Sound Sketch

 

 

 

sound effects + gatewood studio arts building

 

Hearing Architecture

Hearing Architecture

 

In the chapter, Hearing Architecture, the question was asked, “Can architecture be heard?” The answer is most definitely, YES. The chapter discussed arched and domed ceilings and the effect of those architectural details on the way in which we experience sound. Also discussed are materials and architectural details that provide sound absorption. The general synopsis of the chapter is that certain materials and architectural details that create poor acoustics in some instances can produce phenomenal acoustics in others. The job of a designer is to understand how materials and architectural details affect the way in which a space is experienced and design for the desired effect.

 

I think I am sensitive to sound and, for me, there is a fine line between sound and noise. I have experienced a variety of occasions in which sound played a significant role in my overall enjoyment of the space or activity.

 

For instance, many years ago I attended an International Festival in one of the permanent buildings at the fairgrounds in Raleigh. I was very excited to go because I was looking forward to sampling food from different countries. The building was long and open, individual spaces were delineated by food stalls; there were no permanent walls in the space. I am unsure of what the building was constructed, but my guess is that it was a pre-fabricated metal building. The floors were commercial tile. Because there were so many people crammed into the space there was a constant din of sound. Because there were few permanent sound absorptive materials, the din grew. The constant hum of people was tolerable for me at first, but the longer I was there, the more intolerable it became. There were not any specific loud noises, just that din. My anxiety level grew so much because of the noise that I had to leave the festival. When I exited the building I felt instant relief in the relative quiet of outside. I was disappointed to leave the festival early but the noise level in the space became intolerable to me.

 

On the other hand, I have experienced music performances that were an acoustical delight. As discussed in the chapter, some sound reverberation is critical to create an acoustic environment in which music sounds are at their richest. When I was young I went to music camp at Lake Junaluska in western North Carolina every summer. Most of the music performances that I attended there were held in an austere, casual (camp-like) auditorium. The auditorium was a huge octagonal building with concrete floors, wooden theater seats, and was surrounded by windows. The sound in that auditorium was great, although the seats were not too comfortable. The materials used in the space and the shape of the building allowed for reverberation that made human voices and instruments sound fantastic.

 

As a designer it is important for us to design for all of the senses, not just the visual. Sound in an interior plays a huge role in the comfort and enjoyment of the people in the space. Most people do not think about how architecture sounds until the sound in a space is uncomfortable/annoying or magnificently beautiful.

Light Box

Shadows of Light

An Exploration of Shadow Cast by Colored Light



Light Sketch 3

 

Textured Fabrics Under Various Lamp Types 

 

 

Light sketch four required our light box group to go on a scavenger hunt for different light sources and document how each affects the appearance of color and texture. We chose four very textured fabrics in warm and cool colors and photographed them with a variety of lamp types. The lamp types we used were fluorescent, LED, halogen, and HID. Not only did we document the different sources but we also documented them in daylight and night conditions.

 

It is clear to see how some lamp types can drastically change the color of the fabric. One of the most interesting changes is documented in the HID lamp. The green swatch (the last one) looks vastly different under the same lamp, in different natural lighting conditions.

 

 

 

 

 



Light Sketch 2

 

 

 

 

Analyzing Lighting Conditions

 

 

 

 

 



 

 

 

The retail establishment had fluorescent, halogen track and incandescent sconces. The three different types gave the space plenty of light showcase the clothing. The track lighting along the wall gave a little glare on the walls. I would recommend possibly a lower watt bulb there.

 

 

 

 

 

 

 

 

 

 

The museum space had halogen track lighting set up along the side walls and another set towards the middle running parallel to the wall. The ones in the middle were pointed towards the sculpture and walls. Only a few of the lights against the walls were being used and they were pointed toward the sculpture as well. This gave a beautiful effect of shadows in the space and really highlighted the sculpture but wasn’t overpowering on the wall artwork.

 

 

 

 

 

 

 

 

 

 

The restaurant had adequate lighting for the space. They had halogens lamps on a string type strip. This created a nice ambient light. The space had windows that let in some nice natural lighting on the corners and some niches that appeared to have some up lighting.

 

Light Sketch 1

 

 

 

 

Finding Lighting Conditions

 

 

 

 

 

In searching for lighting conditions, my partner, Monica Clendenin, and I went to the Weatherspoon Art Museum on the campus of UNCG. As lighting is integral in displaying art and properly illuminating public spaces, we believed the museum to be a great place to find various lighting condition examples.

 

 

This is good example of a lighting example that evokes a relaxed response. This is a passage way behind a display wall that leads from one gallery to another. This passage way exhibits physical properties that are calming and serene and acts as a visual break between the gallery spaces, through the use of little color and a curvilinear niche in the wall. There are large windows that appear to remain covered by a sun-blocking shade which allows the ceiling lamps to perpetuate the feeling of serenity in the space. Most of the contrast in the space comes from the shadow and light play of the ceiling lamps and the curve in the wall. These shadows create subtle visual interest while maintaining calm and serenity.

 

 

 

 

 

 

 

The lobby of the Weatherspoon Art Gallery is spacious and its lighting condition accentuates its spaciousness. The floor is a highly reflective, dark stone and the walls are bright white. Additionally, the central gallery space is an atrium that has natural light flooding through the clerestory, illuminating the vast whiteness of the walls. The adjacent hall that leads to the galleries is lighted with warm ceiling lamps that help to delineate the space by creating contrast to the atrium. The specular surface of the floor reflects the light and shadow of the space which adds to the feeling of spaciousness in this environment.

 

 

 

 

 

 

 

 

The following are Monica's descriptions of the other two spaces:

 

My partner Shelley Gates and I went to the Weatherspoon gallery as we thought we could capture some unique light effects there since the walls are mostly white and they use light to accent the art and space. I will discuss two of the four pictures. The first sketch is the gift shop. This shop had an overall hazy effect. In the picture I took you couldn’t even see the light fixture itself because the light was so bright that it blurred out what was around it. The light was fairly light elsewhere and this extremely bright light created a hazy effect.

 

The second sketch is the Hallway. The overhead lights and the shadows they created had a beautiful effect on the space. I also like how the light fixture paralleled the shadow making a V shape. It made you want to just stand there and really experience the space and let the effect soak in.

These next two are the lobby space and a seating area. Shelley discussed these two on her blog. We each sketched our two then traded off to finish and shade them. I am pleased with how the drawings turned out and even more intrigued by lighting design.

 

 

 

 

 

 

 



Personal Experiences with Natural Lighting Conditions

Personal Experiences with Lighting Conditions

  

            As natural lighting conditions are such an integral part of (sighted) human existence, it is easy to take them for granted. I am one who, until this point, has generally not been immediately aware of the conditions that I will describe. Although some conditions I am very much consciously aware of, this writing assignment has forced me to recognize and identify conditions of natural light that are around us all of the time.

            For me, identifying a personal experience of light and place is easy because the entire environment of the place was awesome and magnificent. The place is Hagia Sophia in Istanbul, Turkey. I visited Hagia Sophia in 2004 and when I entered the building, I just had to stop and look up. I was completely taken aback by the enormity of the structure and marveled at the technology that was required to erect it. The natural light that streams into the interior is remarkable. There are (what appears from the floor to be small) windows placed all the way around the bottom of the large center dome, two rows of windows below the large dome on two of its walls, windows around the bottoms of all of the half domes, and a series of tall windows in rows behind what was the pulpit when Hagia Sophia was a Christian church. There is also a grid of enormous chandeliers; however, as I was in the space during the day, the light cast by these was very secondary to the natural light from the windows. The windows that are around the bottoms of the dome and half domes allow sunlight to stream into the space and bathe the mosaics, materials, and architectural details in light. The windows act as spot lights that direct the light to the specific details that one should notice. As the sun moves overhead, the spot light changes, as does that which is highlighted. The reflection of light from the interior materials helps to illuminate the space in a warm glow. And although the overall effect of the light is warm, the overall space maintains a sense of coolness. I have not seen the interior of the Hagia Sophia at night, but it must be a very different and equally dramatic experience. I imagine that the chandeliers create a darker, warmer, more intimate (quite a feat for such a huge space) lighting condition in which more shadows are cast and might even take you back in time.

            One of the most common natural lighting conditions is dappled sunlight through leaves of trees. Although I feel very comfortable in and enjoy this condition, this is an example of one that did not come to mind immediately. I think it is because it is so common and familiar. Many built environments mimic the natural dappling of sun as a means of allowing natural light and controlling heat. This is especially common in regions that are hot and sunny. Screens can be quite elaborate, creating interesting patterns of shadow, which, in these environments, becomes an important design element. Dappled sunlight is also emulated in outdoor built environments by pergolas, gazeboes, and arbors. The structures of pergolas, for instance, cast enough shadows to have a cooling effect outside just as trees do.

            I have lived in three different geographic regions of the United States, the southeast, the Rocky Mountains, and southern California. The light in these regions is very different from one another, yet sometimes exhibits similarities. In the southeastern US summer sunlight is bright but very hazy; the haze results from the high amounts of moisture in the air. Because of the humidity and haze, there are few summer days with bright blue skies or when one can see distant mountains (or distant anything). When the air is saturated, it can sometimes appear that there is a film over your eyes. The thick light of summer adds to the feeling of oppressive heat. The summer sunlight in Colorado is very different from that of the southeastern US. Summer sunlight is very clear and bright, and can get a bit glary. The sunlight is very intense and can be very hot (but it’s a dry heat), in part because of the altitude. The skies over the Rocky Mountains are very clear and blue because of the lack of moisture in the air, so too is the light. The sunlight in southern California could be described as a mixture of the previous two conditions. Sunlight can be very bright and clear when there is little humidity or smog, or it can look very hazy because of smog conditions.

            In my family in late summer when we have a day with lower humidity, it is common for us to say, “It looks like fall outside.” The light and shadow that are cast at the close of summer whet our appetites for the cooler, crisper days of autumn. Fall light is much clearer than summer light, the shadows are longer earlier in the day and the sky is a beautiful clear blue. These conditions are caused by the Earth’s shift toward its winter solstice and less humidity in the air. It is beautiful light; probably my favorite!

Lighting and Human Health

 

            The articles, Influence of Architectural Lighting on Health, from InformeDesign’s newsletter, and In Eyes, a Clock Calibrated by Wavelengths of Light, in The New York Times, give great insight into the ways human health is affected by lighting conditions. These articles discuss ways in which human health and welfare are greatly impacted by the lighting conditions to which we are exposed. As artificial lighting technology has changed and continues to change, we experience different lighting conditions and different benefits and consequences from those lighting conditions. Current benefits include overall convenience, ability to complete tasks after dark, and an increase in overall societal productivity. The consequences are not completely understood, although there is significant scientific evidence regarding the relationship between human health and well-being and lighting conditions. Continued research must be done to know the exact effects of lighting on humans, especially as lighting technology changes and we are exposed to new conditions.

            As suggested in the articles, circadian rhythm is greatly affected by artificial light, but the effects vary depending on the color of the light wave. Evidence suggests that blue light waves inhibit the production of melatonin, a hormone that is released in the body to promote sleep, for a greater length of time than red light waves. Additionally, experimental evidence suggests that blue light waves make users feel more alert and focused. This may explain why it is easier to fall asleep after reading a book in bed, as opposed to watching TV or reading on an e-reader.

            Decreased levels of melatonin affect our ability to fall asleep, in turn affecting our circadian rhythm from resetting our bodies’ functions. Interruptions in our natural circadian rhythm have a wide range and, potentially, long-lasting impact on our overall health. It is, therefore, evident that artificial lighting has the potential to negatively affect human health based on the type and exposure to it, by interfering with our circadian rhythm.

            Natural light also impacts our health and well-being. In geographic locations where days are shorter or rainier weather is experienced, there is a high incidence of Seasonal Affective Disorder (SAD). SAD is a condition that causes seasonal episodes of depression in its sufferers. A typical treatment of SAD is light therapy, a treatment in which patients are exposed to bright light at determined intervals.

            Based on existing and ongoing research on the effects of light, both natural and artificial, on human health, it is critical for architects and designers create spaces in which full benefits of lighting can be maximized while the consequences can be minimized or alleviated. For instance, blue light waves can be used in areas that require a high degree of alertness and focus provided that there are spaces available that allow the brain and body to relax and maintain a natural circadian rhythm.

Personal Development Spring 2013

 

 

 

 

This semester was a semester in which I felt as though I grew more in my abilities to deal with people than in design. There were many design/teaching challenges that I felt like I had to face, and while I may not have always done it gracefully, I definitely grew from them.

 

From a design standpoint, my final project best shows my growth. For the final project my group designed ribbon furniture for the IPC. The pieces changed greatly from our initial ideas and I feel that the way those pieces engaged both the floor and the ceiling best represents my personal growth as a designer. The pieces are interesting and practical and deserve to be explored further. I think this is the first project that I thought about how to integrate the floor and ceiling without being directed by an instructor, to do so.

Global Engagement Center + a class project

 

 

 

 

The final project of designing a Global Engagement Center for UNCG was the most professional project we have worked on thus far. As group projects are frequently difficult, this one had some unique difficulties as our group was the entire class. In making it a class group project I think breaking the class into subgroups was a good way to help us work more efficiently but waiting on other groups to get initial planning done to be able to proceed with our planning became frustrating, although these challenges were not unexpected.

 

 

As group projects go this was one of my more positive experiences. I was made a task manager and was able to delegate tasks based on the strengths of my group members. I was fortunate to have the majority of my team eager and enthusiastic about the project. We worked well together and were able to design specifically for our group (International Programs Center). They are an energetic, lively group so I felt that we had freedom in our designs to express those qualities.

 

 

 

Overall I think our design was a success and we received kudos from IPC, in the form of an email, after the presentation. They seemed thrilled with our initial ideas. The things that need improvement are many, fortunately my clients were not aware of them. Firstly, I would like to further develop our "ribbon" design and maybe carry it throughout the building and generally have more time to fine tune everything. I feel like our design is good for the short amount of time in which we had to do it but I feel as though it is very rough. The other things I would like to fix are: the AutoCad file of our floorplan, the sections on Auto Cad,the orientation of the floorplan in relation to the orientation of the key plan, and the renderings.

 

 

 

 

 

 

 

 

 



Space Planning for the IPC

 

Using the information that we gathered from our initial research and interviews, we made an adjacency matrix and bubble diagram (as shown in the previous post). Based on those items we started playing around with a floorplan. We always had the idea to put Dr Pynes in the middle and have various faculty radiate from her space. We started working with floorplans and space planning before we actually knew what the second floor of the building looked like which was very difficult. We double checked with IPC about their needs and were informed that we needed to include about 15 people more than we had initially planned. These additional people increased our square footage from an estimated 6500 square feet to 10,000 square feet.

 

In planning the space we took all of the storage needs into consideration, made sure there was a lot of natural light and began to think of ways to design a space that was an outward display of the energy and personality of the IPC.

 

 

The following are our floorplans:

 

 

 



 

 

 

 

 

 

 

 

 

 

Initial Programming for International Programs Center

 

 

 

Ana, Annelise, and I visited Dr Penelope Pynes and Nor Othman in the IPC. We were fortunate to have been given a great deal of time from Dr Pynes. We talked to her for two and one half hours about her program, how she would like for it to grow, and the physical items that are needed in the office space of the IPC. After discussing these things with us she took us on a tour of the department and introduced us to all of the faculty of the IPC. In talking to each of the faculty members, we determined their needs and wants in office space and equipment. We compiled that information into boards that we presented to our class.

 



 

 

 

 

 

 

Deep Dive or Dive Deep

"Fail often in order to succeed sooner..."

 

 

The video called Deep Dive about the design firm IDEO from ABC's Nightline television news broadcast was an inspirational video. I have briefly researched the philosophies of IDEO before watching this video and believe them to have unique and creative ways to solve design problems. I based the concept of my living/learning community on their problem-solving philosophies.

The things and structures that we design tell very specific stories about us, in the language of design, about the history of our time. Based on that understanding and IDEO's multidisciplinary approach to design problem-solving, they have grown beyond product design and space design into a firm that designs and implements ideas to solve global concerns.



International Studies Building

 

The concept for our design is globalism. The term “global” brings to mind many different expressions, such as global thinking, global learners, global experiences, and globalization. Globalism communicates the idea of embracing varied cultures and citizens from all over the world; it epitomizes the ideals of UNCG’s international programs. The concept of globalism also conjures images of the physical globe itself – particularly its spherical form and sloping contours.

When discussing the experience we wanted to create for international students at UNCG, we wanted to ensure that they felt like an integral part of the campus and part of the student body. The site location helps with that goal. Rather than being located on the far corner of campus, the site we are using for the new International Programs building is on the main, thriving thoroughfare of Spring Garden Street, near the entrance of campus. Pedestrian and bike traffic pass by throughout the day, as well as vehicular traffic entering campus from Aycock Ave.

After reviewing the Master Plan for UNCG’s campus, we decided to focus on integrating our building with the existing site. We wanted to leave the existing sloping topography intact as much as possible and to design in concert with the surrounding land. This has been highlighted in previous Master Plans as a goal of the overall campus design. We also wanted to create an active social area for students (international and non-international) to gather and spend time, even in the evening after business hours. This is another attempt to immerse international students in the college experience at UNCG by making it as easy and convenient as possible to socialize with other students.

Towards this goal of immersion, our design concepts incorporate two separate gathering spaces: one is a centralized courtyard with tables and chairs, and the second is a green roof where people can gather in a park-like setting. As well as using earth on the top of the structure to create an exterior event space, we also wanted our design to be surrounded by the earth to insulate it. We are aiming for our design to be as “green” as possible in hopes of meeting the college’s goal for all new buildings of achieving LEED Silver certification.

 

During our design process we have made multiple “sketch models” in order to explore various forms for the structure. Because of the limited size of the site, we decided it would be best to include all the international services in one building, rather than connecting separate adjacent buildings. We have discussed various ways to incorporate natural light into our design – primarily by having a façade largely composed of glass, which is in line with the architectural style of the surrounding buildings. Also in line with existing architecture is our decision to use brick as a predominant construction material.

While we want our building to incorporate stylistic elements that  already exist on campus, we also want it to have a distinctive appearance that distinguishes it from the traditional form of institutional buildings (tall and rectangular with a traditional and formal exterior). Towards this end, we are focusing on design forms that are low to the ground and which incorporate dramatically curving surfaces. Equally important to this design are the voids that help to reinforce the idea of a spherical form which reinforces the idea of a globe.

 

 

http://www.greenhijabi.com/?tag=earth

https://www.facebook.com/pages/Healing-Haven/101991839870052

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 



LLC at The Province-Concept Development

 

 

 

 

 

 

 

The parti for my design of the living/learning community at The Province shows circles in varying sizes and straight lines in varying widths and lengths. The colors shown on the parti are representative of the color scheme I intend to use in my design. One element of living that I believe is an integral part of learning and community is  maintaining open, fun, public spaces, so I wanted to be sure to incorporate those in my design. Being pragmatic, however, I am sensitive to designing the space to include secluded, private spaces as well. In an attempt to provide an open floor plan while maintaining private areas such as bathrooms and bedrooms, I chose to use sliding doors throughout the apartment instead of having door swings that interfere with the flow of the room. In fact, there are only two door swings in the whole apartment, at the front door and for a narrow closet. My design morphed to include more scaled circles, and continuing the circularity of the forms, columnar elements. For  example, I chose two columns of appliances and storage for the kitchen instead of a traditional kitchen layout. I also opted to use circular sliding doors to separate the bedrooms from the rest of the apartment that,when closed, add another layer of column-like detail.

 

 

 

 

 

 

 

 

 

 

 

Sliding Doors
 

 

 



 

Program Plan for Living/Learning Community at The Province

 

 

 

 

This is the first programming document that I have ever put together, as such, I realize that mine is a paired down version of a professional document. I approached the document by first coming up with a concept for the LLC. I prepared a statement, including purpose and goals, about the LLC and built the rest of the program plan around my initial idea of the type of LLC of which my space is a part. I then analyzed each room, its expected level of privacy, and required functionality vs desired amenities. I then considered the activities that occur within each room and, based on the activities study and amenities study, developed a furniture plan. I produced an adjacency matrix from which I developed a bubble diagram of the space. The programming document helped me to really consider the activities that take place in each room of a dwelling.

 

 

 

 

 

Living Room Research

 

 

 

 

In preparation for a future assignment, our class was divided into groups and each was assigned a domestic space contained within a typical home. Each group researched their space and wrote about their findings. My group consisted of Beth Lowder and myself and our space was the living room.

 

 

Beth and I approached this assignment by researching the history of the living room. We discovered that the activities common to the living room changed cyclically throughout history, but it always maintained its importance within the home.In our research we noticed how important the fireplace (hearth) was to the home. We discussed how interesting it is that, even in climates where they are unnecessary, many homes still maintain a fireplace. We also how the kitchen could be considered the modern hearth in an interior space in which the kitchen and living room are in an open floor plan.

 

 

Beth and I compiled our information and illustrated our points with many historical images. This exercise broadened my ideas about what a living room is and the psychological aspects of it that we still carry today.

 

 



Cultural Self-Portrait

 

 

 

 

To start this semester, our studio class was  assigned a cultural self-portrait. We were encouraged to research our family history and interpret it in our self-portrait. The end result was an introspective look at how the people and events of our family history shape our view of the world. I am fortunate to have a great deal of information about my family history, as many people in my family have intense interests in genealogy.

 

 

I chose to create a three-dimensional self-portrait that addresses my past and the things that created the person I am, and embraces my future and the people I will help to shape. I also acknowledged my family's strong English background,as well as my German ancestry that culminated in the long-standing place my family has in South Carolina history.


My three-dimensional self-portrait is a shadow exploration,created by cutting paper and strategically layering it to reveal my face. Behind my shadow portrait are pictures of my family and ancestors, showing the people who came before me. In front of my self-portrait are layered pictures of my children, representing family continuum.The entire portrait is attached to a base that has copies of paintings of ancestral homes in Charleston, SC and a copy of an excerpt from my great-great-great-grandmother's diary.


When I completed my cultural self-portrait I analyzed it to see if I could discern my general design aesthetic from both its content and its presentation, and I concluded that I could. In terms of design and based on my cultural self-portrait, I concluded that my design aesthetic is edgy traditional that is deeply rooted in history.


 

 

 

 

 

 

The Future of Modern Living

 

 

 

The purposes of human interior spaces have changed throughout history depending on our perception of the expected functionality of a space and the intended message of what we communicate through our homes' interiors. The performance we expect from our home interiors is cyclical and we think we discover a new way of thinking about home interiors, only to realize that our new revelation has been discovered and discarded many times in the past.With the idea of the cyclicality of how we use our homes, it is nearly impossible to define a singular direction in which modern living will develop and change in the next twenty years.

 

However, as land and other resources become more scarce and there is a continued movement toward resource conservation, a direction in which modern living will develop is interior spaces becoming more multi-functional which will force innovations in space utilization and materials. I also see that there is the potential for modern living spaces to become more colloquial as designers and builders choose sustainable, regional materials that could lead to the development of very specific and varied architectural vernaculars. Additionally, technology will play a huge role in the development of technical materials that will help reduce our consumption of natural resources.

 

As with the first human-constructed structure, architects and designers have begun to base their designs around available, regional resources and have begun to more closely consider organic, natural systems in their designs in an attempt at creating a more balanced and sustainable way of connecting a homes' inhabitants to their surroundings.

Susan Szenasy

         While listening to Susan Szenasy, editor-in-chief at Metropolis Magazine, I realized what a privilege it is to attend UNCG in a program in which important industry relationships have been forged and maintained.

 

Susan discussed design innovation and the different professional fields from which these innovations might originate. She introduced the idea of new innovation by showing a film and discussing the winning design innovations from Metropolis Magazine's design competition. This forum provided an opportunity for Susan to ask us to ponder how we, as designers, connect people to their environment through design. It was suggested in this discussion that designers have a duty to consider social and ecological issues in their designs, while looking at history and incorporating technology. Although technology plays a huge role in design innovation, Susan was adamant that it was not the answer for design problems. It is imperative that designers look to organic structures and begin to design from a molecular level. In addition to technology  and natural, organic structure, Susan stressed the importance of also looking at historical design  precedents. Through the use of new technology, organic structure inspiration, and historical precedents, it is possible to design spaces and buildings that are self-sufficient by way of harvesting water and energy.

 

The topics presented by Susan Szenasy led me to consider the various professional fields from which design could originate. Future design will have to incorporate fields outside of architecture and design to further the technologies required to further design innovation