3/9- Pragmatic

Pragmatic factors greatly affect the design of space. The office design shown at the right is a space that seems to demonstrate quite a few pragmatic woes. By analyzing spaces that have not been successfully designed, in terms of pragmatic issues, designers can learn from others’ mistakes and more successfully achieve designing truly functional spaces. Pragmatic issues deal with the health, safety, and welfare of its users, but they ultimately prescribe a space that functions well.

The space at right appears to be a conference room placed in a rather open section of the building and at the crossroads of a main circulation path and a staircase to upper floors. The main circulation path appears to run through the wide door opposite the conference table, alongside the table, and beyond to the stairwell and continued open space. The position of the conference table creates a pragmatic issue because it is placed right in the center of the opening in the main traffic path. Users must either walk around this large road block in order to properly access other areas of the building. Thus, the circulation paths are rather amiss due to furniture arrangement. The boxing pad hanging from the opening also blocks the circulation path in the same fashion as the large table does.

Another pragmatic factor that influences space is the abundance or lack of appropriate/inappropriate noise. The white, bare walls of the office space do not have any absorbent material that would reduce reverberation within such a large, high-ceilinged space. The lack of such material most likely creates loud echoes throughout the space, which is not an ideal condition for a conference space. Conference spaces are used for meetings and brainstorming among companies. With constant reverberation, the space will become both distracting and intimidating for employees. Workers may become unable to concentrate due to the constant echoes and thus, reduce work productivity. Shy employees may become intimidated by the reverberation and become more withdrawn from meetings. They may have wonderful ideas/contribution, but be too scared to come forward. Thus, the impact of noise can essentially decompose company productivity in a badly designed space.

Safety issues can greatly impact the functionality of a space. The office design at right contains rather hazardous stained concrete floors. These floors can become very slick with any water application. On most days, the floors would be rather successful. However, on rainy days, employees would track water inside the office building and create slick, dangerous floors. Employees could become injured and eventually raise insurance/benefit costs to the company. The stairs at the left of the photograph seem to be lacking handrails on the right-hand side. This lack of protection in the ascension of floor levels could also cause injury to employees and have the same effect on company costs. Despite other dangerous pragmatic concerns within this space, the designer did equip the conference table with appropriately healthy chairs. The designer placed ergonomic chairs within the space that contour to the human spine and create a healthy work environment for the employee despite having to sit in a chair for continuous amounts of time.

I brought up a point concerning weather and its direct relation to interior design pragmatics. What are some other examples of how weather (pragmatic) issues affect the design of space? How do designers accommodate these primary needs of space?

Picture from: http://www.momentoitalia.com/tutti%20file/immagini/office/PELL-OFF-BIG/ZZ1_jpg.jpg

03/09: Wildcard - Symbolic

Nobu Fifty Seven is an upscale Japanese restaurant located in New York City. Designed by David Rockwell, Nobu Fifty Seven evokes fluidity and the imagery of an Asian river with curves and details of abalone shell chandeliers, sliced bamboo stalks in terrazzo tiles, scorched ash tables and Japanese quilt fabric. Sake barrels imported from Japan tower over the floor bar counter as diners make their way to the upstairs dining room. Polished woods, rich hues and soft lighting create an ambiance of elegance and refinement.

The interior of the space is symbolic of the authenticity and exclusiveness of the dining experience. By using rich materials and rare décor, the customers are immersed into the Japanese culture. The space is upscale and tranquil, symbolic of the Asian lifestyle. The atmosphere allows the diners to relax and enjoy their dinner without the stresses of the day’s earlier activities. It empowers the diners to focus on the dining experience and visiting with their party, rather than the implements of the space. These elements are symbolic of a dinner in a Japanese residential environment. The traditional Japanese dinner is a formal meeting, with delicate dishes and proper conversation. This restaurant symbolizes that tradition and allows the guests to escape to Japan for an hour or two.

How would the dining experience be affected if the materials and décor in the space were changed? Are there any materials that do not fit the symbolic Japanese atmosphere? If yes, what suggestions do you have to make the space more authentic? If you were to visit this restaurant, would you feel like you were in upscale Asia?

Photos courtesy of http://www.noburestaurants.com.

Preferential 3/09

The Designer of this space preferred a more contemporary feel of design. The architectural elements of the space that were already in place were very streamline and clean, very rectilinear. There is an evident theme throughout the space with the polka dots the designer has chosen to use. The designer uses the three polka dots and lines throughout the space on different elements to bring these three different functional areas together. The living room area, the dining area, and the hallway are all separate areas, but with the use of the polka dots repeated in each area the designer has made all the areas cohesive. This pattern is even found on the floor as well. There are bright red circular rugs leading the people who use this space, throughout the space.

You can tell that the designer wanted this space to have a strong sense of repetition throughout the space with the continuous use of these objects. The materials used in this space are appropriate. All of the materials in this space are sleek and smooth, keeping along with the contemporary feel that the designer wanted to bring to the space. All of the furniture is clean lined, with smooth finishes. Also the furniture is neutral tones, to make sure the accents pop. The walls in this space are very clean and sleek as well. The main wall is white, while the two dividing walls have a sleek, dark blue tile pattern on them. The color scheme the designer chose for this space is very enhancing to the space. The color scheme in this space is very contrasting. The use of neutral tones in most of the space, then the accents of red throughout the space in each area brings interest to the space. All of these elements are preferential elements from the designer.

BEHAVIORAL : 03/09

The image below is of the painting studio of artist Stefan Dunlop. The studio is part of he and his wife’s newly built dream home located on a seaside hill in Noosa, Australia. The home and studio were built by their neighbors, Bark Design Architects, and the couple was fully involved in the process.
When thinking about designing a space meant specifically for creativity we must keep in mind that in this state of creativity, we make ourselves most vulnerable. This means that our behavior is strongly influenced by our surroundings, taking notice to the smallest of details.

When you initially look at the image of this studio it doesn’t appear to have any great architectural value or order for that matter. But the architects and artists took great care to design and build a space which would affectively accommodate the behavior specific to Dunlop. For example, Dunlop’s paintings are often on a very large scale so it was necessary to create an extra large entrance with a very tall angled ceiling. In addition to this tall ceiling, it was also necessary to create a space which was long and narrow so that Dunlop would have plenty of room to step back and get a good view of his large works. The giant wall of glass creates plenty of natural light, not to mention an inspiring view and the building’s orientation from east to west avoids direct sunlight which would obscure sight of the paintings. The walls and floors are made of plywood, having the ability to withstand strong wear and tear including paint splatters. This enables the artist to feel comfortable to create rather than having to worry about creating damage to the space. And finally, the exterior was clad in corrugated tin so as to echo the adjacent water-storage tanks.
If asked to design your “perfect studio” what would be some of the architectural features necessary in order for you to feel most comfortable to create?

Composition: 3/9

The compositional aspect of an interior directly refers to how the designer applies two-dimensional and three-dimensional composition within the space and how effective it is. In this café, the use of geometric shape is mainly used. Three-dimensionally, you see that the chairs, tables, and sofas all relate to this overall curvilinear and spherical theme that is carried throughout the shape of the actual space itself. The straight edges of the rectangular bar creates contrast compositionally with the rest of the space. The straight lines that section the ceiling design also relate back and connect to the bar shape. The walls are from floor to ceiling glass, which is also connected within reflective materials and the ceiling, which is made up of a translucent membrane. The initial shape of the entire space is also repeated on the outside through the patio. It is repeated through the exterior railings, as well as the furniture that frames the space.

The scale of this space is overall human scale, but this really only depends on where you are in the space. Inside of the glass walls it is definitely human scale. On the contrary, if the viewer in standing outside of the glass walls on the patio, the space is of monumental scale. The framing of these gigantic mountains and infinite sky brings the viewer down to what seems like the size of an ant. Also, because the space is on a roof top, it causes the viewer to feel even smaller, as they are then enabled to look up, down, and every direction. The proportion of the objects within the space are very much balanced. This is so, because although the objects vary in size within the space, this variati

on is an even one. Nothing in particular is overly sized or too small for its surroundings.

How would the space change if the walls were not glass and did not create a connection to the outside? Do you think that the space would be easier to read if the shape of the bar reflected the rest of the space? Why do you think so? Do you think that the human scale of the patio area would change if this café weren’t placed on a roof top, and just on a street side? Please explain your answers.

WILD CARD (SYMBOLIC) 3/2:

We buy things to tell the outside world something about our internal selves. Whether it's large scale purchases like a house or a car that tells the world that we are successful and wealthy, or smaller purchases like a pair of boots to tell the world that we are stylish, what we buy symbolizes something. In the same way, the designers of the stores in which we buy those products are trying to symbolize things to their consumers. They are selling an image not only in their merchandise but, as we talked about in studio on Friday, in the shopping experience that the store provides.
The recently opened BAPE store in Los Angeles symbolizes several things to its consumers. The first impression is instant cool- literally and figuratively. The fluorescent lighting is bright and cold, the surfaces are shiny and transparent like ice, and the color palette is a wintry mix of silvers, blacks, and light blues. The designers of the BAPE store wanted shoppers to know that they were buying cool.
In fashion, one thing everyone wants to buy is cutting edge style- the newest thing. People are eager to make past styles look outdated, and what’s better at making the present look like it’s past than the future? The physical experience of the store represents a space age-y, future experience. The central cylinder references the star wars transporter chamber, the neon lights recall the parabola of rocket ship travel, and the bright white circular light backed in shiny black makes one thing of white stars in black space.



Supporting both of these symbols is the sparse distribution of merchandise. Nothing is cooler than having something that no one else has and the display of the clothing and shoes make them seem scarce. At the same time lots of open floor area, the cool lighting, and the cold surface materials symbolizes the experience of space travel where you might not encounter anyone else for a long time. The shopper can feel like they are shopping alone, even with several other people present.
Do you think the design of this store makes the merchandise more appealing or intimidating? What do you think the store would begin to symbolize if the accent neon lighting had a bigger presence? Are there any ways to add color and life to the space and still keep it ‘cool’?

03/02: PREFERENTIAL

Preferential design decisions are based on preferences of the designer that can be clearly seen in the space. The important aspect to these decisions is whether or not they are appropriate for the space or not. This space is a shopping center in England called the Bluewater Shopping Center. When I think of water, two images come to my mind: the color blue and sailboats. The design of this space reflects both of those images.

The image of a sailboat is predominately shown in the design of the ceiling. The curved roof is broken up into triangular shaped cutouts that look like sails in the wind. This curving design element creates the sense that the sails are moving naturally down the hallway, blowing in the wind and moving with the water. The entire shopping center curves to the right as you move through the space. This architectural element fits extremely well with the interior design of the space. The natural light brought into the shopping center because of these cutouts creates the feeling that you are outside. I’m not sure if the other elements hanging from the ceiling are artificial lighting or just sculptural elements. Either way, they continue the “sail” motif in a vertical manner from the ceiling. The repetition and varying heights of these elements continues the feeling of moving in the ocean breeze.

Even though color isn’t extremely dominate in the space, there are hints of its presence. The ceiling, walls and floor seem to be an off-white or light grey color. However, the way the light hits the ceiling makes it look as if it has a blue shade to it. This might be because its complementary color of orange is used in the cutouts of the ceiling. The blue water motif can be seen in the materials used on the escalators as well. This particular design decision seems very beneficial to the space because the escalators provide actual movement in the space. The posts of the handrail that surrounds the second floor are also of a blue material. This repetition of color and shape continues with the water concept. Varying blue and grey tile is used on the bottom floor of the space to create movement and paths to follow.

The designer chose to keep the space as neutral as possible. Few areas of color were added to create focal points. Do you think adding more color to the space would enhance the total concept? If so, how much color and where do you think it would be most beneficial? Or do you think adding more color would take emphasis away from the ceiling focal point?