CHRISTOPH GUENTHER INTERIOR D E S I G N
WWW.CRG.SPACE
PORTFOLIO 2018
CHRISTOPH GUENTHER I n t e r i or D esi gner M S c , I n dust r i al D esi gn
T
his portfolio exhibits one year of interior design practice and studies to find the commonalities between diverse design professions. It offers a holistic range from diagrammatic work to material selection, construction documents as well as architectural conception of space and its environmental impact.
B
orn and raised in Austria, Christoph is a recent graduate of the interior design program at Parsons School of Design, NYC. With a background in industrial design, Christoph earned is MSc degree with honors in 2010, including a student exchange term with The Academy of Fine Arts in Guangzhou, China. In 2010 he moved to Berlin and co-founded a design agency with a focus on product design, motion graphic and graphic design.
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M
y first exposure to design was at the age of 15 when I started using and exploring 3D programs; Since then my passion for creating shapes in any form has greatly increased. In the beginning of my
industrial design studies, I felt the urge to create a holistic design that combined architecture, interior design, industrial/product design and fashion design. I was especially intrigued by the fact that, despite the complexity of each profession, they shared far more similarity than it seemed at first glance. Each of these cat-
egories has a common final objective that is deeply connected to human beings but differentiates in its relationship to the human body and the type of mental work required to accomplish it. However, if you combine all four approaches, you can begin to understand design in its completeness, observing and considering it from several different angles.
CONTACT christoph.rainer.guenther@gmx.at
EDUCATIONAL RECORD 1997 - 2002 Federal Secondary College of Engineering, Linz, Austria general qualification for university entrance 2002 - 2007 University of Art and Industrial Design, Linz, Austria branch of study: industrial design Bachelor of Science, B.Sc. 2007 Guangzhou Academy of Fine Art, GAFA, Guangzhou, China student exchange 2007 - 2008 University of Applied Arts, Vienna, Austria branch of study: architecture 2007 - 2010 University of Art and Industrial Design, Linz, Austria branch of study: industrial design Master of Science, M.Sc. (DI) 2017 - 2018 Parsons School of Design, The New School, New York City, US
QUALIFICATION Computer Skills: AutoCAD Architecture 2017 Rhinocerus, Grasshopper Cinema 4D Adobe Photoshop, Illustrator, InDesign, After Effects Vectorworks Design Skills: knowledge of diverse design professions Strong graphic design abilities motion design, 2D and 3D Ability to read and draft construction documents Strong craftsmanship skills, based on a construction engineering focused education
LANGUAGES German English
ACCOLADES Golden Portfolio Award from School of Constructed Environments, Parsons the New School for Design, awarded to a student whose portfolio best represents innovation and experimentation
branch of study: interior design Associate of Applied Science, AAS
1st Prize at ECHOM design and development competition, Guangzhou, China, flat-TV project with 3G technology
EXPERIENCE 2018
Red Dot Award, communication design for “SCIONIC - Purpose-driven Gestalt. The End of Design?”
Gates Merkulova Architects, NYC Interior Designer Technical Drawer 2010 - 2016 Co-Founder ‘Die Sacherei’ Head of Product Design Interior Design
LEADERSHIP EXPERIENCE 6 Years Head of Product Design at Die Sacherei, Berlin, Germany.
AFFILIATIONS International Interior Design Association, 2017 - present
CONTENTS P O R T F OLI O 2018
01
DESIGN COMPLEXITY
02
WECREATE
03
40 YEARS WOMEN IN DESIGN
04
ISLE
05
CONTEMPLATION
06
FRAME
07
KNWLDG - TM - XPLRTN
OFFICE BUILDING
CULTURAL GENERATOR / HOTEL
PRINCIPLES OF DESIGN-EXHIBITION
SHOWROOM FOR FURNITURE
FURNITURE DESIGN
BED ROOM CONCEPT
WORK LIVING SPACE
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F
A
showroom is a common method of showing the idea and the mood of a piece of furniture and its expressions. This particular one represents the balanced design work from the collaboration between Nendo and Nichetto. Nendo: “A sofa is like an archipelago, divided into small parts rather than one great mass. Nichetto: Taking the way that Venice’s many islands are connected by narrow bridges as the image, we designed thin legs that seem to float on the water surface and con-
rame is the overall concept for a bedroom, for a given floor plan of 12’ by 16’ and a 9’ high ceiling. This furniture design exercise focuses on the design of a king size bed while also considering the contextual importance of the surrounding room.
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02 I
W
Page 26
eCreate provides a platform to realize the design ideas of its members, visitors and guests. The lounge area builds the heart of the space, letting people, meet, relax, and cooperate. Based on membership or short term guest basis, WeCreate is a cultural generator for the future design generation and their supporters.
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nected the cushions.
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T
Page 64
T
he goal was to create a piece of furniture
that is built into or onto a wall in an 8’ by 10’ room, with a ceiling height of 8’. The room and the furniture is for a single person. For many, there is never time and people are constantly in a rush. This problem inspired the idea for a place to have an efficient power nap, with a seat that gives you an encompassing feeling of safety and comfort.
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Page 78
live-work space was my very first studio project at Parsons School of Design. It is a redesign of the Liberty Inn Hotel at the Hudson River in NYC and is my first approach to interior design in its entirely. Three terms define the concept and reflect the general ideas and principles of the design. The concepts of Knowledge, Time and Exploration were the focus and pillars for this design
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Page 08
his exploration of an office building is intended to connect different design majors and provide a platform to interact and intertwine each discipline. Architecture, interior, product and fashion design find a place in one location, subdivided in private offices, co-working spaces and workshop areas. Focus was put on finding an overall design language and to then reflect it into the space. A spectrum of private and open spaces are connected without a common staircase, but instead, with a layered and fluid circulation embedded in the formal language.
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Page 46
ntended to be housed in the Arnold and Sheila Aronson Gallery at Parsons, the exhibition “40 Years Women in Design” was developed by interior design students to explore the principles of design. Several steps leads to a final concept and show very clearly each level of approach.
DES IGN COMPLEXITY FALL 17 OFFICE BUILDING
T
his exploration of an office building is intended to connect different de-
sign majors and provide a platform to interact and intertwine each discipline. Architecture, interior, product and fashion design find a place in one location, subdi-
vided in private offices, co-working spaces and workshop areas. Focus was put on finding an overall design language and to then reflect it into the space. A spectrum of private and open spaces are connected without a common staircase, but instead, with a layered and fluid circulation embedded in the formal language.
P A R T O N E
T
he first part of this exercise was to analyze an object and find its es-
sential characteristics. From the formal exploration of the Russian Doll came three decisive terms: Offset - Nest - and Scale. Out of several abstract variations, the three most successful approaches (top right) became the base for finding a significant formal language. By combining these approaches, the final interpretation of the Russian Doll’s nature was established.
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3.
2.
ISOMETRIC
1.
ISOMETRIC
ISOMETRIC
TOP VIEW ELEVATIONS 1. 2. 3.
TOP VIEW ELEVATIONS
© Copyright, all rights reserved Christoph R. Guenther
TOP VIEW ELEVATIONS
T
he final abstract depiction of the
Russian Doll is a arrangement of diverse faces, which can be assembled differently. The model can be expressed in either a concave or convex fashion, that showcase negative space and a sense of offsetting and scaling. An important aspect is the directional changes of the layers.
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Š Copyright, all rights reserved Christoph R. Guenther
P A R T T W O
C
reating a space for professionals with the idea of a holistic design that combined architecture, interior de-
sign, industrial/product design and fashion design. I was especially intrigued by the fact that, despite the complexity of each profession, they shared far more similarity than it seemed at first glance. Each of these categories has a common final objective that is deeply connected to human beings but differentiates in its relationship to the human body and the type of mental work required to accomplish it. However, if you combine all four approaches, you can begin to understand design in its completeness, observing and considering it from several different angles. Relating to my overall opinion of design, the idea of an office to combine several creative businesses was born.
Fashion
Product
INTERIOR
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ARCHITECTUR
work individual work
exploration craft/think
knowledge read/share
interact meet/discuss
individual
communal space
informal meetings
library research
work shop
conference room
one-to-one speak corner
co-working space
kitchen bar
rest room
BOH
showroom gallery
diverse storage...
storage room
BOH
individual
work shop
library research
conference room co-working space
showroom gallery
rest room
kitchen bar
communal space
one-to-one speak corner
informal meetings
Product design %
desk work crafting
desk work crafting %
10 %
Interior designer 10 %
desk work crafting
desk work crafting
Architect
9 0%
9 0%
work life
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individual collective
Š Copyright, all rights reserved Christoph R. Guenther
%
60 %
20
25
Balance
4 0%
Work
Fashion designer
80
%
T
he main idea focuses on intertwin-
ing the space. As the initial shape of the building is a cupoid, the concept of growing from each face towards the center was the most efficient method of creating an interweaving condition. Starting on each face with a “seed�, the space grows together with three layers, which each have a specific characteristic, definition and function.
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specify layer shape
specify layer offsetting
specify growing together
architecture interior product fashion
LAYER 02 co-working space orthogonal
LAYER 03 circulation 0˚-45˚-90˚ fillet edges
LAYER 04 unite and cover freeform, loose
DIRECTION each face has an initial seed to start interweaving towards the center of the space
© Copyright, all rights reserved Christoph R. Guenther
LAYER 01 private offices cubic
S
ection cuts provide insight into the complexity of the structure as well as the configuration of the circulation. The circulation is exclusively on the third layer and provides access to every corner of the building. The diagram below shows the connection between the levels and is coded with a color gradient for height.
UL
LL
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Š Copyright, all rights reserved Christoph R. Guenther
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he office building provides several levels of privacy. There are enclosed private offices, spacious coworking areas and communal spaces. The glass-encased architecture provides a lot of daylight and convenient working conditions. With its shaded glass, the fourth layer protects the space from shafts of sunlight and from overheating. Additional sunscreens are contemplated for each office and co-working space.
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Š Copyright, all rights reserved Christoph R. Guenther
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he interior gives an airy and communal impression. Color-coded
furniture highlights each of the six complexities without interrupting the interweaving concept of the space.
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Š Copyright, all rights reserved Christoph R. Guenther
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his office building has an unique appearance that communicates
the concept of intertwined design professions, presenting them as a unit but respecting each initial ‘seed’ as one of a kind.
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Š Copyright, all rights reserved Christoph R. Guenther
WeCre ate SPRING 18 CULTURA L GENERATOR / H OTEL
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eCreate provides a platform to realize the design ideas
of its members, visitors and guests. The lounge area builds the heart of the space, letting people, meet, relax, and cooperate. Based on membership or short term guest basis, WeCreate is a cultural generator for the future design generation and their supporters.
T
he possibility to realize and create ideas is as much important as the idea itself. It pushes the process further to the next level of exploration and knowledge, increases the level of a concept and makes it much more efficient. Furthermore the working with materials let you grow in understanding the touch of sense and its sensibility. The design of the space range from a very clear, bright scientific area to a high luxury, warm, moody space, rich of texture and pattern.
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S P A C E MOOD
F O R M
/
M A T E R I A L MOOD
T E C H N O L O G Y
© Copyright, all rights reserved Christoph R. Guenther
MOOD
T
he site is placed in Long Island City, has a window front to the north and the south, contains five stories
whereas the first one is programmed with the cultural generator and the others are reserved for guest rooms.
work individual work
exploration craft/think
knowledge read/share
interact meet/discuss
diverse storage...
privat office
work shops
tech labs
coworking space
privat office
privat office privat office
bar drinks
lounge space
rest room
reception space
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elevator 1st floor
5
L0
302 303 304
301
305 306
4
L0
302 303 304
301
305 306
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3
L0
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203
206
202
207
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208 209 210
ES SUIT ER ES SUIT STER MA MS OO TR ES GU MS OO ESTR GU M A GR PRO ST MA
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2
L0
5
L0
4
L0
3
L0
2
L0
1
L0
105
103
106
102
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108 109 110
ER LAS TTER CU ATE PRIV FICE OF
ING
ORK
CoW
E NG LOU EA AR
VR OM RO
ATE PRIV FICE OF
AFE
/C
BAR
3D
G
TIN
PRIN
G
FTIN
CRA
ING
RK WO P SHO
ORK
CoW
S
OM
TRO
RES
1
L0
CNC
XIS
5A
ORK
CoW
ATE PRIV FICE OF
ING E NG LOU EA AR
VR OM RO
G ETIN ME OM RO
FE
/CA
BAR
3D
G
TIN
PRIN
C
ING
ORK
CoW G
TIN RAF
MS
ROO
REST
© Copyright, all rights reserved Christoph R. Guenther
AXIS
© Copyright, all rights reserved Christoph R. Guenther
1
L0
5 CNC
T
he realization of peoples ideas is the main point of this cultural gen-
erator. The space provides a long list of high-end computer aided machines and technologies. Among all these machines there is also a crusher for old plastic, which enables the production of the feed stock for the 3D printing machines. The building itself is located in Long Island City, has five stories and enough space to create new ideas.
CNC - MILLING MACHINE LASER CUTTER MATERIAL SHOP PLASTIC SHREDDER 3D PRINTER VIRTUAL REALITY ROOM CRAFTING SPACE MULTITOOL - CERAMIC PRINTER
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Š Copyright, all rights reserved Christoph R. Guenther
T
he entrance hall wellcomes guests in a geometrical design, based on the overall formal lamguage of the
whole space. The bar together with the entrance hall build the third group and represent a high graphic black and white design. Bar and entrance hall also share a diagonal wall, which provides space
where it is needed and takes height to create a more comfortable atmosphere to welcome guests.
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Š Copyright, all rights reserved Christoph R. Guenther
Section Cut: Bar / Entrance Hall
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here are three design groups in this space, which each follows a special order of related shapes. The labs and workshops build the first group, followed by the lounge area as second. The bar together with the entrance hall build the third group and represent a black and white graphic based design, rich in contrast. Bar and entrance hall share a diagonal wall, which provides space where it is needed and reduces height for a more comfortable ambient. The passage which leads to the lounge area uses the most light absorbing color to completely split the ambient of the two different spaces. A special feature of interaction between guest and hotel provides the adjustable light on the ceiling in the lounge area.
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Š Copyright, all rights reserved Christoph R. Guenther
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he guestroom’s mood is bright, friendly and has the term of nature in the foreground. Features come
with high end technical standard, 3D printed chocolate on the pillows as welcome present included.
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G U E S T R O O M MOOD
G U E S T R O O M FEATURES
E
ach guest room level provides up to ten guest rooms, which each fol-
lows a rule of three, a growing sequence beginning at each entrance door to the rooms windows.
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97'-4"
10"
10"
20'-7"
10"
10'-9"
10"
10'-9"
10"
17'-8"
1'-0"
17'-9"
18'-3"
6"
5"
6'-8"
5"
20'-0"
12'-6"
71'-0"
10"
10"
9'-2 1/2"
5"
19'-10"
9'-6 1/2"
10"
1'-6"
11'-3"
17'-9"
11'-3"
15'-8"
15'-8"
6"
8'-0"
6"
10'-2"
10"
10'-6"
9'-0"
6"
6"
11'-8"
10"
20'-0"
8'-2"
6"
97'-4"
97'-4"
FLOORPLAN GUESTROOM LEVEL 10"
20'-7"
10"
10'-9"
10"
10'-9"
10"
17'-8"
LIVINGROOM
BEDROOM
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2
L0
105
103
106
102
107
101
108 109 110
BATHROOM
FLOORPLAN GUESTROOM
DIVISION GUESTROOM
KEYPLAN
S
ector one includes bathroom with open shower. Sector two creates the bed room and resting zone. Sector three is the highest space and forms the living room.
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C O N C E P T SEQUENCE LIVINGROOM BEDROOM BATHROOM
STEP 1
STEP 2
STEP 3
A
monolith between bed room and living room acts as divider on the one hand and on the other it is control center of each individual project. Therefore it is possible to stay informed of every progress happening downstairs in the science labs and workshops.
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PRI NC I PL ES O F DESI GN SPRING 17 EX HIB ITION
I
ntended to be housed in the Arnold and Sheila Aronson Gallery at Parsons, the exhibition “40 Years Women in Design� was developed by interior design students to explore the principles of design. Several steps leads to a final concept and show very clearly each level of approach.
P A R T O N E
F
irst step in the expression and development of a formal language is to create a rule-based iteration.
Three repeating action let arise a complex pattern in seven rounds. Each period has its own line weight to easily see the development and the increase of exponential complexity.
1 2 3
st step is to randomly start with a line on an enclosed space. nd step splits the line into two when it hits a border.
rd step lets the two newly formed lines go backwards in a 50 degree angle...
... start with step one and repeat all steps
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Š Copyright, all rights reserved Christoph R. Guenther
P A R T T W O
A
fter the pattern was created, a significant portion of it was chosen to represent the initial member of a shape family. Each following piece is a modification of the previous one. Using these defined two dimensional pieces, it becomes possible to explore the opportunities of connectivity in a three dimensional space.
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Š Copyright, all rights reserved Christoph R. Guenther
P A R T T H R E E
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he third part should provide data to fill the exhibition with content.
The idea was to let women from the past explore contemporary female design. Every depiction of a woman on the right side is a close up of almost 150+ paintings housed in the Metropolitan Museum of Art in New York. Later, they are expressed in an animation, to explore the space from several point of views. The faces were arranged in a concentric order for a better sequencing of the animation. Listed below is the title and artist of each painting.
Bartholomeus Spranger, The Triumph of Venus
Hendrick Sorgh, A Kitchen
Quentin Metsys, The Adoration of the Magi
Bergognone (Ambrogio di Stefano da Fossano), The Assumption of the Virgin
Joos van Cleve, The Last Judgment
Attributed to Goya (Francisco de Goya y Lucientes), Majas on a Balcony
Franciabigio (Francesco Anthony van Dyck, Virgin and Child with Saint di Cristofano), Head of the Madonna Catherine of Alexandria
Andrea Schiavone (Andrea Medulic or Meldolla), The Marriage of Cupid and Psyche
Rembrandt (Rembrandt van Rijn), Hendrickje Stoffels
Pierre Paul Prud’hon, compl. by Charles Boulanger de Boisfrémont, Anaromache and Astyanax
Raphael (Raffaello Sanzo or Santi), Madonna and Child Enthroned with Saints
Pompeo Batoni, Diana and Cupid
Andrea Solario, Salome with the Head of Saint John the Baptist
Joachim Beuckelaer, Fish Market
Attributed to Girolamo Mazzola Bedoli, The Annunciation
Paolo Veronese (Paolo Caliari), Mars and Venus United by Love
Guiseppe Bartolomeo Chiari, Bathsheba at her Bath
Anthony van Dyck, Virgin with Child
Peter Paul Rubens, The Holy Family with Saint Elizabeth, Saint John, and a Dove
Nicolas Poussin, The Rest on the Flight into Egypt
Bartolomé Estebán Murillo, Virgin and Child
Jacob Jordaens, The Holy Family with Shepherds
Sodoma (Giovanni Antonio Bazzi), Holy Family with the Infant Saint John the Baptist
Santi di Tito, Madonna and Child with Saint John the Baptist
Nicolaes Maes, Young Woman Peeling Apples
Peter Candid (Pieter de Witte, Pietro Candido), The Annunciation
Gerard ter Borch, Curiosity
Peter Paul Rubens, The Holy Family with Saints Francis and Anne and the Infant Saint John the Baptist
Angelica Kauffmann, The Sorrow of Telemachus
Phillipe De Champaigne, The Annunciation
Guiseppe Bartolomeo Chiari, Bathsheba at her Bath
Jusepe de Ribera (called Lo Spanoletto), The Holy Family with Saints Anne and Catherine of Alexandria
Coreggio (Antonio AlSébastien Bourdon, legri), The Holy Family Saints Peter, Martha, Mary Magdalen, and Leonard
Anthony van Dyck, Virgin and Child with Saint Catherine of Alexandria
Nicolas Poussin, The Abduction of the Sabine Women
Jacob Ochtervelt, The Love Letter
Jacob Ochtervelt, The Love Letter
Andrea del Sarto (Andrea d’Angolo), The Holy Family with the Young Saint John the Baptist
Gerard ter Borch, Curiosity
Pierre Paul Prud’hon, compl. by Charles Boulanger de Boisfrémont, Anaromache and Astyanax
Raphael (Raffaello Sanzo or Santi), Madonna and Child Enthroned with Saints
François Hubert Drouias, Pietro Longhi (Pietro Portrait of a Woman, said Falca), The Visit to be Madame Charles Simon Favart
Jean Michelin, The Baker’s Cart
Peter Paul Rubens, Marie Denise Villers, Rubens, His Wife Helena Marie Joséphine Charlotte du Val d’Ognes Fourment and Their Son Frans
Andrea Schiavone (Andrea Madulic or Meldolla), The Marriage of Cupid and Psyche
Jean-Françios de Troy, The Triumph of Mordecai
Louis Léopold Boilly, The Public Viewing David’s “Coronation” at the Louvre
Eglon van der Neer, The Reader
Paulus Bor, The Disillusioned Medea (“The Enchantress”)
Attributed to Goya (Francisco de Goya y Lucientes), Majas on a Balcony
Attributed to Giovanni Ambrogio de Predis, Girl with Cherries
Jean Marc Nattier, Marie Françoise de La Cropte de St. Abre, Marquise d’Agrence
Marie Guillelmine Benoist, Georges De La Tour, Madame Philippe Panon The Fortune Teller Desbassayns de Richmond and Her Son, Eugène
Jean Marc Nattier, Madame Marsollier and Her Daughter
Adélaïde Labille Guiard, Self-Portrait with two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond
Jean Baptiste Greuze, Head of a Young Boy
Jean-Françios de Troy, Joseph Vernet, The Triumph of Mordecai Une mer tranquille au coucher du soleil
Giovanni Domenico Tiepolo, A Dance in the Country
Gustav Klimt, Mäda Primavesi
Goya (Francisco de Goya y Lucientes), Josefa de Castilla Portugal y van Asbrock
Jusepe de Ribera (called Lo Spanoletto), The Holy Family with Saints Anne and Catherine of Alexandria
Workshop of Francesco Granacci, Saint John the Baptist Bearing Witness
Peter Paul Rubens, Venus and Adonis
Pierre Paul Prud’hon, compl. by Charles Boulanger de Boisfrémont, Anaromache and Astyanax
Titian and Workshop, Venus and the Lute Player
Jean Baptiste Greuze, Study Head of a Woman
Giampietrino (Giovanni Pietro Rizzoli), Diana The Huntress
Laurent De La Hyre, Allegory of Music
Nicolas De Largillierre, Jean Marc Nattier, Portrait of a Woman, Madame Marsollier and Possibly Madame Claude Her Daughter Lambert De Thorigny
Charles Le Brun, Everhard Jabach and his Family
Gerbrand van den Angelica Kauffmann, The Sorrow of Telemachus Eeckhout, Isaac Blessing Jacob
Jean Honoré Fragonard, The Stolen Kiss
Corrado Giaquinto, The Penitent Magdalen
Paolo Veronese (Paolo Caliari), Saint Catherine of Alexandria in Prison
Garofalo (Benvenuto Tisi Giovanni Domenico da Garofalo), Saint Nicho- Tiepolo, las of Tolentino Reviving A Dance in the Country the Bird, Saint Nicholas of Tolentino Reviving a Child
Adélaïde Labille Guiard, Thomas de Keyser, Jacques-Louis David, A Musician and His Antoine-Laurent Lavoisier Self-Portrait with two Pupils, Marie Gabrielle Daughter and his Wife Capet and Marie Marguerite Carreaux de Rosemond
Giovanni Battista Tiepolo, Workshop of Francesco The Adoration of the Magi Granacci, Saint John the Baptist Bearing Witness
Jean-Baptiste Marie Pierre, The Death of Harmonia
Louis Léopold Boilly, The Public Viewing David’s “Coronation” at the Louvre
Giovanni Domenico Tiepolo, A Dance in the Country
Gabriël Metsu, Angelica Kauffmann, The Sorrow of Telemachus The Visit to the Nursery
Paul Cézanne, The Fisherman (Fantastic Scene)
Charles Le Brun, Everhard Jabach and His Family
Jean Honoré Fragonard, The Love Letter
Joos van Cleve, The Last Judgment
Giovanni Domenico Tiepolo, A Dance in the Country
Eustache Le Sueur, The Rapist of Tamar
Garofalo (Benvenuto Tisi Massimo Stanzione, da Garofalo), Saint Nicho- Judith with the Head of las of Tolentino Reviving Holofernes the Bird, Saint Nicholas of Tolentino Reviving a Child
Jean-Baptiste Greuze, Aegina Visited by Jupiter
Nicolas Poussin, The Abduction of the Sabine Women
Anthony van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo
Francicso de Zurbarán, The Young Virgin
Bergognone (Ambrogio di Stefano da Fossano), The Assumption of the Virgin
David Teniers the Younger, Judith with the Head of Holofernes
Gabriël Metsu, A Musical Party
Gerard ter Borch, Curiosity
Rembrandt (Rembrandt van Rijn), Portrait of a Woman
Alfred Stevens, In the Studio
Thomas Couture, Soap Bubbles
Pablo Picasso, At the Lapin Agile
Henri Matisse, Odalisque with Gray Trousers
Rembrandt (Rembrandt van Rijn), Flora
Hendrick Sorgh, A Kitchen
Joos van Cleve, The Last Judgment
Camille Pissarro, Washerwoman, Study
Henri Regenault, Salomé
Henir Matisse, The Three O’Clock Sitting
Rembrandt (Rembrandt Johannes Vermeer, Study of a Young Woman van Rijn), Woman with a Pink
Joos van Cleve, The Last Judgment
Giovanni Francesco Romanelli, The Sacrifice of Polyxenia
Henir Matisse, Girl by a Window
Paul Cézanne, Madame Cézanne (Hortense Friquet, 18501922) in a Red Dress
Pierre Bonnard, The Green Blouse
Gerard David, Virgin and Child with Four Angles
Gustav Klimt, Serena Pulitzer Lederer
P A R T F O U R
I
t is important that the selection of the material provide a semi-transparent
surface for the projection of the data. Additionally the color choice invokes a
futuristic appearance and, after exploring its nature in a lighting lab, it offered a surreal condition by vanishing the boarder between the object itself and its projection. It also has an intense reaction under a different color spectrum - appearing completely opaque under red light and completely transparent under blue light.
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Š Copyright, all rights reserved Christoph R. Guenther
C O M B I N E P A R T S
T
he merging of all the components to create an exhibition entitled “40 Years of Women of Design�
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Š Copyright, all rights reserved Christoph R. Guenther
ISLE
FA L L 17 P R E SE NTATI ON
A
showroom is a common method of showing the idea and the mood of a piece of furniture and its expressions. This particular one rep resents the balanced design work from the collaboration between Nendo and Nichetto. Nendo: “A sofa is like an archipelago, divided into small parts rather than one great mass. Nichetto: Taking the way that Venice’s many islands are connected by narrow bridges as the image, we designed thin legs that seem to float on the water surface and connected the cushions.
B
ridges for Islands - that is how the two designers named their piece
of furniture. Their invoked image inspired the creation of this showroom. Based on islands, which hold the three variations of the sofa, visitors can explore by using platforms ‘floating’ in water of glossy stone. The spreading waves trans -
form into an undulating sand bank that invokes a sense of balance and harmony.
40
Š Copyright, all rights reserved Christoph R. Guenther
O
n the upper level visitors can experience the furniture. The arrangement of the sofas create a
kind of an archipelago and bookend the idea of this furniture design.
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Š Copyright, all rights reserved Christoph R. Guenther
CONTEMP L AT I O N SPR ING 18 FUR NITURE DESIGN
T
he goal was to create a piece of furniture that is built into or onto
a wall in an 8’ by 10’ room, with a ceiling height of 8’. The room and the furniture is for a single person. For many, there is never time and people are con stantly in a rush. This problem inspired the idea for a place to have an efficient power nap, with a seat that gives you an encompassing feeling of safety and com fort.
T
he idea results in a very solid ergonomic solution made out of stone, as this material has a good warming and also cooling quality. To reach the seat you have to pass an ‘uncomfortable’ zone which, in turn, gives the seat a sense of a safe haven that needs to be reached. While resting in your safety seat, you have an amazing view through a floor to ceiling window. In addition, the sunlight gets reflected by a strip of water that brings a calm movement into the room, to help you settle and relax.
44
REFLEXION
H I G H L I G HT
C O NVER G ENC Y
S U B J E C T
AD O PT IO N
CONSTRUCTIVE
REFLECTION
3’-9”
1’-3”
10’-0”
1’-3”
3’-9”
SUN LIGHT
FLOORPLAN
8’-0”
9”
SECTION
SCALE: 1/2”=1’-0” 10”
6’-6” 8’-0”
2’-8” 2’-0”
© Copyright, all rights reserved Christoph R. Guenther
2’-0”
3’-4”
1’-2”
SCALE: 1/2”=1’-0”
T
he idea of a hard shell seat was inspired by those in roller coaster
and racing cars, as they have the highest level of safety but still are very comfortable. They give support to every part of the body and let every muscle relax. The higher position of the seat gives a floating effect so that you can calm down and settle into your twenty minute power nap.
48
© Copyright, all rights reserved Christoph R. Guenther
© Copyright, all rights reserved Christoph R. Guenther
FRAME SPRI NG 18 FURNI TURE DESIGN
F
rame is the overall concept for a bedroom, for a given floor plan of 12’ by 16’ and a 9’ high ceiling. This furniture design exercise focuses on the design of a king size bed while also considering the contextual importance of the surrounding room.
T
o explore and research the options and opportunities of a bed and its shape, a form catalog was created. It displays a broad range of solutions and serves as a backup of ideas to go back to if needed. The idea behind the concept is to design every piece of furniture out of frames that can be filled with soft materi-
als. A black frame creates an initial outline and helps communicate the sense of the room, and then can be filled with colorful variation of cushions and soft surfaces.
52
ORNAM E N T S S U R F A C E
EXTRUSION VOLUME
FRAMES
HARD SOFT
© Copyright, all rights reserved Christoph R. Guenther
BOARD E R
CONTRAST
A
fter exploring the formal lan-
guage and the development of a conform design, the outcome was the construction of a hanging bed. The bed is able to transform vertically and provides space for a desk or a workout space. This solution is very interesting in terms of small living spaces and restricted use of rooms.
54
DOOR
BED
STEP TWO
W I N DO W
STEP THREE
2’-7”
9’-0”
6’-5”
S TEP ON E
SECTION
SECTION
SCALE: 1/2”=1’-0”
© Copyright, all rights reserved Christoph R. Guenther
2’-5”
9’-0”
6’-7”
SCALE: 1/2”=1’-0”
A
fter exploring the formal language and the development of a conform design, the outcome
was the construction of a hanging bed. The bed is able to transform vertically and provides space for a desk or a workout space. This solution is very interesting in terms of small living spaces and restricted use of rooms. The ornament dividers create an additional layer of privacy to the ‘room in the room’ concept. Lighted from the center of the bed, it let the whole room appear in a rich textured atmosphere. The bed with its covering also creates a sequence of extrusion and lines with door and window with its formal language.
56
Š Copyright, all rights reserved Christoph R. Guenther
KNWLDG TM XPLRTN SPRING 17 L I V E - W O R K S PA C E
A
live-work space was my very first studio project at Parsons School of Design. It is a redesign of the
Liberty Inn Hotel at the Hudson River in NYC and is my first approach to interior design in its entirely. Three terms define the concept and reflect the general ideas and principles of the design. The concepts of Knowledge, Time and Exploration were the focus and pillars for this design
E
verybody is capable of creating things, that’s not hard. Anybody is able to be
a designer and anybody is able to be an artist. For elevated design there are three essential aspects which create a fundamental base. There is no getting around the terms “knowledge”, “exploration” and “time”. Of course, these are huge, heavy loaded terms, which first have to be broken down into more concrete ideas. KNOWLEDGE compromises the existing knowledge, history, stories, data and facts but also skills and accomplishments. TIME as a term, is the quality you spend sharing your knowledge and exploration. Everybody has the same amount of time per day and everybody uses it differently. Some put their time in studying things like art, law, engineering, archeology or politics. Others spend time meditating and find inner satisfaction, philosophizing, or contemplating the universe. However you spend your time, you are never ever able to do all of these things, even if you wanted to. Therefore sharing your thoughts, knowledge and exploration is enriching for both sides. For you to express your mind and thoughts, and for others to gain a different point of you and understanding. The goal was to create a space where knowledge could come into opposition with exploration, all while being mediated by time. EXPLORATION means creating knowledge. Everybody produces a mass of new knowledge through exploration, while ascertaining the limits and trying out new things. It is not possible to find personal exploration in books, it is not possible to “google” it or find it in any library, you can only create your own knowledge by doing something, which is not only essential for design but also for personal growth. It is integral in the process of understanding yourself and who you want to be, setting future goals, and gaining motivation.
60
Š Copyright, all rights reserved Christoph R. Guenther
A
three dimensional physical mod-
el should depict the idea of the project. Knowledge lies in the crafting of these parallelepipedi, which required the making of a 3D printed jig. Time is represented in height and reflects the quality - the higher, the more detailed in its nature. The exploration was to play around with different materials to understand how they act and react.
T
he next step was the development of the space, the program, and its two-dimensional diagram. ‘Knowledge’ found its place on one end of the building, represented by the library. On the other side of the building, ‘Exploration’ became a place to explore yourself through a mediation room. In between there is the kitchen and living room, to depict ‘Time’, as a place to share and spend time with others. Level of privacy decrease towards the center of the space.
EXPLORATION MEDITATION LOOK INTO YOURSELF CREATE NEW KNOWLEDGE
TRY OUT NEW THINGS SHARE EXPLORATION
KITCHEN
ATELIER / WORKSHOP
SHOW ROOM LEARNING FROM OTHERS
PAINTNG, CRAFTING
KITCHEN CONVERSATION SHARE KNOWLEDGE
LIBRARY LEARNING FROM EXISTING KNOWLEDGE
KNOWLEDGE
62
© Copyright, all rights reserved Christoph R. Guenther
© Copyright, all rights reserved Christoph R. Guenther
For further information contact lighting designer
PT-01
1/4" 1/2"
1/4" 1"
1 1/2"
1"
1/2"
1 15/16"
5/8"
PT-01
1 1/16"
BLOCKING LEVEL 01 EL= 0'-0"
3/4" 1/8"
1/2"
T
he construction document drawing set and FF&E specification were also completed for this project.
1/8"
64
11/16"
17'-3
1/4"
5" 9'-5
3/8"
5"
24'-6
98'-5
3/4"
38'-6"
22'-1
3/4"
1/4"
"
5'-3 1/2" 11 1/2"
3'-0"
20'-11 1/4"
5"
8'-1 3/8"
5"
8'-1 5/8"
5"
34'-0"
5"
17'-1 3/4"
10"
93'-0"
LEVEL 01 EL= 11'-0"
LEVEL 01 EL= 11'-0"
LEVEL 01 EL= 10'-2"
LEVEL 01 EL= 11'-0" 10'-2"
5'-7"
4'-9"
FIX CLOSED BLACK FRAMED ALUMINIUM WINDOW
GLASS PARALLELEPIPEDON LIGHTWELL
FAIR-FACED CONCRETE STAIRCASE
4'-9 5/8"
4'-9 5/8"
FAIR-FACED CONCRETE STAIRCASE
GLASS PARALLELEPIPEDON LIGHTWELL WB-01
WB-01 LEVEL 01 EL= 0'-7 3/8" LEVEL 01 EL= 0'-0"
7 3/8"
7 3/8"
LEVEL 01 EL= 0'-7 3/8" LEVEL 01 EL= 0'-0"
DOOR FRAME
FL-02 SANDSTONE
DOOR FRAME
MT-01 Black Powdered Aluminium
TILE ADHESIVE
FL-02 SANDSTONE
WOODEN BLOCKING
FL-01 CARPET
1/16"
3/4"
1/2"
1/16"
1/16" 1/2"
1/4"
1/16" 3/4"
FL-03 MARBLE
11/16"
MT-01 Black Powdered Aluminium
1/4"
1/2"
FL-02 SANDSTONE
FL-02 SANDSTONE 3/4"
LEVEL 01 EL= 0'-7 3/8"
FL-05 MARBLE
1/16"
1/8"
1/16"
MT-01 Black Powdered Aluminium
1/16"
1/8"
3/4" 1/2"
MT-01 Black Powdered Aluminium
LEVEL 01 EL= 0'-7 3/8"
1 3/16"
1/16" 3/8"
FL-01 CARPET
1/16"
1/16"
1/16"
3/4"
LEVEL 01 EL= 0'-7 3/8"
11/16"
1"
1/16"
1 1/2"
11/16"
3/8"
1/16"
1/2"
1/16"
1/16"
1/16"
1/4"
LEVEL 01 EL= 0'-0"
1/4" 1/4"
1/8" 3/4"
1/2"
1/4"
1"
TILE ADHESIVE 1/16"
SYMMETRY
LEVEL 01 EL= 0'-0"
3/4"
PROFILE MIRRORED 1/16"
FL-04 TILES
WOODEN BLOCKING 1/16" 4 7/8"
1/2"
1/16"
1/2"
1/16"
3/4"
MT-01 Black Powdered Aluminium
TILE ADHESIVE
1/16"
1/8"
4 7/8"
FL-02 SANDSTONE
3/4"
3/4"
1/16"
1/16"
1/16" 1 1/4"
1/2"
FL-02 SANDSTONE
LEVEL 01 EL= 0'-0"
MT-01 Black Powdered Aluminium LEVEL 01 EL= 0'-0" FL-02 SANDSTONE
TILE ADHESIVE
1/2" TILE ADHESIVE
© Copyright, all rights reserved Christoph R. Guenther
TILE ADHESIVE
1/16"
3/4"
1/16" 1 1/4"
FL-02 SANDSTONE
3/4"
LEVEL 01 EL= 0'-0"
MT-01 Black Powdered Aluminium
3/4"
1/8" 1/16"
MT-01 Black Powdered Aluminium
1/2"
1/8"
1/16"
1/2"
1/2" 1/16"
1/16"
1/2"
1/2"
1/16"
1/16"
1/2"
1/2"
1/8"
1/16"
5 11/16"
6 1/8"
6 7/8"
1/4"
1 1/4"
6'-3"
24'-2
SUSTAINABILITY What does it mean for you after the course and readings to design for Sustainability? We should definitely think more broadly as a designer. It is not only the interiors that makes us unique, it is the consideration about how we consume, what we really need, what is necessary to have a good life and how we use tour planet’s finite resources. It is important to convince people to build sustainably, to spend that extra dollar for high-quality products energy consumption and save costs in the long term. Unsustainable habits are convenient, so we must focus on motivating and showing people that there are more efficient and ecological ways of doing things that are just as convenient. We just have to make the first step - lead others and push our communities a step in the right direction. Every decision we make as a designer has a consequence on the environment and our health and it is a big duty to handle this, but we can do it. In the next 15 years more than 75% of all buildings will be either new or renovated and it is now our chance to make a huge impact for a positive future by adopting more sustainable practices. Now or never!
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EFFICIENT ARTIFICIAL LIGHTING energy efficient fixtums daylight sensors occupancy senseors
ENERGY EFFICIENCY APPLIANCES rating 80+ STONE FLOOR Volatile Organic Compound free local marble
17'-3
SEALANT waterbased no VOC
PROPER INSULATION UltraTouch™ Denim Insulation
9'-5
3/8"
5"
24'-6
THE GREEN THREE
1/4"
5"
3/4"
ARECA PALM create daytime oxygen Mothers-In-Law’s Tongue create nightime oxygen
3/4"
38'-6"
22'-1
Money Plant remove workplace toxins "
5'-3 1/2" 11 1/2"
3'-0"
20'-11 1/4"
5"
8'-1 3/8"
5"
8'-1 5/8"
5"
34'-0"
5"
17'-1 3/4"
93'-0"
FRESH AIR temperature regulation DAYLIGHT enters the room from above
CARPETING linen cradle to cradle certification
HIGHPERFORMANCE WINDOW low-e glass (Emissivity)
UNDERLAYING LIFETOUCHTM with moister shield
reflecting the summer heatkeeps heat inside visible light passes
WATER EFFICIENCY low flow faucetts toiletts and showers
FLOORPLAN
RAINWATER COLLECTION stormwater
TEMPERATURE REGULATION AND FRESH AIR
IRRIGATION SYSTEM MICROCLIMATE temperature regulation and fresh air
FRESH AIR temperature regulation DAYLIGHT enters the room from above
ROOFPLAN
SOLAR POWER GENERATION Photovoltaic panels generates renewable energy
PRIVAT GARDEN with local species motivates to work outside
N
© Copyright, all rights reserved Christoph R. Guenther
6'-3"
24'-2
CHRISTOPH GUENTHER CONTACT: www.crg.space guntc050@newschool.edu