Examining Experiential a n d

Spatial Progression Vivian Mogwanja Professor Dudzik

DRAW 115 Spring 2014

May 28th 2014

DESIGN IS TO INVENT WITH INTENT. IF YOU TAKE AWAY THE ‘INVENT’ BIT, YOU HAVE AN ENGINEER. IF YOU TAKE AWAY THE ‘INTENT’ BIT, YOU HAVE AN ARTIST.

— Rebecca Reubens

Design, to me, is the journey of creation. It begins with a form in my mind, and then shapes itself into an idea through my senses. Next it is expressed through my drawings and develops into a form and then a thing, an organism. Through this process, I am able to take what I know and I can see and make it a reality that I can share. Something tangible. This is my draw to design: It is a blend of my intention and invention.

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Precedents in Architecture and Design A look at how to design for Architectural purposes

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Design Literacy A comprehensive look on Modern Architecture

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Savannah: Entry, Path and Place The important parts of Savannah to me and Savannah Maps

28-45

The Giraffe Manor An architectural study of the structure of the Giraffe Manor

60-88

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Design Literacy

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When approaching the design literacy portion of the course, I began by looking at the Iconic Structures in History. These innovative works have birthed the way we view design today.

(from left to right) The Dome of the Florence Ca-thedral - Brunelleschi 1446 - 61 - Florence, ItalyThe Pantheon -Apollodorus of Damascus - c125 - Rome, ItalyHagia Sophia - instructed by Emperor Constantine 360 AD - IstanbulSt. Peter’s Baldachino - Bernini - The Vatican, Rome

These four examples are all religious facilities that date into BC. Each using the inspirations and methods of their individual era’s, the structures consis-

tently used the high ceilinged dome to communicate a sense of the heavens. The circular shape is an example of design that has moved into modern architecture and interiors. we use the vault shape to install a sense of awe and wonder into an interior.

The interiors are then able to commu-nicate the expansive wonder of the architects that created them.

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The domes themselves and their archi-tectural structure is are what are of most interest to me. For instance, the Dome of the Florence Cathedral which was de-signed by Brunelleschi 1446-61 is unrepli-cable by modern architects as the domes support is extremely complex. Brunellchi earned the commissioned for this project by winning a competition on whom can make an egg remain vertical without sup-port. Whilst the other architects attempt to make egg balance,

Brunelleschi crushed the egg against the plate keeping the top

half dome shaped and the bottom half flat.

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As I began to look more at his-torical structures and design, I wanted to bring it closer to home and look at design within my own world and what importance or value it may add to my design literacy. The Jomo Kenyatta Con-ference Center to the left is an example of how African design-ers draw on Western ideas within the context of our own culture.

(top, bottom and right) Hadrian’s Villa - instructed by Emperor Hadrian - 138 CE

- Tivoli, Italy Kenyatta International Convention Center

1967Architect, David Mutiso, chief architect

at Kenya’s Ministry of Public Works.Taj Mahal - Commissioned by Mughal Em-

peror Shah Jahan - 1632

“ GOD SAID THIS IS OUR LAND, LAND IN WHICH WE FLOURISH AS PEOPLE ... WE EAT OUR CAT-TLE TO GET FAT ON OUR LAND SO THAT OUR CHILDREN GROW UP IN PROSPERITY”

- Jomo Kenyatta, Kenyan president, Nyeri, Kenya, 26 July 1952

Landscape has also been a lavished featured throughout history. People have prized their land and its presentation.

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Looking at the design history within the Af-rican content and within my home country, Kenyan opened my eyes to the influence that other cultures have within all aspects of de-sign. This beautifully crafted door is a norm on the island of Zanzibar, Tanzania within their in-timate Old Stone Town City Market. The mar-ket was built the early 1830’s and overseen by the the Sultanate of Oman. It was built in place of a fishing village and adopts the style of the southern Asia and Arabic world. As Eastern Africa was traveled and dominated on the silk road, the influence of the Arabic

world is often seen in the architecture

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Additionally I began to notice how the most variations and intricacies in the African designed structures have a tie to the struggles of the particu-lar country or they are a historically statement. For instance to the left is the mark of when the Ancient Ethi-opian were the most powerful state between the Eastern Roman Empire and Persia. At the bottom of the page is the Cameroonian Monument in which the twin spirals symbolize the joining of the Francophone and An-

glophobe regions of the Nation.

Additionally the Union Building to the right shows the monument of Nelson Mandela in front. As Mandela has be-come a symbol to the South African people of freedom, a statement such as his image speaks toward the de-mocracy and freewill that the Union

Building would want to exemplify.

(from the left clockwise) Aksum’s Giant Stelae - 13th Century - North Ethiopia

Old Stone Town Market - around 1830‘s - overseen by the Sultanate of Oman

Reunification Monument - 1974 -designed by Gédéon Mpando - Yaounde, Cameroon

Old Stone Town Market - around 1830‘s - overseen by the Sultanate of Oman

“When a man is denied the right to live the life he believes in, he has no choice but to become an outlaw.”

― Nelson Mandela

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When a once-beautiful piece of cloth has turned into rags, no one remembers that it was woven by

Ukwa master weavers.

-Igbo Proverb

When looking at the interiors of my study of Kenya and African design, I wanted to move away from the old and introduce the modern and chic design. The introduction of the materials feels like it is the most influential. The authentic African fabric is now being introduced to interior elements such as furniture and roofing. This fabric brings new aesthetic quality into the interior giving spaces more personality and individuality. Another element that is introduced is natural elements such as wood and barks that rep-resents that African tie to the rustic aesthetic.

Safari Home - Suzanne Kasler - 2001African Tribal Interiors

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“Afrikaans stands with one leg in Africa and with the other in the West”

- CL Langenhoven once commented when looking at the Afrikaans Language Monument

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As I continued my exploration of how Africa is moving into the Western mentality, I wanted to study more urban design and how it would boost specifically Kenya, my home, with modern archi-tecture.

I looked at up coming plans in other areas of the world. The Paris Urban development was of particular interest to me shown to the right. It combine both the natural world and the struc-ture of the mall allowing customers to both shop and hike in the same setting. This design allows for double use by pairing urban space such as re-tail, culture and leisure center with a large open landscape that allows for recreational ares, hik-ing paths and urban farming at the center of a city. With the current over crowding crisis, de-signers need to begin to include ways of bring-ing the natural environment back into the urban setting. I am excited to see how Paris will execute this project.

(to the left) Plans for Urban Center, Paris France - designed by Tess, Transolar, Base, Transitec and Michel

(to the left)Vision 2030 designs by Chief Architect Kamweru George K. and his team

The Kenyan project Vision 2030 is a 30 year plan instituted by the government to modernize specifically the capital city, Nairobi, by building new roads, public services and updating public transport systems and so on. This project ensures that Kenya is at the forefront of the development within Africa.

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The Vision 2030 project is a move toward the future focusing on the effect of urban design on business and society. The quote to the right is a detailed outline from the official http://www.vision2030.go.ke/.

Vision 2030 designs by Chief Architect Kamweru George K. and his team

“The Kenya Vision 2030 is the national long-term development blue-print that aims to transform Kenya into a newly industrializing, middle-income country providing a high quality of life to all its citizens by 2030 in a clean and secure environment.The Vision comprises of three key pil-lars: Economic; Social; and Political. The Economic Pillar aims to achieve an average economic growth rate of 10 per cent per annum and sustaining the same until 2030. The Social Pillar seeks to engender just, cohesive and equita-ble social development in a clean and secure environment, while the Political Pillar aims to realize an issue-based, people- centred, result-oriented and accountable democratic system.”

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The above picture is from my Design Literacy study of how the art world has influenced the world of design. Here is an example of how the designer has used Pablo Picasso’s Cubism movement

and applied it to the structures design.

Piet Blom - Cube Houses -Rotterdam, Netherlands

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S a v a n n a hEntry, Path and Place

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Savannah is built around a very structured and rigorous plan.This was all bases around the idea of the ward. With all the wards, make up Savannah City.

The Plan of Tel fair WardThe basic organizational unit for the city was created by General James Oglethorpe in 1733. Each Unit, called a ward contained one open public square. Four trust lots to the east and west of the square for the civic and institutional needs of the citize3nery eight tything lots which provided 40 residential parcels to the north and south and a hierarchy of street typologies.

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The entrance to the SCAD Museum and Eichberg Courtyard was the most memorable part of my SCAD day . I remember it so clearly.

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This is the building on River Street that holds the two restaurants, Huey’s and Tubby’s. I find these important to me because I continuously bring my guests here.

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Below is the Civic Center parking lot. This represents the my more every day intro-duction to Savannah. I walk through it everyday.

To the left is my sketch of the Train Station. This place literally marks my arrival to Savannah.

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The art store in City Market is always a stop-by store for me. It reminds me of the artistic and influent nature the entire city. It is

always so vibrant and full of life.

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The Waving Girl was a path for me to go to work every week-end. It is so beautiful in the morning light.

This is an entrance to me every day for my freshmen year.

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This image is of the interiors of the Savannah Free boat that travels to the South Carolina Savannah edge. I chose this structure as my interior space as it is a mobile structure that travels a path.

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These two images represents my new understanding of this new place as I am fascinated with the historic influence within the city. The City Hall is so in-tricate and the parks create a great dynamic amongst the building structure.

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Precedents in Architecture

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The The Paris Opera is the primary opera company of France. It was founded in 1669 by Louis XIV as the Académie d’Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra.

This was my first use of tracing as a technique of rendering and I think it was successful as I was able to focus less on the accuracy of forms and structure

therefore allowing more emphasis on the details.

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Our study of Flilippo Brunellechi’s, Church of San Spiri-to, Florence Italy, 1434, furthered my understanding on how a designer renders and presents a building. As-pects of design such as circulation must be considered.

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Andrea Palladio’s, La Rotonda (Villa Capra or Almerico in Vin-cenza, Italy 1566-1571 was our next study of how to format a rendering and which renderings to include when doing this.

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“Was there any other modern architect with such a sense of re-strained luxury as Mies Barcelona Pavilion?”

-William JR Curtis

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The Barcelona Pavilion designed by Lud-wig Mies van der Rohe, was the German Pavilion for the 1929 International Expo-

sition in Barcelona, Spain. This building was used for the official opening of the

German section of the exhibition.

Our study of the ground plan, sections and elevations on the previous page fol-

lowed by the isometric study shown to the left helped understanding of how a

ground plan and sections correlate with the more difficult isometric rendering .

I can now understand how one drawing acts as your map and the others as your

compass.

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The Unity Temple is a Unitarian Universalist church in Oak Park, Illinois, and the home of the Unity Temple Unitarian Universal-ist Congregation. It was designed by the American architect Frank Lloyd Wright, and built between 1905 and 1908. Our consid-eration of the effect of poche and its aes-thetic within a rendering was the my most understood aesthetic from this project.

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THE GIRAFFE MANOR

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The Giraffe Manor is a 6 bedroom Colonial 1930’s style house that is now used as an exclusive resort for the elite.

It is home to the African Fund for Endangered Wildlife, commonly known as the Giraffe Centre. Founded in 1979 as a core breeding

center of the endangered Rothschild’s giraffe and further escalated its conservation efforts in 1983, opening up an outstanding envi-ronmental education center for the Kenyan youth. The Giraffe Manor is a beautiful and intricate example of design in Kenya which resonates throughout history.

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The Manor was modeled on a Scottish hunting lodge, and was constructed in 1932 by Sir David Duncan, a member of the Mackintosh family of Mackintosh’s Toffee Farms on 150 acres (61 ha) of land running down to the Mbagathi River, the southern boundary of the city of Nairobi. In the 1960s the Manor was purchased by a local in-vestor who leased it to a succession of people, including the late Dennis Lakin, before it fell into disrepair, unoccupied. In 1974 the Manor was purchased by Betty Leslie-Melville and her hus-band Jock, along with 15 acres (6.1 ha) of the

original 150 acres (0.61 km2).

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Bought in 1974 by Jock Leslie-Melville, Grandson of a Scottish Earl, the Giraffe Manor’s history is undeniable. Together with his wife Betty, they founded the African Fund for Endangered Wildlife and trans located five baby Rothschild’s giraffe to their property. They are the only people to have ever successfully raised wild giraffe, which have now grown and had babies of their own.When Jock died, Betty opened her spacious elegant house to visitors. Con-servationist Betty Leslie-Melville, often called the “Giraffe Lady,” because of starting up of the Giraffe Center as well as the Elephant Orphanage next door.

The resonating Colonial English influence within the design is extremely evident through out the manor. An example of this is shown above in my rendering of the deep browns that echo both in the floor boarding and the wall panels.

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However the decor within the Manor has not simply coupled with the Colonial English structure of the house.

The influence of the different cultures that affect Kenya are evident throughout the hotel. Sculptures and art work that are made by locals can be seen as well as the Arabian wood framing of the mirror in my sketch on the next page.

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The largest attraction of the Giraffe Manor to visitors from all around the world is the Breakfast Room. This is the only hotel in the world in which one can have breakfast with a giraffe. The Rothschild Giraffe’s reach their heads into the room and eat off of the guests plates. Interestingly this means that the menu in this room includes only fruits, granola cereals and yogurt.

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Betty’s Room

Daisy’s RoomKaren Blixen

Suite

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Beginning the floor plan of the Giraffe Manor was an adventure as there was no architectural designs to guide me and I was not familiar with all parts of the manor. Therefore a lot of my time was spent with the layouts and understanding of the home using the below information

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Theses are the floor plans of the Giraffe Manor.

The plan below shows the Ground Plan and the plan below shows the 2nd Floor Plan

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This is a sectional cut through the kitchen and the Karen Blixen Room that exposed how the side of the work.

This is an elevation looking at the Side View of the Breakfast room showing the dynamic of the different edges of the Manor.

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This sectional view exposes the front lobby and the way in which the fire places work within the home.

This elevation shows the dynamic of the back of the manor with a focused view on the Karen Blixen Room .

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These are my isometric views of the Giraffe Manor. These show a better understanding of how the inside of the Manor works.

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This is my comprehensive study of Architectural structures in DRAW 115. Thank you for viewing