Mrs. Longmire

This quilt by a town seamstress in Maryland, Mrs. Longmire, can also be found at the Richard L. Nelson Gallery at UC Davis. This quilt was made in the 1880’s by a working African American building a life and career in Maryland rather than sharecropping. The work is titled “Silk Medallions” and uses materials from her business like silk and cotton scraps from clothing made at her business.

This quilt has many rectangular and square patterns repeated throughout the design. These shapes join together to form larger rectangles eventually leading to a square at the center and back outward building upon themselves. The rectangles and squares are pieces of scraps of silk and cotton coming together to form a quilt just as the fabric comes together to create clothing. This pattern suggests a regular rhythm through the recurrence of the shapes. The continuous nature of the pattern both in and out also is suggestive of a continuous and flowing rhythm.

The patterns, colors, and prints are varied throughout the piece probably based on availability of fabric scraps. The variation offers change between the prints and solids offering complex and simple sensations. However, her placement is intentional and structured to create an emphasis on the movement inward to and outward from the center. The sequence of colors keeps the pattern in motion and enforces the flow that connects the vibrations of the piece.

This quilt is made from the apparel of a society. It reflects the seamstresses’ position in the town and movement towards her inner goals and desires. The quilt is also a marker of the beginning of changes in society with regards to African Americans. Likewise, the term medallions in the title suggests something worth marking as notable, for example Olympic contestants receive medallions for their wins as do Nobel Prize winners. This mimics the notable developments of the scraps in the piece, the seamstress’ ambitions, and the changing social dynamics facing African Americans.

Image above borrowed from:

http://s2.photobucket.com/albums/y25/Blankwave_3/?action=view&current=IMG_7235-1-1.jpg

The Rhythm of Quilts

Rhythm creates movement in the viewer’s eye in pieces from the African American Quilts Exhibition at the UC Davis Richard L. Nelson Gallery. The quilts were a mixture of sharecropper’s and more modern artists continuing the tradition of quilt making. The original artists were sharecroppers who made the quilts out of the necessity for their families. These artists relied on what they could find and any scraps that would provide the warmth necessary for their families’ survival through the cold of nights and the seasons. The more recent artists are keeping the tradition and art alive although less out of necessity and more for the aesthetic appreciation of the quilts.

The quilt titled “Sharecropper’s Masterpiece” depicts a quilt with a feeling of repetition in the alternating horizontal and vertical curved strips of fabric. The nonobjective nature of the strips creates an undulating rhythm in the piece. The contrast of the varying values of reds, pinks, purples, grays, whites, blacks, and oranges enhance the sense of visual movement through short, flowing vibrations. These repetitions create a rhythm that is legato, or connecting and flowing. The colors of the pieces and the shapes simply allow for the feeling of movement without interruption in each square.

However, the grid, or framework for the overall design, of the quilt stops the flowing rhythm at each square and rotates them from horizontal to vertical to horizontal and so on. These abrupt changes with dynamic contrast are referred to as staccato. The continuity of movement in each square creates a movement that contrasts the stops and rotations of the square. This overall creates some aspect of difference or change among the similarities in the design.

All these elements create a work that is structured by the grid and similarities in shape and color, but compounded by the abrupt stops and direction changes. Although the piece details movement and flow of an undulating rhythm, it is outlined by stops and direction changes suggestive of shorter beats. This quilt rhythm may be representative of the glories and growths in sharecropping, but it also marks the downfalls and hardships. The song, or quilt design, suggests that these contrasting beats, or ideas, build upon one another and make the piece a true masterpiece. On another note, the quilt may serve as the actual land of sharecroppers as the grid detail mimics fields. The changes between each square may represent the season and harvesting differences of the same crop.

The exhibition pieces detail sharecroppers’ social interactions through quilt making. Likewise, the quilts portray the intricate nature of quilts and the resourcefulness of a society trying to survive. The modern quilts represent the desire to remember the traditions and ways of their society and ancestors. Just as sharecroppers worked on quilts to keep their families alive, modern artists work on quilts to keep the past alive.

Image above borrowed From: http://nelsongallery.ucdavis.edu/

Scale

Driving down the Embarcadero in San Francisco many encounter a bow and arrow of greater scale than the objects are normally found. Scale is actually the size of something. The utilization of unusual scale is meant to create some effect on viewers. Rather than creating a statue with cupids and lovers, the bow and arrow are employed and the ideas of cupid love are emphasized by the size of the statue.

In the case of the bow and arrow, the leap in scale is to place stress on the context of the arrow and its relation to San Francisco. This statue, known as “Cupid’s Span”, was commissioned in celebration of the beauty of San Francisco. By utilizing the icon of cupids’ bow on such a large scale, the piece was made to stress the beauty of San Francisco because cupid pointed his arrow at the most beautiful of lover’s. The bow points into San Francisco creating the image of San Francisco as comparable to the beautiful love of someone’s life and cupid would shoot an arrow to unite the two. This statue says that San Francisco is worth the love and hearts of visitors, both in beauty and being the ideal “love”, or in this instance, city.

This sculpture was also created to honor Claes Oldenburg by highlighting his own use of scale to draw attention to everyday objects. Oldenburg uses the scale of these ordinary objects to stress an appreciation of their beauty. Some examples of his works are a clothespin and balancing tools. The old, wooden clothespin design is created on a huge scale, rather than it’s normal size fitting it in the palm of the hand. Clothespins have a highly important role in drying the clothes we wear everyday, but rather than noticing or even fixing a broken one they are normally forgotten and discarded (if broken). Oldenburg is stressing its importance and creation while taking in the beauty of the simple design and comparing it to the more intricate design of the skyscraper behind it. Likewise, the balancing tools seem to suggest not only the tools beauty, but also their use in creating and the balance between the success or failure of the creation. The natural area of the tools may also suggest the take over of the natural world by urban sprawl or even that the natural world is one of the first to build and create.

Although the definition of scale is simply size, the scale of something may offer many other ideas for viewers. When asked about the bow and arrow many people assume that it has something to do with Frank Sinatra’s song “I left my heart in San Francisco”. Although the name allows a little more of the meaning, their guess was close to the meaning. Scale puts more emphasis on what you are looking at and can serve to further the ideas associated with it while also allowing viewers to see it in a new light.

Image above of Claes Oldenberg's "Clothespin" borrowed from: http://www.amandinealessandra.com/research/wordpress/wpcontent/uploads/2009/04/oldenburg_clothespin.jpg

Second Image of “Cupid’s Arrow” above borrowed from: http://www.freefoto.com/images/1215/02/1215_02_76---Cupid-s-Span--San-Francisco--California_web.jpg

Emphasis and Focal Point

There are many ways for creators to attract the attention of the viewer to a part, parts, or even the entire work. The method of attraction is known as emphasis. Emphasis typically employs the tool of focal point, or the actually elements at work to bring focus to the main subject of the work. A favorite example of focal point is Johannes Vermeer’s “Girl With the Pearl Earring”. The pearl earring is the infamous focal point of this piece. Focal points can be created by the use of contrast, isolation, and placement furthering the emphasis of the work.

Emphasis by contrast creates a focal point by the contrast of an element from the other elements. This contrast typically serves as an end to the pattern of the work, thus attracting the viewer to the difference. An image found at http://www.funkykittyproductions.com/images/art_images/emphasis_by_contrast.jpg of raindrops is a good example of contrast. All the raindrops are alike in form and placement, but our eye is drawn to the one raindrop in blue. This blue raindrop contrasts the black raindrops that take up the majority of the page. Just as well, in Vermeer’s painting he utilizes the contrast of the reflective, shiny pearl with the muted colors of the cloth. The grey of the pearl is striking against the blue and brownish yellows of the cloths. Contrast can be used in more ways other than just color like shape, direction, and any other elements that can offer confliction or interruption to the prevailing design.

Emphasis by isolation establishes a focal point by placing an element of the design in a manner isolating it from the rest of the design. Good examples for isolation are all around in society. Classroom or lecture hall designs put the emphasis to the front of the room where the speaker addresses the listeners. The idea that by arranging the room to isolate the speaker stresses the emphasis put on listening when the space is occupied. Vermeer’s painting may stress isolation through Pearl being isolated in the shadows of the neck, rather than in the light that catches the cloth and face.

Lastly, emphasis by placement sets up a focal point by placing elements so that they draw the viewers’ attention to one item or place. Francisco Goya’s painting of “The Executions of the Third of May” places the men to be executed at the end of the sharp tipped guns of the faceless, cold members of an army. The men to die are all kneeling or turned from death, but one man at the center. The placement of this man amid the soldiers and fellow massacred is for emphasis. He is placed above the rest and in the light putting the emphasis on him and his pending death.

Emphasis and focal point not only draw viewers into works, but also offer some clarity. By emphasizing certain parts of a work the subject becomes more defined, or the focal point of the work. In doing so, works can become more organized and their meanings more fluid. Without emphasis viewers are left confused and do not understand the work. Take for example our social emphasis on the main speaker of person in the room at the front of it. If society didn’t isolate this person for the masses people might not be able to hear, see, or even understand the person. Other people might talk causing confusion as to who was speaking or if that was a point the main speaker was making. Emphasis and focal points serve as visual guides allowing viewers to navigate through a work and the ideas brought up by the work

Vermeer Image from: http://bambybam.files.wordpress.com/2009/06/0005020vermeer20-20girl20with20the20pearl20earring20-20painting20style20vermeer.jpg

Image by Goya borrowed from: http://www.executedtoday.com/images/Goya_Third_of_May

_1808_small.jpg

Gestalt Theory: Perception and Unity

Have you ever looked at the back of the mask? Did you notice that it is hard to see the mask as concave after a while? This relates to a theory of perception known as Gestalt. The Gestalt theory addresses the mind’s need to find unity in what is being viewed, or "The whole is greater than the sum of the parts". For example, when looking at the back of the mask the representation of the face is caving in. The mind is not used to faces caving in, so it unifies this image by forcing it to seem as though it is just like a normal face, protruding out rather than caving in. This is because the mind has never seen a face caving inward only faces as protruding out, so it seeks to unify the back of the mask by seeing as it views faces. This can be viewed on youtube at: http://www.youtube.com/watch?v=QbKw0_v2clo

There are many ways to achieve unity in a design without relying fully on the mind of the viewer. Proximity is one of the simplest methods for achieving unity involving the placement of objects in groups. These groups tend to be closer together in order to create an appearance suggesting that they belong together. There is a photograph from the online website of Homes and Gardens found at, http://www.homesandgardens.com/gallery/main.php?g2_itemId=2580. The photograph is of an entry table with multiple and varying ceramic forms on it is a good example of proximity. The ceramic goods are grouped to one side of the table close together rather than with any particular pattern. This proximity between the objects creates unity by making them seem to relate to one another. Although they are a bunch of random sizes, colors, and pieces, the fact that they are groups together makes the design more appealing and interesting. Likewise, the repetition of ceramic objects can serve to further create a visual relationship between the objects.

Another way to suggest a relationship between objects is by the use of repetition. The repetition of form, shape, color, texture, object, or pattern can be used to depict unity between the elements. An example of repetition is seen in this photograph by Gary Everson that is taken of a statue called repetition and seen at the top of the page. The image shows the statue as repeated circles. The circles are also the same size, texture, and color furthering the use of repetition throughout to emphasize the relationship between the objects.

The method known as continuation is unlike the previous two because it is subtler. This tool involves the continuation of line, edge, or direction from one area of a work to another. The creators utilize these tools in order to guide the viewer to unity in the visual work. Edgar Degas’ painting called The Tub at the top, borrowed from the website http://images.worldgallery.co.uk/i/prints/rw/lg/2/0/Edgar-Degas-Le-Tub-207145.jpg, is an example of continuation. The line of the woman’s body continues diagonally through the painting. Likewise the line of the shelf also emphasizes continuation. This painting might also suggest proximity through the placement of the bathing objects close to one another on the shelf.

Without unity a work may seem too chaotic or random for the mind and individual to fully appreciate and understand. It is through unity that the mind is able to enjoy what is being viewed both aesthetically and through understanding. Not many people are left unaffected by the Gestalt theory offering an explanation as to why societies come to agreement on certain socially renowned or praised works. Gestalt theory may offer an explanation as to why people are so enamored by some designs and so completely turned off to others. The idea that the design, with the correct tools implemented, can create the unity in the mind that allows the design to become more interesting and pleasing, and, in turn, acclaimed by society due to being so universally liked and admired. This gives new perspective to the role the mind plays in society and the social arena of design.

Frank Lloyd-Wright and His Creative Process

Frank Lloyd Wright is a well-known architect associated with organic architecture, which promotes a symbiotic relationship between the home, including its inhabitants, and the natural world. Organic architecture aimed to balance the use of home and the natural space so as to unify all aspects of the design.

Organic architecture as it was defined by the famous architect, Frank Lloyd Wright (1867-1959):

"So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials..." - Frank Lloyd Wright, An Organic Architecture, 1939.

Wright emphasized organic architecture as the term for his work while his inspiration was drawn from the building, natural world around it, and the client. Wright designed buildings that would work with and relate to the natural world so much as to unify the two. Similarly, he would consider the needs of the inhabitants in relation to these things for further unification. For example, domestic life changed at the 20th century with more work left to the mother rather than hired help. So, Wright responded by creating homes with more open floor plans in order to accommodate the mother’s need to be in multiple places at the same time.

Wright’s process related back to organic architecture, inspired by the relation of the design to the environment. He was very concerned with his designs unifying with the natural world around them. Wright used shapes and forms he found in plant nature to further the unification. Similarly, he looked to mimic the natural colors and patterns of plants. The cohesive bond between the natural world and his designs is very innovative for his time. His concern with design functionality for the inhabitants furthered his process. He would innovate new ways to make the relationship between all three elements of organic design thrive, reworking them to function in greater harmony.

Many people accredit his inspiration to these aspects outside of himself as an artist. Similar credit is awarded to his collaboration with many young architects and Louis Sullivan. Wright himself maintained that his mother’s gift of Froebel Gifts to educate him served as one of the strongest influences. With these inspirations controlling his process, Frank Lloyd Wright managed to lead an industry in many innovative designs for years to come.

Image borrowed from:

http://www.atticmag.com/wp-content/uploads/2008/11/hist-homes-10-fallingwater.jpg

Found Art

Nature has always been a source for artists’ inspiration from famous painters to architects. In recent times the act of implementing more eco-friendly and earth conscious designs has become a more prevalent element of inspiration for many artists. Artists are starting to reach far outside of themselves and the social implications placed on “trash” to try and cut back on waste while managing to raise awareness about recycling and the environment with each piece. This emphasis is forcing artists to move beyond themselves and their “norm” for art materials and where they find them.

This art is sometimes referred to as found art which can also be defined as art that utilizes items and objects that are discovered through many different modes. Some of these modes can be the environment, stores, garage sales, and, yes, even trash. Artists find an object or item that is not their intention and being inspired by it in some way take it to implement in their art in some way.

Michelle Stitzlein is one such artist. She relies on found objects, usually from trash or landfills, to create elaborate pieces of artwork. By looking closer at discarded objects Michelle aims to look beyond what made them old, distasteful, or even just unwanted for something deeper, like potential that could serve to make them applicable to her art.

In doing so she is going outside of herself and into the object in search of the uniqueness that would drive her to make it useful and new for her art. Michelle could simply just view the item as what it is at the landfill, trash, however she is able to remove that social implication by looking outside of what she has known for the chance at finding a great item for her art.

Her process is not decided by her or even by her plans, but rather what she finds and how she can use it. She had the idea to create moths using some of her found work because of the way she had intended the objects to be. It became a whole series of larger-than-life moths. Sometimes she altered her moth because the objects just weren’t working with the form, other times the “junk” made the piece fit. By altering her expectations Michelle and many artists become able to find inspiration in what they find rather than what they plan to create.

Image borrowed from:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeL4oJUxhz3RlMyfjhCgigUupyhILX5KOunCD5v_kWUWat1WgWUAYWUYCPmAFYrc4NHjNvd5zsRNmupsKsuOanHLXcRgqFwsEMgLl_ppyPZAaDk-MAFPU1tDKN49x9t9mwTDXuBYUDZNx9/s400/Stitzlein_1241.jpg

Exhibition at the Nelson Gallery, Davis, and Ca.: African-American Quilts

The design process is something that is unique to every individual pursuing some avenue of art. Sometimes an artist can pull inspiration from within relying on emotions or ideas. While other artists prefer to pull their inspiration from the world around them, maybe nature or even others. Still some might just prefer a plan. However the process starts, it eventually requires some thought or planning so as to enable it to be carried out and implemented.

This isn’t to say that after all the planning, organizing and even implementing that it will actually become as it was originally intended. Some designs fail, while others go different directions, or are forgotten for a time and then take on a whole new form. Whatever happens a design is usually faced with some sort of change that requires it to be thought over and evaluated. This critical thinking is meant to cause some sort of do over or new rendering of the design in the altered form. The whole process depends on the artist, inspirations, and the design plus the needs of all the parts.

At a recent exhibition, this process could be viewed in a different way. The artists themselves were not thought of that when many of the quilts were made. These artists were typically African-American sharecroppers or slaves. There art was by no means for visual pleasure alone, but rather the more functional use of warmth for the family. The artists were inspired by their need for warmth and protection for their families as well as the shreds of materials available to them. Their plans were probably to make them as big and warm as necessary for their families. Lack of materials or misjudged size could probably account for any change in plans. These people looked to the needs of others and the tools as inspiration. However, the process was only started here and altered once.

More recently in a work by Sandra McPherson (collector), she furthers the design of the original quilters. Rather, than using the quilts for the purpose of warmth, she has altered their initial design to that of art signifying this time in history. McPherson has been inspired by the quilt work and altered it into a form more purely aesthetic and quite possibly as an account of that history in African American designs. She has moved outside the original inspiration and into one of recounting the period through quilt making.

This process continued past its original designers and was eventually altered by a new designer. Original intentions were foregone for a new take on quilt making and the possible implications it can raise in celebrating that past time. The design process is unique to both the creator and the individual work, as seen in the African-American Quilts exhibit.

Photo is courtesy of:

The Nelson Gallery at UCDavis, http://nelsongallery.ucdavis.edu/

Social Awareness and the move from purely aesthetic design to GREEN design (architecturally

Native American and Pre-Columbian architectural design has been called primitive or lacking the sophistication of many societies that followed. However, many of the GREEN designs of today mimic the designs of those who came before. These societies built around the land in harmony with it because of their beliefs in the awareness of the sacred bond between the earth and themselves. Likewise, they knew which natural resources that offered them the most for their climate and were easily obtainable. They directed their buildings to take advantage of optimal sun and weather during the day and season. They used natural resources that were in abundance and did not harm anyone in their society, or their environment.

However, as new societies arrived, architectural design began to change. These newer forms had more emphasis placed on the more socially accepted aesthetics. This not only changed the materials used, but also had a profound effect on the environment and those in it. Design was no longer the earth-conscious, nature-friendly type it was before, but rather a more decadent and beauty-minded arena based on the newfound social awareness of architectural beauty.

It seems today we have come full circle in terms of social constructs and environmental awareness in design. Although design has not directly reverted to pre-columbian and native american design, the current shift to Green design depicts the growing awareness of eco-friendly, environmental design. However unlike our counterparts, the current technology is proving to offer and provide greater advantages to natural designs. This social awareness combined with technological advances is ushering our ancestral design into a new era. An era where our strongest resources are recycled and are combined with the benefits of past design to yield an alternative to the future of earth and our own society.

Although our society has dubbed this type of design as “cutting-edge”, “new”, and “innovative” is not as it may seem. Kostas Terzidis leeds to this point in his article on the “The Etymology of Design: Pre-Socratic Perspective”. He argues that many “original” designs of today are actually pieces from the past that are made to appear new, but in actuality they were only original before. This is quite similar to Pre-Columbian architecture and the fact that it is the original form of green design. This is because the societies were using the technology available to create designs that were symbiotic with nature and the environment. The reemergence of this design and utilization of modern technologies in its advancement is only serving to further the original green design rather than be the starting point.

Green design began with Pre-Columbian designers and was lost in the changing aesthetics of the times thereafter. At the same times the environmental benefits of the design were forgotten only to be replaced by the excess of design based on beautiful elements. Likewise, the Pre-Columbian designs were not appreciated for the cultural and natural implications that served as their basis, but rather forgotten for their lack in modern technological advances.

Image borrowed from:

http://www.eartharchitecture.org/uploads/Pueblo.jpg

Exhibition: Typographic Exploration in Hangul by Hyunju Lee & Phil Choo at the UC Davis Design Museum

Hyunju Lee and Phil Choo’s installation at the UC Davis Design Museum provides an interesting insight into both Korean language and culture. The designers combine the characters of Hangul, Korea’s native script, into their work to convey Korean culture from multiple perspectives.

Most obviously, one is exposed to the native Korean script. The script itself is a product of design. Hangul is a phonemic alphabet, meaning that each character is linked to a certain phoneme (i.e. sound in the spoken language, versus a grapheme which corresponds to a word). The script has a very functional design; to create a written interpretation of a new word, one only has to write the characters corresponding to how the word sounds.

Lee and Choo utilized the phonemic Hangul script in nearly all of their works more as a grapheme based alphabet in order to convey the concepts behind the subject matter. In Hangawui, Lee utilized a repeated syllable block arranged in colorful concentric circles against a dark background to represent women in a depiction of ganggangsuwolrae (a Korean folkdance in which women and girls dress in colorful clothes and dance in circles on the night of the full moon). Lee’s design incorporates sensual and emotional stimulation, as well as a feeling of what that event may be like.

In Choo’s A Letter From Korea, he utilizes the imagery of an open envelope spilling the jamo, or characters, of Hangul to introduce the script to the viewer. Additionally, the work also evokes a feeling of friendship or association between the viewer and the designer since letters serve as a mode of communication.

Lee and Choo both used Hangul jamo as icons through the various aspects of their graphic designs. In doing so they are able to connect with the viewers visually, emotionally, and intellectually.

Each design graphically illustrates the meanings of the Korean linguistic symbols by utilizing the symbols in a form depicting their meanings. By utilizing the written word to depict the meaning, these designers are mimicking how the language would normally fill in for a visual aid. The designs are pictorial representations of what it would be like if an individual was speaking the language.

This graphic art is a good example of visual culture in that its emphasis is on the language, but is being applied to visuals and interpreted visually. The art is meant to represent the early language without you having to be a speaker. It uses the language to conjure images that express the meaning through visual thinking and literacy. Without knowledge of the language or having to learn it key cultural ideas and words are universally depicted and give the words their meaning.

This form of design is compelling for many reasons. This allows non-native speakers and native speakers to gain an understanding of a foreign or forgotten language. Without learning or revisiting the language it is portrayed so that the words and meanings are easily comprehendible. This builds a stronger culture for Korean individuals and a stronger sense of understanding of Korean culture for outsiders. Socially this offers a glimpse at what is lost in language when it is left unspoken by preserving the language itself in the images.

Photos are borrowed from:

Design Museum: taken of museum pieces with my camera.

The Designs of Malcolm Wells

"This site is dedicated to the promotion and discussion of:

• underground buildings,

• earth-sheltered architecture,

• eco-friendly design, and

• energy-efficient houses

... particularly the ideas of pioneer architect Malcolm Wells."

http://www.malcolmwells.com/index.html

The website and ideas above are those devoted to a man believing in the benefits of underground housing. Not only did Wells feel this type of housing is one of the best options for greener Design, but he devoted his time to finding more eco-friendly and energy-saving ways to improve on a Design whose relation to earth and the natural were the main focus. Here is a definition of Green Design:

"Essentially, green design embraces ecological considerations, sustainability, recycling, conservation of resources, and cleaner, quieter, and safer domestic environments."

answers.com; http://www.answers.com/topic/green-design

This can be applicable to all areas of design from furniture to architecture. In Mr. Wells' case, green Design is applied to his architectural Designs. He proposes these buildings be built not completely straight underground, but rather into the ground and covered by the natural habitat that surrounds them.

The energy consumed in regulating the temperature in a house is directly proportional to the difference between the exterior and the interior temperatures. While outside air temperatures may fluctuate with the seasons, soil temperature remains relatively constant. By moving underground, you essentially move yourself into a fixed temperature climate, thereby eliminating the extra energy required to maintain a comfortable temperature in your home during the hottest and coldest part of the year.

Couple this with a passive solar design to capture and utilize the warmth and light provided by the sun and you have reduced your energy needs even more. In general, passive solar design relies on the different characteristics of the seasonal sun cycles to maximize the benefits of utilizing the sun. Designs usually try to minimize solar exposure during the summer to minimize excess solar heating, while also trying to maximize solar exposure during the winter to maximize solar heating. Techniques often include planting deciduous trees (provide shade during the summer and are bare in the winter), having South facing windows (in the northern hemisphere) to maximize solar lighting, and incorporating thermal mass to absorb and store heat from the sun.

Wells’ designs have more emphasis today than during the start of eco-consciousness in the 1960’s. Modern society has not only been faced with the turn to green Design, but also the growing realization that resources are not as unlimited as it was once perceived and the reaction to this. More people are beginning to recognize the need for renewable resources, reuse of materials, and recycling in order to conserve the valuable resources remaining. Not only is this an ethical concern socially, but it is becoming an addition to our modern visual culture. More designers and consumers are readily investing in the green thinking and Design in order to meet conservation demands and build for a positive future impact.

Wells’ designs not only emphasize this new ideals in society, but they succumb to enabling the individuals to benefit as well. The eco-friendly designs allow society to save electrical power while the individual saves money on electricity; from heating to lighting there is a significant reduction in the output of electrical use and the cost of it. Likewise, the designs emphasis on natural habitat allows the environment and people in it to thrive in healthier, less crowded areas with plenty room for movement and activity. This would also allow less eco-friendly establishments like gas stations and plants to give back through this greener design. Although, the implementation in cities may prove more difficult than in surrounding areas it is not impossible.

The universality and relevance of this type of architectural design is more beneficial and applicable in our society with social interest in green design is stronger than ever.

Image borrowed from:

Malcolm Wells at malcolmwells.com