sketch series 1

Carlie Blake | thumbnail contribution for the Way of the Day, an exhibit for Thomas Day Furniture

I am in the graphics group for 'the Way of the Day' exhibit, and am responsible for the signage and communication graphics within the exhibit. After discussing vision with other group members, we have decided that along with one main graphic poster, there will be 6 individual posters that would be suspended throughout the space, a floor graphic, and hand-held fliers as well. Below are thumbnail sketches I have contributed that illustrate ideations for these graphics, including our vision of a floor plan as well.

Sketch series 5.5 | Power Data Communication Plan

Sketch series 5 | RCP and Lighting of the Conference Room

revisiting...







original exploration and annotation

RL Vanstory Company | a response after a visit

Last Thursday, our Materials and Methods class took a trip to visit a local lighting company, RL Vanstory Lighting Company. One thing I that found interesting from our field trip that was how the company itself used lighting in their own office. Observing their choices in how the space was lit, considering their career focus was in lighting, was very interesting. I also enjoyed the atmosphere they created within the space simply through their spirit as a company. Their passion was pleasingly apparent, and inviting for one to turn to for honest advice concerning future lighting concerns. I feel as though I learned more about the business aspect of the company as opposed to the actual presentations because I felt the importance of how they created an atmosphere through personality in their presentation and in lighting the space itself, was a bonus lesson in itself, and will definitely come to use when considering personal career options in the future.

sketch series 4 | luminaire studies of three spaces

For this assignment, we were asked to study the various luminaires within three spaces of our choosing. Below are images, facts, and descriptions of luminaires and their effects in the ground floor of the Gatewood building, Banana Republic, and Tate Street Coffee.

"Bodies Revealed" : Carlie Blake

light study through light source, surface, and texture

For this assignment, we were asked to observe how various light sources react according to different textiles.

calculating reflectance: the ground floor

For this assignment, we were asked to measure the reflectance of light according to where you travel within the space. The images above represent isolux diagrams, which illustrate the changes in reflectance, explaining how much light was hitting the surfaces in the hallway on the ground floor of the Gatewood building, both artificial and natural.

decisive adherence of light [images and precedents]

Here are images of Tadao's work that I have always found intriguing in their simplicity and beauty as a sculptural gesture.



For this assignment, we were asked to create a light model in which to study the interaction of both natural and artificial light within a space. Taking inspiration from architects such as Tadao Ando, we focused on the navigation and balance of light through simplicity in both gesture and form. Every void, every manipulated surface, every skewed plane was purposeful to create a subtle lighting effect in the space, to direct how one would navigate within. The form was designed to focus more on the natural light that enters through the various voids and cut outs, but the incorporation of artificial light is seen behind an angled wall, creating a soft glow, hidden, creating a sense of mystery as to where that particular light is coming from. Keeping the interior simple, for our focus was on how the integration of light and form can manipulate how one navigates through the space, we choose to have one object within the space, a table with a reflective surface, minimal in form, it's purpose to reflect the various light entering the space.

final board

observations of light | fourth floor of gatewood

Here are two observations of the fourth floor of the Gatewood Studio Arts Building, and how both natural and artificial light can impact a space.

the importance of light in space

Our knowledge comes from experience. It is how we know our past, our memories, our culture. It is through our experiences that express the character of a thing, a purpose, a relationship. Considering space, or our interaction in a place, we know of it through it’s character as it is, or was, impressed in our minds. How we interact with light in a space also derives from experience, and how we know to experience it. We can use this knowledge in design, importantly, in architecture.

Consider light and place, and how an environment impacts our world as a whole. We understand night and day, sunrise and sunset. Being familiar with these daily patterns, we are internally familiar with our rituals impacted by them. Where we live regionally determines these rituals based on how light interacts with the habitat. It impacts us when we wake up, when we sleep, and simply why we do the things we do, when we do, during the day. It is important to be aware of light and place when designing areas that are both geographically and seasonally foreign to you, for those who reside there experience the space accordingly. You must be aware of how they experience culture. Designing a space in Japan, for example, knowledge of the people and how they experience space is vital. We must understand their preferences, what makes a place comfortable for their lifestyle, and the rituals that coincide with it. In the book ‘Light Revealing Architecture’, Marietta Millet explains how the spirit of a place develops from its culture using architecture from various regions as an example. She describes how Japanese people prefer darkness in their spaces, with an emphasis on the contrast of light and shadows. She also discusses scale, and the importance of openness when designing for people in the Netherlands. Culturally, the purpose of large windows is to create a sense of openness. Displaying personal space is a form of communication for not only the Netherlands, but for the Italians as well. Using large windows in a space however, raises concern of how light is exposed in the space, and how one would go about controlling it. Millet also describes Italian windows, and how they “respond to the benign climate and also to the social rituals of conversing with friends and family in the street below”. As designers, we must understand the culture of the space, and how certain rituals experiencing light must be celebrated in the design, creating an environment that is comfortable and familiar to them.

When considering the relationship of light and climate, it is important to find the balance of light and temperature, understanding how it can impact an environment spiritually and culturally. The purpose of the building or space is also important. Designing libraries, for example, it is crucial to understand how light can manipulate not only the space itself, but more importantly, the users of the space. We must know where light touches the building, and the amount that passes through the windows, impacting those who dwell inside. The space must be created with comfort in mind. Alvar Aalto’s Viipuri Municipal Library is a good example when considering this, for he studied the distribution of light in relation to what is comfortable for reading. As designers, we can use Aalto’s process work as an inspiration of how we find the balance of light and temperature, of light and comfort. By performing light studies in the spaces we are designing, we can then develop a better understanding of how to control the exposure to light, and how that impacts the user in their environment.

The relationship of light and climate can also be understood through the relationship of light and time. The way light expresses itself is constantly changing at every moment of the day. As designers, we must we aware of time in relation to light, see each shadow that interacts with form and space, and how we can manipulate them to speak a similar language. In understanding time, we can allow the season direct our designs. Louis Kahn describes the myriad of time and light through simplicity, by allowing the change of time to design the space- “I have no color applied to the walls of my home. I wouldn’t want to disturb the wonder of natural light. The light really does make the room. The changing light according to the time of day and seasons of the year give the room color.” The concept of allowing what naturally surrounds us aid in constructing our design is a beautiful way of relating nature with architecture, of connecting the outside world with an interior space. An example of this is the glass paneling in the Gamble House by Greene and Greene, which an image of nature in the form of a tree. When we design, we should constantly be aware of nature. We must not only notice, but also understand natural patterns, reflections, textures, and shadows, and how recreating images of nature through light and form can impact a space.

As designers, it is important understand how light affects the way we live our lives, whether it is through nature, time, or simply how we experience the space. What we know derives from experience, from exposure. We must design through exposure, understanding the client through knowledge of the culture and how light can enhance a space accordingly.

light and health

When considering personal health, one may think of exercise or dietary actions and how those certain decisions may influence them mentally and physically. One factor that appears to go unnoticed when understanding one’s health however, is their personal exposure to light. Studies have shown that changes in light patterns have a strong impact on one’s behavior and health, mentally and physically.

Lifestyle as a concept is diverse. The routines we live and the choices we make, different they may be, the presence of pattern is inevitable, as well as the constant exposure to light. As a society, awareness of light and its impact on individual health should become a dominating factor in our lifestyles. Most people are aware of how, when the day has ended and night has begun, that our energy and wakefulness naturally decreases. What many may not understand is the awareness our brains have of light patterns, more specifically, the ganglion cell, which senses changes in brightness and darkness, signaling to the body how to react. Too much exposure to daylight has shown to negatively impact one’s health (Seasonal Affective Disorder). This then raises concerns as to how to maintain a balance of light exposure, for studies have also shown that too much exposure to solar or electric lighting impacts heart rate patterns. Night-shift nurses or factory workers who work in environments involving such exposure, for example, tend to be in risk of cardiac problems.

How do we as a society find a balance of light exposure and how it can impact our mental and physical health when a majority is not even aware of its presence? A solution is work with light, understand the exposure and its impact, and ultimately learn how to control it according to the environment. Whether this be through architectural changes, or electrical, a society should first be aware. Once one can understand how their daily lifestyle and health in their environment is influenced, one will hopefully be open for change.

US3: modernism continued | decoration introduced | new materials, same precedents

BP14: inspiration

iar 221-02 extra credit [is design all a matter of opinion?]

Is design simply a matter of opinion? Or are there other factors that help define what is good design? Consider interior design. Consider interior architecture. Does one need a formal education in order to be considered a good, qualified work? I think it depends on the individual’s situation. Stories of people who have built themselves into something and have grown into success on their own are inspiring, intriguing even, but are they enough to separate themselves from those with credentials? Or is experience a more important factor to differentiate themselves? I personally think that experience and credentials go hand in hand. As you gain experience, whether it is on your own or through education, the amount of credit you can then grant yourself increases as well. Experience is essential in design, and a good way to gain a great amount of experience is by building your credentials through education. I believe it is commendable to be successful entirely on your own, but ultimately I feel that education is the best preparation for the industry. You are critiqued by a variety of people, giving you the opportunity to design for different styles. You also are given the opportunity to build up your portfolio when you go to school. As far as media in relation to design, I feel that the media presents a surfaced view of what design, especially interior design, truly is. Shows such as Design Star give society this idea that anyone can be a designer. They design with affordability as a main goal, as opposed to firmness and delight. This leads me back to my opening question, is design simply a matter of opinion? If the audience who is exposed to design in the media enjoy it, and learn simple ways of improving their home, is it really a crime to us? I feel as though those who are intrigued by design in the way that we are who go to school for it cannot judge those shows necessarily, but it really is a matter of opinion.

BP13: flight through form

RR13: Notice

RR12: expression through curvilinear form

BP12: good design for all [the green bean]

US2: it's all about the rules!

RR11: principles of architectural design, beaux arts style

BP11: simply modern

For spring break, I went to Myrtle Beach for three days and went on many adventures by simply walking around and taking in as much as I could. It was a nice break from studio, but I couldn't help but notice architecture around me. But it wasn't the buildings necessarily that stood out, but a simple pathway that ran parallel with the road. The path itself was very curvilinear and symmetrically balanced, but was interrupted by triangular forms throughout. It was very intriguing, this whimsical fluid path interrupted at certain sections with triangular forms. Most people would normally notice the fabric overhangs in the forms of triangles. The angles were very subtle, but still remained in contrast of the fluid pathway. There were other interruptions, however, that would typically go unnoticed, such as subtle angles in the benches, or structural wood angled in support for surrounding palm trees.

I think an interesting aspect in any design, whether it be in architecture or art, is contrast. Contrast through form, material, color, context, content...anything! It's a very appealing part of design that makes the viewer question the purpose behind it, which, I feel, is an extremely important consideration in design. Contrast has been constant in architecture for a while, but I think the subtle, very minimal approach is a fairly modern way of designing, especially when designing angled structures or forms. A simple way of catching the viewer's eye, a simple way of modern architecture.

RR10: architecture repeated

BP10: adaption through advancement

rendering in illustrator

RR9: purity through form and function

BP9: the washington monument, an egyptian revival

BP8 [3/14/11]: the nautilus shell

RR7[2/28/11]: the kingdom of pagan, a poem

BP7[2/28/11]: architecture of happiness

When one thinks of happiness, and what derives or cause it, what might you think of? Is it a certain object, an object recollected from a memory? Or could it be a certain space or place that brings about certain memories in your past that create happiness? I find that spaces or places create happiness for me. When asked in class to think about a favorite place, space, and object, I actually found it easier to think of the place and space as opposed to an object. Personally, places leave a stronger mark, they bring about certain emotions by heightening senses you received while in the space. When asked to then think about a specific place or space on campus that makes you happy I thought of a few, but they are moreso places, specifically outdoor, rather than interior spaces. One place in particular is the Foust park. The simplicity of the landscape, the way the hills flow across the land is relaxing, a place to enjoy, to create memories, whether they be solitude or with the company of others. A place to sketch, to read, a place to illuminate internal struggles. The openness allows one to find a space for themselves, whether it be under a tree or on a bench. Above (left) is a sketch I actually did last year for myself.

Another place on campus I thoroughly enjoy is the bridge leading one to the music building. I find it simply fascinating. I never venture over there as much as I would like, but whenever I do, all I want is to explore, to imagine this epic adventure scene using the bridge and it's surroundings. One interesting thing about the nature around the music building is the authenticity of it. No one is allowed to build or destroy the landscape, which I think is well fit, considering the beauty and overall atmosphere it creates. Above (right) is a sketch of the bridge I did the other day for class.