Graduate Thesis by Kori Clark

The Exhibit An exploration of Possessions Kori Clark 2015

Abstract Every possession that a person buys, gifts, or inherits among other attributes helps identify who they are and how they hope to be viewed. The topic of possessions is a complex subject. The concepts involved include ones own home as an exhibit, the psychology behind possessions, extension of self, designer influence, order cataloging, collection cataloging, and context. These concepts have been organized into three main categories: possessions, cataloging, and personal inventory. Possessions are everything that an individual owns. These possessions are tools for status cues and identity. Cataloging is a system of organizing the possessions one owns. This allows an individual to look at their belongings in a variety of ways, presenting and answering questions about oneself that would have otherwise been ignored. In order to test the concepts of possessions, a self-assessment of my own belongings was required using the order, collection, and context cataloging strategies. The variety of topics covered and tested throughout this thesis are a reflection of research and studies on possessionâ&#x20AC;&#x2122;s complexities from the early 1800â&#x20AC;&#x2122;s to today.

1 2 3 4 5 6 7

Intro

Possessions

Cataloging

Inventory Study

Design

Conclusion

Citation

Hoarder Minimalist Organizer Collector 1

Intro Identity

We live in a world where people define themselves by occupation and we identify ourselves by what material possessions we have. House, cars, money, clothes etc. Take away all that and you lost your identity. Sadly to say these are the things that hold some relationships together. So let me ask you one question. Who are you? - Darnell Houston What do your physical belongings say about you? Physical belongings communicate to others not only ones values but also the way one wants others to perceive them. The organization of objects in terms of color, scale, and material all express a person’s identity through their belongings. An awareness of the significance of their personal belongings helps people better understand themselves as individuals. It also allows them to manipulate their possessions in order to be viewed in a specific way by others. The process of cataloging possessions allows individuals to view themselves and their physical properties in unique ways. We catalog to understand. One way to understand one’s life is by going through the process of laying out every physical object in an individual’s life on a single surface and cataloging the variety of elements through a series of visual and textual compositions. What do the results of cataloging say about the individual and how do physical belongings shape who we are, want to be, or how we want to be perceived? Through the awareness and cataloging of belongings, I will define the nature of possessions and their role in design. The acquiring, displaying, and letting go of our possessions is a lifelong process. For example, at the age of 24, it is easy to be caught up in the collection of life’s things. My aunt Darcy no longer needs her couch in the basement and my mother’s clients, all knowing the struggle of a college student, therefore feel the need to help out with an abundance of tired sets of cooking pans, pillows, shelves, and tables. It would be rare not have a bag of rags, coffee cups, or mismatched plates sent my way when found needing repair. My house begins to develop a feeling of the leftovers, or character that is undefined, accidental. This “character” is something that I, as well as many college students, share and learn to love. Our living space is a representation of where we are at the moment but clearly we are in a process of transition. The different ways in which we use, organize, and display our items serves as a lens through which we view ourselves and others view us. This curiosity extends into the future. When or how does the collection of possession influence a person’s future environments and essence? Whether the possessions that are kept have been gifted or selected, do they speak truth to who we are? If looked at in a variety of ways, how can information be perceived in different depths, releasing more questions and answers about an individual’s experiences and life story? In order to address the question of what physical belonging say about an individual, I have organized my paper into three main categories: possessions, cataloging, and a study of my own personal belongings. In the interest of fully understanding the needs and uses of possessions, the paper create a foundation, defining the nature of possession and their role in people’s lives. What

house embodies as well as the psychology associated with it will also be explored. Once a solid base has been developed, I will explain the different ways we view and organize possessions and what message is shared for a variety of different cataloging strategies. Previous studies and experiments have shown cataloging to be an effective lens through which a person can express who they are and how they want to be viewed. In order to test the research methods and strategies explored through the text, I have conducted a study on my own personal belongings.

House as an Exhibit. 6 Psychology Behind Possession 8 Extension of Self 9 Designer Influence 11

Possessions Possessions

Everyone has a collection containing items that are meaningful, meaningless, and a mixture of both. The curiosity about belongings goes at least as far back as the late 1800’s. Williams James was one of the leading thinkers in the 18th century. He observed: A man’s s self is the sum total of all that he can call his, not only his body and his psychic powers, but his clothes and his house, his wife and children, his ancestors and friends, his reputation and works, his lands, yacht and bank account. All these things give him the same emotions. If they wax and prosper, he feels triumphant, if they dwindle and die away, he feels cast down, not necessarily in the same degree for each thing, but in much the same way for all. (qdt, Belk, 1999,76) The past repeats itself. What people collected in their lifetime was the identity that they portrayed to family members and others, and this is still true today. What better place to view the possessions of an individual than at his or her own residence, a place of comfort and honesty, good and bad. Throughout time, the same behaviors have continued to evolve. What one collects has always and continues to aid people’s identity of themselves as well as how they reflect on their own lives. Belk divides people’s evaluation of who they are and where they are in their lives into two main categories: the first being who they physically are in relation to their bodies and the second being and where they are in relation to their belongings and what they own. The body and being makes up 20 percent of what people believe to be themselves and the collection of ownership make up the remaining 80 percent. This idea was developed to better understand the important roles possessions play in our life. If Belk’s theory is accurate, people’s belongings say more about themselves than they realize. (Belk, 1999, 85)

House as an Exhibit The experience of attending an exhibit and viewing the overall composition of art and poetry that is on display is similar to when a person experiences a house that they have never been in. That person often wonders and connects the dots as to who the owner may be, and if what they already know about the owner is validated by the exhibits in their house. In the book, House as a Mirror of Self, Clare Marcus states, “The home is a symbolic environment that fulfills many needs. It is a place of self-expression, a vessel of memories, a refuge from the outside world; a cocoon where we feel we can feel nurtured and let down our guard.” (Marcus, 1995, 4)A house portrays who an individual is in their most exposed state without eyes, judgment, or influence. Design 99 (a contemporary art and architecture practice located in Detroit) developed a project known as Displacement (13208 Kingler), an award winning exhibition based on possessions that were abandoned in an uninhabited home purchased in Grand Rapids, MI. The designers carefully sifted through the possessions, removed them from their context, and relocated them to a local gallery. The exhibits were a beautiful illustration of what life used to be in the forgotten home. The

Fig. 1 The images are examples of the gallery spaces displaying the Displacement Exhibition. An arrangement of objects organize to send a message to the viewer and display what the house once was.

concept was to elucidate the belongings in an arrangement of collections. The reflection of what the home once was represents character that needed to be interpreted by each individual viewer. Oftentimes one wonders about a strangerâ&#x20AC;&#x2122;s house or a friendâ&#x20AC;&#x2122;s apartment, associating meaning with where and how they live. A house is where all of someoneâ&#x20AC;&#x2122;s attributes and flaws are on display in one space. The coffee table in the living room with darkened layers of residue, the neatly organized bookshelf that lines the wall, or the slightly crooked portrait hanging above the TV all convey a message to those who view them. Interacting in a space as a whole sends an even stronger, more impressionable meaning and often is a reflection of more than one person. The pocketknife tucked in the couch cushion or the empty flowerpot on the dining room table each communicates a separate message. (Lamb 2011, 115) Time of day also plays a major role in our personal exhibits. Morning, day, and night all represent a different display of information. The crumbs on the counter and newspaper sprawled out in the dining room create a unique exhibit in contrast to the mismatched arrangement of oversized pillows on the living room floor and the house littered with dishes and silverware. If the visit is planned or spontaneous, an entirely new message is unveiled. Almost everyone can relate to the adrenaline rush as one scurries to piece his or her lives together when a family member, friend, or neighbor approaches their house. The idea is to quickly present their exhibit in a way that they want to be viewed. If better planned, this may be a stressful task of adding to ones already collected possession and discarding, older less value items, to represent not only how they want to be viewed by who they want to become. What is the difference between visible and hidden items? The items in the spare bedroom, storage, basement, or nightstand are equally important to the identity of the owner. There is still value to the hidden items; if they were not of value, they would be discarded. The many reasons why we hold on to such items includes inheritance, memories, and dollar value all of which are important to most individuals. Generally, the reason for hiding them is simply that they contradict the message of who the owner wishes to be. (Lamb 2011, 113) With all the possible characteristics of a home such as the residue on the coffee table, newspaper

sprawled out on the counter, collection of neatly placed knickknacks above the fireplace, or the spare bedroom that works best as a laundry space where unfolded clothes accumulate all work in unity with one another. They all convey a single message such as comfort, sterilized, warm, cozy, crowded, filthy, bright, or welcoming. A shared initial reaction of many “exhibits” is whether the display is “homey”. Homeyness refers to the overall impression of what a home is supposed to feel like: informal, cozy, relaxed, secure, unique, old rich, warm, humble, welcoming, accommodating, or lived in. Grant McCracken (p.179) concludes through his research on Constellations of Consumer Goods Meaning that possessions with meaning to the owner convey a homier vibe than those that do not. Handmade pottery or a painting that a family friend gifted is going to favor the concept of homeyness. McCracken (p.172) believes that this is due to the conscious placement of the items next to the many other possessions inhabiting the space. Similar colors and details, arrangements, scale, and consistency all play an important role in the overall composition. Grant McCracken also found in recent studies that possessions associated with tradition and seasons enhance the feeling of homeyness in a space, adding an informal playfulness that all ages can appreciate. A place that expresses pretentious, formal, stark, elegant, cold, daunting, sterile, a show piece, reserved, controlled, decorated, or modern feeling is classifies as non- homey.( McCracken 1989, 178) The homey style is not for everyone. Many people are influenced by the house they grew up in or the career path they are currently on. Styles could range from colder, more unfinished materials in a contemporary home or an older generation Victorian with an abundance of display furniture, that is better appreciated at a distance. The variety of feelings that accompany an initial visit to a home responds to the diversity of human life residing inside. The exhibit allows a place for all the inconsistencies in life to be accepted, expressed, and celebrated.

Psychology behind Possession All of the possessions that are part of a persons home have many uses. The many needs for physical belongings work as mechanisms to help people in many aspects of their lives. Possessions aid in remembering a loved one, helping with tasks, expressing who an individual wants to be, defining their worth and value, and extending their identity. People depend on possessions to help them when remember people who are less familiar to them. In his book White Noise, by Delillo he writes: The dead have faces, automobiles. If you do not know a name, you know a street name, a dog’s name, “He drove an orange Mazda.” You know a couple useless things about a person that become major factors of identification and cosmic placement when he dies suddenly, after a short illness, in his own bed, with a comforter and matching pillow set, on a rainy Wednesday afternoon, feverish, a little congested in the sinuses and chest, thinking about his dry cleaning. (Deliollo 199, 23) In claiming that something is “mine”, people also believe that the object is “me”(Belk 1999,183). The value of an automobile is just that for many individuals, especially men. Therefore, the automobile is part of their ego, and the automobile is no longer “mine” but “me”. Consequently, when their automobile is damaged, they feel damaged and need to either fix it or replace it to protect their ideal image. One man who was interviewed during a study by Belk confirmed this idea: Sometimes I test myself. We have an ancient, battered Peugeot, and I drive it for a week. It

rarely breaks, and it gets great gas mileage. However, when I pull up to a beautiful women, I am still the geek with the glasses. Then I get into the Porsche. It roars and tugs to get moving. It accelerates even going uphill at 80. It leadeth trashy women…. to make pouting looks at me at stoplights. It makes me feel like a tomcat on the prowl. Nothing else in my life compares. (Belk 1999, 83) Because what people purchase is an expression of how they want to be viewed, each generation holds onto and purchases material items for different reasons. Belk’s study evaluated a large group of people from Chicago. He separated them into two groups organized by age. The 8-30 age group purchased objects they could manipulate or control: music instruments, pets and stereos. 40-50 year olds tend to justify their purchase based on social power and status. Thus, they consider a person who owns a nice home, a new car, good furniture, and the latest appliances, as having passed the test of personhood in society. The objects people possess and consume say things about them that they depend on in order to maintain a stable identity. This includes the social recognition that underscores the display of status symbols, but it includes also the much more private feedback provided by special household objects that signifies a person’s past, present, and future, as well as his or her closest relationships. For this reason, many people rely on possessions for emotional relief. When a person is going through a tough time, they are likely to purchase more. The objects that collect during this time of pain commonly value as a form of treatment that helps an individual through a difficult, life changing time in their life. Life’s hardships provide meaning to the possessions that are visible in each person’s home. (Belk 1999, 88)

Extension of Self We extend our identity through experiences or life events. The adventure of hiking a mountain that is difficult and oftentimes dangerous is deeply satisfying when completed (Belk 1999, 91). The hiker is in transition from “mine” to “me” in this form of experience. When a significant experience is associated with an object or possession, the meaning becomes part of ones identity. People have a sense of ownership of the mountains that they climb, the cities they live in, and the places where they grew up. They collect items that remind them of the identity they formed out of the experience itself. Souvenirs are often collected to send a specific message to others. For an example, a signed painting from Italy, an expensive piece of handcrafted furniture from Ireland or the excessive collection of shot glasses collecting dust in the man cave tells people about the identity that the owner wants to portray. People also extend their identity by the gifts they give to others. Every time that gift is noticed or used the person who it belongs to remembers how they gained ownership of it. For example, when a person uses the car that Uncle Joe bought, his or her friend may ask where they got the car. Thus, the person’s gratitude to Uncle Joe is even greater because of the object’s use. People become iden tified by their possessions, not only with what they choose themselves, but also with what they receive and give as gifts. (Belk 1999, 93) All possessions become extensions of who we are. They work as symbols or signs to others and signify who we want to be or where we want to belong (James 2005, 5). It starts from early birth to retirement and beyond. From the time we are born, we develop an attachment to objects. Very young children bond with their possessions and spend most of their time playing and interacting

with them. In a large group at a daycare facility for example, conflict breaks out because of an innate desire for ownership. Toddlers often claim an object as theirs at the beginning of their stay, and even if the toy was replaced with an exact replica, the child knows the difference. The feeling of entitlement is associated with the object. The conflict becomes more about the memory and individual significance of that object than its actual use. (James 2000, 1) Youth and teenagers are by nature, very materialistic. They need possessions in order to stay in the loop and equip with the latest that their peers are displaying. Studies show that the highest peak of materialism during teen years is when the individual experiences the lowest point of self-esteem (James 2000, 5). In order to compensate for the pain and unfamiliarity they confide in possessions. Those possessions are likely to stay with them in the future, to remind them of their uncertainties that they have overcome. (James 2000,2) As adults, people gravitate toward larger possessions such as a houses, cars, or vacations. A participant in a study about relationships between people and their possessions stated; “The house is not merely a possession or a structure of unfeeling walls. It is an extension of my physical body and my sense of self that reflects who I was, am, and want to be (Belk 1999, 88).” The ability to purchase high priced or sought after items add to one’s identity and is a form of extension. Conspicuous consumption elevates an individual’s status. As a result, a person who is wearing a name brand shirt is more likely to stand out as wealthy, fortunate, or someone who has an elite job and education. People begin to define that person as a wealthy and fortunate individual. For instance, my friend Kendra is so rich that she bought her house with cash. She plans to buy another one even though she has no use for one. In addition to elevating her own status, Kendra elevates the status of her friends simply because they know her. Everyone is familiar with the Kendra in his or her lives and the more Kendra’s they know the more value they have. It as if our friends become part of our collection of possessions aiding or hindering our identity. (James 2000, 2) Life after death is another topic of extending ones identity through possessions (Belk 1999, 85). The elder population is often trying to assure that they will be remembered beyond their death. They accomplish this through their children, through their beliefs, through their work, through experimental transcendence, through identification with nature, and passing on of possessions (Belk 1999,84). Not only do they worry about what they have accumulated through life, but they also have to worry about what happens to their possessions after death (James 2000, 4). Who will carry on caring for their most cherished possessions, who will keep the most important memories from fading or being forgotten? Not everything that has been worked for in a lifetime dissipates with death; it continues to become a part of another life. In regard to the future of possessions and self-extension, technology is becoming a significant factor because it allows people to reach an even larger group. No longer do they rely on only physical belongings, but now digital technology allows people to further express who they are beyond a level of physical possessions (Belk 2010, 159). What they pin on Pinterest or post on Facebook extends their home exhibits and allows more viewers to experience them. In the past people could arrange their possessions in their homes to impress visitors. Today however technology gives the user a much greater ability to manipulate their expression of identity and only post the positive. In fact, the user could create a totally fictitious identity.

Designer Influence People hire designers to strategize the message their home should portray. This process is studied by many different disciplines, including architecture and interior design The designer’s goal is to highlight elements of the owner and bring to the surface, meaning behind the collection of the owner’s possessions. The responsibility to achieve the owner’s sense of self can be a very difficult task because often the owner does not have a strong sense of self. Instead, the owner has a vague idea of the identity that they want to project and at the same time, they do not have a clear idea of how their possessions fit into their space. The process begins with the owner becoming aware of what they have collected and the meaning behind each belonging. (Clemons 2001, 130) A recent study was conducted to assess the experience of families who have worked with a designer in their homes. Ten families were evaluated while living in Colorado in 1999. The questions that were asked during the interviews were consistent with each household and included: • What do you think your home represent about you? • Which objects are significant to you and how? • If your house was burning down, and you only had time to save a few items, what would they be? • How is the design of the interior reflective of both a sense of place and sense of self? • Is there a particular room that represents you individually or your family as a whole? • How did the designer assist you in learning about sense of place and self? • How did the designer assist you in achieving a sense of place and self? Those conducting the experiment established the guidelines that each participant had to meet to be involved in the study. The inhabitants of the residences had to be a family or at least a married couple. Some participating families had children, and others did not. It was also very important to have an arrangement of age groups involved to understand the generation’s influence of how we value possessions. The most important guideline was that all participants must live in a home that was “designed” with a designer’s participation in the interior spaces. The outcome of the study provided many truths about the value of possessions as an aid to design. Each question resulted in unique answers. Each room reflected the identity of a specific person. An artist involved in the study stated that his studio space is the most true to him. Another owner commented that the kitchen was the truest to her character because of the conversation and memories that were shared in the space. A retired husband stated that no matter what was going on he could escape to his office/ fly room, tie a couple flies for the upcoming adventures and indulge in a book that he has read over and over. (Clemons 2001, 139) One owner talked about how she and her husband kept toys in every living space in their house. They hoped to express their playful and whimsical side by replacing the formal china in the kitchen with potato heads and the pillows on the bed with brightly detailed stuffed animals (Clemons 2001. 139)

The evaluation of personal possessions, made it possible for the designer to create a space, which

directly reflected who the owners were and the needs and uses of their most cherished possessions. Using belongings to unlock hidden questions that even clients were unaware of, avoided the difficult scavenger hunts often associated with how clients defined themselves. (Clemons 2001, 144)

Order 14 Collection 16 Context 18

Cataloging Cataloging

The process of evaluation is a necessity when connecting and communicating meaning behind people’s collections. The ability to step away from one’s self image and see one’s possessions as an extension of self is a sign of confidence and wellbeing. According to Robert Harbison’s reading “The Contacted World of Museums and Catalogs”, he states (pg. 130), “It is as if reflecting on our things restores a fragile ego.” The revaluation of possessions is a complex system that if viewed in many different ways is most beneficial. Harrison states, “To look at the familiar coast from the other side shows us what we do not imagine, the land from ourselves, flexibility in all directions, but we are always standing in the same place when we think of it and facing the same way like a statue (Harrison 2000, 124).” When people look at themselves in a different light, they are able to define truths that would otherwise be covered up by society’s norms, aiding a more specific and tailored design of their individual identity. When viewing possessions in many different ways, cataloging becomes relevant. From the moment they get up in the morning people begin by cataloging time. How much time is going to be allotted for deadlines or how people plan to catalog desired activities are both examples of daily cataloging tasks that many people are involved in. For example, a construction worker would catalog duties for the morning to plan for longer tasks and quick tasks to take place towards the end of the day. Students catalog what they need to accomplish by hours, days, and months, class, and priority. Homemakers catalog food. The canned foods go on their own shelves in the pantry, and the fresh vegetables are given ample space in the bottom pull-out drawers in the refrigerator to create a convention for organization. Cataloging is also used when individuals are looking at new houses or apartments. People begin arranging their furniture in their minds to understand the potential of the space. If their possessions cannot be envisioned in an appropriate manner, the search continues. Cataloging allows an opportunity to view possessions through a different lens. To understand the ways in which people catalog, three main categories need to be well defined: order, collection, and context.

Order The variety of ways to order belongings is boundless. When people think of the topic of cataloging, they think of libraries and their ordering of books and cataloging of archived. The intricate details that are associated with the order of museums are equally fascinating. The most common organizational system for museum possessions is chronological order. By ordering by dates in time, the museum tells the story of history (Harrison 2000, 134). In the reading, the “Contracted World of Museums and Catalogs”, Harrison makes the statement, “By experiencing something backwards, newer to older, the feeling is more natural.” Harrison believes that the mind works backwards. (Harrison, 2000, 142) In contrast, the Victoria and Albert Museum is a jumble of confusion and texture. The notion is

Figure 2: The above images are taken from the same exhibit in the Victoria Albert Museum in 2015

to have many items from many areas and times in one space so the viewer can create their own experience. The floors of the museum are organized in a non-conventional manner, starting with floor 1, A, 2, B adding to the confusion and disorientation the viewer experiences as they begin to explore the exhibit. Once they reach the exhibits, they are flooded with a collection of items and information that has no border and instead blends with the others once the viewer begins to feel as though there is an order to the madness. The buildingâ&#x20AC;&#x2122;s disorder is diminished as the viewer moves deeper into the space, ending in a heightened experience throughout the entire exhibit. This form of cataloging allows every viewer to have an individual experience and form a variety of meanings from a single exhibit. (Harrison 2000, 144) Experiencing possessions out of order reduces the usual constraints of how people feel space is supposed to be. The mind is able to wander and make connections that would have otherwise been impossible. The positive outcome of the disorder for the viewer is being able to connect the dots without guidance from the ownerâ&#x20AC;&#x2122;s subconscious. Harrison describes the Victoria Albert Museum in the following ways:

As a model of the past, it is messy, many layered, impossible to see a whole, where the mind is suffocated by history, enjoys its suffocation, covering itself in dead leaves and abjuring discrimination. The Victoria and Albert loosen our standards and blurs our sense of a period by enriching it unconscionably, by complicating it with peripheral appliances, and finally the variety takes attention away from technique and the artist to place it on sensation and the observer. (Harrison 2000, 146)

Collection Order compliments collection in that a collection is a form of order. People’s homes are a collection of objects that represent who they are. The viewer most easily understands the uses and needs of a collection if it results from intention. For instance, the art that is collected as a symbol of where an individual traveled, what they like to do, or anything else that is meaningful to them or even what they think will impress others. For example, one might have a mandala (geometric figure representing the universe in Hindu and Buddhist symbolism) from a trip to Nepal or a growler (reusable glass container with business branding etched on its’ exterior) from the local brewery.

Figure 3: The above images are spreads taken from Diderot’s Plates of the Encyclopedia and represent the variety of plates that are displayed throughout the catalog.

The use of collections transcends many other forms of organizational systems. In Daniel Diderot’s Plates of the Encyclopedia”, the focus is to inform the viewer of tools and their uses through a catalogue of images and written tutorials. “The objects presented are literally encyclopedic, i.e. they cover the entire sphere of substance shaped by man: clothes, vehicles, tools, weapons, instruments, furniture, all that man makes out of wood, metal, glass, or fiber is cataloged here, from the chisel to the statue, from the artificial flower to the ship.” (Barthes 1999, 24) The collection of tools is organized by era and material. This was an encyclopedia to be referenced by the individual to understand construction and tool evolution. The man using the machine is depicted as a clean, respected gentleman with clean slacks. This encyclopedia expresses society and

advancements that were relevant during that time. The absence of electricity during that period is also noted throughout the encyclopedia; the energy is produced by human movement. ( Barthes 1999, 25) Although the cataloging of collections viewed at first glance display information as a whole, they are actually broken down into many layers of information. The form of each tool conveys a sense of rigid and textured expressions. The grit of the paper displays a feel of work and construction. The models depicted in the image display information about the time period, and the use of each tool supports that information. A similar technique of cataloging collections is known as European Curiosity Cabinets. The European Curiosity cabinets are a collection of unique, odd objects contained in a cabinet for display. Celeste Olalquiaga, in her essay Transitional Objects, speaks of them as an influence on the modern museum. The idea of sharing information through this display came about in the early 1700’s. Many of the displays were located in very prestigious locations where special inventions were required for viewing and conceptualizing their content. Only the privileged class was able to indulge in such a display (Olalquiaga 2005, 7). One the most famous, Joseph Bonnier, was known for his collection of Curiosity Cabinets. He displayed his cabinets in strategically arranged and designed rooms. Each of the three largest rooms was dedicated to a different component of the cabinet; the Library, which contained all the “musts” (things that must not be overlooked) of a collector worthy of the name: the cabinet of mechanics and physics, the earliest and, for some, the most outstanding because of its scientific instruments; and the second Cabinet of Natural History, boasting a magnificent array of preserved animals. It is the last section and specifically its furniture. The remaining smaller rooms were dedicated to the Cabinet of Chemistry or Laboratory, the Cabinet of Pharmaceutics, the Cabinet of Tools, and the first Cabinet of Natural History. (Olalquiaga 2005, 8)

Figure 4: The images show the density of information displayed in a single curiosity cabinet as well as the contrast in information between the two,

Shelves were used to develop order and separation between different collections. The ways that cabinets were ordered was important to the overall configuration of the curiosity cabinet. If the collection was divided by changes in color, then color made a meaningful contribution to its value. If the collection paused at materials, textures, uses, or size then these, as well, were important characteristics of the collections. (Olalquiaga 2005, 8) Today every house seems to have its own curiosity cabinets. The items that collect on open shelving above the couch or form displays in the living room are a form of curiosity cabinets. They are a compilation of items that have enough value to be shared and displayed on a public platform. This is a way to distinguish valued items from not so valued items. How people display their own collections in their homes also builds up layers of information. As in the past, the ability to pick out a common color pattern that repeats itself throughout the collection conveys an important message. The formation of objects from small to large or void to solid displays a sense of progression or time in that the smaller pieces may have been purchased during a time when the owner lived in a smaller space. How the collections are displayed, whether they are placed on a counter or hung on a wall expresses their importance or use. The visibility of the collection expresses layers of information that the owner has control over and information that is spontaneous. By using a similar form of organization as the Victoria Albert museum, a person allows the viewer to explore.

Context The collection of stuff experienced in an individualâ&#x20AC;&#x2122;s exhibit has a density of information that is different from experiencing an object removed from the home. When an individual happens to relocate or let someone else borrow a possession that otherwise would be found in his or her home, that belonging begins to be read and observed in a different manner. Hal Foster states in his essay on postmodern culture that when things are viewed out of context, meaning beings to dissipate. The same object within its original context enriches meaning.

Figure 5: These three images are of Altoon Sultanâ&#x20AC;&#x2122;s favorite most popular collection taken from her home.

As an artist, Altoon Sultan has always been interested in how peopleâ&#x20AC;&#x2122;s possessions express who they are during a given time in their lives. She decided to photograph her old house in order to document her memories and feelings as she transitioned to the next stage in her life. She organized the images by space and made sure that the angles and possessions being displayed in the images told the story of her life. Because her images were of her possessions displayed in context, the result was many layers of information that at first, second and third glance could be interpreted in different ways. (Sulton, 2009) When items are removed from a home, a different form of information is conveyed. The possessions no longer express color, pattern, scale, value, or form in the same way as they do in context. When the items are removed, they can also be less recognizable or removed from meaning. Memories that are attached to the item is often a reflection of how they are displayed and including the arrangement of items organized around them used to compliments the message.

Full inventory Living Room

Dinning Room

Kitchen

Bedroom

Bathroom

Office/storage

Curiosity Cabinet Study

Altoon Sultan Study

Conclusion

Intro In order to test the research compiled from my studies on possessions I felt it was important to take note of what I have accumulated in my life thus far. To avoid a misconception of belongings, I removed my roommatesâ&#x20AC;&#x2122; possessions from my inventory and developed a system that highlighted only the items that I myself own. This process included focusing on the possessions room by room. I first took the photograph of each space being inventoried so the viewer had a sense of place when envisioning where the possessions reside. Each possession within a space was photographed and placed on a white 8.5x11 sheet of paper. The categories of items in each space was small medium and large scaled items. This allowed me to share another layer of information about the possessions once removed from context. These are the results:

Inventory catalog

LIVING ROOM

A12

A10

A11

A13

A14

A15

A16

A17

A18

A19

A20

A21

A22

A23

A24

A25

A26

A27

A28

A29

A30

A31

A32

A33

A34

A35

A36

A37

A38

A39

A40

A41

A42

A43

Dining Room

B10

B11

B12

B13

B14

B15

B16

B17

B18

Kitchen

C10

C11

C12

C13

C14

C15

C16

C17

C18

C19

C20

C21

C22

C23

C24

C25

C26

C27

C28

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C95

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C100

C93

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C109

C110

C111

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C115

C116

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C120

C121

C122

C123

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C136

C137

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C140

C141

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C145

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C148

C149

C150

C154

C155

C151

C152

C156

C157

C158

C159

C160

C161

C162

C163

C164

C165

C166

C167

C168

C169

C170

C171

C172

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C174

C175

C176

C177

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C180

C181

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C185

C186

C187

C188

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C190

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C193

C194

C195

C196

C197

C198

C199

C200

C201

C202

C203

C204

C205

C206

BEDROOM

D10

D11

D12

D13

D14

D15

D16

D17

D18

D19

D20

D21

D22

D23

D24

D25

D26

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D32

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D36

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D50

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D55

D56

D57

D58

D59

D60

D61

D62

D63

D64

D65

D66

D67

D68

D69

D70

D71

D75

D76

D72

D73

D74

Bathroom

E10

E11

E12

E13

E14

E15

E16

E17

E18

E19

E20

E21

E22

E23

E24

E25

E26

E27

E28

E29

E30

E31

E32

E33

E34

E35

E36

E37

E38

E39

E40

E41

E42

E43

E44

E45

E46

E47

E48

E49

E50

E51

E52

E53

E54

E55

E56

E57

E58

E59

E60

E61

E62

E63

E64

E65

E66

E67

E68

E69

E70

E71

E72

E73

E74

E75

E76

E78

E79

E80

E81

E82

E83

E84

E85

E86

E87

E88

E89

E90

E91

E92

E93

E94

E95

E96

E97

E98

E99

E100

E101

E102

E103

E104

E105

E106

E107

E108

E109

E110

E111

E112

E113

E114

E115

E116

E117

E118

E119

E120

E121

E122

E123

E124

E125

E126

E127

E128

E129

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E131

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E133

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E135

E136

E137

E138

E139

E140

E141

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E143

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E145

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E147

E148

E149

E150

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E153

E154

E155

E156

E157

E158

E159

E160

E161

E162

E163

E164

E165

E166

E167

E168

E169

E170 E171

E172

E173

E174

E175

E176

E177

E178

E179

E180

E181

E182

E183

E184

E185

E186

E187

E188

E189

E190

E191

E192

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E195

E196

E197

E198

E199

E200

E201

E202

E203

E204

E205

E206

E207

E208

E209

E210

E211

E212

E213

E214

E215

E216

E217

E218

E219

Office

F11

F10

F12

F13

F14

F15

F16

F17

F18

F19

F20

F21

F22

F23

F24

F25

F26

F27

F28

F29

F30

F31

F32

F33

F34

F35

F36

F37

F38

F39

F40

F41

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F55

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F60

F61

F62

This process of self-inventory has been helpful to my becoming more self-aware of my possessions. Every item that I inventoried has a story. The fork that is different from the others reminds me of a conversation that my boss had with the staff about the silverware that is mysteriously disappearing. The abundance of coffee cups that have accumulated in my possessions makes me question why I need over 20 cups and continue to collect more. Looking at all of my items removed from context and organized onto pages makes me feel differently about them. I think of their value individually instead of how they work with other items around them. Often times when a person rids their home of all the items that are not in use they are looking at those items in context with others. For example, art pieces compliment other items in the room, the chipped mixing bowl is kept to complete a set, and worn shoe mat fits perfectly between the door and the chair. This information aids your willingness to keep or discard items. While looking at my items out of context would I likely discard items that are worn, chipped, and out of date, being that I am less aware of their value with my other possessions. I have evaluated a pattern in what items tend to accumulate within my house. Items that are the most useful and that “work for now” are the most common. This is a reflection of my life in transition. I am currently finishing my graduate degree and planning my next step in life. This next step is going to be more permanent and I expect that during this next stage in my life my possessions will transition from items that “work for now” to item that I truly enjoy and not only work but I’m proud to display.

Curiosity cabinet study I have organized my possessions into two separate curiosity cabinets. The first, in the images below, is a representation of my most collected possession. Even though the display looks like a basic arrangement of coffee mugs the stories that are attached to them is what illustrates the important pieces of my life events so far. The first mug that I ever purchased reminds me of the excitement of shopping for my first apartment my senior year of high school. The SL, UT mug was a gift that I gave to my now fiancé at the airport after realizing I forgot to purchase gifts on my three week trip. One of my most valued mugs is the over sized Ghirardelli mug that I insisted on challenging myself to drink out of for the entire month of May, resulting in unbearable stomach aches. The second curiosity cabinet consists of items that have been gifted to me. These items hold the most sentimental value throughout the entire collection of my possessions. All of these gifts have been specifically selected as items that will always have a place in my home. For example, the rings that my grandmother gave me two weeks before she passed and my father’s sobriety coin he gave to me while he was going through the toughest time of his life. Creating curiosity cabinets has helped me define what is most meaningful to who I am and what I have experience. Even though the displays look like simple items with little depth, they represent so much more and are a true example of the depths of meaning possessions have to their owners.

Curiosity Cabinet- Collection

Curiosity Cabinet- Gifted Items

Altoon Sultan Study In order to explore the art of Altoon Sultan I chose images that embody my home at its best. Each photoâ&#x20AC;&#x2122;s items are placed in just the right order to convey a message to the viewer. The feel of light flooding in through the window, the placement of utensils in the kitchen to create an image of use and the reputation of red and blue tones convey adjacencies within the home. The process of displaying my home through a series of projects was very helpful in pinning down the message that I would like my house to display. For example, the color throughout the spaces are vibrant and outgoing gestures of energy, the kitchen showing a sense of use, and the bedroom expressing soft light and calming colors display information about who I am and how I would like to be viewed.

Conclusion During the beginning staged of my personal inventory, I planned to take photographs of each room to organize the results. I soon found myself racing around, cleaning the walls, wiping down baseboards, rearranging furniture, re-evaluating my art work choices, doing the dishes, wiping down counters, cleaning the windows, vacuuming, shaping the pillows, and ridding each room of anything that would hint at disorder. I was proud of myself and how the photographs turned out because my house looked spotless and I was okay with large amounts of people looking at them and thinking, “Wow! Kori’s house is very orderly and clean.” It was not until the third week of research and inventory that I realized I was one of the people that have been researching. I was the person who scurries to clean their house before anyone enters to protect his or her identity. I was the person who has the “perfect” house in “perfect” order in a “perfect” world mentality. I did it all wrong. The items removed from context where not effected by my dash to cleanliness but I felt it appropriate to show photographs of what my house truly is. The images below are the original images taken before my research. The adjacent photos express truth of what my house truly is during a busy time in the semester, when I had less control of my infamous cleaning routine. My cleaning routine is a great example of the learning experience that happens when an individual is more aware of their possessions.

Photos taken after research (5.2.2015)

Photos taken before research (1.30.2015)

FINAL DESIGN Process

Design Concept

Synergy Tower

Design CATALOG

A. Site

B. Market

C. Use

D. Height

E. Setback

F. View

G. Incentive

H. Light

I. Street Edge

101

J. Facade

106

DESIGN

My research on possessions and self-inventory of my entire collection of properties triggered personal interest in how possessions effect design at a larger scale. The number of new construction projects in Seattleâ&#x20AC;&#x2122;s city limits continues to rise. The quickly transforming cityscape creates an opportunity to look at design in new ways (Catalog A, B). The exploration of existing, new, and proposed project inventories surrounding the site supports the design concept as a true representation of an effective design tool (Catalog B). My previous research explores the variety of ways personal belongings can be viewed through the organization of information but what is the results of cataloging an entire inner city neighborhood (Catalog A)? My goal is to accumulate as much information as possible within a Seattle neighborhood hoping to eliminate questions and unsupported design decisions throughout the design process. Every move, every change in facade material and floor plan is a representation of the data collected throughout the cataloging process. I intend to find solutions through the methodology of cataloging, which will lead to more creative building typologies. Thus, buildings will better reflect the context and inspire a different way to look at the mundane. The following documentation is my exploration as I use cataloging as a tool of design.

PROCESS

DESIGN PROCESS FIRST STAGE

The beginning stages of the towerâ&#x20AC;&#x2122;s design stemmed from research of the existing structures of the 21 blocks surrounding the site (catalog C). The averages of existing ceiling heights (catalog D), program use, and square footage were used to design a conceptual mass that displayed the current state of design. These results are based on the information that had been received early on in the design process. The conceptual mass represents my projection of what the final design would display. The pushing and pulling of the facade notates the different program uses within the tower and the change in surface pattern represents the materials change in opacity. The siteâ&#x20AC;&#x2122;s height restriction was used to create strict rules for the design and influence the exploration of below grade program such as parking, retail, and transit drop off. The result of the averaged calculation for the 21 block inventory set a goal square footage at about 400,000 square feet. Leasable office space was to be used as 61% of the calculated square feet.

DESIGN PROCESS SECOND STAGE (The Lie) More information began to surface, allowing a massing diagram of information that was beginning to look at the market influence of the sites location. A major market driver for the residential and office use is view sheds. Using the information from the beginning stages of research and viewsheds on site (catalog F), the design became a reflection of the locations assets. The influence of the locations market allowed new and future construction to be a contributer to the averages previously calculated in the first stage of the design process. The additional information allowed the program to become a reflection of the future needs of the community. The square footage increased from a goal of 400,000 sq. ft. calculated during the first stage of design to a goal square footage of 1.2 million sq. ft. This increase in square footage also addresses the needs of increased residential square footage (58%) as well as added open public green space.

DESIGN PROCESS THIRD STAGE (Setback Diagram) Land use zoning became a system of order throughout the accumulated study information. By using the 1.2 million square footage goal and the zoning restriction on the site it became obvious that the site would not allow for the amount of square footage the project was proposing. This stage allowed a hybrid system to thrive by requiring shared square footage between different program uses and celebrating the process of overlapping systems throughout the design. The exercise of â&#x20AC;&#x153;maxing outâ&#x20AC;? the site by using the set back diagram as a strict rule allowed the realization of the sites allowable occupancy. At this point in the design stage the importance of cataloging became evident. The point of the catalog was not to use every piece of information collected but to instead be aware of the information collected and be able to make educated projections to lead the design to the next stage. This exercise began to highlight missing information within my catalog system that needed to be explored before the design could continue to progress.

DESIGN PROCESS FINAL STAGE (Synergy Tower) The final stage of design included the exploration of code and lighting data. Incentive bonuses in Seattleâ&#x20AC;&#x2122;s downtown zoning is increasing because of the need for residential and public space. By using the incentive catalog as an outline for the final design (catalog 33) the tower became more about the location and less about meeting every criteria set in the previous catalogs. The final design goal was to meet the needs and square footage requirements of the original 1.2 million square feet in the allotted 760,000 square feet of the final design (Synergy Tower). The final design meets the projectâ&#x20AC;&#x2122;s goal as a vertical neighborhood of mixed programmatic uses. The complex facade is a direct reflection of the viewsheds specific to the site. The variety of catalog topics reflect the design processes repetitive movement; collecting data, making projections, highlighting gaps, which results in additional cataloging topics. The catalog becomes a positive display of dynamic public spaces, allowing the overall design to be a reflection of the downtown Seattle neighborhood.

CONCEPT SYNERGY TOWER

Synergy Tower is a design projection of accumulated site specific information explored throughout 10 different catalogs. The site location is in downtown Seattle in a history rich neighborhood on the border of Pioneer Square and the business district. The exploration of existing, new, and proposed project inventories surrounding the site supports the design of the Synthesis tower as a true representation of current market and neighborhood needs.

53 LEVELS

600â&#x20AC;&#x2122; HEIGHT 760,000 SQ. FT ENCLOSED

36,300 SQ. FT. GREEN SPACE

USES

RESIDENTIAL = 44.7% PUBLIC SPACE = 2.8% LIVE/WORK = .2% OFFICE = 26.4% SERVICE = 7.2% RETAIL = 1.8% GOV. OFFICE = 6% GOV. SERVICE= .4%

ELEVATION

The Towers facade is a reflection of the complex program and circulation of the project. Each ovulation in the skin is toward positive view sheds specific to the central site location as explored in Catalog F (Views). The exploration of existing and future facade treatments explored in catalog J (Facade) allows the character of the existing neighborhood to blend new and existing development boundaries as the neighborhood responds to change. While interacting at street level the goal is to be able to identify your space unique from others.

1 55

WEST ELEVATION | SCALE: 1”=20’

SECTION

LEVEL 48

LEVEL 47

3 LEVEL 46

LEVEL 27 LEVEL 26 LEVEL 25

LEVEL 24 LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

SECTION A | SCALE: 1”=20’

HYBRID SPACE

Each of the three plans are a representation of the large change in square footage and form between floors. The tower is organized to have many different uses on a single floor plan allowing interaction between many different disciplines. The layout of the plans are a response to the diverse circulation pattern throughout all levels of the tower.

FLOOR PLANS

Scale | 1â&#x20AC;?= 60â&#x20AC;&#x2122;

N A

LEVEL

25 A

LEVEL

Scale | 1”= 60’

TYP. 1 BEDROOM Scale | 1’= 1/8”

LEVEL

Scale | 1”= 60’

LIVE

Scale | 1’= 1/8”

WORK

Scale | 1’= 1/8”

SUSTAINABILITY The towers complex program allowed an opportunity to store and reuse heat that is generated during different times of the day. The residential units often times are vacant throughout early morning and afternoon due to work schedules and are at the cooling stages 8am- 5pm daily. Directly below the residential units is a mix of office spaces, retail stores, and services that are ran during the day from 8am- 5pm. This time of use provides a large heat load that would otherwise be unused. As the residential units become more lively in the evening the heat generated from 5pm- 8am is the collected and used as a heat bank for the offices the following day. This cycle continues and allows a sustainable alternative to otherwise wasted heat sources. The location of program organized through the space allows a common water loop system to share energy loads through the circulation of wasted heat through the building. The towers reuse of greywater from showers and sinks (residential and hotel spaces) as well as the rainwater collected on site allows the water collection to be filtered and reused for irrigation and toilet flushing.

ENERGY CONSUMPTION STRATEGY

Daytime Heat Loading

Night- Time Heat Loading

COMMON WATER LOOP SYSTEM

CIRCULATION

The Towers vertical circulation is organized within a core circulation bank centrally located to allow efficiency at all levels. The dense programmatic spaces at each level correlate with the elevator schedule in order to productively navigate the tower in a timely manner. The towers layered facade displays the interaction of vertical transportation hinting at the core locations throughout the building.

ELEVATOR KEY

CIRCULATION CORE

ELEVATOR SCHEDULE 1-4 5/8 6/9 7-12

Underground parking, first 8 levels of building Top residential floors, sky lounge Mid Residential floors, sky lounge, parking Lower levels up to first sky lounge, parking

Retail- 4 elevators Parking- 10 elevators Service- 4 elevators Office- 4 elevators Residential- 8 elevators Sky Lounge- 4 elevator

DESIGN CONCLUSION

The design process of the Synergy Tower supports that cataloging as a design tool is an effective approach to a more informed and rich design methodology. Often times when approaching a building that is less familiar, the common assumption is “starchitect design”, meaning the designer has developed a loud design to say “look at me”. Synergy Tower makes a viewer reevaluate those moments and instead examine detailed and unusual facades, the complex organization of programs, and the unfamiliar aesthetic of the overall design as having calculated reason that supports their existence. The design catalog system allows an organization of data similar to the catalog of self inventory from the beginning stages of the thesis research. The Synergy Tower design is my interpretation of the data collected. My organization of cataloging helped make educated design decision for what I felt were the most important driving factors of the towers design: Site, Market, Use, Height, Setback, View, Incentive, Light, Street Edge, and Facade. An important conclusion of the project was the realization that another designer may choose catalog topics that are different than those that have been selected for the Synergy Tower. Knowing that this process is not a calculated design methodology makes it successful. If the catalog was given to another designer the end product may have some similarities but overall the design would be a composition of their priorities of catalog topics. Using a catalog system as a design tool throughout the designers methodology works to enrich the process and not replace it.

Design Catalog A. SITE

Seattle.. District.. Demographic.. Icons... Landmarks

Site

1911

1916

2005

Eye Sore of 1911 Cherry and 3rd began as scrap site for many years dating back to th early 1900’s. The central location was the center for development during the growth of the inner city and it wasn’t until 1916 when the site was developed.

Public Safety Building The new Public Safety Building in early 1900;s housed the jail, police department, health & sanitation department, and the City Emergency Hospital. All of which were relocated from their original location on Yesler Ave. to the new facility. During the early 1950;s the needs began to outgrow the Public Safety Building and the building was beginning to show the wear of the years. The program began to relocate and buildings developed for specific uses that caused the Public Safety Building to be vacant for 10 years before transforming into leasable office space

Seattle’s $28 Million Hole Early 2005, it was decided that the Public Safety Building was in bad repair and the facility was no longer a renovation project but instead a demolitions. Triad Development bought the site and proposed the Civic Square projects which was approved and suppose to break ground in 2008. The recession made financial means difficult to move forward causing the site to be a vacant whole until 2016. Triad is schedule to break ground on their 40 level office and commercial structure in early 2016.

B. MARKET B1

By contacting professionals in the Seattle inner city area I was able to gain current and future projected marking knowledge to better formate the appropriate percentage for program on site. CBRE (one of the largest development and real estate companies in Seattle) shared their annual report, explaining the areas current conditions. Below are diagrams representing the information collected for the particular site surrounding and blocks of Cherry and 3rd Ave. The most common organization of businesses in the market are defined below: Class A Most prestigious buildings competing for premier office users with rents above average for the area. Buildings have high quality standard finishes, state of the art systems, exceptional accessibility and a definite market presence. Class B Buildings competing for a wide range of users with rents in the average range for the area. Building finishes are fair to good for the area. Building finishes are fair to good for the area and systems are adequate, but the building does not compete with Class A at the same price. Class C Buildings competing for tenants requiring functional space at rents below the average for the area

C. USE C1

1 2 3 4 5

GOAT HILL PARKING GARAGE 250,000 SF Parking 25,400 SF Green Space 6’ 7” Average Ceiling Height 100’ Overall Exterior Height

CHINOOK BUILDING 13’ Ceilings Average Housing Assistance, Community and Human Services Department of Public Health Reynolds Work Release 473,600 SF

CITY HALL PARK Open 6-10 Old Battlefield 60,000 SF of Green Space, Seating, and Parking

KING COUNTY ADULT DETENTION CENTER Religious Services, Counseling Alcohol and Drug Treatment Adult Basic Education GED Prep 12’ Ceiling Height Average 600,000 SF of Services

KING COUNTY COURTHOUSE Sky Bridge Connection Between 4,5,&6 Average Ceiling Height 14’ Advocacy Programs Probation Offices Public Defender Screening

6 7 8 9 10

KING COUNTY COURTHOUSE 568,600 SF Jury Room Family Law Prosecuting Attorney’s Office Superior Court Clerks Office

SMITH TOWER

Chinese Restaurant on 35th Floor Residential at 38th Floor 38 Levels Total Residential Base Observation Deck

SEATTLE POLICE DEPARTMENT HEADQUARTERS 7 Level Parking Garage All City Bail Bonds 12’ Ceiling Height 288,000 SF Office, Public Assembly, Patio, Outdoor Rooms

SEATTLE CITY HALL 200,000 SF Ceiling Height 14’ Seattle City Counsel Office Mayor of Seattle Office

HARTFORD BUILDING Built in 1904 Marriott Hospitality Services at Lower Level Pioneer Square Station Lyon Building- Low Income Housing Hartford Building- Retail Space

11 12 13 14 15

BUTLER GARAGE 6’ 8” Ceiling Height 435 Spaces 92,500 SF Total 7 Floors

SEATTLE MUNICIPAL TOWER

Most Populated Building in Seattle 62 Stories Parking Garage, Art Galleries, Dental Office, Jewelery Shop, Salons, and Restaurants 47 Occupied Office Floors City Office of Arts and Culture

COLUMBIA CENTER Ceiling Height 11.5’ Completed in 1985 Shops, Mercantile, Branch, Offices Sky View Observatory Cafe on 76th Floor 794 Parking Spaces

THE ARTIC CLUB/ MIXED USE 55,600 SF of Parking Puget Sound Business Journal 40 Floors Hilton Hotel 14’ Ceilings

DEXTER HORTON BUILDING Offices, Pacific Northwest Title Company, Bank United Way of King County 14’ Ceiling Height Average Leased Per Floor

16 17 18 19 20

HOGE BUILDING/ COLUMBIA BANK

Office Building Bank 13’ Ceiling Average 2 Level Parking Garage 68 Spaces

BANK OF AMERICA 42 Story Tower Bank 200,000 SF 1.2 Million SF of Office Space 11.5’ Ceiling Height Retail and Below Grade Parking 612 Parking Spaces

THE MARK 44 Floors 528,000 SF of Office Space 184 Room Hotel Fitness Center Per Level Rentals Multi- Level Rentals

CENTRAL BUILDING/MIXED USE Parking Facility Retail and Restaurant Services Main Level Office Building Grand Central Building- 1889 Residential Low Income

SEATTLE METROPOLITAN CREDIT UNION Parking Facility 12’ Ceiling Height Retail and Services Provided at Main Level Bank Offices Above

21 C3

NORTON BUILDING/ KEY BANK Offices at Upper Levels Retail and Commercial At Lower Levels 12â&#x20AC;&#x2122; Ceilings

D. HEIGHT D1

E. SETBACK

F. VIEW F1

G. INCENTIVE

Exceptions being granted based on following factors: Impact of tower on adjacent residential structures located within same of adjacent blocks (views, privacy, and shadows) Potential public beneďŹ ts public open space, designated green space, or other streetscape improvements, preservation, and provision of neighborhood services (grocery, community service, community center, or schools). Impact on the public environment (shadow, views) on nearby streets and public spaces Design characteristics in terms of overall bulk, massing, facade treatments, and transparency increasing visual interest.

H. LIGHT H1

I. STREET EDGE I1

101

Government Facility

Retail

Residential

Parking

OfďŹ ce

Site

J. FACADE

GOVERNMENT OFFICE J1

106

GOVERNMENT SERVICE

PARKING J3

PARKING

RETAIL

SERVICE

112

113

OFFICE

114

PUBLIC SPACE

116

Conclusion

A personâ&#x20AC;&#x2122;s possessions tell a story of the individual through layers of data, that if displayed in a variety of ways, can communicate different information. The design process is similar to the possessions of an individual. Creating a catalog of the design process evaluates different organizational systems for data collected that gives a voice to the site location, community, project needs, and final design aesthetic. Cataloging at a personal level through my personal inventory allowed the exploration of multiple meanings for a single group of possessions. When I view my self- inventory I may think of memories or times associated with the objects. When strangers view the catalogs of my self inventory they may be focused on the number of each product, color pattern throughout the overall catalog, or the scale of each item. The layers of information allowed different interpretations as to who an individual is. This is similar in the exploration of cataloging at a larger scale in design. The process is unique to each viewer because of the catalog topics selected and the order in which they are addressed. When collecting the information for each design catalog I would develop a massing model at each point of the process which is similar to the process of â&#x20AC;&#x153;purgingâ&#x20AC;? in my self inventory research when an individual discards a large amount of possessions that are no longer valid. The purging process of my design highlighted holes that I felt needed to be further explored in order to progress forward with my design. At that moment I would revisit my catalog to fill the appropriate holes in order to reach a solution. The process repeated itself until I reached the final stage in my design process where I felt that my catalog held enough information for me to complete my design projection. Whether cataloging is used as a tool for self- inventory or a design tool for cataloging a cityscape, it allows for interpretations to be drawn from collected information. The ability to draw different conclusions from the same catalog of information allows artistic license to the user. Therefore, cataloging is an effective design tool to be used at all project scales; enriching and not replacing the design process.

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Citation Text

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Images Figure 1: Reichert, Gina. Displacement. Digital image. Design 99. 3 Oct. 2012. Web. Figure 2: Victoria Albert Collections. Digital image. V&A Museum. 1 Apr. 2015. Web. Figure 3: Cabinets of Curiosity: the Web as Wunderkammer. Digital image. 2013 Figure 4: Boutonnier [Button Maker] Diderotâ&#x20AC;&#x2122;s Encyclopedia. Digital image. George Glazer Gallery. 1 Jan. 2014. Web. Figure 5: Sultan, Altoon. My Old Home. Digital image. Studio and Garden. 3 Dec. 2010. Web. Figure 6: Towers of 4WTC. Digital image. Http://www.4wtc.com/. 13 Dec. 2012. Web.

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Kori Clark

Montana State University School of Architecture

Fall 2015