Academy of Art University | Interior Architecture and Design | Raquel Maldonado-DĂaz | ID# 02447389 | Fall 2014
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Project Overview
Site Analysis
-Abstract -Faux-Magazine Article -Client Profile -User Profile -Concept Statement
-San Francisco -SOMA -6TH Street Corridor -The Hugo Hotel
24 40 58 94 98
Precedence and Inspiration
Project Development
-Propeller Island City Lodge -Gallery Inn -ArtLuise KunstHotel -Ruby’s Clay Studio -The Crucible -Weston Family Learning Center -Twenty-Five Lusk -QT Hotel -Brian Goggin -Stewart Haygarth -Judd Foundation -Chihuly Bridge of Glass
-Concept Exploration -Heat Recovery research -Programming -Floor Plans
Design Highlights
About the Designer
Acknowledgements
-Hotel Lobby -Restaurant -Hotel Suite -Studio Community Space -Rooftop Terrace
-Biography -Resume -Design Philosophy
-Dedication -Bibliography
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roject Overview
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The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the ob-
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ject is not important.
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-Viktor Shklovsky
Abstract The average person in our society experiences art in very restrictive and uncreative ways. We learn about it in school, from books, online, or maybe a visit to a museum, if we’re lucky. These alternatives are cold and impersonal, all of which art should not be. With more and more schools losing funding for art programs this gap between art and viewer grows ever more distant. After finishing art school, it has been an interest of mine to find that common ground between art and every day life. This is one of the main reasons why I decided to study interior architecture; creating art people can live in is my passion. I propose to create a space that will change the way we experience art, on a variety of levels: a museum you can “live” in, meeting artists and learning about their craft, becoming an artist yourself, even experiencing what the world could look like through the eyes of an artist. The name of the project is “The Artist in Residence: Hotel and Studios.” The lower levels of the building are mostly dedicated to public art studios where classes are offered to the community as well as kids in schools that no longer have art programs. The upper levels
consist of an intimate and unique boutique hotel. The “Artist in residence” concept comes to play by inviting prominent contemporary artists to stay at the hotel where they will “pay” for their lodgings in the form of original art pieces and by offering classes or conferences at the studio. The hotel will acquire original art pieces which will be exhibited in different public spaces and in the hotel suites. Visitors are welcome to stay at the hotel and enjoy living among these unique art pieces as well as become a patron of the arts, as funds generated will be used to run the studios below. Another feature of the project is the multi-level restaurant concept with various layers of dining experience, from casual, to lounge, to events space, to fine dining for the enjoyment of hotel and studio guests as well as locals. The studio, hotel, and restaurants are all inter-connected, in a cohesive and stimulating experience for all visitors alike. The location is 200 6th street on Howard, in the South of Market district of San Francisco. Formally the Hugo Hotel, it is most known for having once housed the art installation called “Defenestration” by
Brian Goggin which features random pieces of furniture seemingly jumping out of the building’s windows and running along its walls. John Law, Suicide Club member, Cacophony Society architect, and co-founder of Burning Man, has this to say about Defenestration: “If there is any plan to convince the Powers That Be to retain this wonderful, goofy, grand sculpture as part of whatever development eventually engulfs the corner of 6th & Howard, we should support it whole heartedly.” Not only would it be retained in this project, it would feel quite at home. The Defenestration concept will serve as inspiration for the outdoor space designs, as an homage to the installation that has “lived” on its exteriors for 13 years and has helped bridge that afore mentioned gap between art and viewer. As a concept for the overall project, a space will be created that represents how an artist views the world that surrounds him or her, so while Mr. Goggin’s installation lends its self to this concept it will not be the concept itself.
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The following is a faux magazine article written as a visualization exercise for The Artist in Residence project. Within are explored the social and economical context of the geographical situation this project would fit into and would hopefully contribute towards a solution to some of the problems the neighborhood of the 6th Street Corridor is currently facing. The article also introduces a few of the clients and users of this project as characters being “interviewed.� They expose their views on The Artist in Residence, how it fits into their lifestyle and what impact it has on the development of their community.
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Client Profile Eiming Jung: “We’re here to show alternative art, the kind that has no price tag on it.” Eiming Jung founded 111 Minna Gallery and opened its doors in 1993 at 111 Minna St. in the SOMA district of San Francisco. With a business model focused on service and hospitality, patrons began to relish the visual aesthetics sourced from Bay Area artists, specifically known for its focus on underground, low brow, edgy and often controversial art. Mr. Jung’s new venture will reflect the spirit or 111 Minna by presenting different and less celebrated forms of art and providing a space that not only makes it accessible to the general public, but will also make the general public accomplice to the creative act its self.
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Chad R. Bourdon & Matthew Dolan: Business Manager & Executive Chef respectivly, they met in culinary school and twelve years later, they have teamed up to deliver flawless cuisine served with the highest attention to detail. Their commitment to approachable fine-dining makes Twenty Five Lusk the ideal drinking and dining destination for San Franciscans and visitors alike. Located in the bourgeoning China Basin neighborhood of San Francisco’s SOMA district, is a modern restaurant and lounge featuring seasonally driven New American cuisine, a dynamic wine program, and expertly crafted cocktails. The design weaves a modern aesthetic through a historic brick and timber warehouse originally built in 1917 as a meat packing and smokehouse facility. This new endevour ties back to their original aim towards approachable fine-dinning on a far more ambitious scale with a multi-dinning experience in another adaptive re-use designed building.
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User Profile The target audience for this project is any person with any sense of curiosity, any appreciation for the arts and any need for a creative outlet. The studios cater to people in a wide range of ages, from children attending for one of the affiliated school programs, to young urban professionals looking for a relaxing weekend activity, to anyone looking to learn a new trade in a creative field, as well as out of town visitors to the hotel who are inspired to learn by the work displayed in their suits. Art brings people of all ages, gender and socioeconomic status together, and this very experience enriches creativity. The hotel appeals to middle and upper class out of town visitors that are either patrons of the arts, art enthusiast, or simply looking for a unique alternative to the average generic hotel experience. The amenities (pool, art workshops, etc.) and the hotel’s proximity to attractions such as the Yerba Buena park and children’s museum would also appeal to families with children. The restaurant is a four level concept, housing a more casual café space on the ground level appealing to both studio and hotel guests for breakfast, lunch, a light dinner as well as a cup of coffee or snack throughout the day. The lounge attracts young professionals in their late 20’s, early 30’s, the main demographic of the neighborhood, as well as hotel guests who wish to enjoy a nice cocktail and mingle with the locals in an interesting yet unimposing atmosphere. The fine-dinning restaurant appeals to hotel guests and locals alike, and the events level can be used for hotel breakfast service and is available for booking all sorts of activities. It has direct access to the rooftop terrace area, creating a flexible events space.
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Mathew is a 29 year old resident of the South of Market neighborhood in San Francisco. He works odd hours at a well-known tech company and rents a spacious loft apartment (not because he can’t afford to buy, but because he’s not quite ready to be “an adult”). He enjoys the creative and urban lifestyle the city has to offer, where anything worth seeing or doing and anywhere worth going is a quick bike ride away. On the weekends he enjoys spending time with friends, discovering restaurants, bars and hang out spots, and meeting new people. He also enjoys flexing his creative muscles in more tactile and tangible mediums his work environment doesn’t allow. This is one of the reasons Mathew has a membership at The Artist in Residence Hotel and Studio Space. Though he has taken quite a few classes here, his current obsession lies in blown glass. He enjoys the elemental nature of the medium, manipulating earth through the use of flames and air and his own body movement is quite invigorating. Its also very impressive to the women he dates. His online dating account keeps him very busy and The Artist in Residence is his favorite date destination.There’s always something of interest going on: gallery show, a workshop or chat, a new artist to meet. Simply walking around the building and discovering new art provides an endless supply of conversation starters. Another draw is the café, restaurant and lounge, depending on what mood is desired for the date. The roof top gardens, whimsical and entertaining by day, enchanting and romantic at night, always set the right mood.
Astrid is a 37 year old scientist from Ann Arbor MI, in town for a convention of the American Society of Microbiology. She has brought her 13 year old daughter Luisa with her, with the intention of staying in the city a few extra days after the conference to take in the sights. Astrid understands this is a unique city, which is why she has chosen to forgo the usual generic hotel experience and has chosen to stay at The Artist in Residence Hotel and Studio Space. Having visited before, she is fascinated by the art and culture of the city and hopes her daughter will enjoy the experience as well, as Luisa has developed an interest in photography and digital media. Astrid has enrolled Luisa in a weekend workshop for digital photography so she can learn and enjoy herself while mom is at her conference. Luisa has been excited about the neighborhood photography walks and learning new photoshop techniques in the Digital Arts Studio. After her workshop, she enjoys checking out the art on display in the gallery and hotel, reading her books on the roof top terrace or swimming a few laps in the indoor pool. She has particularly enjoyed getting to meet and talk with working artists and being able to ask them questions and get their insight on how her own photography is coming along. As for Astrid, she is happy her daughter is having a good time in her absence, and enjoys coming back to her suite after a long day of conferences and sight seeing. The rooms are comfortable, peaceful and as unique as everything else about the city. Each room displays one of a kind pieces of art most of which have been created in that very building by talented contemporary artist. It’s been quite an experience to get to live with these works, to enjoy and study them at leisure. In fact, she’s enjoyed some of the pieces so much, she has decided to purchase and take them with her when its time to go back to MI.
Lee In Chin is a contemporary Korean ceramicist. His work has been exhibited in various museums and galleries around the world and he is known for his modern interpretation of the traditional “Moon Jars” of his country, as well as his creative use of different textured clays and slip techniques. He is proud that his art has allowed him to travel the world and discover new forms of inspiration. He has applied and been accepted to live at the Artist in Residence Hotel and Studio Space for three months. As part of his arrangement, he will receive room and board in one of the hotel’s beautiful suites as well as the opportunity to exhibit and sell his work. In exchange he will be teaching an advanced ceramics class, offer a few workshops and participate in some artists panels, as well as donating some of his works to be displayed in the hotel’s suites and sold to provide funds for the studio’s art outreach programs. In Chin always looks forward to meeting other artist that congregate in this place, local and international. He is exited not only to teach, but to learn new techniques himself. The experience has greatly paid off, he has many new friends with whom he has been able to exchange ideas, share cultural insights and explore the city and its surrounding abundance of natural beauty. He has also been moved by his students and the experience of helping budding artists on their own journeys is one he will never forget.
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Concept Statement As an artist I was often asked how I was able to create the things I did, either paint or draw or photograph. I would always try to explain that the actual act of creating a piece of art is purely mechanical. Anyone can learn how to draw, just as we all learn how to write. It is a series of lines and dots on a page. What is harder to learn than the act of drawing is the way we see the world, not as objects but as a series of shadows and reflections, of light and dark, hard and soft, of tiny breathtaking details and ever consuming “big pictures.” The ability to see beauty and potential in everything that surrounds you, this “sight,” more than anything, is what makes an artist. With this experience in mind I decided to explore the concept of “ostranenie” which refers to the act of defamiliarization or estrangement, to make strange the familiar. The term was first coined in 1917 by Victor Shklovsky, one of the leading figures of the movement in literary criticism known as Russian Formalism. Defamiliarization serves as a means to force individuals to experience the everyday, the ordinary in new ways through the use of poetic or artistic language. The artist creates a shift in the normal, anticipated form of perception and by doing so reveals the world anew. It is a removal of a known quantity from its traditional context in order to provoke a rethinking of its purpose.
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Within this context, the concept of The Artist in Residence is “The Artist’s Eye”. It focuses on showcasing the beauty in everyday things and awakening a sense of wonder, curiosity and whimsy in the spectator. The abstract idea of ostrenenie will be translated into a spatial relationship which will challenge the user’s expectations and jar their sensibilities. One way in which this notion will be manifested physically is through the use of unusual or unexpected perspectives and sight lines. Experiencing typical motions and contrivances of a building/shelter/gathering place from a different perspective will challenge the user to appreciate form in and of its self and not just within its content or meaning. Another strategy will be the re-appropriation of common materials and objects in likewise unusual and unexpected ways. The design proposes to tease the viewer into acknowledging our own creative potential and embarking on a new path of discovery. A singular such encounter should reverberate or ripple into a wider and more encompassing understanding of the nature of creativity and how it can refresh our perception of the world. In a more general sense, the design will be modern and whimsical, with a very slight nod to the Victorian history of the building.
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S
ite Analysis
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There is an anaesthetic of familiarity, a sedative of ordinariness, which dulls the senses and hides the wonders of existence. For those of us not gifted in poetry, it is at least worth while from time to time making an effort to shake off the anaesthetic. What is the best way of countering the sluggish habituation brought about by our gradual crawl from babyhood? We can’t actually fly to another planet. But we can recapture that sense of having just tumbled out to life on a new world by looking at our own
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world in unfamiliar ways.
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-Richard Dawkins
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San Francisco
San Francisco is a cultural and financial hub in the United States with a population of over 800,000. It is a world renown tourist destination and receives over 16.5 million visitors a year. It is an eclectic and vibrant city, a collage of the historic and the cutting edge of modern. The city is divided into 36 “official� neighborhoods, many more unofficial ones, and each has its own vibe and personality. This project will take place in the South of Market neighborhood of downtown San Francisco known to locals as SOMA.
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SOMA The South of Market neighborhood of San Francisco is historically a working class industrial part of the city with a vibrant art scene. It may still be considered up and coming, but its many museums, galleries, studios, as well as the Yerba Buena and Design Centers would all appeal to the guests of the hotel and serve as an example of how these types of businesses attract a great deal people, both tourists and locals alike. This would also make The Artist in Residence a logical place to seek out lessons, and would add to the south of market’s re-branding as an artistic and creative neighborhood This area has recently seen an influx of tech businesses and a drastic change in demographics because of this. Currently the majority of residents are single people in their late 20’s early 30’s with a reasonable amount of disposable income. The exception being the 6th St. corridor of this same neighborhood.
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6 Street th
The 6th st. corridor of SOMA is an area of great debate and friction. It is an impoverished area with a very high crime rate. There are many theories on how this area should be rehabilitated, one of which is the creation of mixed income neighborhoods. A chance encounter with Candidate for District 6 Representative Dean Clark provided a very informative perspective on the needs of the community. Mr. Clark believes that there should be more and better affordable housing options in the district, and that while low- income housing and Single Room Occupancies are very necessary, creating a mixed income neighborhood would provide a better chance at rehabilitation than simply segregating our community’s low income population to a single few locations, such as the 6th Street Corridor and the Tenderloin. Creating gathering places and better designed housing might be the key to getting people off the streets, and would also attract more people to the neighborhood. It is said that if a broken window isn’t fixed it sends a message to the neighborhood that the people who live there don’t care, so go ahead and spray graffiti, vandalize property, and break more windows. This neighborhood doesn’t just have broken windows, it has broken buildings. One of these such buildings is the old Hugo Hotel.
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Hugo Hotel
Address: 200-214 6th St. and Howard Parcel: #3731001 Lot Area: 9,997 sq ft Levels: 4 plus Basement Originally 75 units
The Hugo Hotel was built in 1909 and has stood vacant over 30 years after a fire in 1988. . Its former owners chose not to repair nor maintain the building as low income housing, but were unable to sell it because their asking price vastly exceeded the building’s actual market value. Ultimately holding out paid off and even though the building was acquired by eminent domain, the price paid was well over three million dollars. Yet the building remains vacant 4 years after purchase do to much controversy over what should replace it. Acquired by the Redevelopment agency in 2009 there have been many plans, much speculation and controversy, and very little agreement as to what should replace what some call a city landmark and others call an eye-sore. Many believe the Hugo Hotel to be the key to transforming the 6th Street corridor, and how and what we choose to replace it could very well decide the tone of how this neighborhood regenerates. Plans have been made but never implemented to demolish the building and create low-income housing, contrary to the original redevelopment plans of creating a mixed income neighborhood, which would promote commerce and boost the economy of the area. Creating destinations creates foot-traffic that creates commerce that wouldn’t have flourished otherwise. The Artist in Residence would such a destination and would serve as a catalyst for other businesses to develop.
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Level 2-4
Level 1
Basement 23
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recedence & Inspiration
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To carry on the feelings of childhood into the powers of manhood; to combine the child’s sense of wonder and novelty with the appearances which every day for perhaps forty years had rendered familiar [. . .] this is the character and privilege of ge-
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nius.
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-Samuel Taylor Coleridge
Case Studies
The particular nature of this project made research difficult at first. A big part of its appeal is the fact that its not a common proposal, a hotel and art studios in the same building where both influence and inform the other, in addition to a rather unique restaurant concept. But after thinking about the different components individually as well as the over all spirit of the project, case studies became easier to pursue. Inspiration was found in many forms and from many sources, all of which helped inform this project. The following case studies are a sample of the research that has fed this endevour, accompanied by initial thoughts on how each one relates to the project at hand, the pros and cons learned from each one and the inspiration each has lent.
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Berlin Germany:
“A habitable work of art in the heart of Berlin, whose wealth of ideas never fails to attract everyone into its gravitational field and to continue inspiring guests long afterwards. A magnet for creative individuals, those weary of consumption, those who see things differently, philosophers and seekers of perspective and vision.” Created by German artist and musician Lars Stroschen, this 30 room hotel in Berlin occupies 3 floors of an otherwise residential building. The rooms are all unique art installations created by the artist, and many do not even offer a bed, in the traditional sense. For example, the “Upside Down” room features bold flooring and furniture suspended from the ceiling while guests sleep in coves filled with cushions embedded in the floor. Reviews of the hotel are mixed, many people are impressed and delighted by the experience of sleeping in such an uncommon space, others comment on how hard it is to sleep in the rooms, how uncomfortable many of the room’s pseudo beds are, and how difficult it is to find their way around the hotel without wandering into the residential sections. One reviewer said: “This was certainly a unique hotel, but you couldn’t pay me to stay here again. I can’t speak for other rooms, but at least I can say that ours was not built with human habitation in mind.” While the artists vision of creating a unique experience is to be admired, a hotel should uphold certain priorities, one of the main ones being the comfort of its guests, which takes precedence in the design of The Artist in Residence.
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Top to bottom: The Lobby of The Propeller Island City Lodge, a series of examples of some of the hotel suites and their variety of layouts and artistic installations.
Propeller Island City Lodge
Top to bottom: Some of the many public spaces imbued with the artist’s creations including gardens, dinning halls, pools as well as a few examples of suites.
Gallery Inn
San Juan, Puerto Rico: “The Inn’s mesmerizing labyrinthic feel is combined with intriguing decor and ambiance, a product of decades of delicate tending by artist and resident owner Jan D’Esopo. Stone floors, imposing arches, and original ausubo beams are complimented by hanging foliage, exotic birds, and the trickle of sculpted fountains. The walls of corridors and rooms are lined with books and pieces of art.” The public areas of the property are quite interesting and memorable, but the actual rooms are very awkward, as might be expected from 300 year old buildings that have been converted to hotel suits. Unfortunately, the design (or lack there of) of the rooms does nothing to ameliorate this, and in many cases does much to exacerbate it. Small rooms are made to feel even more cramped when cluttered with antiques and excessive amounts of artwork. Low ceilings are made to feel more smothering with four poster beds and unfortunate choices of pattern in wall paper, which incidentally is not a common choice of wall coverings on a tropical island. The high levels of humidity cause mold to grow in wallpaper and the musty smell of the rooms testifies to the wisdom of its avoidance. One reviewer had this to say about their room: “a very small room, with almost no flat usable surface. There were small tables around but they were low and covered with sculptures.” Once again we see a lack of consideration for the comfort of the guests in favor of the presence of the artist’s work. Both the Gallery Inn and The Propeller Island City Lodge are the results of their artist/owner’s vision, beautiful, and a unique experience, but perhaps not as hospitable as hotel rooms should be. The rooms are dedicated first and foremost to please the artist and not the comfort of the room’s human inhabitants. It is difficult for the guests to actually appreciate the artistic aspects of the design if they are found suffering to live within it.
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Hotel des Arts “The Hotel des Arts presents the contemporary work of local artists. Our gallery is complemented by the neutral simplicity, modern lightings and clean lines of the hotel furnishings. The result is not simply art as a decoration, but art as an interactive experience.” Located in our particularly unique and eclectic city of San Francisco, the artistic element present lends to the popularity of what would otherwise be a rather cramped and noisy humdrum hotel. One reviewer wrote: “Its all very well to be surrounded by art, but when you aren’t comfortable even the best art can annoy you.” That being said, most of the complaints about the hotel have to do with the very small size of the rooms, the street noise, the lack of parking and the bad service. Nothing is mentioned about any inconvenience caused by poor design choices except for the fact that the elevator is very ancient. The rooms all exhibit uniquely painted wall murals by local artists. Some artists went as far as to paint the furniture as well, but for the most part, the furniture in the rooms is all quite simple, generic and utilitarian. In “The Artist in Residence” the type of art exhibited is not be limited to wall murals. Display devices are designed to exhibit both three-dimensional art as well as paintings and other paper arts in the suites. Particularly as the studios in the building are equipped to produce art in many different mediums, the suites are equipped to flux with an ever changing rotation of art pieces.
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Top to bottom: A variety of examples of the painted suites avalaible at the Hotel des Arts in San Francisco, CA
San Francisco, CA:
ArtLuise Kunsthotel
Top to bottom: A variety of examples of the art installation/suites available at the ArtLouise KunstHotel in Berlin
Berlin, Germany:
“Our hotel in Berlin is often called a ‘gallery where you can spend the night’-in one of the city’s most exciting neighborhoods. A hotel for art enthusiasts, a hotel for individualists, a hotel for people who love the experience of something different.” This hotel is similar in concept, but in contrast to the Hotel des Arts, does seem to incorporate the furniture and design into the art of the room. Or rather the art takes into account the design of the room as a whole and not a single decorative element. Of the different art hotels studied this one seems to be the most balanced and the primary complaint from reviewers had to do with the thunderous noise of the nearby trains. The suites in The Artist in Residence will not necessarily be art installations, but in any case they will strive to display original and varied art pieces in an organic way that does not overpower the space or take away from the comfort of the guests inhabiting the rooms.
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San Francisco, CA:
“Ruby’s Clay Studio is an arts center whose primary objectives are to promote community appreciation of the ceramic arts and to encourage self-expression, technical and artistic development through exhibitions, classes and the resources provided by a shared learning facility.” Ruby’s is a non- profit studio for ceramic artists in San Francisco which I have been going to for classes and studio access a couple of years now. This studio has a wonderful sense of community and great outreach programs. Their “Mud Bus” brings ceramics classes to people who would otherwise not have access such as: schools in districts with no curricular arts funding, the Boys and Girls clubs of San Francisco and womens shelters who use ceramics making and a form of therapy. They also collaborate with many other small art studios through out the city, donating the use of their gallery space or providing services. For example, Ruby’s fired 700 tiles for the Precita Park memorial sidewalk in memory of the couple that was slain over 3 years ago. Precita Eyes had this to say about Ruby’s: “collaborations and shared equipment between smaller arts organizations is a positive way to build community and strengthen our purpose of bringing art into everyone’s lives. Precita eyes highly recommends your support to Ruby’s clay studio” Ruby’s is a good source of knowledge on how to lay out a ceramics studio and meet the needs of such a group of artists, as well as their philosophy of community and promoting the accessibility of art to everyone. In terms of design, there isn’t much to the space beyond the technical aspects of how to lay out a kiln room, and the different private studio layouts. The studio is purely utilitarian in its design. The space is oddly laid out, as it has grown slowly in a rambling way over its 60+ years of existence, in the lower story and basement of an old Victorian residence.
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Top to bottom: The kiln room at Ruby’s Clay studio, and exaple of some work in progress set to dry, a pottery class taking place, and original piece produced at the studio
Ruby’s Clay studio
Top to bottom: An over view shot of The Crucible warehouse, an artist welding at the mettal shop, two artist having a demonstration of hand building with clay, team of artist blowing glass
The Crucible Oakland, CA
“The Crucible is a non-profit educational facility that fosters a collaboration of Arts, Industry and Community. Through training in the fine and industrial arts, The Crucible promotes creative expression, reuse of materials and innovative design while serving as an accessible arts venue for the general public.” Multiple visits to The Crucible have yielded much valuable technical information. For example, how to set up a glass blowing studio in terms of dimensions, extraction and venting systems and many other such requirements. Being able to communicate directly with the different artist about their wants and needs greatly informed The Artist in Residence project. Being able to hypothesize about developments in harvesting heat off the kilns for practical purposes such as to heat water and the actual building itself, to potentially generating electricity to run the whole project was very exciting. This spirit of interaction and collaboration plays a great role in said project and was gratifying to be able to experience first hand. In terms of actual design, as with Ruby’s the main focus is utilitarian, with some superficial and haphazard decoration in for of art creating in the same studios. The big warehouse however is poorly laid out and confusing to navigate, and the ample space they have is not being used to the best advantage.
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Ontario, Canada:
“By creating direct connection to the [Art Gallery of Ontario]’s galleries and archives, as well as enabling visibility and transparency, the Gallery School extends a privileged invitation to the community and students to witness and learn the making of art.” This project is a great example of a multi-use space with an artistic agenda similar to what The Artist in Residence proposes. While in this case, most of the building is dedicated to museum space,a section of the building is dedicated to the creation of art, the community and education. It also shares the goal of making art accessible to ALL who seek it, as understood through this quote: “The Client’s objectives were to create a space with increased: functionality; accommodating large groups, flexibility; maximizing program opportunities, accessibility; welcoming all users, integration; offering direct connection to the galleries above, transparency; a window into the creative process.” The building is also a great case of adaptive reuse and the renovation took advantage of some of the elements of its previous life as a parking building, the concrete floors and coffered ceilings lending an industrial feel to the space.
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Top to bottom: The children’s area of the art school, a painting class for senior citezens, a broad view of the main area featuring the transparency and imersion between the artist and the viewer
Weston Family Learning Center
Top to bottom: Overview of both levels of the restaurant, the glass enclosed kitchen on the ground level, sub level lounge and private dining spaces, restaurant sign and entrance
Twenty-Five Lusk San Francisco, CA:
This is another great adaptive reuse project by CalderSmith Architects in the same neighborhood as the old Hugo Hotel. Originally a smokehouse and meat packing warehouse constructed in 1917, now a multi-level restaurant located in SOMA. The design takes advantage of the pre-existing brick walls, old timber columns and exposed ductwork to create an industrial yet warm and inviting space. The restaurant has a glass enclosed kitchen on the main floor, where most of the dining area is located. The level below is the bar and lounge area, as well as private dining. The floor plans show various stairs, one of which appears to be for service only which would allow waiters to transport food from the kitchen to the diners below. There is only one elevator, which is used by customers, but since it is only two levels I don’t believe this would cause much strain on the service. The restaurant design at The artist in Residence places the kitchen in the basement and ties all four levels of restaurant with service stairs, service elevator and a heated dumb-waiter. Though the basement kitchen would service all the levels of the restaurant, each individual space will have its own prep area or bar, or counter work space depending on its needs. For example the cafÊ would have its own espresso machines and pastry display case and would be equipped to prepare sandwiches and salads and such, only relying on the basement kitchens at night after the restaurant closes for making breads and other baked goods. The fine dining restaurant is the one who would most heavily rely on the kitchen. The events space may have use of it depending on the nature of the activity taking place there: preparing food for buffet style dinning or å la cart, as an extension of the restaurant for private engagements.
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Sydney, Australia The new QT Sydney hotel was designed by Woodhead, Indyk Architects, and Nicholas Graham + Associatesusing and features: 200 designer guest rooms, Gowings Bar & Grill, Glit Lounge, Parlour Lane Roasters, spaQ- day spa and Private dining and events. Set within the historic Gowings department store and heritage-listed State Theatre (the late 1920s) in the heart of Sydney’s central business district, the surrounding area is brimming with culture, art, fashion, cuisine and design. The goal of the design is to revive the rich and colorful past of theatre and retail by creating a series of public spaces, envisioned as the main stage for locals and visitors to interact and mingle with the buildings’ rich heritage. The way the design juxtaposes the original facade features with graphic contemporary art, drops of drama and whimsicality through quirky pieces of furniture and pops of color is inspiring and quite in line with the intentions for the design of The artist in Residence. The façade of the building will be returned to its former glory and the inside will combine old world appeal while celebrating new technology, distinctive art mediums and cutting edge emerging artists, much like what was achieved at the QT Hotel.
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Top to bottom: Detail of room number on hotel suite door, hotel suite interior, spa reception desk, one of the restaurants included in the project, the hotel lobby
QT Hotel
Inspiration
Included with these case studies are a sample of other alternative sources of inspiration and instruction, some discovered on this journey and others years long obsessions that are inspiring on a daily basis. Inspiration can come from many sources, at times a simple word or thought can change the direction of a project. These types of inspirations are difficult to classify or explain. For example, to say i was inspired by the concept of “liminality,� of the space between or the meeting of two defining elements is not something you can particularly dedicate a whole chapter to, but the collection of these thoughts and concepts and inspirations helped form this project. The following are some of the artists and their respective works that influenced the afore mentioned formation.
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San Francisco, CA:
Brian Goggin is a multi disciplinary artist who has created an interaction with the landscape that surpasses the physical limitations of traditional framed painting and free standing sculpture. Goggin has been creating sculpture, public artwork, and museum and gallery installations utilizing non-traditional locations and varied materials. He first attracted national attention in 1997 with Defenestration —a site-specific sculptural mural on a dilapidated building in San Francisco. “Defenestration”, with its grandfather clock, tables, chairs and couches suspended in flight from the building’s windows, has become an unofficial San Francisco landmark. The concept of “DEFENESTRATION”, a word literally meaning “to throw out of a window,” is embodied by both the site and staging of this installation. The act of “throwing out” becomes an uplifting gesture of release, inviting reflection on the spirit of the people we live with, the objects we encounter, and the places in which we live. Goggin’s pieces embody the concept embraced by The Artist in Residence, the take every day objects such as book, pianos and furniture and animates them, giving them new life and a new identity within its new context.
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Top to bottom: Brian Goggin on one of his latest installations “Caruso’s Dream” on 9th and Market st., “Defenestration” on 6th and Howard st., “Language of the Birds” on Broadway and Grant st.
Brian Goggin
Top to bottom: “Tide” created from objects found washed up on the shore, Stewart Haygarth portrait by Manuel Krug, “Optical” created from over 4500 prescription spectacle lenses, “UFO” commissioned for a restaurant in Los
Stewart Haygarth San Francisco, CA:
“One of Haygarths more recent works this is the UFO lighting installation, commissioned for a restaurant in Los Angeles. The light is made from a collection of mundane, ugly plastic items picked up from local dollar stores, but the way in which they have been arranged and displayed gives them a whole new aesthetic, creating a mysterious and eye catching installation which the viewer can not immediately tell what it is made from.” Stewart Haygarth was born in Lancashire UK in 1966. He has been working on design projects which revolve around the collection of large amounts of objects. He assembles these in a way that transforms their meaning, giving banal and overlooked objects a new significance. The finished piece of work takes various forms such as chandeliers, installations, functional and sculptural objects. His work is a great inspiration as it speaks directly to the design concept of The Artist in Residence, to the point where one of his “Optical” chandeliers has been commissioned for the Hotel Lobby of the project. Many of his pieces consist of taking objects considered trash by most people and transforming them by taking them out of context and placing them in a form of beauty that inspires awe once you get up close enough to notice what its composed of. This “double take” effect is something that is strived towards in this project, where it is hoped the user will be able to take this fresh perspective on the world around them and be able to rediscover the beauty that surrounds us all.
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Marfa, TX
Donald Judd was an American artist associated with minimalism. He lived in NY, which explains why he was so affected by the clean, empty desert. In 1979 Judd purchased a 340 acre tract of desert land near Marfa, Texas. The land included abandoned buildings of the former U.S. Army. In 1986 The Chinati Foundation opened on the site as a non-profit art foundation, dedicated to Judd and his contemporaries. Judd’s work in Marfa includes 15 outdoor works in concrete and 100 aluminum pieces housed in the two painstakingly renovated artillery sheds. They sit in perfect quiet rows, glowing or seemingly translucent, depending on the light. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it. The idea behind his work greatly moves me and inspires, as within the concept of “Ostrenenie” there is also a celebration of the object within itself, apart from its intended function. The inclusion of the view or sight framed by the object as a part of the object itself is another aspect emulated in The Artist in residence when presenting everyday objects from different or unexpected perspectives, or simply framing objects or views and how this lends new relevance to these.
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Top to bottom: large concrete works in the desert at the Judd Foundation in Marfa TX, detail of aluminum work, indoor and outdoor views of the artillery sheds
Judd Foundation
Top to bottom: Views of Chihuly Bridge over interstate 705 from different angles, two details of the “Venetian Wall” instalation, two details of the “Seafoam Pavillion” instalation
The Chihuly Bridge of Glass Tacoma, WA
“The bridge is the gateway that welcomes people to Tacoma. We wanted something unique in the world, something that is full of color and offers a joyous experience to passersby both night and day.” -Dale Chihuly This project is a partnership between the Museum of Glass, legendary Studio Glass pioneer Dale Chihuly and the city of Tacoma, a 500-foot-long pedestrian overpass that links the Museum to downtown Tacoma and its cultural corridor that spans Interstate 705. The bridge was designed by Austin TX based architect Arthur Anderson in close collaboration with Chihuly, who directed the artistic concept. It provides a means for the internationally-renowned Chihuly to contribute in a very public way to his hometown and is comprised of three distinct installations. Furthest from the Museum is the Seafoam Pavilion, a ceiling made of 2,364 objects from Chihuly’s Seafoam and Persian series. Marking the center of the bridge are the Crystal Towers, which rise forty feet above the bridge deck and serve as beacons of light for the bridge and city. Closest to the Museum is the Venetian Wall, an eighty-foot installation displaying 109 sculptures from three of Chihuly’s series: Venetians, Ikebana, and Putti. The Chihuly Bridge of Glass is open 24 hours a day. A spectacular free display of original art in public places. I am attracted to the way this project takes what could have been a simple form of circulation and transforms it into an artistic experience. It literally bridges the gap between art and everyday life, making art accessible to anyone who seeks it out and even many who wouldn’t have thought to do so, which is one of the goals of The Artist in Residence as well. It inspires to take unexpected opportunities to introduce art and make something more of what would otherwise be a means of getting from point A to point B. To make destinations of what would otherwise be circulation.
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P
roject Development
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By now the old art has already died, but the new has not yet been born. Things have died, too: we have lost the sensation of the world. We are like a violinist who has stopped feeling his bow and strings. We have ceased to be artists in our quotidian life: we do not like our houses and clothes and easily part with a life that we do not perceive. Only the creation of new forms of art can bring back to man his experience of the world, resurrect
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things, and kill pessimism.
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-Peter Steiner
Concept
It was a rather difficult task to bring the concept of The Artist’s Eye into the physical plane. It’s a very abstract notion to begin with and to say that every artist views the world the same way would be grossly inaccurate and counter-productive to the goals of this project. And yet, there is that “something” that most creative type people share. It was difficult even to try and explain the concept at first let alone design it, so that seemed like a good starting point. The initial reaction was to try and over simplify the concept to make it accessible. When that proved ineffective (after many frustrations) the opposite tactic was employed and all the technical jargon drawn upon to explain the concept. Presenting the term “Ostrenenie” or defamiliarization as the core idea of the concept helped center it and was key in developing the artistic language of the project.
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Hotel Pool
Through out the design there are many opportunities for the user to examine every day objects in new ways. Situations we are accustomed to when experiencing a “house” or a “hotel” but from unusual or unexpected perspectives. A good example of this phenomenon is the swimming pool in the middle of the building. Already, this is not the usual place we might find a hotel pool, nor is it the usual shape. On top of that we add the fact that, depending on what area of the building we find ourselves, we would be viewing this pool from unaccustomed angles, looking up through the bottom of the pool, looking through it like a fish tank, looking down into it from the roof top light well or from one of the suites like a river at the bottom of a canyon. The act of viewing something known from an unknown angle helps reinvent the object.
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While researching the technical aspects and logistics of putting together an art studio it was alarming to discover that glass blowing glory holes and kilns must be maintained in constant operation even when not in use, and how much heat and energy must be used (and wasted) to do so. Energy in any form is a precious commodity that mustn’t be wasted so the idea of finding a way to use it to heat the building and water used in it was very intriguing. The practice of heat recovery can be used to add to the sustainability of this project. The city of San Francisco (and the state of California) are making many advances in the field of energy conservation and promoting the use of clean energy sources. In the field of Glass and Ceramic Arts, investigations have been made towards heat recovery and kiln efficiency, but mostly on a small and local scale. But heat recovery from kilns can potentially be used towards more ambitious goals such as generating electricity through the use of steam. A good place to start is an investigation of heat recovery methods used today. From small scale refrigeration exhaust recovery to large scale industrial glass or cement factories, these systems are becoming more easily accessible and its important to understand how these work and how they can function for our particular needs. Heat Recovery involves utilizing “waste” heat from other applications, such as refrigeration, air conditioning, industrial processes and of particular interest, kilns for ceramics and glass making. There are different methods used in heat recovery, some of which include: 1. Transferring heat between gases and/or liquids: Some applications for this method are combustion air preheating. For example, heat recovered from clay and glass kilns can be used to make the actual process more efficient. By raising the initial temperature of the kiln with recovered heat, less natural gas has to be used to reach the same temperature. This system has been used in cement processing for many years. Another application is boiler feed water preheating, again maximizing the efficiency of water heating with less use of fossil fuels. 2. Generating mechanical and/or electrical power: This method typically involves using the waste heat to create mechanical energy that drives an electric generator. The most frequently used method is by generating steam which drives a steam turbine to generate electricity. This is the most efficient and cost effective method to generate
electricity. It works particularly well with medium to high temperature exhaust such as that which would result from kilns (many of which reach temperatures above 2200˚F). These methods are the most evolved, but new technologies are being developed that can generate electricity directly from heat. These include thermoelectric, thermionic, and piezoelectric devices. Thermoelectric materials are semiconductor solids that create electricity when two different semiconductor materials are subject to a heat source and heat sink creating voltage between them. The uses of this method are limited due to low efficiency and high cost. However, recent discoveries in nanotechnology have advanced the field and may soon create better and more efficient outcomes. Piezoelectric Power Generation is an option for converting low temperature waste heat to electrical energy, converting mechanical energy in the form of ambient vibrations to electrical energy. Like the previous method discused, it is alos currently a low efficiency/high cost method . Thermionic devices operate via thermionic emission. In these systems, a temperature difference drives the flow of electrons through a vacuum from a metal to a metal oxide surface. Thermo Photo Voltaic Generators can also be used to convert radiant energy into electricity. These systems involve a heat source, an emitter, a radiation filter, and a PV cell (like those used in solar panels). As the emitter is heated, it emits electromagnetic radiation. The PV cell converts this radiation to electrical energy. The filter is used to pass radiation at wavelengths that match the PV cell, while reflecting remaining energy back to the emitter. These systems could potentially enable new methods for waste heat recovery hopefully in the near future. 3. Heat pump for heating or cooling facilities: One solution would involve some of the already discussed methods to heat water. In situations with high temperature heat waste, cooling off the water used to ‘collect’ the heat would be necessary before it can be made available for human use. This presents yet another opportunity to use this waste heat for warming spaces by creating a radiant floor heating system. For this particular project, since the waste heat available is of such high temperatures, I believe all three of these methods could be used in a Combined Heat and Power Partnership that may potentially eliminate the need for external energy sources. In terms of steam engines, the main
drawback discovered is in the consistency of heating needed, where wood burning steam engines need constant supervising to run consistently. But this would not be a factor if there is a consistent source of high heat available 24 hours a day via the kilns in the art studios, which eliminates the main draw back. Another thing to consider is the economic factor. Heat recovery and steam generator systems can be quite costly. Even so, as far as can be deduce, a steam powered generator running on high heat steam is much more efficient than an internal combustion engine, and can potentially not only generate enough energy to power the whole building, but would be able to produce a steady amount of excess energy which can be sold back to the electric company for a profit, paying for the system in a very short amount of time. The fact that the building will not need electric energy for ambient and water heating adds to the viability of creating an electrically self-sufficient project. Once the water is heated, steam is used to drive a turbine or pistons system that is used to generate energy, but this same heated water and residual steam can be used to heat the building by using a Hydronic radiant heating system. Similar to a conventional radiant heating system, instead of a wire mesh or coil embedded in the concrete sub-flooring of a building generates heat electrically, this system consists of a set of pipes that run hot water though the flooring. Radiant heating in a building provides more consistent temperatures and a healthier interior environmental quality for the people who inhabit the building. Finally, after this same water has transferred most of its heat into the environment of the building via the radiant heating system, it will then become usable to the people in the building for cleaning and showering, at a more reasonable temperature. While LEED does not particularly promote net zero energy buildings, it is a step beyond their particular standards, as with the IAQ advantages that radiant heating offer. If indeed steam power can provide all the building’s energy it may be eligible for the LBC energy petal. Further investigations into the possibility of heat processing gray water should prove fruitful, if through filtration and condensation this water can be returned to potable quality, which might add another layer of efficiency and sustainability to this system.
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Programming In this non-bubble diagram the visual concept of the ripple creates a fluid experience where one single encounter should create a “ripple effect� in the visitor that leads to other discoveries in the space. It would prompt further exploration within the building and ultimately keep reverberating into their daily lives well after they leave the building, as the visitor now has new eyes with which to view the world. It also speaks to a convergence of ideas and conceptual integration: not only the user experience within the space can be represented in ripple form, but also the user experience amongst each other. As a single drop can create concentric formations, when more than one singularity occurs simultaneously these concentric convergences create new and different formations within themselves. These represents the artists collaborating with each other and finding inspiration in the experience. This ripple concept also helps explain that the square footage here listed is an estimation seeing as many of the spaces in this program over-lap and serve multiple purposes.
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Design Component
Square Footage
Hotel Lobby
1,054
Hotel Suites
17,430
Restaurants
4,216
Art Studios
17,051
Gallery
1,627
Outdoor/Indoor Recreation
11,922
Back of house
608
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Ground Level
The Ground Level presents entrance points for the different components of the program. The original building entrance on the northern corner of the building has been preserved as the main entrance and leads to the hotel lobby. This space shares its seating with the Cafe component of the multi-level restaurant concept which has its own secondary entrance. The Art Studios have their own lobby space located on this level as well. People can gather in that space, appreciate displayed art and sign up for classes and conferences at the front desk. The Gallery space utilizes a flexible display system to accommodate different forms of art and is an available venue for smaller events. The ground level houses the ceramics studio as well as the glass studio. The service alley space behind the building has been partially occupied to house the kilns for these two studios to allow for more passive ventilation and reduce the need for constant mechanical ventilation.
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Early Spatial Explorations
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Basement
Early Spatial Explorations
The Basement Level is accessible to the general public via the studio lobby stairs or the main elevator. Most of the space is dedicated to different art studios including the wood, metal and welding shop, technology and robotics lab, digital lab and a lighting studio. This is also where the kitchens are located. The hotel back of house includes offices, lockers, employee lounge and laundry facilities. This level takes advantage of the 16’ ceilling height to carve out ample storage space above, both in the kitchen and hotel BoH. The metal shop takes advantage of a pre-existing cole shoot opening to include a small freight elevator for importing large pieces of raw materials or heavy items down into the basement from the sidewalk opening.
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Second Level
Early Spatial Explorations The Second Level connects from the first via the grand staircase in the main lobby, the round elevator and the secondary studio lobby staircase. It is occupied mainly by the art studios and the restaurant lounge, and a large amount of open public space meant to be used by both. The classroom and conference room area are flexible spaces with an operable wall system that can be configured to fit the needs of the event. In the floorplan different arrangements are being represented to get an idea of how the space could be used. Less equipment dependent classes such as drawing, painting and other crafts can be taught as well as more theoretical or art history based classes. This space can also be used to hold larger conferences by guest artists. The private studio space is flexible as well. In it the artist are able to build their own studios according to their individual needs. This space takes advantage of the first floor kiln room expansion to provide outdoor space for the artist to work. The public open spaces would most likely be occupied by studio students and teachers as well as hotel guests during the day. At night it would present a variety of spaces for lounge patrons to sit and talk with their drinks and admire the “fish tank� view of the swimming pool after the bar opens.
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Third Level
Early Spatial Explorations
The Third Level is occupied primarily with guest rooms. The rooms are all quite different and most of them include a small kitchenette component. This is also the level that has surface access to the pool, surrounded by a small courtyard and accessible only to hotel guests. The fine dining component of the stacked restaurant concept can be found here as well. This space can make use of the events space above it on days when it is available and the restaurant is particularly busy.
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Fourth Level
Early Spatial Explorations
The Fourth Level, similar to the third level, is mostly composed of guest rooms. These present a great variety of layout options including rooms with hostel style twin sized beds. This allows for a range of price points, welcoming a variety of guests. The fourth floor also includes the events space. This is where hotel guests will be served breakfast and which will be available to rent to any who would like to hold an event or festivity. The space ties in with the rooftop terrace gardens which contains an open area primed for outdoor events. Clients are able to enjoy the outdoor/ indoor event options such as wedding ceremonies and receptions
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Roof-Top Terrace
The RoofTop Terrace is composed of 4 major areas, though in many cases these functions over-lap. There areas are: the growing garden, sculpture garden, events space and a small back of house where potting sheds and work surfaces are contained as well as service access. Raised beds and green walls all grow edible plants that are served in the restaurant below. Sculptures, mosaics and murals are presented throughout the terrace. A small water feature with a raised platform presents a creative challenge for artist to design artwork that interacts with the water that fountains from the platform. The “inside out green house� or gazebo is a charming backdrop for a wedding ceremony or a secluded place to sit and admire the blown glass art inside.
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Early Spatial Explorations
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D
esign Highlights
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The Pythagoreans used to say that we do not hear the music of the spheres because it goes on uninterruptedly. In the same way those who live by the sea do not hear the noise of the waves. We do not bear even the words we speak. We speak a pitiful language of incompletely uttered words. We look one another
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in the face but do not see one another.
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-Viktor Shklovsky
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Hotel Lobby
• Sub-Concept: Intrigue, Curiosity • Drop that causes the ripple
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Early explorations
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The Hotel Lobby was designed to be the main entrance point of the project from which users will be drawn through the building in a series of discoveries and delights. It houses the hotel reception desk/concierge where guests will check in and shares its seating with the CafÊ. Reminiscent of an over-scaled ceiling medallion, the ceiling ripples out from a central keyhole that’s been carved out to the second floor where the lounge is located. From center spills a monumental glass installation by British artist Stewart Haygarth. Like many things in the hotel, the piece warrants a closer look, where you can discover it is composed of thousands of eyeglass lenses. One of the feature pieces of the room is an animate Victorian chair, stretched out and curving through the space and creating various seating arrangements in its wake.
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Restaurant
• Sub-Concept: Color Obsession • Stacked Restaurant • Different levels of experience
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Early explorations
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The Fine Dining Restaurant is a unique dining experience that plays on contrast and perception through the use of lighting and reflections. The space is arranged to make every table seem exclusive and semi-private. Furnishings are somewhat minimal to emphasize two main things: the experience of walking across an infinite void and the food being served on the table.
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Hotel Suites
• Sub-Concept: Curated Senses • Neutral, Restful, texture-rich • Display of Art
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Early explorations
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The Guest Rooms at The Artist in Residence are meant to feel exactly so: like artist’s residences. The design is warm and modern, mostly neutral in colors but rich in textures. The rooms display a vast variety of art without overwhelming the true purpose of a hotel suite: the comfort of the guest. There are many different types of rooms available, from more spacious suites to compact studio apartment layouts, to hostel style rooms with multiple twin sized beds. The hotel presents a large diversity of accommodations at different price points to encourage a large diversity of guests that will enrich the project’s experience.
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UP DN
UP DN
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DN
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UP
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Art Studios
• Sub-Concept: Framed Views • Framing the act of creativity • Creative convergence spaces
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Early explorations
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One of the many pubic meeting places throughout the building, this space takes advantage of the basement’s 16’ ceiling height to create an alternate space above, once again challenging the user’s perspective. Upon entering the hallway, visitors may notice the rippling ceiling above and think it reminiscent of the ceiling in the lobby of the hotel. But as they travel down the hallway the space will expand before them into a round room and the ceiling will dip down to create a small mezzanine. The space will be accessible via two partially enclosed ladders, like a modern tree house. Once up the ladder there are two types of surfaces to sit or lounge on, tiered seating or netting. The space can be used for informal gatherings or as a meet up point, for taking a break from working at the art studios, a place to sit with your book or laptop, or a place to take a quick nap. Below, the space can no longer considered hallway. It is part gallery part sitting room, the seating composed of sculptural work being created right in front of you.
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Studio Building Devices
When conceptualizing the public spaces of the Art Studio emphasis was placed on designing environments that fostered creativity and interdisciplinary collaboration. So when approaching the private studio component it was important to keep this sense of collaboration while allowing the artist to work in an environment best suited to their particular creative process. Not everyone thrives in an open studio environment, yet others are energized by the constant flutter of activity, so it was a challenge to create a space that was tailored to each artist. After exploring ideas of transparency, malleability and individual artistic needs this device was designed a way for each artist o essentially build the studio they need within the space. Depending on their artistic medium, their need for privacy and their storage requirements they are able to configure the units into the studio they require, small or large, very open, partially open, or closed. They can even reconfigure their studios if they meet another artist they wish to start a collaborative project with to share a larger space.
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Roof Gardens
• Sub-Concept: Inner Child • Whimsical, Playful, Wonderful • Play on scale and order • Homage to “Defenestration”
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Early explorations
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The rooftop terrace gardens present a whimsical outdoor space, like stepping off the elevator and into another world dreamed up by your inner child. Raised beds grow edible plants featured in the restaurant bellow. Like the rest of the building, artistic creations are displayed in creative ways throught the gardens. It also pays homage to Brian Goggin’s installation on the façade of the building by placing a crawling side table and a winding lamp on a sofa-like mound of grass, a perfect spot to sit, relax and read a book on a sunny day. The design features many unique spaces, from a private aromatic little corner in the herb garden with two nest hammocks to wide open space perfect for a wedding or party event.
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A
bout the Designer
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Art is not what you see, but what you make others see.
-Edgar Degas
Biography Raquel Maldonado Diaz was born in Puerto Rico and has lived there for most of her life. Her parents are both scientists and university professors, which makes it clear where she got her practical and logical minded nature. As an artist, she grew up as the “black sheep” of her family, but what most people don’t know is that she got her artistic side from her parents as well. Her father is an excellent photographer, and she always remembers her mother drawing out stories she would make up for Raquel and her brother when they were very young. Raquel lived in Davis, California from age 6-10, while her parents attended grad-school, which explain why her English is quite good even though it is her second language. She finished her undergraduate studies in 2005 at the University of Puerto Rico, Rio Piedras campus. She has a BA in Visual Arts as well as one in English Literature. Being the only artist working at a high-end restaurant towards the end of college it was always assumed she would be in charge of decorating the restaurant for different seasons and events, a phase of her job that she always looked forward to. But it wasn’t until her boss asked Raquel to decorate her apartment that she began to see the real creative potential there was in
Interior Design. At that point in her life she was sure she wanted to continue graduate studies but was uncertain which field she wanted to commit to. In decorating this apartment she was able to use so much knowledge and so many seemingly disassociated skills she had learned along the years, that she was instantly hooked. She enjoyed the problem solving challenges the different spaces presented, compositionally and functionally. It allowed her to be hands on with the project, painting, upholstering, sewing, creating and showcasing artwork, shopping and finding just the right pieces to make the home comfortable and beautiful. Raquel decided on Interior Architecture for her graduate studies (and future career) because she felt it was a good balance of all the things that interest her and formed part of her character, the technical and logical, the creativity and aesthetics. It’s conceptual yet practical and she feels it will always be challenging, no matter how long one works in the field, and this above all else is very important to her. This is how Raquel ended up in San Francisco, and in the Academy of Art University completing a Masters in Fine Arts degree in Interior Architecture and Design.
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Resume
EMPLOYMENT Oct 2014 - current Kendall Wilkinson Design: San Francisco,CA Internship. Interior Design related tasks for high end residential design firm. Jun 2013 - current Destination Sitters, San Francisco, CA Provide nanny services to out of town visitors to the bay area. Aug 2010 - current Self Employed, Freelance Artist Portrait and event photography, paintings, murals and pottery. May 2008 - current Self Employed - Freelance Interior Designer Residential design work in Puerto Rico, Virgin ia, and the Bay Area.
ABOUT Originally from Puerto Rico, I’ve been living in San Francisco over 4 years now and about to finish an MFA in Interior Architecture and Design at The Academy of Art University. I am very passionate about making the world a better place through design, for the people that live in these created spaces as well as the planet that sustains them. I learn very quickly and am quick to adapt to different styles and personalities and can express myself very diplomatically, which makes it easy for me to deal with clients as well as collaborate in group projects, an aspect of our profession I greatly enjoy. I live for problem solving and am extremely creative. I’m also highly organized, logical, self-motivated, articulate, passionate, a master multi-tasker and very efficient with my time and energy.
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EDUCATION Academy Of Art University, San Francisco, CA, US, Masters, Interior Architecture and Design Sep 2010 – current
Jul 2005 - May 2010 Ikebana Sushi Bar and Restaurant, Carolina, PR Bartender and Waitress. High quality costumer services, excelling under pressure, working with a sense of urgency and efficiency. Also provided graphic design consultations and interior decorating for occasions and events.
Feb 2005 - Jul 2005 Puerto Rico Tourism Co., San Juan, PR Receiving, greeting and providing information to tourist of the Old San Juan area.
University of Puerto Rico, Rio Piedras, PR, US, Bachelors, Visual Arts Concentration in Photography, Drawing and Mixed Media Digital Art Aug 1999 - May 2005 University of Puerto Rico, Rio Piedras, PR, US, Bachelors, English Literature Aug 1999 - May 2005 California State University, Northridge, CA, US, NSE Program One year exchange. Jan 2003 - Dec 2003
May 1998 - Jul 2000 VUCS Summer Program (Volunteer), Cayey, PR Art Director at summer camp for children affected or infected by HIV/AIDs.
Design Philosophy
Creative, Functional, Inviting, Inhabitable Art... The average person in our society experiences art in very restrictive and uncreative ways. We learn about it in school, from books, online, or maybe a visit to a museum, if we’re lucky to have those opportunities. These alternatives are cold and impersonal, all of which art should not be, and with more and more schools losing funding for art programs, this gap between art and viewer grows ever more distant. In my own experience, even many artists prefer to distance themselves and what they do from the “communality” of the “masses,” and after finishing art school, it has been an interest of mine to find that common ground between art and every day life. This is one of the main reasons why I decided to pursue a career interior architecture in the first place. To create art people can live in is my passion.
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A
cknowledgements
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Miracles... seem to me to rest not so much upon... healing power coming suddenly near us from afar but upon our perceptions being made finer, so that, for a moment, our eyes can see and
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our ears can hear what is there around us always.
-Willa Cather
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Dedication
For Dizzy. Not just for remembering me, but for still loving me even after I left her. For my parents. Their continued support of their little black sheep amazes and makes me proud to this very day. For my grandmother. For no other reason than the fact that she was amazing and I quietly miss her every single day. For Dede & Jesse. Because we push and support and make each other better designers. Thank you for being there to hold me accountable even after I lost faith.
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http://www.juddfoundation.org/marfa
http://www.sfgate.com/bayarea/nevius/article/Happy-ending-for-blighted-Hugo-Hotel-3170651.php#ixzz27ipTHYB6
http://www.npr.org/2012/08/02/156980469/marfa-texas-an-unlikely-artoasis-in-a-desert-town
http://www.city-data.com/san-francisco/6/6th-Street-4.html
http://en.wikipedia.org/wiki/Donald_Judd#Judd_Foundation
http://www.qtsydney.com.au/hotel-rooms/ http://www.homedsgn.com/2013/02/08/qt-sydney-hotel-by-woodhead-indyk-architects-and-nicholas-graham-associates/
http://alpharettaplumber.blogspot.com/2010/10/hydronic-radiant-heating-for-your.html http://upfromthedeep.com/sixth-street/
http://www.woodhead.com.au/news/qt-sydneya-truly-collaborative-accomplishment/
http://www.sfgate.com/opinion/article/Big-change-ahead-for-San-Francisco-public-housing-4972962.php
http://www.fluorodigital.com/2014/03/stuart-haygarth-meaningful-beauty/
Read more: http://www.city-data.com/forum/urban-planning/1920568-cities-redevelop-where-should-mixed-income.html#ixzz2nUj6Hamf
https://www1.eere.energy.gov/manufacturing/intensiveprocesses/pdfs/ waste_heat_recovery.pdf
http://www.metaphorm.org/
http://www.thermastor.com/Heat-Recovery-Water-Heaters/ http://www.ceramicindustry.com/articles/kiln-connection-sleight-of-handheat-recovery http://www.worldcement.com/sectors/cement/articles/WHR_in_clinker_ manufacturing.aspx http://www.greensteamengine.com/ http://www.backwoodshome.com/articles/goebel43.html http://www.mikebrownsolutions.com/stmpwr.htm http://home.earthlink.net/~dlaw70/12stmng.htm http://www.epa.gov/chp/basic/index.html
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