UNIT SUMMARY

Jesus Christ - I find the most inspiration from My Lord and Savior. He guides me and inspires me more than any material on the planet.



Calla Lillies - One of my favorite flowers. the structure, shape, smell, color,... the beauty, perfection and elegance found in a flower as invigorating as this is simply inspiring.




Beach - North Myrtle particularly. A sunrise makes all the difference. the sounds, sights, smells, and feelings there are unique, calming, and inspiring. Its where i feel at home.




Piano-forte - Music is the universal Language. When I'm playing piano i get a LOT of inspiration that influences my designs.




Cities at Night - Brooklyn Bridge




Lightning




Space - specifically the Eagle Nebula...





Spider Webs - perfection and strength



Willow Tree

Jellyfish - the glow and manipulation of light intrigues me.




Edinburgh Castle - Edinburgh, Scotland
The land is such a gorgeous and inspiring part of the designs throughout scotland. Edinburgh castle displays it very well

Coming Full Circle

Authenticity

Authenticity can be defined as genuineness and anything that is uncorrupted. It shows that something is pure and undisturbed.

 

Stewardship

Stewardship usually contains a person who is appointed to supervise the affairs of that group and designate certain functions they are to undertake. In design, a specific element of the design and space can often dictate and designate emphasis or functions to another part of the design. For example, in our Sacred Space project, many people took certain elements of their design and allowed them to take on required functions. As in my space, the focal point was centered on the glass block window covering and that essentially paved the way for the rest of the design. The forms were mirrored for different functions and the stewardship was made eminent through that.

 

Innovation

A creation or experimentation of something new is known as an innovation. An innovative design is something that introduces a new technique or design feature to the world of design and its surroundings and environment.

 

Community

A community is a social group of any size whose members resides in a specific locality, share government, and often have a common cultural and historical heritage. 

[pair]ing Down

Meditation/celebration

The duality between meditation and celebration can be defined clearly through differences as well as similarities that unify the two words. Meditation deals more with creating a calm, serene atmosphere, whilst celebration “meditates” on a certain aspect of the design. For example, my “sacred space” project for studio is theoretically divided into two spaces, one that is a more relaxing and meditative space created by the clean, quiet, atmosphere while the other induces a certain feeling of chaos in its visitor. It is a more celebratory section in that it celebrates the overlapping of squares and the feeling it creates by displaying a reoccurring theme throughout the entire portion of the room.

 

Light/Shadow

Light and the absence of light is another duality discussed largely through the world of design. Light is an important aspect of a design and can basically “make or break” a project. Light enhances an object, structure, or space, and allows it to come alive by being illuminated in that light. The manipulation of light starts to add in the thought of shadow as well. For example, my studio window project consisted of a series of various sized squares that were arranged in a way that celebrated the light. It also enhanced the absence of light by elevating some squares on others that created a shadow around that square and allowed it, too, to be illuminated through the absence of light.

 

Transpose/Juxtapose

A building’s central theme or essence allows us as designers to truly see the transposition and juxtaposition throughout the design. Translating an idea or a concept through a building is its motif. It is our job as a designer to reflect that concept in a coherent way without transposing and juxtaposing it too much. For example, the Sydney Opera house mirrors and reflects the concept of sails on the horizon. It creates a certain rhythm and allows the theme of sails and boats to be transposed to fit the building while keeping the juxtaposition of the building in tact.

 

 

Monologue/Dialogue

In terms of speaking and writing, a monologue is a story told by one person where as a dialogue is a conversation between two bodies. This can be translated easily to design. A building or space can be conversing with a neighboring structure or telling its story alone.

 

Literal/Abstract

Literal and Abstract take on the same themes as transposing and juxtaposing in that it takes an idea and converts it to fit the building or space without literally using the precedent. 

Action - Verbs

Speculate
To speculate is to indulge in conjectural thought and to engage in a reflection or meditation. Oftentimes designers have to speculate on the materials, space, or constrictions they have to work with to create a design. Contemplating a space and its features is an important part of the design process and is required to develop a design and conform it to fit the “speculations” of that space. Designers also speculate about the original intent of a building and its use and presence within its environment. Roth explains how “a building also has a symbolic function and makes a visual statement about its use.” (Roth 16) It is our job as designers to analyze that presence and speculate about its intent to draw inspiration and influence from it to move forward in the cycle of design.

Compose
Composing means to make or form something by combining things and parts or elements. It allows for inspirations to be combined to create a composition that is well designed and thought out. Composing also relates to music in that it is how a piece of music is produced and developed to create a well-structured piece of music. This is not unlike the design world. The composition should speak for itself if it is well designed. Roth talks about how “architecture is frozen music.” (Roth 103)

Energize
Energize means to rejuvenate something and give it “energy” to make it jump out at you. To energize something requires giving it “life.” Many parts of the design cycle are energized when a new wave of design is introduced to the world of design. Corbusier was a prime example of this. He brought energy to his designs and declared that “a new beginning through a re-formulation of the roots of architecture” was occurring. (Weston 94)

[Reflections] |||||| Unity Summary

The reflections unit of our history and theory of design class covered a range of topics ranging from the industrial revolution to “east meets west.” It covers the Romanesque Revival and the main principles of it, including social change, need for meaning, romantic past, and other things in the past that can be studied.

The idea of cities and traditional structures were being modernized and constructed with newer, stronger, and more sustainable materials. The Trinity churches in New York and in Boston are prime examples of this. Concrete, metal, and glass were discovered and combined to create a new technique. Architects and designers discovered that metal strengthens the concrete as well as cast iron and glass in terms of verticals. There are many buildings and structures around the world that portray these materials in an effective way. The Brooklyn Bridge, the Eiffel Tower, and the Crystal Palace are among the most famous structures that bring together the new combination of materials to create the newly constructed formations.

Frank Lloyd Wright had a very impressive and innovative way of using concrete, glass, and steel. The majority of his more recent designs particularly displayed new techniques of combining these materials whilst still returning to the roots of basic design as he did in his own personal home and studio. Other homes and buildings he has designed, however, use the concrete, glass, and steel in an innovative way as well as taking advantage of the landscape around it.

Fallingwater is a prime example of the way concrete and steel comes together to support glass. The large cantilever over the waterfall supports itself from the reinforcements in the concrete by steel and incorporates the nature around it. The reflections unit revels on several buildings of this nature by Wright and other designers and architects of the age.

The Monadock building introduces bay windows in skyscrapers to add a hint of visual interest as well as a view of the city and allowing for light to enter in a large amount. Another interesting feature of the building is that the exterior façade supports the entire building in an expensive manner as apposed to the Home Insurance building that introduced the freestanding façade for the first time in design history.

The reflections unit covers many different examples of skyscrapers, industrial buildings and homes that bring together new materials and techniques that gain influence from the Romanesque Revival and other eastern ideals. 

ROAD TRIP (opus 11)

Roots

Root refers to the origins of something or someone’s home or environment.  Roots plat new beginnings and designate the origin of that influence. For example, the medieval and baroque periods heavily influenced the post design eras. As the root of a tree grows and strengths the tree itself, design concepts and time periods do the same. Without that underlying foundation, new innovations in design would fail because there wouldn’t be the provided stability that influences all the present and future designs to come. 

Congruence

Congruence relates to symmetry in a great and eminent way. It is the quality or state of agreeing or corresponding to something to create a unified and cohesive composition. Congruence represents harmony and conformity.

Concept

A concept is compiling ideas together to suggest a general notion or idea formed by characteristics or particulars from a precedent. The concept allows a designer to develop ideas and create a unique composition by looking at the work of others and gaining inspiration from other things. In studio, for example, we are making a window details that captures and manipulates light to make the building a “glittering gem” in the distance. As a studio we decided to work of the concept of a “gem” and a “Tiffany lamp” and how they both create different facets and colors while they manipulate the light. 

Materiality

Materiality is largely dependent on the materials being used and the methods and techniques in which they are manipulated to create a structure. Frank Lloyd Wright was very mindful about the materials he used and the manner in which he used them. “Wright adapted a design of horizontals and verticals and the use of natural materials to create a uniquely American style of expression.” (Massey 51) Massey shows how he combines his design techniques and the materials he has to work with. “Built on a rocky hillside, the concrete structure cantilevers over a waterfall. The emphasis is on the organic, with rock-masonry walls, North Carolina walnut furniture and fittings, and huge windows creating a harmony between the natural beauty of the setting and the interior living space.” (Massey 85)

Compression : Release

Fallingwater demonstrates a prime example of the compression versus release theory. Wright designed the home to be a retreat and a relaxing residential space. He practically forced the residents to be comfortable by working off the thought of compressions and releases. In some of his rooms, the ceilings are lowered to just above the head, emitting a feeling of closeness.  It makes you want to sit and relax at the same time drawing you into the natural beauty of the location. While it compresses in some places, it releases in others that aren’t meant to be “relaxed” in quite as much. The ceiling opens some along with the space between the walls, allowing for more movement rather than a constricted and compressed illusion. 

Between Silence + Light (Opus 10)

Craft

Craft represents a number of things in design relating to the construction of the space or structure. A well-crafted design incorporates firmness and a timeless and everlasting appeal to it. Craft can also include experimenting with new techniques and styles to create an innovative method. Frank Lloyd Wright’s “Falling Water” takes on a new approach by combining concrete and steel to strengthen it as well as adding steel supports to prevent glass breaking. It took a large amount of skill and craft to create the cantilever over the waterfall.

 

Public/Private

In a home or other industrial building, there are some parts that are supposed to be kept private whilst others remain public and communal. To distinguish between the two, certain design techniques and methods can be used. For example, Falling Water makes use of darkening hallways that lead to more private sections of the home, creating a privileged and disclosed area. This designates where a guest or visitor is supposed to enter and where he is not.

 

Technique

Techniques are used mostly to define the way something is made or used to create or evoke a certain feeling. For example, Falling Water was meant to be a restful retreat, and the home literally forces you to relax. This is achieved by using the technique of lowering some parts of the ceiling, forcing you to sit and be tuned in with the nature surrounding and incorporating the home. Another example of a technique is formed through the use of the natural elements of Monticello in its design. For example, Acorns were painted white and wedged between recessed spaces around the fireplace to create an interesting and unique detail. This technique effectively encompasses all aspects of the nature around the home in the home itself.

Virtual

Virtual applies to the things that seem to be in existent but aren't actually there. It deals with something that appears to be temporarily simulated and doesn't fulfill anything but the essence. FallingWater demonstrates a perfect example of this. The exterior staircase leading to the guest home is supported by beams only on the left side. As you move through the passageway, they are turned slightly so that when you arrive at the top, they are "virtually" invisible. 

Language

Language is the way an architect or artists incorporates his own style and "voice" within a piece. It displays a certain feel and emotion that can only be achieved by the creator. Language is a way to communicate ideas, individual techniques and personalized styles through the designs easily and effectively. 

Precedent Analysis - Draft #1

The Massaro house is a beautiful and exquisite home located in an intoxicating location on Petre Island on Lake Mahopac in upstate New York. It was designed by Frank Lloyd Wright in the early 1950’s but wasn’t actually commissioned until 2007 when Joe Massaro, the owner, discovered five original sketches of a home that Frank Lloyd Wright had suggested. Massaro then hired a Wright Scholar, Thomas A. Heinz, to finish the design and build the home exactly the way Wright intended it to be, from only a floor plan, a section view, and three elevations.

The 5,000 square feet, single-story, four-bedroom home was constructed from glass, concrete, and mahogany wood on an interesting land plot. One of the most famous characteristics of Wright’s designs is that he incorporates the land in a unique and interactive way. The Massaro home has many dramatic features, including the 28-foot cantilevered section that juts out over the lake, giving the illusion that it is floating on water due to its elevation. This home is believed to have the largest cantilever Wright ever designed, even larger than that of Falling Water, one of his most well known pieces. In addition to the cantilevered section of this home, there are two large boulders that the house was built “out of.” The largest, Whale Rock, is 12 feet tall and 60 feet wide, forming an exterior to the entry and an interior wall. The smaller rock too forms interior walls that line the kitchen counter and the bathroom wall.

There has been quite a bit controversy over many of the features Wright suggested. He designed the home to have interesting triangular grid skylights as a ceiling detail. The details are made as a single cement entity, and extend over the kitchen and dining area of the home. Many people thought that this was an undeveloped design concept, arguing that they should have been flat rather than domed. Scholars and architects also argued that there were too many issues with the amount of fireplaces in the home, that they capped six of them, helping with ventilation problems in the space.  Other internal qualities were affected as well. Heating and electricity, too, had to be altered because of the time period in which the building was designed verses being constructed. Though a few miniscule things were changed, the main designs and central concepts were still based around Wright’s original sketches.

Overall, the Massaro house successfully captures the essence of the surrounding environment and utilizes it in a unique and sophisticated way. It incorporates the beauty of the land through ways such as the 28 foot cantilever over the lake, the two large boulders that essentially become an important and useful design feature, and the triangular skylights that allow natural light to enter and be manipulated to increase the sensibility of the space. 

MONTICELLO+FALLING WATER

And God said… “Let there be light”

Falling Water and Monticello share common methods and approaches of manipulating natural light in a unique and well-designed way. Each demonstrates its importance in the design and how it was celebrated to present a certain presence in the space.  Monticello created a special way of using skylights and mirrors to manipulate light to make the room seem larger and more spacious by brightening it and elongating it. Falling Water does something similar, in that it has a wall nearly completely constructed of glass to invite light in as well as taming it so that it isn’t entirely overpowering.

Jefferson put much consideration in the design and construction of Monticello, placing emphasis on the way light was being used. In many of the rooms he created high ceilings that were enhanced with a skylight opening that allowed for a significant amount of light to enter the space. This method allowed light to protrude into the room without being too overpowering. It lengthened the room and made it larger as a rule, manipulating the light to create the illusion of size.

Wright manipulates illumination by placing a high emphasis on the sources of natural light. He leaves an entire wall open in each room to create a natural source of light. Wright was very intrigued by windows and how they are used as ventilation systems as well as natural light sources and sound manipulators. He designed them so that when opened, the volume of sound would be manipulated as well as the amount of light entered into a room. It allowed for candles and other artificial light sources to be kept at a minimum.

These two buildings and structures were designed in a way that light was given a great consideration and emphasis during the projects. It was formed around the essential uses of the spaces themselves to create and provide a lighting that was appropriate for the setting. Monticello accomplishes this by adding skylights and mirrors while Falling Water incorporates an abundance of windows to create the same effects; Both giving an aurora of well planned design and manipulation of light.

[Re]Actions (Opus 9)

Rotation

A rotation is the act or process of turning around a center or axis in a uniform and precise pattern. Rotation often helps in the movement or rhythm of a design, allowing things to be changed in their position and viewed in different ways to gain better knowledge of the thing or space. As it turns, many times on an axis, it is uniform in its pattern of movement but may not follow the same visual prototype.

Movement

Movement in terms of design is the suggestion of motion in a work of art, either represented by gestures in figurative paintings and sculptures, or by the relationship of structural elements in a design or composition. The movement dictates the level of energy in a piece, and allows it to come alive or retain a sense of firm stiffness. Movement can also apply to the changes in the design cycle over time. Anne Massey demonstrates this as she speaks on the subject of the aesthetic movement. “The Aesthetic Movement lacked the moral concerns of the arts and Crafts movement. Its object was to create less ponderous and healthier ‘artistic’ interiors for the Victorian middle classes, whose tastes had now matured.” (Massey 26) Massey shows how the arts and crafts “movement” turned into more of a healthier “artistic” regime known as the Aesthetic Movement. 

Reflection

Reflection in terms of design is similar to movement in that it has a dual meaning. It could be a literal reflection, where something is reflected on an axis or origin and is flipped and displayed on the opposite side. As in Versailles, water is used excessively to make the region appear longer by reflecting its length and width through water. Reflection can also be representative of something. If a certain genre of design “reflects” a time era, then it is taking on the qualities and characteristics of that time period, relating to the social behaviors of the people. When Massey introduces the Arts and Crafts Movement, she shows how design reflects different aspects of the environmental and governmental influences. “This was a conservative style, inspired by French Classical architecture of the seventeenth and eighteenth centuries, and in interior decoration was marked by lavish use of carving, gilding, rich marble, and extravagant lighting, well suited to provide an atmosphere of  grandeur for large hotels, department stores, opera houses, and the ostentatious houses of the wealthy…” (Massey 31) Massey shows how the French classical architecture influenced the interior decorating aspect of design. She also elaborates on how the “Paris Opera and the Beaux-arts style in general influenced interiors of Opera houses, department stores, hotels, municipal buildings, and private houses all over the world,” particularly in America. (Massey 31)

Source

Source is much like reflection in that it stands as a resource and influence of the origins of designs. Many designs gain this influence from past examples in history or from pre-standing structures. “For the Grander type of interior the prevalent style was the Beaux-Arts, so called because of its source was in the teaching of the Ecole des Beaux-Arts in Paris.” (Massey 31) Source also considers the source of a material such as water, color, or light. In studio, we were considering the sources of natural light and building a structure to capture and manipulate that light from the source. 

Illumination

Illumination is taking an object or an aspect of design and highlighting it in a certain media such as color, light, shadows, etc. It celebrates the characteristic and allows it to shine through and be “illuminated” within the design. The resplendent quality of an object or design is important in the design when creating a hierarchy or an illustrious focal point.  

Unit Summary - Alternatives

The Alternatives unit of our history and theory of design class revolved around extending past the basic principles of design that we learned about in the theories and foundations unit. From the central principles of design such as commodity, firmness, and delight, the alternatives unit dove straight into applying those fundamentals to design as it changed throughout history.

            As Christianity spread across Italy and become the major religious force, the church setting became a very important aspect of the designs that originated in that era. Monastic churches began to be constructed far away from urban spaces and stood as a basis for how churches were shaped. People were concerned about the world coming to and end in the year 1,000, so they began to become more involved in their religion, which called for more churches. The central theme of millennial observations was that everything that still existed on earth descended into Hell when the world ended.

            Romanesque architecture became an imperative part of the time as well. Romanesque, meaning “in the manner of Rome,” held Roman architectural ideals such as their ever-famous column details, pilasters, arches, and rose windows. The oculus tended to not face heaven, but opens to a civic space. Elaboration at the head of the church was another important ideal in building and creating these massive Romanesque churches. Families, who in turn, were granted indulgence, sponsored the series of chapels. Their ticket to heaven was hypothetically guaranteed. The façade was and is the most important part of the cathedrals. It was meant to appear bigger and more magnificent, making the structure itself take on these qualities as well.

            Geometry played a large role in the design and construction of these cathedrals. They influenced the platonic clarity and beauty of the structures as well as the interlocking theme of a transformed classical order. The renaissance played a large role in influencing the designs of the cathedrals. Though the principles were present before the renaissance, they started to be written down and heavily considered. During this time, people were obsessed with order, and with order came the geometry that was so imperative in the designs of the cathedrals.

            As we moved to Venice, we noticed in class, that the gothic architecture, forms, and motifs tended to be quite a bit more organic. Venice is known as the city of floating stone. The stone that most of the buildings were constructed from gives it a simplistic look in a way as well as allowing it to compliment well with the large amounts of water throughout the city.

By looking at several different examples across Venice and Spain, we were able to deduce that water is used in a variety of ways. It transforms light and makes it dapple as well as helping to extend the distance and make a space look much larger.  The king’s desire was to know that his kingdom was large and vast, and by having many water features, the designers were able to get that illusion across. A hall of mirrors was also used for the same effect.

I found the alternatives unit of our history and theory of design class a useful and memorable one. It aided my sight of how the basic principles of design were applied to the designs and cathedrals throughout the renaissance and gothic eras, as well as how they developed over that time period. The millennial observation was an interesting concept to see how the design reflected human nature and the thoughtfulness of geometry in relation to those designs. 

Grammar:Syntax

Audience

Audience is a very important part of design and must be considered heavily when creating a new design, space, or piece of architecture. Like with writing stories, the audience is who is receiving the information or using the design. A children’s storybook would not be written with a high amount of legal jargon, as would a college textbook use elementary language. A design is much the same in this aspect. A design must be considered for who is using the space and how it is to be perceived and utilized. A building constructed for medical purposes would not be designed without wheelchair or disability access! Instead, it would be designed to accommodate its users and inhabitants to make the space more comfortable and useful for them. This goes with interiors as well. Certain types of furniture are placed in a room for a specific purpose and works well with its surroundings. 

Character

Character represents a person in a story or narrative as well as the nature of a story or design. In design, the character of a building describes the overall feel and uniqueness of the space and allows for it to eminent a certain presence. A mistake, many times, can be a blessing, in that it gives a design character and eventually becomes one of the most important features of that project. A designer has character in himself and that character influences his designs in turn, encouraging him as a designer and enhancing his design skills. The drawings of my nature display a certain character in each piece of nature that I collected. I experimented here with exaggerating those special characteristics and making them really exhibit their own character. 

Transition

Transition pertains to the way things change in a design. “the way it transitions into something else.” The rhythm of a design often dictates the transitions that happen throughout a piece. As one portion of a design moves and changes into another a transition is created. As designers we strive to create a smooth and delicate transition to where the entire piece is unified in itself and creates a sense of conversion from one thought to the next without breaking that rhythm and defining its limitations. 

Revisions

Revisions in design are imperative to their development and the overall discovery of new ideas. It acts as constructive criticism in a way and allows a designer to see the flaws in the design so that he can change and develop it to create new concepts and make it more useful for its users. Without revisions, a designer could make a mistake that could potentially be detrimental to the design and cause it to be less effective in its commodity, firmness, and delight. 

Datum

A datum is a point, line, or surface used as a reference, as in surveying, mapping, or geology. It helps to determine where things are to be positioned and allow for a visual effect as well in designs and presentations. The Datum line represents a visual separation in a sense and allows for a smoother transition through the design. In the presentation board for Suzanne, my group decided to create a cardboard arch with a strip of brown paper behind it, extending all the way across the board to act as a datum line for the presentation. 

Precedent Analysis Outline

I. Massaro House Introduction 

a. Named for the resident 

i. Where its located 

b. Architect 

i. Home wasn’t actually built until 2007 

ii. Frank Lloyd Wright’s original sketches and plans 

1. Floor plan 

2. Three elevations 

3. Building section 

II. Construction and Interesting design qualities 

a. Triangular Grid 

b. Because of the time of the design, some internal qualities were updated such as heating and electricity.  

c. Six fireplaces were capped.  

d. Incorporates the terrain 

i. Just like the Greeks considered the natural elements around them and used the nature in their designs. 

1. Smaller rock - kitchen and bathroom wall 

2. Whale Rock – exterior to entry and interior wall  

a. 12ft tall – 60ft wide

Views

1. Site Plan

2. Floor Plan

3. Exterior Left Side View

4. Interior – Kitchen

5. Front view from water

6. Interior - Fireplace view

7. Interior - Dining Room

8. Interior - Ceiling detail (Rock Wall Formation)

9. Exterior Right Side View

10. Interior – Bedroom

11. Exterior – Fireplace view

P - WEEK (opus #7)

Professional

When speaking about professional, there are many approaches one could take. You could take the route and understanding that a professional is one that follows an occupation as a means of livelihood or for gain. This person tends to be an expert in that occupation and earns their living by means of this “profession.” Professional could also suggest the manner in which something or someone is presented. If it, or they, were presented in an unprofessional manner, one would suggest that they lack the necessary ways to communicate an idea in an orderly and appropriate fashion in regards to the audience. Someone who shows up to work dressed in inappropriate attire can be viewed as unprofessional. A presentation given in an informal, unorganized and incoherent manner is viewed as unprofessional and is frowned upon. For a presentation, or presentation board, to be professional, it must be simple, coherent, and organized to convey a sense of order.

Process

A process describes the journey a designer takes throughout his career or throughout a project. This process displays the different steps it takes to reach a final goal or design. It ranges from the brainstorming and idea-creating portion to a segment of organizing many ideas and simplifying them to create a more conceptual abstractness. From this point, a designer moves through the process and develops his designs, working to recreate them and enhance them to be a better designed final product.

Periphery

A periphery is the essential outskirts or restrictions of a city or urban place. It is similar to a boundary in that it defines and surrounds the external limitations of a space. It delineates a certain space or district and places emphasis on that boundary and its importance in the space or design. As with the Greek city of Athens, the Acropolis was designed in a way that has paths leading out to farms and more flat landed areas with homes and other public buildings. “At the base of Akropolis, paths leading out to the surrounding farms eventually became streets and along one of these, northwest of the mass of the Akropolis a roughly triangular, open space was set aside as the agora, whose boundaries were defined by surrounding houses and public buildings.” (Roth 222) Roth shoes how the boundaries of the Akropolis are designed around the space and are emphasized in that Periphery. 

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Portfolio

A portfolio is a compilation of works by an artist, designer, or architect that is usually carried and contained in a flat, portable case. This collection of works is usually what people show and present to a client or employer to illustrate the quality and examples of their work and ability. Organization is an imperative part of the portfolio as a whole. It makes things easy to find and read, making it easier to communicate one’s work and designs. Organization and coherency boosts the professionalism of the portfolio, allowing clients to view your quality and skills as a professional designer. 

Perspective

Perspective is helpful when visualizing a space from a certain point of view. It is a picture that employs a technique of locating vanishing points to recreate the space in a certain point of view, capturing it in the state in which it exists before the human eye. The way we perceive the building or space changes from the point of view. One can view the space front a frontal position, where a single vanishing point exists. One can also view the space from a different angle in which more than one vanishing point might occur. These vanishing points and perspectives aid in making a drawing proportionate to the way we would visualize it by the human eye. 

Detail

This is a detail of the Ferguson building I produced to contribute to the building project in suzanne's class.

MACRO:MICRO

Porch/Court/Hearth

Beginning with the early Greeks, a new wave in the design cycle arose, creating a new theory in architecture and interiors that began to shape the design world and influence every building structure from that time forward. The porch, court, hearth theory suggests that every building, city, or structure has a specific space that fits the commodity of a porch, a court, and a hearth. The porch, would be defined as the “entryway” or the beginning. It can be a literal porch, as on a residential home, or a figurative porch, as in the Acropolis in Athens. The court, or the meeting area, is where people congregate to interact with each other and entertain company. The Hearth is the more private section of the space, where only certain groups of people are to enter.  These structures, or sections, of a home or building are a “tripartite arrangement [that] begins with the reception spaces and is followed by the great hall and a private section.” (Blakemore 6) Blakemore shows how this arrangement unifies the design and how a building cannot be complete without one of the three. It defines the space and the sections within it, allowing its users to move comfortably through the space and using it effectively.

Composition

A composition includes arranging things in a way that makes it an easily coherent and well-designed structure or image. In our studio critiques, there are always several comments made about the compositions as a whole, but I feel as though something cannot be a composition unless it is well designed in a way that makes it easily comprehensible. If a design considers the basic principles of design, such as commodity, firmness, and delight, then it can effectively be considered a composition. 

Impression

Impression can be defined as the first and immediate effect of an experience or perception upon the mind. It evokes a certain sensation in a person, causing them to experience a space in a unique way. For example, the Salisbury Cathedral we discussed in History this week gives off a certain impression when you are standing beside it. “The Gothic cathedral was yet another byproduct of the Crusades, for when the first crusades saw Constantinople on their way to the Holy Land, they marveled at the size and wealth of the city and the vast scale and splendor…” (Roth 328) It is such a majestic building and awes the viewer, giving off a distinct impression. 

Another example of a structure that evokes a certain impression, is Stonehenge. The majestic quality of the structure itself presents a great impression on the person experiencing it. The magnitude of the structure evokes a sense of inferiority in a person. The studio project from this week required us to create a portal, drawing influence and aspects of a certain precedent building or structure. I was assigned Stonehenge. I felt as though the most important part of Stonehenge was the mystery of its construction and the magnitude of the structure. This gives off a certain impression to the viewer, making them experience the impact of the greatness of the structure and leaving them with an everlasting sensation.

Detail

Details enable a designer to zoom in and really concentrate on the smaller aspects of a building or structure. Many times, it is human nature to just take in the magnitude of a composition as a whole and ignore the more miniscule aspects. The details, sometimes give more of an impression than the composition as a whole. This week, Suzanne had us continue on our building project, and instead of zooming out and capturing a moment, we were to zoom in and concentrate on the details of the space. I feel as though it really helped me actually consider the smaller aspects of a building or structure that are just as important to its composition as the building itself. 

Diagram

A diagram is helpful in drawing out different aspects of a building, space, or city. It aids in the comprehension of how people interact with the space in terms of traffic, fixed elements, circulation spaces, and the visual aspects of a building. There are several types of diagrams that can be helpful when defining various aspects of the space: Analytical Diagrams, Zoning Diagrams, Matrix Diagrams, Bubble Diagrams, and many more. In Suzanne’s class, we have continued even further on our building projects, and have progressed to diagramming the space within our group. We are covering several different important things, such as circulation, context, function, hierarchy, and gesture. Hailey Sudderth and I worked together to diagram the circulation space of the Ferguson building. We highlighted the central locations where people congregate and the human traffic flow throughout the building. 

FOUNDATIONS UNIT SUMMARY

The Foundations unit of my History and Theory of Design class covered the basic principles of design and how it relates to the earlier human civilizations such as the early Mesopotamian societies, the Egyptians, the Greeks, and the Romans. Each civilization received a different impact from the influence of the changes in the design cycle, altering it and expounding on it to make it unique. Though the different locations and people influenced the changes in the designs, they all revolved around the central themes of commodity, firmness, and delight.

Commodity, Firmness, and Delight are three different terms defining a different aspect of design, but all relate to each other and are dependant of the other to create a well-designed space. This is first shown through the Mesopotamian and Egyptian societies, where their designs served a certain purpose, whether it be the city of El Kahun and its unique use of space, (commodity) or the distinct firmness and magnificent beauty of the Pyramids of Giza. The commodity, or use, is highly evident in each structure and design, as well as the firmness and ability to withstand pressure and natural elements. The delight, many times, takes care of itself, but as designers, we must consider all three of these aspects as a whole to create a well thought out and a respectable design.

The Foundations unit continues as we reach the theory of the three part “porch, court, hearth.” During this lecture, we learned that every building from the early Greeks to the present contains a porch, a court, and a hearth, in some shape or form. These three portions of a building unify it, making it, again, a well-designed space. Blakemore defines this theory well by saying that the structure or sections of a home is a “tripartite arrangement [that] begins with the reception spaces and is followed by the great hall and a private section.” (Blakemore 6) Blakemore confirms the theory that every building or city has a porch, a court, and a hearth. This is a prototype that is continued, improved, and enhanced as time passes.

From the porch, court, hearth theory, the foundations unit moved on to recognizing archetypes, prototypes, and hybrids as changes throughout the design world. The archetype, or the ideal, represents perfection. The prototype, in contrast, is every step that a designer takes to get to the archetype. Every piece of art and architecture throughout history and time in general is a prototype. It sets the standards for the designs to come, and influences each in a way, leaving its mark on history and introduces new ideas and concepts for new designers to develop in their own work. The roman coliseum is a prime example of how each prototype is combined together to create the hybrid, or the result. “As in the Theater of Marcellus, the stone arcades incorporated engaged columns – unfluted Doric on the ground floor, then Ionic, Corinthian, and finally Corinthian pilasters on the uppermost, fourth story.” (Roth 267) The different column orders are used simultaneously with each other in the coliseum, demonstrating how each prototype influences the other to create a hybrid.

The foundations unit covered some important principles of design that are still being used today, and are essential to each designer’s growth. From the Egyptians to the present, commodity, firmness, and delight is utilized and considered greatly in design to create a well-designed space. From there, the theory that every space, city, and building has a porch, court, and hearth, is introduced and continued throughout time as well. This was another important movement in the design cycle, one that still influences the designs we have today. Not only did the unit cover the main principles of the commodity, firmness, delight, and the order of a building, it also expounded greatly on the movement throughout history in relevance to archetypes, prototypes, and hybrids. It showed how each idea (archetype) gives way to greater conceptual designs (prototypes), and how each influences the next to create a finished or new product that is well designed (hybrid).

 

 

 

Fergusson Inspirations