What is good design to you, and how would you describe your design Asethics? Like art, design speaks to each of us differently. For me great design comes from stepping outside of your comfort zone and making a difference in the way people use, live, learn, experience and above all feel spaces. As a designer, we need to solve the problems and at the same time give that creative flair that the client seeks. Regardless of your style, design should have a personality built around a strong concept that resonates with your client. All my work is, and will be, defined by concept, story and the historical significance of each individual geographical area. Every design and master-plan that I create for clients, and the wider community, narrates a story …show more content…
– needs editing (not completed) In our everyday lives, we live in spaces that are active, changing, and dynamic. When designers create interior spatial designs for various types of uses and experiences, they consider both the aesthetic qualities of a space i.e. how people experience and interact with it, and sensations within the space. However, people’s experiences are subjective. These are experiences people have in the moment of living, both consciously and subconsciously, in interaction with the space and others in the space. Now the world is huge place, divided by countries, countries that are further divided by cities, cities divided by towns, and towns by places. All these carry different culture values so adapting and understanding all of it is the challenge. People develop meanings attached to objects and environments, be these art objects, personal possessions, or other people in their lives. Designing with culture in mind is a way to express those beliefs and lifestyle factors that define who you are. The statement that culture marks in your space has the ability to create a domino effect that can be extremely …show more content…
meters. The mixed used showroom has a restaurant, design areas, exhibition areas and live hotel mock rooms where people can shop over 90 brands including ceramics, sanitary ware, furniture and accessories. Even though this was a challenging project, it was something I wanted to give back to design and the region, and change the way showrooms are perceived. The design has key components related to retail strategy and how users interact and travel through the space engaging all the five senses – giving them a multi-sensory experience. To what extent do you work with the landscape team on a project where the building’s architecture interiors & landscape are involved? The dialogue between the exterior and interior, the sense of movement in and out, the forms and palette of materials should create a cohesive whole if a project is to be truly successful. For most of my projects I have worked this way as the landscape forms the integral part of the master plan. You’ve worked across the board on residential, commercial, hospitality, sport. Travel/ infrastructure and cultural projects. How challenging is it switching between them, and what is your
Landscape is significant in shaping identity. In a political sense, it draws boundaries of where a new country begins. Socially it draws boundaries to the living space of different cultures and languages. In the case of white Zimbabwean, they interfered in preexisting culture, thus there was going to be cultural clash. However in order to identify themselves as Zimbabweans and african. landscape defined as solely geographical was a way to gain their identity.
...hey have entered the house, and then keeps it as you pass through the disappearing walls, pivoting doors, retractable stairs, and floating floors. It incorporates architecture, interior architecture and furniture design to create a total design that can be modified for different occupants. It truly is functional space.
A good design begins with a creation or plan for the making of an object or service. It is a strategic approach towards a person’s (usually a client or target audience) required unique expectations. A design generally defines the specifications and parameters in achieving its main objectives. Often there are no key attributes as to what would make a design successful and interesting. Products and peoples needs and wants or taste often change and revolve around time. This brings a definite change in the market and its emerging’s trends. This cycle of evolution will always exist, but finally it is the factor of emotional response with the customer that will determine whether a product is successful or not. Whether the design is an object or it is a concept, the design that we see is an accumulation of various concepts and decisions that have been brought together from a variety of disciplines. In order for a consumer to view the design as something that is good it takes a unique combination of aesthetics, quality and ergonomics to make a design successful. Often we recognize a bad design at its first glance and a bad design often forces one to take in many confusing and conflicted content. So what makes our design/ product fail?
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
¡@¡@The value of landscape education is not in its accumulation of knowledge, but rather in its methods for solving real-life problems. I believe that one must learn more than plain theory, and so in the summers after my freshman through junior years, I took part in internships in related fields, mainly in urban design. I was involved in planning, design, and implementation of landscaping projects, combining theory with practice. After graduation, I worked at XYZ Landscape Consultants as a designer.
Many do not consider where images they see daily come from. A person can see thousands of different designs in their daily lives; these designs vary on where they are placed. A design on a shirt, an image on a billboard, or even the cover of a magazine all share something in common with one another. These items all had once been on the computer screen or on a piece of paper, designed by an artist known as a graphic designer. Graphic design is a steadily growing occupation in this day as the media has a need for original and creative designs on things like packaging or the covers of magazines. This occupation has grown over the years but still shares the basic components it once started with. Despite these tremendous amounts of growth,
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
Remarkably, unlike in the description of art or music, the notion of atmosphere remains largely unaddressed in architecture. Atmosphere, can be argued, is the very initial and immediate experience of space and can be understood as a notion that addresses architectural quality, but the discussion of atmosphere in architecture will always entail, by definition, a certain ambiguity. After all, atmosphere is something personal, vague, ephemeral and difficult to capture in text or design, impossible to define or analyse. Atmosphere, Mark Wigley says, “evades analysis, it’s not easily defined, constructed or controlled”.
Comprehensive urban planning needs to be sustainable, economic and consider the prevalence of historical buildings within the scope of the design plans. When community leaders and planners convene to discuss and review designs for refurbishing a neighborhood all aspects of potential new construction and how it will fit into existing buildings. Ghasemzadeh states “A good urban planner and/or designer will know the principles to adhere to and steps to take to maintain or improve the conditions of an urban area through effective planning and desi...
When linking the concept of cultural relativism to architecture, one would realize that both these components depend on each other. One cannot exist without the other (Kohler, 2003). Kohler remarks that in order for architecture to be progressive, The transfer and acceptance of technologies and techniques has to be based on a sound knowledge of regional culture (Kohler, 2003). In other words, the existing architecture or urban environment has to distinguish the features of regional diversity. Cultural exchange must consider the environment. No clash exists between regional and environmental appropriate construction techniques (Kohler, 2003). This is so because traditional architecture has adopted economic and environmental solutions. Conflict can only exist if one considers the ‘international style’ that has popularized the modern era with its high resource consumption. Kohler (2003) also stresses that there should be no regional cultural boundaries in order for architecture to be progressive (Kohler, 2003:86)
Meanwhile, due to the fact that the space is being designed specifically for the individuals needs therefore, it conveys personality and energy of the person. Evoke harmonized feelings, perspective and state of the client’s needs play major role in the final design. For instance, if a client wants to keep some of their existing sentimental valuables (such as a piece of art work), designers must work around that need. The designer can create do-it-yourself projects where they can satisfy the customer’s needs while being on budget. Harmony and balance are also important, so designers must keep in mind functionality ( feng
Times have changed since days of Vitruvius, the inevitable advancement in technology, rapid global population increase and an ever developing awareness of the sustainability of our environment have forced the architect into different positions in the project team Thus it can be said that the external forces that shape the environment that an architect works in does so by manipulating the relationship between the skills required to practice; the scope of expertise and the depth of knowledge. Fig. 3 indicates a diagrammatic timeline representing the changing roles of the architect over the various time periods with respect to the scope and depth of
Land use and building orientation also plays a critical role in green architecture. A green building is located to take advantage of its climate and surroundings. These conditions not only affect the efficiency of a building, but of the community and society as a whole.
Nature in architecture is critical. Laugier made this clear in the 1700s with his basic, but insightful, claims in “An Essay on Architecture.” Modern architects have taken his beliefs further than he probably ever imagined with technology and the cutting-edge idea of biomimicry. After studying natures’ artistic design, architectural stature, and overall success rate on this earth, I believe that the incorporation of nature is vital to architectural design.
When many people hear about the term “landscape”, they immediately think that it means “nature”. The natural landscape does play an important role in our society but what is more important is the landscape that we make and occupy. So, what exactly is “landscape”? The term can be illiterate in many ways but the definition given by the European Landscape Convention is perhaps the most useful and widely agreed one. It states that a landscape is ‘an area, as perceived by people, whose character is the result of the action and interaction of natural and human factors.’ This definition captures both the idea of landscape being physical like a tract of land, but also something that is mind and social shared, something that is perceived by the people. When it comes to Landscape Architecture, the International Federation of Landscape Architects says that ‘Landscape Architect conduct research and advise on planning, design, and stewardship of the outdoor environment and spaces, both within and beyond the built environment, and its