Friday, April 27, 2012

Practical Schematic Design

The purpose of this design is to visually communicate the existing identity of KCAI across the built environment to unify and identify the campus. The use of the core graphic and lime green as well as the primary color will act as key elements that will extend the existing brand. This will be used to reflect energy, activity and artistic spirit directed towards visitors, new students, and existing students, faculty and staff. All materials will be pulled from the surrounding environment at KCAI and extending to both interior and exterior identification.

KCAI: Schematic Design Presentation

Wednesday, April 11, 2012

KCAI Way-finding: Concept 01

Ian and I would like to delineate the space through hierarchy of the buildings; 1) numbers 2) Name/Address and 3) icons for building purpose. The numbers will be a system for identifying the locations in case the purpose of the buildings change (as they always do). The name and address are a secondary way-finding clue for each location. The address will be used for those buildings that do not have a specific name. The icons will be the smallest hierarchical point for identifying the buildings so that they will be easy to replace in case of building purpose change. These will be used in both flat and three-dimensional forms.

This simplified number and icon system will be used to identify through directionals and identification both on the interior and exterior.

Our plan is to stay consistent with the existing brand as much as possible. We are not trying to change the identity in any way—just how it is used. This means we will be using the existing colors and fabrication materials. Our goal is to take the initial purpose of the brand (artistic spirit, energy and activity) and put our own impression of what this actually means. We would like to make special use of large-scale dimensional and graphic forms on and around the buildings

We have programmed the outside space:

Wednesday, March 21, 2012

Architecture + Hair Process

Taylor and I are drawing parallels from Corbusier's architecture and hair and fashion from the 1960s that was directly influenced by Corbu. Although we are including influences in the exhibit as well as the app, architecture is still the focus of the space. We have begun to explore the wall space (bottom floor only), concentrating on imagery, shapes, curves and quotes from the presentation (seen below). This could include things like building off of the walls and showing the comparison through juxtaposed images.

The supporting technology will be an iphone application that will be accessed after the visitor reads the introduction text at the front/entrance of the H&R Blockspace. The app will introduce the space and give a map as a reference of each specific point (5) in the space. The map will not be very detailed but will include small explanations of each point when touched on screen. Each of the five points exhibited in the space will have a corresponding place in the app. Here, the viewer will be able to reveal multiple layers of information about that point. In some cases, it will include direct interaction with the exhibit (EX/ Ribbon window scan to reveal light/outside on the screen of the phone). [MORE SKETCHES + WIREFRAMES POSTED SOON]


Friday, February 17, 2012

Poetic Monument: Ausdauer

Final Drawings:

In German, Ausdauer means “endurance and perseverance.” Literally translated, it means “staying power” or timeless. Our poetic monument is to the calligraphic, german hand Fraktur. The qualities we identified were repetition, equal strokes, and conscious angles. We chose to place the monument in Nuremberg, Germany.Because this was where Fraktur was designed by Hieronymus Andreae. To show the fluidity and meditation of the hand, we chose to place the monument in the river that runs through Nuremberg. A park stands on one side of the river with residential neighborhood surrounding both sides. We abstracted the fraktur alphabet into strokes. Each structure stands with equal distance between the representational “strokes.” This shows the rhythm and structure of the letterforms. The word shown is “Ausdauer” beginning with a capital, red, “A.” The supporting dock that surrounds the monument allows the viewer to see and appreciate the power and height from all sides. The monument reflects in the water and allows for the natural flow to move in and out of the strokes. These structures are made of coated iron to prevent rust in the water with the capital painted red. We chose to make the forms hollow on the inside and allow the wind to move over the tops of the structures which produces a slight humming noise. This represents the meditative quality of lettering calligraphy.

Ausdauer represents the enduring qualities of fraktur; authority through size, enduring history, meditative fluidity in sound and location, and structure in form.

Friday, February 10, 2012

Calligraphy Monument: Fraktur 02

*The sound made from the monument will be similar to the singing ringing tree that uses the wind and hallow tubes to produce a calm, meditative noise.

The dock will hold a plaque that explains the monument as visitors are allowed to walk around the meaning of Ausdauer. The following text is what we plan on telling visitors. Obviously, this will be read in both German and English as they are the primary languages of the area (95% German, 51% English).
"Fraktur blackletter figures were first designed by Nuremberg native, Hieronymus Andreae for Holy Roman Emperor Maximilian I (c. 1493–1519). The term Fraktur is derived from the Latin term "to break" and calligraphy from Greek meaning "beautiful writing". This calligraphic hand is made up of repetitive strokes of the same weight with broken lines and a consistent angle. The process of calligraphy emphasizes harmony, consistency and retains a meditative quality. After its creation, Fraktur soon became the primary typeface of Germany and the surrounding countries and was set until the 20th Century. Today, Fraktur remains a reminder of rich history and significance to the German culture."

Monday, February 6, 2012

Calligraphy Monument: Fraktur

Ian and I have finalized our location to a river called, Wรถrhrder See. This remains in Nuremberg, Germany but doesn't call special attention to the creator of fraktur. We chose to place it in the water because it is a symbol of the fluidity of the form and process of creation while, at the same time, keeping the rigidity and authority of the letters themselves as well as their printed structure. The sound of the water hitting the monument will act as a calming and almost meditative sound through it's repetition. We chose an open location by the river that has a dock and friendly setting without obstructions.

The standard height of a room is 8'. This is the base for our x-height which would make the final monument 14' above water level. The river runs around 9' 10'' at it's deepest point. The monument will equal 15' below the surface of the water. Each structure will be placed one unit apart from the other. Our drawing is .5'' = 1' scale. The monument would be 194' long. The width is 2'. Monument = 2' x 2' x 4' (or 29' for ascenders) solid iron structures. The top of each stroke will angle at 15° this adds an additional .5' on the height.

We chose iron ore as our material because it is a natural resource found in Germany. This material provides a solid structure that can embody intimidation and authority as well as impress the viewer.

Aerial Location View:

Initial Concept Mock-up:

Concept Sketches:

Direction Board:

Thursday, January 26, 2012

Poetic: Defining Idea

Ian and I would like to recognize the elegance and emotion of calligraphy. We have identified a few characteristics associated with calligraphy that will help direct our form. These include; motion, strokes, ink, texture, content, and special attention to curves and angles. The location should inform the history. Because there are a number of different histories (arabic, chinese, german, etc...) we would like to choose one and focus on it's individual the qualities and meaning.

We want to focus on the movement within the restriction of German Blackletter. Here, the characters are disciplined yet fluid and spontaneous (much like Rococo Architecture :) We also want to show the fragility and the importance of the paper. We're thinking Nuremberg, Germany...



the art of writing beautifully: He studied calligraphy when he was a young man.
Fine Arts . line or a group of lines either derived from or-resembling letter forms and characterized by qualities usually associated with cursive writing,
especially that produced with a brush or