Interior Architecture

Ohio University College of Fine Arts School of Art+Design

ART 4600, Interior Architecture Studio V

Fall Semester 2016
Tuesdays & Thursdays 1:30-4:25

Matthew Ziff, Associate Professor

Office: W 325 Grover Center
Office Hours: MW: 11-12, 1-2
Telephone: 740. 593. 2869
E-mail: ziff@ohio.edu

Examples of Concept Statements

ARCHITECT’S STATEMENT: Steven Holl

Nelson-Atkins Museum of Art Extension

Kansas City, MO, USA

The expansion of The Nelson Atkins Museum of Art fuses architecture with
landscape to create an experiential architecture that unfolds for visitors as it
is perceived through each individual’s movement through space and time.
The new addition, named the Bloch Building, engages the existing
sculpture garden, transforming the entire Museum site into the precinct of
the visitor’s experience. The new addition extends along the eastern edge
of the campus, and is distinguished by five glass lenses, traversing from
the existing building through the Sculpture Park to form new spaces and
angles of vision. The innovative merging of landscape, architecture and art
was executed through close collaboration with museum curators and
artists, to achieve a dynamic and supportive relationship between art and
architecture.

As visitors move through the new addition, they will experience a flow
between light, art, architecture and landscape, with views from one level to
another, from inside to outside. The threaded movement between the light-
gathering lenses of the new addition weaves the new building with the
landscape in a fluid dynamism based on a sensitive relationship to its
context. Rather than an addition of a mass, the new elements exist in
complementary contrast with the original 1933 classical “Temple to Art”:

Original Building New (in Complementary Contrast)

Opaque Transparent
Heavy Light
Hermetic Meshing
Inward views Views to landscape
Bounded Unbounded
Directed Circulation Open Circulation
Single Mass Transparent lenses

The first of the five “lenses” forms a bright and transparent lobby, with
café, art library and bookstore, inviting the public into the Museum and
encouraging movement via ramps toward the galleries as they progress
downward into the garden. From the lobby a new cross-axis connects
through to the original building’s grand spaces. At night the glowing glass
volume of the lobby provides an inviting transparency, drawing visitors to
events and activities.
The lenses’ multiple layers of translucent glass gather, diffuse and refract
light, at times materializing light like blocks of ice. During the day the lenses
inject varying qualities of light into the galleries, while at night the sculpture
garden glows with their internal light. The “meandering path” threaded
between the lenses in the Sculpture Park has its sinuous complement in
the open flow through the continuous level of galleries below. The galleries,
organized in sequence to support the progression of the collections,
gradually step down into the Park, and are punctuated by views into the
landscape.
The design for the new addition utilizes sustainable building concepts; the
sculpture garden continues up and over the gallery roofs, creating sculpture
courts between the lenses, while also providing green roofs to achieve high
insulation and control storm water. At the heart of the addition’s lenses is a
structural concept merged with a light and air distributor concept:
"Breathing T's” transport light down into the galleries along their curved
undersides while carrying the glass in suspension and providing a location
for HVAC ducts. The double-glass cavities of the lenses gather sun-heated
air in winter or exhaust it in summer. Optimum light levels for all types of art
or media installations and seasonal flexibility requirements are ensured
through the use of computer-controlled screens and of special translucent
insulating material embedded in the glass cavities. A continuous service
level basement below the galleries offers art delivery, storage and handling
spaces, as well as flexible access to the "Breathing-Ts."
The ingenious integration of art and architecture included a collaborative
effort with artist Walter De Maria, one of the great minimalist artists of our
time. De Maria’s sculpture, One Sun /34 Moons, is the centerpiece of the
expansive granite-paved entrance plaza with a reflecting pool that forms a
new entry space shaped by the existing building and the new Lobby “Lens”.
The “moons” of the art work are circular skylight discs in the bottom of the
pool that project water-refracted light into the garage below. Conceived as
a vehicular Arrival Hall, the garage is generously proportioned, directly
connected to the new museum lobby on both levels, and spanned with
continuous undulating vaults by an innovative pre-cast concrete ‘wave-T’.
A strong relationship between the architectural concept and the Museum’s
important oriental art holdings is illustrated by works in the permanent
collection such as Verdant Mountains (1090) by Chiang Shen or The North
Sea (16th century) by Chou Ch'en, which demonstrate the timeless
merging of art, architecture and landscape. The new addition celebrates
this fusion with the new Isamu Noguchi Sculpture Court, setting a binding
connection to the existing Sculpture Gardens.

Steven Holl

"How To Write An Architectural Concept Statement" by Sheryl Faber, eHow

Contributor.

1. Describe the location of the structure. List details including the

address it will be situated at, the main intersections it is located near,
how much land has been appropriated to place the building on, land
elevations and the direction the building will be facing. Details such as
the amounts of area allowed for parking, storage and landscaping
can also be listed. Water, electricity and sanitary sewer access should
also be included.
2. Determine and describe the style of the structure. Provide pictures
of similar structures and other works in progress. Explain the reasons
for selecting a particular style. For example, you may choose a
Mediterranean style for a particular area because that is the style of
adjacent structures. The style of building should not necessarily be the
same as those around it but it should blend well with its surroundings,
which include nearby structures and the landscaping.

3. Determine the needed square footage of the structure and what it

will be used for. This will depend on the business or businesses that
will occupy the new building. Designate what will be utilized as
storage, for kitchens and/or employee break rooms and for office
space and living areas or waiting rooms. Allow space for elevators,
stairs, housekeeping closets and heating and air conditioning units.
Cite reasons why the square footage is designated as it is. Give style
details and locations of main entrances, windows, stairs and other
doors.

4. List the quality and types of materials specific to the project. This is
extremely important in order to maintain the original integrity and
aesthetics of the structure. It will provide the means to estimate costs.
It will also provide a plan for all involved helping them to stay on
course. They will follow this detailed architectural plan and use
superior building materials and interior products and provide quality
workmanship.
What Is a Design Concept Statement?
An interior design concept statement is the essence of an interior design
proposal. If you are bidding on a project or entering a design competition,
the design concept statement lays the groundwork for the visual
components of the presentation. Never assume that your design can speak
for itself!
An interior design concept statement must effectively convey your
inspiration and vision for a space. It briefly addresses how you went about
creating the design and handled specific design challenges. The statement
should also articulate the room’s overall ambience.

It tells your client the origin of the design and demonstrates your ability to
create a symbiotic relationship between physical elements. Think of you
design concept statement as a mission statement or the “Eureka” moment
of the project.
Each designer has their own way of composing and formatting an {
HYPERLINK "http://lindacee.hubpages.com/hub/How-to-Make-an-Interior-Design-
Portfolio" } concept statement. Just make sure you include a few essential
pieces of information. You will become more confident in your ability, as
you do more proposals. Follow these basic pointers and your concept
statement will surely impress!

Keep It Simple
Be succinct. Write several descriptive sentences that communicate the
purpose, focus and fundamental concept of your design. Resist the urge to
sell yourself. Your design concept statement is not an advertisement.
First, state the intent of your design and then explain how you
accomplished your objective. Example: The intent of this design is to take
advantage of the home’s classic architecture, bring in additional natural
light and utilize a combination of vintage and contemporary furnishings and
accessories.
You can elaborate on your selection of specific design elements and the
principles employed when covering the visual presentation portion of your
proposal.
Address Client Requests
Sometimes you may need to adjust your design concept statement to
conform to client guidelines. You may have a killer design and spot on
concept statement, but don’t forget to follow special client instructions.
Often times a client will have input which greatly influences your design
direction and concept statement. If your client has a specific vision in mind
and wants a lengthy account of the design concept, follow their wishes and
instructions to the letter.

Things to Avoid
Avoid using overly descriptive and flowery language. Even common
adjectives such as “beautiful” and “marvelous” are ambiguous and do not
aptly describe the look or feeling of an interior space.
Avoid long, drawn out statements. Use short sentences for your design
concept statement. This may require sidelining your creativity while you put
on your editor hat. As with any proposal writing, long sentences dilute the
effectiveness of your core concept. Brief statements are much more
impactful and will hold your audience’s attention.

Avoid being egocentric. Do not write your design concept statement in first
person. Your personal opinions and desires are not relevant to this piece of
information. A design idea, vision or solution should not be about you. It
should reflect what works best for your client.