Designing an Artifact for a Lounge - Essay Example

Harmony: Designing My Piece to Harmonize with the Whole Designing an artifact for a lounge may not seem like a daunting prospect in itself or, indeed, a difficult task by any measure. At the outset, therefore, I assumed that my role in the project, as that of all group members, was going to be relatively uncomplicated. This was not the case. The lounge artifact which I was supposed to design had to complement and communicate Whirlpool's logo, slogan and theme, on the one hand, and had to be in harmony with the entirety of the lounge, with al its variant artifacts, on the other, so that the area ultimately emerged as a unified whole. As I reflected upon the ways and means by which I may achieve this simultaneously straightforward yet complex task, I found that I had two possible options. The first, which I immediately dismissed as a non-option, was for me to hold off until all designs were finalized, following from which I could design my furniture piece around them. This was an unrealistic notion since group members were committed to the same deadline and were I to wait until the last moment, not only would I be holding the group project back but, in essence, would not be leaving myself enough time to work on my design. The second option, therefore, imposed itself upon me as the only feasible one. As per this option, I had to remain within the boundaries of our selected logo and slogan, ensure that my furniture piece, in and by itself, complement and communicated the said logo and slogan, not to mentioned the ambience which we, as a group had decided upon. Added to that, I had to go through the relevant academic literature on the topic for the purposes of easing the task at hand through the provision of a guideline for furniture design and design ideas. As I was reading through the said literature and browsing through the Internet, I discovered that the concept of design detail was extremely important. A designer is not supposed to just focus on the overall appearance of the piece but must pay particular attention to every detail which contributes to the said appearance and which contributes to the functionality of the piece and the extent to which it satisfies its objectives. My piece (couch, sofa, chair, seating area) had to satisfy a number of objectives. It had to be inviting, comfortable, easy on the eyes, and in sync with the entirety of the lounge. The rationale behind the mentioned objectives is that the seating area has to be comfortable enough so as to encourage patrons to spend longer periods of time in whirlpool. It also has to be inviting and warm in order to motivate patronage of the place. In other words, I rationalized the listed design objectives as being integral to the promotion of Whirlpool as a comfortably, friendly and warm place where patrons cannot only be assured of quality service but of an ambience which helps them to unwind and relax. Additional objectives emerged from a consideration of the Lounge's theme, logo and slogan. Whirling, soothing water dominated the aforementioned and hence, it had to be somehow communicated through and integrated within the design of my piece. Whirls and swirling lines can do so and therefore, the structure of my piece included the stated just as the pattern include swirl images. It did so, however, in a subtle way so as to communicate the message without screaming it out loud, potentially disturbing and annoying visitors and distracting them from the entirety of the lounge. In other words, design subtlety was motivated by the imperatives of my piece fitting in with the rest and of forming part of a whole and of ensuring that it did not stand out from the rest. By adhering to the above stated guidelines and objectives, my furniture piece ultimately became part of a whole and combined with that whole to communicate the Lounge's theme. Journal Details are everywhere. They are born out of the materials or the construction process used. At times they become transitions between elements, where a closer examination of the type of joint or corner becomes the challenge for an interior designer. Sometimes the design details are used to conceal flaws in construction such as the baseboards used to hide any gaps between the floor and the wall planes. In addition, there are examples where detail becomes an expression of unseen conditions, such as, non-structural pilasters acting as a symbol for the actual structure that is buried in the wall behind. A historical example can be seen in the work of the architect, Louis Sullivan, who implemented the ornate detailing to mask the columns of the Chicago Auditorium. Sullivan's detail relied on the strength of its appearance. In contrast, the Farnsworth House by Ludwig Mies Van Der Rohe revealed the power of the exposed structural steel columns. It is a celebration of the performance aspect of a detail. "His progressive refinement of connections, structure, and space" imparts the importance of the continual re-examination of details also required by all interior designers in their own design strategies. (Lambert, 2001, pp. 25). Details communicate the designer's intentions and contribute to the development of the overall environmental impression. A thorough understanding of the influence and appropriateness of design details to the development of the overall impression is essential, otherwise, "inappropriate details are as destructive in interior design as clumsy brush strokes in painting or discordant notes in music." (Abercrombie, 1990, pp. 143). To clarify my own understanding of what a detail is, a search for the potential properties was required. The unraveling will determine the specific definition that will guide the subsequent design. The first step was to collect definitions from various disciplines, as there is no specific interior design definition. Architecture, Building Construction and Fine Art terms were referenced and noted for where linkages could be made. An overview of the findings will highlight the research. According to the Architecture sources, scale, is the reiterated element, where a detail is defined as a minor part. Each definition indicates that the importance of the detail is in belonging to a whole design or concept. (Dictionary of Architecture, 1952). The Building Construction dictionaries prefer to stress the importance of the detail drawing, which emphasizes the detail's need for quantitative information such as dimension, materials, number of pieces, location, correlation of elements, and operations to be performed. (Architecture and Builders' Trades Dictionary, 1969). Finally, in Fine Arts the detail defines the character of the overall image, where a detail is "essential to its truth or finish" (A Dictionary of Terms in Art, 1984). According to Kilmer and Kilmer in Designing Interiors there is a framework to design approaches that is related to the understanding of what a detail involves. In defining the intention of the design detail, a guideline was emerged for the investigation of the components. Will the proposed detail be functional or visual The function may be intended as decorative, but the five approaches will then determine the style (naturalistic, organic, geometric, abstract and metaphoric). A function of structural intent would follow a similar path. The goal of the detail may also aid in choosing the path, a relaxing atmosphere may be suited to a naturalistic approach. Basically, an understanding of the intent of the design detail will guide the path to understanding its defining properties. As details are part of a design strategy they inherently entail both the elements and principles of design. Keeping the elements and principles in mind aids the understanding of what characterizes a detail. ELEMENTS of design 1. Space 2. Line 3. Form 4. Shape 5. Texture 6. Mass 7. Volume 8. Colour 9. Light and Shadow PRINCIPLES of design 1. Balance 2. Rhythm 3. Emphasis 4. Proportion 5. Scale 6. Unity 7. Harmony 8. Variety 9. Contrast An interesting note found in the literature search is by the author, Ambercrombie, in A Philosophy of Interior Design, where he states that the rhythmic effect is the primary aim of all formal ornament. Arnbercrombie further states, "however successful a pattern may be in other respects, if it strikes anywhere a false rhythmic note, its case is hopeless" (Ambercrombie, 1990, pp. 150). What the author clarifies is that the rhythmic sense is drawn from a primitive origin, song and dance, and is a principle people naturally respond to. Drawing from the literature on design, it is possible to outline a Furniture Model, as in a framework which encompasses the particular aspects of design detail which the designer is supposed to focus upon when drawing up a piece: 1. Composition - encompasses both material and construction methods. Requires a description of the natural, organic, or synthetic materials involved. Also included is the method used to produce the detail and a physical description of the detail's appearance. 2. Element -refers to the design of the detail as referenced previously from Kilmer and Kilmer 3. Principle - refers to the design of the detail as referenced previously from Kilmer and Kilmer 4. Approach - refers to the examples previously stated as naturalistic, organic, geometric, abstract or metamorphic 5. Uses - refers to the classification of the function of a detail, which is defined as something that works in regards to fulfilling an intention. (Grillo, 1975). The use is defined as the performance of the detail. 6. Durability - observation of the wear-ability, strength, abrasion resistance, ability to be repaired, soil resistance, or colorfastness. 7. Social Function - how does the detail aid human performance 8. Emotional Value - refers to the classification of the value of a detail, which establishes quality and the response to personal need. Emotional value identifies what the intended response is. 9. Economic Value - is estimated using information regarding the craftsmanship, materials, designer, age innovation, rarity, or condition of the detail. Bibliography Abercrombie, S. (1990). A Philosophy of Interior Design. New York: Harper & Row Publishers. Grillo, P. J. (1975). Form, Function, and Design. New York, N.Y.: Dover Publications, Inc. Kilmer & Kilmer. (1992). Designing Interiors. U.S.A.: Harcourt Brace College Publishers. Lambert, P. (2001). Mies van der Rohe: The Difficult Art of the Simple. Montreal: Canadian Centre for Architecture. Read More