Monday, March 28, 2011

IAR221- Blog Post #10- Revolution of the CLOCK

 As an object that represents industrial revolution and the revolutionary time period, I chose the clock. Though the first clocks started back at the beginning of time, they are still equally important today. It's because of the Industrial revolution that we can have multiple ways and ease of knowing the time today. A few concepts stay the same, but changes continue to take place to make it even better than before.

The first look at the clock and its function can be seen in Stonehenge. Stonehenge uses a circle shape to represent the roundness of the sun and the arching the sun makes around the earth. The stones are used as "dials" to help direct the shadows to help understand time of day.

As years go by the invention of the sun-dial begins to strengthen and smaller versions begin to exist. However, there is a problem with this form of telling time. When the sun is not out, the sundial is of non use. This encourages the use for other techniques. Then the start of water clocks began.

Mechanical clocks begin to form after, and it is this form of clock that allows the industrial revolution to take control. The round nature of the clock with its repetitive movements help symbolize the sun and the roundness of it and the earth. Today we continue to incorporate these things, but create more efficient and easier ways today. Below are pictures showing the way the clock has developed since the industrial revolution and how they are made so often that practically everyone owns one. If not, they are able to see one everyday. Clocks are now everywhere and on everything thanks to the revolution and industrial practices. They have moved from a sacred important spot to something we use multiple times a day. They not only tell one what time it is, but help schedule around those times.

PS- another linking the clock has is to the railroad system. It helps transportation with the railroads be more approachable and usable providing arrival and departure times.


IAR221-Reading Response #10- Washington, DC + Roman Architecture

Sources: Ching, pictures have websites attached

Monday, March 21, 2011

IAR 221- Blog post #9- Colonial Expansion on Architecture + Design

Sources for Pictures:

Sunday, March 20, 2011

A Pattern Language- Theory Reading

In reading, A Pattern Language, I discovered that there is in fact several patterns to consider and follow when designing a space. Without considering some important aspects, one will not gain full potential in the space. Out of the patterns discussed in the reading I found a few that I believe are extremely important in the designing of the center for visiting scholars. The patterns I found most useful were: intimacy gradient, indoor sunlight, common areas, entrance room, flow through rooms and the tapestry of light and dark. These patterns are most important because they focus on the interactions people have with the building. Public and private space are needed for this center, so by using these patterns I can achieve making the difference between the two known.

Intimacy Gradient
Goal: to make the visits of strangers, friends, guests, and clients as less awkward as possible.

Make possible by: having the main entrance lead to a public room and gradually save the private for the back. Having a room like a commons area or living room at the entrance into the front door will make the guest feel more comfortable and less awkward.

I plan to make this possible by adding a common, comfortable, lounge room at the main entrance for guest to come and talk to the scholarly writer. But at the same time, I want the space to be used for a private writing area as well. Perhaps have the common room/entrance have flow into the writers personal living room. The two spaces can be divided if wish be through sliding doors. Therefore, if a big banquet or reading was to be held there, both rooms can be used and be inviting.

Indoor Sunlight

Goal: to create the space as bright and cheerful, yet dark and gloomy as well.

make possible by: designing the interior where the sunlight will shine into specific rooms at specific angles at certain times of day.

I plan to have the common area and office shine bright throughout the midday to show the importance of the room as well as attract people to the rooms. However, if the scholarly artist prefers a dark gloomy environment in which to write, they will have either dark, bulky blinds to cover the windows, or/and similar rooms on the opposite side of the house that the lights don't come into. making the spaces that are most important have light will allow people to migrate that direction.

Common Areas & Entrance Rooms

Goal: to make a common area and entrance room inviting, warming, and placed right.

make possible by: making the common area tangent to everyday flow. That way one can easily go to the room, or pass by if they choose.

I would like to incorporate this into my design by making the common area lie right off the center hall where flow will take place most often. That way the scholarly writer will pass by the room and see it everyday, though may not use the room until need be. This will allow for easier flow and movement through out the rooms.

Through these design patterns, I will be able to design this writers retreat to have better function and use than if I had not read it.  By taking these patterns to heart and use them I will allow the private residence for the scholar to have an intimate interchangeable effect as well as create a common area where people can feel comfortable and invited.  I plan to create the space to have two halves on either side that meet in the middle, joining the two to create one place as a whole. Also, when guest are not there, the writer themselves can use the public spaces as if they were private.

public conference room, meeting area, etc. or just a nook in the wall diving two rooms

having a private living room, but light shining near and to the public area. but making a passage between the two.

sitting table for meetings, breakfast, etc. having light peer in at the morning hours.

Saturday, March 19, 2011

Narrative for Dining Space

Starting in the year 2011, the United Nations started the foundation and beginning steps to create a new holiday in hopes to eradicate world hunger and bring back the formal dining room. They felt necessary to hold this holiday not once, but twice a year on the days of the winter and summer solstice. In planning this new holiday concerns began to arise in the fact that in some continents around the world, people do not have food or the money to buy food. So in thinking of ways they (United Nations) as well as the government could help give equal opportunity for all to celebrate and actually eradicate world hunger they came up with some rules. In the holiday declaration agreement, the UN and the governments within each continent will provide the basic foods necessary for preparing one dish, to a given extent of pricing. They will have the money and means to do so from funding through donations, taxes, and fundraisers held. On top of this generous food giving, each continents main government will create a unique table to represent the continent in which they live. These newly designed tables are then manufactured and sold at an extremely low price to the people that live in that continent. This holiday is one that must be shared and spent with someone in a different continent. Every year the continent changes, so that every continent will be able to have a new experience each year. For a given year, each household in each continent will be electronically matched with a household of the other. Two weeks before national together day, each family will receive the contact information of the other family. Within a week each family must prepare a written dinner plan with recipes and instructions (with attached pictures of food outcome) for the opposing family. These must be sent to each family. Each family will then go and purchase the ingredients (which if the continent doesn’t normally have the ingredient, the governments have shipped ingredients to each other and now have at temporary holiday stores). Each family/household has a week to learn and practice the recipes. On the final day of the holiday the families will cook the other family’s dishes as well as the recipes they gave to them. That way the night of the dinner, both families have all the same food. Using a Global World Translator device, each family will then sit down and enjoy an afternoon of food and fellowship with each family.
For winter solstice festivities begin on GWT at 430 pm EST
For summer solstice festivities begin on GWT at 700 pm EST
The whole celebration/festivity will last 2.5 hours of dining. After that extra time with family on GWT is optional.
As a graduate of UNCG IAR, I am not only an interior architect having the privilege to design someone’s dining space, but also have had the privilege in designing the table for our continent.
The current dining room I am designing has a unique underfloor wall system which holds a 50” GWT device. There is a full wall window with no panes, etc. and the sidebar is moved from the room when the underfloor wall is up. To show the importance of certain places within the dining room I will use texture on some of the walls and ceiling. Above the sideboard there will be a bulletin board with each food item labeled, the recipes, and the way the food is pronounced in the other continent. Another wall hanging will be present in the dining room which will show a map of the world with the two continents highlighted, and before the food festivities begin, will show a slideshow of the joining continent. For seating I will have a round- loop around chair that is upholstered and comfortable. The table itself has yet to be fully determined in material choice, but will have a U-shape. Inside the U will be a small rotatable round robot. This robot will fill drinks and provide second servings if one wants more food. The flooring of the space will be dark cherry flooring bringing emphasis to the lighter materials in the room.
Another option is having no whole wall window but instead having no windows but only up to where light can peer inside.
Pictures of pondering ideas:
Ceiling space and dividing space

Thursday, March 10, 2011

IAR221- Reading Response #8- St. Peter's Square

Ching, A Global History of Architecture

Wednesday, March 9, 2011

IAR 221- Blog Post #8- Architectural History Nautilus

For my nautilus shell, I chose to focus on the five main time periods we have discussed as a class. To connect these time periods together I added the inner nautilus of basic "structures" that help connect the outer nautilus. Through looking at objects, spaces, buildings, places, as well as groves, stacks, circles, axis, etc. we can see how these times periods relate to one another. Whether the periods following accept and use or reject the previous rules of the other time period we can see how they build upon each other. It is because of this building upon each other that we have the modern day designs we do today. By looking at the nautilus shell we can see how design today has some things they did years ago. 

Thanks to Google images, Microsoft power point, Roth, and Ching

IAR 221- Reading Response #9 Breaking Rules through layout and order: Chateau de Versailles to today

For this reading response I chose to discuss how the breaking of rules with layout and order not only changed chateau de Versailles, but continues to influence the ways in which we design today. In the reading response you will see not only the similarities of Chateau de Versailles to homes today, but how they differ as well.

Sources: Ching and picture sources are attached to the picture