Post Card 2

Dear Ms. Paige,

First off, let me say that the steps taken by the university, for a more sustainable environment, are great. I’m sure tray less dining and portion control certainly aids in waste management, however I believe more can be done to progress this issue. I ate at the Caf all last year, and I must say that quantity really trumps quality. Students are given too much selection, and it seems that, subsequently, the food lacks in both nutrition and appeal. I feel that we could manage the waste by providing students with less variety, but higher quality food to choose from. Possibly there could be a poll regarding the least and most popular selections. The assortment of food could be extensively cut, and that would allow for higher quality and less waste. Not only would money be saved, but the Caf may just gain a better reputation!

Thank you,

Sara Easterling

IARC 2^nd Year

Public Transit: What an Experience

The Bus Lady had no intention of waiting for us




Nobody looked at the people next to them, instead they busied themselves in their electronics.

The Bus Station After the Ride
The City Bus; a popular means of transportation for all walks of life, including the observing students of the Iarc second years. With two weeks of schooling thus far, we were assigned the task of studying and documenting the bus environment, as well as the resulting emotions provoked. Additionally, we had to read the text, Civilities and Civil Rights; reading it before or after the bus ride was up to us. I opted for reading beforehand, to get it out of the way, and I am glad that I chose this order.
Sure I remember reading about desegregation, sit ins, and various other acts that pertained to the civil rights movements. What I didn’t recall was that such a large phenomenon hit so close to home, with the early Greensboro sit ins. By reading this first, I knew that my view and interpretations of the bus ride would be completely different than if I had read later.
As recommended, I went with a group of people, as to compare experiences and opinions. As the bus approached the stop, Ben turned towards us and explained how we should give the allusion of veteran bus riders. Now, I have been on public transportation before, but when the doors swung open, there might as well have been a large, neon sign that flashed, “inexperienced riders,” above our heads. Immediately, the bus driver barked at us to get on the bus, because she apparently had no time to actually stop. She then proceeded to mumble about our incompetence when it came to swiping our first cards. As we sat down, Heather, Ben, Leah, Anna, and myself included, I started observing the bus atmosphere fully.
Busses are never overly friendly environments, in my opinion. People keep to themselves or the others whom they know. Eye contact is scarce and conversation is hushed, so the stranger across the aisle can’t eavesdrop. People resort to looking in the window to scope out the refection of the individual sitting across from them. I found myself looking only at the people that I knew. Also, the strangers around me made sure not to look at any of us; it was exceedingly uncomfortable. When I did scan the bus in observation, I noticed that, in keeping with the secluded theme, each person sitting alone was tuned in to his or her own electronic world. A woman fumbled with her ipod as the man next to her texted on his cell phone. They had something to do to feel more relaxed about sitting next to a stranger. Since I wanted to avoid looking directly at people, I opted for looking at the bus itself.
Up at the front of the bus was a small plaque that said, “Rosa Parks, In Honor of Her Sitting.” Out of the group I was in, I was the only person who read before hand, and I was the only one to notice the tribute. Small enough to go unnoticed, the plaque instantly made me reflect on the reading, once I glanced over to it.
As we neared the station, the occupants started to stand and cluster close to the door, clearly aggravated that the bus ran behind schedule. When the bus stopped, our group started to make our way towards the exits, only to be lambasted by the bus driver to, “Exit In The Back!” I found myself thinking about a flow chart and way finding; perhaps there could have been more distinction of where one gets on and off the bus, something besides the scolding of a frustrated bus driver. Then again, it might be common knowledge, and we are too inexperienced in city transportation to understand.

Another Year: Week One

For me, the last days of summer fly by in a matter of seconds. I have never looked forward to the first day of school; it means that, once again, you must apply yourself, work hard, and do something other than sleep all day. So, it was strange when I found myself wanting school to start. Last year was amazing; it was unlike any other year of school, and I loved it.

    It seems that the first week back is always the most difficult. Getting acclimated to school again can be so demanding. Over the summer, I imagined that the first week would be over the top with the quantity of work given. In reality, it wasn’t that bad. Sure we got a good deal of work, but it was all controllable. Last year’s time management prepared us well for this year.

   The biggest thing I noticed about this past week was the concept of group work.  This year, working together will be so predominant in our studio. I think the card idea to determine our seating arrangement was a great one. The groups that we were assigned are so diverse in knowledge and skills. Though it proved to be a challenge to work with 15 people, we all came up with remarkable ideas; there was a good deal of effort.

  Towards the end of the week, we combined all of the suits to make a 60 person deck. Communication was difficult and tension was high, but we all managed to create a fluid idea. I’d say it was a good way to break through the ice of a new year and we are all excited to see where it takes us. 

Find Your Way

Destination: Greensboro Farmers' Curb Market

And So It Begins

Year 2,
Here We Come!!

Elsewhere: Everything and Nothing You've Seen Before

The class was sitting in the studio when we first were told of Elsewhere. A collection of anything and everything, Elsewhere was a difficult concept to understand. “It’s a Museum!” Suzanne exclaimed, but none of us could grasp what we were heading into.

Placed in an average looking building, from the street, the museum gives the allusion of an old, antique or vintage store. The structure does not give away the astonishment and curiosity that lives within. Even though Suzanne told us what we could find in Elsewhere, nothing could prepare me as I walked through the front door. A pat-racker’s paradise, Elsewhere is the product of Sylvia Gray and years of collecting anything she could get a hold of. Recently organized (to an extent), the contents of the buildings are out for people to interact with, and artists to come in a manipulate for featured exhibits.
On the first day at Elsewhere we were to place sticky notes on items we wished to draw. Overwhelmed with options, each of us were allowed to draw anything on the first floor level. As I placed my sticky notes around the museum, it became clear that all of my selected objects were ones I, either had when younger, or once came in contact with. It is funny how, even in the mist of chaos and unfamiliarity, one will immediately find order and familiar aspects.I had a blender like this when I was younger. It's funny how something so simple and small can spark so many memories.
The quotes on the Blackboard make no sense whatsoever, but I think it adds to the quirky appeal.
Would anyone care for some groud Mustard?

The next day we arrived at Elsewhere, we were actually told why we were there to begin with. We were to Map out the first floor, using our drawings as the blueprints. Any successful method to capture the essence of Elsewhere was accepted and appriciated. I knew that, as a place to draw, I needed variety and complexity. I chose the fridge and kitchen area, because of it’s common presence in every single household. This space is far more interesting than an average kitchen, however. Not only is the space layered with spices and cooking utensils, but also with various sized refrigerators. The main fridge is a white backdrop for cut out articles, alphabet magnets, fliers, and other items deemed “pinned on the fridge,” material.
I drew the overview of my space first, with the general idea of the layers. Then I started to draw the details. In doing this, I think that it is easier to understand how much stuff is in anygiven spot, in Elsewhere.

This view is actually that of where I am sitting, at the kitchen table. Not only did I want to view my chosen space from head on, but I also wanted to experience it from the space itself.

In the weeks our drawing class spent in Elsewhere, I believe we all have aqquired far more appreciative concepts of space and analyzing it to create maximum impact in our work. It was a pleasure to be apart of Elsewhere, and I can only hope that others will benefit from the experience, as much as we did.

Habitable Wall

For the Habitable Wall project, my client was Mark Rothko.In researching Rothko, I found myself drawing inspiration from, both his artwork and his personal life. The two traits I found most inspirational about his paintings were his uses of light and size. Rothko’s paintings illuminate from within, allowing each layer to show through, revealing the depth within the painting. Rothko’s style altered throughout his life, but the importance of light remained a constant. The other characteristic I admired was the size of his work. Rothko noted that, “large pictures are like dramas in which one participates in a direct way.” He wanted people to experience a painting as if they were actually within the picture. While in the presence of a Rothko painting, and I can tell you with experience, one looks only at the painting. It is so big that peripheral is no longer relevant, and everything else simply fades away. So, I knew light and size had to be incorporated into my design.


On a personal level, I wanted the design to appeal to Rothko and his needs. He would need a separation from his social, work, and private life. By creating a clear separation, he would be able to control his space on his terms. In a habitable wall, he’d need: a place to entertain guests and prepare meals, work and display space, and an area to rest.

From the beginning, I was keen on reestablishing the idea of a wall. In my opinion, a wall is a device that separates one space from another; it did not have to literally be a vertical plane to qualify as a wall. So, I situated the wall horizontally instead. My idea was for Rothko to live around and within his habitable wall. Most of his living space would be within the wall, and therefore, underground. As the spaces recessed underground, the distinction and transition from public to private space would be established.

As I further developed this idea, I found myself steering away from, not only my initial concept of unity amongst light and size, but the essence of Rothko as well. The size and experience of Rothko’s work are what is so captivating and symbolic. Rothko never hid his paintings, so I believed his living space deserved the same respect.


At this time in the project, we were also given the parameters of having the wall be on the third floor of the Gate wood Studio Arts Building. Groups were formed from every designated client, and we were to have our designs built in a living community. At this point, I new I needed to move away from underground living, so I did the exact opposite: the whole form was now lifted and mounted into the south-west, glass corner of the second year studio.

To replace the idea of ground as the starting point, I added a large platform. The only part of the wall that would be at actual ground level would be the lowest level. Now, with the whole form on display, the wall became a statement.

Approaching it, the form looked as if it were floating, suspended in air. The rectilinear design became more dynamic and interesting. One could interact with the forms, whether it be walking under them, around them, or actually venturing inside them. This new design was more Rothko friendly than the previous could ever be.


Situating the design high up, in the corner of two glass walls allowed me to fully address the uses of light and size. As the spaces moved under the platform, light would increasingly decrease, until, in the resting space, there was no light, safe for a small window. Similar to the light, size would proportionally decrease as the spaces recessed under the platform.


By doing this, the distinction between public and private became more prevalent than ever. Rothko’s most public space was large and open and his most private space was dark and secluded. The use of color added a sense of transition as well. The lightest color fits the public space, while the darkest color resides in the private area.

When it came to materials, I knew the more support, the better. The mounted platform would be metal framed, as well as the forms protruding from it. Covering it would be plaster and wood would act as trim. In this case, simplicity in material is the best bet, as I did not want to take away from the form of the habitable wall.