Design Blocks

unit summary 3

2011-04-29T12:45:00.001-07:00

rem koolhaas' casa de musica and le corbusier's ronchamp
images from oma.eu and wikipedia.com

By 1900 CE, systematic colonial expansion had disempowered entire nations throughout the southern hemisphere and brought extreme wealth to a few select European countries. England became the undisputed world power and the Victorian era saw the emergence of many new urban building types such as railway stations, museums and government buildings, which were composed from a mix of historical styles later known as eclecticism. In reaction to England’s urban expansion and industrialization, a group of artists and designers led by William Morris worked against what they called the dehumanization of industrial life and created the Arts and Crafts movement, which explored hand-crafted, “authentic” design that continues to influence residential design both in Europe and abroad.

Philosophers and scientists such as Karl Marx and Charles Darwin were challenging conventions, shedding light on the inner workings of capitalism and natural selection while urban planners like Ebenezer Howard called for the design of smaller cities based on a more human scale. In Napoleon’s France, Paris was completely rebuilt with wide boulevards, bourgeois apartments and monumentally placed buildings, which inspired the City Beautiful movement in the U.S.

By the turn of the 20^th century, an architectural exploration of organic form and rich materials known as Art Nouveau flourished in Spain and Belgium primarily through the work of Antoni Gaudi and Victor Horta, who developed a modern style that embraced both the industrial and natural world. This balance, along with the spatial innovations of Frank Lloyd Wright and new materials such as steel and concrete set the scene for the Expressionist movement, which later informed the Bauhaus in Germany, De Stijl in Holland and the Constructivists in the Soviet Union. It was at this point in time, that Le Corbusier, Ludwig Mies van der Rohe and Walter Gropius began to make their mark on modernism through books (Corbusier’s vers une architecture) exhibitions (Mies’ Barcelona International exhibit) and education (Gropius’ new school for design The Bauhaus). Like so many other great thinkers and designers, Mies and Gropius fled Europe during World War II and found positions teaching in the U.S. where they greatly influenced American architecture.

By the mid 1900s, large American architecture firms were established, first with McKim, Mead and White (who designed Pennsylvania Station) and later with Skidmore Owings and Merrill (responsible for the Seagram Building). By the 1960s, other experimental architecture movements were challenging the conventions of modernism and its anti-contextual aesthetic. These new movements included Brutalism marked by large scales and simple forms, Archigram influenced by Pop Art/youth culture, and Postmodernism, which expressed irony and parody through exaggerated forms and a heightened awareness of context. At the end of the 20^th century, avant-garde architecture embraced computer aided design and new technologies to create dynamic buildings such as Frank Gehry’s Guggenheim Museum, and Peter Cook and Colin Fournier’s Kunsthaus.

Today, BIM technology, increased globalization, environmental sustainability, relief/aid, preservation, and “starchitects” are all influencing architecture, which is re-inventing itself at an ever-increasing rate. As the cost of petroleum rises along with the amount of people living in city slums (this figure is estimated to be 1 in 3 by 2020), notions of commodity, firmness and delight and good design for all seem more relevant than ever.

blog post 14: design influences

2011-04-29T09:07:00.000-07:00

research: salvaged architecture

2011-04-24T10:22:00.000-07:00

the home of fred burns: constructed from drift wood

for a recent paper assignment, i chose to research examples of buildings across the country that were constructed on small budgets with locally salvaged materials in innovative ways. this topic appealed to me because it stands in direct opposition to the notion that homes are commodities to buy, use and discard. my research explored buildings constructed by communities, developed over years and personalized through a built form of self-expression, which has become rare in the U.S.

networking

2011-04-24T09:59:00.000-07:00

image credit: kansas.gov

i attended several networking events this semester, which opened my eyes to the valuable career connections and resources available locally.

first off, i went to the MOMENTUM GROUP textile design offices in archdale to attend an IIDA portfolio review event. this allowed me to meet first hand with design professionals to get their opinions and advice on diverse topics relating to the design industry.

second up was dinner/portfolio review with architect john lindsey and carpenter robert barrett who gave me a sense of the triangle's architectural scene and potential opportunities.

next, i went to a staff interview event for retailer ANTHROPOLOGIE, to meet with some key figures in the visual merchandising field. again, we reviewed my portfolio and then talked about my aspirations, understanding of the company and relevant skill sets.

finally, i met with argentinian architect alicia ravetto (my internship mentor) to talk about some potential contract work.

portfolio package

2011-04-24T09:28:00.000-07:00

my portfolio package includes digital and hard copy portfolios, business cards, postcards (leave behinds) and a supplemental set of artwork images (not shown here).

portfolio:

business card and postcard:

reading response 12: corbu+bouroullec

2011-04-23T17:22:00.000-07:00

last summer i visited a bouroullec design exhibit in apartment 50 of corbusier's well known unite d'habitation complex located in la cite radieuse of marseille, france. this was an incredible opportunity to experience a corbusier apartment first hand-- and witness how people currently live in his buildings. i was happy to see that unite d'habitation is still a very vibrant and diverse place where immigrants, students, teachers and design enthusiasts live side by side.

blog post 13: the heart of scandinavian design

2011-04-18T12:26:00.000-07:00

blog post 12: rolling out good design for all

2011-04-11T07:20:00.000-07:00

unit summary 2

2011-04-08T13:56:00.000-07:00

Having established architecture’s foundations, the world’s cultures entered an era of architectural reverberation—an exploration marked by reflection, repercussion and repetition. During this time, architectural movements in the west refused and reinterpreted the foundations while movements in the east echoed the past.

400 CE saw the decline of Europe as power shifted from the Roman Empire to Western Asia and Byzantium. Religion became a key factor, transforming the cultural and physical landscape of the globe as Buddhism and Hinduism swept across Asia and Christianity took hold in Europe. Architectural expressions of faith gained prominence as colossal rock-cut Buddha figures, Hindu temples and Christian churches evolved around the notion of organized religion. In the east, introspection and enlightenment were found at sites such as the rock cut Ajanta Caves in India and the Angkor temples in Cambodia, where elaborate carvings encourage the eyes to dance across detailed surfaces. To the west, buildings of worship such as the Baptistery

At Ravenna and St. Peter’s in Italy utilized the dome and transept as large-scale worship became common.

In 600 CE, South American civilizations thrived as Mayan city-states competed for dominance and developed the most advanced calendar in the

world. In Eurasia, the Byzantine Empire dominated the Mediterranean and developed new architectural forms such as the brick dome, having forgotten the concrete construction methods of the past. The magnificent Hagia Sophia in Constantinople was constructed during this time and still stands as a shining example of the wealth and ambition of Byzantium. Meanwhile, Muhammed established Islam in the Middle East where the fine masonry craftsmanship of Greek and Hellenistic architecture was preserved. In Asia, a new building form known as the pagoda emerged as Buddhism slowly moved out of India and into Korea and Japan.

800 CE marked the rise of China’s T’ang dynasty located at the end of the Silk Trade Route, the new Islamic Kingdom, which stretched from Persia to Spain, the Khmer Kingdom of Cambodia and a new generation of Mayan city-states in Central America. Significant religious buildings such as the hypostyle hall, Dome of the Rock and the Borobudur stupa shrine were built during this time of rigorous religious and intellectual activity.

The turn of the millennium saw the decline of the Silk Trade Route due to upheaval in Northern China, which consequently led to the economic rise of Southeast Asia where alternate trade routes were built alongside thousands of new temples. In the Islamic world, the two political entities known as the Sunni and Shi’ite were taking form while great mosque and palace builders further developed an Islamic building aesthetic, which was integrated into the continental style to create the base for Gothic architecture in Europe. This blending of cultural styles is indicative of the global sensibilities that are beginning to manifest in architecture as a vision of the world is becoming clearer. Buildings of note during this time include the Canterbury Cathedral, the Rajarani Temple, the Great Mosque of Isfahan and the Baptistery of Pisa.

1200 CE was an era of architectural patrons in Asia who valued the influence of buildings on society. Substantial commissions across the continent resulted in new Hindu temples, Buddhist Pagodas and Palaces—all variations of the past, with replaceable parts that allowed for the upkeep and increased longevity of these sacred places. In the Christian world, cathedrals (the Gloucester Cathedral), pilgrimage churches (Notre-Dame de Reims) and mendicant churches (the Dominican Church of Toulouse) made an impact on the landscape, leading eyes upwards with striking vertical elements. Meanwhile, Mongolian invasions threatened growth in the Islamic world with the exception of Africa where the Trans-Saharan trade routes allowed for the construction of great earthen mosques like the Djenne mosque in Mali.

In 1400 CE, a new wave of urbanism swept across the globe where cities such as Seoul, The Forbidden City (Beijing), Mexico City and Cairo were transformed into the vibrant centers they are today. Hundreds of thousands were killed worldwide by the Black Plaque, which held back Europe’s economic development until the middle of the 15^th century. In Latin America, the Incas dominated coastal trade routes, where they built roads and cities such as Machu Picchu, which were impressive examples of rubble masonry. In the Mediterranean, the Venetian Republic dominated trade and brought wealth to Italy where magnificent buildings such as the Florence Cathedral, Medici Palaces and Ca’ D’oro can still be seen.

1600 CE was all about relative political stability and efficient ocean trade, which moved wealth and ideas around the world at an amazing rate. Great thinkers such as Michaelangelo and Leonardo da Vinci influenced European design from St. Peter’s Basilica to the Chateau de Chambord and ambitious buildings in Asia such as the Taj Mahal, and Dahai Lama’s Potala Palace added drama to the eastern aesthetic.

1700 CE saw the effects of full scale European colonialism, which spawned new port cities across the globe and founded the system of the Fort and Plantation, where local and enslaved people were transformed into workforces. This colonial activity inevitably resulted in an extreme amount of wealth and aristocratic privilege as a new high-bourgeois class led indulgent lives that included large-scale baroque architectural projects such as Versailles, the Hotel des Invalides and Place Vendome. Europe’s economic disparity coupled with heightened religious persecutions and costly wars created a sense of unease across the continent that would eventually lead to revolution. In Asia, The Quing Empire became the largest in Chinese history while in West and Central Asia, Islamic architecture went into decline as the region became an economically marginalized center.

In 1800 CE, the Enlightenment, conflicting colonial ambitions and the rise of the Industrial Revolution sparked a lot of radical change in the western world. New building types relating to industry and increased population developed in the form of factories, ports and prisons, while new government buildings were built including the new Houses of Parliament in London, the Virginia State Capitol, the US Capitol in Washington and the Somerset house in London. Innovative building techniques and materials, particularly iron challenged architects to rethink architectural forms as neo-Greek, and neo-gothic movements romanticized the past.

reading response 11: stepping it up

2011-04-06T13:57:00.001-07:00

blog post 11: a modern scale

2011-04-06T12:37:00.000-07:00

this post explores notions of modernity by taking one object and then telescoping outwards to view the space, building and place that ultimately interact with it. Having just visited frank lloyd wright's falling water residence, i decided to focus on the japanese wood block print, which hangs on a wall in the largest bedroom.

the block print is titled horikiri iris garden and was completed in 1857 by utagawa hiroshige, a prolific ukiyo-e landscape artist who was known for his unconventional cropping, composition and perspective. hiroshige's work influenced post-impressionist artists such as vincent van gogh and was highly valued by architect frank lloyd wright, who integrated japanese principles such as asymmetry, horizontality and a connection to nature into his buildings.

Wright collected japanese wood block prints and enjoyed hanging them in his spaces, which are in a sense, abstracted reflections of the ukiyo-e aesthetic. looking at the collage above, it's clear that the print, bedroom, falling water residence and laurel highlands are all connected to create what wright called "organic architecture", which is centered around the belief that buildings should be part of their surrounds, rather than defy them. This detailed, holistic approach to architecture and design is uniquely modern in that it strives for symbiosis and is informed by diverse perspectives.

blog post 10: a revolution stitched together by women

2011-03-28T06:39:00.001-07:00

image credits: mira eng-goetz, runninginheels.co.uk, lynnchapman.blogspot.com, inspiredphoenixinhk.files.wordpress.com

this week's blog post assignment challenged us find an everyday artifact that carries a message of revolution and then deconstruct the design language of that artifact to better understand its cultural meaning. wandering around my house, i was surprised by the amount of objects i could associate with revolutions, whether they be sexual, political, intellectual, technological, financial or alimentary (tampons, passports, books, an i pod, a dollar bill, a salt shaker...). in the end, i chose to focus on the little piece of embroidery that i've been carefully stitching for far too long now. the embroidery is in the traditional sashiko style, which began in the farming and fishing villages of japan during the edo era (1615-1868) when all fibers were hand spun, woven and dyed in a labor intensive process.

sashiko was a quiet revolution born out of necessity and developed by the ingenuity of women who recycled old clothes in order to endure the cold winters and physical labor of rural japanese life. in the face of a hard existence, women managed to create beautiful and unique clothing with what little they had to express a pride for their lifestyle and history.

the images above illustrate the geometric patterns and indigo dyes used to create quilted work garments of cotton or hemp. the consistent use of blue and white in sashiko textiles is evidence of a socially imposed "uniform" designated for laborers who were restricted from wearing bright colors or refined fibers such as silk. a simple running stitch of white cotton thread binds layers of fabric to increase the warmth of the garment and convey family heritage through regional patterns often depicting elements of nature. the photo above depicts japanese women collecting cedar trunks from the steep mountain just outside their village. their sashiko work jackets are reinforced along the shoulder line where the heavy timbers rest as they climb down the mountain.

reading response 9: colonial shadows in a senegalese city

2011-03-21T12:25:00.001-07:00

photo credits: mira eng-goetz and wikipedia

this week in class, we've been exploring the affects of colonization on architecture around the world. throughout europe during the 1600s, an increase in wealth, food security and ship design led merchants to establish far reaching sea trade routes that inevitably included west africa. the main port on africa's atlantic coast was established by the french in 1659 on a narrow island just off the coast of senegal called ndar locally, and named saint louis du fort by the colonizers in homage to their king louis XIV. as a permanent french settlement, st. louis became the leading urban center in sub-saharan africa, exporting gum arabic, beeswax, hides and most importantly--slaves.

between 1659 and 1779, a bourgeois franco-african merchant community known as the metis played an important role in the political, cultural, social, and economic life of the city. catholic institutions, refined entertainment venues and elegant boulevards lined with white washed stucco buildings in the french colonial style were funded by the metis. although the old city of st. louis still stands with its shuttered windows, wrought iron balconies and baguette carts, it's become rather tattered around the edges with signs of disrepair and neglect. today senegal's capital dakar is the country's leading economic port and consequently st. louis' trade economy has been overshadowed. nostalgic french tourists keep the old quarter afloat with their patronage of the bars, hotels and craft stands.

i have visited st. louis a handful of times, and have come to realize that the true life of the city now exists outside of the old quarter-- beyond the colonial architecture and into the colorful sections of the city that are unmistakably senegalese. colorful painted pirogues (canoes), road side cheb-u-djen (rice and fish) restaurants, mosque minarets, the scent of drying fish and sugary mint tea all bring me joy to know a people that has risen out of slavery and colonization to maintain their own culture in the end.

blog post 9: greek ideals, colonial victories

2011-03-21T07:46:00.001-07:00

image credits: buysbshoes.com, nikeblog.com, selmaala.blogspot.com, teamsweat.org, thehistoryblog.com

this diagram illustrates the influence of greek ideals on colonial trends to and from the united states. at the heart of the diagram you'll find athena nike (seen in a relief carving from the parapet of the athena nike temple at the acropolis). these days, mention nike to most anyone around the globe and visions of air jordan or the "just do it" swoosh will likely come to mind before the goddess. but the ideal still stands: victory... at any cost. and in the case of the nike corporation, many have judged the poor working conditions and human rights violations characteristic of nike's overseas factories to be nothing short of neocolonialism: capitalist victory at any cost.

working back, a glance at the athena nike temple will elicit a sense of deja vu for most americans who have experienced the greek revival architectural style that has held sway in our landscape since the beginning of our colonial history. the columns, symmetry, portico, and entablature... it all translates to strength and harmony. in the case of the athena nike temple itself, the architecture lets us know about the powerful ambition of athens. doesn't it seem appropriate then, that a country with loads of power and ambition would choose to model it's homes after such an archetype?

reading response 8: the understated beauty of ukrainian baroque

2011-03-21T07:45:00.001-07:00

photo credits: mira eng-goetz and kraevid.org

this little book, which i made in the style of a "visitor's kit" was inspired by my visit to the saint sophia cathedral in ukraine back in 1995. at the time, i didn't speak a lick of ukrainian and there were no pamphlets or descriptive posters in english to clue me into the history of this amazing building. so years later, i've decided to make my own little guide... in english! it seemed appropriate considering our focus on european cathedral design and baroque aesthetics in class this week. saint sophia's cathedral has a byzantine interior and a ukrainian baroque exterior that complement each other well. as you flip through the tiny pages, these architectural features are explained along with the building's tumultuous past. as an added bonus, the kit includes a bit of incense and gold leaf to help bring this unique cathedral home to you.

blog post 8: a spiral of architectural progression

2011-03-07T12:54:00.000-08:00

the nautilus has long been a symbol of nature's mathematic perfection-- the logarithmic spiral, which illustrates a unique geometric progression. but what other progressions could this nautilus symbolize? the progression in size of a living creature? the progression of time it took a mollusk to create new chambers within its shell?

in thinking about the various progressions found within a nautilus, we are reminded that within this delicate shell lies a record--evidence of evolution. it's in this spirit that i have used the spiraled fibonacci sequence to outline the progression of architecture's evolutionary use of nature's mathematic forms, proportions and symmetry.

"... because nature, in what it makes, records how it is made. in the rock is the record of the rock, and in man is the record of man. man, through his consciousness, senses inside of him all the laws of nature... that which is the nature of man, he inherits, just like his physical being, in this he senses the desire to learn to express." -louis kahn

"without symmetry and proportion there can be no principles in the design of any temple; that is, if there is no precise relation between its members as in the case of those of a well shaped man." -vitruvius

photo credits: themudflats.net, solarnavigator.net, ifdawn.com, antiquesdiva.com

beginning with interior point of the spiral, this diagram illustrates:

the yen and yang symbol, the pi symbol, the kofu pyramid at giza, the vitruvian man, le corbusier's modulor, palladio's villa rotunda, le corbusier's villa savoye and a golden mean diagram of the villa savoy's elevation.

reading response 7: sustainability and acceptance in dogon country

2011-03-04T13:33:00.001-08:00

i was pleasantly surprised to come across a brief summary on the dogon civilization of mali in a global history of architecture (ching, jarzombek, prakash). it got me thinking about my week long trek along the bandiagara escarpment where i encountered dogon architecture and people-- all deeply connected to the landscape and a way of life that has managed to guard many traditions dating back to the 12th century. the book in the images below is my response to ching's summary, which includes photos from my trek through dogon country and some text to highlight the architectural features. i would also like to add, that today's dogon people practice animism, christianity and islam in a tolerant and peaceful manner that has allowed villages of these diverse religions to coexist in close proximity. we could certainly learn a lot about sustainability and acceptance from the dogon people.

blog post 7: the architecture of happiness

2011-02-27T12:25:00.000-08:00

reading response 6: the lingam and the yoni, a korean translation

2011-02-21T07:22:00.000-08:00

blog post 6

2011-02-20T18:11:00.000-08:00

image credit: chestofbooks.com, corbisimages.com, faculty.de.gcsu.edu, popartmachine.com, redbubble.net, visitsomme.com, arthistory.upenn.edu, de.academic.ru

medieval mental map

unit summary 1

2011-02-16T13:40:00.000-08:00

F O U N D A T I O N S : A S U M M A R Y

photo by Mira Eng-Goetz

The foundations of architecture lie in a complex, global narrative that is constantly evolving as new archaeological sites are discovered and perspectives change. Across the globe, we’ve studied examples of early cultures developing their own architectural foundations through a process of prototypes, hybrids and archetypes.

Beginning in 3500 BCE, a shift towards agricultural production led the emergence of extensive shore and river oriented cultures in the Americas, Europe, Africa and Asia. During this period, granaries, tombs, temples and shelters were established as caves, temporary wood aedicules and stone structures. In the British Isles, large circular arrangements of monoliths are still standing as evidence of early agrarian societies, attuned to the movements of the moon and stars.

Astronomy based architecture is further developed with structures such as Stonehenge in England, and Zoser’s temple complex in Egypt. These iconic sites represent not only incredible engineering and organization, but an effort to understand the universe and humanity’s place within it. Structures in stone were meant to last, and witnessing these monuments, one can’t help from wondering if their purpose was to convey a message into an unknown future. Is it a coincidence that the circular structures of the era relate in form to the moon and stars they pertain to? Could it be that the stacked layers of a tapered pyramid are intended to point upwards to the heavens like great mountains? Can we deny the relationship between a colonnade and a grove of trees?

Massive pyramids and monoliths aside, other feats of engineering included sophisticated city planning, irrigation canals, terraced grain fields and advanced metalworking skills, which mark the Bronze and Iron Ages from 2500-1200 BCE. This was a period defined by flux and movement. Drought and climate change brought turmoil and decline, invaders overturned cities, the writing of sacred texts gave a new role to religion, and the use of caravans increased trade. Key sites of the era include the Temple of Luxor in Egypt, the city of Mycenae in Greece and the Bird Mound at Poverty Point in the US.

Between 1000 and 400 BCE, iron rich cultures armed with metal weapons dominated and flourished, drastically changing the world’s power structure. It was in this age of weaponry, that we find the Nubians in Egypt, the Ionians in Turkey, the Etruscans in Northern Italy and the Dorians in Greece where economic power and cultural continuity led to new explorations in early Greek stone architecture. In West Asia, the Babylonian empire collapsed resulting in a power shift towards Persia and in China, the long lasting Zhou dynasty established urban planning principals that are still utilized today. Trade is was important as ever, and agricultural developments such as corn, resulted in economic and architectural growth in Central America where the first Olmec ritual centers developed. During this period, many of the architectural elements we have become familiar with were taking form: The Etruscan keystone, the temple of Poseidon oriented on the Cardo and Decumanus, the arched Ishtar Gate of Babylon, and the Temple of Apollo at Thermos—a rectangular, columned prototype for future temple design.

Around 600 BCE, Western and Central Asia were part of the Persian Empire, with capitals at Persepolis and Pasargadae. In The Americas, the Maya, Zapotec and Mound Building peoples emerged and the Mediterranean was under Greek control. The notion that man could serve god fundamentally changed the religious, social and ethical role of human existence. Buddhism, Daoism, Confucianism, Zoroastrianism and Hellenism led to unprecedented expressions of faith in architecture. In the Greek Empire, continuity of architectural form and diverse surface design defined an architectural style that was both Greek and regional. Monumental buildings such as the Temple of Segesta and the Parthenon tell us something about the Hellenistic dilemma of ideal vs. real and the ways in which forms can be manipulated to attain perceived perfection. The Doric, Ionic, and Corinthian columns of Greece are beautiful examples of the design process and remind us of the ever evolving quest for modernity, while early examples of rock cut architecture at the Barabar Hills in India are perfect interpretations of Buddhism as an inner journey.

From 0-300 BCE, The Silk Trade and sea routes were established as the Kushan, Partheon and Han Empires held ground across Asia and the Roman Empire flourished into a vast civilization marked by an extensive urban architecture never before seen. Across the Roman Empire, cities were oriented on the cardinal directions in a grid system. This idea of order and consistency was both a social and defensive strategy—putting people in their places and orienting the world according to an axis where two major paths create divisions around a focal point (on par with how Rome perceived itself in relation to the rest of the world). Rome’s impressive architectural repertoire included: extensive roads, arched aqueducts, public bath houses, temples, free standing arches, pillars, markets, forums, amphitheatres, colosseums and domes—all used as signs to mark the landscape and with the Roman ideal. The Pantheon, continues to bring the Roman ideal to visitors who come from around the globe to witness the UTILITY, FIRMNESS AND DELIGHT that this monument provides. Looking up at the oculus at the center of the domed ceiling, we feel an implied vertical axis reaching up into the heavens and down into the earth where the sacred resides. To the east, the circular Sanchi Stupas in India share this implied vertical axis, which creates a sacred spot around which worshipers circumambulate. This combination of the circle and crosshairs brings harmony to architecture around the world and speaks to a universal language of form and balance that lies at the heart of architecture’s foundations. Other key sites of this era include The Pont du Gard in France, The Great Wall of China, the rock Nabataean sites at Petra in Jordan, the Mingtang Byong Ritual Complex in China and the Guachimonton Complex in Mexico.

reading response 5

2011-02-14T14:02:00.000-08:00

this reading response addresses examples of early hellenistic, buddhist and christian architecture. 9 blocks are color coded according to religion, each illustrating a specific religious site and its characteristics. on the cover and case of this response, i have chosen to use a few words to express the diversity of architectural religious expression:

SOLITARY + INTIMATE + COMMUNAL : ARCHITECTURE + WORSHIP + RITUAL + FAITH

these words are intended to engage us in thinking about the ways we choose to worship and how ritual shapes architecture/how architecture shapes ritual. in the case of buddhism, the ritual is inward and relies on personal reflection and solitude, which is achieved through rock carved architecture, circumambulation and a very personal space. this stands in high contrast to the hellenistic rituals of the greek empire, where buildings such as the parthenon were erected as homes to the gods-- an extended family, worshipped in an intimate setting illustrated with ritual sacrifice. and then we come to the expansion of christianity where once out of the catacombs, ritual became a large scale, communal event-- a passage to salvation and imperial glory best experienced in large churches based on the layout of a basilica.

blog post 5

2011-02-11T13:05:00.000-08:00

blog post 4

2011-02-06T18:58:00.000-08:00

the circle and the crosshairs

2011-02-06T15:30:00.000-08:00

this little book illustrates the global use of a timeless architectural form: the circle and the crosshairs. from china to mexico, history shows us beautiful examples of urban planning and structures boldly marking the landscape like cosmic diagrams of power and importance. whether it's the defensive layout of a roman city or the meditative path of a buddist stupa, we feel the intention and importance of an intersected circle. diverse cultures have used this spatial geometry to express the movement of time, the cycle of stars, the center of the world and the intersection of heaven and earth.

images taken from A Global History of Architecture by Francis D.K. Ching, Mark Jarzombek & Vikramaditya Prakash

2011-01-30T20:08:00.000-08:00

cover

the pages above are from a book i've created, which plays with the idea of architectural surfacing and ornamentation as "structural clothing". remembering my paper doll collections, i thought it would be fun to take some built forms from early architectural sites and record how they've been "dressed up" over the ages. each image comes with a perforated outline and folding tabs to make dress up fun and easy!

images provided by: behrpainters.com, fcschools.net, americanart.si.org, 2.bp.blogspot.com, wikimedia.org, greisel.net, squarespace.com, photovalet.com, njrealestatewire.com, travelpod.com, shutterstock.com, flikr.com, musicdaily.com, medj.com, jhwagner.com, webshots.com, & i.pbase.com.

blog post 3

2011-01-29T13:00:00.000-08:00

searching through uncg's architectural past, i found this photo of the quad at women's college, the university's former name. here you can see georgian style brick buildings flanking an open space in a very ordered and traditional fashion. the quad is still considered by many to be the heart of campus and it's from here that the general aesthetic of uncg was established.

epodunk.com

this arial view of the current campus tells us something about the position of power within the context of greensboro. the two tallest buildings (the library and water tower) stand out in the surrounding landscape as beacons of a powerful establishment. note the difference in architectural style and color between the white towers and the brown buildings. a consolidated campus also increases the overall impact of the university's image.

helicamhdmedia.com

the campus site consists of 93 buildings on 200 acres close to the city center. several main thoroughfares cut through and around the site giving the university an accessible layout that is "open" to the surrounding city. it should also be noted that the campus' southern boundary is marked by a railroad, which has historically been a dividing line between middle and lower income communities. one could say uncg is located on the "right side of the tracks".

the map below is color coded according to the sizes of building throughout the campus. the largest buildings in red are evenly spaced and stand out as landmarks for the various university "districts". with the exception of the library and water tower, all other buildings are rather short, lending a sense of human scale to the campus. in general, uncg's buildings and lawns are evenly distributed around the library which orients students to the campus center.

uncg.edu

experiencing the space on campus is an exercise in spatial adjustment. students, faculty and staff move from crowded classrooms to open spaces throughout the day. areas of organized learning tend to provide little space, while areas of repose or contemplation (improvised learning) often provide more space. it's not uncommon to see students relaxing outdoors in the shade of trees or on the grassy lawns where they can take a breath and gain some perspective.

jake tucci

experience tells us that institutions of education should look a certain way to convince us that they function in a certain way. we've come to believe that education should be a standardized experience based on fundamental values, knowledge and ideals pulled from the roots of civilization as we see it... and so often this means "get some greek-revival in there". the petty building below sits proudly at the heart of campus and reassures us that an education at uncg is a fueled by tradition and experience.

uncg.edu

consistent brick surfacing creates aesthetic harmony and unites the campus buildings regardless of their architectural styles. the warm tones of brick clay express the region's roots in brick production and increase the sense of human scale.

uncg.edu

repetition is a design principle, which is often used to convey uncg's educational principles. the photo below illustrates the repetition of lamp posts and banners portraying minerva, the roman goddess of wisdom. this repetitive message lines the walkways across campus and reminds us our own educational pursuits and the importance of women in education.

uncg.edu

order is clearly conveyed here in the form of stacked windows and striking scale. as i have mentioned before, the library is the tallest building on campus, and therefore acts as a visual point from which the rest of campus is oriented. in the case of a largely brick campus, the white facade lets us know this a building of significance, and what better building to have at the center of it all?

uncg.edu

moving forward into the future, uncg has gone from a liberal arts women's college into a co-ed university driven by the integration of art and technology. this evolution is reflected in the architecture of the some of the newly constructed buildings, which tend to be modern interpretations of the past. in the case of the gatewood building, modern glass curtain walls and steel structural elements are paired with brick-- a building technology tied to the area's industrial past.

a good example

2011-01-26T13:16:00.000-08:00

below is the beautifully designed website of the bouroullec brothers, which can be found here: http://www.bouroullec.com/

the clear layout and simple stylings let visitors focus on the design work. i also appreciate the write-ups and chronological project tabs-- just a few things to remember as i design my own web and print portfolios.

towards a new... portfolio

2011-01-26T12:30:00.001-08:00

my professional practice course has got me feeling anxious. i've never been one to boldly step into a new life phase, head held high, looking towards the horizon. instead, i tend to shuffle forward, looking back all the while and wondering if i've made the right decision.

thankfully, i know i'm not alone. surrounding me in a seemingly endless sea of stylish glasses, are all of the other job seeking designers i will have to compete with. just kidding, i was going for a positive angle... like hey, i've met some amazing designers, professors and students throughout my time in this program and we can help each other out! so on that note, here is a first draft of my resume and mini portfolio:

haiti transitional housing proposal

2011-01-25T09:29:00.000-08:00

it's been a year now since the earthquake struck haiti, and thousands of haitians are still living in tents. housing solutions have been proposed by many designers, but actual implementation has been a disappointment to say the least. last year, students addressed housing in haiti through many alternative and innovative projects. during this process, common questions included: what does "earthquake resistant" really mean? which disaster relief shelters have been effective in the past and why? which materials are locally available? how is the haitian family structured? how much infrastructure is available for support? what is a reasonable budget? which sites should be addressed first and what are the geographic characteristics of these sites?... and the list goes on. it's clear, as students we are not disaster relief specialists or seismic engineers, but we can create fresh solutions to design problems using what resources we have. in response to this daunting assignment, i chose to design for a family of 6, using cobb construction reinforced with bamboo. the construction requires a few basic hand tools, readily available materials (earth, straw, bamboo, sand, lime, wire) plenty of manual labor (which could be an ideal opportunity for local employment) and strong community organization. the structure is intended to be a transitional home, which could be reinforced, or expanded over time to become permanent.

blog post 2

2011-01-23T21:27:00.000-08:00

below are a few examples of architectural forms borrowed from the environment in the form of stacks, circles and colonnades. the striking similarities between these forms and natural elements such as mountains, planets and forests naturally leads one to consider the ways in which our environment impacts our rituals and consequently, the buildings that facilitate those rituals.

looking at the facade of this library, the stacked windows remind me of geological layers visible on the sides of mountains. collections, volumes, stacks of books and the layering of pages come to mind when i think about a library. is it safe to say that this architectural form was inspired by geological forms, which perhaps INformed our ritual of reading and collecting books?

here we have the ceiling of a large circular entryway to a public building, which houses a canteen. within the circle, people pause, look around, meet and greet friends and colleagues. this is truly a place to gather. again, referencing the natural environment, i can't help but think about watering holes, where animals and people alike, will gather to appreciate an essential life source. in the case of this building, the ritual is eating-- an essential and often communal act, which only seems natural near a circle. so, could it be that an environmental element such as a watering hole has affected our eating rituals and therefore, our eating halls as well?

this is a sketch of a colonnade, which is often bustling with students moving from one class to another. the vertical columns and their shadows give a rhythm to the space that encourages me to walk. the shade and partial views also give me a sense of security as i move through the space, which reminds me of a wooded path where i'm protected by trees. perhaps what's been created here, is an interpretation of our early preferred paths of travel-- under the cover of trees where one can easily hide from predators. it's true, i feel safe, purposeful and eager to move within a colonnade. surely this instinct is no coincidence.

blog post 1

2011-01-23T19:31:00.000-08:00

i'm currently studying a history of architecture, which begins with an examination of early sites of civilization in asia and africa. one such site is giza, home of the infamous egyptian pyramids. while learning about these epic tombs, i was struck by the care and detail given to the preservation and placement of the pharaoh's belongings, which were intended to accompany his highness into the afterlife.

i was also impressed by the accuracy achieved in the construction of the pyramids. an arial view of giza is a striking lesson in geometry, in which each pyramid reads as a series of stacked concentric squares.

in response to all of this, i decided to create my own record of belongings in the form of a book titled artifacts for an afterlife. i must admit, i strayed from the formula and went beyond artifacts to include places and people as well. the framed pages comprise 10 concentric square images of objects, spaces, buildings, people and places, which come together to create an inverted pyramid within the book. i can't help from thinking this somehow relates to the eames' powers of 10 video...

pages: (read as text) duke gardens, durham (image taken from dukegardens.com), home, friends and family, husband, bike, cat, book, letters, conte crayons, boggle.

albemarle renovation: semi-final design

2010-04-05T15:29:00.000-07:00

urban studio's open house

2010-03-08T11:27:00.000-08:00

UNCG's design build program urban studio has finished it's second project thanks to outreach program Youth Focus, professor Robert Charest and over 150 students. known as my sister's house, this 4,500 sq. ft. building is now a transitional home to 8 single teenage mothers and their children. i had the opportunity to work on my sister's house last summer and it was truly gratifying to see the project all grown up and ready to go.

photo taken by caroline vickery

photo taken by meghan kauffmann

leonetti's charette

2010-03-08T10:58:00.000-08:00

last month i attended an engaging lecture given by furniture designer Robert Leonetti on the slow green design movement, which addresses ethics and sustainability as it pertains to the production of buildings and products.
here are a few of the lecture topics:
-minimal processing
-natural, locally produced materials
-fewer parts
-durability
-human rights
-and a designer's mantra that goes something like "justify the embodied costs of your design and return opportunity and benefits to the community"

leonetti referenced history throughout the lecture, beginning with the notion that we've been fearful of the world for a long time... and that this fear drives us to create walled cities removed from the natural environment where we can all exist in "comfort". as environmental, human rights and slow food activists question issues surrounding ethics, acquisition, and control; leonetti encouraged us as designers to take part in this dialogue stating "after all, we contribute to the stuff in the world". after the lecture, leonetti gave us the parameters for a 22 hour charette (intense design session), which challenged 4 student groups to develop a product or space that would fall in line with the slow green design movement and address ideas of local identity and international discourse.

after many hours of brainstorming, sketching and debating, my team members (laura snoderly, nacarra lassane, katie reynolds, maiken schoenleber) and i designed what we like to call "story jar". based on storytelling as a method of cultural preservation, story jar is an artistic, interactive traveling installation consisting of a free standing shelf lined with mason jars containing audio clips and personal items. participants are encouraged to open the jars and listen. it's intended to be an intimate, tactile experience as a jar is cupped to an ear and a uniquely southern experience is shared. we chose the mason jar because it translates well as a universally understood object that is overwhelmingly associated with the american south. the installation aims to explore issues surrounding southern separatism, isolation, preservation, survival, tradition and identity. simplistic in materiality, relevant to slow green design, feasible and communicative in design, story jar was selected as the winner of the charette.

it seems that by supporting the density of humanity, we truly have become the victims of our own weight-- the weight of progress in an exploited world. as designers, we have the potential to change the world, and with this comes a responsibility to examine the repercussions of our designs through a holistic
lens. after leonetti's charette, i keep asking myself what is the true nature of progress, and why is it that an increased standard of living can result in a decreased quality of life?

albemarle renovation: schematic design

2010-03-05T09:55:00.000-08:00

albemarle conceptual process

2010-03-05T09:45:00.000-08:00

in season:

an availability marked by time and dictated by nature.

“To everything there is a season, a time for every purpose under the sun.”

-ecclesiastes 3:1-8

conceptually, in season encourages us to think about our connection to the natural environment on many levels:

-seasonality
-sustainability

-slow food

-the passing of time

-climatic change
-harvest
-cyclical awareness... etc.

this concept will inform the design process and insure the cohesion of the physical and psychological elements of the space. conceptually, in season will also direct the functionality of the space-- in this, a market/deli based on the farm to table model which offers a seasonal menu comprised of local produce and meats purchased directly from the farmer to insure peak quality of the product, an awareness and connection to the local farming culture and to eliminate a middle man.

sketch of market entrance

sketch model of slated lattice (by sara easterling)

element collage

conceptual painting: cycling of the seasons

conceptual painting: growth and awareness

conceptual sketch model: opposing plains

conceptual sketch model: outside in

conceptual sketch model: natural balance

albemarle renovation project

2010-03-05T09:37:00.001-08:00

Design Opportunity:

photos taken by lily glover

Downtown Albemarle’s rejuvenation initiative has solicited UNCG’s interior architecture students to submit renovation proposals addressing a prominent building on Main Street. Design projects such as this, have the potential to act as a catalyst for positive growth in neglected city centers. As requested by the citizens of Albemarle, the building will provide residential and commercial space to generate income, pedestrian presence, interest and investment both monetary and emotional in the Main Street district.

We strive to promote the rejuvenation of downtown Albemarle through pertinent, innovative and functional design. Architectural elements such as shaded verandas, sunken patios, large windows and creative greenery will help bring the community into a built environment that engages with the natural landscape and celebrates the seasons. Spatial functions will include: a farm to table restaurant, a small market featuring local produce and culinary products, an artistic/informational installation space and rental apartments.

Client Profile:

The young and semi-retired business professionals of Albemarle who are interested in community restoration, local investment and centralized living will benefit from this renovation project. These potential clients are seeking a unique downtown experience with amenities in walking distance, outdoor recreation in biking distance and city life in driving distance. They appreciate the comfort of knowing their neighbors, they value downsizing and alternative transportation, they enjoy the outdoors and they want to be a part of the rich history of North Carolina’s piedmont region.

Precedent Studies:

Like towns all across America, Albemarle is the product of a misguided sense of convenience and progress. Four lane highways, discount superstores, chain restaurants and suburban enclaves have long been signs of “economic development” in small town America, but experience has led many to believe that this model actually compromises our communities, our local economy and the unique heritage that informs our shared identities. Fortunately, the citizens of Albemarle are aware of the need for change and are actively working to rejuvenate their downtown.

Albemarle light exploration posters

2010-02-18T10:38:00.000-08:00

Albemarle Hill and Silo Models

2010-02-18T10:17:00.000-08:00

Autocad Drawings

2009-12-13T08:38:00.000-08:00

Lighting Calculations/Map

2009-12-13T08:31:00.000-08:00

Greensboro, NC/ 8am/ overcast sky/ Dec. 21st/ working plane: 2'-6"

AGI32 Rendered Light

2009-12-13T08:26:00.000-08:00

Greensboro, NC/ 8am/ clear sky/ Dec. 21st

Greensboro, NC/ 2pm/ clear sky/ Dec. 21st

Greensboro, NC/ 4pm/ clear sky/ Dec. 21st

Estuary precise

2009-12-01T17:39:00.001-08:00

Estuary images

2009-12-01T17:37:00.000-08:00

Rendered view: As seen from South Elm Street in downtown Greensboro.

Rendered view: The interior of the retail space without merchandise.

Levels: The estuary contains three levels connected by ramp and elevator. The ground level houses the dressing rooms/W.C. and retail shop. The first level is a gently sloping performance space/promenade with staggered stages and backstage/consultation area. The second level is a shared studio space full of natural light and an open layout.

Materials: Recessed ceramic metal halide floods, alcoved compact florescent lighting, pendant barrels, LED sand fixtures, painted brick, "bone" tinted lime washed walls, acoustic cloud paneling, double glazed store front windows and rubber "coin" flooring.

Fixtures: Barrel pendant lights, "dock post" pedestals and "barnacle" risers/shelving.

Window Display: As seen from the front facade.

Guerilla Marketing: Sand stenciling on the sidewalk.

Visual Merchandising: A plan view of the retail space with donut circulation, central cash wrap and vertical display hierarchy.

Estuary folders

2009-11-29T17:34:00.000-08:00

It's finally time to get the glue off my hands. After many days of piecing it all together, I've got some models and folders to submit as my final retail design project for the semester. Portable and packed with pretty images, these promotional folders are hoping to be placed in the hands of potential clients or investors.

Estuary schematic model

2009-11-26T10:52:00.001-08:00

Estuary retail space

2009-11-26T10:40:00.000-08:00

Estuary light study

2009-11-19T13:57:00.000-08:00

What you're looking at here is about a quarter inch of white sand in a clear glass, lit from below by a soft white compact florescent.

Estuary process: Models and Sketches

2009-11-17T14:46:00.001-08:00

Opening Day

2009-11-13T16:25:00.000-08:00

Working alongside designers Matt Jones and Debbie Nestvogel, my retail design peers and I put together some dynamic displays... and all in time for the grand opening! This was a project by the community, for the community and the process was inspiring. To set up the story, Matt and Debbie (UNCG interior architecture students) transformed an empty shell of a space into a modern boutique where pre-conceived notions of used goods are shifted and the benefits of recycling are celebrated with style. To get the whole story (process pictures included), just click here.

Throw up sheets

2009-11-06T09:56:00.000-08:00

These are some more concrete ideas I've had concerning The Hatchery, working with An Estuary as my concept. I've tried to create a flow in the space that moves from low to high tide-- enclosed to open, single story to double, raw to polished materiality. I was thinking of gestures like leveling, passing through, ebb and flow... take a look and let me know if this is being conveyed in my design.

Lighting investigation

2009-11-05T18:32:00.000-08:00

Here's my second attempt and I'm happy with the outcome. A friend and I managed to find some larger balloons (16" diameter punching balloons) and we decided to go with white string to keep the light in the dressing room clear and bright.

Lighting investigation

2009-11-04T07:42:00.001-08:00

I've been wanting to do this for a while, so when it became clear that the Salvation Select Store needed some interesting and inexpensive light fixtures in the dressing rooms, I suggested that I try making this crafty Ready Made string globe pendant. To be honest, I'm a bit disappointed with the results of this first go. After wrapping crochet string around a balloon, I applied plenty of fabric stiffener and called a night... but the balloon deflated over the course of the evening and I woke to a sagged out version of my original orb.

The lamp below from Ready Made is what I was going for.

Digging

2009-10-27T15:19:00.000-07:00

I've scrapped my previous notions about UNCG's off campus collaborative retail, performance and studio space (originally known as the hatchery) and am now going in a different direction. As it goes, sometimes I jump the gun during the ideation process-- making assumptions concerning functionality or setting my heart on spacial aspects before I've fully wrapped my head around the concept. So, confessions (and hatching) aside, I've allowed myself to step back and re-think conceptually-- and this is what I've come up with:

An estuary is a semi-enclosed body of water where rivers and streams flow into the ocean. This unique blending of fresh and salt water results in an ecologically rich environment where many animal species feed, breed and nest. Estuaries are often referred to as aquatic nurseries due to their protective locations, transitional waters and biodiversity. It's these elements that led me to connect the concept of an estuary to The Hatchery. Like an estuary, The Hatchery is designed to nurture development and provide relevant experience for those transitioning from one life phase to the next.

While thinking further about an estuary as a concept for the hatchery, I've been investigating the particulars of brackish water (the fresh and salt water blend found in estuaries). One striking occurrence of brackish water takes place in underwater caves where it is called halocline and can be seen as a distinct layer hovering between undisturbed salt and freshwater. The difference in density of fresh and salt water is responsible for the halocline layer which appears like an underwater mirage-- refracting light in a surreal manner.

So, pulling from this bit of research, I'm thinking I'd like to physically interpret the following elements:

-A river flowing into an ocean.

-A semi-enclosed body of water.

-Salt and fresh water.

-A halocline layer.

The first two elements in this list could be interpreted as ways to "carve" the space.

-A narrow entrance, low ceiling, and intimate lighting could indicate the mouth of a river.

-A wider space, high ceiling and ambient lighting could indicate the flow of a river into an ocean (of infinite possibilities--ha ha).

-An alcoved area (performance space?), wall washing and creative peripheral wayfinding could indicate a protected bay.

The second two elements in this list could be interpreted as material choices.

-Salt and fresh water could manifest as two different shades of the same color, a variation of textile patterning, different states of the same material (i.e. polished/honed stone).

-A halocline layer could be represented through two planes of overlapping polarized glass. A horizontal wall recess, lit in a unique way. Suspended planes of obscured glass or loose acrylic beads inside translucent vessels.

The halocline effect.

Mangroves in brackish water.

An Estuary.

Digging

2009-10-25T12:49:00.001-07:00

To break, release and emerge-- these are some actions often associated with hatching. As an act of birth, there is a beautiful brutality, a fragility and strength contained in the process of hatching that is proving to be difficult for me to capture in an interpreted physical form. The images below are some sculptural experiments with materiality. I'm imagining large surfaces, torn and punctured to reveal a translucent subsurface or membrane, glowing from within. Here I've used clay and blown glass.

Digging

2009-10-25T12:48:00.001-07:00

I enjoy the penetration of light in these photos of The Slit House by Eastern Design Studios. Dynamic concentrated energy, hatching through an unmoving wall. This is a design element I would like to include in The Hatchery. Below, is my sculptural interpretation.

Digging

2009-10-23T07:54:00.000-07:00

Digging

2009-10-21T21:49:00.001-07:00

It's officially time to dig deep for those designs that speak towards some greater understanding of "The Hatchery" as a concept. These egg-esque shelters struck me as wonderful examples of intimate spaces, capable of hatching into public arenas.

Celebrity Dairy: A field trip

2009-10-18T13:44:00.001-07:00

This is Celebrity Dairy, a low impact, sustainable, agricultural farm where 100 Alpine and Saanen goats provide award-winning cheese and welcoming company to event goers and sunday diners. The grounds and inn are ideal for unique events in a rural setting and I'm hoping to give a friend of mine some inspiring thoughts on the possibilities available for her upcoming Celebrity Dairy wedding.

The collage below represents the wedding ideas my friend has been mentioning. It's helpful to lay these ideas down like puzzle pieces-- this can reveal what works well, what's missing and what should get the boot.

Elements include:

Lawn Games, Goats, Peonies, Iced Tea, Bonfires, Linen & Cotton, Handkerchiefs, Pink & Navy, Hay Bales, Goat Milk Products, Fans, Lanterns, and Feathers.

The Hatchery: Programming

2009-10-17T13:21:00.001-07:00

Defining the spacial needs of The Hatchery (or any interior for that matter) can be difficult. This is why designers love diagrams. Here I've chosen to represent The Hatchery's required spaces with a diagram of eggs. Hierarchy is represented by their sizes, and adjacency is indicated by their placement. They are nested here in a rectangular form, which mimics the proposed building's footprint with the entrance on the right hand side. To push the flexibility of The Hatchey as a dynamic space where collaboration and innovation is "hatched" and nurtured, I'm playing with the idea of moving spaces, capable of "hatching" and adapting to the roles and activities within The Hatchery as they inevitably change. Much like the mobile museum I have referred to in my inspiration investigation, these moving spaces could be shells containing space, cracking open, closing shut, gliding and resting.

If you were wondering, the eggs in my diagram are a mixture of ostrich, goose, duck, turkey, chicken and quail.

The Hatchery: Collaboration

2009-10-14T08:36:00.001-07:00

Retrofit Furniture

2009-10-14T08:26:00.000-07:00

It was a fall break of furniture finds and painting. I purchased these pieces from an estate sale, Father & Son and Everything But Granny's Panties.

The Hatchery

2009-10-14T08:14:00.000-07:00

This is an example of the kind of building space available in downtown Greensboro. 13 foot ceilings, a long rectangular layout, large storefront windows and a checkered past make this the perfect space for The Hatchery, UNCG's proposed artistic collaboration space off campus where students can come together and engage with the community in a myriad of a creative cross disciplinary experiences. UNCG's Design Retail class has been asked to design this space for The Hatchery with the hope that this ideation will spark interest and eventual implementation.

Inspiration

2009-10-13T20:32:00.000-07:00

The corporate office of Urban Outfitters is located in Philadelphia's old Navy shipyard and was designed by Meyer Scherer & Rockcastle, Ltd. It's full of those flexible spaces within spaces that I'm interested in for The Hatchery.

Inspiration

2009-10-13T20:15:00.000-07:00

The Mobile Museum exhibit in Berlin is an example of flexible soundproof studio space within space.

Inspiration

2009-10-13T20:03:00.001-07:00

This is URBAN 116's dynamic exhibition space.

Inspiration

2009-10-13T19:20:00.000-07:00

The British Glass Biennale's exhibition space struck me by its flexibility.

Inspiration

2009-10-13T19:13:00.000-07:00

The House of Furniture Parts by Studio Mannink & Bey is a development of the studio's Stairhouse in Droog's newly opened NY store. "It is a system that starts from the designer but grows into the culture".

Precedent Studies

2009-10-13T18:53:00.000-07:00

Here are examples of community oriented, multi-disciplinary, shared studio spaces from around the world.

Check it out

2009-10-13T18:37:00.001-07:00

Tom Dixon, FRONT Design, and 5.5 Designers all took part in Veuve Clicquot's "Out of the Box" installation at the Milan Furniture Fair. They were asked to interpret Veuve Clicquot's new packaging concept "DesignBox" and the process is all documented here! This inspiring display design applies a lot to the work my retail design course has been engaged with over at the Salvation Army Select Store.

Cutting Back

2009-10-09T19:04:00.000-07:00

To save some cash, I've decided to skip the florist and make my own flowers. Couldn't bring myself to throw out the beautiful paper scraps!

My Box Folio

2009-10-07T06:21:00.000-07:00

I had one day to prepare for an interview, and this is what I came up with... it's a box with little ceramic ducks (no, they are not slugs) on top. I call it my box folio and it's full of postcards featuring my work.

Blimpie: my bloated hand

2009-10-05T07:16:00.001-07:00

This is what I was up against this past weekend. Blimpie appeared while I was on a hike along the Eno. Bees are amazing creatures...

Retrofit

2009-10-04T18:04:00.000-07:00

This is the my first piece for the raffle on opening day at Salvation Army Select. It's a small MDF shelf unit that could be perfect in a reading nook.

Changing Rooms

2009-10-02T09:52:00.001-07:00

Design notes

2009-09-28T20:27:00.001-07:00

These are the some notes I took at the latest Salvation Select Display meeting. The topic of our discussion was how to fuse the exceptional aspects of our various display ideas into one cohesive concept that could be modified to fit the three scales of display required (large window, medium end cap and small throughout).

A larger selection

2009-09-27T17:41:00.000-07:00

This is an example of the kind of large scale assemblage that we would like to install in the window displays at the Salvation Army's Select Store. First we created a composition of items found at the Salvation Army's Family store, taking care to use a variety of shapes, sizes and textures. Next we affixed the items to a plywood panel with some serious glue. Then it was just a matter of white paint. Once installed, we would dip a selection of choice clothing articles in red paint and suspend them in front of the panel to juxtapose the merchandise previously associated with The Salvation Army's Family Store, with the exceptional merchandise sold at the Salvation Select Store. This art installation could stand alone or serve as a backdrop in any display. The topographical quality provides shadow play and texture to a monochromatic plane, which is visually appealing from afar and up close. On a moveable wall, this fixture could take part in many displays throughout the seasons with careful placement and re-working.

A smaller selection

2009-09-24T15:19:00.000-07:00

Here's a selection of goodies found at The Salvation Army's Family Store on Lee St. I'm thinking these displays could be hung up in the changing rooms like little windows into an intimate world of objects-- all white with the exception of one red "selected" item of interest. In this case, I've singled out the nozzle of a ketchup container, an American icon easily recognized and associated with the color red.

Display

2009-09-23T07:40:00.001-07:00

This collection of found objects featured in Tim Robison's blog reminds me of the installation work I've seen using items confiscated at airport check points. Pocket sized treasures, lost in a changing world... victims of circumstance. In the case of the Salvation Army's Select store, objects similar to these are given up voluntarily and tend to filter down to the dregs line as I call it. But as Tim points out, it's often just a matter of purposeful assemblage to give new meaning and value to items of any sort really. I would love to amass hundreds, maybe thousands of used pocket sized items, mount them with pride and showcase them either as a large scale installation meant to be seen from afar or as small cabinets des curiosites displayed at eye level for intimate viewing (perhaps in the dressing area?).

To learn more about Tim Robison, his thoughts on the virtues of assemblage with used objects and his creative work, click here.

Here's an assemblage of my own, comprised of items that live in my study.

Display

2009-09-22T20:45:00.001-07:00

Cuban art duo Guerra de la Paz puts wonderland to shame with their insightful and psychedelic installations. I believe Alain Guerra and Neraldo de la Paz's working process and message directly relates to the resources we have and context that we find ourselves in as retail designers at S.A. Select. Here's what they had to say:

"Using recycled objects as our medium and the guidance of the unrelenting amounts of information that fuel today's mass consciousness and it's subversive parallels. Allowing us to explore ways to reinvent historic themes and classic icons while still commenting on contemporary culture.

. . .Gaining access to an overabundance of discarded clothing - relics that once helped define an individual's personality and communally speak of environmental issues, mass consumption, and disposability - opened the doors for us to working with garments as a material. We often see ourselves as vehicles guided by their essence and silent histories."

As soon as I saw Guerra de la Paz's work, I began daydreaming about the kinds of unimagined landscapes that we could create with the "not so delicately used" clothing that comes into Salvation Army's donation station. One landscape that I kept returning to was an autumn garden, marked by those seductively deep hues that come with the season's roots, tubers, squash, kale and cabbage. Colors so rich you can smell the vitamins in them. We could cultivate our own unique veggies, bulging and layered with fabric. Shoes could be breaking through some rich Carolina soil like beets while rogue sock squash vines could be climbing the walls.

Here's my butternut squash. It's a sock, fabric and some string. Perhaps not so striking on its own, but try imagining loads together... spilling over a display.

Display

2009-09-22T19:25:00.000-07:00

This installation by Jim Hodges, in collaboration with The Fabric Workshop and Museum is titled You. In my mind, I've linked Jim Hodges' artwork with a photo by fellow student Josie McKinney. There's a delicate tenderness that I appreciate in both pieces-- an attention to the character of each flower, captured not in the prime of its existence, but rather just before wilting. You is essentially a curtain of old silk flowers, broken down and pieced together again. I think a similar curtain constructed of old clothing remnants cut into flowers and sewed together could be a provocative installation in one of the front windows at the Salvation Army's Select store. I'm imagining a majority of white flowers (stained, faded, bleached, or faintly patterned) paired with red flowers (in all shades ranging from pink to maroon), hanging up like an heirloom quilt, laced with the sentiment and character of worn clothing-- like old skin, bruised petals and fingerprints.

You by Jim Hodges

Photo by Josie McKinney

I constructed a 1'x1' prototype following Jim Hodges' process more or less. I simply cut a series of flower shapes (layering my fabric for efficiency), then I pinned them to a paper towel being sure to overlap the petals. From here it was just a matter of sewing across the overlaps and then tearing away the paper towel.

Pattern Perception

2009-09-21T21:26:00.000-07:00

Here I've created a textile pattern of tuk tuks and telephone booths.

The unimagined inspiration

2009-09-21T21:12:00.000-07:00

After visiting Anthropologie in Greensboro, we have been asked to stew in our creative juices and find inspiration in life's little discoveries. To achieve this, I took the time this weekend to get out and have some engaging unimagined experiences of my own with the hope that stories, concepts and visual merchandising "moments" will begin to take form. The following four posts are the result of this past weekend-- some images and thoughts of mine to muddle over.

Image taken from Anthropologie.com

Taco Truck Stop

2009-09-20T20:29:00.001-07:00

Barbacoa heart burn descend upon me and curse me with your sinful deliciousness! I reckon it's time to eat standing. Never before has a parking lot smelled so good. Let's all stand beside a taco truck, like kids too close to the TV screen. Let's stare at the menu and fantasize about our options while we watch orders appear in a window, wrapped in thin foil and white paper. This particular taco truck is located in the Fitch Lumber parking lot. Carrboro, NC.

There's something romantic about dining truck-side at dusk in a familiar parking lot. I appreciate the experience because it sheds a new light on a few of life's mundane elements-- A parking lot is filled with the scent of gilled meat and cilantro, a delivery truck is painted with elaborate colorful decals, a telephone pole is dressed with flyers and a taco truck community is created! It's magical-- like the witching hour... and so so tasty.

Secret Gardens

2009-09-20T20:10:00.001-07:00

Secluded corners tempting me with fountains, ferns and lounging animals. These are the places I peer into. Waiting rooms for those who seem blessed with endless time. These are the gardens to grow old in.

It's no joke, I love looking into people's gardens-- it's nothing short of voyeurism. I fantasize about the time spent there and the people who care for the plants. I love the idea of an isolated piece of paradise-- cultivated and unexpected-- thriving behind a facade. These are some gardens I found in Wilmington's historic district.

Carolina Coast

2009-09-20T20:08:00.001-07:00

Salt and jasmine to rouse the senses. Sardines and sweet tea to cleans the gut. Bleach and polish to keep us honest. Mint juleps and oyster shells to seduce the past. WD-40 and spinner reels to turn our heads.

To me the coast is cyclical. Sand castles are built and destroyed with the tide, facades are weathered and painted with the seasons, tourists come and go... it's a place to come full circle. A time to think about the last time I swam in the ocean. The Carolina coast is a far cry from the Miami boardwalk and it sure ain't the Jersey shore. It's something in between... something soothing and nostalgic, at least in my mind.

Blue Ribbon Nights

2009-09-20T19:58:00.001-07:00

Sweaty glass bottles perched on deck railings. Old industry gone trendy. Pearlescent snap buttons, side parts and leisure sneakers. Paperback novels stuffed into back pockets and remnants of posters on bathroom walls. Guitar picks, cue chalk and lipstick stains left behind.

Nights spent wandering with friends in and out of familiar spots where characters are just as colorful as the posters on the walls. This is still necessary. The images above were taken at the Carrboro music festival.

Salvation... beautification... reincarnation!

2009-09-17T10:23:00.000-07:00

Countless gently worn furniture pieces much like the one below (in the before image) have ended up in The Salvation Army's family stores. Mmm. Treasure. Why not grant these items design salvation? UNCG's retail design students could recycle and recreate original furniture pieces, which could then be used to raise interest, donations and sales at The Salvation Army's Select store. Here's an outline of the steps required to make this happen:

-A small fund for materials will be required to purchase paint, glue and hardware.
-Clearance for involved students to pick up furniture at designated S.A. Family Stores free of charge would be helpful.
-Procurement of vacant window space at the S.A. Select Store's site will give the students the chance to showcase the renewed furniture while informing potential customers of upcoming raffle opportunities and the S.A. Select Store's unique mission.
-Posters and retail tags will be necessary for the window displays and furniture pieces.
-Raffle tickets and an organized raffle drawing will require management (tickets will be distributed to those who donate to the depot).
-Choice furniture pieces will feature in the store's displays. These pieces will be for sale.

Like what you see? This creative furniture project comes from Design Sponge.

The ol' key and chain

2009-09-15T18:41:00.001-07:00

My retail design class has been asked to dream up some promotional products to help enlighten local donors and customers on the unique Salvation Army Select Store set to open soon. This has been an opportunity for UNCG's interior architecture students to get involved on so many levels from design conception to community organizing and visual merchandising. With this said, here's a few ideas i'd like to toss on the pile.

Know all of those loyal customer cards you keep collecting? Well here's a better one. Donations to the Salvation Army's Select Store will get you a loyal donor card, which will grant discounts and dress up that boring keychain. Materials used include: Wood veneer samples (from The Scrap Exchange ), Modge Podge, paint and fabric.

These socks smell good

2009-09-15T18:36:00.001-07:00

Another promotional tool could include these clever sock vases, given as gifts to donors or used as advertising space in appropriate venues. Imagine a few informational buttons pinned on to that argyle print. What a nice centerpiece that would be on a cafe table...

Materials used include: Old socks, broken pint glass/used can, fabric, needle & thread,

Pin ups

2009-09-15T18:13:00.001-07:00

I'm hoping customized clothespins could be the bit of flare required to get the attention of suburbanites. The idea would be, that promotional flyers would be neatly folded and pinned to mailbox flags with these little pinching beauties.

Burning oxygen and time

2009-09-13T21:35:00.000-07:00

Candles have long been a means for gauging time. As the candle burns down, a certain amount of time has passed-- and if the candle's creator is consistent, a melting candle can translate into minutes, hours.... days. It's simply a matter of learning to read the height of a candle like the hands on a clock.

Candle: H 6", W 6".
Metal frame: H 9", W 8".

Respire Lungs

2009-09-13T13:14:00.000-07:00

This wire bust contains a set of paper lungs capable of inflating and deflating. I've chosen to use a simple balloon outfitted with an air pump to achieve the audible inhale and exhale associated with breathing. This stripped down portrayal of breath is intended to remind Respire's customers to take the time to breathe... to take note of our own unique rhythm which should not necessarily be dictated by time.

Wire bust: H 3', W 15".
Paper lung: H 7", W 7".

Respire Clock

2009-09-13T13:11:00.001-07:00

Returning to my original inspiration for Respire, I've transformed Kai Lossgott's illustration "Breathing" into a wire wall installation. Breath is clearly traced in wire through the nasal cavities and down through the lungs, where a clock is nestled in place of the heart-- keeping rhythm and creating order

Wire armature: H 3', W 3'.
Clock: Diameter 5".

Respire Thaumatrope

2009-09-12T17:04:00.001-07:00

This is a twist on the victorian parlor trick known as a thaumatrope, which relies on persistence of vision to bring two images into one with spinning motion. Here many thaumatropes are mounted together on rods, which spin with the wind-- or in this case: with a powerful gust of controlled air. The effect is a wall of images (lungs and ribcages) spinning when prompted by the passage of air. When in motion, the thaumatropes look like lungs inside ribcages and when the thaumatropes are still... well I'm sure you've got it. This spin will take place every minute, thereby marking the passage of time with an audible flutter and a visual blend connected to action and anatomy of breath.

Wall installation: H 6', W 10'.

Image cards: H 4", W 3 3/4"

Respire Timepiece Ideation

2009-09-09T13:29:00.001-07:00

One breath at a time...

I'm thinking about how to make a timepiece. Something that's connected to breath and movement, time and rhythm. Some kind of beautiful, nostalgic oddity that could sit comfortably in a cabinet des curiosites. During this ideation process, I keep returning to the lung as a literal symbol of breathing and the images of lungs that seem so delicate and enduring all at once, like intricate root systems or dried coral. I'd like to preserve this quality of fragility and strength in the timepieces I design, using parishable materials like wax, plants, glass and paper. I'm thinking the scale of each timepiece will be rather small-- but placed together in a shadow box of some sort. Time keeping will translate through objects like the hourglass, sundial, thaumatrope, terrarium and candle.

Respire Retail Materials Board

2009-09-04T13:16:00.000-07:00

Again with the collage! This poster is my design proposal for "Respire", a high-end coat and scarf boutique. Basically, I'm trying to convey the store's material make-up and physical layout in a manner more focused than the previous collage. This is where ideation moves towards realization and conceptual ideas transform into surfaces, finishings, furniture, lighting and merchandise. I've chosen bright citrus hues of color and paired them with glitzy items both old and modern to create a breath of fresh design within a retail context. Mirrored surfaces, wire mannequins, rays of light (check out a detail of Ricardo Garza Marcos' light cubes here) and structural pass-through panels all add to the sense that this is an environment where breath moves freely. The boutique's sign is based on Kai Lossgott's playful illustration appropriately titled "Breathing".

Respire Retail Collage

2009-09-01T20:04:00.000-07:00

Someone once told me, "when it comes to spreading ideas, collage is contagious". So here goes...

This particular collage is a collection of initial inspirations for a high-end boutique specializing in women's scarves and coats. The boutique's concept is respire, which I am attempting to look at through a French lens, which could go beyond breathing to mean inhaling and exuding. From here, I began to play connect the thoughts: Respire... wind blown scarves... kufiyas... Parisian chic... tailored coats... handwriting... And then, aspects of the boutique's physical character began to come into focus starting with the color scheme. Associating color with respire, I landed on the elegant potted lemon trees brought indoors during the winter months to add color and scent to a gray and dormant season (like a breath of fresh air!). And so it came to be: Dark brown, yellow, green and white for the lemon tree and black and white for the winter. At this point, texture and light could be brought into the larger picture, where things such as wire armature connect well with the ornate ironwork of Parisian balconies, glossy plastic and sculptural surfacing could be a modern nod towards the textile-rich merchandise and pattern emitting lighting adds glitz and interest with relative simplicity.

Modern Times

2009-08-30T13:30:00.000-07:00

Modern Times radiates sophistication and elegance. The shop itself has been designed to function as a large display case, which communicates well at its corner location. Bright white and lipstick red provide a clean backdrop for the eclectic modern fashion and accessories Modern Times has been providing Chapel Hillians for years now. Plush carpeting underfoot keeps stylish heels stealthy and globe pendant lights hover at different heights to create a cosmos effect overhead. Perhaps the most striking design feature, is the red curve that works its way through the boutique like a diva displaying merchandise with finesse. Other swoon worthy elements include marble counter tops, industrial racks (which the owner intended to be red) and birdie silhouettes on the store front windows. Please note, that the changing rooms are not visible in the following photos, which should serve as a sigh of relief to those who don't fancy parading their fitting forays on the main floor. Instead, customers try on clothing in spacious rooms set apart from the boutique's large glass facade. Whew. And for those who are not so fashion savvy, a large desk serves as Modern Times' consultation hub, where one can chat comfortably with staff about all things stylish.

Modern Times owner: Hillary Fisher. www.shopmoderntimes.com

A red undulating wall at eye level adds intrigue and sensuality.

Layered objects create dynamic depth and engaging visuals.

This ideal location is enhanced by a revealing glass corner.