered water ramp that runs the length of the space. It draws from the ancient civilizations in an act to provide a balanced ambiance. The design combines the stepping nature of the Ziggurat with the flow of the Nile to create the Water Ramp. It symbolizes the harmonious balance between the people who are able to walk and those who are unable.

Floor Plan: 1/4": 1'-0"

Reflected Ceiling Plan: 1/4": 1'-0"

Section Cut View: 1/4":1'-0"

Similar to the all-inclusive manipulation of the Nile is the notion of the Water Ramp. Its journey begins as the ceiling of the changing and restroom spaces. From there, it flows to the shower spaces where perforations in it cascade down into the room beneath. As it further approaches ground level it formulates visual walls, thus connecting the interior to the exterior. Upon reaching ground level, it literally becomes the space itself, emptying into wading pools. The Water Ramp is therefore perceived on various levels and scales similar to the way wheelchair bound users and those who can walk distinguish the space.

Elevation 1: 1/4":1'-0"

Elevation 2: 1/4":1'-0"

Elevation 3: 1/4":1'-0"

Materials:

The materials and composition of the space aspire to compliment the dominating disposition of the Water Ramp. Reinforced Concrete Walls encompass the spaces in a subtle nature. The paneled glass walls within provide enough separation without distracting from the ramp above. The floor in the space aims to reflect the flow and importance of the water above. Blue-grey glass tiles are laid in the spaces with a datum line of smooth polished concrete connecting them. The floor design utilizes the notion of separate entities uniting over a constant flow. Furthermore, it creates a sense of functional space versus circulation with the variation of materials. The lighting in the spa is designed to create a sense of separated unity. Recessed floor lights line the perimeter of the rooms while track ceiling lights run the length of the datum lines, thus creating a visual proportion. The only color in the Spa comes from the Water Ramp and the tile floor. The simplicity is meant to engage the viewer in both planes. It also aims to bring the floor and ceiling closer together, and consequently envelope the user in the space.

FF & E Specifications:

Continuous Cycle:

An attribute of the Nile was that it literally enhanced the surrounding environment. Ancient civilizations would depend on the river for its annual flood seasons, as it enriched soil and increased Agriculture. The spa has a cycle system as well. Water is pumped up into the Water Ramp where it flows down into the submerging pools. The access water drains into the ground via drainage grates. From there, it is filtered and recycled back up to the Ramp. The cycle of replenishing further unites the space and Spa to the place and Environment it inhabits.

Water Flow Function Diagram: 1/4":1'-0"

Surrounding Environment:

Situated in an open and abundant area, the Spa would be void of other distractions. Just as the Ancient Architecture and the Nile were the topography in their level environments, the form of the Spa would provide the visual statement as well. The sparse location would also add to the tranquility and peaceful nature of the ambiance.

Perspective 2: Exterior View

All of these factors coincide together in an attempt to provide a relaxing, comfortable, and successful place to bathe.

A Place to Bathe: Hydrotherapy/the Nile Notes

2009-02-23T20:55:00.000-08:00

Notes to Ponder:

Hydrotherapy: A method of manipulating water in order to treat diseases, ease pain, and restore health. It is successful because it is a natural way to stimulate the human body’s own healing force.

Baths are named according to the part of the body to which the fluid is applied, and the mode of its application.

Semicupium- only the lower half of the body is immersed

Pediluvium- Foot Bath

Manuluvium- Hand Bath

Hip- Seat Bath

A hip bath is a specially designed type of bath tub which is intended for the bather to sit upright, as though in a chair.

Manner of Application:

Immersion- Of the Naked Body

Affusion- Pouring Water over the Body

Two types of Affusion:

Shower Bath: Water Placed Above the body to flow like rain

Spout Bath: Projection of Water with some forces

Ablution: Washing the Skin with a wet Towel, Or Sponge.

Cold, Hot, and Warm Temperature:

Cold Water: Cold is stimulating, and it causes superficial blood vessels to constrict. Less Blood Flow to the Organs

Hot Water: Relaxing, causes blood vessels to dilate, and removes wastes from body tissues.

Warm Water: Circulatory and Nervous System: Soothing Influence. There is a feeling of ease and well being as well as mental and physical readiness.

Alternating Temperatures: Increases blood flow and circulation

Sources: 'Dietetical and Medical Hydrology'

The Nile: The Gift of Egypt

-The longest river in the World: 6650 Kilometers

-Derived from Greek, Neilos (valley).

The Importance of the Nile:

It is safe to say that the Nile was the backbone of Ancient Egyptian civilization. Its cycle of flooding not only shaped the land, but the cultivation as well. People were nearly fully dependent on the river and what it had to offer.

Flood Season:

Annually, from July to October, the Nile floods. Topsoil is the product of silt deposits and the cycle of flooding. As the water recedes, nutrient rich soil is left behind, thus providing fertile soil to plant in.

Lifeline:

Among many things, the Nile was used for:

Agriculture: the fertile strip along the Nile was the only source of suitable soil

Line of Communication from other Areas

Transportation

Drinking Water

Bathing

Religious Purposes

Sources:

Ancient Egypt - Culture

The River Nile Facts

Void of Interruptions: A Place to Dine

2009-02-21T06:57:00.000-08:00

Concept:

Every component of this space is tailor made to enhance the dining experience. Surfaces and products have been manipulated, pushed and pulled; to custom fit the needs of human interaction and what dining has to offer.

Iteration Model: 1":1'-0"

Table:

This table is a marriage of practicality and proximity comfort. Every aspect of the table is designed to submerse the user in the surrounding atmosphere. In an otherwise busy setting, separate eating spaces provide an intimate escape for the party of twelve. The table gives the allusion that is has been manipulated, thus creating voids floating above the base. Six sections constitute the whole, providing each user shares a section. There would be no seating on the end, for it would prohibit the continuation and course of the formed pattern the table generates. The voids are designed for placement of interruptions, in other words, anything that may obstruct the user from interacting with the people around them, as well as the food they are consuming. Silverware, napkins, glasses, anything that is viewed a distraction, may be placed in the voids. The table surface is designed to be simple; it is only fitting that what brings to the table is the décor, the essence of the experience.

Final Model: 1": 1'-0"

Chairs:

The chairs used in the dining space are titled No. 5, by Adnan Serbest. The chairs had to have the same characteristics of, not only the table, but also the space they inhabit. They required simplicity yet function. They called for an understated elegance and appeal to them. The No. 5 chair suits the environment exceedingly well. It has been stripped of all human wants, thus leaving a skeletal form of human needs. The nature of the chair carries itself alone, yet does not compete for dominance with the table; it is a balancing act between the two products.

Space:

Every aspect of the space takes into account the concept, void of interruptions. This is to say that every component has been manipulated to enhance the interaction and atmosphere of the dining experience. The shape of the space appears to be an enclosed space that has been pulled apart, thus creating voids for pathways between spaces. The voids are wide so that the space does not feel closed off from the spaces beyond. To address the issue of impeding and distracting serving tables, they have been built into the wall, thus creating an open flow around the table. Just the table created voids for interruptions, the serving tables create voids for separation. They allow for food and utensils to be placed in divided spaces, for easy access and convenience.

Both the ceiling and floor plans have been manipulated as well. Where the ceiling provides drop down panels, the floor rises up, creating a trench, or void, around the border of the space. They deviate from initial orientation to further enclose the user. It allows the user to perceive the space on a more personal level. The planes appear to be floating, thus establishing a bond between the characteristics of the table. Where the ceiling created a grid, the floor reflects the same idea, though more subtly. The polished cement floor would have a cross seam, running through the center of the space. The grout would be the same color as the floor. It is a subtle way to bond the floor to the table, to the ceiling, and ultimately to the space.

To address the idea of a light source that does not distract from dining, track lighting has been placed behind the panels, hiding it from view. Six lights would shine through the void in the panels, illuminating the six sections of the table. Soft lighting in the base of the table shines through the voids. The lighting itself would reflect the same pattern that the table produces. Since these are the main sources of lighting, the space further directs the attention to the focal point of the room, the place to dine.

Since there are no unnecessary additives to the room, the color on the walls need not be anything but subtle. They are a light yellow cream color. They glow with the lighting and further aid in the luminous nature of the dining experience.

Floor Plan: 1/2":1'-0"

Reflected Ceiling Plan: 1/2":1'-0"

Wall Elevations: 1/2":1'-0"

Wall Section: 1":1'-0"

FF& E Specifications

Rather than seen as merely a dining room, this space asks that the viewer analyze the space as a set of interlocking products. It is designed on various scales of products, from the space itself, to the table within, as well as the chairs provided. They work together to establish the environment, and thus create a successful place to dine.

Presentation Board

Habitable Wall: Podium

2009-02-19T06:57:00.000-08:00

In the last installment of our visual communication project, we were to render the digital version of our 'Habitable Wall' project via Podium. The process involved the addition of light sources and reflective surfaces.

Exterior View:

Glass Inlay: View Into the Second Level Office

View Into the Living Space

Living and Office Space Perspective

Second Floor Office Space

Sleeping Space

Exterior View 2

Habitable Wall Walk Through

2009-02-16T19:35:00.001-08:00

Habitable Wall in SketchUp

2009-02-04T21:14:00.000-08:00

In visual communication, we were asked to capture 5 views of our habitable wall, a project revisited from first year studio. These are not finished views, but they will display the process of editing a 3D model into a digital model, by means of dimensions old pictures...

2009-01-31T07:55:00.000-08:00

The Invisible Presence

It is in the most common, and therefore, most unlikeliest of places that we find good design. It celebrates simplicity, stripping away the façade, thus exposing the function and beauty beneath. Good design puts emphasis on the user’s needs, rather than wants. People become so comfortable with it, that they rarely ponder its presence. Good design is selfless rather than selfish.

From a far, the artifact appears to be a simple wooden square, composed of a solid piece. Made of all wood, it has a smooth surface, further aiding its uniform nature. As the viewer observes closer, it is apparent that it is made of smaller components, set in a grid pattern. The object is based on a simple design yet it is by no means plain in appearance. It forces the viewer to perceive it on various scales and angles.

Visual Communication 2

2009-01-25T09:40:00.000-08:00

Let’s face it; we live in a technology intense world where the newest design is the most sought after design. Handcrafted seems to have taken the backburner, allowing computer accuracy and speed to flourish. It is, after all a more convenient means of design communication. Though this inevitably is our future, it does not necessarily entail success.

There is no question that design has altered dramatically since the introduction of technology. New software has come out every year, providing a designer with every means to never have to do anything by hand ever again. There is a sleekness about computer design, it begs a certain level of respect; it looks professional. Also, designing by means of computer can go more in depth than hand made; the technology is that progressed. This is not going to change anytime soon; it will only advance more.

Though technology is our future, and a fascinating on at that, it by no means demands the extinction of hand made, a method that was successful long before computers. There is a charm to hand rendered and drafted design. It allows the designer to express craft and commitment, a dedication that computer design would never accomplish. This is why designers should find the beneficial medium to design; a profession where hand made and technology coincide well. That way, if one fails, there is always a backup; there should be no excuse for inefficient design.

As our world changes and we enter into an era dependent on technology, it seems only necessary that we, as designers take advantage of the advancements, without becoming dependent as well. Our lack of reliance on technology and our knowledge of handmade will, ultimately, make us better designers.

Gifts

2008-12-24T15:16:00.000-08:00

May not be the most lavish present, but hey, I'm a student and therefore broke. My friends get portraits this year

Alicia

Rachel

Amanda

Shannon

One Is the Loneliest Number That You'll Ever Do!

2008-12-19T21:18:00.001-08:00

I know there will be more to come, but right now that lone present looks like it needs some friends...

2008-12-16T11:49:00.000-08:00

Oh, to be sick...

2008-12-14T21:58:00.000-08:00

I can only imagine what she is thinking...

My Dog- 'It's the time when my Humans think it is appropriate to embarrass me with demeaning attire in hopes of turning me into a festive Christmas Dog.....never going to happen'

Final 211 Renderings

2008-12-10T20:14:00.000-08:00

Weekly Assignment 13

2008-12-10T20:09:00.000-08:00

Self Portrait: Marker and Colored Pencils

Design.Everything

2008-12-10T18:34:00.000-08:00

Alarm Clocks- I have a fixation with retro clocks and hence the reason why I have so many. They display the perseverance of technological demand, and in turn have far more character.
Music- Specifically movie scores, music is essential in my design process. It allows me to cancel the surrounding noise, and concentrate. Also, ideas complemented with music produce organic, whimsical designs.
The real first art class I toke was a high school ceramics class. It taught me rudimentary design skills, and allowed me to interprate my design in tangible forms.
Aspen, Colorado- Colorado is another world. Its clarity and openness is conducive to design free of unnecessary elements.
Childhood Backyard- My mom encouraged my sister and I to use outdoors as a playful pastime.
Elise- my sister is a large part of my inspiration. I’ve always looked up to her for her artwork; she is very talented.
Gamble House- The intricacy of the Arts and Crafts Movement is fascinating. The high craft and attention to detail inspires me to push for high-quality technique.
Merchandise Mart- It was seeing this building in Chicago that sparked my interest in sustainable preservation. Merchandise Mart is the largest and oldest Green Building In the United States. It shows that sustainable design does not have to be new design.
Baltimore Aquarium- this building is one of the most memorable buildings I’ve been to. Flowing from one room to the next, way finding goes hand in hand with the exhibit tanks.
Windmill- The Windmill Inn in Wraysbury, England was the first inn I stayed in while outside of the country, lucky for me; it was a converted windmill. England opened my eyes to a different world of design; everything about it was a new experience, starting with the very space I stayed in.

Systematic Response

2008-12-01T13:34:00.000-08:00

Systematic Response: A Call and Response Structure that provides aid to disaster victims, by means of education, collaboration, and materials for society rebuilding.

It takes mere seconds for a hurricane to destroy a community. In the aftermath of such a situation, outreach forces, strangers alike, are responsible for uniting over humanity. This Shelter: Bus, along with the subsequent relief workers, respond both physically and literally to the grief stricken community. In a systematic approach, the victims and relief workers unite to rebuild their environment, as well as alter their view of humanity.

The Structure is so much more than a Bus, rather it is a communal bond, an initiator of good design. When disaster strikes, the bus provides a new beginning and a better future. It literally gives back to the community. The outer shell is comprised of lumber, material which the community will use as temporary disaster homes. The victims will be educated by the relief workers on how to effectively build said temporary sites. As time passes and the permanent homes are under construction, the temporary sites will be dismantled, and the material will be incorporated into the permanent houses. This would include the bolts and fasteners, as well as the lumber for framework and floorboards. In the end, the shelter: bus would forever be a part of the built community it revived.

In the beginning of the project, I knew that I wanted my shelter: bus to be more than a temporary relief vehicle; something that aided the disaster site, and then left. I saw my project being a part of something more substantial and permanent. Also, it would reinforce the idea that design can unify; it can create positive change. It can also come from the most unlikeliest of sources, even something seemingly simple as a bus.

While researching, I was drawn to the design of the human body. It is both intricate and very easy to relate to. The appeal of unification brought me to the nervous system. Essentially, it is a central call and response network. Feelings, ideas, sense, all depend on the nervous system. It is comprised of small components that branch out from a central station. The interior of the bus consists of systematic design. The space is open, divided only by a system of glass panels. The panels designate appropriate space for the relief workers and their needs; there is enough privacy without creating separation. There is nothing in the space that is not composed of smaller entities. Each scale is taken into consideration from the most detailed, to the most broad. For example, the color choice is based on layers and mixing; a system is used when processing secondary colors for they are a combination of primary. The wood in the structure embraces the grain and blemishes, displaying the systems and beauty found in nature. On a larger level, each portion of the bus is connected by, not only a datum line, but a series of glass encasings. The glass unites the structure, all the while highlighting the separation of spaces. There is not one piece in the composition of the bus that does not contribute to the greater whole.

. After the bus responds to the community, the remaining core would be a statement in itself. It is the brain of the operation; the workers reside there, as well as respond from there. Though obscured by the outer shell, it was present throughout, simply more so after the process concludes. Essentially, the core, or brain of the bus would remain, and the shell, or nerves of the bus would forever be dispersed throughout the community.

Diagram

Section A:

Displays that the spaces would be divided only by glass panels. The opacity of the glass would vary according to the need for privacy.

Section B

Everything in the Bus has a system. The bus is broken into three areas; public, semi-private, and private. This space is the eating and living area, a public space.

Section C

Details

End Result

2008-11-30T23:39:00.001-08:00

Sandwich Massachusetts is nothing if not a town rich of history. Known as the oldest town on the Cape Cod, Sandwich was founded in the mid 1600s. The small town, originally a timber exporting community, would not see a drastic change until 1825 when Deming Jarves moved to the coast.

Relocated from Boston and the New England Glass Company, Jarves selected Sandwich for the potential sea trade and shipments. The location was also opportune due to the small size and promise of growth. Not only did Jarves begin to recruit employment locally, but he also enlisted the help of glassblowers from his previous company, as well as men from England and Ireland.

In no time, the Boston and Sandwich Glass Company prospered, producing beautifully crafted pieces. The Triple Overlay was by far one of the most interesting pieces. Symbolic of the rich history and luminous potential, this lamp guided and aided the growth. As the Company flourished, so did the adjoining community. A thriving community depended on the outcome of its factory, for it was the dominating employment in the area. The Company, in its most successful stage, employed hundreds of workers. Times were good for Sandwich. Once a small, agricultural community, now the town had something to be proud of, something that influenced not only them, but far beyond. This was the case, until the company’s closure in 1888.

Glass Making literally shaped the environment around it. When The Company closed, there was nothing for the community of Sandwich. It forced the town into an economic depression, workers were forced to find other jobs or worse, leave Sandwich. Countless companies attempted to fill the place of the Boston and Sandwich Glass Company, but none would suffice; the use of the overlay method would never be as lucrative as when developed by the originally factory. Years passed, and no sign of hope came for the glass industry. By 1944 every last factory had been removed, leaving very little of the company that meant so much to the town.

Though Sandwich no longer produces glass, the history of its foundation resides everywhere. The glass museum pays homage to company, and houses an array of beautifully crafted pieces. Residents cherish the glass products as well, collecting them in tribute. Now, the glass products from Sandwich are a rare commodity due to their craft and history.

Sandwich and Boston Massachusetts share a fondness for glass making. Both produced some of nation’s finest glass of the time. They were innovative, curiously experimenting with new ideas. Business wise, Boston and Sandwich were almost a pair, but community-wise, they were very different. Unlike Boston, Sandwich and its glass company were one in the same; they were dependent on each other. Where Boston flourished prior to the Glass Industry, Sandwich prospered because of it.

Sandwich Glass Museum http://www.sandwichglassmuseum.org/

Weekly Assignments 8-12

2008-11-25T20:51:00.000-08:00

Week 8: Lamp: Marker

Week 9: Desk: Pen

Week 10: Louis XIV Bed: Graphite
Week 11: Faucet: Colored Pencil
Week 12: Barcelona Chair: Marker

2008-11-09T20:10:00.000-08:00

2008-11-08T06:10:00.001-08:00

Front View of House
Section Of Entryway and Library

It had been 50 years since Deming Jarves strolled into Sandwich in pursuit of opening the infamous Glass Company. Once a very small town, Sandwich now thrives with a close community, united by ties to the production of high crafted glass works. In this town, glass fabrication is not a job; it is an art form, a way of life.

Though mostly a town comprised of modest homes, Sandwich has embarked on building a number of ornate and expensive homes reflecting the colorful, elaborate nature of the period’s glass production. The company currently fabricates a line of finely blown, delicate glass; a glass highly alluring to the upscale patrons. No other house in Sandwich could possibly capture the essence of the glass creations, so much as the new gothic revival off of Main Street.

The American Gothic Revival is a style highly influenced by its past. Contrasting to the European Gothic Revival, the American is far more an exploration of materials and new inventions. Exceptionally demanded, it calls for speedy construction, as well as high crafted carpentry. The beauty is in the details, and it should accommodate pieces that will highlight said entities. It is no wonder then, that the new Triple Overlay Lamp will reside in such a dwelling.

Tucked away in the home’s library, the Overlay Lamp stands as a symbol of exploration and persistence. It can also be seen as an aid in viewing the beauty of its surroundings. The glow highlights the hard work, the attention to construction, and the impact of both the lamp itself, as well as the building encompassing it. The supplementary furniture in the room remains simple, paying homage to the lamps impacting statement. Soft fabrics and rich wood only appear more alluring in the soft glow of the space. Sure the other rooms in this particular house have Glass Lamps and other works from the factory down the street, but this lamp in the library, is extraordinary. It illuminates the hopes for a prosperous, highly knowledgeable future.

Situated in nearby Boston, the Nicholas House shares the same ideas as that of the Sandwich Home. Crafted in a beautiful manner, they are both commodities alone, but when furbished with ornate essentials, they are highly impacting. They both allude to a time of exploration and prosper. The Nicholas House is, however, a museum and therefore does not reflect the Sandwich home’s ties to its beloved and notable, Cape Cod Town.

Works Cited:

The Sandwich Glass Museum: http://www.sandwichglassmuseum.org/about_us/history/page_3

Gothic Revival 1830- 1875 The Pointed Style: http://www.realviews.com/homes/gothic.html

west Side story

2008-10-25T18:39:00.000-07:00

quotes courtesy of William Shakespeare's Romeo and Juliet

History impacts anything and everything. It is the foundation and inspiration of the future. Known as one of the purest love stories, Romeo and Juliet has, substantially impacted the fate of subsequent tales. West Side Story uses Shakespeare’s play as a mentor, adapting it to suit the appropriate issues of the time period. Names change, locations alter, but the core-the very essence of the story- remains the same.

2008-10-23T23:15:00.000-07:00

Club Bus: Shelter

2008-10-19T21:21:00.000-07:00

Concept: Vernacular Innovation

Although the term sustainability has become increasingly prevalent in everyday vocabulary, it has yet to infiltrate the built environment in a similar way. Many people may still think of sustainability as an expensive, distant, idealistic value, meant for design magazines and wealthy environmentalists, but in fact, green design can take the form of something as simple and common as a bus shelter. A familiar, understated structure can make a powerful statement. The detail in the simplicity of the structure demonstrates that, even using recognizable materials such as glass, aluminum and stainless steel, a vernacular structure can still be sustainable.

Change often happens slowly and subtly, step by step, so by introducing a green roof system to a familiar form, this shelter can begin to inspire change not only in the bus system, but in society as a whole. Each of the different materials incorporated into the structure is sustainable, demonstrating the way in which sustainability can and should permeate all levels of society. The green roof of the bus shelter does not impact the function of the structure per se, but it does stand as an icon for the way in which the bus system itself can be an eco-friendly transportation option. Furthermore, the use of glass, which in this case creates the ability to see through the entire structure, as well as the use of clean lines and corrugated aluminum roofing are in keeping with the contemporary architecture of the North Carolina A & T campus nearby, testifying to the fact that green design can be integrated into a variety of aesthetics.

Night View: lights line the perimeter of the structure

Side View: Shelter sits back from the side walk

Bus Shelter during Rainy Weather

Final Model

Weekly Exercise Week 7

2008-10-14T17:21:00.000-07:00

Stool: Multimedia

2008-10-14T17:00:00.000-07:00

Triple Overlay Lamp in Context

Plan View

Perspective

Detail Perspective

Designed with, not only aesthetic, but also technological advancement in mind, the monumental triple overlay lamp is a commodity in itself. Seldom manufactured anymore, this lamp sparked an otherwise foreign movement in lamp making. Ornate and fragile, the overlay lamp belongs in a space rich with history, and conducive to knowledge attain. In other words, a revival Gothic library would be highly suitable for housing the lamp.

Produced around the period of American Gothic Revival, the lamp is an example of the process that is community building. Manufactured in Sandwich, Massachusetts, by the Boston and Sandwich Glass Company, this late 19th century piece, as well as other lamps was the source of employment for numerous workers. As the company expanded, so did the occupational needs, and thus the town as well. The lamp was a beacon of knowledge and innovation; it is only proper that the space should evoke such similarities. The library would pay homage to the advancements of the lamp, as well as the history in its wake.

It was after the introduction of Kerosene lamps, that the Boston and Sandwich Glass Company embarked on creating a lamp composed of layered glass. The ornate design, as well as the rich, luminous quality suggests that the lamp stands as a spatial focal point. Though situated in the corner of the room, the lamp causes the viewer to locate the source of contrast in the space, the colorful and bright lamp. Due to this concept, it is appropriate that the neighboring decor should contribute to the hierarchy of objects, rather than distract the attention. Via neutral colors and solid wood, the rest of the room remains subdued in order to please the complexity of the lamp. On the other hand, the lamp illuminates and highlights the features of the surrounding space. Also, the layers of the glass are reflected in the layers of wood trim and heavy drapery. The two work together to form a cohesive environment.

Though a reflection of the past, lamps such as the Monumental Triple Overlay provide insight and direction into the future of design. The individual lamp may no longer be produced, but the notion of designing for advancement and aesthetics lives on.

Perhaps most similar in concept, to the Overlay lamp, is the Candelabrum.Though an earlier light source, the candelabrum and the lamp possess ornate qualities. They are more focal points, rather than strong means of illumination. It is also important to note the progression of each piece; they were both technological advancements of the time and further shaped the lighting world.

Though both evoke a sense of the past, the Overlay lamp and the Tiki lamp are rather different. The later of the two is theme oriented and much more assessable than the rare Overlay Lamp. Also, the Overlay lamp was considered an advancement in both aesthetics and technology, something that would be questioned in the case of the Tiki Lamp.

Sources:

-Cape Cod Travel. Incredibly Rare Sandwich Glass:http://www.capecodtravel.com/towns/sandwich/sandwichgl1298.shtml

-Virginia Museum of Fine Arts:http://www.vmfa.state.va.us/accessions2008_mar.html

Bus : Shelter

2008-10-11T11:34:00.000-07:00

System of Growth

Concept

Association and cohesion are the basis of an ideal, functioning community. In attempt to obtain said community, each sub-category is required to work with, as well as benefit from one another. In other words, small parts work together with the holistic end in mind. The concept of this project is to provide the basis of a community, piece by piece, starting with the individual approaches. Plainly stated, the project provides a system of growth. The bus shelter uses core aspects of communal design to create an area for active riders of public transit to unite.

The site location, situated in front of Saint John’s Lodge on North Carolina A&T’s Campus, pays tribute to a system of growth, purposefully having progressive and proportional elements as the dominating features. Symbolic for a system’s foundation, the shelter initiates as an individual space. The design allows the occupants to experience the open nature of the shelter, as well as an intimate perspective, due to the expanding shape, and seating arrangement. Just as the growth of community system enlarges, so does the atmosphere of the shelter. Via proportion to signify growth and area, the shelter progresses into a broader structure, allowing for more people to inhibit.

The site and position of the shelter directly relate to the concept of systematic growth. Simply designed, the structure’s materials and assembly further investigate said notion. The metal of the frame, roof, and seats, represents the goal of growth and awareness. The window panels, on the other hand, represent the clear path in which a goal can be obtained. The simplicity of the design is meant, not to distract the viewer from the surrounding location, but rather guide the attention to the greater community.

Every structural component of the shelter is displayed, allowing the community to understand the concept of small mechanisms working together to benefit the whole. The end result of this systematic growth potentially could and should expand far beyond comprehension, successfully reaching a communal goal.

Materials

Detail

Drawing Exercise Weeks 4-6

2008-10-07T14:31:00.000-07:00

Week 6

Coffee Table: Charcoal

Week 5

Desk: Colored Pencil

Week 4

Beach House: felt tip pen