QUESTIONS AND CONSIDERATIONS OF SPACE
INTERIOR DESIGN KRISTIN EUGENIO PORTFOLIO 2018 EUGENIO.KRISTIN@GMAIL.COM WWW.KRISTINEUGENIO.COM
QUESTIONS & CONSIDERATIONS OF SPACE
My curiosity with and questioning of space began at a young age with photography. My grandfather passed down his Olympus-OM2 to me. I used (and still use) that camera as a means of interpreting my surroundings. I began by asking, what is natural and what is constructed? Photography has been a way to question and ultimately reframe environments. This evolved from two-dimensional to threedimensional space; into analyzing, deconstructing and designing interior and exterior spaces. I am curious and excited by space. The places we create have the ability to reinforce a sense of place. In an increasingly digital world, this is essential. Through reframing our relationship to space, the interior becomes not a contained entity, but rather a process at a moment in time.
s c r ib e on, de q u e s ti d a y : the f, o t n ccou ev e r y o n , the ta ke a r e c u rs m u ld w e e r y d a y a n d u s , the c o m n o is e , the o h s How und n s ev o b v io e ro e p g k th p c , a w ha t h e q u o ti d ia n in a r y, the b a th d b a n a l, , the in fa - o r ry o r d in a s a l? S p a ce ha b it u ie s o f c e p S rec, rg e Pe - Geo
CO N T E N TS PROFESSIONAL WORK 10
HOSPITALITY DESIGN
STUDIO PROJECTS 24
HOW CAN SOUND BE AMPLIFIED IN AN ENVIRONMENT?
30
HOW CAN SPACE ALLOW FOR PRIVACY AND TOGETHERNESS AT THE SAME TIME?
36
HOW CAN SPACE ALLEVIATE TENSION?
46
HOW CAN A SMALL INDOOR SPACE MAKE YOU FEEL LIKE YOU ARE IN A FIELD?
THESIS 56
SPECTRUM OF SPACES
8
P RO FE SSIO NAL E XP ERIE NCE
9
P RO F E SS I O N A L E X P E R I E N C E
SKETCH, RESTAURANT ENTRY DESIGN
THE MP SHIFT N U A L A , R E STAU RA N T I N LO N D O N
10
FACADE DESIGN A
FACADE DESIGNS The building had a new black iron structure on the bottom with old bricks and limestone on the top. The client wanted to redesign the bottom structure so it blended in with the above, older structure. We presented a series of options to blend the top and th bottom of the building.
EXISTING FACADE
FACADE DESIGN B
11
MODEL OF RESTAURANT
12
CEILING PLAN
CEILING DESIGN The ceiling was uneven yet tall so we decided to design a modern coffered ceiling to transform the existing structure. 13
PERSPECTIVE OF CUSTOM BAR DESIGN
14
Side C
Side B
Side A
Perspective of Sides A & B
Perspective of Sides A & C
15
DIMENSIONS OF CUSTOM BAR DESIGN
Side B
60 cm
60 cm
310 cm
60 cm
475 cm
Side A
16
Side C
227 cm
Perspective Section Cut with Chairs
Perspective Section Cut
5 cm
106.6 cm 101.6 cm
25.4 cm
17
C L OR
MATERIALITY AND COLOR
Note: Images on this page are from google 18
CUSTOM BANQUETTE PERSPECTIVE
19
BUILT IN DETAILS
20
SKETCH OF BAR 21
ST U D IO PRO JE CTS
H O W CA N SO U N D B E E X P E R I E N C E D I N A N E N V I RO N M E N T ?
P E R S P E C T I V E O F RA I N A M P L I F I E R
DESIGN THAT ENHANCES A N E N V I RO N M E N TA L P H E N O M E N O N : RA I N A M P L I F I E R 24
BRIEF Design an instrument that either measures an environmental quality or demonstrates an environmental phenomenon.
Rain
DESIGN The environment amplifier acts as a outdoor/indoor place to experience the sound of raindrops at different pitches. The design creates a new experience with the sound of rain where different tones of rain are associated with different locations.
Rubber Covering
We began with an existing instrument, a stethoscope. Through a series of tests, we learned that combining a funnel with a rubber balloon created amplified sounds.
Funnel
The “Rain Amplifier” consists of a pavilion-like structure created by funnels, rubber coverings, and a transparent structure (so the viewer can see the sky, but not get wet). This isolates stimulus so the sound of rain is the focus.
Structural Top
D E S I G N I T E RAT I O N O F CO N C E P T
“Rain Amplifier” creates an immersive experience where people can hear different pitches of raindrops at four different locations. In each area there are different diameters resulting in different, localized, tonal experiences. The larger the diameter, the lower the tone of the raindrops.
Observers
course Environmental Technology
date Fall 2017
instructor John Sadar
location Parsons, The New School
partner Xena Petkanas 25
TO P V I E W
PERSPECTIVE
SECTION CUT
26
WORM’S EYE VIEW
WORM’S EYE VIEW
27
TO N A L E X P E R I E N C E B R E A K D O W N
E3
E4
E2
E1
E X P E R I E N C E 1 ( E 1) :
funnel size .5x
28
E X P E R I E N C E 2 (E 2):
high pitch raindrop tone
funnel size 1x
mid pitch raindrop tone
E X P E R I E N C E 3 (E 3 ):
funnel size 2x
E X P E R I E N C E 4 (E 4):
low pitch raindrop tone
funnel size mixed
mixed pitch raindrop tone
29
H O W CA N S PAC E A L LO W FO R P R I VACY A N D TO G E T H E R N E SS AT THE SAME TIME?
W I N D O W CO L L AG E
DESIGN THAT FOSTERS CARE : ALONE TOGETHER, FOSTER CARE WAITING ROOM 30
G I V E N CO N ST RA I N TS :
G E N E S I S O F F LO O R P L A N :
18’
24’ Southern Exposure Exterior Wall (1) 32 sf aperture opening
BRIEF Given a wall and ambiguous surrounding space, design a waiting room for a foster care center. Using only 32 square feet of window space, use the window to create light for the waiting room. Note, the window only lets in diffused daylighting. DESIGN As a foster care intake waiting room, the space needed to foster a welcoming and caring environment. One where visitors could be alone, together. To do so, this space utilizes two main design elements: the windows with built-in seating and the centralized seating system. Windows create space through controlling what space is seen and unseen. The design of the window was the result of a series of diffused daylighting tests; the windows make places of brighter, naturally light space as public space and darker space as more private. Additionally, the windows create moments of wonder where lighting changes the appearance of the wall colors. The centralized seating system creates flexibility, choice and privacy for visitors. It is comprised of four quadrants: space to sit at a table and eat or work, space to lay, space to socialize in small groups, and space to sit alone. Beneath the seats are places to store visitors’ possessions. Visitors also have the option to move stools so they can choose where to sit or rest their feet. The rounded edges create softer moments. course Studio iii
date Fall 2017
instructor Catherine Murphy & William Watson
location Parsons, The New School 31
window seats movable stool / footrest
P U B L I C / P R I VAT E S PAC E
backrest & space divider
table
under seat storage
M O VA B L E S E AT I N G seating blob
F LO O R P L A N S E AT I N G O P T I O N S 32
W I N D O W & DAY L I G H T I T E RAT I O N S WINDOW DESIGN
SECTION PERSPECTIVE
V I E W F RO M A B O V E
33
34
P E R S P E C T I V E O F WA I T I N G RO O M
35
H O W CA N S PAC E A L L E V I AT E RO O M MAT E T E N S I O N ?
P E R S P E C T I V E O F K I TC H E N D I S CA R D E D M AT T E R
DESIGN THAT ENCOURAGES CLEANLINESS: SCALES OF MAT TER IN AND OUT OF PL ACE 36
BRIEF With your assigned classmate client, renovate his/her apartment knowing a roommate that causes tension is moving into the space. Redesign the apartment to help mitigate the tension between the roommates. DESIGN My classmate/client was Elaine. For Elaine, the new roommate moving in was her worst nightmare: she was messy. Through our conversations I learned Elaine didn’t want to have to tell her roommate to be clean. Therefore, the goal was to encourage cleanliness through space to alleviate roommate tension. The space does this by organizing and creating space for messes and dirt through scales of “matter out of place.” By embedding cleanliness practices into the space, the roommates could live better together. The space also encourages strategies to allow for flexibility. In order to approach the question of how to clean I wanted to understand the antithesis: dirt. Mary Douglas describes dirt as “matter out of place.” I used this idea when thinking about all of the ways an apartment could be dirty. To approach this I created a framework: scales of matter out of place: 1) organization and layout of place 2) objects 3) discarded matter and scrapings and 4) atrophy particles. The design uses this framework to create design solutions at all scales. ORGANIZATION OF LAYOUT OBJECTS OUT OF PLACE DISCARDED MATTER ATROPHY PARTICLES
CO N C E P T CO L L AG E D E S I G N F RA M E W O R K G RA P H I C : S CA L E S O F M AT T E R O U T O F P L AC E
course Studio ii
date Spring 2017
instructor Alex Schweder
location Parsons, The New School 37
O R GA N I Z AT I O N O F L AYO U T : G E N E S I S O F F LO O R P L A N
shared space
bedrooms
A
D
38
B
E
C
F
O R GA N I Z AT I O N O F L AYO U T : F LO O R P L A N
private space shared space 39
F LO O R P L A N D E TA I L : FO L DA B L E WA L L
40
O B J E C TS O U T O F P L AC E : P E R S P E C T I V E O F M U D RO O M
41
O B J E C TS O U T O F P L AC E : P E R S P E C T I V E O F B E D RO O M
42
AT RO P H Y PA RT I C L E S : P E R S P E C T I V E O F L I V I N G RO O M
Floor Tray Component
Movable Composting Seating / Storage 43
F L E X I B I L I T Y: B U I LT- I N CO U C H , L I V I N G RO O M
44
F L E X I B I L I T Y: WA L L MAT E R I A L I T Y & C H O I C E
The design decision to paint the walls on the bottom half and to put wood on the upper half isn’t an aesthetic decision. The idea is to help avoid the tendency to look at the moments where the wall meets the floor because that is where dirt tends to accumulate. By bringing the meeting point to near eye level, the eye is no longer drawn to look where dirt naturally accumulates.
The movable wall has a window built into it giving both roommates the opportunity to choose if they want it open or closed. This is an example of choice and avoidance within the apartment. For example, the image to the right shows a scenario when the kitchen is messy and the roommate in the bedroom has chosen to close her side of the window.
45
H O W CA N A SMA L L I N D O O R S PAC E MA K E YO U F E E L L I K E YO U A R E IN A FIELD?
CO N C E P T CO L L AG E
DESIGN THAT BLENDS INSIDE AND OUTSIDE: HORIZON INDOOR PARK 46
BRIEF With the given site on the upper west side, design a flower shop that challenges the traditional flower shop concept and the notion of the cut flower. DESIGN Does nature begin outside and end inside? What lies in between? Can a store be a park? My design concept brings public nature indoors to create a space where visitors can enjoy grasses inside and if they so desire, buy a dried grass arrangement. The goal of the space was for visitors to feel engulfed in a field, inside New York: a horizon indoors the smell of fresh grass surrounded by nature, peace and quiet a small space to take visitors to a big field I choose to work with grasses because they are easily shapable, can be grown indoors and have a beautiful spectrum of colors throughout their life span. The design utilizes grass to make space and to create indoor horizons. The space is designed with change in mind - change of grass stock, change of color and seasonality, change from alive to dead.
P H OTO G RA P H O F E X I ST I N G S I T E
course Studio i
date Fall 2016
instructor Alan Wexler & David Crandall
location Parsons, The New School 47
CO N C E P T CO L L AG E
48
work space & checkout area
sink
growing grass
cut and drying grass
public seating
fully dried, cut grass
49
P RO D U C T ROTAT I O N : G RASS
cut grass changes daily as grass is purchased
growing grass changes seasonally
dried grass changes seasonally
= daily change = seasonal change
50
SPRING SUMMER
FA L L WINTER
S E AS O N A L MAT E R I A L C H A N G E , S E AT I N G & G RASS 51
I N T E R I O R CO L L AG E
E X T E R I O R CO L L AG E 52
SECTION PERSPECTIVES 53
54
TE N I FA SIS M E TH
O RI
R
DE
G SI
N
55
56
SPECTRUM OF
S P A C E S When is a place inside? When is it outside? What is natural and what is constructed? How are we as designers a part of creating a relationship to environments? Spectrum of Spaces: a Study of 31-35 East 4th Street as an In(Ex)terior space seeks to breakdown dichotic ideas of space through asking and testing how we can reconstruct our relationship to space where design links person to environment. This thesis begins and ends with curiosity about space. It starts abstractly and evolves into using a site to test ideas created in the thesis.
course thesis
date Spring 2017
instructor Alfred Zollinger
location Parsons, The New School 57
HOW DO WE KNOW WHERE WE ARE? ORIE N TAT I O N : a conscious or unconscious understanding of one’s location in relation to space and time: systems, organization, and relative frameworks
orient
D ICT IONA RY A NA LO GY O F
a c o n s c i o u s o r u n c o nO s cRi IoEu NTAT s u n d eIrO s t N: a n d i n g o f o n e ’s l o c a t i o n i n l a t i find o n t words o s p a cin e the a n ddictionary t i m e : s y sist esimilar ms, organizations, and the wayr e we r e l find a t i v eourselves, f r a m e w othrough rks to how we learned systems
and senses
dictionary analogy of orientation oOR r i eIEN n t aTAT t i oION n m eME c h CHA a n i s NI m sSMS o f sO y sF t SYST e m s E MS
58
O NeOM o rRiIE e nNt TATIO a t i o n NmME e c hCaHAN n i s mISMS s of O p hF ePHE nom n o nENON
ORIENTATION & MATERIALITY: Different materials evoke different senses of place and time. Each of these images are embedded with various information about place and time. The clock and the window are a juxtaposition of two methods of telling time. The stool communicates time through materiality, as does the chair. They used to signify location based on the type of wood, but not likely now. These objects create and affirm location. 59
W H AT I S I N S I D E A N D W H AT I S O U TS I D E ? We know where we are based on a series of learned conventions. These conventions reveal values. In a way, a convention is an arbitrary line. Decidedly, something becomes X and therefore, not Y. For example, if something is inside, it is no longer outside. When space is thought of, it is mostly binary - interior and exterior. How does interior design shape our relationship to the “natural� environment?
interior
exterior
CA N O U R R E L AT I O N S H I P TO S PAC E B E R E CO N ST R U C T E D T H RO U G H DESIGN?
i n ( e x ) t e r i o r : 31 E a s t 4 t h s t r e e t
SPECTRUM OF SPACES: Like color, space is on a spectrum. Spectrum of spaces are a continuum of different space typologies with different identifiers and characteristics. Each space on the spectrum evoke different senses, emotions and levels of awareness. The spectrum is subject to the same laws of nature, just as color. For example, one blue can look different depending on where it is, space can appear i n ( e x ) t e r i o r :different 31 depending E a s t 4ont hits context. street
31 - 35 EAST 4TH STREET, IN(EX)TERIOR SITE: Is space in between buildings inside or outside? This middle of the spectrum - it is an interior of an exterior. Depending on how you look at this site, it can be considered interior or exterior. The site is an interior in relation to the three facades that surround it and a person standing within. z interior in relation to:
z exterior in relation to:
B A
z
plan of site
Conversely, it is an exterior in relation to the surrounding buildings (or rather units) and a person within the buildings.
B C
facade A, B, C
A
z plan of site
C
unit A, B, C ground plane z
61
Space is not a contained place, but a process at a moment in time. Person and environment are continuous. Andrew Berlant states how our environments shape our understanding of our place in the world, “We become part of environment through the interpretation of body and place.� For this analysis, I used the site and the activity of eating as tools to help test this idea. Eating is a tool to understanding how we consume our environment because indirectly and directly (through building, use, and eating) we are consuming space.
62
H O W D O E S A S PAC E L I N K U S TO P L AC E ?
Scenario 1
Scenario 3
CONSUMING SPACE SCENARIOS: Each scenario explores how the space affects one’s interpretation of oneself in relation to their surroundings through entering and eating. Scenario 1: Most removed from place as a process through consumption. Here, one eats from a vending machine. Here, place doesn’t connect those to their surrounding environment Scenario 3: Most connected to place as a process through consumption. The site is left at its current state. Grass grows and eventually the site becomes a forest. Here, people picnic and eat the apples on site. In this scenario, person and environment are directly linked. 63
S C E N A R I O 2 E X P LO R E D Here the space has been designed to encourage a relationship between person and environment. People eat outside on grass mounds, or in the ground on dining tables. Over time, this site will break down and people will still be able to picnic here. This site attempts to connect person to environment through creating a new way to consume food outside, where ideas of Interiority and exteriority and mixed.
A. Wall of Trees Entry
64
B. Picnic Mounds
C. Dining Room Tables
F D C E
B A
D. Consume Space Stairs
E. Picnic Mounds
F. Window Entry
65
This process of questioning space led to “spectrum of spaces” and has led to more questions: What does it mean if interior design isn’t limited to the confines of the traditional interior? How does the designer change the location of a place on the spectrum? Can interior design help reinterpret our understanding of ourselves in relationship to our surroundings? How are materials clocks? If we are consuming our environment, what do we want to surround ourselves with? Through interior design we can be part or a part of our environment. Consuming Space Concept Collage
66
Place as a Process Concept Collage 67
68
EUGENIO.KRISTIN@GMAIL.COM WWW.KRISTINEUGENIO.COM 69