Circulation Space Charette

Public Space Charette

The goal of the design for my public space charette in the children's reading room is to create an environment that is fun and encourages the users of the space to explore, learn and have fun while doing it.  It is always more fun to do school work outside, so what better way to achieve this type of environment than by bringing the outdoors in a fun and practical way through the use of materials, architectural features and color palette?

The exsisting support columns in the space will be sheethed in a wood-like material to mimic the trunks of a tree and extend into the ceilings and wall creating visual interest and layering within the space as well as serving the function of covering the support columns.  They also serve the purpose to separation between activity areas.

Some children prefer to read in groups, some prefer to read alone so to better serve this need, I have designed a shelving wall with "cubbies" for those that prefer to read in tight quarters.  Smaller cubbies will also be utilized to provide display areas for books of the month and such to spark interest in certain reading areas.  The book shelving will continue the offset layering in the walls.  They will be white will pops of primary and secondary colors used in the cubbie spaces to provide contrast and interest.

Unique furnishings will be utilized that have dual funcionality, as storage space as well as seating and table areas.  Some pieces that might work for this space can include these:

The Importance of the Design Process

Creativity and the Design Process

Some of my earliest memories from my childhood is my love of art. I had a duffel bag full of art supplies and they were the only thing I ever asked for for my birthday or Christmas.  I used to make things with my papers and markers and glue and when finished I would walk around the neighborhood door to door trying to sell my work.  At that age I knew everyone would want to buy my artwork, why wouldn't they?  I've always had a strong passion for art and a burning desire to do it.  I would wake up in the middle of the night, sneak my duffel bag downstairs and go to work.  Ultimately I always got caught, but my mother never punished me for it, she was always encouraging, but made me put my things away until the morning.  This passion to do art continued on through to highschool where I was always "the best art student", loved doing art more than anything and ultimately recieved a full scholarship for art at Arkansas State University.  This positive reinforcement I recieved has a lot to do with the outlook I had on interior design when transferring to the University of Arkansas my freshmen year.  Instead of looking at it as a process, I saw it as a purely creative thing that no one could teach me, I already knew it, it was within me.  That's where I was sadly mistaken.  Although being a creative, artsy person is obviously an important contributing factor to being a good designer, it doesn't make you a good designer.  Your professors and understanding the process of design and its purpose is what makes you a good designer.  I found a very infomative article on the relationship between the design process and creativity:

Creativity is a quality that is highly valued, but not always well understood. Those who have studied and written about it stress the importance of a kind of flexibility of mind. Studies have shown that creative individuals are more spontaeous, expressive, and less controlled or inhibited. They also tend to trust their own judgement and ideas-- they are not afraid of trying something new.  A common misunderstanding equates creativity with originality. In point of fact, there are very few absolutely original ideas. Most of what seems to be new is simply a bringing together of previously existing concepts in a new way. Psychologist and author Arthur Koestler referred to this merging of apparently unrelated ideas as bissociation. The fact that creative thinking is based on a knowledge of previous work in one's field is the justification for teaching the history and foundations of a given field as a resource for future research and creative work. It is possible to develop ones ability to think intuitively and creatively.  Creativity is the ability to see connections and relationships where others have not. The ability to think in intuitive, non-verbal, and visual terms has been shown to enhance creativity in all disciplines. It has also been shown that the creative process is very similar in all fields.  Essentially the design process is a problem-solving process, and the designer, just like the laboratory scientist, will be most successful if the problem is approached in a systematic manner. Successful fine artists generally follow the same pattern in developing their creative ideas, though they may be less conscious of the process they are following. Initially the researcher or designer/artist will tend to experiment in a rather random manner, collecting ideas and skills through reading or experimentation. Gradually a particular issue or question will become the focus of the reading and experimentation. The next step is to formulate a tentative problem, and begin to explore that topic. Eventually the problem is refined into a research question or design problem that the person will then pursue through repeated experimentation. In design or fine arts production, this takes the form of works created in a series. Each effort solves certain problems, and suggests issues to be dealt with in the next work (or experiment). Working in a series is the most important stage of the design process. The ability to experiment, to value and learn from mistakes, and build on the experience achieved is the hallmark of a the truly successful and creative individual, whatever the field.

The table that follows outlines the parallels between design process and classic scientific method.

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A Comparison of Scientific Research method and Design Process models

	Research method	Design process
Preparation for research	Literature review	Study historic and contemporary examples, media
Information gathering. Goal: to limit variables and identify problem	Collection of preliminary field data	Experimentation with materials and visual ideas
Identification of problem and hypothesis	Information correlated; problem defined; educated guesses made; hypotheses stated; research design prepared	Design problem identified through visual analysis and recognition
Exposition of facts and interpretation	Research plan is carried out; results are analyzed, plan is modified as necessary based on results; experiments are replicated	Work is created in a series, with each work suggesting problems to explore in subsequent work
Presentation of results and findings	Publication of findings	Exhibition of work or production of design

Reference: Beveridge, W.I.B. The Art of Scientific Investigation, (New York; Vintage Books) n.d.

 

 What the design process could have contributed to the project as a whole:

Had I know the importance of the design process, and not been an "arrogant" artist that rejected it as an  unnecessary afterthought, my project would have been more thoughtful and a better solution for my design process.  It is important to know that design is a process, not just a solution.

Student Responsibility

The Student's Responsibility

Obviously I've probably been the most irresponsible student in the history of the Interior Design Program at the U of A.  That fact is something most of my professors would not argue with AT ALL.  Living on my own since I was fifteen, I didn't have a support system or a figure head to teach me the life lessons of responsibility and the importance of being a responsible student and person in general.  I had to learn these lessons on my own and it hasn't been the easiest journey for me.  I've made many mistakes along the way and have been given several exceptions and at times even enabled to continue my negative behaviors and habits in regard to my college education.  Although I am thankful to the professors and advisors that helped me along the way, I wish I had been held more accountable earlier on for my actions so these behaviors could have been changed sooner than the last semester of my senior year.  Had I had a better foundation than I did growing up, I know I would have been more successful in my studies and therefore a happier person in general.  With that being said, since I never really had this foundation I found a list of guidelines online for the student's responsibility to themselves and the educators that are trying to help them on their way to a better future for themselves.

 Number One: Be your own advocate. Stake a claim in the classroom by making sure the teacher knows who you are...in a good way.

Number Two: Ask lots of questions....and show confusion appropriately.

Number Three: Communicate your struggles to your teachers. What is going on that affects your work?

Number Four: Think of school as your office in training. Are you a good co-worker?

Number Five: Dress for success, but don't panic, you don't have to wear a suit to be taken seriously.

Number Six: At least do the minimum so you aren't creating gaps that are harder to bridge later. Better yet, do more.

Number Seven: Sweat a little. School is your brain gym. You have to work out your muscles, make them a little sore, if you're going to lift a heavier load later on.

Number Eight: Find ways to relate to your reading and writing. What original thoughts and experiences can you bring to the lesson to make it come alive for yourself?

Number Nine: Be in class. Don't jeopardize your own training.

Number Ten: Surround yourself with other students who can help you. You don't have to be best friends with everyone you seek advice from, but find friends or acquaintances that are rooting for you, the best of you.

It's important that you trust adults when we say that your future is important, and that what you do now affects it. It's also important that you know that while many people may contribute to your struggles, you're the only one who will suffer if you fail. Rise above them. Be stronger than the hurdles that life throws at you.  Live up to your potential. Do your job. Look ahead. Keep up your end of the bargain in your own equation of success.

Time management

Time Management 

Obviously throughout my college career, time management has been a major issue for me.  Between work, school and just my inherent procrastination and sheer laziness,  I never seemed to be able to manage my time wisely.  Honestly when starting this assignment I did not know where to begin on how to discuss time management and its importance because it is a skill that I have always lacked.  So with that being said I did some research on time management and its importance and how it can benefit your career and life in general and make you more in control of your life.  To me, time management is a decision you CHOSE to make to create a better life for yourself and  ultimately to be successful.  Without it, any thing you dream of doing or becoming is impossible.  Through my research, I found a few articles online that can describe the importance of time management and its benefits far better than I would every be able to describe in my own words.   I found the following description of time management very inspiring and a good set of rules to live by in the future if I plan on being successful in my life and career:

Time is finite.


There are only so many hours in a day, none of which can be reclaimed. How many hours a day do you have left today? Whatever your definition of time management, it can’t be stored, saved or borrowed. Once it’s gone, it’s gone. Time management is about making the most of your time. You’re more efficient.
Better time management can help you do more of what you have to do –- faster. This doesn’t mean cutting corners or a decrease in quality. You just do what you have to do quicker so you can do what you want to do sooner. Work smarter, not harder, and definitely not longer than you have to.

You feel calmer and more in control.

Learning time management skills matters because it will reduce the amount of unhealthy stress you feel. There will always be more than enough requests, demands and distractions to deal with.

You’re more fulfilled.
People often think that getting organized means time management software, lists, planners and diaries, but it goes beyond that. It starts with the choices and decisions you make based on the values you hold.  When you know what matters and you do it efficiently, it’s time well spent.  How you function affects how you feel about the whole of your life.

You have more energy.

Strange but true -- the act of finishing tasks often brings a level of satisfaction and energy that makes you feel good. The importance of time management here? It will help you do more of those endorphin releasing activities.  Your ability to manage time has a direct affect on your energy levels, as does your willingness to develop smart habits to improve your health now and in the years to come.

You develop more qualities.

Once you apply skills, techniques and strategies, you’ll find that they only work in conjunction with qualities that we all have, but don’t all use. Patience, persistence, self discipline and learning how to be assertive – all get developed.  As you develop your awareness of time, your ability to manage it improves, too. For example, if you are career minded, this is one of the fundamental basic management skills to develop.

You achieve what you want to and need to -- faster.

Better time management means you find that you finish more of what you start, sooner. At the level of goals, projects and actions, it can often mean the difference between 'done' and 'doing'.  We all know how to waste time, but overcoming procrastination is always possible.

You enjoy your life more.

After all, that’s what it’s about, isn’t it? What’s the importance of time management in your life? The more value you put on your time, the greater your ability to learn how to do what matters so you can enjoy life more.  Managing how you use your time is a means to an end, but it brings enjoyment and satisfaction in it's own right as well.

The importance of time management depends on the value we place on our time. How much do you value your days, hours and minutes?  Value, however, can usually be increased. Developing self awareness in terms of time is the first step.  Learning time management skills is the next.  When we appreciate the importance of time, learn how to manage it, maximize it and actually apply those skills, we can genuinely say our time has been well spent.

"Time management is not a peripheral activity or skill. It is the core skill upon which everything else in life depends." - Brian Tracy

Visit to the Crystal Bridges Museum of American Art

I recently made my second visit to the Crystal Bridges Museum of American Art to visit the Hudson River School exhibition.  Unfortunately, photography of any kind was prohibited in the exhibition so I was unable to take a picture of myself in the exhibition.  Instead, I've uploaded a picture of my ticket stubs from the day of my visit.  As noted in the guide book the Hudson River and the dramatic sites and scenery along its shores were popular with tourists, and inspired a group of American landscape painters who came to be known as the Hudson River School.  These artists depicted the natural, unspoiled beauty of America. Along with the artwork displayed, several quotes and summaries of the Hudson School and Hudson School artists were displayed throughout the exhibit.  For instance a summary of the exhibition that best describes the Hudson River School of thought goes as follows:

            Although the term "picturesque" has a long history encompassing multiple definitions, in the late       eighteenth century theorists regarded it as incorporating aspects of both the sublime and the beautiful roughness and smoothness, gradual and sudden variation, symmetry and asymmetry, freshness and decay.  Artists of the Hudson River school emphasized this combination of forms, texture and compositions symmetry in their paintings.  For mid-nineteenth century American artists, the picturesque became the dominant mode for ordering their landscape paintings.

 "The Hudson for natural magnificence is unmatched" -Thomas Cole 1836.

"Go not abroad then in search of material for exercise of your pencil, while the virgin charms of your native land have claims on your deepest affection"  -Ashur B. Durand 1855


         The five pieces of art that I've chosen represent the broad spectrum of the Hudson school from the caves in Kentucky to the grandeur of Niagara falls across the vast landscape of Yosemite Valley and finally the desolute beauty of the ruined city of Ostia.  Of all the pieces of art in the exhibition, the following paintings are the ones that stood out to me the most.

"Mammoth Cave Kentucky" 1843, Marie-Francois-Regis Gignoux, Oil on Canvas

Description:  After training at the French Ecole des Beaux-Arts, Gignoux immigrated to the United States where he soon established himself as a landscape specialist.  He was drawn  to a vast underground system of corridors and chambers in Kentucky know as Mammoth Cave.  The site portrayed has been identified as the Rotunda-so named because its grand, uninterrupted interior space recalls that of the Pantheon in Rome.  Gignoux created a romantic image rooted in face and emotion.  In contrast to the bright daylight glimpsed through the cavern mouth, the blazing fire impresses a hellish vision that contemporaneous viewers may have associated with the manufacture of gunpowder made from the bat guano harvested and rendered in vats in that very space since the War of 1812.

"The Solitary Oak" 1844, Asher Brown Durand, Oil on Canvas

Description:  Durand's tour of European art capitals from 1840-41 resulted in considerable modification of his artistic outlook.  the low horizon luminous atmosphere, and cattle subject of The Solitary Oak demonstrate Durands's admiration for the landscapes of the Dutch painter Aelbert Cuyp.  The painting commanded significant attention when it was exhibited at the National Academy of Design in 1844.  As one critic wrote, "It has that glow of sunlight which it is so difficult to express.  A veteran tree, standing alone upon a gentle eminence, stretching forth its great arms, that have withstood the storms of centuries, is truly a noble subject for an artist of Mr. Durands's reputation...."

"Niagara Falls" 1818, Louisa Davis Minot, Oil on Linen

Description:  Niagara Falls straddles the border between New York State and Canada.  Tourist travel to the falls expanded after the 1825 completion of the Erie Canal, but their fame was so great that a number of artists had made the trek long before, including Louisa Davis Minot who produced an impressive pair of landscape painting in 1818.  Her composition compressed a vista of the American and Horseshoe falls under threatening skies, conveying the disorienting scale of the mammoth cataracts and exploiting a sense of awe and even fear at the overwhelming power of nature.  While Alvan Fisher, whose painting presents a view of Niagara Falls domesticated by the presence of well-dressed touring parties, Minot exploits an aesthetic experience known as the sublime, meant to stimulate a sense of awe and even fear at the overwhelming power of nature on a grand scale.

"View of the Yosemite Valley" 1865, Thomas Hill, Oil on Canvas

Description:  Hill firs saw the panoramic vistas of California's Yosemite Valley in 1862, an experience that led to his reputation as the "most ardent devotee at the shrine of Yosemite and the most faithful priest of the valley."  Shown at the National Academy of Design in 1866, View of the Yosemite Valley not only conjured for New Yorkers the grandeur of Yosemite but also confirmed that the area was already tamed by tourism (as indicated by the couple on horseback at the center of the composition).

And last but not least my favorite painting from the exhibition:

"Castle of Ostia Seen from the Pine Forest of Castel Fusano" 1881, William Stanley Haseltine, Oil on Canvas

Description:  Haseltine lived in Rome in the 1870s and 1880s.  This panoramic view of the Castle of Ostia rising above the distant horizon carries the eye from the hushed, darkened foreground into the golden brilliance of the setting sun.  An almost oppressive stillness evokes the history of the site itself- a dead city whose ruins were silent reminders of a once vital ancient civilization.  It was perhaps this painting that elicited the following response by a nineteenth-centurey visitor to Haseltine's studio:  "A large picture of Ostia attracted our attention by the sense of desolation and picturesque death that hovers about it......"

Crystal Bridges Visit Questionaire

1       1. Write a paragraph on your view of design interior and exterior of museum.  Name at least 3 elements of design solution you observed that makes the building a significant work of architecture and interior design.  What design features are successful and why.  What resonates with you personally?

 The interior exterior of the museum is very unique to the area.  It is designed to experience art with nature .  three elements of design solution that stood out the most include views, scale and proportion, movement and color.  The views to the outside included the exterior elements of the museum with tht nature backdrop or of the surrounding trees and ponds.  Throughout the museum the focus is on the artwork itself.  It is a beautiful transition as you move from the enclosed spaces into the open daylit spaces.  The scale/proportion of the design is directly related to the movement.  As your eye moves from one piece of work to the next you tend to forget about the size of the space you are in.  the piece are all placed at eye level and there is no reason for your eye to wander any higher.   The colors chosen for the design solution seem to be selected from the trees and rock of the surrounding area.  The red green and blue throughout the museum are placed on many walls with artwork on them.  This is the first time I’ve ever seen or noticed colored walls behind a piece of artwork.

2.  Select one criticism for the museum from the article above for which you disagree.  Why do you disagree?

In NY times article “Crystal Bridges, the Art Museum Wal-mart Money Built, Opens” by Roberta Smith.  The statement concerning the failure “to exploit the sights abundant natural light” is disagreeable.  As you move through the space, there doesn’t seem to be that much natural light.  The shades are all pulled down and it is too bright for the artwork.  It has to be protected so as not to been damaged by the harsh lighting.  I wish to have been able to walk through the space without the shades drawn to get the full effect.

         3. Select one criticism from the article above for which you agree, why do you agree?

 In the architectural record article, “Wal-mart heiress Alice Walton’s new institution, a series of pavilions in a forested ravine, links nature to a major collection of American works” by James Russell.  The statement concerning that art viewing is merely serviceable.  “it’s too bad that Safdie could not truly unite his collection of forms into an extraordinary deeply realized whole” is agreeable.  The architect had to create enclosed spaces for the art that are only for the art pieces.  There is nothing that exciting about these rooms, it is merely serviceable.  The spaces could be much more exciting with more of the nature intertwined with the artwork.  I do appreciate the space in between the galleries breaking up the monotony of art after art. 

4.      

        4. What do you sense is the overarching concept for the museum? After what you read in the above articles do you think that the concept intended by the architect is conveyed in a subtle or obvious way?

 The overall concept of the museum is to combine American art and history and the immediate experience of nature in a compelling and accessible way, but keeps the art in the foreground.  The whole idea was to place art together with nature.   This was created in a very obvious way.  The structure is far off the main travel paths and completely surrounded by the trees as well as the spring flowing underneath.  All of the views are to nature or have some element of the surroundings incorporated into the multiple views to the outside.  Although the space where the artwork is located contains no windows, every other space has full glass window walls.  All of the materials used in the museum are naturally made.  There is wood, concrete and stone throughout.

      5.  What do you think is the driving concept for the museum store designed by Marlon Blackwell?

 The driving concept for the museum store by Marlon Blackwell was to be organic and natural.  It somewhat reflects the inside beams of the structures in the rest of the museum.  He allowed for all of the items in the gift shop to do most of the design work for him, kind of as small pieces of art high lighted by the small spot lights peeking through the wood slats of the organically waving ceiling that extends to the floor. The floor and ceiling are both created from local natural materials .  Lighting is the key element in the space and it is a nice reflection to the rest of the museum.

6.        

   6. What surprised you about the museum?  What excited you? Why were you excited?

 I saw in the model that they were going to make all of the concrete roof sections grass or planted roofs.  This was an exciting way to blend the built structures in with the natural environment.  I thought that all of the roofing was going to be the copper material like that in the pavilions and that is used on the bridges and some of the other major elements.  Although this isn’t a new concept, it is very much a part of the image the museum is trying to send.  It will be interesting to see what the outside looks like from the trails after the roofs are entirely covered.  The colored walls were also very exciting and interesting to me.  Usually when you walk into a museum the lobby or giftshop are the the most colorful spaces, so this was a new image of a museum for me.  The appropriate paintings were selected to be placed on the appropriate wall colors.  It really seemed to work, especially as you transition throughout the spaces.