Thursday, September 30, 2010

Wednesday, September 29, 2010

Dining Set Design

Proceeding from Bungalow Process 1 post:

Friday, September 24, 2010

Lighting Charette

Beginning drawings of my chandelier and sconce lighting designs from a lighting charette:
Sketch model of wall sconce design utilizing Gothic tracery and arch shape. Sketch model of Chandelier utilizing Gothic tracery and arch shape.

Sketch model of a lantern sconce design utilizing gothic arch design and tracery elements.Sketch model of a lantern chandelier design utilizing gothic tracery elements.
Sketch model of a lantern box chandelier utilizing the Gothic arch and tracery elements.

Bungalow Process I

The beginnings of individual furnishings in my design of the Bungalow project using the inspiration of the Gothic period and my concept of Tracery.

Window Treatments:
Hutch Design:
Dining Chair Design:

Sir John Soane House Process Posters

Thursday, September 16, 2010

Concept: The Case for Positive/Negative Space

Looking through the history of Arts and Crafts, the era bungalows flourished, and through the Victorian Period preceding it (especially Gothic Revival) I decided to take the idea of Positive and Negative Space that is formed by stone tracery to help make decisions in the dining space given to us pre-existing at 602 Mendenhall.

Lyndhurst Dining Space - A good example of the literal revival of the Gothic style in a residential setting.

Victorian Gothic Revival
Main Ideas:
+ Industrial Revolution occurred in England, furnishings were mass made and relatively
+ The idea of Gothic Revival was popular because of it's high ornament and because at the time larger Gothic churches and Cathedrals were being remodeled. The romantic elements of these structures made them even more appealing.
+ Emphasized vertically, asymmetry, pointed arches, & deep moldings to define style.
+ Interiors shared a strong relationship to exteriors.

+ Colors often used were crimson, blue, and gold. Later on in the style period highly saturated colors with whites, greens, and browns were used.

Red House - English Arts & Crafts home that utilizes elements from the middle ages to inspire design decisions in the residence.
The Gamble House - American Arts& Crafts residence that utilizes the inspiration of nature and light throughout the design process.

Arts and Crafts (American and English)
Main Ideas:
+Rejection to the preceding Victorian Style.
+Interiors were not cluttered with "brick-a-brack".
+Interiors were of natural inspiration, wood was a well used material.

+The machine made furnishings of the Victorian era were a large turn off to Arts and Crafts enthusiasts who valued handcrafting. Things manufactured by hand rather than mass produced.
+Movement echoed past precedents without a direct copy or "revival"

Duomo di Milano - A High Gothic Cathedral that shows an example of the elaborate tracery at work in the structure.
(Photo © Rebecca E. Ladd)
Why stone-lace?

I am currently taking a Gothic Art and Architecture class (Art 303), and in the catagory of architecture we are talking about French High Gothic Cathedrals, I find this topic rather interesting thus I figured this was a good opportunity because there is so much I feel I can use especially from this class. During the High Gothic period, cathedrals were becoming more and more elaborate and more embellished as each one was built. As this occurred, walls in the cathedral became thinner and thinner and window filled in order to let in the most light possible to achieve the ethereal experience. Tracery, a stone work element that supports glass in a Gothic style window, became an important structural and decorate element of the period that supported the glass that was often times placed in the structure. Tracery is very thin stone, so it looks very delicate almost like lace, and creates various effects through its duality of materiality creating positive and negative spaces in many different intricate patterns.

An important thing I want to get across with my dining room design is that I do not want to recreate the Victorian Gothic Revival style, instead I want to take elements from that style and integrate it into the ideals of the Arts and Crafts style. I do not just want to just drop a Gothic Cathedral into the space.

Architecture and Interior Design from the 19th Century Harwood-May-Sherman
(Gothic Revival p.121-153)
(English Arts & Crafts p. 423-448)
(American Arts & Crafts p.449-481)

[Shigeru Ban] Curtain Wall House Board Process

Monday, September 13, 2010

[Sir John Soane] Sir John Soane House

The Statement

Using elements from Neoclassical and Picturesque design, Sir John Soane created unique interiors within his own home, using primarily natural light to illuminate the spaces as well as draw focus to his collection of classical artifacts. The sweeping light and the artifacts highlighted within both connect to the interest in antiquity the world around during the age of Enlightenment, an apt concept for this personal residence, now a public museum.

The Residence

The object of the Sir John Soane House, is The idea of harmonizing Neoclassical elements and light within interiors in the house, also known as Lincoln Field’s Inn, reflect Soane’s interests in travel and collecting, activities in which many of his contemporaries engaged in the late eighteenth and the early nineteenth century.
He utilized classical elements domes, arches, columns and decorative details, specifying a more streamlined manner than then elaborate ornamentation of Robert Adam – a simplification to enhance better display the antiquities in his own personal museum. Natural light, a particularly focused design strategy in the decades before the advent of electrical lighting, came to the spaces through oculus and large multi-pane windows, as well as glass domes.


Of all the materials commonly used in the Neoclassical era (wood and plaster in abundance), glass represented the material most crucial to the success of Soane’s interiors. The onset of the industrial revolution brought along the availability of electric lighting but also made the use of glass and other reflective material more accessible and inexpensive. By placing flat panel and convex circular mirrors and windows in the breakfast room, dining room, and library, Soane effectively lightened these spaces, their contents to their full potential.

Architecture and Interior Design from the 19th Century
Harwood (p. 73-78 & 715)
Interior Architecture(p. 78-80)
Roth (p. 130-131)

Sir John Soane House Drawings

Spacial Bubble Diagram
Convex Mirror Detail
Classical Urn Detail
Lighting Perspective

Friday, September 10, 2010

[Shigeru Ban] The Curtain Wall House

The Statement

In the Curtain Wall House, Shigeru Ban includes striking cloth curtains and large open sides to the building – a play on the duality of transparency and opacity. Using his own cultural experiences, the architect creates a sophisticated and picturesque home that tests the very idea of bringing the outside into a space by almost completely exposing it to the elements.

The Residence

curtain wall : a non-load bearing wall that may or may not be a glass façade.

The curtain wall on the façade of this structure takes on the literal meaning by being portrayed as a large cloth curtain that extends two stories to cover the second and third floors. Minimal in appearance, the residence contains no ornamentation – celebrating its cantilevered structural system and providing a stark contrast to the busy and colored buildings located adjacent to this white frame house. With the curtains open, Ban completely exposes the interior floors to the exterior surroundings, resulting in the establishment of a very public environment; with the curtains drawn, the users envelop themselves in a cloak of privacy from the outside world.


Glass and cloth, notable materials in the Curtain Wall House, both serve as foils to the contemporary steel frame. . To achieve the architect’s goal of letting the inside become apart of the outside, both glass in the sliding window/wall system and the two-story cloth curtain form essential components in the design. At will, the residents choose between the two systems: for example, a public space over a private space, a public space left or right of a private space, etc. Any of these choices produce a unique experience for inhabitants, and show the fluid character of this architectural expression.


Architecture in the 20th Century vol. 1
Peter Gossel, Gabriele Leuthauser
(p. 358-359)