1.1+1.2=wi2

This space is based off the precursor of energy and tension it takes to initiate a spark. I thought this space (11’ x 32’4”) seemed most appropriate because of its longitudinal nature, which allowed me to essentially create a space that appeared to pull in two separate directions. Similarly, I placed the opening to the space at the center of the long wall across from the row of windows because it serves as the junction point between the dynamic diagonals of the columns to the left and the wall to the right pulling in opposite directions. I chose to further emphasize a separational pull by creating platforms that distinguished the spaces being pulled from the center. The concept of tension relies on the spatial power of the diagonals as a force of dynamic flow solidifying the idea of energy and the appearance of holding the roof from caving in gives a sense of eminent pressure. Besides representing my sense of tension, the columns also serve the functional role of dictating circulation space because between them serves the purpose of dining so the natural flow is to move on the outskirts between the column and outer wall. On the other side, the wall immediately pulls you in from the moment you enter the space because of its specific placement near the door dictates attention and provides a diagonally directional pull away from the entrance and into the areas of the bathing and sleeping. This directional pull is an indicator to spaces of comfort and privacy.

This space is centered around a nucleus that radiates outward. Every spark begins with a core that combusts and pulsates away from the center so I wanted my barriers or ‘kit of parts’ to help speak this language. My ideation for this space began with a large rounded glass block wall that would simultaneously provide light but also a sense of privacy between separate functional purposes. I created a shorter rounded wall opposite the other to fashion a circular area within this space crowned with a circular column in the center to capitalize on the idea of a nucleus. I had issues with the column seeming arbitrary functionally if not conceptually but the more I studied the space I feel the column acts as a mediator and dictates the flow of circulation space in a circular manner, further solidifying the notion of a core as the walls provide the sense of rippling. The rounded walls also gives a sense of continuity until they morph linear and dwindle to the ends, following the decaying life cycle of a spark. Moreover, the level changes within the space via the entryway, public realm, and private realm provide the sense of entering the different layers of ripples that each provides distinguished spatial functions.

This space is based on the rawness of a spark, where materiality and abstract form play a vital role. I determined the form of my first solid through the appearance of a welding mask with rounded curves, a large window filled with a wire mesh, and tilted walls toward the ceiling at a 30 degrees angle provides a sense of imperfection. The tilted walls offer an angular spatial quality for the kitchen area that allows for recess lighting and built-in cabinets below. The materiality of this solid is cased in a rusted metal texture to give a sense of exposure to the elements just as a spark is tested by the forces of nature. The floor is made of glazed concrete that undertones the idea of raw crudeness and provides a richly defined material surface. Walking past the first solid you come upon a set of stairs set 3 feet apart from the rounded niche of the first solid that offers ample circulation space on either side. The stairs mimic the form of the first solid and continue to the top of a loft that sits in the space without touching any of the outer shell walls and allows panoramic views of the entire space offsetting the tone of exposure to the environment around you. At the end of the loft lies walls flaying from the balcony piers at 30 degree angles until they meet the ceiling that mimic the style of the first solid; this embodies a sense of holistic unity and provides a space that is not only exposed but also seems enclosed and claustrophobic that will combust at a any moment, perhaps similar to a spark?

Narrative 1

Upon arriving through the front door you are greeted by a small waiting area that extends into a second level terrace. After stepping onto the second level a rounded glass block wall stands distinguishing two circulation areas to the left and right. There is ample and equal space to the left and right that is in close proximity to the entrance, a space you relate to functional and formal activities such as cooking or dining. Following the circulation path to the right you proceed down a longtitudal progression that sparks a curiosity of what lies behind the glass block wall and the frosted glass doors that stand shortly a few paces from you. Opening the doors that you realize are actually sliding glass doors that retract into the wall is an interesting feature you did not expect and you are greeted by a an open circular space with a slender inverted column standing promptly in the center, a space you relate to the main attraction area. You recognize a second, smaller scale glass block wall that maintains a circular, dynamic shape, a space you relate to privacy most likely for sleeping or bathing. This area of privacy is the area furtherest from the entrance and therefore is the end of the spatial experience.

Designer Bio + Goals

Last semester through studio I became very inspired by the digital side of design through applications like Photoshop and Illustrator but even more so through 3-d modeling software such as Rhino, Maya, and the CAM Studio Laser Cutter. In conjunction with this inspiration my primary goal for this semester is to overcome my fear of trying new methods as the style indicator so rightfully coined me as a meticulous conservator, and become more adept in the digital realm as I aspire to be an environmental game designer. On the other hand, I would appreciate the opportunity to become more involved in the community of Greensboro and I hope that a future project will give me and my peers the chance to express our ideas while at the same time gives us a chance to communicate with others outside the design community.

While my goals were fairly simple to pinpoint, when given the opportunity to announce my strengths the task became much more complicated and I discovered that my peers seemed much more conscious of my style strengths than I had acknowledged or cared to admit. My personal list began with my competitive nature, my knowledge of history and ability to help others, and my drive for quality craft but then my mind drew a blank but my teammates were quick to react. They contributed to the list by recognizing my abilities to communicate my ideas on an individual level if not at the presentation scale as well as my meticulous attention to small details and my constructive criticism that encourages motivation. Yet they were also keen to point out areas of flaws in my process saying that my attention to detail works for me but also against me because sometimes I focus so intently on the small details that I fail to see the broad picture and my style can become to tight and narrow. It seems that my peers are not only a source for design inspiration and critic but for personal motivation and insight.

This is a painting by new york artist Vladimir Kush that I saw at a gallery while I was in Las Vegas this past summer and I was truly inspired by his fantastical display of color and his talent for creating morphing environments that seem to acknowledge the presence of more than one setting. His attention to every detail is a skill I have built upon over the past year and a half but the vision it takes to create these environments that seem to evoke a sense of fantasy yet appear so seamlessly real is a style I yearn to acquire. My style has always emulated a realistic impression and judged my work by the visual appearance of how accurately it resembled reality that it has become a very burdensome, tight style; the sense of fantasy that Vladimir Kush provides in his work gives me inspiration that my style can still appear real without being afraid to explore a sense of playfulness.

Edit...

As the project has been unfolding over this past week I feel the qualities addressed through me and about me really start to come alive and become a cognitive aspect of my design process. For example, instead of initially generating spatial experiences and sketches my meticulous and cautious nature began with generating sub concepts from the word spark and searching on dictionary.com for key phrases that my 'spark' an idea for a space. While I am attempting to stray from my traditional realm, I have become more aware of my intent concentration to detail by creating everything to scale almost immediately, making sure there is adequate space to circulate, and dimensioning every object before I have a solid idea. Even now, through writing, I am realizing that I need to take a step back and look at the broader scope and solidify an idea before I worry whether it is functional. After speaking with Claire, I feel my ideations were worthy for further exploration and I began 3-d modeling in sketch-up, which helped alleviate much of the dimensional workload with the guide tool and allowed me to focus on the spatial tectonics and qualities of my ideas. Reading Rengel and diagraming really helped with the essentials of the space from circulation routes to solids, bringing the ideas and technicalities full circle. All in all, I have become more vigilant of my qualities and and the details I get hung up on, which is where I feel improvement is being made.