design autobiography

        The path that has led me to the Univeristy of Kentucky Interior Design program has been one with a lot of twists and turns but being here I can now see a straight path to the future in front of me.

Before attending the University of Kentucky I graduated from Eastern Kentucky University. Here I considered a few different options before finally graduating with a degree in Education. I wasn’t happy with my choice but it was safe. Before I even completed I knew that I never wanted to be an Elementary school teacher but it was too late to turn around. I knew my interests and one of those was design but didn’t know enough about career options at that time to feel safe in pursuing that degree. While living in Richmond a friend of mine bought a house that was auctioned after an elderly lady passed away.

In buying the house he also inherited all the furniture that she had left behind. In browsing through the house I admired all this beautiful furniture that was now his. In terms of history I knew nothing about it but I was fascinated. There was a dining chair that I found particularly attractive. I needed a chair for my desk and he offered one the dining chairs. After getting the chair home I started to research it and discovered it was a chair from the Drexel line designed by John Van Koert. It was this research that sparked my interest in the history of furniture, which has become ever more relevant in ID 162.

Fast forward a few years and I am now living in downtown Lexington at the Artek Lofts. These lofts are a project designed by AU associates. Living in an open space and allowing minimal “stuff” to clutter my view has allowed me to have a clearer mind. Being at home is like a breath of fresh air. I was not content with where I was working and having a clear mind at home allowed to explore other possibilities. Eventually deciding to go back to school.

Living downtown puts me within walking distance of a lot of great places. Often on a Saturday I will walk down to the farmers market in Fifth Third Pavilion and explore along the way. The market is open air but under a wonderful structure made of glass and steel. These walks through downtown inspire me and are pushing me another step closer to my decision.

If my boyfriend and I feel like treating our selves we will make reservations at one of our favorite places to eat- Table Three Ten. The food is wonderful but I more so enjoy the scenery. It is a space that makes you feel like you have stepped off the street and in to something special. What was once a law office has now been adapted in to an impressive space, unlike others in town. In 2011 the space won a Clyde Carpenter Adaptive Re-use award.   Glass windows make up the façade and you can almost feel the history that once was, with some of the interior woodwork. Being here makes me want to design spaces that inspire and interest people just as it has done for me.

This place encompasses two of the materials that tend to be a contributor to the spaces I am inspired by most. In the space is a lot of Antique or original wood and glass that allows abundant natural light and interaction with the exterior.

As I was becoming more and more frustrated with my work position, an acquaintance mentioned that there may be a position opening up with a Kitchen and Bath design firm. I called one of the designers and mentioned that I would be interested. I didn’t even know what the job description was for the position but I knew that this position would be a step back in the direction I should have headed in college. The designer asked me to come in to their showroom and help to merchandise the items on the floor. After doing this I was hired. In the year and a half that I have been with the company my roles have changed and I am much more involved with one side of the design team. Even though I don’t see myself designing kitchens in the future, this position helped me to envision a career doing something that I enjoy and am passionate about.

Scout is an antique store that I love to visit, even when I have no intention of making a purchase. There is always something there I want to take home with me. It has always been a great place to see some of the furniture I read about and looked at online. While working on chair cards for ID 162 this semester I was able to go out to Scout and sit in some of the chairs that I was drawing for class

In the process of contemplating a move of going back to school I bought a book to do some research. It just so happens that “Becoming an Interior Designer” was also a required text in ID 101. Reading this book allowed me to explore different career options and to hear testimonies from practicing designers. Going back to school was a decision that made me nervous. I wasn’t sure if I was making the right decision. Working full time and going to school full time was going be a big commitment and I wanted to make sure I was ready for it. After finishing this book I made started the application process for the design program. My first semester has been incredible and although I am busier than I ever thought possible I do not even slightly regret my decision!

campus reconnaissance

Main building is an administrative building. It is placed on a hill emphasizing its importance and visibility. Individuals who drive by campus would be able to see this structure from Limestone Drive and many probably think about this building when they envision University of Kentucky campus. Main building is constructed using a musical arrangement. A-B-C-B-A Sections A and B mimic each other to the left and right of center. It is also important to note the way the levels are arranged. On the lowest level the horizontal plane of stone does not reach very high. On the top level it is separated so that this level appears taller signifying it’s importance. This notion is symbolic of the users who will be in the space. Important administrative personal will most likely be meeting on the highest level therefor the top level is deemed more important that the shorter basement level which may house maintenance equipment.

making history active - sit on it

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making history active - sit on it

snout house

The Snout House, as it has been named due to it's protruding garage, is common to the suburbs of today. What was once a front porch and functioning entrance has been replaced by a two car  garage. In the image below, the garage spans almost the entire front facade of the home. One can assume the front entrance door is down the path to the left but it is not clearly visible. Most likely the individuals who live in the house do not use the door, they enter through the garage. The way the front the entrance is hidden and un inviting reminds me of previous Frank Lloyd Wright designs. 

snout house

design timeline

Compiling a timeline with the class's contribution of materials, object, space, building and place at first overwhelming. Trying to decide how exactly we wanted to organize the drawings was the most difficult part of the task. We ultimately decided that layout the was organized chronologically and according to category would be the easiest to read visually. I found it interesting to see which time periods contained the most of each category. I wouldn't necessarily say that my sense of design shifted as a result of this project but I would say that my sense history is a little clearer. I am a visual person and having a time line such as the one we created to reference throughout the semester would have been very helpful for me.

explorations

Sometimes in order to explore new possibilities one must first examine the steps that brought them to your current position before they can look forward. After fixing your eyes forward you can then explore more thoroughly what the future will look like.

 The World’s fair of 1893 was held in Chicago, IL to celebrate the 400^th anniversary of Christopher Columbus discovering North America. Structures were built using classical architecture. “The White City” was constructed in the middle of a city that was changing, growing and exploring building with new materials. It would be the last time a World’s Fair looked to the past for a foundation on which to build. This fair celebrated not only an anniversary but also many cultures coming together. In the city that surrounded the fair were buildings that reached to the sky rather than the past. Architects were searching for a new way to build and in using new steel and curtain wall construction they were able to do just that.

            With city life becoming more congested and fast pace some individuals were lead to explore life outside of its boundaries. American families, many of them young families, were looking for a lifestyle that wasn’t accessible in the city. Known for being simple and efficient, the Bungalow became the style of home preferred by many. The bungalow steered away from the more formal Victorian and offered an interior that was relaxed and catered to a family. Mail order catalogs help to further the popularity of the bungalow, allowing buyers to easily select what home to order.

            As we move forward design starts to explore more deeply what the future looks like. Especially after the First World War, buildings are sleek and streamlined as if they are projecting away from the war itself. Again, the Worlds fair are where most will see these structures for the first time. The New York World’s fair of 1939 was looking forward to tomorrow. Even in a time of depression for the U.S. attendance of the fair was quite high, helping to perpetuate the products and designs being presented. Automobile companies were the most significant of sponsors; thus becoming a central focus of the structures being designed. They focused heavily on movement with the use of circular shapes and their repetition. In other parts of the world houses become less residential and more machine like. The structures were lifted off the land and the interior was designed human movement all throughout. Le Corbusier also considered the automobile and it’s movement when designed the exterior the Villa Savoye.

            The popularity of the television creates a shift, in both the home and in advertising. Televisions become the center of the home; rooms and furniture are arranged around it. Family meals are had in front of the television, while families digest what it is the “All American Family” should look like. Advertising quickly moves to capitalize on all the families huddled around their TV sets. As a result consumerism is booming.

            International style begins to explore the notion of a design that can be the same and be recognizable everywhere. What emerges is a design that doesn’t consider climate as a factor and often doesn’t consider the human in general. This lack of human interest makes way for interior design.  The structure is designed with the intent of being viewed as a work of art. Many architects are exploring thisidea and consider the user of the space less relevant than the design itself.

Villa Savoye

1964 world's fair

In 1964 "the house of good taste" exhibit was showcased at the world's fair. Included in the exhibit were three different types of houses- the modern house, the contemporary house, and the traditional house. Essentially these homes were a way for American manufactures to show off their commodities within the context of their intended use. The exhibit portrayed these american homes and american goods as being elite. An individual visiting the exhibit would hopefully view the designed goods as being essential to creating the perfect home. The designs were portrayed as being within reach for everyone, when in reality there were many individuals who would find them out of reach. Seeing these designs portrayed in this way creates a sense of "need" in a consumer. An individual might assume that their neighbor will have these new designs in their home and therefor they would need to do the same in order to keep up.

modern house

"contemporary house "

who leads design?

Is it possible to pinpoint who or what leads design? Designers are inspired by what is going on around them, it is these surroundings that lead design choices. The discovery of a new material may inspire a slew of designs that use this material. Design in colonial times was inspired by a desire to establish themselves as a respected and powerful. Design can be lead by the desire to create something new and unseen. Design is lead by a complicated and intertwined chain of events. Events that at first glance may seem un related to design, when in actuality that play a large role in design development. Like the intertwining shapes and colors of the mosaic below, factors that lead design are complicated and it is difficult to dissect exactly where a design began.

international style

International style in the 1960's can be explained as something that lacked overt influence from previous periods. The surface of an international style structure is unadorned  promoting an aesthetic that could speak to many. This style made no reference to history and could be placed in any climate or location. To speak of global is to imply that something, be it a product, belief, technology etc.;  interacts all around the world.  To me global is more about how intertwined an object or idea is with the world, and international is more so a notion that has the potential to be placed in various places around the world.

Eames

In 1957 Charles and Ray Eames designed this solar toy. It was meant to draw attention to the sun as an affordable and  renewable energy source.  The toy is made of aluminum and as the shapes twirl and rotate they eventually convert the light to energy. The toy was not made to be sold. The toy was however made to tour in hopes of igniting a change and drawing attention to the potential use of solar machines in future designs. I think that this is a good example of the innovation and creative thinking that was occurring during the mid twentieth century. This was a time when people were longing for change, not only in design but socially as well.

Solar Toy 1957

commercial + residential of 1950's

     During the 50's and 60's a lot was changing in both commercial and residential design spheres. A typical home from this era would look like the one pictured below. People were still ordering from catalogues and were very concerned with keeping up with what their neighbor was doing. This was a time about creating the perfect image of a family and household. What resulted was a great deal of similarity from one home to the next. Although this type of home was certainly not all that was happening in residential design it certainly was a large part of it. 

     Commercial design however was more concerned with being the first to do something, this resulted in a lot of forms that were very different. During the time of the atomic age and the race for space, structures had a very futuristic feel. They were easily differentiated from one another unlike most homes of the era.  

revolutionary material

Iron in it's least processed form, cast iron, is much too brittle to be a reliable material for large construction. The development of iron in to steel created a much stronger material and revolutionized buildings. Steel allowed buildings to form completely different shapes and reach heights that would otherwise be impossible. This revolutionary material allowed designers to execute building designs that previously had only been possible in thought. 

post war

 Following World War I & II  is the emergence of modernism . New buildings were designed with  simple forms that made no reference to history. These stripped down versions symbolized the removal of  influence from other countries and the creation of something new. Architecture did not involve a lot of surface ornamentation as it had in the past. New designs were more focused on creating something that emphasized function and the methods or materials that were used to create the structure.

modern

Modern is a term that is often used to describe a design aesthetic. I think that a modern design is less about aesthetics and more about it's timing. As we know, design is a discipline that repeats it's self over and over. What was once considered modern will likely come back around to be considered modern again. A modern design is current. Sometimes the newest designs are completely original, not resembling designs that preceded it. There are  designs that may be considered modern, but also borrow from the past. The armchair designed by Stephen Kenn seems to be influenced by designers that led the way many years ago. There are elements that remind me of the Marcel Breur's Wassily chair and Gerrit Reitveld's Red Blue chair.  Kenn's armchair and other pieces from his Inheritance line  are  made using repurposed army surplus from WWII. This notion of recycling and repurposing is also a common theme to many modern designs. This chair that uses 70 year old materials and is influenced be designs even older than that, is now modern. Because it is what is being produced in the current era.

                                                         www.stephenkenn.com

all american bungalow

The bungalow is simple, informal and efficient. It is these attributes that attracted the new generation of the early 1900's,  to leaving the city for a more relaxed home in the suburbs. Because of it's popularity in California, to many the Bungalow was reminiscent of a lifestyle that was relaxed and sunny. Most bungalows of this time had a broad porch on which families could relax and be closer to nature. This notion of being closer to nature and the outdoors was something that a lot of young families were seeking at the time. The bungalow with its unobtrusive angles and simple materials allowed it to blend in to it's natural surroundings. 

Bungalow- Los Angeles, Ca 

skyscraper

Most historic photos of skyscrapers show them from  a corner angle/ elevated perspective. This portrayal is an inaccurate view, as most individuals interacted with the buildings from street level. In  "Chicago 1890: The Skyscraper and the modern city"  Joanna Merwood- Salisbury states that it was in fact these people on the streets of Chicago that molded the early skyscraper designs. The Monadnock was designed without surface ornamentation. The Architects Burnham & Root understood that the people moving around on the streets were maintaining a  pace that no longer allowed time to enjoy the surface ornament. Instead of surface detail the architects molded and sculpted the brick in way that could be appreciated by the the new urban population.The Reliance building was the first of it's kind. Being that it did not bear the weight of the structure, the curtain frame allowed for large panels of glass.  These glass panels combined with the use of a pale terra cotta created a surface that appeared stark and clean. The structure housed Doctor and Dentist offices. The  hygienic appearance that resulted created a contrast between the sterile offices and the polluted city down below.

Monadnock

Second City

            The term second city, intended to be derogatory, may have had an opposite effect. Rather than discouraging Chicagoans it inspired them to exceed their reputation. Being second to New York city pushed Chicago to be bigger and better. Being the underdog made Chicago search for new ways to surpass the designs happening elsewhere. Doing what everyone else was doing would not put them on top, rather they had to be innovative and make designs that were unlike anything anyone had seen before.

reverberations

Design has a way of repeating itself and there are many variations to this cycle. Some pieces of the cycle are present for extended amounts of time where as other come and pass more quickly.  In most cases it is not possible to look at a design with out seeing implications from a design that the preceded it. Technology advances and culture, influence design in a way that modifies what was produced by the former.

            When a design is revitalized it will not necessarily be an exact replica of what came before.  Borrowing from the past, in some cases, means an opportunity to elaborate and manipulate the design from which one is borrowing. Andrea Palladio was greatly influenced by Greeks and Romans and borrowed from them to create his own set of rules about architecture. What the Greeks and Romans reserved for sacred temples, Palladio re formed and applied to residential homes in Italy. Palladio wrote his rules for architecture and these writings found their way to the hands of American politicians. The books were able to make their way back over to America and in turn greatly influenced American Architecture. The White House and U.S. Capitol in Washington are reminiscent Palladio’s style. Even buildings that are being constructed today show signs of Palladian influence.

            In it’s formative years the United States were trying to form a National Style, one that would show who their great new nation was or who they wanted others to think they were. Classical styles influenced Palladio and now both the ancient styles and Palladio were influencing America. Public and government buildings showed obvious influence from classical styles. The buildings being constructed were a product of the culture.. The buildings were symbolic in nature and were meant to tell a story to those who encountered them. The story that America wanted to tell was one of strength and knowledge.   The state capitols, wanting a more pure version of architecture world base their designs more on what was done by the Greeks. The capitol was more inspired by Roman architecture.

            As time progresses people are beginning to explore the notion of merging more than one style in to a design. Borrowing from only one period at a time was less important. This openness, combined with trade routes created spaces that were more eclectic. Homes now had furnishings from foreign lands which provided a feature of globalization. The industrial revolution is making way for new innovations in design. Metal and glass allow for production on a larger scale than was possible before. Because of this revolution people are shifting away from anything they have seen in the past and becoming more imaginative. This time period also allowed for furniture designs that were more accessible. Furniture was being produced in anticipation of a purchase which was new concept.  

            What once was will be again. Sometimes it is a revitalization of the past, staying very true history. Other times a design is reformed, in hopes of creating something even better than what came before. Even as a reform occurs the reverberation of the past does not stray far from its origin. Sometimes as a result of reform a new set of rules are formed creating something new to inspire the next design. And thus, the cycle continues.  

           

                 

Dungan- Nequette/ Birmingham, AL 

       

cultural influences

We currently live in a culture that is unabashedly obsessed with  smart phones, laptops and an array of other tech devices. Leaving home without them is out of the question. And to have phone or computer running out of juice could be catastrophic,  leaving an individual completely disconnected from the world. Enter the "juice bar".  These stations are common at air ports, sporting arenas, shopping malls and other communal places. The design is obviously driven by our culture's need to always be connected. Seating areas at airports will often have several stations making it all the more accessible for someone who needs a charge. This particular design even has signage and lighting reaching vertical making it more visible in a crowded area. As technology evolves and new phones are released the design will change in order to accommodate.

  

revival-reform

Revival and reform are both terms which borrow from the past . When reforming you are making changes to something  that improve upon it's current state. When a revival occurs you are looking  back to something from the past, bringing it back in to activity. 

     Reform is an important concept for design. Design and architecture borrow from the past all the time but sometimes there are improvements that can be made. Perhaps a designer is inspired by a home design from the past and wants to borrow from that design to create something current. Many homes from previous periods would have a floor plan that wouldn't work for today's families, and would need to be reformed. In this case the designer is able to look to the past for inspiration and then improve the design to make it more functional for today. 

foundations

     

      If examined closely, there are connections that can be made between mundane objects and some of most magnificent structures in the world. A plastic straw out of your favorite coffee drink for example can be a connection to the Pantheon of Ancient Rome. Turn the straw on it's side and a horizontal line is seen, creating the base of the frieze. Hold the straw vertically and you see the columns that line the front of the Pantheon. Hold the straw up so light comes down through the tube and you can see that its shape mimics that of the Pantheon's oculus, connecting Earth to the heavens above.

     These familiar lines and shapes come together to form humanity's first elements and principles. These elements and principles repeat them selves over and over again through out history. Circles, groves and stacks, whether used individually or combined serve as the foundation for all architecture we have seen thus far. If you take a look at Stonehenge and many the many other formations similar to it, it is easy to see the use of a circle formation. Within Stonehenge you can also see groves. Large stones are lined next to each other to create a form. Egyptian pyramids are a good example of Stacks. Layers of stone are stacked on top of each other, together they form a grand structure. Ancient temples are formed by the combination of stacks and groves, as are many other structures we are familiar with.

     This combination of groves and stacks is used over and over again in ancient Greece. There are a row of columns lining the front of the structure and stacked above it is a pediment. The columns are strategically placed so that the human eye views them as being symmetrical. After Greece, there is Rome, who mimicked much of what we saw in ancient Greece. Romans created structures using what they learned from the archetypes created by Greece, but the Romans were focused more on the surface of the building than they were the substance. Known to make things as grand as possible without following the processes that were used before them. Upon the development of the arch the Romans were able to build on a larger scale than ever before.

     This notion of building things on a grand and elaborate scale carried over in to Gothic cathedrals as they were being built. Large arched windows were used to allow a lot of light in. It allowed a larger space in which stained glass windows were placed. Stained glass windows were a tool used to convey a message to those entering the cathedrals. Plans for cathedrals went through an evolution before eventually different plans in to one. The plan is one we still see today, two sections that intersect at a circle in the middle.

     With each period covered we see a common theme and that is, each one is borrowing ideas and practices from those that came before them. The Design repeats itself. History serves as a foundation and inspiration for new design and architecture.