Portfolio 2018 - Christoph Guenther by ChristophRG

CHRISTOPH GUENTHER IPORTFOLIO NTERIOR D E 2018 S I G N

WWW.CRG.SPACE

CHRISTOPH GUENTHER I n t e r i or D esi gner M S c , I n dust r i al D esi gn

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.

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.

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 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.

CONTACT christoph.rainer.guenther@gmx.at

QUALIFICATION Computer Skills: AutoCAD Architecture 2017 Rhinocerus, Grasshopper

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.

Cinema 4D Adobe Photoshop, Illustrator, InDesign, After Effects 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

2007 Guangzhou Academy of Fine Art, GAFA, Guangzhou, China student exchange 2007 - 2008

LANGUAGES German English

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)

EXPERIENCE

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 1st Prize at ECHOM design and development competition, Guangzhou, China, flat-TV project with 3G technology

2010 - 2016 Co-Founder ‘Die Sacherei’ Head of Product Design

Red Dot Award, communication design for “SCIONIC - Purpose-driven Gestalt. The End of Design?”

Interior Design

CURRENTLY Parsons The New School, New York, US AAS Program Interior Design

LEADERSHIP EXPERIENCE 6 Years Head of Product Design at Die Sacherei, Berlin.

AFFILIATIONS International Interior Design Association, 2017 - present

CONTENTS P O R T F OLI O 2018

DESIGN COMPLEXITY

40 YEARS WOMEN IN DESIGN

ISLE

CONTEMPLATION

FRAME

KNWLDG - TM - XPLRTN

OFFICE BUILDING

PRINCIPLES OF DESIGN-EXHIBITION

SHOWROOM FOR FURNITURE

FURNITURE DESIGN

BED ROOM CONCEPT

WORK LIVING SPACE

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 be-

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

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.

Page 50

02 I

tween Nendo and Nichetto. Nendo: “A sofa is like an archipelago, divided into small

Page 26

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.

03 I

Page 38

04 I

Page 44

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.

06 I

housed

in the Arnold and Sheila Aronson Gallery at Parsons, the exhibition “40

considering the contextual importance of the surrounding room.

05 I

ntended

Page 58

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

01 I

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.

DES IGN COMPLEXITY FALL 17 OFFICE BUILDING

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.

P A R T O N E

he first part of this exercise was to analyze an object and find its essential 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 Dollâ&#x20AC;&#x2122;s nature was established.

ISOMETRIC

TOP VIEW ELEVATIONS 1. 2. 3.

TOP VIEW ELEVATIONS

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.

P A R T T W O

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

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

Architect

9 0%

work life

individual collective

60 %

Balance

4 0%

Work

Fashion designer

he main idea focuses on intertwining 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 â&#x20AC;&#x153;seedâ&#x20AC;?, the space grows together with three layers, which each have a specific characteristic, definition and function.

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

LAYER 01 private offices cubic

ection cuts provide insight into the complexity of the structure as well as the configuration of the circula-

tion. 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.

he office building provides several levels of privacy. There are enclosed private offices, spacious co-

working 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.

he interior gives an airy and com munal impression. Color-coded furniture highlights each of the six

complexities without interrupting the in terweaving concept of the space.

his office building has an unique appearance

that

communicates

the concept of intertwined design

professions, presenting them as a unit but respecting each initial â&#x20AC;&#x2DC;seedâ&#x20AC;&#x2122; as one of a kind.

WeCreate

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.

he mood of the space ranges from a very reduced, bright and colorless design to a texture rich, high class and luxury design.

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

MOOD

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

elevator 1st floor

302 303 304

301

305 306

302 303 304

301

305 306

204

205

203

206

202

207

201

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

104

105

103

106

102

107

101

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

BAR

TIN

PRIN

FTIN

CRA

ING

RK WO P SHO

ORK

CoW

TRO

RES

CNC

XIS

ORK

CoW

ATE PRIV FICE OF

ING E NG LOU EA AR

VR OM RO

G ETIN ME OM RO

/CA

BAR

TIN

PRIN

ING

ORK

CoW G

TIN RAF

ROO

REST

AXIS

5 CNC

he first floor is the cultural genera-

tor of this building and provides a huge variety of options to realize ideas and concepts.

CNC - MILLING MACHINE LASER CUTTER MATERIAL SHOP PLASTIC SHREDDER 3D PRINTER VIRTUAL REALITY ROOM CRAFTING SPACE MULTITOOL - CERAMIC PRINTER

he entrance hall wellcomes guests

in a geometrical design, based on the overall formal lamguage of the whole space. Entrance hall and bar share a diagonal wall/divider made aout of one piece of marble. On the one hand it reduces the height of the room and let focus on the receptionist, and on the other hand it gives the necessary space for storage and opens up the space.

he lounge room as the appearance of a endless, strong directional

space which gets enlarged with two mirrors on each end. It seems extremely open and is perfect to meet and corporate.

he guestroomâ&#x20AC;&#x2122;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.

G U E S T R O O M MOOD

G U E S T R O O M FEATURES

he upper floors include each up to

ten guestrooms, conceptional sequenced to “grow” from the hallway to the windows of each room.

97'-4"

10"

20'-7"

10"

10'-9"

10"

10'-9"

10"

17'-8"

1'-0"

17'-9"

18'-3"

6'-8"

20'-0"

12'-6"

71'-0"

10"

9'-2 1/2"

19'-10"

9'-6 1/2"

10"

1'-6"

11'-3"

17'-9"

11'-3"

15'-8"

8'-0"

10'-2"

10"

10'-6"

9'-0"

11'-8"

10"

20'-0"

8'-2"

97'-4"

FLOORPLAN GUESTROOM LEVEL 10"

20'-7"

10"

10'-9"

10"

10'-9"

10"

17'-8"

LIVINGROOM

BEDROOM

104

105

103

106

102

107

101

108 109 110

BATHROOM

FLOORPLAN GUESTROOM

DIVISION GUESTROOM

KEYPLAN

heconcept of â&#x20AC;&#x2DC;growingâ&#x20AC;&#x2122; is also

visible in height and materiality. Bathroom comes first, followed by bedroom and livingroom, always in this sequence.

C O N C E P T SEQUENCE LIVINGROOM BEDROOM BATHROOM

he special feature of each room is a

monolit in the middle of the room, acting as control center and divider, where it is possible to check progress of production levels downstairs via head up display.

PRI NC I PL ES O F DESI GN SPRING 17 EX HIB ITION

ntended to be housed in the Arnold and Sheila Aronson Gallery at Parsons,

the exhibition â&#x20AC;&#x153;40 Years Women in Designâ&#x20AC;? 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

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

P A R T T W O

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.

P A R T T H R E E

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

Anthony van Dyck, Franciabigio (Francesco Virgin and Child with Saint di Cristofano), Catherine of Alexandria Head of the Madonna

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

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), to be Madame Charles The Visit Simon Favart

Jean Michelin, The Baker’s Cart

Marie Denise Villers, Peter Paul Rubens, Marie Joséphine Rubens, His Wife Helena 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

Angelica Kauffmann, Gerbrand van den 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

Jacques-Louis David, Adélaïde Labille Guiard, Thomas de Keyser, Antoine-Laurent Lavoisier Self-Portrait with two A Musician and His and his Wife Pupils, Marie Gabrielle Daughter 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

Angelica Kauffmann, Gabriël Metsu, 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

Hendrick Sorgh, A Kitchen

Joos van Cleve, The Last Judgment

Camille Pissarro, Washerwoman, Study

Henri Regenault, Salomé

Henir Matisse, The Three O’Clock Sitting

Johannes Vermeer, Rembrandt (Rembrandt Study of a Young Woman van Rijn), Woman with a Pink

Rembrandt (Rembrandt van Rijn), Portrait of a Woman

Alfred Stevens, In the Studio

Thomas Couture, Soap Bubbles

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

Pablo Picasso, At the Lapin Agile

Henri Matisse, Odalisque with Gray Trousers

Rembrandt (Rembrandt van Rijn), Flora

Gustav Klimt, Serena Pulitzer Lederer

P A R T F O U R

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.

C O M B I N E P A R T S

he merging of all the components to create an exhibition entitled â&#x20AC;&#x153;40 Years of Women of Designâ&#x20AC;?

ISLE

FA L L 17 P R E SE NTATI ON

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: â&#x20AC;&#x153;A sofa is like an archipelago, divided into small parts rather than one great mass. Nichetto: Taking the way that Veniceâ&#x20AC;&#x2122;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.

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 â&#x20AC;&#x2DC;floatingâ&#x20AC;&#x2122; in water of glossy stone. The spreading waves trans form into an undulating sand bank that invokes a sense of balance and harmony.

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.

CONTEMP L AT I O N SPR ING 18 FUR NITURE DESIGN

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.

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 â&#x20AC;&#x2DC;uncomfortableâ&#x20AC;&#x2122; 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.

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”

2’-0”

3’-4”

1’-2”

SCALE: 1/2”=1’-0”

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.

FRAME SPRI NG 18 FURNI TURE DESIGN

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.

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 materials. 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.

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.

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 â&#x20AC;&#x2DC;room in the roomâ&#x20AC;&#x2122; 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.

KNWLDG TM XPLRTN SPRING 17 L I V E - W O R K S PA C E

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

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.

three dimensional physical model 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.

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

set and FF&E specification were also completed for this project.

For further information contact lighting designer

PT-01

1/4" 1/2"

1/4" 1"

1 1/2"

1/2"

1 15/16"

5/8"

PT-01

1 1/16"

BLOCKING LEVEL 01 EL= 0'-0"

3/4" 1/8"

1/2"

he construction document drawing

1/8"

11/16"

17'-3

1/4"

5" 9'-5

3/8"

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"

8'-1 3/8"

8'-1 5/8"

34'-0"

17'-1 3/4"

10"

93'-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"

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"

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"

3/4"

LEVEL 01 EL= 0'-7 3/8"

11/16"

1/16"

1 1/2"

11/16"

3/8"

1/16"

1/2"

1/16"

1/4"

LEVEL 01 EL= 0'-0"

1/4" 1/4"

1/8" 3/4"

1/2"

1/4"

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"

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

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"

1/16"

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 planetâ&#x20AC;&#x2122;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!

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"

24'-6

THE GREEN THREE

1/4"

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"

8'-1 3/8"

8'-1 5/8"

34'-0"

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

6'-3"

24'-2