Rep and Analysis ALL SEMESTER

As I sit on the hardwood floor, the light flowing through the old window panes have moved slightly from the west towards the east. I am sitting facing south, parallel to the eight foot windows. Window coverings are pulled half way down on one window and the other window’s shades are wound tightly up at the top; the string to pull the shade up and let it back down is lolling on the floor. Holes to lift up and open the window are at the base, two feet up from the ground. They are painted white like everything else. Two standard pieces of paper are attached to each window, printed in red with a white font that reads, “WARNING DO NOT OPEN OR LEAN AGAINST THE WINDOW.” I wonder why. Scratches mar the floor paired with a variety of colored specs dotting the hazel wood. Dust has collected in a gray line where the floor meets the baseboard. The irregularities in the floor boards tells a story of years of use. Pipes hang half a foot from the ceiling painted white yet again. The gray moving door of the elevator rest to the left of my vision, opening and closing, bringing people to and from their destination. The noise of a lecture occurring behind me has been drowning on for the past hour. In and out of consciousness the voice had pulled me, until I had stilled and it became but another white noise in the background. The voice is akin to the sound of the machine that cools the air and the click clack of shoes meeting the wood floor.

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Click below:

Catherine Minkiewicz

In the 1960’s, Parsons’s Interior Design program stressed the importance of interior design in the formation of human mood and behavior. Their challenge was the shaping of space for the creation of an atmosphere that tended to human needs and ideals while echoing the culture. Throughout the century Parsons kept an emphasis on the importance of cultivating a rich historical knowledge that went well beyond the world of art and design. With my iteration of Catherine Minkiewicz’s collage renderings, I placed a focus on the creation of an atmosphere that enveloped the viewer upon entering. My hope was for people to walk from the courtyard into the living room and think to themselves, “was I transported to somewhere else?” Maintaining a focus on the creation of a living space that is a one of the family hubs, I kept Mickiewicz’s furniture layout while altering the color pallet. I felt that the balancing act of warm and cool colors catered to overall inviting and cozy environment for family and guests to spend time with one another. In the hopes of the living room fostering human interaction, I decided to opt out of including televisions. My goal with the iteration of Catherine Minkiewicz’s work was to create a space that would reconnect humans with the present moment.

Lashen

During the school year of 1949-1950, the third-year interior design program placed an emphasis on the contemporary scene. They included problems ranging from low cost domestic rooms to large scale public interior while continuing their studies and research in history. Keeping this in mind, I focused in on Lashen’s iteration of a large-scale public interior, a workspace. With the creation of this environment, my intention was to piece together an eclectic interior that embraced both cool and warm color pallets. In a potentially high stress environment, one of my main concerns was to create an atmosphere that placed an emphasis on comfort and calmness.

second half of the semester

sciagraphy

1. 2019_1203_ALL_SCIAGRPAHY

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mock up application in photoshop 2

These two I did do.. they were green chair and that wild axon with the chairs that you weren’t to keen on because the floor was not included, but then we worked on the angle to find the one I used with the final that kept the floorboards in mind. I cannot find any documentation of them because they were taken on my old phone I believe and I no longer have it.

“grocery list”

The site is in the Constructed Environments building of The New School. It is a building that faces southwest, following the angle of Manhattan’s grid. The third floor of a building is our location, it is over a century old. Though the space may seem forgettable at first, we have learned that there is no such thing as simple room. The space is used by bodies to transition from space to space, none seem to voluntarily sit and spend some time there. The worn wood floor is a bit concaved, splashed with evidence of the creative minds who have trekked to and from class over the decades. The walls appear to be white, but the light, both natural and man-made, ensure that the walls are never truly white. There are a few pipes here and there, painted “white” in an attempt to mask their existence. As you spend time in the space however, you will see that the exposed veins of the building and something special to the space. The windows are older than you and I and they droop down with age like your grandmother’s eyes.

“narrative”

BOM BOM BOM as I walk out of the stairwell, I am submerged in a madhouse of complimentary colors thrumming with life. I am but a boy made of fabric, thread, and filling, with two buttons for eyes. But back to the story… now what do we have here, two floating chairs with dummies atop? They are flanking a heavy chain that radiates a rainbow of reflection. The chain says to pull here, should I do as I am told? I think I should. I walk up and grasp the cool metal in my arms with no hands. One, two, three I pull! Sure enough, a screech is let out and the chairs begin to move! The chair moves, the dummy folds, and the window treatments lift. I had not seen the view of the city from the window before. I had not known the magic of a landscape that is ever so slightly distorted through the drooping century old glass.  Other creatures are walking around on the sidewalk below, how curious to think they may not even know of the madhouse overhead.

short section

perspective

floorplan

diagram of movement in dummy, chair, and window treatment with a pull on the chain