Hayley's Portfolio Part 2

INTRODUCTION CLIMAX

CONFLICT

{SERIES OF EVENTS

S E Q U E N T I A L S P A T I A L N A R R A T I V E

DESIGN INTENT: SEQUENTIAL SPATIAL NARRATIVE

“To tell a story metaphorically representing a plot narrative in literature and its phenomena of personal emotional escapism, experienced and spatially articulated through sequence.”

PROCESS . Intent Diagram & Statement of Intent, what I wanted to achieve spatially through use of a spatial literary metaphor, a meaningful experience.

VEHICLE: bookstore/ consignment shop

HOW CAN NARRATIVE CREATE A MORE MEANINGFUL RETAIL EXPERIENCE?

consigning books

searching for & buying books

reading books/ treasuring antiquities

CONFLICT

AMBIGUITY

CLIMAX

FUNCTION:

FINAL DESIGN . Axon view of entire space, top floor: “climax” tearoom/reading space, middle floor: “ambiguity” retail space, basement: “conflict” consignment.

5

432

1

Tearoom/Reading Space

Basement:Consignment

Retail space:sequence search-ing for books

Retail space:ambiguity &duality

5- PART SEQUENCE

Retail Space: tojourney up stairs or down

PROGRAM: approx. 3375 SF total

1125 SF TEAROOM/ READING SPACE

1125 SF RETAIL SPACE/ POINT OF PURCHASE

750 SF STORAGE/ CONSIGNMENT/ MANAGER OFFICE

80 SF BREAK ROOM

260 SF RESTROOMS (2)

CONCEPT . My intent of Sequential Spatial Narrative was inspired by literature, it prompted me to explore how space as a metaphor for conflict & climax could emulate & enhance the phenomena of emotional escapism that we experience when reading, physically. This interest developed into a 5- part narrative sequence that one embarks on through the space: 1 introduction, 2 series of events, 3 conflict, 4 series of events, & 5 climax, as one would find in a novel. The literary metaphor was driven by the duality of “conflict” & “climax” & what happens in between them, defined as “ambiguity,” these became the spatial language as well as the symbolic vertical relationship between the 3 floors, climax as “heaven,” conflict as “hell.” I decided the best vehicle would be a bookstore/consignment shop- its function & objects have story of their own, interweaving with the narrative.

C a p s t o n e T h e s i s1.


IS THERE A RELATIONSHIPBETWEEN SPACE & LITERATURE?

FINAL DESIGN . Longitudinal Section & Floor plans showing vertical relationship between climax, ambiguity, conflict, & the 5-part narrative sequence.

PROCESS . Spatial Qualifiers, finding the commonalities between literature & space, inspired by the dual symbolism in Jane Eyre.

LITERATURE:

ambiguity

connection

hierarchyduality

symbolism

using a spatial intervention to illustrate qualifiers:

duality . symbolism ambiguity . sequence connection . hierarchy

SPACE: “I faced the wreck of the chestnut-tree; it stood up black and riven: the trunk, split down the centre, gaped ghastly … their great boughs on each side were dead, and next winter’s tempests would be sure to fell one or both to earth: as yet, however, they might be said to form one tree—a ruin, but an entire ruin.” - From Jane Eyre by Charlotte Bronte

sequence

SPATIAL EXPERIENCE:

CONFLICT

AMBIGUITY

CLIMAX

open . embracing . light . order .“heaven” . colorfulTEAROOM/ READING SPACEROLE OF BOOKS: SEPARATE FROM THE ARCHITECTURE

uncertainty . journey between .“purgatory” . greyRETAIL SPACEROLE OF BOOKS: INTEGRATED& SEPARATE

closure . disorder . dark . “hell”CONSIGNMENT/ BACK OF HOUSEROLE OF BOOKS: INTEGRATEDINTO THE ARCHITECTURE

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CONFLICT

AMBIGUITY

CLIMAX sequence & relationship between

2ND FLOOR

BASEMENT

MAIN FLOOR

3 3 4

2

5

2nd

Main

Basement 2nd MainBasement

1

PROCESS . I was inspired by Jane Eyre & the duality in the book. When she & Rochester express their mutual love, lightning strikes a tree, splitting it in half- an omen of an ill-fated relationship, or symbolic of two halves of a whole? I researched experiential projects & developed my list of qualifiers from the commalities I found between literature & narrative space, using them to enhance the function & experience of my bookstore.

Using the 5-part sequence & these qualifiers, I started to identify the emotion & symbolism of each floor & how the books themselves would contribute to the story. The conflict would be in consigning, reading as the ulitmate climax, & ambiguity as decision/search, books would become also part of the design & spatial language. Light vs. dark, order vs. disorder, etc.


PROCESS . Concept & Spatial Models, having two polarities bridged in some manner to create a journey or meaning...duality. Conflict to ambiguity to climax.


1 RETAIL SPACE: VIEW OF DUALITY OF CONFLICT AND CLIMAX

AMBIGUITY:BOOKS ARE BOTH SEPARATE AND INTEGRATED INTO THE ARCHITECTURE - AMBIGUOUSLY DISPLAYED.THE ONLY BOOKS VISIBLE UPON ENTRY ARE SEEMINGLY UNTOUCHABLE...

5-PART NARRATIVESEQUENCE

1 INTRODUCTION2 SERIES OF EVENTS3 CONFLICT4 SERIES OF EVENTS5 RESOLUTION OF CONFLICT (CLIMAX)

2ND FLOOR: ClimaxMAIN FLOOR: Ambiguity BASEMENT: Conflict

HOW DO THE BOOKS THEMSELVES CONTRIBUTE TOTHE STORY?

MATERIALITY

CLIMAX AMBIGUITY CONFLICT

FINAL DESIGN . Perspective Rendering, starting with the beginning of the sequence, the first floor retail area.

Concept Model

OriginalSpatialModel

HOW duality ambiguity hierarchy symbolism sequence connection

BECOMESEQUENTIALSPATIALNARRATIVE...

Early concept models above express the experience of a spatial narrative & duality. Two parallels with an uncertain journey (ambiguity) between them make the space an engaging discovery.

The books are integral to the spatial story in function & design, displayed in accordance with the experience. The gold columns from CLIMAX pierce downward & the dark, carved columns penetrating upward from CONFLICT show that AMBIGUITY is uncertain, where two worlds collide, especially near the openings where books are suspended between the two column types. In AMBIGUITY, as broken arches form walls & angle like turning pages, hidden books are found. In CLIMAX, they are treasured antiquities, free from the architecture, encircling the opening, looking down to CONFLICT, where books form walls.



PROCESS . Spatial Intervention Model & Schematic Design Phase, using a sculptural entity to define qualities of conflict & climax spatially & drive the sequence.

FINAL DESIGN . Perspective Rendering, Main Floor retail space, AMBIGUITY, where one is in an uncertain, undefined space between CONFLICT & CLIMAX.

2 SEQUENCE THROUGH RETAIL SPACE: SEARCHING FOR BOOKS

AMBIGUITY:BOOKS ARE REVEALED, FACED BACKWARDS TO CREATEAMBIGUITY...

3 CONSIGNMENT

CONFLICT:BOOKS INTEGRATED WITH THE ARCHITECTURE.BOOKS ARE SOLD... ONE’S CONFLICT, ONE’SRELEASE...”ONE PERSON’S TRASH IS ANOTHER’S TREASURE...”

FURNITURE

CLIMAX

AMBIGUITY

CONFLICT

SpatialInterventionModel /SchematicDesign

1 2 3 4 5

The Spatial Intervention Model/ SD Phase attempted to combine the feeling of my study models & 5-part sequence into the actual space. This literal sculpture helped me refine the spatial language into reality. The sculpture would eventually be erased, leaving behind its inherent qualities, the essence of the journey between AMBIGUITY, CONFLICT, & CLIMAX & my 5-part sequence. I defined my color scheme & aesthetic integrity, & created the openings in the floors of CLIMAX & AMBIGUITY that would act as the focal of the space, the moment where two polarities exist simultaneously. One experiences uncertainty, like a character in a novel.

AMBIGUITY, searching for books, is a metaphor for unfolding events, as consigning a precious book in CONFLICT symbolically represents a literary conflict.



PROCESS . Design Development, the parti model became spatial language, DD phase was successful in CONFLICT & CLIMAX, AMBIGUITY was too straightforward.

FINAL DESIGN . Renderings, the stairs representing the moment of decision between floors, & the Tearoom/Reading Space, the CLIMAX of the spatial story.

4 RETAIL SPACE: THE MOMENT WHERE THE USERBECOMES THE PROTAGONIST: TO THE CONFLICT OR THE CLIMAX?

AMBIGUITY:THE MOMENT OF DECISION- TO BUY, TO SELL, OR TO READ...

5 TEA ROOM/ READING SPACE

LIGHTING

CLIMAX: BOOKS ARE SEPARATE FROM THE ARCHITECTURE, EMBRACING...PRECIOUS ANTIQUITIES AND THE ACT OF READING ARE THE CLIMAX..

SconceClear, fluted glass tubes with amber

balls and polished nickel

PendantPiastra glass panels with polished nickeland frosted acrylic

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DesignDevelopment

CONFLICT

AMBIGUITY

CLIMAX

FIRST LEVEL ABOVE

40 1 2 8

CONSIGNOFFICE/

STORAGE

WOMENS

GLASSELEVATOR

MENS

UP

BREAKROOM

LOCKERS

STORAGE

FULL HEIGHTCONCRETE

WALLSMADE UP

OF BOOKS

STORAGE

130 SF 130 SF

80 SF

750 SFCARVED

ARCHWAYS

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BASEMENT LEVEL FLOOR PLAN1/4" = 1'-0"1

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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0 1 2 4 8

WALL OF

BOOKS

TEACUPS

EMERGENCYEXIT

BOOKS IN TREADS

GLASSOPEN TO

BELOW

POINT OF PURCHASE

RETAIL SPACE

ENTRANCE

EXIT

GLASSELEVATOR

UPOPENINGABOVE

JEWELRYCASES

BASEMENTSTAIR

BELOW

28'-7

"

51'-0"

1125 SF

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MAIN LEVEL FLOOR PLAN1/4" = 1'-0"2

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0 1 2 4 8

TEABAR

OPEN TOBELOW

TEA ROOM/READING SPACE

FLOATING PANELABOVE

MOST EXPENSIVEJEWELRY

GLASSSTAIRS

DN

GLASSELEVATOR

BOOKSHELVES

1125 SF

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2nd LEVEL FLOOR PLAN1/4" = 1'-0"3

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Instead of relying on a sculpture, I needed to finalize the spatial language, the parti model above expressed thoroughly the aesthetics & emotions I wanted to communicate with CLIMAX, AMBIGUITY, & CONFLICT. My DD scheme wasn’t completely successful, AMBIGUITY was too straight-forward, the journey didn’t unfold. I needed to study the proportions, colors, & inherent qualities of the parti model & add them to my design so that the middle floor truly was a journeybetween polarities, I hid the books, even under glass flooring, created a grey, nondescript palette, & faced shelves backwards.

The parti model led me to a heavenly, colorful pavillion-like CLIMAX, an AMBIGUITY space very much in limbo, & a CONFLICT space contrastingly, heavy & dark, books seemingly excavated from the walls.



Pioneer Square

SITE:(current site of Laguna Vintage Pottery)116 S Washington - Seattle, WA

(Pioneer Square Historic District- cultural/artistic heart of Seattle)

FINAL DESIGN . Physical Model showing the finished design, elements of the parti model & Site Analysis, as well as its contextual relevance & role in the story.

THE BUILDING & BOOKS WITHIN HAVE A STORY OF THEIR OWN... PART OF THE NARRATIVE’S CLIMAX WOULD BE BEINGABLE TO LOOK OVER BEAUTIFUL OCCIDENTAL PARK WHEN ONE REACHES THE TEAROOM.

Final 5-Part NarrativeSequence

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FIRST LEVEL ABOVE

FULL HEIGHTCONCRETE

AND BRONZEWALLS

MADE UP OF BOOKS

CARVEDARCHWAYS

420 1 8

CONSIGNOFFICE/

STORAGE

WOMENS MENS

BREAKROOM

LOCKERS

STORAGEBELOW

STORAGE

130 SF

UP

GLASSELEVATOR

44

FIRST LEVEL ABOVE

FULL HEIGHTCONCRETE

AND BRONZEWALLS

MADE UP OF BOOKS

CARVEDARCHWAYS

420 1 8

CONSIGNOFFICE/

STORAGE

WOMENS MENS

BREAKROOM

LOCKERS

STORAGEBELOW

STORAGE

130 SF

UP

GLASSELEVATOR

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BASEMENT LEVEL FLOOR PLAN1/4" = 1'-0"1

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EMERGENCYEXIT

BOOKSIN TREADS

BASEMENTSTAIR

BELOW

BOOKSBENEATHHINGEDGLASSFLOORENTIREFLOOR

CLOSEDSIDE

LAQUER

ARCHESASSHELVES

RESIN PANEL

BOOKSABOVEONE SIDE

OPEN SIDE BOOKSFACED

BACKWARDS

0 1 2 84

GLASSFLOOR

POINT OF PURCHASE

RETAIL SPACE

ENTRY

EXIT

UPTO 2NDFLOOR

GLASSELEVATOR

OPENINGABOVE

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EMERGENCYEXIT

BOOKSIN TREADS

BASEMENTSTAIR

BELOW

BOOKSBENEATHHINGEDGLASSFLOORENTIREFLOOR

CLOSEDSIDE

LAQUER

ARCHESASSHELVES

RESIN PANEL

BOOKSABOVEONE SIDE

OPEN SIDE BOOKSFACED

BACKWARDS

0 1 2 84

GLASSFLOOR

POINT OF PURCHASE

RETAIL SPACE

ENTRY

EXIT

UPTO 2NDFLOOR

GLASSELEVATOR

OPENINGABOVE

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MAIN LEVEL FLOOR PLAN1/4" = 1'-0"2

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123 4

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GOLD RESINCEILING PLANE

ANTIQUITIESCLASSIC NOVELS

DN

BOOKSHELVES

BOOKSHELVING

2 80 1 4

TEA ROOM/READING SPACEOPEN TO

BELOW

GLASSELEVATOR

OPEN TOBELOW

BARSEATING

TEABAR

TEACUP DISPLAY

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2nd LEVEL FLOOR PLAN1/4" = 1'-0"3

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5 BOOKSIN TREADS

BOOKS INGLASS

FLOORSPINES UPHINGED TO

OPEN

BOOKSIN FLOOR

PAGESDOWN

LIT GOLDGLASS

COLUMNS

OCULUS

FIGUREDBRONZE

SECONDLEVEL

CLIMAX

MAINLEVEL

AMBIGUITY

BASEMENTLEVEL

CONFLICT

10 2 4 8

RETAILSPACE

TEAROOM/READINGSPACE

CONSIGNAREA

TEABAR

STORAGESTORAGE

GLASSFLOOR

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WEST SECTION1/4" = 1'-0"4


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CONFLICT

AMBIGUITY

CLIMAX

DESIGN . I studied my parti model, reconciling how CLIMAX, AMBIGUITY, & CONFLICT could be symbolic, yet functional spaces. The spatial narrative combines with a functional story, books as a nostalgic treasure. The true climax of the space, is reading in the tea room. Antiquities surround the opening in the pavillion-like space, lit by a floating panel, glass columns, colored baubles & an oculus. The journey through the space is the search for books, obscured at first, suspended, faced backwards in vast greyness. Like a protagonist, one must choose to buy, read, or consign, the stairs are a journey upward to heaven, or down to hell. The conflict lies in the act of selling a book. The truest essence of the space is seen in the moment on the glass u-turn, looking upward through a circular opening into climax as light glows while beneath you, the glass floor floats on the foreboding conflict space.

PROCESS . Final Design, overlaying the 5-part sequence on the final design & spatial language, the completed story & marrying of concept & function.


Hayley's Portfolio Part 2

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