Groove: Literally

Story Telling and Diagraming

Space 1: Groove: Literally:

 Kits of parts: 2 walls, 1 column

 

Entering the space we arrive in the kitchen. An L shape counter provides ample amounts of room for food preparation as well as a bar space for eating. Moving forward throughout the space a set of three stairs running the length of the space begin to personify in a very literal way the concept of groove. Arriving at the height of the steps you are presented with two options. You may proceed further back in the space towards the private facilities used for hygiene and sleeping or you may move down another three steps to a living space that is sunken in, or “grooved” into the floor.  The bathroom and sleeping space is tucked away neatly in the back corner offer the maximum amount of privacy that the space will allow. 

 

Space 2: Groove: Grooving off an ancient arrangement. 

Kit of parts: 2 Columns, 1 Wall.

The concept for this space is an ancient arrangement of parts as seen in Greek temple facades. When viewing the space from a plan view one can Cleary see an exploded, off axis Greek temple façade composed of three main elements. These elements are a partition wall, two columns, and two steps that divide the space in half acting as a steryobate and stylobate.  When entering the space a kitchen is located adjacent to the door with a living room just off to the right. With only two steps and no walls the joint kitchen and living room provide a feeling openness and community. Flanking each side of the partition wall are sliding doors that enhance the notion of privacy in the spaces found of the opposite side of the wall.  The spaces include a bed room as well as a bath room. With only a tinted glass shower wall dividing these two spaces the same feeling of openness is continued in the private quarters of the space. 

     

Kit: Two solids

   

Design: Semester goals:

As we move forward into a new year and a new semester I have highlighted goals I would like to accomplish through out the course of this studio, as well as a few strengths as well as weaknesses that I carry as a design student.  The first goal that I would like to see carried out through this semester is a focus on holism.  I hope to gain a greater understanding of how materiality, furnishings, interiors, spaces and exteriors all relate to our study of design, as well as observing the content, or what all these things “mean” opposed to just the context, or how they appear. Another goal I would like to focus on for this semester is to approach design as both a philosophy as well as a practice. Often I find it hard to balance between doing, and producing design work verses ingesting the meaning and ideas behind what it is I am studying and trying to achieve. When thinking about my strengths and weaknesses a few come to mind. I find it difficult to really turn my eyes inward and truly evaluate my self.  I believe that one of my most valuable strengths is my passion for the field of design. The natural high I get from completing a successful project is always in the back of my mind when moving forward with a new design challenge. 

            After completing the change style indicator in class today it came as no surprise to me that I scored quite strongly in the conserver category. I often find in life as well as academics I find that I thrive in an environment full of routine and consistency. Although in many aspects this trait serves me very well as a designer it is often necessary to be unconventional and spontaneous. After taking the time to understand my strengths, weaknesses, goals, and what type of worker I am applied to design I am excited and optimistic about the challenges a new semester as and Interior Architecture will bring me. 

Point: Exploration

Beginning the explorations unit we enter the world of “modernism” leaving behind the world of glitz and glamour associated with the art deco and art nevoeau movement.  Leading the conversation in modernism was the Bauhaus school of Germany. Founded by Walter Gropius this school of thought challenged what it meant to be modern. Bauhaus meaning international style sought out a form of architecture that could speak a similar language no matter where on the earths surface the structure sat.  With a reduction of surface decoration Bauhaus architects allowed the form to serve as both structure as well as ornamentation, occasionally using primary colors such as red blue and yellow to create a balance or harmony in a space.  From the Bauhaus school arose the architect and product designer Ludwig Mies Van Der Rohe.  His famous words “less is more” captures the spirit of “modern” architecture at the time. These words came to fruition in his design of the Farnsworth house of Plano Illinois.  The house embodies a since of a clean aesthetic and dematerialization echo Van Der Rohe’s statement of “less is more”

            Practicing architecture along side of Gropius and Van Der Rohe was the French architect Le Corbusier. Designing structures such as the Villa Savoye Corbusier took a similar approach to architecture as many of the Bauhaus scholars stating “the house is a machine for living.”  As in the Bauhaus designs Corbusier designs represented purity in form and aesthetics.

            The reactions to this style of architecture were many and varied. The biggest criticism to the “modern” movement was the structures were cold and unlivable.  This response led to two things. Softer modernism or post modernism and the rise of interior design as a profession.  Leading the conversation in softer modernism were the Scandinavian designers Alvar Alto, Eero Sarinien, as well as Charles and Ray Eames.

            Following these periods modernism can be split into three categories.  First being technological or deconstructionalism. These buildings include structures such as Disney music hall or  Zaha Hadids Guggenheim. The structures seem almost futuristic in nature and are possibly due to the technological advances made in computers. The second movement following modernism was classical revival. Although it was short lived we can see examples of this movement on our own campus in the Alumni house found on College Avenue.  The third movement is the Locality or Regionalism.  Placing an emphasis on the use of local materials as well as sustainability many this style rejected the notion of Bauhaus and international style.

            With ending the exploration unit as well as the semester we are still left with asking the question what does it mean to be modern and how does this philosophy translate onto the earths surface as architecture. 

machine

Clock

reading comp 7

“It must be understood that all architecture is bound up with its on time” (roth 519) A quote by Ludwig Mies Van der Rohe which in a stroke summarizes a large portion of the debate held throughout the explorations unit.  Through out the unit we see designers and architects struggling to create what is modern.  And although the designers and ever looking forward creating new methods and a new design language it appears that no matter how hard they try an observer can still make links back to the classical world.  In no structure is this more obvious that the farnsworth house.  The architect has created a space unlike any seen prior using new materials and methods of designing. Also lack ornamentation allows the materials themselves to become decoration. However an essence of symmetrically, proportion, unification and a liner axis can be easily seen. Through a gesture of reduction and stylization the farnsworth house still embodies the spirit of classical Greece and Rome.  This manifestation of modernism can also be related to art. In Roy Lichtenstein’s piece titled rain forest a single stylized tree is depicted. Although it speaks a very different language than actual rainforest seen in a natural landscape there are still similar elements that connect the two both aesthetically and 

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