Wednesday, 22 September 2010

Wednesday, 15 September 2010

602 NORTH mendenhall

We are beginning our bungalow project this week and so we are took a field trip to a home that shows well the bungalow trends. We drew pictures, took photographs, and got a good idea of the home itself and now we are focusing on the design of one room in particular, the dining room. Some observations that i made were that the home's most used entrance was actually in the back. This is due to parking availability for the home owner. The decoration of the home did not include color. All of the walls, and shelving were white. The owner's style was very obviously simplistic modernist. It was without any unnecessary embellishment. Designing with the rest of the house in mind color is definitely a necessity for the dining room. If i were to put bold colors on the wall, or bold patter, it would be evened out by the surrounding rooms. The pattern or color would be less intrusive and bold, and would show through in a smaller scale into the other rooms. There was something calming about the lack of color, but it was at the same time unnerving. It will be interesting to explore color for the one room.


House and garden magazine is a magazine i have been assigned to research. In my research I will explore the general trends of featured interiors, advertisements, page layout, and article subjects. The assignment is to create a class magazine from each magazine that we research. So far i have found several images to include in my magazine layout.


My final board shows all of my images arranged in a way that the class decided on. We all chose this basic layout, with the name, and images in a row along the left side and the bottom.


This is my star image. It has all of my colors in it. It is a great find because it will tie all of my images together in a great way.

Schroder HOUSE writing

Located on the outskirts of Utrecht in 1924, Rietveld designed the Schröder House to take advantage of terrific views from the site by including, for example, a window on the upper floor that opens up the corner of that floor to the exterior. To maximize the impact of its suburban location, Reitveld located the entrance on the side away from the busy town, but included elements on all four sides of the house that link it to the site. With windows that open outward by a steel cable/pulley system, the liberating originality of the building expresses a release from inside to out, as the light simultaneously floods in.

Plastered in three different gray tones and whitewashed with chalk, the exterior walls of the house contain a well-ordered arrangement of openings, simple and without decoration. The foundations and balconies of the house, made of reinforced concrete, reinforce the geometrical and planar appearance of the house from the street. On the interior, the naturally-finished wood floors connect squarely to the walls and to the reed and plaster ceiling without any moldings, as do the doors and the windows, speaking to the streamlined nature and the geometric lines of the building, so characteristic of the short-lived De Stijl movement. Also echoing De Stijl, Gerrit Reitveld adhered to the predominant use of primary colors on planar surfaces as a means for space articulation.

Red, blue, and yellow planes (as well as other colors) appear in the moderately-sized Schröder House, designed for a widow, Mrs. Truus Schröder-Schräder, and her three children. Her six-decade occupation of the two-level house speaks to the success of the design, for which Mrs. Schröder-Schräder provided design criteria: (1) a bed should be able to fit in the room in at least two different positions; (2) each room should have direct water supply and drainage; and (3) each room should have a door that gave access to the outside. Meeting these criteria, Rietveld fashioned a masterpiece of well-conceived spaces supported by strict attention to details, including specification of a detailed paint color scheme suited to the uses and wear patterns on wall and door surfaces.

Some believe Schröder-Schräder participated quite heavily in the design process, indicating a primary goal to distance herself from the ground and position herself closer to light, sun, wind, and rain in the building. In the design they agreed upon, Rietveld dedicated the first floor as the primary living space, with bedrooms for Schroder’s children and herself, along with a communal bathroom. Taking into consideration Schroder’s need for rationality and “elementary” components, Rietveld designed this space as “a single huge space with sitting and sleeping areas,” with the ability to transform depending on the needs of the inhabitants. Local building code officials designated the upper floor as an attic that contained portable partitions. The sliding walls, which opened and closed to create and eliminate spaces, necessitated significant structure for support. Rietveld planned steel girders that builders inserted into flat rock, making them less visible with a layer of plaster. The resulting large space provided the children with a larger open space for daytime play; the sliding partitions allowed for privacy and intimacy at night.

A second goal from the client centered around the blurring of lines between interior and exterior to better connect with the changes in the seasons. To accomplish this last goal, she decided superfluous components of the household experience must be peeled away. By including skylights, Rietveld considered light entering from sides and above to help bring to fruition a seamless experience in and out.

Apart from the workroom wall, no interior wall reaches the ceiling, the upper part of the walls giving way for light to travel more successfully throughout the space. With the additional effect of continuing the space, this design move, blurs the separation of the rooms, echoing the design goal to blur exterior and interior. The ceiling color also enhances the effectiveness of the skylights and ceiling lights by giving the illusion of more open space, and helping to dematerialize the strict geometry set in place by Reitveld.

By contrast, in the very closed-in ground floor, Reitveld designed a working kitchen with a cooker, dishwasher, and washing trough, as well as a space behind for servants and a servant’s bedroom. Located below the sitting/dining area of the floor above, the kitchen connects to the first floor by dumbwaiter. In this arrangement, Reitveld provides easy access to the exterior and cellar from the ground floor. A third large space, initially designated to be a garage, completes the scheme, this lattermost space later adapted by the owner as an additional workspace.

Rietveld’s furniture making background manifests itself in detailing of the house: the inclusion of maneuverable room dividers, window screens, and a table for the children, and many other furniture-like components. Showing great creativity and skill from his furniture career, the Schröder House represents his first building commission.


Color also contributes to the uniqueness of this house. The walls themselves feel like a canvas but each area is painted a certain color for specific reasons. For example, on the door there is an area painted black because it is likely the area that is accessed the most and therefore most likely to be soiled.


I have obtained three fantastic books on the schroder house and i'm well on my way to scanning all of the images i need. I have also found many images from internet as well. The information from one of my books seems to be exactly what i need for my board, and more.


In studio we were assigned houses to research. Our research has to include many images a long with writing in which we explore the design styles of the designer. This includes researching previous works of the designer to see if there are any trends that they continue. This is an exciting project. The house that i have chosen to research is the Rietveld Schroder House which is located in the netherlands. I think this is exactly what i need to develop my own style. I learn a lot from projects like this. They're fun and relatively easy. After we have all of our images and information we have to pull it all together and create an cohesive composition on a 24x36 board. I do not always have the best work when it comes to composition but when it does all fall into place it is very rewarding.


To me studio is the class in which i learn the most, about design, about spaces, and about myself. I have developed incredibly throughout the four studios that i've had and i'm excited to develop even further. At this point in time i feel a little lost. In this studio i would like to further develop my own personal style. I want to develop a strong confidence in my design style. I believe this will happen if i continue to explore the different design styles across space and time and see what appeals to me, and what doesn't.

PATTERNS from inspiration

The patterns that take inspiration from fish scales can be absolutely gorgeous. Some examples of this are roof tiles, and glass ceramic tiles.


When initially thinking about this project the idea of a fish scale was appealing. I took inspiration from a chandelier of glass blown fish. The way it reflects light, it's movement, and it's color scheme all interested me. I have included a few images of similar chandeliers as examples of the chandelier i chose. A fish scale connects to nature as the culture did during the bungalow house frenzy, there are a lot of great color schemes that can come from a fish scale, there is a kind of translucency associated with fish scales, and many great patterns stem from the formation of fish scales.
Fish scales was too direct of a metaphor so in search for a better concept I further researched the physical features of fish scales and their development. Some of the information i found interested me.Scales vary enormously in size, shape, structure, and extent, ranging from rigid armor plates in fishes such as shrimpfishes and boxfishes, to microscopic or absent in fishes such as eels and anglerfishes. The morphology of a scale can be used to identify the species of fish they came from.

Fish scales are produced from the mesoderm layer of the dermis, which distinguishes them from reptile scales. The same genes involved in tooth and hair development in mammals are also involved in scale development.

Placoid Scales

The outermost layer is composed of vitrodentine, a largely inorganic enamel-like substance. Placoid scales cannot grow in size, but rather more scales are added as the fish increases in size.

Cosmoid Scales

were probably derived from a fusion of placoid scales.

Cosmoid scales increase in size through the growth of the lamellar bone layer.

Granoid Scales

Most are diamond-shaped and connected by peg-and-socket joints.

Cycloid and ctenoid scales

cycloid scales have smooth margins, while ctenoid scales have tiny teeth called ctenii on the posterior edge that give them a rough texture.

In flatfishes, some species have ctenoid scales on the eyed side and cycloid scales on the blind side, while other species have ctenoid scales in males and cycloid scales in females.

Ctenoid scales can be further subdivided into three types:

In crenate scales, the margin of the scale bears indentations and projections.

In spinoid scales, the scale bears spines that are continuous with the scale itself.

In "true" ctenoid scales, the spines on the scale are distinct structures.

Cycloid and ctenoid scales are overlapping, making them more flexible than cosmoid and ganoid scales. They grow in size through additions to the margin, creating bands of uneven seasonal growth called annuli (singluar annulus). These bands can be used to age the fish.

Monday, 13 September 2010