I was inspired and agitated by Sherry Turkle’s talk. Her thoughts are provoking and extremely open ended, there are few answers which can be deduced from individual change and as such the problems between technology and personal development and dependency relate to a larger, systemic change.
Sherry’s talking points could be boiled down into three main topics. The first topic she stressed was that of people growing up thinking that they need to be perfect. The idea that anyone can be perfect has lead to a generation of email writing adults and children who would “rather text than talk.” The notion that by writing a perfect email, we will receive a perfect email back and the exchange will be perfect is false. The way we write and set up communication is actually freezing our creativity. When we write an email, we form a complete thought. Turkle talked about how important collaboration with a professor over an imperfect thought was. How when you’re communicating face-to-face you’re forming a relationship bond, which can sometimes lead to a role model or mentor situation. Without human communication, so much is lost. The second talking point Turkle talked about was about “private mind-space.” She told a story of how when she was younger her grandma used to take her to the library. One day they went to the largest library in Brooklyn and before they went it her grandma turned to her, gentle took her by the shoulders and said “You can borrow any book in the world that you want. You can keep borrowing books, and NO ONE will ever know. You and the library have a secret. No one gets to know what you check out, or what you read.” This is the notion of “private mind-space.” These days, it’s hard to not share everything you’re doing. Most of people’s reading is done off of a social media site where they're following a link from someone else. When we purchase something, we have to intentionally not share. We are loosing out mind-space. “Technology makes us forget what we know about life.” We are not longer remembering how to think inwardly. Turkle’s third talking point was about solitude. She voiced repeatedly that we’re in an empathy crisis. People no longer have time or are learning how to give empathy because we’re always in our phones. Whenever there is a lull, we look at our phones. At a stop sign for three seconds, we check our phones. We treat being alone as a problem, and that needs to be fixed. There was a study Turkle talked about that for middle schoolers who were removed from technology for as little as 5 days at a summer camp, they can actually relearn how to be empathetic. Empathy can be cured by conversations. Simply putting away the technology and communicating face-to-face not only fosters a richer workspace, but it creates more productivity. But again, these aren’t changes made by individuals, these are changes made systemically. A stemming thought off of the need for more conversations is how negatively people look at boredom. Boredom is an evil which should be avoided at all costs, as such we are constantly surrounded by stimulation. The TV, our phones, social media create places for our thoughts to go. However, when you’re bored, your brain is not. Apparently we fundamentally need boredom to help our brains process. That time is when our brains are laying the framework for our personalities. Without solitude without stimulation, we are not only learning less empathy, but we are not letting our brains function, and as such we are loosing creativity. The over all message was: 1. Reclaim Conversation 2. Reclaim Solitude
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Artist: Steve Holl
Date Constructed: Location: Seattle University Campus A building constructed with the guiding concept being “A gathering of different lights” is sure to impress even the least religious persons. This site specific church was created for Seattle University with their mission in mind as well as metaphorically commemorating St. Ignatius’ vision. Holl envisioned the church as being "seven bottles of light in a stone box.” Specific space within the church are assigned one of seven colors. Although the colors themselves do not have specific reasoning, they have been carefully laid out. Day or night the church will resonate with at least two of these saturated colors coloring the space uniquely. The smooth curves, textured walls, light gray, concrete interior plays tribute to a minimalistic approach. The church is open to the public even during their Catholic congregations. The building is about 6,000 square feet and sectioned into about three main rooms, the entry, the main congressional room and a back prayer room. The church is located on the north side of campus off of the busy street Madison in the bustling downtown quadrant of Capital Hill, East of downtown Seattle. A 30 foot path winds through trees and low bushes to create some separation between Madison and the St. Ignatius. The church is also separated from campus by about 400 feet, leaving it in a nice pocket between the public and university activities. Upon entering the structure there seems to be a very direct root or flow. The greeting room is separated from the room where mass is held and features low ceilings which adds to the comfort of the space, making the church feel more inviting with lots of natural light. However, once you move to the left and begin your walk into the main gallery, the ceiling height grows taller, dwarfing the human, and subconsciously putting you into a more serious mindset. As you move into the main gallery the wall heights shift again. The middle walkway and pews are miniaturized under the 25 foot ceilings while the flanking pews rest under a comfortable 18 foot ceilings letting the patrons feel less exposed. The use of the arches walkways in comparison to the sharp corners of the windows, podium, stage, door ways and pews seem to be in constant opposition. Even the minimalistic lighting seems to step aside letting the conflicting shapes and colors communicate openly. For me the most impressive part of the whole church is how inviting it feels despite the coldness of the materials used. The architecture is extremely abstract and modern, and yet, it’s inviting with use of the varying ceiling heights, and warm slashes of wood. The soft glow and the gradual change of the colors reminds me of the aurora borealis. With it’s modern feel and sculptural architecture it’s no wonder people from around the world travel to see it. Design:
v. to mark out; to plan, purpose intend... n. a plan conceived in the mind of something to be done... n. adaptation of means to end... What does a designer do and how do they act? What to they see and how to they apply it? Designers help give order and meaning to the world via the amenities of life. They are both constrained by the ever fluctuating social norms which are dependent upon every culture. Without culture, the designer has no context to design! There would be no need or demand and there for no reference for the need of materiality. If we're talking bare bones, there are basically three categories for design: 1. Design of things (product design) 2. Design of place (places) and 3. communication design (such as messages). Many designers dip into one or all three of these as they walk to keep their balance in the morphing standards. Design work can be studies numerous ways and is often taught in conjunction with fine arts, yet what are the major differences between the two? How does teaching the history of art effect the architect? How are they related or not? But first, let's hit the brakes, what's an architect? How is the work of an architect different from those who make architecture but under a specialty? Saying "I'm an architect" is much like stating "I'm going to season the jerk chicken." Oh, are you? Wonderful. It's extremely necessary to communicate with more clarity than to simply state you're field of interest. Not only will this clarification help strangers and family understand what you do, but it'll also help clarify your role for your colleagues. You should know what they do and they should know what you do, not only to stimulate cross connections but for office efficiency. After clarifying what type of designer you might be, you also will fall into one of five roles: 1. Impresarios: Those who get work, organize others to do it and present the outcome. 2. Culture Diffusers: Someone who has a diverse background and do great work efficiently in the field. 3. Culture generators: Obsessive characters who work in back rooms and produce, more often than not, more useful to work on and design from than sending it straight to press. 4. Assistants: Often beginners, or people who are concerned with administration. 5. Parasites: People who make a living by piggy-backing onto other people's work. Is a designer an artist? While studying to become an interior architect I have been submitted to the history of fine art during my education. However, fine artists have a different set of rules when it comes to their work. Artist: Michel Pinseau (French Architect)
Date: Began 1986-Completed in August 30, 1993 The Great Mosque of Djenné is the largest mud-built structure in the world. The walls of the Mosque of Djenné are made of mud brick, covered with clay plaster that gives the building a sleek, sculptural appearance. The walls are 40 to 60 centimeters thick. The thickness varies depending on the height of the wall. Palm branches were used as beams to reduce the cracking of the walls due to the sudden changes in temperature and humidity. The Qibla (prayer wall) is crowned with three minarets that are 11 meters high and are protruding above the main wall. Each minaret contains a spiral staircase leading to the roof, and on top of the conical spire an ostrich egg is situated, which is considered to be the symbol of purity and fertility. Inside, the mosque has several large halls and numerous corridors, separated by columns. One half of the mosque is an open prayer hall, the other is covered with a roof. The roof is supported by 90 wooden pillars. The largest room - the prayer hall has no flooring. The visitors are walking directly on the bare ground. The courtyard on three sides is surrounded by galleries with arched openings. On the western side the prayer hall for female visitors is located. The entire complex is built on a 75X75 meter platform that is raised three meters above ground in order to secure the mosque from annual flooding of the river Bani. The tradition of repairing the Mosque every year is what unifies the community and creates strong ties. It is for this reason that the locals resisted and still resist any attempt to change the nature of their "temporary" building. The structure’s floor plan creates the feeling of being alone with oneself, occasionally seeing other people down the columns, but also creates the sense of togetherness. Although sight might be obscured, a visitor can always hear others. This concept of being alone-together is interesting because the environment is a made to feel supported and secluded. Artist: Michel Pinseau (French Architect)
Date: Began 1986-Completed in August 30, 1993 The project is estimated to have cost as much as $800 million, funds that were remarkably raised entirely from public subscription. Nearly all the materials of the Hassan II Mosque are from Morocco, with the sole exceptions of the imported white granite columns and glass chandeliers. The marble is from Agandir, the cedar wood is from the Middle Atlas and the granite comes from Tafraoute. Over 6,000 Moroccan master craftsmen and artisans were employed to work these local materials into the intricate decorations that embellish the entire structure. Uniquely, part of the mosque's floor is made of glass so worshippers can kneel directly over the sea. Unfortunately, this wonderful feature is mainly for royal use and is off-limits to visitors. Above, an automated sliding roof opens (on special occasions) to the heavens. The structure, being the largest in Morocco certainly is the epitome of extreme architecture. This building takes the traditional bones of the traditional ‘patio house’ developed in the Daar Valley and amplified the floor plan. In Morocco there are two traditional styles from which to draw from: the first is Kasbah architecture which is monolithic and simple using land-found materials and is naturally eco-friendly. The second type of architecture is called Andalusian, which is what this mosque was based from. This mosque includes major traditional design choices like white walls, green-stucco roofs, a central courtyard, zellige decorations on walls, ceilings and floors. However, neo-elements like glass floors over the ocean and a ceiling that collapses in to open to the sky, allow it’s patrons pleasures of today. Artist: Khosla Architecture firm India
Date created: September 10, 2013 A kindergarten is being built to cater to 4,000 students. To reduce times and costs the project is built on a modular structure consisting of the single 60 square meter classroom (10m x 6m) which can be reproduced both horizontally and in height. The classrooms on either side flank a 2 meter wide corridor, and open up onto an interior courtyard. Formal elements typical of the vernacular architecture of the region like the jaalis, a terracotta wall function as sun shields and ventilation. Another central element in the project design is the inner courtyard, which, by developing along the entire structure represents “the soul of the building.” This building has incorporated the traditional Indian vernacular architecture by building around the bhogadam or “lungs” of the building. The architects have also played with the ram yam or harmony of the building, challenging the viewers to differentiate between functional elements and ornamentation. They have taken the traditional building styles of incorporating courtyards, a grid system and entrances which act as transitional elements between the different building elements. Indian vernacular buildings also see climate as an essential aspect of organization and highlight it’s integration by use of terraces, pavilions and courtyards. |
AuthorAs a student at Cornish College of the Arts in Seattle WA I entertain a variety of factors while designing space. Archives
August 2017
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