1) Blog for Week 8 (Even though class does not meet):
Theater of the Bauhaus. From your reading that is in the drop off, pick out the salient points that you found and post them to blog for everyone in class to discuss. Try to tie the reading into our projects.
2) Island Getaway (ID1605). As with the U-theatre this week, on Week 9 we will post the Island Getaway as a work in progress. Follow your deliverables list from last week’s blog.
3) Mid term programming for Island Getaway (everyone does this). Remember to e-mail me your completed programming by 1PM of Week 8, as class does not meet due to Labor Day. Todonnell@aii.edu or venicetim@yahoo.com
4) By Week 9 the lobby plans and section for the U-theatre should be complete along with your lighting fixture choices. MAKE SURE TO INCLUDE AN RCP FOR THE LIGHTING.
5) For Week 9 we will pin up the work in process of the last step in the U-theatre projects:
Seating and acoustics (looking at in procress along with Island Getaway).
Here are the deliverables:
A) Using the research that the class did in earlier blogs choose specific seating and acoustical treatments for the U-theatre.
B) Layout seating as you like in plan or whatever detail, make sure you know what your total count is and that they fit the space. You will need seating dimensions spacing, etc. You don’t have to draw every seat, but the information needs to be clear and accessible (The “silver bible” Time Saver Standards is a good resource).
C) Address the acoustical treatment of your space. Make choices based on the previous research (and more if needed) done on the blog. Find a way to represent your choices in your project drawings.
NOTE: There will be another blog that I will post during Week 8
FOR WEEK 11:
• Burn copies of your assignments to CD for me to keep (scan non-digital work).
• Turn in hard copies of your assignments on 11” x 17” paper
(DO NOT STAPLE). Copies only as these will go into permanent files and will not be returned to you.
Off you go.
Thanks,
~Tim
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10 comments:
Hi Tim-
I may be under a rock for asking this question but....
Is it possible for you to list the silver bible, of which you speak?
Can you bring it to class if you have it - do we have it in the library?
Thank you
Time-Saver Standards for Interior Design and Space Planning by Joseph DeChiara, Julius Panero, Martin Zelnik, Julius Panero, Martin Zelnik
* Publisher: McGraw-Hill
* ISBN-13: 9780071346160
There is a copy in the library.
Great book.
I blogged previously regarding the Bauhaus reading, so I will share it again for this blog because my findings would likely be the same...
For the Bauhaus reading, I must say that it wasn’t the easiest to get through, but I did find its content to be interesting. The correlation between the lighting for their project (Bauhaus) and ours (U-Theater) were invaluable in many ways. One part I really liked, from the section by Gropius, is the quote that describes how thorough and forward thinking a lighting designer should be so that the “keyboard for light and space” is flexible enough to adapt to any theater director’s vision. This is an extremely important element because of all the different events and costuming that can evolve on a stage in which lighting would have to be adjustable. Schlemmer goes on to discuss the costuming aspect and that of man being the “central” aspect of performances and the cohesiveness needed in order to achieve balance. The section written by Moholy-Nagy was perhaps my subconscious way of wanting my addition to resemble a likeness to the circus, but with a sophisticated flair, because it was a form of “historical theater” which brought much joy as well as design development in the early years. It is evident that the book on the Bauhaus was quite theoretical with a lot of passion and desire for good design poured into its pages. The book’s profound nature is inspiring in many ways and forces me, as a designer, to think and act on a different level when it comes to design development.
Good points Jamie! As design students and faculty we should take advantage of opportunities to experiment with theoretical processes to widen our potential just as the Bauhaus did.
I found the first page of the section by Oskar Schlemmer quite provocative. I will talk about it piece by piece.
The history of the theater is the history of the transfiguration of the human form. It is the history of man as the actor of physical and spiritual events, ranging from naïveté to reflection, from naturalness to artifice.
It is interesting how closely the history of theater parallels physical history, from a time when only men could act, to a time where people aren't needed at all. Each era of human society has it's own interpretation of life around itself, and feels driven to represent it via the stage.
The materials involved in this transfiguration are form and color, the materials of the painter and sculptor. The arena for this transfiguration is found in the constructive fusion of space and building, the realm of the architect. Through the manipulation of these materials the role of the artist, the synthesizer of these elements, is determined.
He says that the materials of theater are form and color, both of which are revealed by light. without the deft manipulation of light the representation of life through theater would not have the emotional and psychological impact that it does. And these are housed and shown in our world, the world of architecture. We as designers therefore have a solemn duty to create theaters that can accurately portray the thoughts of the directors. Through this we have the potential to change the world.
Those are all interesting points you found, Seth. It seems that many aspects of the arts, architecture specifically, parallels its development with humans psychologically and humans physically, be it culture, measurements of man, or forms created in an anthropomorphic way.
"The art of the stage is a spatial art, a fact which is bound to become clearer and clearer in the future. The stage, including the auditorium, is above all an archtectonic-spatial organism where all things happening to it and within it exist in a spatially conditioned relationship."
This excerpt from the Bauhaus Theatre book specifically caught my attention. This reminds me of the first day of Business Computing class this quarter during introductions. We had to tell something about ourselves, and I shared how I used to dance competitively. The teacher made a connection that I had really never completely made myself before. How obvious is it that dance is an expression of space, and how it can be related in that sense to interior design. Like the article states, other aspects of form are color and light. In previous blogs it was stated that light was used as a different medium for graffiti art, giving a unique play on the use of light to define space. I find it quite appropriate that we are designing a space thats main purpose is to showcase other such arts which use a different means of defining the same space.
Theater of the Bauhaus book I printed out and is good read. It seemed as though they were thinking about lighting ..no pune intended...in a whole new light. From performing arts displaying the movement of a person as an object in space as an art form. Very abstract way of thinking about lighting helped new ideas grow.
Walter Gropius said “The contemporary theatre architect should set himself to aim to create a great keyboard for light and space, so objective and adaptable in character that it would respond to any imaginable vision of a stage director; a flexible building capable of transforming and refreshing the mind by its spatial impact alone.”
I think of everything he said in the book that that statement alone impacts the design of our theatre the most. Given, our primary focus is on lighting and light reveals space and form, it is the most obvious means for executing Gropius’s vision.
Throughout the description of the Man and Art Figure, Oskar Schlemmer references human scale. Pulling that back together with what Gropius said about the spatial impact of the building you get a sense that proportions to the human figure are important. Not in the area of ergonomic necessarily but in experience created from being in a space and how it responds to the inhabitants. Schlemmer says “… abstract space is adapted in deference to natural man and transformed back into nature or the imitation of nature. I interpreted this in relation to the geometry of space. Therefore I would like elements that abstract space from its normal tendencies.
In the chapter dedicated to the U-theatre, Farkas Molnár itemized the elements within each of the parts of the stage and auditorium. He even described elements such as machines for dispersing odors of various kinds. He foresaw that a restaurant, bars, checkways, etc. would be used and provided in the facility.
My seat count seems to be higher than his and I will check for discrepancies as I layout the number of seats I am proposing.
I thought it was interesting how the people of the Bauhaus were so big on making the form simple again. No more complexities; circle, square, and triangle (which some argued is just a square cut diagonally), but they were clearly shifting gears when they thought of designing a theater. They were moving planes and breaking the forms vertically and horizontally with mobile stages moving to set up a new backdrop or move towards the audience for a close up view of the action and ziplines cutting through the virtical space.
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