Abigail Buchanan

re{cycle}ed bench

2011-11-11T21:41:00.000-08:00

UNCG is opening up a student run store that will provide students a place to sell work or provide services to other students. Our class was asked to design a piece of furniture to go either inside or outside the space. The objective was to incorporate recycled materials to lower costs. My design incorporates reclaimed steel strips that are shaped to provide both seating and a place to secure one's bicycle. It is half bench, half bicycle rack.

Groovy Stuff

2011-11-10T20:46:00.000-08:00

The design objective, short and sweet:

Groovy Stuff (a furniture company that reclaims teak from Thailand and transforms it into a groovy piece of furniture) presented our class with the challenge to create a piece of furniture that was made from the wood that they had reclaimed. Immediately I was drawn to the beauty of the teak logs, and thus began to formulate a design that celebrated their natural form.

From the beginning I was interested in using the logs to act as the legs for a coffee table.

Skipping past a few dozen other prototypes, below are more examples of tables that were produced along the way. I wanted the logs to be the center of attention, and the table to be as simplistic as possible. These tables were designed to be exterior tables that would be placed in the ground for support.

My final design, Enclosure, focuses on the use of rectilinear planes intersected by the curvature of reclaimed teak logs. This table cradles the branches, further highlighting and showcasing the beauty of the teak.

Process Models

Ecotect: Solar Analysis Studies

2011-11-10T20:40:00.001-08:00

Sketch Series Five

2011-10-19T18:43:00.001-07:00

Sketch Series Four

2011-10-12T18:47:00.000-07:00

a. identify the purpose of the space

b. identify the purpose of lighting, including an identification of ambient, task, accent, and sparkle lighting

c. describe the effect of each luminaire in the space

d. provide recommendations

-----

a. type of luminaire

b. mounting type

c. lamping

d. construction

e. manufacturer

f. photometrics

g. material and finish

h. lensing

i. function

j. ballasts

k. environment

l. shielding

COMPUTER LAB

Hanging Fluorescent

a. The space's function is a computer lab.

b. The purpose of the lamps are for aiding in tasks. They illuminate the workspace.

c. Task lighting is located overhead. Additional lighting emits from the computer screens. Also, desk lamps are provided but are rarely used because the overhead lighting provides ample light.

d. No recommendations. I have always felt there is an adequate and appropriate amount of light for computer driven tasks.

----

a. direct/indirect

b. ceiling/suspended

c. fluorescent

d. extruded aluminum

e. fixture= litecontrol le-90

lamp= sylvania

f. direct/indirect, 32w, 2 lamps in each illuminaire

g. aluminum and brushed nickel

h. none

i. fixed

j. non-dimming, instant start, internal to illuminaire

k. dry

l. baffles

LEON'S HAIR SALON

MR-16

a. Leon's is a hair salon.

b. The two types of lighting within the space are task lighting and ambient lighting.

c. MR-16/task lighting is suspended from overhead. Additionally, there is cove lighting located along the perimeter of the ceiling that provides general illuminance and an ambient glow.

d. The space seemed a little dim for what I expected a hair salon would be. There was overall a good amount of general lighting in the space, but more overhead task lighting would help provide more light to the hairdressers who are focusing on cutting hair.

----

a. direct

b. suspended

c. mr-16/halogen

d. mirrored reflector

e. GE lighting

f. CBCP 525 lumens, 20 watt, 12 volt

g. metal and acrylic

h. acrylic

i. adjustable

j. non-dimming, instant start, internal ballast

k. dry

l. none

JIMMY JOHNS

Similar Pendant Shade

Compact Fluorescent

a. Jimmy Johns is a restaurant where food preparation and dining takes place.

b. Most of the lighting within Jimmy John's was geared towards task lighting. Accent lighting was also seen along the ceiling, being focused onto walls. Hanging pendants over dining tables acted as both task lighting and ambient lighting.

c. In the kitchen and prep room, ceiling installed fluorescents provided an ample amount of lighting for tasks. Recessed can lighting can be seen directly above the countertop, illuminating the counter and service area. Track lighting helped cast light onto the surrounding walls, and pendant lights provided a nice diffuse glow over the dining tables.

d. Overall, Jimmy Johns was successful in using a variety of lamps to acquire the appropriate amount of light within the establishment. My only recommendation would possibly be to provide more light to wash over the wall, to further illuminate the space and accentuate the art work hanging on the walls.

----

a. direct/downlighting

b. ceiling/pendant suspending

c. compact fluorescent bulb

d. light fixture= extruded aluminum

e. light fixture= uncertain but close to Mulinello

bulb= bulbrama

f. each fixture contained 1 bulb, 40 watt, 2750 lumens

g. glass, red glazing

h. glass

i. fixed

j. instant start, internal to illuminaire

k. dry

l. none

Field Trip

2011-10-12T18:38:00.000-07:00

On Thursday, October 6th, Tina's Materials and Methods class took a field trip to R.L. Vanstory Lighting Company. There we met with a couple of lighting specialists that discussed and showcased many lamps that are in the competitive market today. I learned lots of valuable information about a variety of lighting sources and types of bulbs like the ever so known fluorescents and the new technology of the competing LEDS. Perhaps what I found most interesting from the lecture was the information on LEDS, and more specifically the VT Led. The company had on display several types of these products, and I found them much more visually pleasing than the standard ceiling mounted square fluorescent lights. I enjoyed the covering used to inclose the LEDs and I appreciated the even diffuse of light. I would definitely specify this source of lighting in a designed space in the future.

Sketch Series Three

2011-09-28T20:06:00.000-07:00

Sketch Series Two

2011-09-28T16:33:00.000-07:00

a. identify the purpose of the space

b. identify the purpose of the lighting

c. identify the lamps

d. describe the effect of each light source in each space

e. do you notice any aspect of Flynn's subjective impressions?

f. provide recommendations for improving the lighting environment

MR-16

a. hallway with pinup space along the walls

b. accent lighting

c. mr-16

d. it creates a direct light source on the wall, and spills out onto certain spots on the floor

e. light source was more cool, evoking a sense of efficiency, neatness and visual clarity

f. The light source is great for spot lighting, however the rest of the hallway was dim. I would suggest including a broader variety of light sources to further illuminate the rest of the space.

Halogen

a. passenger elevator

b. ambient

c. halogen grid of lamps

d. it creates a diffuse light that is not too bright and not to dim

e. none of Flynn's impressions correlate. He stated that warm diffuse light could evoke a sense of anxiety, however, we felt quite relaxed within the space

f . no recommendations. The lamps were successful in creating a relaxing environment that suited the space's function well.

Fluorescent

a. recycle room/utility closet

b. task lighting

c. fluorescent

d. provides an all over bright light that fills the space

e. similar to the mr-16, this lamp source evokes the impression of clarity and efficiency

f. For such a small room, the lamp was almost too bright. A lesser wattage or a smaller lamp would improve the harsh lighting experienced within the space.

Metal halide

a. workspace studio

b. task lighting

c. metal halide

d. multiple lamps fill the spaces with an adequate amount of light appropriate for working.

e. the lighting additionally provides an atmosphere of neatness and clarity

f. The lights could be lower to help direct more light on work surfaces, especially for the night time when the daylight no longer aids in filling the space.

Incandescent

a. lamp at a work desk

b. task lighting

c. incandescent

d. provides more of a warm light source for working and concentrates light down to the work surface

e. provides a warm atmosphere suggesting "friendliness" and "coziness"

f. limited by the area in which the light spreads. Light doesn't cover a broad workspace, so it would be best to use this lamp with other light sources.

Fabric 1

mr-16: because the fabric isn't a cool color, it made the fabric appear dark and brought out its dark undertones. however the lighting source did bring out its sheen

halogen: warm light source made this fabric look vibrant! much richer and more red.

fluorescent: the lighting is so bright that it really accentuates the sheen. the color appears very vibrant us is neither too cool or too warm.

metal halide: bright in color, but cooler in tone in comparison to others

incandescent: very bold! very warm in color and brings out the detail.

Fabric 2

mr-16: of all light sources, this lamp made the navy appear true to color
halogen: navy color looks almost purple under this light. it looks darker as well.
fluorescent: the navy still remains true to color although the lamp does wash out the color
metal halide: this fabric looks best in this light. it appears richer and less dull
incandescent: lamps casts lots of light and shadows on the fabric. it brings out a variety of hues depending on the concentration of light

Fabric 3

mr-16: this lamp highlighted the texture and brought out the cool tones
halogen: brought out the reds and browns and looked a lot warmer. the texture was slightly muted
fluorescent: brings out both warm and cool tones. fabric appears to be a nice neutral
metal halide: brings out blues and greens. the texture is especially brought out in this life
incandescent: brings out the browns. accentuates the detail of the fabric

Fabric 4

mr-16: color appeared dull and bland

halogen: color is vibrant but reflects more of a peachy orange color

fluorescent: fabric looks dull. the lamp brings out the cool colors

metal halide: improved color, it remains slightly cool, but not as washed out

incandescent: looks best in this light. it brings out the soft hues of color

Light Box

2011-09-15T04:55:00.001-07:00

Sketch Series One

2011-08-31T22:57:00.001-07:00

Below are light diagrams of the 3rd floor of the Gatewood studio art building. Orange represents natural light, during 2pm, and blue represents electrical light, that also represents night time.

Light and Health

2011-08-31T22:26:00.001-07:00

The biological effect the sun has on the human body is extraordinary. Humans function on a circadian rhythm which can be explained as a daily cycle in which the rise and setting of the sun prompts sleeping and awakening. From reading New York Times article, I found it fascinating that when day light savings occur, whether we lose an hour or gain an hour, our "...body's internal clock...does not adjust." SAD, known as Seasonal Affective Disorder, is a condition that is prompted by inadequate or insufficient amounts of light. The majority of cases of SAD occur during the winter season as the days are shorter with less exposure to daylight. Symptoms of this disorder include depression, increased appetite, increased daytime sleepiness, and lethargic movement. One of the treatments for this disorder is light therapy, which utilizes a fluorescent light to mimic the sun. I was already familiar with light treatment because my mom came across a family selling one of these lamps at a garage sell and inquired what it was for. The family selling it had moved from Alaska where they experienced prolonged periods of time where there would be limited, to no exposure to the sun. All the family testified to feeling some of the affects of SAD, and found the light treatment very beneficial.

Although SAD is a common disorder attributed to lack of sunlight exposure, it is not the only health related concern. From reading the article from Informe Design, I learned that people who work night shifts have a greater percentage of cancer cases. Hearing reports like these makes me think about what other health effects there are that are undiscovered. As designers, I find that it is of great importance to understand both the psychological and biological effects the sun and lighting has on the body and the built environment. It is an intriguing thought that as designers we can prevent some of these negative health effects. With further understanding and awareness perhaps further efforts will be made to create designs that will facilitate the appropriate amount of life that will promote and maintain good health.

Light Revealing Experience Essay

2011-08-31T22:25:00.000-07:00

The forms of light, and the experiences that are derived from encountering light are innumerable. In the beginning of the reading the author, Marietta Millet, describes one's understanding and experience of light as being "...grounded in the place or places with which we are familiar"(5). She goes on to write, "A desert dweller cannot imagine the sunlight filtering through leaves, nor a forest dweller the sparkling expanse of the sea(5)". Fortunately, the society that I live in has exposed me to a plethora of light experiences, many of which have resonated within me a sense awe and wonderment. These experiences are ones that as a designer I will later pull from in hopes to recreate an emotion or memory for others to take part in. Undeniably, light is an integral part in daily life that influences nature, culture, traditions, places, climates, and the environment as well as numerous other aspects.

It is astounding to think that at this very moment, the way I am experiencing light is a unique experience that isn't shared by everyone. As I write this paper, the sun has set, and I am using electricity as a means to see. However for my friend in New Zealand, it is early afternoon and the sun is up. My circadian rhythm, prompted by the setting of the sun, is inclining me to soon seek rest, while the sun on her side of the world is motivating her to be awake and active. So not only are we experiencing light differently visually, but biologically we are effected by the sun in different ways as well.

Nonetheless, even if the sun were up for both of us, we still would not be sharing similar experiences. The angle of the sun is different in both locations as it is nearing the end of summer here in America, while in New Zealand Spring is about to bud forth. The author uses the term "genius loci" which can be translated as the spirit of a place. Regional differences play a huge role on differing light experiences, but it is not the only factor that differentiates our two experiences. Cultures have developed methods and techniques as a way of manipulating and transforming light to fit into their patterns of living, further influencing traditions and lifestyles. So not only does light affect the spirit of a place, but its indirect effects of shaping cultures and environments additionally impacts and influences the spirit of a place.

Light and time go hand in hand with the spirit of the place. Light has always helped mankind to keep record of time. Each region has its unique display of light that is repeated in cycles both daily, and seasonally. Daily we encounter this relationship of light and time as the sun rises in the morning and sets in the evening. But even those patterns gradually shift, as the days become shorter towards the winter, and lengthen in the summer. One of the most notable seasonal differences I have observed is when the sun's angle begins to shift at the beginning of fall. No longer is the sun as direct, and the soft light seems to further highlight the beauty of nature. During this season, the atmosphere and "spirit of the place" all begins to change as a result of the sun. All around the world people have made their own associations with seasons, and they use light as a method to track time and the seasons within the year. Light will forever aid in telling the story of time.

The unfailing cycle of the earth and sun is incredible, and simply beautiful. Nature's display of light has undoubtedly surpassed any man's ability to create luminosity. Nature's light has a way of awakening senses, and stirring liveliness. However, the patterns of light that are seen in nature do serve as a powerful model "...for designing the luminous qualities of rooms" (15). Both natural and electric light can be used hand in hand to transform a space. Light elements found in nature can be recreated and altered in order to suit the functions of life. Humans have developed means to not only let natural light in, but also ways to control it. Les Halles that once stood in Paris, served as an excellent example of a way to regulate and filter light by emulating nature. By observing elements found in nature such as tree trunks, the designer was able to repeat similar elements that aided in filtering light while creating a warm environment. Windows, blinds, draperies, and shutters are also all methods that have been developed to transform light to fit the needs of the individual.

As stated previously, regional differences affect the climate of a place, and subsequently effect the environmental demands of that particular region. Windows patently allow light to penetrate into a space, but heat gain and heat loss are also factors that impact and influence the shape and sizes of windows. Although window treatments have been designed to control the amount of light entering a room, they are still inadequate to regulate heat gain and heat loss. Varying climates around the world and the need for thermal comfort contribute to the abundance of window sizes. However, climate also "...affects people, their habits, and their rituals"(17). There will always remain the battle of creating a window that suits the habits and fulfills the desired function. Visually large windows are often preferred, but realistically thermal control has to be considered. "Providing balance, both visual and physiological... falls to the architect"(17).

Another issue raised when designing and choosing windows for a space is to consider what the function of the space is. Depending on what tasks are to be performed in the space, variation in lighting choices are to be expected. For example, if the function of a space is meant to be a place to study and read, then you would want to provide adequate light so that one's eyes would not be strained, while also avoiding intense amounts of light that would cause glare. The author of the article explains the relationship of light and task well by stating, "Many comfortable luminous environments for visual work or play are the result of sensitive observation and common sense" (34.)

The tie that light has to all nature and things is extraordinary. It can be seen in almost every aspect of life, and its impact far exceeds all that I will ever be able to comprehend. Light directly influences and transforms nature as a whole, the climate of regions, the tracking of time, and aids in accomplishing daily tasks. Light holistically effects every aspect of life and without the sun, we would cease to exist. As technology continues to develop, many more variations of lighting will soon become available, and the quality of light within interiors will inevitably increase in quality as well. Light in every form has shaped people's life's and has created experiences that can not be forgotten.

wi10

2011-04-29T09:39:00.000-07:00

From comparing the first day of the semester to this final week of the school year it is quite evident that my growth as a designer has been considerable. Not only has my confidence in my ability notably increased, but my current goals far exceed those that I originally implemented the first day of class. Contrary to my first assumption, group work has contributed significantly to the growth of my skills and identity as a designer as it pushed me to establish a voice of my own. Writing has been a struggle the whole duration of the semester, but with each assignment I find deeper meaning and revelation behind the work that I do, and it gradually becomes easier to express my ideas both written and spoken.

There were four main goals that I sought to achieve at the beginning of the semester. By starting this semester working individually and then building up to group work, I saw a goal crossed off my list with each new phase. As I began the semester independently with Jenga 1.0, I started to discover my voice as a designer and began working towards strengthening my methods of communicating my ideas. One of my goals was to sharpen my visual communication skills and from looking back to the first project and the last, I believe I have done just that.

Jenga 1.0 Board

Jenga 7.0 Board

The second goal I set out to achieve was to obtain better time management. I saw most improvement in this area when I joined forces with Austin Loman, and Corry Mears. With more people to bounce ideas off of I found that we were able to establish realistic goals and help motivate one another to stay focused and hold our own weight. I could not have asked for a better group as I was able to depend on these group members and give up control which I often find hard to do.

With the third phase of group work and the addition of three more group members, I discovered that my decision making skills improved dramatically. The first day that we met together and had a one hour charette, I discovered that initial ideas don't always have to be acted upon, but it provides a basis from which to work off of. After throwing around many different ideas, I found it much easier to make decisions and get the ball rolling.

The fourth goal I desired to fulfill was to learn new techniques. In the final group of 12, there was lots of ground to cover and I was assigned to do the public space renderings. Digital rendering was foreign to me, and I had relied to heavily on other group members previously to get the job done. But fortunately I was put in the situation where I was forced to learn and experiment, and I believe I was successful in doing so.

Overall, lessons I learned as a whole was that now is the time to try new things and take risks. Pushing myself out of my comfort zone is almost always a good thing. Also I learned to be confident in what you do. The writing portions of this semester has definitely helped me to finalize all the loose ends of a project. I have reason behind everything I do but when asked to write or speak about it, I often struggle verbalizing how my ideas and concepts become concrete. Writing has for sure been tedious, but undoubtedly it has helped me to further understand and communicate my design strategies and ideas. Looking back to my strengths as a designer I think it is safe to add to the list that I have a high motivation to do well and set the bar higher each time around. I believe myself to be reliable and willing to work until the job gets done. I continually seek new ways of improvement, and am aware of the fact that there is always more to learn.

Jenga 7: The Finale!!!

2011-04-28T19:21:00.000-07:00

Jenga 7.0 marks the end of this semester. For this project, the studio split into 2 groups, each having 12 members. We were to make a 12 + story structure that included the design concept words each individual received at the beginning of the semester as well as merge the ideas from Jenga 6.0. For this project or team name was portmanteau which simply means the combination of two words, like breakfast and lunch to make brunch. We deemed this to be an appropriate name as 2 teams of 6 merged together in one final group of 12.

INDIVIDUAL WORK/UNIT

BUILDING ON SITE

First Year Review

2011-04-28T19:08:00.001-07:00

On Tuesday I attended the last portion of first year's final review. Arriving near the end of the presentation, I was forced to stand far in the back which meant that I could not see everyone's presentations as well as I would have liked. But from the view I had, Laura Kimmel's project immediately caught my eye. Her bold and varying color palette and rendering style was easily readable from standing at a distance. After I was able to move further up and observe her project at a closer distance, I was able to see her model and other technical drawings. They were all beautifully done and I could tell much time and care went in to them. The model especially gave me an understanding of scale and helped me to make connections with the rest of the drawings. Laura was the only one the I remember pinpointing her design concept, however the only critique I have for her presentation is that I would have liked a little more insight on how her design concept impacted her overall finished design. I knew very little about the objective of the assignment other than to create a writer's retreat, so I was interested to know more! However, collectively I believe that Laura's presentation was extremely successful and caught my eye, even from a distance.

Top 10 Tips

2011-04-14T21:41:00.002-07:00

On Wednesday, each student presented tips that they find useful when they are designing, and producing. Of those tips the top 10 I found most helpful were...

1) Create an order to your presentation -- tell a story

2) Write and document as your project progresses -- don't wait until the last minute.

3) Projecting your elevations and sections from plans save heaps of time

4) Purge hidden geometry when using sketch up to increase work speed

5) "Patience is waiting. Not passively waiting. That is laziness. But to keep going when the going is hard and slow -- that is patience"

6) Learn when to walk away from your work.

7) Take a break. Sleep. Eat.

8) Miter box to help cut balsa, or bass wood

9) Keep diagrams clear and simple

10) Variation in color and gradients on a board. Make line weights extreme, and test print.

Top 10 Tips from

2011-04-14T21:41:00.001-07:00

3-D MODELING AND RENDERING

2011-04-05T14:59:00.001-07:00

For Iar 212, we were each assigned a house in which we were to model from scratch. I was assigned the Bordeaux house by Rem Koolhaas. For my rendering I used a plug-in for Rhinoceros called V-ray, and did post process work in both Illustrator and Photoshop.

Jenga 7.0: The finale.

2011-04-03T19:49:00.000-07:00

This entry marks the first post of the last project we are undertaking this semester in IAR 202. We have joined groups yet one more time, to create a 12+ story structure. We started this Jenga project individually, and now have come to be a part of a group of 12.

Today we established our new team name, Portmanteau. Portmanteau simply means the joining of two words into one. For example, Brunch is a portmanteau formed by the words Breakfast and Lunch. We felt that portmanteau was an adequate team name, because it described the process of both teams merging both our differences and similarities into one new form.

After discussing the two different concepts of both teams previous projects, we realized many similarities that we can build upon. Team Trepide (which is Latin for, a state of confusion), was about dematerialization of mass. They used more dense materials at the base, and the materials began to decrease in both mass and transparency towards the top. This technique they used of using vertical height and materials to tell a story, was similarly a huge factor in our building. We used materials to distinguish function and form. The strong sense of verticality was seen everywhere in our building, with both the use of vertical beams, and the stacking of c-shaped structures on the facades.

How I envision the two buildings coming together is by drawing the important characteristics from each of the two buildings, and incorporating it into a new cohesive unit. We intend to do this by having the different floors of the building represent different scattered pieces, where at the bottom, they all come together and fit like a whole. Each floor will represent the gradual process of being lose, and then fitting together.

Jenga 6.0: Refineee

2011-04-03T19:23:00.000-07:00

Jenga 6.0, was a week long project in which we were asked to focus on refining the details of the structure we designed in 5.0. Some of the tasks we were asked to focus on was to chose a site location outside of the US for where our building would go. We picked Valle de Bravo, Mexico! Additionally, we were required to incorporate a designated textile and designer chair into our meeting spaces. Furthermore, we were to individually design doors to each of our personal units and were asked to make one cohesive entrance unit to the whole building for which people could gather and socialize.

Site Plan

Site Montages

Building on site

View from back balcony

View from front balcony

View of entrance and public gathering space

View looking out from entrance

Meeting room

Leslie's Door

Corry's Door

Kathryn's Door

Kacie's Door

Austin's Door

My Door

Jenga 5.0

2011-04-03T18:54:00.000-07:00

Jenga 5.0 marked another project of joining groups and expanding upwards. With just under two weeks, we paired with group Allure, members Kacie Leisure, Kathryn Frye, and Leslie Canipe, to create an eight story structure that tied both our buildings together. For refresher, the two images below are both of our buildings from Jenga 4.0.

Team Jive (my team)

Team Allure

We had just under 2 weeks to compose a cohesiveFor the 8 story structure, we chose to take the prominent elements from both buildings

and incorporating them into the new structure.

Morning Charrettes.

2011-03-15T13:11:00.000-07:00

To help kick us back into gear after coming back from spring break, we were presented with the task of combining with yet another team to create an eight story building. In order to find a group that complimented our's well, we were asked to have two charrettes with two different teams. The two, brief, one hour charrettes where a new exersice that I found extremly helpful. It forced everyone to not only begin throwing out ideas immediately, but it also casued us to focus on what was most important and to start creating and developing deliverables from the start. In both groups that I met with, everyone started by immediately throwing out ideas and sketching. Once we got the broad, general design decided on, we split further into smaller groups to produce all the different deliverables.

The first group we met with for the charette was team Allure. We found many commonalitues between both of our spaces and were able to blend the two by meshing both of our strong structural elements on the facade into one element. My task was to write the statement of approach with Kathryn. Noramally I find writing at the beginning of an assignment hard to do, but for some reason I felt this time around I was able to better pinpoint the qualities of our spaces. Writing helped me to further understand both teams structures and be able to compare and contrast the two structures and how they compliment one another.

Working with Team Allure

The second group we met with was team Angling. This group was not as easy to get the ball rolling, because our buildings were polar opposites from one another. Our group's original design was very straight and confined, while team Angling's design was very open with drastic turns and curves. My task in this charette was to create a series of diagrams with Faith. Again, diagraming helped me focus on the uniting factors of the two spaces, and simplified the otherwise overwhelming taks of uniting our spaces.

The charrettes over all helped me to identify the most important characteristics of my own group's space, and allowed me to broaden my design technique as we tried to unite with other group member's and their designs.

ONE WEEK, FOUR STORIES : jenga 4.0

2011-03-04T07:52:00.001-08:00

Jenga 4.0 built right upon Jenga 3.0. We were asked to increase our building to 4 stories, while rotating one unit, creating two fire stairs, and introducing an elevator. I worked with members Corry Mears, and Austin Loman to produce this 4 story residential building.

Creating a hybrid of all three words, joint, groove, and glide, a portmanteau derived forming the word jive. Not only does the word jive relate to our three words phonetically, but it also represents the smooth blending of all three spaces that embodies the essence of each concept. This idea communicates clearly in the joining of all three spaces to create a set of balconies that can be seen at all levels of the four story structure. These units also appear to essentially glide glide into their location. Grooves compose what is a means of egress of the four axes. The primary means of the public space on the second and fourth floor is a relaxing retreat where residents can come together. Similarly, the first and fourth floor acts as a gathering place where residents can enjoy the garden.

Exterior Rendering: North and West Facade

Exterior Rendering: North Facade

Exterior Rendering: East and South Facade

1st Floor Outdoor Seating

2nd Floor Interior Public Space

3rd Floor View from Balcony

4th Floor Balcony: East Facade

Floor Plans

Section

Elevations

Board

Jenga 3.0, TEAMWORK!

2011-02-27T18:35:00.000-08:00

In Jenga 3.0, the task was to combine Jenga 2.0 with 2 other classmates. Now working with not one, but three units, we were required to form a cohesive space that provided not only the forms of egress in between the three spaces, but to provide public exterior and interior spaces, and to provide two stairwells. Team Jive originated when members Corry Mears, myself, and Austin Loman came together. Within just over a week, we developed a space that embodied all our original conceptual words: glide, joint, and groove.

Boards

Model

Book Diagraming

2011-02-27T17:58:00.000-08:00

Diagrams of my book, Biomimicry

Below is a diagram of all three books read within team Jive.

Jenga 3.0 : Narrative and Diagrams

2011-02-15T18:55:00.000-08:00

Initial Hand Sketches

Team Diagrams

Final Diagram

NARRATIVE

Arranging the three units adjacent to one another, an implied square is formed around the perimeter of the exterior walls. By shifting two of the units outward, the structures seem to be gliding across the landscape while still keeping an implied boundary of a perfect square. The connecting element of the three spaces is a second floor balcony speaking to the notion of joinery while also creating an interior public space below. Groove is implied by a series of corridors leading from exterior to interior as well as public to private. Individual private spaces are accessible from both the ground floor and the second floor balcony. The units are arranged in a fashion that creates nine means of egress. Three modes of egress on the second floor move from the public to private spaces, while two lead from the second floor to the ground floor. On the ground floor the four means of egress are located on each axis of the structure connecting the interior with the exterior.

1 Week, 1 More Space : Jenga 2.0

2011-02-13T14:12:00.000-08:00

For Jenga 2.0, we were assigned a space from our previous assignment in which we were to add a top (or bottom) floor that was equal to 50 % of the previous space. The rules were that we had to incorporate a set of stairs (clearly), and that we would introduce either a wall, a column, or a solid.

The space that I was assigned from my previous project was the square space that was designed around the concept word joint, in which I emphasized two separate things fitting together and uniting. For this new space, I still focused it around the same idea, however my method of doing so differed from the first.

In the newly renovated space, I chose to make the staircase be the connecting aspect of the two separate solids. When not in use, the set of stairs would be stored in the solid to the left. Then when the stairs would be needed, they would pull from the wall and connect to another set of stairs that were part of the solid on the right.

Overall, from this project to last, I felt like my work and craftsmanship improved. But there of course are things that I still would like to work on. After critiquing Kara Kooy's work, I believe that next time I would use a similar approach that she used by incorporating hand renderings with digital. Although I attempting completing renderings for my presentation this time, I decided not to use them on my board because I was under the impression that the color had to stand out. But in Kara's example, she used simple black and white shading that turned out beautifully.

Peer Review

2011-02-01T17:29:00.000-08:00

Kara Kooy's presentation of her three spaces brought the conceptual word, crystallization, to life. Her physical presentation, as well as verbal presentation was very well thought out and put together. Her spoken words added significantly to her project as her speech supported her visual elements and helped clarify difficult concepts to grasp. She incorporated her models, presentation boards, and words in a manner that was extremely successful in telling her story of the three spaces she designed.

In the first, and smallest space, she framed her design around the conceptual word crystallization by telling the story of a liquid becoming a solid. She did an excellent job using her kit of parts to translate this message across. She used both material selection, and varied ceiling and floor heights to communicate the process of a transparent liquid becoming an opaque, closed in solid. Both her model and Section A drawing helped communicate this idea.

(her model of her space)

(my diagram of how the materials and use of her kit come together)

In her second, square space, she played on the formation of crystallization, in her words, " It is about the crystallization of an idea." The model and plan helped significantly in communicating the path and growth of an idea coming into completion. The carved solid in the center is symbolic of an idea coming to completion and taking form.

(my diagram of her unit)

Her final, largest space is all about transparency, light, mirroring, symmetry, and reflectiveness that are all characteristics of a crystal. Her drawing, Section A, I believe shows all the characteristics of this space that aid in her design concept. The reflective pool, mirroring ceiling, and transparent walls aid in supporting her design concept.

(my diagram of her unit)

Overall, I believe her project and conceptual word was well thought out and put together. Good job, Kara!

Sharon Frazier was the second presenter I reviewed. Her concept word was, levitate, and her models spoke wonders to her conceptual idea. Her models were few of the ones that used materiality to represent her concept, and it definitely aided in communicating her designs to the viewers. Her craft was definitely the best I've seen, as everything was clean and precise.

In her smallest space, 11' x 32'-4", she created a feeling of lightness which was accomplished by her selection of materials. She used one glass wall and two triangular columns to create a transparent, light feel. One of her unique, geometric columns, as well as the wall were additionally embedded with lights to aid in accomplishing a light atmosphere.

In her second, square space, she defined her word levitate by using two solids. Her use of solids represented two opposing magnetic forces coming together, compressing, and then releasing upwards. These two vertical solids were the only subjects in the space, so all focus went towards viewing these solids that came together and reached up to the ceiling.

In her final, largest space, she focused around creating a sense of floating. She did this by using one column, and two walls. One of the two walls was a moveable wall that sat a few inches above the floor which emphasized the concept of levitating in the sense of floating.

Sharon's spaces were well thought out and extremely well executed. Her models stole the show as they simplified the three spaces and were beautifully crafted. Great job Sharon!

3 weeks. 3 spaces.

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

For the past three weeks, our assignment was to design three retreat units, designed around one concept word. The word I drew out of the hat, (rather a sebastian the crab themed mug) was the word, JOINT. Additionally, we were required to utilize a "kit of parts" within each of our spaces. The kit of parts included :

1. One wall, and Two Columns

2. Two Columns, and One Wall

3. Two solids carved for occupational use

We could only use one kit it each space, and could not repeat that kit in any other unit. The dimensions of the three spaces, and the placement of the windows were already established as a guideline for everyone to follow, but which kits we used, and how we manipulated the kits varied from each student.

1) For my first unit, I decided to use the kit of two columns, one wall. I used my concept word JOINT in this space by celebrating the joinery throughout and encouraging the woodwork and craftsmanship to be exposed throughout the space. I manipulated the ceiling by having wooden beams line the interior of the space that exemplified the use of wood and joinery. I made the columns less of structural and more as functional, as the sharp turns of the columns provide places for eating and preparing food. There is a step up that distinguishes the living space from the sleeping space and bathroom. Furthermore, a 7 ft wall separates the rest of the space from the restroom, while still providing an open feel to the environment of the space.

2) In the second, square space, I manipulated the word joint in the sense of a joint partnership where two different things or people are coming together and uniting as one. The kit of parts I used in this space were the two carved, solids. On one side of the space, everything is carved from the wall. There is a place for sleeping, a closet, a table, and a place for bathing. On the opposite side of the wall, everything that was negative space on the right wall, was extruded as a solid on the left wall. So, in theory, of a force was to push the two sides together, they would fit together as a whole like two puzzle pieces.

3) For my third space, I used the kit of two walls, and one column. The way I incorporated the word joint into this space was through mechanical aspect of joints, like a joint found in the body. I wanted the space to be able to rotate, move, and fit seamlessly together. I did this through placing one of the two walls on tracks that would allow movement and change to occur. The walls can either fit together, be pulled apart, or rotated around.

This is an image showing the document for the laser cutter. These are about 3/4 of the pieces that went into making my models.

1.1 + 1.2 = Wi2

2011-01-20T19:24:00.001-08:00

UNIT ONE DIAGRAM

UNIT ONE

Upon walking through the entrance of this unit, ones attention is immediately drawn to the ceiling which is composed of exposed wooden beams that align the gabled ceiling. Although this space is only 11' x 32' 4", the tall ceiling heights and open floor plan makes the space seem much larger. The conceptual word for this space is joint, and that is clearly represented throughout the unit as the joinery is exposed and celebrated throughout.

As soon as the guest walks through the door, they are facing towards the 32'-4" wall, lined with windows. The guest can walk straight towards the long wall where the seating is located to relax and view the nature outside, or they can go to the left to prepare themselves a meal in the kitchen and enjoy it while sitting at the bar. The kitchen is just as intricate as the ceiling, as customary built-in shelving and storage provide this small space with the most efficient way of preparing meals. The wood joinery in the kitchen is also elaborate and is demonstrative of the extreme care and quality of craftsmanship in this space. When the guest is then ready for a nap or to lie down, they walk towards the other end of the space where the bed is located open to the rest of the space. There is one step that divides the living space from the bedroom space. Although there is no wall, the floor change clearly indicates the distinction of spaces. The head of the bed rests against a 7.5' wall that discloses the bathing area behind. There is ample space to walk on either side of this wall to reach the bathroom. There are no doors, but rather an open passageway that allows easy movement from space to space.

The materials of this space additionally add to the concept of this unit. Exposed brick and wood are the two main materials and add to the idea of two things coming together and being joined. Braces, pegs, and joinery are exposed throughout the space and create a holistic environment centered around the word joint.

UNIT TWO DIAGRAM

UNIT TWO

The second unit conceptualizes the word joint in the sense of two things coming together as in a joint effort, or a shared partnership. Upon walking through the door that is in the center of the 22' x 22' space, the guest immediately notices the symmetrically of this space. More notedly, when looking to the right side of the room, everything is carved into the wall, while when looking to the left side, everything is extruded from the wall. Everything that is extruded on the left side of the wall fits perfectly into the carvings made on the right side of the room, fitting together just like puzzle pieces.

To the left side of the room is where the space to prepare meals is, as well as a private reading nook. To the right size is a table for dining, a bed that also serves as a window seat, a closet, and the bathing area. There is a designated place for every desired function within the space as well as ample space in the middle for circulation.

The layout of the space represents two separate members of a shared partnership. When apart, they are distinct in their own nature, but it is evident how well they fit together. This space is truly about part to whole.

UNIT THREE DIAGRAM

UNIT THREE

The third unit is modeled around yet another meaning of word joint. When the guest walks in this 22' x 32'-4" space, the viewer is immediately awe struck by the mechanical features of the home. The sliding walls, and pivoting countertops transform this space into a multipurpose unit.

The guest who walks through the door of this space immediately becomes a tool to transform the space. Two walls that are attached to tracks on the ceiling, and support the loft, allows the guest to manipulate the space to their specific desires. The walls fit seamlessly together and can be united to allow privacy or pulled apart to create an open environment. Each part of the space works together like a puzzle piece that is left up to the inhabiter to put together.

In the Rengel reading, the book addresses that rituals of a person determines the function of how spaces are designed. While this space provides adequate function for every need of the guest, it also allows the space to be custom to whoever inhabits it. The sense of joint in this space is inspired by the joints found in the human body, that pivot and rotate to provide us with a wide range of movement. That same wide range of movement plays out into this space.

Bio, Revisited

2011-01-20T15:59:00.001-08:00

January 10th marked the start of another great semester. To kick off the new year we were asked as a class to reflect on our goals for this semester, to acknowledge our strengths, and to enlighten our peers with our previous design experiences. After writing down and acknowledging our goals, strengths, and weaknesses, they were immediately put into practice as we were handed the first assignment.

The goals that I initially jotted down the first day have not changed. I listed that I hope to sharpen both my visual and spoken communication skills. I desire to learn new techniques, and become more acquainted with the history of design and what has been and is being produced. I also aspire to have better time management and learn not to settle on one idea before exploring others.

These first two weeks of class have given me a chance to assess my goals and see if they are reasonable. What I have discovered as I work on this current project is that time management is by far still my biggest obstacle. I often struggle with what to do first and how to allocate my time. I have been trying to come up with new methods to improve my time management, and I although I have noticed improvements, I still struggle with balancing my workload.

An additional goal that I would like to add to my list is to learn how to work fast and efficiently. In this first project, we were only given three weeks to design and model three retreat spaces. With such a fast approaching deadline, it required me to hit the ground running. It brought out my weaknesses of being a pragmatist as I struggled with weighing my ideas back and forth before producing anything concrete. This project however has forced me to make decisions, focus on hierarchy, and work towards what is most important. When this project is over, I hope to continue to work with the same sense of urgency.

In addition to listing goals I had to list my strengths as a designer. Having to pin point my strengths was difficult, because I know my strengths are not fully developed. With that said, I think that one of my strengths is that I am critical of my own work and only desire to improve. I am thorough, I pay strict attention to detail, and my peers additionally pointed out that I have high aspirations.

I have always had a love for design and architecture and the experiences one has when coming into contact with something that is designed well. I chose to become a designer so that I too can create designs that will inspire viewers and resonate in them a sense of awe. I am excited this semester to reach my goals, strengthen my skills, and grow as a designer to produce work that will create unforgettable experiences with those who come in contact with it.

Narative

2011-01-12T18:26:00.000-08:00

(image of quick sketches and ideas in my sketchbook)

UNIT ONE

Upon walking through the entrance to the 11' x 32'- 4" space, the guest is immediately caught up in the floor and ceiling changes that take place throughout. The once long, narrow rectangle is now transformed into a space with many different nooks for activities such as sleeping, cooking, resting and exploration. Additionally, the second floor level change appears to be floating within the space which adds to the mystery and excitement. The diverse level changes and unexpected spaces are not the only appealing characteristics of this retreat however. Materials that differ in both texture and color combine to infuse the space with a melting pot of rich tones and surfaces. The story of the space speaks that of opposing materials, surfaces and colors coming together and uniting. The visitor upon entering the space becomes part of the story as he or she is just another addition that seamlessly unites to make the space complete and functional.

UNIT TWO

The attention of the guest is immediately drawn to the woodwork and craftsmanship of this space. The joinery is exposed and celebrated throughout. A portion of the ceiling acts as a skylight to the outside and is clothed with wooden beams that stabilize this opening. The vast amounts of light that flood into the space is a nice contrast to the woodwork and joinery. The plan of this space remains mostly open and free flowing with variations to the ceiling height. The experience of the space is one that emphasizes the joinery and allows the viewer to be submersed in sunlight.

UNIT THREE

The guest who walks through the door of this space immediately becomes a tool to transform the space. Two walls that are attached to tracks on the ceiling allow the guest to manipulate the space to his specific desires. The walls fit seamlessly together and can be united to allow privacy or pulled apart to create an open environment. The transformation of this space doesn't stop there. Furniture additionally is made up of moveable pieces that can pivot or rotate to accommodate multiple purposes. Each part of the space works together like a puzzle piece that is left up to the inhabiter to put together.

Designer Bio + Goals wi1

2011-01-11T13:29:00.000-08:00

Monday marked the start of another great semester. We were asked as a class to reflect on our goals for this semester, to acknowledge our strengths, and to enlighten our peers with our previous design experiences. Additionally the class participated in an exercise that assessed how each of us deal with change which was fascinating to discover the broad range of results.

My goals for this semester are quite foundational. I hope to sharpen both my visual and spoken communication skills. I desire to learn new techniques, and become more acquainted with the history of design and what has been and is being produced. I also aspire to have better time management and learn not to settle on one idea before exploring others.

Most importantly, I wish to improve my skills as a designer on every level. Therefor, having to pin point my strengths as a designer is difficult, because I know my strengths are not fully developed. With that said, I think that one of my strengths is that I am critical of my own work and only desire to improve. I am thorough, I pay strict attention to detail, and my peers additionally pointed out that I have high aspirations. My result of the Change Style Indicator test categorized me as a conserver but also a pragmatist. This result only confirmed what I had already acknowledged to be both my strengths and weaknesses.

I have always had a love and appreciation for design, but it was not until my senior year in high school that I recognized that I was capable of becoming a designer. From that day forward I have become fixated with learning and observing all I can. I never would have projected I would be as far as I am today, and I can not wait to see where this semester will lead me.

Below I provided an image that illustrates a project I produced last semester. During this assignment, I adopted a new love for digital fabrication and hope to direct more of my attention towards this aspect of design.

[holism]

2010-12-10T20:33:00.000-08:00

Parametric and correlation were the two words that commenced this project. I began looking at different shapes and forms and exploring different ways units related to the whole. I was interested in how different parts related to one another, how parts were organized, and the mutual relationship individual parts shared with the whole. My three rules at the start of this project were to use triangles, repetition, and focus on how each unit related to the whole. I wanted to create a pattern that could be added to, subtracted from, and altered to create endless forms. Having to decide on a specific use for this project, I chose to create a tunnel that people could interact with and manipulate by compressing and pulling different triangular units to alter the whole. But that is not intended to be the complete function. It is intended to be interacted with and transformed into whatever the user can imagine.

Portfolio

2010-12-10T20:19:00.000-08:00

Timeline

2010-12-10T16:07:00.001-08:00

This is a photo of the timeline presented at the Gala that I designed with Anna Behrendt, Carly Blake, Cassandra Bradfield, and Cassandra Brunson.

Point: Explorations.

2010-12-10T10:22:00.000-08:00

The movements discussed in the explorations unit was a combination of all the units covered in class. It relied on theories and foundations, and it required reflecting back in time and making alternatives.The explorations unit was a continued search for providing good design for all. Many movements were going on the duration of this unit, but the dominant movement was a search for modernism. In order to look forward and make advancements, they continued to look back in time. The question of good design for all still plagued this unit as attempts were made, but still did not quite satisfy the desire to make good design accessible to everyone.

The arrival of machinery and new materials were a factor that designers had to think about. The art nouveau period was about utilizing new materials and looking forward in the search to define modern. The art deco period followed and was much more popular in the United States than art nouveau was. The buildings designed during this period celebrated "...advances made possible by the electric illumination, radio communications, ... the automobile and the airplane" (Roth 519). Buildings designed in this style included the Chrysler building, the Empire State building and the Rockefeller center to name a few and were now designed for a broader group of people. The art deco period was the most popular movement in the US as it was all about motion, speed, swooping edges and optical illusions.

A search for modern still continued however. It was and is an ongoing and ever changing movement. When modernism first originated, arts and crafts was still predominately the main design movement taking place. The arts and crafts movement was birthed out of the attempt to restore good design for all, but it proved to cater to only those that could afford it. The modernist movement was believed to be the solution to this ongoing predicament.

"The early Modern designers hoped to change society for the better with the creation of a healthier and more democratic type of design for all" ( Massey 63). They attempted to do so by stripping away all unnecessary ornamentation and focusing on making a space nothing more than its desired function. An example of this form of design is the Farnsworth house by Mies van der Rohe. The construction was designed to provide a 360 degree view of nature. But in constructing this house like a glass box, it resulted in a home that was not satisfying to the clients because it got extremely hot. Other modern designs that caused further problems to arise include structures such as the Crown Hall (IIT) and the Lake Shore apartments both by Mies van der Rohe. The new types of designs that were supposed to improve living for everyone, were now creating new problems. "Something had gone amiss in the pure logic and social concern that had originally called modern architecture into being" (Roth 535).

Not all of the modern movement however was a failure. The Bauhaus, designed by Walter Gropius originated during this period. The Bauhaus to this day is still being used as a model for design schools. Many great structures arose from this movement, but regardless, this movement that was initially driven in attempts to bring good design for all failed in that aspect.

I do not believe that any movement to date has really satisfied the "democratic type of design for all." Both the arts and crafts movement and early modernism began out of the attempts to meet this need. I believe that from this point on, the proceeding movements will still continue to be about revolutions, revivals, cycles, and reforms to try and establish this ongoing need to make good design accessible to all.

I believe that this picture illustrates what has been carried throughout the course and into the final unit. In order to make advancements and create something even greater than what has been designed before, it still relies on looking back and establishing a firm foundation on which to build upon.

Reading Comprehension 7.

2010-12-02T19:41:00.000-08:00

1) Within the theme of the exhibit assigned to your group, select ONE work and draw a diagram of the work, using the principles and elements of design. Write a 250-word annotation for your diagram to the themes of the EXPLORATIONS unit and the readings assigned for this unit. In your annotation, analyze and include at least one other work of art in the theme you have been assigned, make 3-5 appropriate citations from the readings, and consider SCALE (artifact, space, building, and place) as you complete your work.

I was assigned to the Creature world portion of the exhibit at the Weatherspoon museum. I chose to diagram a work by Steve DiBenedetto titled, Disappearance. In his work he depicts the tentacles of an octopus that is surrounded with a repeated pattern that resembles a spider's web. In his work, it is clear what he is illustrating, but at the same time it is distracting as there is so much going on. I believe his work is a model of postmodern design in that there is multiple directions and branches stemming off from one main source. In Massey it discusses that the postmodern period was a time where not one design technique was better than another but rather, "... a new pluralism was emerging" (Massey 195). DiBenedetto's work is described in the Weatherspoon museum as being "... a sinuous, serpentine elegance, but also suggest chaos and confusion." Similarly, interiors and architecture alike during postmodernism produced a "...puzzling multiplicity of design alternatives" (Roth 569).

Another piece of artwork that caught my eye was a work titled, Good Morning, by Jim Hodges. In his work, he attaches a spiderweb made from metal to a delicate silk scarf. In Roth, it discusses the postmodernist Robert Venturi's work as being an "...experiment in the new mix of new and old..." (Roth 568). I believe that Hodges' artwork similarly is a postmodern take of mixing new and old. I believe that the prefabricated metal attached to the silk is symbolic of machine made products taking over natural elements. By using an already made scarf and creating a metal spiderweb, Hodges also experiments with creating artwork by combining old and new as he materializes a natural element such as silk, and replaces it with a manufactured replica.

Collectively, both of these pieces of artwork symbolize the passage of time, the emergence of machines, and the multiplicity of design techniques and alternatives that branched from one another.

Book

2010-11-23T12:25:00.001-08:00

This is a group book that shows a compilation of our work we

acquired during a precedent study. My portion of the book is the

section about the Tree House, by Mount Fuji architects starting on

page 28.

Power Point Presentation.

2010-11-18T11:54:00.000-08:00

For Design Visualization class we were asked to construct a powerpoint that helped tell a story about the building we have been studying. My building is the Tree House by Mount Fuji Architects. I focused my powerpoint around telling how the house functions and how it is navigated through. The main themes discussed were the vertical, upward spiral construction of the house and how light and ceiling height helps distinguish between different rooms and the functions of the rooms.

Reading Comprehension 6.

2010-11-17T08:45:00.000-08:00

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences. [15 POINTS POSSIBLE]

- Art Nouveau designers were concerned with not only the exterior, but the interior and every characteristic within the space as well. "To create a fully integrated and contemporary environment was the pivotal aim of the movement" (Massey 32-33). One huge characteristic of this period was the use of the free flowing line and curves. Additionally, new technological advancements such as the use of exposed metal framework in interiors defined this movement.

The influences of the Art Nouveau movement can be seen all over the world. In Brussels, Belgium the influence can be seen in the interior of the Tassel house. The use of slim iron columns in this space are something that has not been seen in Belgium until now. The glazed roof and the use of the small columns allow light to flow into the flowing space. The designer Victor Horta uses the free flowing line to create a continuous fluidity that connects the floors, walls, ceilings, and iron work.

France soon became influenced by the Art Nouveau movement as designers visited Brussels and became exposed to this new wave of design. The Castel Beranger apartments designed by Hector Guimard is a by product of Belgium Art Noueveau influence. Although much of the building was designed prior to meeting Victor Horta, designer Guimard was inspired by Horta's work and still incorporated as many details as he could that were reflective of what he saw in Brussels. The apartment complex contains the same fluid, continuous free flowing line. Additionally, throughout the building the use of thin iron is present as well as asymmetrical characteristics and ornament that is reflective of nature which are all elements of Art Nouveau.

Berlin, Germany is another place that Art Nouveau spread to. The Havana Tobacco Company cigar chop was designed by Van de Velde. The store is characterized by Art Nouveau influence but it also adapts a German style that differs to that seen in France. The store contains the similar curvature in a much more dramatic manner, and focuses on symmetry rather than France's asymmetrical approach.

Tassel House

Castel Beranger, Massey pg. 38

Havana Tobacco Company, Massey pg. 43

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument. [10 POINTS POSSIBLE]

- The modern movement beginning in the 20th century was a turning point in history as architecture turned completely away from symbolic and religious meaning. This new point in time was seeking a whole new expression. The goal was to reduce architecture to something utilitatian that reflected the spirit of the machine age. Ludwig Mies Van Der Rohe reflected on what architecture should resemble as he said, "...architecture being an expression of technical power" (Roth 526). There became a celebration of the machine, and factories even became a model for design. The simplistic, logical factors behind factory construction were viewed favorable as it satisfied the idea that "less is more." Spaces began to be designed with a purpose in mind, holding on to the idea that machines are for living.

The Apple store in New York City designed by Bohlin Cywinski Jackson is a present day example of a building and space that was influenced by the ideas of the beginning modernists. Gropius had stated that architecture should be "...radiant and naked, unencumbered by lying facades and trickeries" (Roth 524). The Apple Store stays true to the beliefs of Gropius. The glass cube that sits above ground is made possible by the advancement in machinery and the use of glass. It speaks a message of transparency and honesty. The plan of the store is open, free flowing and highly functionally. The minimal use of materials and lack of ornamentation shows that less is really more and additionally it allows the apple products to speak for themselves. The products in themselves additionally are reflective of the idea that machines are part of everyday life.

Apple Store

Apple Products

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point. [5 POINTS POSSIBLE]

- The Laroche House in Paris, France designed by Le Corbusier and Pierre Jeanneret is an example of an interior that is depicted as being black and white. The first two images are of the same place, and it appears that the environment is designed to be very clean with white washed walls. I was surprised to see how the interior actually is with walls exploding with color and very bright artwork.

Laroche House 1928, Harwood pg. 630

Reflections Summary.

2010-11-11T18:10:00.000-08:00

Austin's essay flows smoothly as he discusses the different revolutions that take place across Europe and America as well as different competing design languages. I believe his choice in the image he provided gave me a new clear way of how to think of the reflections unit. He summarized the different 19th century design languages and how they were all different reflections of a similar language. He illustrated this analysis by comparing it to an Olympic diver and said, "Although his impact with the water is the same each time the journey from the diving platform to the water is never identical to the one before."

Justin additionally discusses the plethora of design languages that emerged during the 19th century. He discusses how design languages emerge so rapidly and they fade just as fast as each new language is competing with a whirlwind of others in order to establish some dominant voice. The image he chose for this unit additionally is a good visual representative for what was going on at this point in history. I actually had to enlarge the picture to be able to understand what the image really was of, and I think that the fog like Justin mentions, is exactly how people felt back when all these different design languages were blending together. All the languages merged together to form this mask that is hard to see through. He also relates this picture back to the influence of the Industrial revolution by saying, " Yet in the midst of this blended chaos, there is the dominance of the industry in the background, never letting go of its influence on design."

Daniel does a really great job comparing the Crystal Palace of the 19th century to the present day modern Guggenheim museum. He makes the connection that both buildings are considered modern for the time period in which they are built, yet what they house inside speaks very different languages. Both buildings are innovative models of their time, but they are also a vessel that houses artifacts that showcase all the different design revolutions of their times. By studying the buildings and what is inside, one can see all the revolutions and innovations that took place.

Alternatives Summary.

2010-11-11T16:40:00.000-08:00

From reading Kacie's post on alternatives, she did an excellent job tying in the concepts from the unit and applying it to her personal life and the present day. Sometimes it can be easy to analyze past history, but being able to analyze how the past ties in with present day can be a little less obvious. Something else that I gained from her point was that designers can look to the past and create something new by altering, but even the alteration of the original design goes through alterations itself before the final product. So there is a continuous cycle of reflecting and altering. Her image of the walkman and present day ipod is a good illustration of reflection on a past design, but alternating it to better suit present day's societies' needs and wants.

Kayla also did a great job of using present day examples that tie in the idea with alterations. I also like the way she described how alternatives occur. Instead of intentionally altering something from the get go, she addressed that things eventually get altered across time when people copy something but tweak it just a tad. And if someone else copies the minor altered one, they too can alter it some, and eventually the alterations will be much different than the first. The image of the Digiorno's pizza is a great example of how pizza differs from its original form in Italy, and now how it has been altered as a frozen product made for convenience.

Blakeni does an excellent job summarizing the unit by showing how alterations occur over time by people manipulating the preexisting forms, and altering them to better suit the story they are trying to tell. She beautifully summarizes the alternatives units as she wrote, "And without rebellion and the option of other alternatives, architecture would not have evolved into what it is today." Her essay supports both the idea's of Kacie and Kayla that are without people taking risks and making alterations to tell a different story, we still would be stuck in the past and not have the technological advances that we do today.

Point: Reflections.

2010-11-08T10:54:00.000-08:00

The reflections unit is about revolutions, revivals, cycles and reforms. Throughout various countries there was a period of time where there was an initial stepping out of the current design phase and suspending the rules for a while. After experimenting with different approaches to design, most of them faded out and would transition back into reflecting what was already a success in the past. People continue throughout time reflecting design languages of the past and reviving them. Beginning with Baroque, then moving into the American revolution, and ending with Japanisme and eastern influence, these different sections of time were all revolutions in themselves, yet each movement still echoed reflections of past designs.

The Baroque period was a major revolution. Not only was architecture influenced, but dress, music, furniture, art, and culture all echoed the qualities of the baroque. This period can be described as dynamic movement filled with emotion, drama, fluidity, rich ornamentation, applied surface decoration, layering, repetition, elegance, harmony, geometry, extravagance, emphasis, and holistic environments as well as many other characteristics. The Baroque period, although was different than anything prior, it was still a dramatic reflection of the renaissance. It was a rebirth of culture and focussed on using fluid movement and drama to evoke emotion. The Baroque period is a about a holistic environment where everything worked together to create this atmosphere of drama. The Baroque style had great influence on design and spread to Versailles where this style was used to create the holistically designed environment known as the Hall of Mirrors. This space embodies the characteristics that speak the message of power and authority. The hall of mirrors in Versailles uses filigree, mirrors, chandeliers, and light to reflect nature and light throughout the space to create an even more dramatic and dynamic environment.

Continuing with revolutions around the world, the American revolution of 1776 was also a revolution in design. America was divorcing from the homeland of England and trying to establish a voice of their own. When establishing the nation's capitol at Washington DC, it was imperative to exemplify that the country was capable of demonstrating knowledge and power. It was none other than classical Greek architecture that they chose to reflect in the nation's capitol. Even when the White house was burned down, and there was a chance to establish a design of their own, they still chose to revive that of Greek origin. State capitols all over America similarly are reflective of Greek revival. So although it was a major revolution and a separation from their homeland, they were still looking back and reflecting on the past.

Moving through time new building forms were emerging. Emphasis was not only put on tombs, churches, and residences, but now train stations, arcades. greenhouses, factories and exhibitions. The industrial revolution and the production of iron and glass aided in the ability for these new forms and shapes to emerge. Not only were new building forms emerging, but multiple design languages as well. The Crystal Palace housing the world's fair in 1851 was a reflection of classical Greek, but it housed goods that spoke languages of all sorts. The Crystal Palace held an exhibition where people could come and see products from all over the world. Objects from the east were easy to transport and were becoming very common in the west. A movement known as the Japanisme movement had a major influence on western art and architecture. The problem with the period subsequent to the Industrial revolution was that too many design languages were competing for a voice in the world, and interiors were becoming cultured with items that all spoke a different language. Because of one revolution, there was a need for another.

Through studying this section, I became much more aware of the cycle of revolutions and revivals. There was always a time where there was a new innovative idea, and the rules were suspended for a while, but eventually it would revolve back around into a similar starting position. A common theme that threads all of these different periods of time together is that all revolutions end up turning to what they know which is classical Greek and roman architecture. There were alternations to these foundational elements, but they still were reflecting back to the past.

Hall of Mirrors

White House

Crystal Palace

I believe the Crystal palace is a good summery for this unit. It was a product of the materials made available because of the industrial revolution. It was an innovative design and still reflected classical Greek architecture, however the interior spoke many different languages as it housed goods from the east. This is an example of a movement within a movement.

Clock.

2010-11-03T13:17:00.000-07:00

I chose to do 2-D space for my clock. I felt the Laurentian Library Vestible by Michalangelo Buonarroti is an exceptional space that adapted classical Greek architecture and transformed it into a space that speaks a language of knowledge and exploration.

Reading Comprehension 5.

2010-11-03T12:53:00.000-07:00

[1] From the Roth, Harwood, and Massey readings, select an ARTIFACT you believe to represent revolution in design. SPECULATE about the type of revolution this artifact symbolizes. Supplement your answer with a beautifully hand renderedimage of the artifact you selected, citing source and page on your image. [10 POINTS POSSIBLE]

- The Industrial Revolution is an incredible turning point in history. With the use of machinery, materials and products were now widely accessible. The Industrial Revolution was a stepping out of the box. Although the industrial revolution was an undeniable powerful contribution to society, the design language or rather, lack of a specific design language led to interior spaces that were crowded and spoke too many different design languages. The availability and connivence of products resulted in interiors that were cluttered with goods. Out of the frustration of the cluttered design language that was being spoken at the time, John Ruskin along with Carlyle and Pugin began another revolution in response to the Industrial Revolution. Ruskin's desire was to bring back a focus on hand craftsmanship. "Ruskin's rejection of mass-produced furniture and his advocacy of design from the past influences a whole generation of writers and designers, most notably the socialist, designer and founder of the Arts and Crafts Movement, William Morris (1834-96)" (Massey 10). William Morris "...believed strongly that good design could only be produced by men and women working creatively with their hands" (Massey 12). This movement stripped away and simplified design and celebrated the use of hand crafting. Although perhaps the arts and craft movement did not have much of an influence in America or Europe, it sparked an awareness and a need to determine what exactly qualified as good design. The Arts and Craft movement was a starting point from which Art Nouveau would emerge.

The artifact I chose was a craftsman armchair. The armchair is simple, rhythmic, rectilinear, and the joinery is exposed to acknowledge that the piece was crafted by hand. It reclines as well and is often referred to as the Morris Chair, as it "...is based on the English Arts and Crafts version produced by William Morris and his firm" (Harwood 474).

[2] Using the internet, LOCATE and ANALYZE an image for an ARTIFACT, a SPACE, a BUILDING, and a PLACE, drawing the idea of eastern influences as understood by nineteenth-century minds (China, Japan, India, Middle Eastern) on western design and architecture. Each answer must include an appropriately annotated and cited image in addition to a well-crafted essay to defend your choice of each image and the ways (more than one) that the material item responds to design influences from the east. [20 POINTS POSSIBLE]

Western art was greatly impacted by the eastern influences of Japan. Trade during the 19th century allowed for Japanese artifacts to circulate throughout America and Europe. Now that these artifacts were locally available, artists began looking to them for inspiration and drew many influences and techniques from these artifacts. This artifact by the American artist Bertha Lum, resembles many characteristics native to Japan. Not only is the paper she used Japanese, but the technique as well. The print making technique known as color woodcut is used here. Additionally, this painting embodies other characteristics

of Japanese influence like the lack of perspective, more flat surfaces filled with color, and the focus of the painting is off center.

Rain by Bertha Lum 1908

The Royal Pavilion is characteristic of Indian design influence. India and China had close relationships with Britain and therefor Britain was greatly influenced by eastern countries architecture. This exotic, fantasy structure is built in the Indo-Saracenic style which is characterized by influences from Islam, Indian architecture. The Royal Pavilion that was built during the 19th century as a royal residency is truly breathtaking as it bares striking resemblance, both inside and out, to palaces found in India.

Royal Pavilion *

The Peacock Room is all inclusive of China's eastern design influence. The designer James Whistler was consumed with the culture and sought to bring the eastern culture within. Woodcut paintings are featured on the walls, framed by delicate gold framework. The framework that aligns the frame also holds porcelain ceramics he had collected over time from China. Whistler was an advocate for the aesthetic movement in which he believed the interior should be filled with beautiful things and as a result, life would be beautiful as well. Every surface of the room is carefully thought about. All decoration and ornamentation comes together in unity to create an interior that is reflective of Chinese influence.

Peacock Room *

All over America and England are gardens and landscapes inspired by Japanese influence. The Garden at Hillwood is an example of a place that adapted eastern influence. Elements seen in Japan like stuppas, lanterns and statues become the focal point of the garden as it is surrounded by shrubbery that would be found in Japan. This garden, as well as any other garden influenced by Japan, is very tranquil and every element of nature works together to create an atmosphere of peace and enjoyment.

Garden at Hillwood *

Collectively artifacts, spaces, buildings, and spaces underwent transformation beginning in the 1900's when Eastern products made their way to the west. The World's Fair in London held an exhibition in which people could come and experience culture from all over the world under one roof. With products readily available, eastern influence spread throughout the western world and that influence is still carried out through the world today.

*other resources

Perspective

2010-11-01T10:22:00.001-07:00

For my perspective, I chose to use the term perspective pertaining to a view or prospect. I chose to show the architect of Amien's Cathedral and portray his ideas of what the cathedral would look like and symbolize; heavenward, verticality, geometric shapes and repetition.

Point: Alterations.

2010-10-25T10:41:00.001-07:00

The alternatives unit is simply an extension of the foundations unit. The foundations unit focused on the three basic elements: the line, the circle and the use of stacking. In the alternatives unit, the rules established in the foundations unit were determined and studied only so that these rules could be built upon and tweaked into a variety of other forms. The Amiens Cathedral of Notre Dame, Villa Capra, and Chateau Chambord are all structures that were inspired by previous movements in time but developed into an identity all their own and furthermore influenced other buildings to come.

The Amiens Cathedral is inspired by the gothic period as architectural details such as pointed arches, ribbed faults, and flying buttresses are seen throughout the building. The use of geometric shapes are additionally incorporated throughout the structure and the linear plan stays true to gothic influence. The Amiens Cathedral of Notre Dame however did not stop with these elements in the design of the building. The architects incorporated repetition and the use of stacking to a new extreme. The intense verticality of the structure that reached towards the heavens was used to transport viewers into a whole new spiritual realm. The Amiens Cathedral in turn became a model for cathedrals to come. Architects looked to what was already standing and successful and repeated similar characteristics in their structures and were additionally able to avoid mistakes that were previously made.

Again the idea of borrowing from what was already established and successful is seen in the Villa Capra designed by Andrea Palladio. He looked back to the classical period and copied from antiquity something that was rare and precious and transformed it into something common and secular. While the Amiens Cathedral was built during a time where the primary focus was on religion and the church, Villa Capra transitions to a period where the focus is taken off the church and put on man being in measure of all things. Careful attention to proportions are seen again, and the central plan of Villa Capra is used to help draw attention to man being in the center of the universe.

In France, the Chateau Chambord is built during the renaissance and is a good example of looking at both medieval and classical architecture and meshing the two movements into one building. The renaissance period was about reviving the classical period and recreating what was already established long ago. In the Chateau Chambord the classical detailing is seen on the lower half, but the architects put their own twist to the classical style by altering the top to reflect gothic characteristics as well.

The different periods in themselves are examples of alterations of one another. Beginning with the classical period, it transitions into the gothic period, and proceeds to the renaissance where antiquity was revived once again. The movement proceeding the renaissance was the baroque. During this time, it similarly reflected that of antiquity but exaggerated classical elements into a style all its own. The baroque period ties in theater to all aspects of life and uses drama to show movement and transport viewers to another realm. It was about masking, creating illusions and breaking outside of the boundaries. New innovations took place. The difference between the renaissance's take on classicsm and baroque's is seen through the statue of David. Contrary to Michaelandelo's statue created during the renaissance, Bernini's statue comes alive as it bends, moves and challenges.

What I gained most from this section was the realization of how much architecture is copied, repeated, and altered to this day. Those that do not study what was in the past are susceptible to repeating past mistakes, or recreating something that was better accomplished previously. All architecture is different interpretations of the principles that were established long ago. It is imperative to understand the principles for what makes good design so that those lessons can be built upon and expanded into new ideas and alterations.

Reading Comprehension 4.

2010-10-18T10:01:00.000-07:00

[1] Just as we learned with Gothic cathedrals, in the context of each PLACE, the other scales of analysis (ARTIFACT, SPACE, and BUILDING) each demonstrate difference. For each scale on the readings rubric above, EXPLAIN at least one common design language that links them all. Use the principles and elements of design as defined for this class in your response. Explicitly tie the Roth reading to your analysis, using at least one cited quote. [10 points possible]

- Artifact

-Across the board, classical detailing is seen through the furniture. Much of the detailing and decoration comes from carving the wood. There is an emphasis on craft and harmony through furniture and the furniture itself becomes art reflecting characteristics of the classical age.

-Building

-Commonalities amongst all the buildings are that they are rooted in the design influence of Palladio. A central dome is seen throughout the spaces that distinguish a gathering place of importance. Unity and symmetry are characteristics of these buildings. "Pediments, columns, and porticos mark entrances and ends" (Harwood 459). All building types similarly incorporate geometric shapes and arched windows are seen throughout.

-Space

-Elaborate interior ornamentation is reflective of the classism period. There is a harmony of exterior and interior as the interior form repeats the same characteristics seen on the exterior. Wall paneling and decorative wall paper that often contains many patterns is seen throughout interiors.

-Place

-All places share the same quality of repeating the classical form. Once one place caught on to the classical movement, it quickly spread, and other places began to copy similar classical elements. Roth identifies that "Renaissance architects of the fifteenth and sixteenth centuries endeavored to create new, rational, mathematically describable forms based on what they understood of the Classical architecture of ancient Rome"(Roth 397). Additionally, a cause to this spread of classicism was due to the "...appearance of the first English translation of Palladio's Four Books of Architecture, in 1715." (Roth 441). Now that there was written copy of Palladio's work, it was more easily accessible to people to use as a resource for designing their own Classical inspired architecture.

[2] Linked to Europe, the ARTIFACTS, SPACES,

BUILDINGS, and PLACES of the American colonies echo closely their design forebears. Selecting evidence from all four scales for both the American Georgian periods, TRACE the common design ancestry across the Atlantic Ocean in the Neo-Palladian and Late Georgian periods of England and the Louis XVI/French Provincial period in France. ARTICULATE the implications of copying from Europe for the American colonies. Use the principles and

elements of design as defined for this class in your response. Explicitly tie the Roth reading to your analysis, using at least one cited quote. [10 points possible]

- "There were no classical ruins in the New World from which Americans could learn something of what made for good design" (Roth 459). It is no wonder why colonists produced what they knew from back home when there was no direct resource to look to for reference. All over America, there is traces of influence that was brought by the colonists who came from England, Spain, France, Germany and Holland.

English colonists imitate what they were familiar with, and the houses and furniture produced in the United States are reflective of those back in England. Some characteristics of houses include steeply pitched roofs, central chimneys, wood frames, large gathering halls, small windows, and sparse furnishings. Additionally, interior spaces are often made up of plastered wall and unfinished floors. The homes are more functional than decorative and little is known of the "...classically inspired Renaissance design concepts" (Harwood 252). Tables are popular furniture and often have extending flaps that can be folded down.

Spain adapts traditions of Florida and the southwestern parts of the US, but they quickly adapt their own style. "No longer strictly medieval as elsewhere in the New World, Spanish Colonial architecture strives to follow contemporary Spanish Renaissance and, later Baroque styles" ( Harwood 269). Linear plans are characteristic and as people begin to feel more secure, more windows, doors and porches appear. The use of stone and adobe are common as well as flat roofs. Function is the main focus for design. For example, in Florida houses orient along the street with all rooms opening up to the porch in order to catch breezes and no glass is used inside of windows. Furniture is characterized by simple carvings and curves, with rectilinear shapes.

French also recreate what they know back home. Function over style is similarly characteristic as architecture is rather simplistic. Floor plans focus on symmetry, however the salon and dining room as seen in the Parlange Plantation break the symmetry. There is also a sense of harmony as the interior relates to the exterior. Furniture is simple, with little carving and few curves. In New Orleans french doors opening up to the street is common as well as extended roofs, and town homes with two to three stories that enclose around a courtyard with shops on the first floor.

Germany and Holland colonists repeat medieval type building styles from back home and are not yet aware of the "...European classism of the Renaissance or Baroque" (Harwood 303). Stone and log homes are characteristic of these settlers. Andrew Jackson's house is liking to that of Germany as the interior showcases wide floorboards, whitewashed walls, and exposed beams. The Dutch come and settle in New York where they merge with the English, so little of their influence remains. The kitchen cupboard, known as a shrank, has cupboards below shelfing, and is normally the largest piece of furniture in the house.

[3] From the Hersey/Freedman reading, DESIGN and POST a labeled floor plan of a possible Palladian villa inspired by Girolamo Frescobaldi’s Balletto Terzo found online at this site: http://www.metmuseum.org/toah/hd/renm/hd_renm.htm select the link on the left side of the page with Frescobaldi’s name under multimedias [5 points possible]

-For the floor plan I used the ratios of 1:1, and 3:2.

[4] Using the resources at the weblink below, SPECULATE about whether you believe that the architecture and design in the Baroque period stands as a form of social performance in the theatre of the world. Support your response with examples from class and the assigned readings. [5 points possible] http://fathom.lib.uchicago.edu/2/10701023/

- The Baroque period most definitely stands out as a form of social performance. The Baroque period birthed from the desire to promote the church and the church promoted the rise of theater. The architecture during this period captured theater in the form of architecture that combined "... monumental architecture, illusionistic painting, and dynamic sculpture to inspire, awe, and transport the viewer"(Harwood 322). Aesthetic overpowers function during this time, as every structural aspect was transformed into a theatrical illusion that stepped out of the boundaries and created a sense of movement. The online source acknowledges that "...the effect of movement and action" used in the Baroque period, "was more important than the effect of symmetry and balance that had dominated the art of the Renaissance." The theatrical architecture is about masking the structural architecture and creating an optical illusion to show fluidity and movement. This theatrical masking is seen in the Cystine Chapel as Michaelangelo Buonarroti transformed a flat ceiling surface into a surface that appears to be vaulted. The designers during the Baroque period recognized the power of theater and were able to go beyond the boundaries that were set before. The Baroque that started in the church spreads to France where at Versailles, the palace for Louis XIV, the same dramatic style is used to display and make a statement of the King's power. The Baroque period was influential and innovative as it combined architecture and theater to make powerful statements and transport viewers to another dimension.

Communicating to Non-Designers

2010-10-13T22:02:00.000-07:00

Sitting in a crowd of people.

2010-10-07T22:30:00.001-07:00

Point: Foundations

2010-10-06T11:14:00.000-07:00

The foundation of architecture can be broken down to three basic elements: a line, a circle, and the use of stacking. By observing earth's surface, one could see that the earth is similarly marked by these three units. These three fundamentals became the building blocks upon which all architecture arose from, and these three elements are still used today. Although lines, circles, and stacking are used in every design, and techniques have been copied and repeated, the use of them varies from location to location. What I found most interesting about this section was different culture's interpretations of how to use these basic elements in order to tell a story of their own. In order to gain a better understanding however you must look at a single unit in relation to the larger picture.

Just as it is important to study the interior and exterior of a building, it is important to study the structure from a bird's eye view in order to gain an understanding with how the architecture ties in with the landscape and nature. In Egypt, they used the lines found in nature, and reflected those lines on the earth's surface to form a grid on which to build their architecture. The Egyptians focused on axial placement that was based on the perpendicular axis formed from the Nile river and the rising and setting of the sun. But their architecture was so much more than axial placement. The stacking they used was symbolic of reaching towards the heavens. Additionally, by repeating the pattern they found in nature, they also repeated the symbolism of the nile and the sun which is continuous life. The Egyptians based their lives on the idea of permanence and the afterlife, and their architecture through the use of lines and stacking, echoed this message long after.

Just as egypt used lines to reflect their believes and tell a story, all over the world different cultures do the same. Each culture has interpreted the use of the line in a different way to convey their personal beliefs. For example, in Ohio valley, they believed that the serpent was the protector of the dead. Therefore they used the line in a curvilinear way to mimic the shape of a serpent on the earths floor. Moving over to Acropolis, the layout of the city as seen from up above tells a story of hierarchy, scale, and harmony. The Parthenon, sitting on the center of the city is seen as being dominant and of greater focus than the other buildings as well as having a much larger scale. Therefore the placement and context tells a story of importance. In Agora, the surrounding walls made from market stalls can tell the story of a community, a place where people come together and are close nit. Once you are outside the bordering walls, the more things begin to change and the more rules are broken. In Greece the first form of theater emerges. The theater of dionysus:epidaurus again uses the elements of circles and stacking and incorporates it with the natural elements of the earth. In Rome, the Pantheon uses the circle and the square to resemble the unity of heaven and earth.

Each culture and society have taken these three basic elements, and have manipulated them into their own designs that tell a story. It was not until this unit that I began to grasp the significance of understanding culture and context. Grasping the whole concept however requires stepping back, or zooming out in order to understand the true meaning of architecture. The lines that mark the earth can be used to portray many things such as showing direction, telling a story, representing symbolism, displaying hierarchy, or showcasing man's accomplishments.

The Pantheon is a great example of the foundations unit. The use of a circle and square have become a model used to this day. Although the placement of the circle and square have been tweaked amongst different buildings, the main inspiration comes from the dome form of the Pantheon with the use of the circle and square.

Pantheon

Reading Comprehension 3.

2010-09-30T21:48:00.001-07:00

1) Amiens Cathedral

Amiens vs. Salisbury : Time

-Both cathedrals are alike in the fact that they both were built starting in 1220. They were built in rather short periods of time as Salisbury cathedral was completed in 1258, a span of 38 years and Amiens in 1269, a span of 49 years. For this reason the two structures being built over the duration of one generation are representative of true gothic architecture. However, although Amiens was originally completed in 1269, it underwent changes in the design. The addition of two towers and other modifications pushed the finishing date back to 1410. Because of these additions, Amiens is no longer a consistent representation of what gothic architecture would have been like during the 1200's in France, but is rather is a model showing the evolution of the design passed from one designer to another. The towers were built as a separate entity, at different points in time, and were not consistent with the design of the rest of the building. Because Salisbury was built and completed in such a brief period of time, it provides more historical context to outsiders to study what gothic architecture was like in England during the 1200's.

Amiens vs. Cologne : Structure

- In both Amiens and the Cologne Cathedral, the use of flying buttresses, influenced by France, allowed for windows to become even larger which added to the cathedral's sense of vertical scale and lightness. Both cathedrals are identified by having immense scale as the cathedral's height to width ratio out does other cathedrals. This ratio of about 3.1:1 also gives an optical illusion of the cathedrals appearing even taller. The dark ages were a period where people put focus on verticality and reaching towards the heavens. Clearly these two societies deserve far more recognition than being categorized in this derogatory term of the dark ages. It took much consideration and advancements to create structures so large in scale. Cologne still holds the record for largest church built during the gothic period which shows that Germany's advancement during this period of the dark ages is far from insignificant.

Amiens vs. Florence : Language

- Ameins and Florence differ most in appearance and language than the other cathedrals. Amiens focuses more on verticality and reaching the heavens while Florence's main focus is on the dome and what man can achieve. I believe that both structures are successful in their designs with the languages they were trying to speak. With the Florence Cathedral it is apparent that it is moving out of the "dark ages" and more into the renaissance where the focus is more on man and what man can accomplish. This sense of man being in the center of everything is seen in the use of the dome and the development of man's skills and use of materials. They both are highly ornamented but the application is different in both cathedrals. In Amiens there is much focus on the exterior ornamentation and is more simplistic in nature inside the structure. The florence cathedral however shows signs of the turn of the renaissance as the interior becomes much more lively with artwork such as frescos.

2) This illustration from A Medieval Home Companion depicts woman at work in a medieval interior.

Unfortunately, the image is closely cropped so we don’t see much of the rest of the dwelling in which

she works. Using Harwood and Roth, complete the rest of the scene using words and images to

demonstrate your understanding of the domestic medieval interior (10 points).

-During the middle ages, people began to turn toward religion, and the architecture focused on housing groups of people. The architecture resembled that of the Roman Basilica, and there was a sense of centrality as people met in the center as a place for gathering. Arched windows are seen throughout structures, and thick fortified walls are a characteristic of this time in age. Gathering halls are common amongst this period and this image could depict a woman working in the kitchen. Other characteristics of these medieval hall style interiors are sparse furniture, wooden beams, and vaulted ceilings as seen in the pictures below.

Stokesay Castle

Penshurst

Diagraming Part 2

2010-09-30T19:15:00.001-07:00

Building to Site Model

Structure to Enclosure Model

Natural Light to Form/Space Model

Circulation to Use Model

Unit to Whole Model

Material to Form Model

Part 2 Whole

2010-09-30T19:08:00.000-07:00

We began this project dissecting our body into individual parts and comparing those parts to common objects in order to better understand scale. Through this detailed evaluation we became much more aware of each individual part of the body and the body as a whole. We also sought to explore how our bodies moved through space. We studied not only simple everyday movements like walking, but also not so common movements such as spinning, cartwheeling, and rotating. Through tracking our movements using a system of points and lines in both elevation and plan view, we are both much more aware of our bodies and how they function as a whole within space.

-Group Project by: Abigail Buchanan, and Weston Willard

Compass

2010-09-30T19:03:00.001-07:00

Scale: Place, Egypt

Form: Paragraph

Map Project

2010-09-30T18:52:00.000-07:00

Paragraph

L' Hotel de Soubise

R.I. State House

Word

The Eames house by Charles and Ray Eames.

For the 3D I wanted my model to resemble the House of Vettii. The outside is plain cardboard to resemble the plain facade of the house. Then as you enter the house, you see the atrium in the center. The House of Vettii focuses on axial progression and light cuing the way. As you walk along the inside of the interior you see the beautiful rich frescos lining the walls, and once you get to the end, an exquisite garden awaits.

(a closer look at what the 3D model consists of)

Egypt, Greece & Rome Summery

2010-09-19T18:23:00.000-07:00

When I think about Egypt, I immediately think of the monumentality and scale of their architecture. I also think of how their designs are constructed along the Nile river as they are big on axial placement. Additionally, the stories they inscribed on buildings and columns are important for their desire for future generations to know about their culture. Also, you see little change in design in Egypt because they believed that it could never get better than when the gods lived, so they strived to keep their architecture reflecting the nature of their gods.

In Greece, it was different than Egypt. They still used the element of stacking, but they focused more on asymmetrical placement than axial placement. Also I believe the strategic placement of buildings in the city of Acropolis in Athens is very important. Additionally, they were not as detailed as Egypt was with inscription. However what is most prominent to me is their development with the use of the column and how their buildings and temples were reflective of their idea of sacrifice.

I believe the big lessons and developments in Rome are seen in the skills of construction with the use of new material. And the invention of the arch and dome that allowed for many different forms of buildings to arise.

Reading Comprehension 2.

2010-09-15T10:56:00.000-07:00

1) Hersey describes a grammar for Greek architectural elements based on the idea of sacrifice. Speculate about the validity of his argument on what you know about Greek design and the evidence (both visual and written) he provides.

- I believe Hersey's writing provides a lot of historical background and evidence supporting the idea of sacrifice and how the Grecian culture incorporated this symbolism in their architecture. Sacrifice and its connection with architecture is first seen with the sacredness of trees. Different types of trees belonged to different gods, and when the Greeks worshiped their gods and provided sacrifices, it was done in front of the trees. Trees than became the basic form of a column. Once the column evolved, the sacrificial symbolism was still incorporated even in a more pronounced manner. A big part in the sacrificial ceremony was not only providing the sacrifice itself, but also taking apart the sacrifice and reassembling it. This same principal of taking apart and putting back together is seen in the make up of columns. Beginning at the base and ending at the top with the capital, the parts of the column correspond to the parts of a sacrifice. For example the base of the column is also known as the feet, and the cord that wraps around the base of the column is symbolic of the sacrificial feet being tied up. And the capital is symbolic of the head and the decoration on the capital can relate back to either horns, or garlands worn around the head. Altogether, I find Hersey's argument about sacrifice being tied into architecture completely valid.

2) Meant in jest, Macaulay shapes a world of the future in which the main character claims meanings for archeological evidence uncovered at the Motel of the Mysteries. Extract what you believe to be the lesson of mis-interpresting evidence and link that lesson to the real world phenomenon of the internet. In other words, explain how you might avoid such a blunder as mis-reading evidence when you use the web as your major information source.

- Once we have a predisposed opinion about something it is as if we are on a mission to find information that supports our idea. I find that I actually will type in the google search bar what my opinion actually is on a topic to see what kind of information pops up. Normally I will click on the first couple sites listed and if they support my opinion, I consider it to be fact. However, I am aware that this is faulty. I believe in order to not misread or misunderstand information it is important to search for unbiased websites and compare them with other websites to see if information provided is constant. That way we are not relying on our personal beliefs or opinions, but rather seeing the whole side of a story.

3) The funerary temple design of Queen Hatshepsut speaks a very different design language than the pyramidal forms for other pharaohs. From your readings and the ideas addressed in class, recount possible reasons why Queen Hatshepsut used this building form.

- Queen Hatshepsut's tomb did very much vary from the pyramidal forms although it did still incorporate stacking. However, most emphasis was put on the integration of the tomb built into the side of the cliff. Additionally, the Queen wanted her tomb to act as a paradise for Amon. The flat structure of the building more catered to the ideals of creating a paradise for Amon. A garden was even included that contained Myrrh trees that were brought by the Queen. Contrary to pyramidal forms, there was a row of double columns that created a porch like space. The flat structure of the tomb was more created with the ideals of connecting the people than it was demonstrating power as shown through the pyramids.

4) Although some evidence suggests links between the Egyptian and Greek civilizations, and some building forms and details provide support for that linkage, the two societies produced design responses in great contrast to one another. Select a building type (house, tomb, or temple) from each culture and elucidate similarities and differences in the two forms over time. Provide an annotated illustration for each selected type.

- While there are a few similarities between temples in Egypt and Greece, there are many differences. In Egypt the temples were constructed with much attention focused on the axis and the connection with the sun. In Greece, however, they were less focused on axial placement and more concerned with the building in response to integration with nature. Additionally, the Grecians were more concerned with impressing people with the outside of the structure and were not as concerned with the interior. However in Egypt, as seen in the Hypostyle Hall in the Temple of Amon, they put extreme emphasis on the interior and the stories that were depicted on the vast amounts of columns. Characteristics of Egyptian temples are that of monumentality and grand scale, and while that same sense of grand scale is seen in the Parthenon, the Parthenon is the only temple in Greece at that size.

Parthenon

Hypostyle Hall, Temple of Amon

5) Harwood shows examples of Egyptian furniture on pp. 60-61. Hypothesize about the lightweight nature of Egyptian furniture when compared to tomb architecture, as at the Pyramids of Giza, which many characterize as massive and heavy.

- I believe the difference between the construction of the pyramids and furniture is due to that fact that the pyramids were visible to everyone passing by and built with the intentions of displaying the power of the pharaohs. The structure of the pyramids were constructed to last and tell the story of the deceased pharaoh. Therefore the structure was created massive and heavy to not only represent power, but structurally, be dense enough to last through time. In contrast, the light furniture was less about being structurally captivating in size and focused more the ornateness and use of elaborate materials as seen on the Golden throne of Tutankhamen. Additionally, the furniture that was to be showcased inside the tombs was protected by the structure of the pyramid and therefor did not need to be as dense.

6) Based on a careful reading of the visual evidence in these two images, draw out an explanation of design and gender roles as you see both depicted. As this language of urns represents essentially one of the main ways we know about Grecian culture, comment on the validity of such a practice of reading evidence.

- On this urn, it reflects the ideals of the Greeks based on gender. The men were considered the dominant, high authority figure while the women were considered males servants. Based on Herseys reading, the pictures on these urns with the male sitting on the throne could be representative of the god and the items the women are offering can be considered his sacrificial gifts. The garland around the man's head worn during the sacrificial ceremony is also repeated on the rest of the urn.

As far as validity goes when it comes to interpreting information about the Grecians, I am myself skeptical. I believe that while these pictures on the urns do provide a lot of context to learn about Grecian culture, I can not say that it is always interpreted one hundred percent right.

Tree House Presentation Board.

2010-09-13T13:03:00.000-07:00

For this assignment, we were asked to pick a precedent study in which we would develop diagrams to help communicate space, form, function, organization, ect. I chose the "Tree House," by Mount Fuji Architects to work from.

Portfolio

2010-09-13T13:00:00.000-07:00

For the first assignment in Visual Communications we were asked to create a pinup portfolio displaying work we did the past year.

Point: Theories.

2010-09-07T20:52:00.000-07:00

It was not until this past unit on theories when it registered with me that designers have a strong power to effect society and the people within it. On the first day of class we discussed how architecture is known as the unavoidable art. People are forced to interact with buildings and the spaces within and surrounding them. If in a building there is only one path that leads through, people are forced to take that path. People's decisions on where they go, and how they go, are based upon the design of a building. That alone is a powerful thing. A disorganized, confusing layout of a building, can in turn, frustrate the people who are forced to interact with that space. In the book, "Architecture of Happiness," it touches on the fact that architecture effects people's emotions and behavior. As long as architecture must be included in our life's, it might as well be enjoyable. However, getting a positive reaction from every individual is hard to accomplish, as not all architecture effects all people, or people groups the same. There is however a framework to work around. If a structure wants a chance at being a well designed space, it must include commodity, firmness and delight.

When designing a structure, it is imperative to design it with care, with function in mind, with an element of delight, and especially with a strong focus on the firmness of a structure, because once this generation has passed, the buildings left behind are going to be what tells the story for the new generation to come. Stonehenge is a perfect example of how lasting structures can give present day insight into the past. While the function of stonehenge is not entirely known, the elements of firmness and delight are strongly apparent and still raise curiosity to this day of how such an amazing structure was created during that point in time.

Architecture tells a story long after the people of the time are gone. Without studying and learning about these spaces, one can't move forward or grow. If people chose not to study past history, they can very well go onto make the same mistakes. By learning from the past, we can excel in advancements in the future.

What I found most interesting in this section, was the difference in sensory worlds from culture to culture. In the reading, "The Hidden Dimension," it discussed the idea that the constant between cultures is experience, but the reading addressed that this is not always the case, because different cultures process experiences different ways. This past weekend when I went home, my mom was preparing her lesson plan for her sixth grade history class, and she began telling me examples she discovered of how designs or phrases when interpreted to other nations or cultures can mean something entirely different than what was intended. And in many cases, the misinterpretations reflect poorly on the products trying to be sold. It just goes to show how crucial it is to do research and understand other people's cultures in order to design a successful space that will have positive influence on the people who come in contact with it.

Upon googling "commodity, firmness, and delight," this image of the Giza Pyramids came up. This picture I feel communicates the idea of this section. The power of three is demonstrated by this structure and meets the guidelines of commodity, firmness and delight. In turn, these pyramids are also a tool that we are able to use today to see into the past, and are able to gain understanding of that period, because of the remaining structures.

Reading Comprehension 1.

2010-08-31T18:37:00.000-07:00

[1] Select an object or a building from any time period that you believe meets Wotton’s

definition (as cribbed from Vitruvius) of commodity, firmness, and delight. With an

annotated image, take care to EXPLAIN the ways in which you see the definition

realized through the object or building. Use design language and concepts discussed

in class for dealing with precedents (5 points).

- The Prada Epicenter designed by Herzog and de Meuron is a quality example of commodity, firmness, and delight. When it comes to the function of a building, Roth speculates that making a structure strictly utilitarian, having one purpose, can take away from the beauty of a space, but similarly a building designed to be multifunctional can not best suit all purposes.

The high style store however, is a multifunctional structure that caters to all the needs of the store and aesthetically is pleasing and delightful for customers. The wave in the center of the store is not only a visual delight but the platform that emerges from the wave, transforms the scene from a pleasing structural aspect, to a stage where products are displayed or shows are preformed. The behavioral space is additionally changed from a simple set of stairs, to a seating area when the platform is used to put on a showcase. The wave not only caters to the function of a multipurpose space but also structurally emulates flow and movement in the space which Roth describes as interwoven spaces. The wave encompasses all aspects such as function, structure and delight, and even can be viewed as symbolic as the transformation of the stage can relate to the ever changing design world.

*http://wirednewyork.com/forum/showthread.php?t=18370&page=9

[2] Working from Harwood et al’s concept of cultural precedents, select one of the

contemporary textiles illustrated above and PINPOINT the influences you see from the

eastern world on the production of fabric in the west. Concentrate on motifs and

patterns provided in Harwood’s text (5 points).

- From looking at the first pattern, I was surprised at how nearly all of the pattern was derived from eastern influences.The characteristics I most noted are the swastikas, spirals, circles and flowers. Swastikas are representative of change in seasons while spirals can represent prosperity or fertility. Circles mean a variety of things such as energy or symbolic of the sun and moon. I can see how the flowers in the textile are influenced by Japan's connection with nature and geometric shapes. Additionally, I can see how the pattern itself is more influenced by China than Japan because the pattern is symmetric and repetitive, while compared to Japan where designs are typically asymmetric.

[3] When considering perceptions of personal and social space, Hall and others

suggest that different cultures have different space needs and attitudes. Most

consider that citizens of the U.S. generally feel a need for more space. How does this

play out in the classroom in which we gather for iar222? (5 points)

- In the classroom of iar222, it is apparent that seating is cramped, the isle is only large enough for maybe a book bag, and certainly not wide enough for a person trying to make it to the lonely seat in the middle of the row without it being an obstacle course of dogging other peoples small desks that perfectly obstruct the walking path. What I have noticed about my own personal perception of space in dealing with the classroom, is that if there is a choice between sitting next to someone I may not know, or sitting with a gap seat between us, I will always chose to sit isolated. It is not because I do not like sitting next to people, but because I am aware that people will generally get frustrated if my elbow is jetting into their side when I am taking notes. So if there is a way around sitting in between people, I will take it, because I do not want people to feel like I am interfering with their personal space.

Seating choices in the first day of class represented the typical perceptions about personal and social space, as everyone spread across the room. Without being told to sit in the first group of rows, the whole class did not voluntary do so. And if they had, it would have been acknowledged of being out of the ordinary.

[4] SPECULATE about whether or not there can be an architecture of happiness, as de

Botton writes in the work by the same title. Provide a juicy quote that helps give

evidence to your views from the passage that you read. Include an annotated image of

a happy object, space, building, or place and specify WHY and HOW your example

exudes happiness (5 points)

- There is an architecture of happiness, but that does not necessarily mean that the same structure will strike the same emotion within every individual. One quote that stood out to me was, "It seems reasonable to suppose that people will possess some of the qualities of the buildings they are drawn to." This made perfect sense to me, as sometimes I have found such pleasure in certain designs that others have dismissed, and if others are disinterested in the very structure I am drawn to I defend it as if I am defending myself.

As far as my happy object goes, I have chosen my elephant mug. I believe it is common for most people to have a certain coffee cup that stands out from the rest, and is habitually used. I see this as a happy object because a mug is something I use everyday, and unlike the other mugs I own, this one has a personality about it that makes me smile. Perhaps I see the playful characteristics in the mug that are also reflected in myself.

Discovering the Human Body

2010-08-31T16:15:00.000-07:00

AUTONOMOUS PROJECT

2010-05-10T18:29:00.000-07:00

For my final autonomous project, I chose to represent my design process by using phrases found on the pages of an old book. They are hung on the twine in a way that shows the evolution of my design process, and the bird's flight is representative of the completion of a project.

A whole family of trial birds.

When I first started this project, my intentions were to create a piece of furniture out of recycled products that were common to a college student. As the project progressed I realized that I did not have time to complete the furniture, so for my autonomous presentation I still wanted it to be symbolic of transforming something old into something new and different.

PRESENTATION REFLECTION

2010-05-02T13:12:00.000-07:00

Presentations are slowly getting easier for me, but still do not come as natural as I like. As far as my own presentation went, I was pleased with how my design and board layout turned out. Knowing that I had worked so hard, it was easier to communicate my design confidently than if I was presenting something that I did not like, or had not put forth as much work. I was excited about the work I was showing, but I still feel like my presentation could have been more polished. After presenting, I realized how much information I left out. It is like I assume that everyone automatically understands my project the way I do, and so I feel like I did a poor job of fully communicating my ideas to the rest of the room. If I were to do it again, I would organize my information more efficiently in order to better communicate my design to the rest of the class, or audience.

As far as other presentations went, I found the most successful ones to be those that had prepared the order that they were going to talk about their board. I had an outline of how I wanted to present the items on my board, but I feel like it would have been more successful had I thought in a little more detail like several other students did. Also, I noticed that the stronger presentations were ones that briefly discussed the artist that they were designing for. It seemed that some people spent more time discussing the artists work instead of their own which distracted from their personal work. My favorite presentations were the ones where there wasn’t a wasted word of information. And one last thing I observed from all the presentations was that if the board layout was not as carefully thought out as their design, it automatically reduced the quality of the drawings. My eyes first would scan the room for the boards that popped out at me, and then I would go further to look at the drawings. The plainer boards I seemed to skip over. This presentation made me realize that it is not only important to produce good work, but to also organize it and present it in a clear, expressive way.

PROJECT FOUR: DESIGNING A STUDIO SPACE FOR A TRAVELING ARTIST DESIGNER

2010-04-29T18:58:00.000-07:00

For this project I was assigned the loading dock which I was to transform into a studio space for a traveling designer or artist of our choice. I chose Su Blackwell as my client. She uses books and transforms them into a new, beautiful story that pops from the pages of the book. From her work I was inspired to design my space based on the concepts of discovery, escape, mystery, rising, awareness and lastly a feeling of trap then release.

View standing on loft looking at window platform.

View standing on window platform looking at loft.

View of bedroom/relaxation area.

View standing in studio, with staircase at the right that leads to the bedroom and view of kitchen straight ahead.

View of studio space and loft.

View standing in kitchen.

View of south wall.

Plan from second floor.

Plan from first floor.

Below are section elevation drawings of the proposed space.

Below are views of the 3-D model of proposed space.

PROCESS WORK FOR STUDIO SPACE DESIGN

2010-04-29T08:25:00.000-07:00

Below are all my process drawings and designs.

(The first three images are part of my final design that I did not choose to put on my board, but all the other pictures are of previous designs of the space that changed for my final.)

First proposed model. The loft area ended up not reaching the total distance of the south wall, the bedroom space increased, and I added another level change by a large window that I installed to allow more natural light to flow in. I also exchanged the spiral staircase for a ladder and added a window stretching the span of the east wall.

CLUE FIVE: PICK A CAR ANY CAR.

2010-04-29T08:23:00.000-07:00

This is a drawing of my beloved car, Beatrice. She is a Buick Skylark.

CLUE SIX: REDESIGN THE CAR & CLUE SEVEN: MORE STYLE

2010-04-29T08:20:00.000-07:00

Other than myself, if you spot another Buick Skylark on the open roads, the driver is almost always an elderly person. Seeing as this was my brother's car first, (who purchased it from an elderly woman) he thought it would be fitting to name her Beatrice. Beatrice has won the hearts of many despite her few rough days when the windows won't work, or the CD player randomly ejects a CD to the backseat while driving, or the left flicker clicks 2,000 times faster than the right. But that's what makes Beatrice, Beatrice. I thought what better way to enhance beatrice than adding a wheelchair side car which people can enjoy at any stage of life.

I knew watercolors would give me trouble, but yet I seem to always turn to them. I guess I am scared to use a lot of color, and so I had to go over this a few times with watercolor to make it stand out. It was still hard for me to capture light and dark areas of the car so I went back with a color pencil in some parts to add more depth.

CLUE FOUR: CHANGING COLORS

2010-04-26T18:39:00.001-07:00

CLUE THREE: WEAVING IT TOGETHER

2010-04-26T18:31:00.001-07:00

These were the 3 patterns that I picked in which I created the furniture and structure of the room from.

CLUE TWO : PROCESSING PATTERNS

2010-04-26T18:28:00.000-07:00

These twenty five patterns were derived from a pack of stride gum.

CLUE ONE: STORYTELLING IN PERSPECTIVE

2010-04-21T20:14:00.000-07:00

The caf.... Not even sure how I feel about this place. Sometimes eating a blueberry bagel and a slice of pepperoni pizza everyday can get old, not to mention unhealthy. But I know I will miss this smelly little place as soon as I have to prepare my own set of meals next year.

Oh the people that you see at coffeeology. Just as I packed my bags to go, a man dressed in the most gaudy attire on stilts came to grab a cup of joe himself.

In both drawings I wanted to try new things. Number one: not using a straightedge. I have an incredibly unsteady hand and a straightedge has become my crutch. (Although I did cheat a bit in the first drawing, but decided to toss the straightedge aside a few minutes later.) Number two: drawing people. Clearly I still need help in this area and I wish in the bottom drawing the composition would be more clear and the writing larger as you can barely see it once it has been scanned.