Clearing the Path

The goal of this project was to adaptively reuse the North Pacific Railroad Depot and to newly incorporate three different spaces; an art gallery, a residence and an artist’s studio. The completely renovated space's design must accommodate for the visual impaired spouse who would also be a resident. The artist’s studio has to be functional use of space for the their work as well as incorporate universal design throughout the space. The artist I chose to design for was Martin Blank, a glass blower in Seattle, WA. The gallery must consist of an universal design while also including an ADA bathroom while still using the depots existing structure to portray his art work in the highest fashion.

Without an inspiration object there is no concept development or ideas that can be formed for the design. By visiting the Northern Pacific Railroad Depot I was able to be in the explore thephysical space that I would be renovating and understand the impression of the surrounding atmosphere. There was so much detail and histroric features within the interior but I wanted to focus on the main component of the depot, which I believed was the train. There are so many elements to the train itself which caused me to go even deeper with my concept. Smoke came as an inspiration due to the overall fact that the train’s name was the Pufferbelly. That was an imidiate connection but incorporating the historic value of the train led me to include the concept of movement and change that was associated with this object. This would soon influence the overall design.

When first starting the renovation process, the interior is a blank canvas and can be formed to adapt to any new atmosphere. The client values the historic character of the depot and it was required that the design repsect the historic aspect of the structure and property. All of the exterior walls would be stationary which created a very difficult challenge of space restrictions and layouts. Before thinking of the furniture and window treatments I first had to complete bubble diagrams to determine the space designated for each area. This required me to figure how I wanted each space set up; continuously thinking about flow, use and function.

Once adding color, gradiants and visual texture to my parti design I had come to a completed design. The next step was to develop the textile pattern through use of graphic exploration that would still correlate to my concept. This textile pattern would be incorporated into the overall design in at least one sufficient area. This required a great deal of different placements, rotations and adjustments of the small parti. This was enjoyable but a little diffficult due to the almost infinite arrangements possible. Through much exploration I came to a finalized pattern that was able to incorporate my concept while creating additional components. I was able to take these different components of the parti and incorporate them throughout the design.

Once I had chosen my inspiration object I was to then begin the abstract exploration. This included completing an object analysis using sketch techniques exploring different elements of my inspiration object and portraying them using design elements and principles. These small sketches are supposed to assist in portraying my 3-D object in a small abstract 2-D sketch. This step must accommodate for the concept of the design with abstract design elements and principles.  During this process I continuously came to a halt due to my too literal interpretation of my object rather than an abstract approach. I would have to step back and think about what aspects of my object first sparked my interest. An abstract exploration will vary from person to person, these sketches are to free the mind and to start thinking in a different perspective.

The aesthetic appeal is the first impression to a client when entering the newly renovated space. This is a challenge in itself, but incorporating other required needs created additional obstacles. The entire residential space must be designed to accommodate for the visually impaired spouse incoporating several aspects of universal design. The residential has to be functional and safe for the client while still incorporating my concept. This was accompished through the use of contrasting colors and materials to assist in the ability to distinguish different areas. I was able to design a safely furnished residence due to the Egress plan that depict all of the necessary clearances and other building codes required for this establishment.

I believe that my design work has improved greatly throughout each step throughout this semester. My ability to think in an abstract state of mind has become easier leading me to explore more ideas. I have a continous self-battle due to my desire to keep the physical object visible throughout the design but at times I must take a different approach and just sketch what I feel from my object. Any thought can be incorporated successfully through proper planning and consideration. With time and understanding I have improved my rendered perspectives. This is a tremendously important technique when presenting to the client so they may get an accurate vision of the spaces designed for them. Visualizing what an entire room will look like with small samples is very difficult for most, and it would be my responsibility to correctly represent the materials and the individual spaces. Incorporating materials and colors within each space is slowly becoming a simpler act due to its importance. The interior’s aesthetics is just as important as the structural elements and due to the enormous range and constant new suply, it will take a great deal of practice before it becomes second nature.I also believe that my board assembly and compostion has evolved allowing my drawings and plans to be organized and presented in a manner that the client can understand. 

STIR Competition

STIR is a competition where colors picked from the Sherman-Williams collection can connect back to my design concept as well as create a beautifully painted commercial space. By redesigning this local historic train depot into a residential, studio and gallery space a new beginning is created within this space. I incorporated my concept, without movement there is no change, throughout the use of a gradient color scheme. The train depot was the place people visited to experience adventure. Smoke is how the train is able to travel to a variety of regions, while the single front headlight breaks any darkness, clearing the way and exposing the path ahead. As the distance of the element increases the source begins to fade. The trips took many days at a time which the dark colors represented within my gallery entry. The concentrated power is also represented through the use of dark, rich colors. As your eye rises, the colors begin to fade as well. I turned to dark, deep blues to represent the dark, thick smoke and the nights many people encountered through their journey. The light neutral paint colors balance this darkness by incorporating a lighter, less-intense, relaxed atmosphere. By using the ColorSnap app by Sherman-Williams I was able to find the perfect balance and compliments of my main color scheme. Sherman-Williams paint colors allowed my space to have the impact I intended it to have. Hopefully I will be entering many more competitions as they come to enhance my digital poster representation techniques as well as being able to explore the hundreds of paint colors Sherman-Williams has to offer.

Art Gallery Experience

During my spring break I took a trip to the small town of Twin Falls, Idaho. I explored the small shops and boutiques while there and came across Jeni B art studio which was filled with photography. This gallery was completely different than the ones in the large city of Seattle. At most the square footage of the exhibit space was about 200 square feet. The photos were hung on the wall and were framed with very thick, detailed frames, some even contained color and pattern. A studio space was attached along the side where many of the photos were set up and taken. The size of the photos were generally about 2 to 5 feet in length and 2 to 4 feet wide. Since the area was on the smaller side there weren't any extra movable walls or pedestals to block the flow of traffic. Plain white walls allow the color of the photographs to become the main focus of the exhibit. The only artificial lighting consisted of a few tracks along the ceiling that allowed light to hit the photos. These bulbs must accommodate for the type of art, as to not fade or damage the photos. Natural light fills the entrance as the light flows through the glass doors leading you to a brightly colored staircase. The natural light ends there to further protect the photos from any UV damage. The path is narrow and straight so there is no question on the direction on which the observer is to go. This makes observing quite simple and easy. Rich, dark wood flooring continues through the entire space which is a great contrast to the white walls. The ceiling is also white which doesn't draw too much attention or interest too it, allowing all of the focus to be on the photography. The reception area included brightly colored furniture and was filled with natural light from the floor to ceiling windows. Many textures and different elements were added within this space giving it a very unique atmosphere.

Impaired Vision Experience

When a sense is taken away from someone, there are definite challenges they must face on a day to day basis. Vision is taken for granted by many people and many don't understand the difficulties that vision impaired people face. Without drastic contrast, seeing different levels is very difficult. Walking down the stairs are extremely nerve racking because injuries can occur from poor design. When walking into an elevator, the amount of glare and bright light caused me to become very disoriented. Trying to find any small buttons was basically impossible due to the lack of contrast. My attempt in using the ATM was unsuccessful because I could only find the card slot because of the light blinking, but I feel that after that I would not be able to use the machine. It was verifying that there was an audio option for those who are visually impaired but many aspects of the cub and bookie were not designed to assist those who have problems with their vision. The library consisted of a great amount of natural light which helped immensely in finding my way around. Overall, unless I was familiar with the area, it would be extremely hard to find my way around without proper design.

Concept Development

Visiting the Northern Pacific Depot in downtown Pullman caused me to really look at every aspect of the railroad station so that I could find my concept inspiration. This depot contains exterior brick that is historically beautiful, rustic and detailed. The perfectly geometric roof has many qualities that could peak inspirational thoughts as well. I tried to find something completely different, leading me to trace back to the name of the train station, The Pufferbelly. This historic train ran on a resource creating thick smoke to escape from the top. There was another element that I gravitated towards, and that was the single headlight. This source of light created a pathway of vision for the conductor. It allowed the opportunity for many people to adventure off into new lands. The smoke, a main component of the train, is very concentrated when first appearing but then expands and drifts into the air. 

The components of expansion, original source, discovery and flow are represented within my parti. The shape is inspired by the smoke's fluid movement when the train is in motion. Leaving the shape simply white embodies the headlight's ability to allow visual clarity, breaking through the darkness. The gradation from top to bottom, or bottom to top, however the parti is viewed expresses the expansion process both the light and smoke endures. Not only is the gradation smooth, as most travelers wished their trip would be, but is also represents how a passenger would view outside during their travels.

People came to the Northern Pacific Depot from a variety of places. Everyone got together in this one place to travel, to adventure new areas. Passengers arrived from all over and spread out once they left. This was the original place of travel during that time. I wanted to incorporate that importance through my textile pattern by vertically mirroring my parti, allowing the narrow element to match up. I then mirrored that section, creating a flowing in-and-out motion by both the white segment and the gradation. The gradation created another pattern element within the textile. The bold dark segments seem as if they are almost moving through the open spaces.

Through the study models I wanted to represent the motion of not only train but the smoke as well. Smoke does not have a specific form. It is not a solid structure. Because of that I wanted to focus on the fluidity of the smoke as well as the harsh lines light creates when appearing through the dark. A mix of organic and geometric shape began to appear. Both elements are transparent, giving the viewer somewhat the ability to see what is on the other side. It's a mystery, and if the person waits long enough it may become a discovery. Each of my models started from one point and expanded beyond it. This embodies the importance of the station that many migrated to. Everything has a source and it's always a goal to expand from there. 

The final model, when vertical, does physically represent smoke. The shape is familiar and common. All of the pieces are an organic shape that increase in length but become thinner as they rise. There are roots associated with this railroad station. The beginning was strong as complex as smoke is when it first is released. The thick, dark smoke rises from the train but then begins to flow and fade away. There is a transparent square attached to the bottom pieces, but when this model is turned in different angles, the viewer is able to see through that piece and into the organic segments.  

Contextual Investigation

Another availability to work in a group has come to me once again. This research was based upon looking through history and discovering the design styles that were popular during the time period of 1890-1930. I took on the responsibility of finding the important aspects of Colonial Revival style.  This style was also a very strong foundation when it came to architecture. The Chicago Columbian Exposition and American traditionalists influenced the Colonial Revival style. Traditionalists preferred this style due to the symmetry and Dutch Colonial characteristics. Minimal Traditional style homes were created by the Art Deco themes changing from complex motifs to the cleaner Streamline forms. The influence of simple colonial designs and honest use of materials contributed to the popularity of Colonial Revival.
Learning the aspects and history of this style has allowed me to become more familiar with the aesthetics and benefits of Colonial Revival. I would like to become familiar with the popularity of this style in today's design era. My research allowed me to find a create amount of information of this style but many of the typical features are unfamiliar to me. These would be some topics that I would need to further investigate and learn more about. Such as gambrel roofing that was so popular throughout this design style. My design vocabulary and knowledge of the variety of different types of features would need to enhance and increase.

Habitat for Humanity

The ending result of this project came out to be very successful. At the beginning the group I was in got off to a rocky start because we didn't realize a few of the due dates, which caused us to rush the first part of the design process. We then mapped out what should be done and by what time. The work was split up quite evenly allowing each of us to have a part in the end result. The material choices did not get as much attention as it should have compared to other aspects of the project. We did make sure that the criteria of a habitat home were met as well as including a variety of storage areas to make sure that no space was left unused.
As a team we decided to split up the work. My responsibilities included completing the model, inking and dimensioning both floor plans and drawing the kitchen perspective. My teammates took on the responsibilities of creating the other two perspectives, rendering the them, creating the façade elevation and starting the final poster. Each of us were included in the floor plan layout discussions as well as the material choices and paint colors. There were many different options that we came up with to insure that the space was being created to allow a great deal of space and comfort.
My strengths included taking on my responsibilities and finishing them on time. I was also able to take on extra work when my teammates needed me to. This did leave me to become slightly unorganized because I did have multiple parts of the project going on at once and whenever I got stuck at a point I wasn't able to discuss the possible solutions with my partners until they returned, shortly later. My computer program skills and techniques still have room to grow and enhance. I do believe that I can make very clean work and a professional finalized product. I do take a little more time when trying to make an aspect look exceptionally well done.
I do plan on increasing my ability with the computer programs as well as being able to balance multiple pieces at once without getting overwhelmed. I would also like to gain more confidence behind my ideas so that I do not need another person validation because I do understand that in the future all aspects of a project will come from just myself and I would like to be sure of myself and my ideas. I believe that my team worked together very well and that created a very successful product.