Patrick Cooley Fundamentals III Process Book

ARTIST RESIDENCE & STUDIO
FUNDEMENTALS 3 PRO. RONASZEGI SPRING 10
PATRICK COOLEY

FUNDEMENTALS 3
THE OBJECTIVE FOR THIS CLASS WAS TO
INTRODUCE THE NOTION OF DESIGNING FOR A
CLIENT/USER. FOR THE FIRST HALF OF THE
CLASS WE IDENTIFIED THE USERS STYLE THROUGH
A SERIES OF INQUIRES THAT ALLOWED US TO
INTERPRIT AND EXPRESS THROUGH SKETCH
MODELS AND DRAWINGS. IN THE LATER HALF THE
CLASS WE BUILT FROM THE KNOWLEDGE OF THE
INQUIRES AND DESIGNED A STUDIO RESIDENCE
THAT WOULD MEET THE NEEDS OF THE USER.

INDEX
1
9
12
20
24
29
INQUIRIES
PROGRAM
PRECEDENCE & DESIGN
PLANS
RENDERINGS
MODEL

INQUIRY 1 USER
FOR THIS INQUIRY I IDENTIFIED
MYSELF AS THE USER. AS A
GROWING CERAMICS ARTISTS I
WANTED TO DESIGN A SPACE
THAT WOULD COMPLIMENT MY
NATURALISTIC APPROACH TO
MY CERAMIC WORK. CLAY IS
THE PUREST ARTISTIC MEDIAN
TO WORK IN. I DON’T MAKE
THE CLAY INTO ANYTHING IT IS
NOT. THE SPACE NEEDS TO
BE SIMPLE AND NOT TAKE
AWAY FROM THE CERAMIC
PIECES I CREATE.
1

INQUIRY 2 VISUAL
FOR THIS INQUIRY THE USER WAS
TO CHOOSE AND ABSTRACT PAINTED
THAT WE WOULD ANALYZE
PERCEPTUALY AND ON A CARTESIAN
PLAIN. I CHOSE THE WORK OF
ANDREW TOPOLSKI, THE PAINTING IS
ENTITLED “CADENCE”. TOPOLSKI IS A
MIXED MEDIA ARTIST THAT STARTS
WITH AN ACTUAL BUILDING PLAN.
HIS WORK HAS A VERY GEOMOTRIC
LAYERED AFFECT TO IT.
2

PERCEPTUAL
CARTESIAN
THE FIRST STEP IN ANALYZING THE PAINTING WAS BREAKING
IT DOWN INTO FOUR WORDS, THEN DIAGRAMIN THE WORDS.
THEN NEXT STEP WAS TO CREATE FOR BOTH PERCEPTUAL
AND CARTESIAN. THE REACTION IS VERY RHYTHMICAND LITE.
BOTH MODELS WERE ACHIEVED WITHOUT GLUE, AND BY
SCORING AND FOLDING, ONLY ONE SHEET OF PAPER.
3

INQUIRY 3 AUDITORY
FOR THE AUDITORY INQUIRY I CHOSE THE
SONG “FIREBIRD” BY IGOR STRAVINSKY. WHEN
I YOUTUBE THE SONG I STUMBLED ACROSS
DISNEY’S INTERPRITION OF FIREBIRD FROM
FANTASIA 2000. I WAS CAPTIVATED BY THE
BEAUTIFUL IMAGERY AND THE DYNAMIC
STORYLINE IN WHICH THE SPIRIT OF SPRING
AWAKENS FROM THE COLD WINTER ONLY TO
ACCIDENTLY DISTURB A RESTING VOLCANO.
AFTER THE LITERAL FIREBIRD DESTROYS
EVERYTHING THE HURT SPIRIT IS FOUND BY
HER TRUSTED FRIEND AND SLOWLY GAINS
STRENGTH TO RESTORE HER ONCE BEAUTIFUL
FOREST.
4

VOLUME & STORY DIAGRAM
ELEVATION
PLAN
IN THE VOLUME DIAGRAM I INCLUDED
COLOR TO SYMBOLIZE THE EMOTION
ACCURING IN THE STORY LINE. LIKE
THE WAY THE FIREBIRD DESTROYED
NATURE I PICTURED BY BUILDING
DISPLAYING NATURE; HOWEVER, WHEN
I CREATED THE SKETCH MODEL
AFTERWARDS I SAW A MUCH SOFTER
RECTION TO THE STORYLINE.
5

INQUIRY 4 SPACE
IN THIS INQUIRY WE WERE TO
OUTLINE THE USER NEEDS AND
SCALE THEM ACCORDING TO
IMPORTANCE. SOCIAL, BEING
THE MOST IMPORTANT NEED,
WOULD BE COME THE
UNDERTONE OF RTHE WHOLE
PROJECT. AS A FUNCTIONING
STUDIO THE HOUSE MUST
WORK AS A BACK DROP TO
DISPLAY MY WORK AND AS A
SPACE TO BRING POTENTIAL
CLIENTS ALL WHILE STILL
HAVING THE FUNCTIONS OF A
NORMAL HOME.
6

THE HOUSE BECOME A GLASS BOX
VIEWABLE FROM TWO SIDES AND THE ROOF.
THE STUDIO WOULD BE COMPLETELY OPEN
AND THE PRIVATE SPACE ONLY PARTIALY
VISIBLE. THE GALLERY WOULD SERVE AS A
MINIMAL BACK DROP TO DISPLAY THE
ARTWORK. THIS IS FAR DEPARTURE FROM
THE 2 ND AND 3 RD INQUIRIES; HOWEVER, THIS
PLAN SEEMED THE MOST SATISFYING FOR
THE SOCIAL NEEDS AND FUNCTIONAL USE
OF THE STUDIO SPACES
8

PROGRAM ARTIST RESIDENCE & STUDIO 9

UPON COMPLETION OF THE INQUIRIES WE WERE GIVEN TWO
CHOICES OF A POTENTIAL SITE. THE FIRST OPTION IS A RURAL
SITE OVERLOOKING A MARSH LAND OR LAKE WITH NO SPECIFIC
LOCATION. THE SECOND OPTION IS A URBAN SITE (30’X90’)
REMINISCENT OF EITHER SAVANNAH OR CHARLSTON. AS AN
ARTIST IT SEEMS OBVIOUS TO CHOOSE THE URBAN LOCATION
FOR BOTH MARKET AND AVAILABILITY OF MATERIALS. WITH NO
SPECIFIC LOCATION I DECIDED TO DESIGN FOR SAVANNAH. THE
CHALLENGE WOULD BE TO CREATE A PLACE THAT IS
COMFORTABLE TO THE LOCALS, WELCOMING TO GUESTS AND
CLIENTS, BUT STILL REFLECT MY PERSONAL STYLE AND STUDIO
NEEDS. TO THE RIGHT IS A GESTURAL SKETCH OF THE FRONT
ELEVATION. IN THIS IMAGE THE IDEA IS TO PURELY FIT INTO THE
LOCATION. AT THE BOTTUM IS A CONCEPT IDEA ABOUT
CREATED A SIDECOURT. THIS WOULD ALLOW NATURAL LIGHT TO
PENETRATE INTO THE LOWER LEVELS OF THE HOUSE. WITH
HOUSE WITHIN ARMS REACH OF EITHER SIDE OF THE BUILDING
NATURAL LIGHT WOULD BE A CONSTANT CHALLENGE.
INITIAL DESIGN
10

LEV. 1 PLAN
IN ORDER TO ACCOMMODATE THE PLAN FROM INQUIRY 4 TO FIT THE
30’X90’ URBAN SITE I SHIFTED THE STUDIO FORWARD TO THE FRONT.
WHEN GUESTS WALK THROUGH THE FRONT DOOR, INSTEAD OF WALKING
STRAIGHT INTO THE HOUSE, THEY WILL ENTER ONTO A SIDE PORCH WITH A
VIEW OF THE SIDECOURT TO THE RIGHT AND THE STUDIO TO THE LEFT. BY
PLACING THE STUDIO IN THE VERY FRONT OF THE HOUSE THE SOCIAL AND
COMMERCIAL NEEDS WOULD BE SATISFIED. THE STUDIO WILL FEATURE
FLOOR TO CEILING SLIDING GLASS DOORS. THE DOORS WILL ENABLE PLENTY
OF NATURAL LIGHT TO ENTER THE SPACE AND FUNCTION AS A UTILITY
ENTRY FOR STUDIO MAINTINENCE. ONCE IN THE HOUSE YOU FIRST WALK
INTO THE MAIN LIVING SPACE WITH PRIVATE AREAS UP STAIRS. ON THE
REAR OF THE HOUSE WOULD BE A BACK PATIO WITH ACCESS TO THE
ALLEY PARKING AND THE SITE PROTECTED TREE GROWING RIGHT THROUGH
THE PATIO.
11

FACADE
BECAUSE OF THE CLOSE PROXIMATEY OF THE
NEIGHBORING HOUSES I DID NOT WANT TO PUT
WINDOWS OF THE EAST AND WEST SIDES. THIS
WOULD MAKE HAVING NATURAL LIGHT IMPOSSIBLE.
THE SOLUTION IS A WOOD SCREEN ENCASING A
GLASS WALL. THIS WOULD ALLOW NATURAL LIGHT
WITHOUT CREATING ANY UNDESIRABLE VIEW
12

SKETCH
MODEL
THIS MODEL ALLOWS YOU TO GET SENCE OF SCALE TO
THE NEIGHBORING BUILDINGS. THE HOUSE IS
CURRENTLY 24’ IN HEIGHT. THE WOOD SCREEN IS ON
THE WEST FACADE DISRUPTS THE VIEW OF THE
NEIGHBORING BUILDING AND ADDS INTEREST TO THE
HOUSE. THE STUDIO IS VISIBLE FROM THE STREET THIS
WILL ADD PEDESTRIAN INTEREST INTO THE STUDIO
ONCE AGAIN MEETING THE SOCIAL CRITERIUM.
13

SHELVES AS STRUCTURE
14

OPENING WINDOWS AS DOORS
15

EXPOSING STRUCTURE
16

Bohlin Cywinski Jackson
BOHLIN CYWINSKI JACKSON
AS AN ARTIST I TRY NOT TO MAKE CLAY
ANYTHING IT IS NOT. AT FIRST I WAS DESIGNING
THE SPACES MINIMALY. WHEN I DISCOVERD THE
WORK OF JACKSON I WAS CAPTIVATED BY THE
WAY HE EXPOSED STRUCTURE WITH HIGHLY
FINISHED WOODS AND CONCRETES. HE IS TRUE
TO THE MATERIALS HE USES AND CREATES
BEAUTIFUL MEANINGFUL SPACES WITHOUT
ADDING POINTLESS ACCESSORIES
17

EXPOSING INTERIOR
18

STAIRWELL
AS ONE LAST ATTENTION TO
BRING NATURAL LIGHT TO THE
LOWER LEVELS OF THE SPACE.
THE PORTION OF THE HOUSE
EXTENDING BETWEEN THE PATIO
AND COURTYARD WILL BE A
STAIRWELL. THIS WILL OPEN THE
SPACE BETWEEN THE FIRST AND
SECOND FLOOR AS WELL AS ADD
A CONTRASTING ELEMENT TO THE
STONE WALL.
19

PLAN FIRST REVISION
THE PLANS WERE INTENDED TO REFLECT THE AUDITORY INQUIRY. AS THE STORY
BEGINS THINGS ARE CALM UNTIL THE VOLCANO IS AWAKEND. IN THIS CASE THE
VOLCANO IS THE KILN ROOM SYMBOLIZED BY THE ROCK WALL EXTENDING THROUGH
THE BUILDING. AFTER THE VOLCANO HAS RUN ITS COURSE THE STORY CALMS AS
ONE PASSES THROUGH THE LIVING ROOM. KITCHEN MARKS THE RISE OF ENERGY
BACK IN THE STORY. FOR THE FINAL PLANS THE ROCK WALL WAS EXTENDED
THROUGH THE ENTIRE BUILDING AND REMOVED FROM THE WEST WALL. ON THE
SECOND LEVEL THE MASTER BEDROOM BECAME A LIBRARY AND AS A RESULT THE
SECOND BEDROOM WAS EXPANDED TO BECOME THE MASTER.
20

PLAN FINAL
21

FRONT EAST ELEVATION
SCALE 3/32” = 1’
22

FRONT EAST SECTION
SCALE 3/32” = 1’
23

ARTIST RESIDENCE & STUDIO
STUDIO
MORNING LIGHT
24

KITCHEN
MORNING SUN
LIVING RM.
MORNING SUN
25

MASTER BATH
EVENING SUN
MASTER BD.
EVENING SUN
26

FAMILY RM.
EVENING SUN
STAIRWELL
MORNING SUN
27

LIBRARY
EVENING SUN
28

FINAL MODEL
29