I really like how wires on technical drawing on screen convey ‘moire’ effect I had in mind. It would look even better in shiny stainless steel in real life.
One of the most difficult and satisfying tasks in this exercise was drawing the top rings in side elevation. It took some time to work out what it should look like.
The entrance in plan view was also really tricky. Initially it looked like this:
I realised that I never included the material of legs – it’s stainless steel.
I’m afraid I encountered a ‘design fail’ in my technical drawing. Side elevation wires have a gap that is not attractive. To fix that I would need to change the design of the entrance and/ or positioning of the wires. Unfortunately time restraints did not allow it. I feel I should have discovered it at previous exercise (design development). Someone once said that design development can go forever and I think I have a perfect example here. If I had a time restraint like this in ‘real’ design life, I would probably submit what I have to the client and propose the following versions around the entrance.
I particularly like version 2. The entrance is circular in the top and goes straight down the sides (rather than narrowing like in original design). I think wires in ray like position would give even better moire effect as well.
Another solution would be to do what I did in model building. I attached the wires to the back of the entrance and therefore they went ‘lower’ on the frame.
During the process of technical drawing I decided that some of the wires attachments around the entrance would be different to the rest of them. I opted for a different mount, a vertical type, that would have to be installed at the same angle that the wire meets the frame.
It’s all very complicated and I feel that more research and development work is needed.
I also realise I didn’t do all wires as I should have. I.e. I didn’t use guidelines to place them on relevant spots on the frame. Instead I just spread them evenly in elevation views even though it would look like that. They would be closer together towards the edges of the view and further apart in the centre of the view. It took such a long time to draw and position all the wires. I think I spent around 40 hours on technical drawing task. I was thinking lines, I was dreaming lines… I kept thinking of contextual study about lines from previous exercise. I was very grateful for the existence of guidelines, without them this task would have been impossible.
I feel I should have started with ‘rough’ technical drawing, followed up by scale model building and then refined technical drawing.
I think in design work you would normally jump back and forth between such tasks as you refine the design. Here I did them once and in specific order.
I built my model in scale 1:20. I used model foam sheets, wood sticks, white thread, dowels sharpened with pencil sharpener. At first I was using removable glue dots to ensure right proportions and stability of the frame. Later on I used super glue to make it more rigid. I painted all wood elements with white spray paint.
I imported some of my iPad people drawings on to cad and scaled them to be approx 1650mm high, then I printed them in scale 1:20 and attached to pieces of cardboard.
The process of building this model was not easy. I chose such a complicated shape! I had to research model building materials, tried balsa wood (difficult to cut neat circles without specialist tools) and metal wire for wires (difficult to position without piercing the foam).
I’m happy with my model, despite it being a bit rough around the edges. I can think of two ways my model could have been neater:
1. Creating a 3d version of it in software and the printing it on a 3D printer. This option also wouldn’t inform me how each piece relates to other pieces.
2. Getting specialist model building electric tools and building the whole frame from wood.
Both of these options were outside of my already overstretched budget.
In late 2020 I needed to make a drawing for our carpenter to build these boxes at work. Normally I would just give him one but we need them daily and they started to fall apart. So I decided to practice my new skills and draw what he needs to do.
This along with photos of the old box were explanatory enough for him to build them to my specification.
The images above are of final version. After I gave the contractor the initial drawing, I was asked what is the error margin. I did it with comments on maximum an minimum dimensions that were important for the design to work (I needed to measure the space in storage for these boxes and the jewellery pads to ascertain this). In the mean time I created CAD drawing based on one of the former measurements (just for fun and practice of it).
Today I was trying to work out how to create and insert title box, I decided to work on my old Peckham Box drawing. Here it is, a CAD drawing with title box.
Here is what the old box looks like:
I am still awaiting new boxes for Peckham, in the meantime had some built for another shop. I was pleased my drawings were sufficient to make something.
Oak – durable and beautiful wood. It refers to local area. There are English oaks growing in local woods. According to Woodland Trust English Oak is ‘the 2nd most common tree variety in the UK and a national symbol of strength.’ I would like to use this traditional material as a nod to the local aging community, who will hopefully appreciate its nobility. The wood can be used for outside projects, and it will be very durable if it is properly treated. I would like to treat the oak frame with a clear, UV protecting oil that will show of the natural colour and pattern of the wood. I presume I will have to choose fresh sawn oak (also called ‘green). It will need to be weathered for 6 weeks before applying oil. I would like my structure to be sustainable and durable so the treatment will need to be repeated periodically.
I found a local supplier called Honeysuckle Bottom Sawmill (http://www.surrey-oak.com/) who supply the wood and bespoke curved braces to curve the timber to project specifications. Their products are sustainably and locally sourced. They even supplied wood to film sets.
Stainless steel – an alloy composing of chromium and other metals. Chromium reacts with oxygen creating a protective film. Stainless steel is strong, low maintenance, corrosion resistant, sustainable, recyclable (does not deteriorate through recycling), aesthetic and functional. I chose it for its appearance and suitability for an outdoor project.
The wires are simply surface mounts and balustrade wires. They are made to measure and supplied by S3i Group (located in the UK). The ball and socket design allows up to 42 degrees angle.
The components I used – wood and metal wire are a high-end nod to farm fencing. It has a loose connection with horses on Epsom Downs and the fact the local area used to be a farmland not so long ago. The warmth of natural oak should provide comfort for users and the wires add interest without spoiling the view.
I continued drawing digitally over a template. In the last drawing I tried to change pose slightly to the template. I wanted the figure to look more likely to be in an interior so I added a drink. Hands and feet are still very tricky. Life drawing seems much easier when you see the body you draw. This time I also experimented with just silhouettes. I watched some videos on how to draw people in architecture and tried to a general silhouette afterwards. Still a lot to learn, but it’s an enjoyable journey.
My tutor suggested to practice drawing people. I felt particularly inspired after recent oca life drawing session. I also wanted to experiment more with new drawing ‘gear’ I got recently.
I downloaded an image of female body proportions, made it less opaque and drew over it in another layer. I believe if I keep drawing this way I will get the hang of the proportions. Hands and feet are still very tricky, but the guides helped a lot. Third figure, at a slight angle seems to be the most useful for interior design visualisations. I realise this body type may not be most representative, or inclusive, but I’ll get to those later, when I understand proportions better.
I also watched ‘Life drawing live’ on bbc catch up and attempted the last pose (19 mins). Below is my brave attempt.
Today I took part in my first ever life drawing session organised by oca (on zoom). It was difficult but I enjoyed it very much. All drawings done on iPad, in Adobe fresco app, with pencil brush. Hopefully there’ll be more sessions like that.
I completed my drawings using automatic 0.9 pencil, HB. I just love how the pencil glides on paper.
I looked at my drawings from previous exercise and decided to go in that direction. First, I played with the shape of the entrance (Fig. 1).
Then using tracing paper I redrew them with shaded entrance option, I liked rounded option most and the bigger drawing was my last drawing on this page. (Fig. 2)
I quite like the rounded, shaded entrance but after drawing it in side elevation I did not like it as much (Fig. 3).
Using tracing paper, I drew the shape again, but this time with more simple entrance (fig. 4). I felt like the shape of my pavilion is somehow inspired by ‘Gherkin’ building in London.
As much as I was happy with proportions and aesthetics of my design I kept worrying that for it to be translucent and light it would have to be made either of glass (heavy and expensive) or pvc (unsustainable and also pricey). Also, I was afraid that on a warm day it would turn into a ‘glass house’ despite many gaps and opening in the roof.
It took me a while to come up with the next design (Fig. 5 & 6). Funnily enough it was Peckham Library pods that inspired me. The three legs and rounded shape are ‘borrowed’ from there. I have not decided what material it will be yet. There are some options that I will explore further in next exercise. Using string as in Oasis Pavilion may be an option, I found that interior very peaceful.
I loved using tracing paper in this exercise. It made it quite easy to repeat the proportions that I wanted to keep.
Lastly, I decided to photograph my model with some scale figures (Fig. 12). As ‘tried them on’ I realised the supporting columns are too high, so I shortened them. Now sadly the entrance is a little lower than I would have liked, but this is just my first model and I think it shows my idea well.
To me this whole task was the most difficult so far. It is hard to think of the design but only concentrate on one aspect of it. I keep thinking about the materials, the brief does not specify whether it will be a permanent or temporary structure… We also have no budget (which may be a good thing at this stage). It was interesting to see how I came from my first drawing in Exercise 2.3 (https://aggievideoblog.files.wordpress.com/2021/01/fig.-1.jpeg) to this model.
Location: China, Daiyue District, Tai’an City, adjacent to the Shenlong Grand Canyon, to the west of Mount Tai. Jiunvfeng Study is overlooking Mount Tai, which is (according to Unesco) ‘the most famous sacred mountain of China, with exceptional historic, cultural, aesthetic and scientific value.’
The pavilion has been completed in September 2019 and the construction process took only 6 months. The whole process and components have been designed to make it during the summer with suitable weather allowing the built.
The back wall is built from local stone, I would like to use local material in at least part of my project, to aid sustainability. The structure is built from light steel. I like how part of the structure incorporates the sheltered balcony that follows the shape of the roof. I think I could make my pavilion half indoor / half balcony under the roof – necessary with a glass banister like in Jiunvfeng Study – to allow undisturbed views. The interior is lit by led strips installed above white membrane, producing even, dispersed light. I like this solution but my pavilion (if I went with this lighting option) would need a softer, warmer light to provide more cosy, relaxing space at night.
The interior of Jiunvfeng Study is peaceful, predominantly white with large windows allowing unobstructed views of the mountains. I like the idea of glass wall offering the views. I suspect that shape and colour of the roof would help keeping the interior cool on a hot day. This is something I am conscious when considering my pavilion, I would like to avoid a greenhouse effect in my interior.
The pavilions shape is adapted to the terrain of the location. We can see it very clearly in Fig. 4 below. ‘My hill’ is different shape but I should have the surrounding terrain in mind when considering the shape of the building.
The Oasis Pavilion has been designed by a South Korean studio OBBA (Office for Beyond Boundaries Architecture). The built has been completed in July 2015. This temporary structure’s function was to provide a relaxation space for visitors to APMAP (AmorePacific Museum of Art Project) 2015. The exhibition was located in Amore Pacific R&D Center (Research and Development).
I chose this precedent due to similar function – resting place. I especially like the string curtains, their translucency, their movement. The atmosphere inside the pavilion seems serene. I think similar wall design in my pavilion would help keeping it cool on a sunny day, I must think of curtain screening (but using different material than string as the strings would get knotted in the wind).
The pavilion is placed outside and it seems to be getting sun all day long. It is interesting to see translucent shade created by sun entering through the circular opening in the ceiling and hitting the curtain.
It looks light and peaceful. It is interesting to see the seats placed at different heights, some seem to be to high for seating.
The circular opening in the roof allows the light in. It also made the whole structure less heavy allowing to use thinner supporting columns and smaller amount of them. The opening frames the sky in a similar manner to some of James Turrell’s works.
On the plan drawing we can see how the designer intended for the space to be used. The space directly under the opening was meant for relaxing on the ground and gazing at the sky.
As recommended by my tutor I made my first quick drawing of an everyday object. It had to be very quick as I drew it on the plane and the object I drew belong to another passenger, so I couldn’t know how soon it will be moved. I had a very good view of it. Due to the location the drawing took place I had limited media (automatic 0.7HB pencil and precision eraser). The drawing is fairly small as for practical reasons I used a small notebook. The object is a small plastic cup with a plastic straw in it. It was an interesting experience trying to capture the transparency, smoothness and light reflections on the item using just a pencil. Eraser helped creating the shine. I concentrated on relying the shine and transparency. It felt a bit odd to draw on a plane, being surrounded by people able to look over my shoulder. But soon I forgot about them and enjoyed the task. Really nice activity to pass the time. It’s a shame that the arrangement was moved as there was a water bottle too, and I would have drawn it if I had a chance. I could have also added the surrounding; the fold up table and back of the seat. Maybe on my way back!
What “experience” is James Turrell trying to create and what specific techniques is he using in his designs?
Can you describe them and propose ideas of how and why they might be effective at engaging the viewer?
Can you draw any comparisons to James Turrell’s work and a design visual of an interior design?
Using your learning log, along with pictures of James Turrell’s work, discuss these ideas and reflect on how you might incorporate these ideas in your visuals. Keep the post to a minimum of 200 words.
James Turrell is an American artist who trained as psychologist and is an avid pilot. He was born in 1943 and created many light installations or other works of art and architecture that use light and empty space as medium. He often gets his inspiration from the feeling of space and light while he is in the air, piloting a plane. His artworks are spread around the world and since 1977 he has been involved in the ongoing creation of Roden Crater – a large scale artwork – a fruit of his lifelong research into visual and psychological perception. He is in the process of creating a unique destination, occupying a dormant volcano crater in the middle of Arizona Dessert.
In my opinion through his designs he is trying to make people being in thought, to contemplate, to consider the environment around them. He wants people to stop and look, just look, perceive, and feel, perhaps feel surprised while they see a lit space that may appear to be in a different dimension than it actually is. An example of this could be a frameless opening in the roof (Fig. 1), that looks almost like a picture (and at night a dark rectangle contrasting with the lit room – Fig. 2); or light shining on a corner in such a way that it looks like a 3D object that shares the same corner and at the same time like a flat object whose front hides the corner (Fig. 3).
His artwork engages the viewer through contrast between light and shade (or darkness) and through perception that is different to reality.
Interior design visuals where outside is brought inside use similar techniques to some of James Turrell’s work. These visuals would have large windows with beautiful scenery, landscape or urban visible and being a focal point of the interior (Fig. 4).
Visuals with skylights showing the sky especially on a beautiful day (Fig. 5) use similar technique to J. Turrell’s too. I think these features make user stop and contemplate and hopefully feel happy.
Other visuals especially hand drawn can incorporate the contrast of light and shade by highlighting the light from lamp or window in a light or yellow colour (or perhaps even in a different colour). (Fig. 6)
If I was designing a space with a beautiful outside, I would try and incorporate it within a design, try to bring it inside in my visuals, make it a feature. Also, when sketching I could incorporate light patterns cast by daylight or lamps (similar to my drawings in perspective exercise 3.3 where I tried to capture shade cast by the shutters).
Some interiors designs feature led strips along edges of dropped parts of the ceiling or above it (Fig. 7) or under steps.
I am not a fan of the lights highlighting the ceiling in that way but perhaps lighting whole wall or just artwork on it may be a good idea. It would all of course depend on the interior and the clients wants and needs too. On the other hand James Turrell created something similar to what in theory I’m not a fan of – I’m talking about his Inner Way piece (Fig. 8) It has strips of light by the ceiling but I think it’s brilliant. It only shows that you (or a client) need to see something to be convinced – right visuals highlighting the right features are so important.
In commercial or public spaces using light to highlight architectural or other features adds sense of grandeur (Fig. 9).
Sun tunnels bring daylight into an otherwise dark space (Fig. 10 ) in a similar way to James Turrell’s light veils (Fig. 11) providing natural, bright and dispersed light. With the difference that light veil include both natural and artificial light. In both instances the user cannot see the light source. I stayed in house that had a light tunnel and I remember the surprise I felt every time I entered the room. The amount and the quality of light was astonishing.
The bottom line is – we need light in our interiors, preferably different sources at different brightness and concentration but light is needed for human (and other creatures) survival and wellbeing.
Reflection on the task:
As usual with contextual studies the hardest thing was to get started. I read about James Turrell and his work on the internet and then needed a couple of days to dwell and get the information in order. Then I sat down and noted most of the facts from my head. So in the end I enjoyed it, I just worried about what to include unnecessarily.
I learnt from this exercise that light plays vital role in the interior design, particularly how natural light enters and travels through the space, but also design and placement of artificial lights have tremendous impact on the atmosphere and usability of the space as well as on the experience of the space. Light also facilitates sense of movement in a space as seen in Fig. 9. Moire pattern visible there along with vivid colour sheer sheets intersected with lights and rounded, repeated shapes create movement. Without light the effect would be rather flat.
I went for a walk today and took these to photos that’s show how the view closer to the viewer changes depending on the eye level height. The difference is quite dramatic
I tried to find my eye levels and vanishing points by drawing freehand lines (just though it may be a good practice to understand perspective better). I can see the height difference very clearly here.
I selected Epsom Downs Racecourse as my space for this exercise due to restricted access to alternative sites due to Covid19. I selected this space because it is an open space and a popular walking, running etc spot so I knew I will see movement there.
I sat down on the ground and observed people passing by and drew Fig. 1 and Fig. 2. I used an automatic pencil and coloured pencils. The day was quite cold and windy, so I didn’t hang out there for much longer, just took a few photos in case I needed to refer to them I at home.
The drawing in Fig. 3 shows outside space. I drawn it with pencil and used it as a base for all Epsom Downs Movement drawings. My final drawing is drawn over Fig. 3 drawing.
After I drew the space, I realised I have no idea how to draw people, leave alone people moving. So Fig. 4 – 7 show my practice, trying different techniques etc.
Fig. 8 – Fig. 29 Are all drawn on tracing paper. I copied the landscape from Fig. 3 to speed up the process, and for clearer comparison of my movement on each.
Fig. 8 is drawn on the tracing paper with soft pencil, coloured pencil and pink fine liner (dogs tail). I think it shows the energy well, but I would prefer the colours to me more vibrant.
In Fig. 9 I added the cyclist using soft pencil and coloured pencil.
Fig. 10 was completed using fine liners and a sharpie. I thought It shows energy well, but I was not able to use gradient colours with this technique. The vibrant colours are great.
In Fig. 11 I drew scenery and people in fine liners and a sharpie. Then I tried to capture movement using soft pastels. I do not think I captured movement well here, a bit too washed out.
So I added patterns using coloured pencils (Fig. 12). A bit better but not quite. Now I think the trails are too long, they sort of miss the point, at the time I had no opinion yet.
Like in previous ‘Epsom Downs Movement’ drawing I first drew landscape and people using fine liners and a sharpie (Fig. 13)
Then I added movement with fine liners, coloured pencils, and soft pastels (in that order) – Fig. 14. I think it has good energy and movement of people in space but it doesn’t really show hair, hands or legs movement (apart from dogs tail).
I decided to try capture both movement is space and movement of body parts. So I took softest pencil I have (10B) and started drawing, smudging and evaluating the effect.
Fig. 15 Shows my first go at detailed cyclist. I wasn’t pleased with that.
Fig. 16 is another go at cyclist, I still struggled to capture movement of the legs and wheels.
3rd time lucky. I used precision rubber on the wheels. I also thought that stripy gradient pattern shows movement is space better (Fig. 19). At this point I knew I will have to draw these people in soft pencil, smudge and erase bits to show movement patterns.
Fig. 20 shows my first go at the walker, I was not happy with this.
Fig. 21 is another go at the walker. This time the shading and grading is a bit better, showing arms and legs moving.
I then added some shading at the back to show direction of the movement (Fig. 22)
Fig. 23 and 24 show the runner and development. If you zoom in, you should see ponytail bobbing (I hope I got this right). I was not quite happy with the shades I got, I thought they were a bit too sharp.
I created Runner 2 in Fig 25 using same technique but blended a bit better and added graded stripes at the back to show the movement is space.
Dog walker was quite hard (Fig. 26 and 27). I was not sure how to show a person who just stopped walking and is looking down at a dog. I hope this captures it. I cannot make up my mind whether this version or one in Fig. 9 is better.
I did not realise dogs are so difficult to draw. I think my first one looked like a small horse. Never mind the body though, I think I captured the movement well, especially the tail wagging (Fig. 28 and 29).
After I practiced all people and the dog, I was ready to create my final drawing. I created the landscape using soft pastels over my pencil drawing as in Fig. 3. I wanted to add some colour to the drawing (Fig. 30).
Then I added the people and the dog with a soft pencil (Fig. 31)
After that I smudged and erased to make some areas of movement darker and lighter to capture the movement. I used my finger for general, and cotton bud for ‘precision’ smudging.
Reflection on the task:
It was difficult, my people drawing skills are very rusty. Nevertheless, I really enjoyed creating each drawing, I like to get stuck in and draw. As predicted the contextual study about movement was coming back to my mind. Just smudging is not enough, you need pattern. Pattern is great for conveying the energy of movement but needs grading to give it direction. Movement capture needs a bit of contrast (my dark is smudged, but lighter bits are small and sharp).
Can you find 5 other examples of interior design that appear to capture movement in their designs?
Add images to your learning log with analysis of the space, including what methods have been used. Eg. form, lines, texture, lighting etc.
1. Galleria Centercity in Cheonan, South Korea designed by UN Studio
The space is a department store, with a food court, an art and cultural centre and roof terrace, so an all in one place to shop, eat and socialise. Fig. 1 shows interior from the entrance looking up. The user entering the space will be enticed to look up by the repetition of pattern on each visible ceiling (edges, lights and what I’m guessing are grooves). The design is repeated but slightly differently on the top panel unit hung just below the ceiling where through curved gaps light seeps down. The platforms look a bit angled, as if not quite level, the interior was designed with an upward exploration in mind. The interior is tall and light with very limited colour palette but by no means boring. The glass balustrades make the space feel more open, at the same time I can imagine they invite to come closer and have a look.
Fig. 2 shows same interior (as Fig. 1) but seen from opposite perspective. Somehow looking down does not seem as exciting as looking up. The patterns are not visible. We can still see shape of the platforms but without the light enhancing them they do not seem as inviting. The opening of the plateaus into the void aid orientation within the space. I think the voids presence and patterns cast by sunlight capture the movement best in this view. We can see repetition of shapes which are identical on each level on the left-hand side and pattern cast by the ceiling panel onto the shiny floors below, filtering the sunlight through, these patterns will move as the day goes by.
The façade of the building is clad with two layers of vertical mullions which create a moiré pattern effect (Fig. 3). As the viewers position changes so does the pattern on the façade. The architect incorporated visible movement even if it is only optical illusion. The cladding also works as light openings and light shades, it cleverly lets the light in through openings but not too much, which is good for preserving energy on lighting and cooling the space.
UNStudio designed dynamic lighting effects and animations to be displayed on the façade of the building at night (Fig. 4). This is facilitated by 22000 LED lights installed in the façade. So even after the sunset the movement is still visible on the façade.
2. Bienville House in New Orleans, USA designed by Nathan Fell Architecture
Fig. 5 shows open plan kitchen/ dining / living room. The interior space has sliding doors in place of two walls, so it fully opens to the swimming pool and outdoor decking. There’s multitude of materials visible, concrete floor tiles, concrete wall cladding, wooden deck and kitchen are made of different types of wood, outside cladding turning inwards and covering the internal ceiling of this space. glass sliding doors framed in black metal, black metal fans hanging from the ceiling. I think the movement in this space is visible in the linearity of materials. They are arranged very straight but at different patterns. The most movement is visible in the ceiling lights: straight, long, narrow, they really stand out against the anthracite ceiling. Their form reminds me of passing lights at night, at high speed; that is what dotted lights in movement would appear like.
Fig.6 shows same space as fig. 5 but in different perspective. We can see the structure of the wood on furniture units. In my opinion the organic patterns of the wood grain have a certain ‘flowy’ sense. of movement. We can also see floor finish in a closer view and the black window profile as a border between inside and outside. I can imagine the fans, moving air will give a very physical sense of movement, not only visual, one could feel the air on their skin. This combined with the ceiling lights will add to the feeling of movement of this room. I must also mention the chairs next to kitchen island, their vibrant colours make them pop out and it seems as if angled legs might start walking any minute.
3. Opium Pop Up Store (The Flip Flop) at Mumbai Airport, India designed by Renesa Studio. The project is called The Flip Flop because of an ingenious display technique, where the singular shelves on the walls can be flipped open.
This design really captured movement. In Fig. 7 we can see it in repetition of black grid on the floor and walls, arched doorways which look like they have been copied and pasted along with the interior (also this shape is repeated in the floorplan), and fluorescent green display units for sunglasses. The ceiling is painted black with a square grid just below, upon which spotlights are placed. The movement is captured by repetition of pattern and contrast of black, white and fluorescent green.
In Fig. 8 the same space is viewed from a slightly different perspective. Here we notice black framed mirrored in hour-glass shape that can be swivelled. I also noticed a sales counter that repeats the shape of doorways and the floor plan. The design looks sharp because of very limited colour palette and only 3 shapes are repeated in a very bold manner.
In the image above (Fig. 9) the movement in captured in the curvature of the wall, emphasized by its contrast to the straightness of the floor. The black gaps on the curve seem to flow towards the lens.
In the photograph above (Fig. 10) it seems that the interior is moving, while the viewer is stationary. As on previous images we can appreciate the strictness of the design and the grid size implemented, as well perfect execution. Here we can also see how the interior relates to the space outside, and interesting patterned ceiling outside. Outside looks almost like it is in another dimension.
4.Polet Restaurant in Moscow, Russia designed by Asthetique– this project won Platinum A’Design Award 2020.
In the space above (Fig. 11) the movement has been captured by the use of interesting light fittings in a form or coloured, translucent circles hung at different angles (they seem to be captured half-swing, although I’m sure that isn’t the case), the row of copper lampshades over the counter, three tall and narrow fittings with tube bulbs (across the room)and of course the lit from below airplanes installed on the cement column. The shiny surfaces on the left-hand side and stainless-steel cladding on the column contrast with cement and wood on the floor, and along with the play of daylight across the floor they add to the sense of movement. The ceiling in this high space was left exposed showing all the systems just below.
In the photo above (Fig. 12) we can see cement wall that has carved-in artwork depicting planes next to some abstract parts, it has clean looking edges, and it really attracted my attention, Also here we can appreciate the grand size of the room emphasized by the lights; massive windows with floor to ceiling curtains; white, vertically striped panel past the column and aforementioned carving. I also appreciate the limited colour pallete of copper, light pink, black, beige, grey and wood. There is multiple textures visible that I think improves the cosiness of this place; rough and geometrically shaped concrete walls and smooth concrete tables, warm wood floors, shiny and smooth metal and glass surfaces and soft and plush seats on copper frames.
In Fig. 13 we can see same space but from yet slightly different perspective. Here we can see how the shades of glass in circular light fitting and glass screen above the counter add to the movement capture. They’re both in pink-coppery-brown shade. The lit-up lines across the circles add interest and contrast with black lines around the glass screens. I can also see the finish of stainless steel better, it is mirror smooth and shiny, it reflects objects nearby. Those reflections are deformed and would move as we move. The strip of spotlights behind the glass screen looks milky-blurred and attracts attention. The visitors can also see into the kitchen which is finished in white tiles with dark grouting, stainless steel, and black accents.
5.Rooftop Office in Dudelange, Luxembourg designed by Dagli+ Atelier d’Architecture. This Office is a showroom extension to HQ of local building engineering firm.
The above 3 images (Fig. 14, 15 and 16) show that interior design does not have to be complicated, busy or ornamental to capture movement. The interior has white walls and ceilings, grey carpeted floor but somehow there is a flow to it. Its secret lies within the grey gradient stripes that either run parallel (staircase in fig. 14 and 16) or meet at a very sharp point (Fig.15). I selected this space when I saw the photo as seen in Fig. 15. I thought that is movement captured, before I read anything about this project. The only other element that adds to the movement would be the light fittings, long bright lines – they seem to be showing the direction of the movement.
Reflection on the task:
That was something really abstract to research (again). I thought ‘how can you capture movement in something still?’. I really enjoyed researching, looking at the photos and contemplating how was the movement captured. I am expecting, that once again (like with lines) I will become obsessed with the idea of movement in design and start noticing it everywhere. I am looking forward to it.
Firstly I tried to create my floor plan using vectorworks software. I tried using object templates for sink and toilet but later decided they didn’t quite represent the physical items present.
I found the software hard to follow, not very intuitive and help explanations used dry language that I found hard to understand. For example I never discovered how to delete part of the line that’s crossing another line (in my example below the wall lines are still present in the doorway, I never discovered how to delete them in vectorworks). I also struggled with saving / printing it to scale 1:20, after measuring my print out the dimensions were a little smaller… The jpeg of drawing below was saved as scale 1:1 in settings, when I was trying to save it in 1:20 I was getting a tiny blob of a floorplan on A4 sheet.
After I couldn’t finish my drawing to my satisfaction, I decided to change software to Autodesk. I found it easier to follow and find help. The only task I’m not sure how I completed on my drawing was the arches for door and cupboard door. There were too many options I tried all of them, I think in the end I drew circles and snipped them to the current edges. Here is my plan completed in Autodesk. Saved as scale 1:1 on A4 but when printed it was still slightly smaller than should have been in scale 1:20. The small blob of a plan was saved with scale set as 1:20. I must admit I was losing my mind over the scaling and printing settings at this point.
Then I moved to my section drawing. Again I created a simple line drawing. In both plan and section I was measuring the dimensions from one object to another by either creating a line of or a rectangle in those dimensions, snapping it to required spot and then snapping my object to a specific point on rectangle or to the end of the line. When doing the section however I decided to create a green rectangle depicting maximum dimensions of the toilet. Here I discovered that my hand drawn section was missing the top of the toilet (flushing system cover).
Then I decided to help myself with some more guidelines, this time in red. The toilet shape was complicated with the angles etc, I found it much easier to draw with that help. I’m not sure if that what my toilet elevation looks like as it’s impossible for me to see, but I’m satsfied it is close enough.
When creating digital section drawing I also realised that my hand drawn section wasn’t showing sink waste pipe and it should have. I included that detail in my digital drawing.
I asked other students how they manage scaling and someone told me they set the scale at the start. So I set the scale at 1:20 when starting work on my section. When I printed it it was still a little bit off, ceiling height was 2 – 2.5mm shorter on the printout, which would give up to 50mm difference in real life. I’m not sure if that’s acceptable, but somehow I don’t think so… I’m happy with the details I created on the sink and tap, and this time the towel warmer is more to scale than on hand drawn section, it was easier to create and amend all details on the computer. Here’s my finished bathroom section A created in Autodesk software, I deleted all my ‘help/guide’ lines and rectangles prior to saving the final version. I also discovered more errors as I uploaded the image here and consulted it with my hand drawn version (the width of the room was wrong. I think I included the wall thickness. I realised it’s wrong by the position of the mirror against towel warmer. I also missed the wall past window opening, all amended).
Lastly I realised that section is worthless without the plan with section line and direction on it. So I went back to my plan drawing and drew section line in red (after carefully measuring on my hand drawn plan where the section line should be on digital one). Here it is:
Reflection on the task:
What a task it has been! I spent 7 days trying to learn vectorworks and creating just a plan and then created all the drawings in just 2 days in autodesk software. I created the drawings in 2d, just simple line drawings, using only 1 layer for now. I realize the process would have been even faster if I was more proficient with the software and extruded the dimensions of each object into 3d, then the section would have been generated by the software at a click of a button. Also once I get more proficient and start using layers I can have guide lines layer that can be switched on and off at a click of button.
I learnt that when doing the survey one should make note of all dimensions, make bigger drawings of details so dimensions can be written clearly and referred to later. I still had to go back to my bathroom and measure some more details that I just measured and drawn in previous exercise. I realise going back and forth won’t be possible when working for a client (unless they allow me to camp on site ha!ha!).
Also when creating digital drawings I discovered errors in hand drawings, and hand drawings helped me discover digital errors.
It is much easier to include small details digitally. For example the door frame is sticking out 2mm off the wall, I included it (not that anyone can see it) but there were other details that otherwise were hard to capture and measure when hand drawing to scale (such as taps or towel warmer).
Also 90 degrees and other angles are much easier to create and be sure they are what the should be.
CAD software is a great tool and I’m looking forward to getting to know it better.
During this and the previous exercises I also learnt that I need a whole new bathroom. I wanted it since moved here but now that I drew it I know exactly whats wrong with it – too long bath tub, too little storage, towel warmer should be radiator and shouldn’t be in a way of the door, hence the whole refit and reconfiguration is needed. When I get more proficient with software I shall design my own bathroom, I’m looking forward to it.
To start with I photocopied the floor plan I created in previous exercise. Then I drew section line in red and cut side of the page (so it fits on my A3 clipboard together with tracing paper). I secured them with masking tape and drew guide lines using 0.3mm automatic pencil (only now I noticed I didn’t draw guide lines for sink tap elements). During this exercise I had to go back and forth and measure some more (for example toilet side elevation or under sink cabinet interior elements). I discovered elements I didn’t think I would have to include in this drawing, such as the waste pipe at the back of the toilet or the door handle. I must admit I helped myself by looking at some section images online (bathroom sink and toilet) to get an idea of elements and what they look like. It would have been quite awkward to see these in my bathroom without having to disassemble some of the bathroom elements.
I photocopied the section drawing so I can have a clear copy of it, independent of the plan drawing. I then titled, dated and put scale info on copied page.
Reflection on task
I can see that some of my measurement drawings may not make sense to anyone but me. I’m ok with it, in the end it is me who drew the section.
I received feedback from my tutor and would like to take a moment to reflect on it.
I received a ‘well done’ for thorough research, variety of examples, my skills are improving and will be useful throughout my studies. It was helpful that I chose to upload some photos of my notebook and sketchbook.
According to my tutor my mind maps showed understanding, ordered my knowledge and also communicated clearly my thought process. I improved my communication and presentation techniques both handwritten and digital. My tutor recommended to continue experimenting with them to gradually develop my own graphic style. I was pleased to learn that my tutor thinks mind mapping became my personal strength, once I overcame that barrier.
I am very pleased my tutor appreciated my observations of similarities of vortexes at Bloomberg and Reichstag buildings.
I should have included more information on Soviet Graffiti in Reichstag Building.
My tutor suggested that in future I should first search for information, and only after for relevant images.
I was told again to qualify big statements and give credible source for that information.
My choice of descriptive words in materials exercises got praised as a good skill for designer to have – I shall continue describing in that creative way.
I should form my own opinions based on information gathered, for example which architects are displaying truth to materials ethos.
Starting on using InDesign software was also noticed, I can see the InDesign uploads have better quality than other software I used beforehand. In my future InDesign work I shall leave a bit more break between elements, and should see magazines etc for guidance.
I should attempt to draw as well as take photos as drawing and sketching of details will make me notice them. Also the more I draw, the more confidence I will gain, which will create good drawings.
In future (if there is another exercise similar) I should create a drawn map of the place with materials pasted in specific locations. That idea is brilliant, it would be sort of floor plan/ collage.
It’s also good that I completed some study visits (sadly all I had coming up soon have been postponed for the time being).
I should pay attention to titles on my work, to make sure everyone knows what it is.
All in all, I’m pleased with the encouraging and constructive feedback I received, praising and setting me in a right direction.
For this exercise I selected my bathroom to survey and draw a plan of. I thought the room is quite small and fairly ‘uncomplicated’. Soon I discovered even small rooms have a lot of details in them.
First image above shows my first try, fairly unsuccessful on A3 sheet. I abandoned this page shortly after drawing the tiny floor plan, this was just to get the rough proportions right.
The image above shows rough plan sketch of my bathroom on A3 sheet. Green dimensions refer to walls, red to objects.
The image above shows my unsuccessful attempt of drawing bathtub and sink both in plan and elevation on A3 sheet. I didn’t pay attention to detail and got a couple of things wrong.
The image above shows drawings of bathtub in plan (also magnified part where the taps are) and in side elevation. It’s on A3 sheet.
The image above was drawn on A3 sheet and shows sink in plan, front ( not floor) and side elevation. The front elevation has tap detail larger on purpose, so I could include dimensions of the details there.
The above image shows toilet and towel rail both in plan and front elevation. I drew it on A3 sheet.
I found using different colour pencils for dimensions really helpful. It was much easier getting my head around the drawings.
The above image is drawn on A4 sheet and it is a Plan drawing of my bathtoom in scale 1:50. It was difficult to draw it so small. Looking at how small it is I think I could fit the whole flat on A4 sheet in this scale.
I found the last last drawing really difficult as some details after scaling down were smaller than 1mm. I drew the taps just using my eye, now I think I could have skipped them. They’re most likely not to scale.
I decided to redraw my plan as I think the instructions in course book contained an error and also I will need to complete a section drawing in same scale. I think scale 1:50 would be too small.
I completed the last drawing using automatic pencils in .5 and .9mm, precision eraser, set square, ruler, compass and calculator. I found drawing in larger scale much easier than in smaller.
I didn’t read the instructions properly (I think I skipped to next exercise in error) and drew all three elevations to scale 1:1 (sort of, not quite accurate but very, very near). Then I read the instructions properly and measured the object and wrote the measurement down on my drawings. I found this task difficult as there are many random angles, rounded edges, and whole object is well used, filled with paperwork and a bit wonky. I enjoyed it nevertheless and am pleased with the outcome.
I visited London Design Week today. I spent most of the day here and haven’t even scraped the tip of the iceberg of the suppliers that are based here. It was also useful and informative to chat to exhibitors that are here only for the week. I spoke to every one of the temporary exhibitors and learnt lots about their companies and their products. I took part in a discovery tour: a group of us visited certain showrooms and we were told by owners or designers about the products they supply. I never visited Chelsea Harbour before, I found today very informative and I am planning to go back to do more research here.
I learnt that some buildings ‘try’ to have vernacular style but don’t succeed. For example, in Epsom Area there are many houses that are weatherboarded but painted black, that is not in keeping with local vernacular that should be white. I found the task of researching properties interesting but also difficult as all houses I saw today were built after 17th century. I noticed that many newer buldings are designed to look older, to suit the area and what’s around. Also identifying materials is really difficult – for example timber weatherboarding – it’s timber but which one? Or roof tiles – could be ceramic, slate, clay… how can you tell the difference? Even harder when old and covered in moss. Still lots to learn…
During this exercise I researched quite a few up and coming materials. I noticed that main drive with them was sustainability. I was aware prior to starting this course that construction industry is the biggest pollutant, so I’m pleased to see the efforts to improve. I learnt a shocking fact during my research of illuminating cement – cement is second after water most used product on earth. And I learnt that cement’s production is bad for environment due to energy consumed and the harmful substances released in the process.
I quite enjoyed getting to grips with InDesign software, it was my first go at it, and I can see it’s a brilliant program for creative work.
The practice’s website provides wealth of information about their ethos and lists the designers / architects involved in each project. Sustainability is at heart of their designs, with energy efficiency and improvement of lives being top priority. The practice has been founded in London, but it is huge with offices abroad, it employs many architects, designers, model makers etc. Their portfolio is massive and I handpicked a few designs of each designer involved in The Reichstag project based on the buildings I thought looked interesting to me. It is also worth mentioning that none of the designs mentioned in my blog are created by a single person, it is all team effort. I imagine only top people within the designs are mentioned but the teams are bigger than listed since all the projects are so huge and complex. The similarities of the individual designs I picked are round/ rounded designs, very often with cupola or dome, and mostly in glass; sustainability; a lot of glass allowing inside to mix with outside; end user and clients needs at heart of the designs. Where a building is a historic building the practice’s designs have the history in mind and are sympathetic to the building history while dramatically modernising it to match sustainability and user’s comfort and wellbeing (by comfort I mean how the space is used, perceived so it matches current times users’ needs).
People involved in The Reichstag project at Fosters + Partners were Stefan Behling, Neil Vandersteen, Toby Blunt and Ulrich Hamman. I gathered some info on each designer and their work.
Articles I found online about the building design and works by Foster + Partners only list Foster as architect. I’m sure he was involved to some extent in each of these designs, despite his own practice’s website not including his name specifically on any of the specific designs. I will however use his name as it’s used in articles I found, even though each design and process must have been a team work effort.
Norman Foster Founder and Executive Chairman Design Board Chairman Architect – Dip.Arch & Cert. TP, M.Arch (not directly involved in this project, according to his practices website, however I find it important to explore him as I imagine he sets direction for the whole office of designers that work for him).
He founded the practice in 1967 and his philosophy is (in broad terms) sustainability, belief that our surroundings affect our life, and better quality surroundings result in better quality life. He is passionate about innovation. I imagine that due to his drive to excellence, he has a high standard and high expectations and as a reult the practice is well known and successful under his leadership.
Stephan Behling – Senior Executive Partner Head of Studio Dipl.-Ing Arch, ARB, RIBA, joined the practice 1987
Stefan’s philosophy is sustainability and integrated design, he pioneered many new technologies in energy efficiency and resource management. Examples of these include his current projects: the 12,000 capacity Apple Park, Apple’s global headquarters in Cupertino and many of the new Apple flagship stores around the world since 2012. Completed projects include UK’s most sustainable office building: Bloomberg European HQ in London. He is an experienced architect with established career, the portfolio of his work is vast.
Apple Regent Street in London shows modern, sustainable design that is sympathetic to the historic building. It features high ceilings (7.2m); longest luminous ceiling panels that emit dispersed natural light. Ficus trees planters double as seating benches. The store opens to the street, creating effect of town square.
Bloomberg European HQ in London is currently the most energy efficient office building in the world. I saw it once passing by, I remember I was impressed by the striking design of the facade. There is a vortex like design in the photo above. I noticed a vortex design in the dome of The Reichstag building.
Neil Vandersteen – Senior Partners Head of Modelshop Industrial Modelmaking
Neil Vandersteen joined Foster + Partners in 1989. He modernised the practice’s Modelshop so it’s one of the most advanced internal modelmaking facilities in architectural practice. He worked on a few projects within the company The Reichstag, 30 St Mary Axe, Great Court at The British Museum and Hong Kong International Airport.
‘The Gherkin’ was London’s first ecological tall building. It comes as no surprise since sustainability is mentioned on the profiles of so many designers on practices website. It has a circular base and the building’s shape reduces wind deflections at ground level, creating more comfortable environment there.
Toby Blunt – Senior Partner Deputy Head of Studio BA (Hons), Dip Arch
Toby Blunt Joined Foster + Partners in 1995. His award winning projects show his interest in sustainable materials, innovative technologies and building techniques. He was involved amongst other projects in Canary Wharf Underground Station in London, Bund Finance Center in Shanghai and The Reichstag in Berlin.
Bund Finance Center is a mixed use, 420 000 square meters development of 8 buildings containing offices, hotels, cultural centre and retail centre, all luxurious / premium and all surrounding a public piazza.
Ulrich Hamann – Partner Architect Dipl. Ing. Architect
Ulrich Hamann joined the practice in 1994 and in the beginning was involved in projects based in Germany (The Reichstag, Free University and Lenbachhaus). He worked as a cladding and envelope expert on Apple Park in Cupertino and is currently in charge of multiple Apple store projects throughout North America. Sustainable design is his particular interest.
The Reichstag Building
• What was the designers concept for this particular building interior?
• Why do they use these methods?
Initial design didn’t include the glass cupola, instead had a cushion like steel and glass canopy over the building. However the project cost reduction was requested (without providing the actual budget) so the practice submitted a few different proposals with varying sizes and budgets and one of these has been selected for construction.
The winning design didn’t initially include the glass dome. Certain MPs demanded reconstruction of original dome. Foster was against this idea, but soon he considered glass cupola to replace original dome.
Reichstag houses German Parliament and each design decision had political significance and decisions were subject to political debates. The design process must have been difficult and lengthy since many people had opinions on what it should be done. It was a demanding client with often contradicting demands and final design shows Fosters ability to find a compromise.
Fosters concepts included:
Cupola – publicly accessible space, providing visual connection the the parliament at work below. Cupola’s design aided the sustainability of the building by providing light to parliament chamber and venting hot air outside thanks to the mirrored cone the in the centre
Design consolidated parliament into a singular building
Preserved the history of the building such as Russian Cyrillic graffiti left by Soviet Soldiers at the end of WW2, or the bullet marks on the façade.
Symbolism of the politicians and the public entering through the same entrance under the sign ‘To the German People’ – the parliament building is not only for politicians, Parliament serves the people, the building should also be for the people.
My favorite was Contextual Study on Daniel Libeskind’s Jewish Museum. I learnt that sometimes the designer intends to make users feel uncomfortable.
I found the whole of Peckham library quite difficult to analyse. There were many components, the design felt complicated and busy. It was hard to choose what to concentrate on. I still liked the interior and found all exercises there useful. Reflecting back on my visit to Subsea 7 and Peckham Library I think Subsea 7 was easier space to analyse. I am pleased now that I had a ‘warm-up’ there, before the difficult space of Peckham Library.
Looking back at drawing exercises: I had no problems drawing what I see, mapping the interior was quite fun and easy. I wish I brought bigger sheets of paper to Peckham Library to include more elements in my map.
Drawing sounds was a daunting experience, but once I started it went OK. I learnt to leave my comfort zone and trust the guidance. It was important to better understanding of the space – to cut of vision and just listen and feel.
3D model making was surprisingly easy. I’m a little concerned it was too easy, hopefully I did it correctly.
All exercises led me being more aware of spaces I visit. I gained experience of looking at single components and considering the impact they have on the whole space.
Look at the forms and shapes in space, make sketches and notes.
Forms & Shapes
Windows have interesting unusual shapes. They are either long and narrow or very large trapeziums.
I’m still impressed by the pods forms, the middle one dissapears into the circular opening in the ceiling, looks like a space ship about to take off.
The back columns are at interesting angles, none of them is at straight angle but from certain perspective some of them seem that way. Initially it made me doubt myself and my initial belief which turned out to be right.
Near the window there’s plenty of natural sunlight. The trapezium windows are large and placed high up, they let plenty of days light in. A little deeper in are the pods, they create shady areas, block the natural light. There’s plenty of spotlights, but the artificial light can’t compete with unobstructed daylight.
Sounds: Created by other visitors to the library, talking, walking, placing items on surfaces. I think this place is a little loud for a library.
Touch: I’m sitting near the window, the sun is shining on me. Feels nice and warm. Then the clouds arrive, it’s not so warm anymore, not uncomfortable, but I preferred the sunshine. I’m siting in a plastic chair, reasonably comfortable, but not amazing. I can feel plastic surface of the table, smooth but a little grainy. It’s temperature is neutral.
I’m feeling relaxed but not too comfortable. I’m blaming plastic furniture.
Below is the drawing of my feelings as described above. I found it quite difficult, drawing sounds seems like a piece of cake in comparison!
After I completed this drawing I moved to a new area, the quiet zone under pod where the computers are.
It was darker there, also quieter than other area but could hear people nearby talking. Also someone tapping on the keyboard. A small child nearby (in the pod above me?) shrieking.
Touch: same surfaces as before, smooth but grainy plastic surfaces. Temperature is comfortable, I’m wearing my coat, without it I would probably be a bit chilly.
I’m feeling less comfortable in this area but still calm and fairly relaxed.
I visited Peckham Library again today. They let me in before they opened so I could take some pictures. My ‘listening experience’ drawing started before opening times, so the sounds I heard were created by library staff. I closed my eyes and tried to draw what I was hearing…
Then the library opened to the public for the day, people started to come in, the place got louder, the sounds changed. At first it was mainly staff on the phone, people walking, someone hoovering in the distance. Suddenly it got crowded, place got instantly busy. Loud talking, multiple conversations at once, steps everywhere, squeaking floorboards, items laid out on tables, rustling of paper, someone sighed.
In the drawing above I pictured steps as circles, voices as twirly lines, sharp noises as sharp angular lines. I drew them as I heard them, in order.
Critically reflect on the concept of phenomenology.
Designers have to explore and have in mind emotions different people may have in the spaces. It must require sensitivity, compassion. The designers must be able to predict how users will feel. It’s a very difficult job as everyone is different and has different experiences shaping how they feel about certain things. For example someone may love a certain smell as they would associate it with a pleasant memory, while someone else may hate it due to personal taste or not so happy memory. I believe architects and interior designers spend long time dwelling on how users will feel in certain spaces during the process of planning. I think it’s easier if it’s a private space. We can just ask future users what are their likes and dislikes. Public spaces must be so much more difficult. Not only making sure that the ‘desired’ feelings are as intended but also not offending anyone (unless offence is a goal).
When I keep writing this my mind keeps wandering back to Jewish Museum in Berlin. Daniel Libeskind designed the Void, a space that zigzags through the complex and is visible from multiple staircases opening on to it, it can be also accessed on the ground level. There are tall, smooth concrete walls, that would magnify powerful echo, everything is pretty bare and raw. The floor is laid with what looks like thousands of metal plates depicting faces, mainly screaming. Users are forced to walk on them, and every step creates unpleasant noise, that’s is magnified by echo. I can’t imagine anyone being comfortable in that space. And I think that was architects aim. If you want users to feel warm and fuzzy you add soft corners, warm fabrics, plenty of diffused lights, and natural light. Usually darker spaces are less welcoming. I think phenomenology is about whether users feel welcome, comfortable and want to be in the space, or whether they don’t like it and would rather leave. I don’t think users concentrate on their feelings of spaces all the time, we usually come somewhere with a task and don’t dwell on how we feel. But The Void intentionally is the way it is, to make users contemplate on Jewish History and its dark moments. That space surely shocks an unsuspecting user and will leave a lasting impression.
I felt that I couldn’t move on to my final map until I got the pod drawing right. I looked for an image online to base my drawing on and selected this one:
Then I realised I didn’t visualise the columns properly either, so here they are, since they are a simple form I decided draw them from my memory. They are slim, tall and each of them is at different angle.
Only now I feel I can move on to drawing my final map.
Unfortunately I am unable to return to Subsea7 to continue exploring that space.
I wanted to select another original and interesting building that’s also in convenient location and I chose Peckham library. I’m looking forward to exploring this public space, despite being close to my workplace I never visited to see the interiors of this unusual building.
I tried to sketch the shape out of the building, after many attempts here it is:
‘… interior design engages at the scale of an individual space so will include the arrangement of built-in elements and more mobile furniture, while interior decoration is concerned with surface effect. …’ ( Interior Design 1: Exploring Principles and Theories: 14 )
The quotation above is extracted from the welcome part in the course book. Later on the same page I am being asked to find and upload images of work of both interior decorators and designers, to ‘analyse, critique and reflect on the images to explore their differences, in relation to this course and my own objectives.’
At first I was taken aback, despite being given a definition above I struggled getting my head round interior decorating project, as for me the decorator is hired to paint the walls and other surfaces, I highly doubt these guys ever have any say on colour selected, leave alone any other aspects of renovation or design. For a while I was worrying and googling interior decorators that were bringing up interior design firms or american blog articles (It seems in US there is a legislative difference between the two, i.e. interior designer would have a more formal qualification than an interior deocrator). Then I had an idea and searched for interior decoration before and after, this way I found multiple images of the same rooms, taken from same perspective but redecorated (i.e different colours, furnishings, but windows, doors and other stable elements were in the same locations). So here we go: Interior decoration in simple words is a makeover. No major changes, no need for qualified electricians, plumbers or brick layers, and unless custom built or made to measure furniture is to be fitted anyone (with a knack for DIY) can do it. A few before and after images of a redecoration project of the same room:
I thought it would be a good idea to find some bedroom design project photos (the before and after kind). After some research and finding exactly same photos as for makeovers I now think it will be a better idea to compare the projects of kitchens (both redecoration and redesign). Before I plunge into searching for suitable images for each category I would like to note what I’ll be looking for:
For kitchen redecoration – Cabinets and walls repainted, perhaps some cabinets changed, maybe new worktop and sink, but the layout mostly same, so the practical use of the space wouldn’t change too much, i.e. sink and oven in same spots, no major changes to where the storage is etc. Notwithstanding kitchen redecoration could make a massive difference to how the kitchen looks and to the quality of life. So re-decoration will be changing how the room looks, while keeping the current layout of the room. Redecoration could be done a designer, but the client wouldn’t want the massive layout changes.
Kitchen redesign – could be all of the above, but may include more major changes depending on clients needs – maybe find a space for a bigger dishwasher or a double oven instead of single. Perhaps finding better use for dead spaces in corner cabinets. Often opening the space more to another room, such as lounge or dining room. It is also more likely that all new furniture and appliances will be installed during such project. A designer would have to listen to the client wants and needs and think of a solution to propose. So interior design will include decoration but may also include changing the layout and maybe even finding additional or different use for that space.
So here comes a kitchen redecoration (lets call it Kitchen 1 for later comparison) project example, where the look is dramatically different but the layout is pretty much the same:
And here kitchen re-design (Kitchen 2), were looks and layout where changed to suit the needs of the client better:
So looking at the images of two different kitchen renovations I can start my comparison. Lets look at similarities first:
Different, modernised look.
Spaces looking more tidy and stylish.
New cabinet handles / knobs in both.
In both kitchens sink, cooker and the fridge remained in the same location
New sinks and worktops were installed in both projects.
Here are the differences:
Kitchen 1 had cabinets painted, kitchen 2 had at least some new units (or maybe just the fronts).
Kitchen 1 had new dishwasher installed while keeping the location same, Kitchen 2 kept the old dishwasher but it was moved.
Kitchen 2 has new wall tiles, but the floor remains same
Kitchen 1 has same wall tiles, but the floor has been altered (either new or stained darker)
Kitchen 2 had a bar and cabinets under as well as some of the wall cabinets removed – this created a more open and airy space.
Kitchen 2 had a portable island added in the middle.
Kitchen 2 now has a seating area (two comfy chairs) which probably makes entertaining while cooking easier.
Kitchen 2 lost quite a bit of storage, there must have been some serious decluttering done before the works commenced.
Renovation of Kitchen 2 included more changes, which would have more impact on the life of users; more than the renovation of Kitchen 1.
The designer of Kitchen 2 must have listened to clients needs and incorporated the solutions into the final design. The designer of Kitchen 1 most probably was told that the client is happy with current layout so concentrated on surface changes.