I had to use very intricate craft to get the perfect curvature and for the triangles to stay adheared to one another without sight of glue. This is my final black & white project model.
When asked to describe Falling Water, I immediately say clean lines and a house full of datum lines. The structure itself is well crafted into a mountain side and even resembles its natural surroundings as Frank Lloyd Wright intended. The home is so well-crafted for the 1930’s time period in which it was built, that is has become a museum. This home today would not meet building codes, however, its impeccable craftsmanship allow it to be a gem hidden amongst the woods in Pennsylvania. Falling Water exudes craft in everything from its technical roof system and strict line structure that allows water to fall over it so it blends in with the waterfall it overhangs in a downpour. Also, the furniture is perfectly fitted to fill the spaces of each room, as well as hallways and ceilings are precisely manipulating by going from dark to light and from high to low. Frank Lloyd Wright was very much so ahead of his architectural time period and his work is completely made for him and his taste, rather than the customer. His craft for all of “his” homes, including Falling Water, are so well crafted, that by attempting to change the furniture or any other items in the house would be a feat.
Craft can also be argued from a different point. Massey states on craft on pg. 12, “Like Ruskin, Morris detested the mass-produced household goods of the age and equated them with atrocious living and factory conditions endured by the working class.” This was one of the arguments of the time period whether to go completely industrial and mass-produce, removing the hand crafted furniture and textiles for the wealthy. However, some simply just did not buy the manufactured goods and continued to silently protest by utilizing their hand made goods. Also, craft that is hand made can have little mistakes because it is being mass-produced by a machine. However, there is no character in work that is mass-produced and there can be less craftiness in the execution of a product being made for anybody rather than somebody.
These are brainstorm drawings for our new studio project of designing windows.
When brainstorming for a project, I use a certain technique. My initial thoughts I draw up in a sketch-like style on the project sheet provided. My next step is to take scrap paper from older projects and begin to formulate my ideas in 3-D. I will move models around at various angles and try to see what works best. After carefully crafting several ideas, I will try to narrow models down and then potentially create a completely different idea, a fusion of ideas or a final model that is refined and edited.
In Massey she discusses a technique that is still used today on pg. 15, “The Sussex Chair attributed to Rossetti and produced by Morris & Co. was a recreation of an earlier vernacular model. When Rossetti moved to a new house in Chelsea, London, in 1862, however, he chose to furnish it largely with old furniture of different periods and in different styles.” She is showing us how our 19th century ideas and centuries later have really focused on pulling ideas from the past and bringing them into the present and mixing period designs.
My photographs from my recent visit to Monticello
Massey pg. 26-27, “The Guild designed and exhibited furniture, textiles and wallpapers which mingled naturalistic ornament such as Morris had used the slender forms and cold colours of Japan.” Massey is stating that the language in Morris’s design was to speak of nature and Japan in his design in everything he did. This is a beautiful language from around the world and into a space. Also, a design that speaks to the outdoors and brings it in is a powerful statement still used today. At Falling Water, as well as Monitcello, the natural environment was brought in. Monticello being literally built with its surroundings and large skylights and windows and Falling Water looking and feeling like the outdoors with stone colors and literal stone indoors.
Craft in the sense of completing my own projects, which are personal, my goal is to make the construction impeccable. Having good craft is when adhesives need to be used with care during construction as well as application of color, objects and so on. Craft is key to well presented and well-established design.
Public and Private in the sense of design history deals with the Aesthetic Movement and Crafts Movement. In Massey, she references R.W. Edis and how he discusses how these movements affect private spaces on pg. 26. “…against the use of ‘jarring’ colours and patterns’ in the bedroom, as these would tend to cause ‘nervous irritability’.” Even back in history, architects and designers were sensitive to how certain colors and fabrics were able to activate different moods in people and those who encountered the spaces they created. This is a careful consideration and was very well stated. Therefore, he is encouraging people to think of more muted or easy on the eye colors, or rather cool colors to set a calming mood. This idea of cool colors deals with public spaces as well.
There are many ways in which language can be defined and interpreted. In the design sense of language, we can visually see what the architect is saying through the work itself. For example, in Falling Water, you can see Frank Lloyd Wright’s desire to connect building with nature and to have a flawless connection so much so that one forgets whether they are looking at architecture or nature. Also in London, Mr. Mortimer Menpes house contains a house full of art inspired items. Every inch of the home from the floor, to walls, furnishings to hardware are touched by art. The architect and designer are very in tune with the different influences of the time period from around the world.
Massey pg. 26-27, “The Guild designed and exhibited furniture, textiles and wallpapers which mingled naturalistic ornament such as Morris had used the slender forms and cold colours of Japan.” Massey is stating that the language in Morris’s design was to speak of nature and Japan in his design in everything he did. This is a beautiful language from around the world and into a space. Also, a design that speaks to the outdoors and brings it in is a powerful statement still used today. At Falling Water, as well as Monitcello, the natural environment was brought in. Monticello being literally built with its surroundings and large skylights and windows and Falling Water looking and feeling like the outdoors with stone colors and literal stone indoors.
This is a sketch of the interior of the guest house at Falling Water where the "mirror" doorframe was built.
Massey discusses on the process of designing on pg. 31, “The American Richard Morris Hunt joined the Ecole in the 1846 (the first American to do so) and the academic training bore fruit when he returned to America in 1855 to design French Renaissance Revival mansions for millionaires such as W.K. Vanderbilt and J.J. Astor in New York and Long Island.” Therefore Massey is showing us historical virtual experiences during the planning period that have bled into modern day. To diagram such a large place for such a rich customer, there must have been many views and many “tours” for the future homeowners. Much like Falling Water, we can see how there are tricks of the trade that really sell a property and make it all its own. However, for a customer to want that particular idea that you project as interesting, it really must be viewed before installation in most cases, especially if it is for a pretty penny.
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