Unity through Tragedy

West Side Story (Jerome Robbins, 1961) is the modern interpretation of Romeo and Juliet. Based in the turmoil of 1950s New York, violence and gangs plagued big city streets where the Sharks and the Jets feud over territory. The tragedies befalling the gangs through the forbidden love of Tony and Maria serves to tear down the barriers between the Peurto Rican and American gangs.



Rhythm
The dynamic beat speeds and slows according to the emotions portrayed in each scene. Tense, anxious emotions are supported by a strong, rapid beat, while delicate, measured rhythms accompany scenes of love and longing.

Setting
The setting is used to prepare the scene in much of West Side Story. Each scene utilizes props, lighting, and special effects to set the scene for subsequent actions. Colored lighting plays into important role of color throughout the film and objects in the scenes relate directly to the actions of the dancers.

Movement
Dancers use facial expression and body language to portray powerful emotions and actions. Because movements in dance can be so intensely descriptive, those of West Side Story are far stronger than words and actions of traditional acting.

Hue
Color plays a vital role in foreshadowing and setting the scene. Color is used to differentiate between the Jets and the Sharks and applied throughout the movie to support the plot. Color is used most effectively in the scene in which Maria first confronts Tony about the murder of her brother. Red and blue are used to create a visual separation of the lovers; also serving to foreshadow the couple’s doomed fate.

Audio
Auditory effects play a vital role in plot support throughout the film. From the dynamic orchestral music to whistling and sounds of the city, auditory signals serve to steer the viewer’s attention through ideas and emotions. Sounds direct the viewer’s interpretation of setting and plot.


image compilation produced courtesy of West Side Story (1961 film), morethandance.com, and kcbs.com

Diverse | Unity: The Revision

After completing our individual bus shelters, guest jurors selected four models to be revised and later narrowed into each of the UNCG and A&T bus shelters. We worked in groups of about 15 to revise and refine an appointed bus shelter the bus shelter below was designed by Lauren Foster, and focused on the concept of Asymmetrical Design. In redesigning this bus shelter, we were to create a series of mechanical renderings and construction drawings, including a full scale section. We were also to create a model, material investigation, and soild concept statement.



We proceeded to compose our concept, which investigates the relationship between unity and diversity:

American demographics reveal the diverse heritage supporting our society. Years of social turmoil have led Americans to celebrate the “cultural melting pot” that now defines our nation’s foundation. With roots in the 1960 social revolution, diversity has been apparent throughout Greensboro’s history. Actions of the Gate City’s college students once demonstrated the importance of diversity in the shaping of its societal structure. Participants of these social demonstrations sought to bridge the rift plaguing civil society; a goal close to the hearts of Greensboro students today.

Time has proved detrimental to the welfare of Greensboro’s rich and diverse culture, echoing cultural divisions of decades prior. It has become clear that Greensboro citizens must, once again, regard one another with reverence in the face of incongruency. To facilitate this reclamation, the A&T bus shelter should communicate to patrons the concept of diverse unity.

The bus shelter, in essence, embodies the celebration of diversity through its application in the GTA bus system. Buses serve a diverse group of patrons throughout the various parts of city. This idea is further emphasized within the design of the shelter, through a network of contrasting levels. A blending of materials serves to identify these levels, further highlighting the diverse nature of the shelter. This use of material variation also serves to draw the bus shelter beyond the frame of the building behind. In recognition of the relationship between diversity and unity, perpendicular bearings relate vertical and horizontal planes. The implementation of this bus shelter serves reinstate the value of diverse unity in the Gate City.

Integrated into our design, our concept enabled us to maintain much of Lauren's bus shelter. We aimed to make the shelter safer by eliminating large obstructions and dark corners. We also reformed the sides and sloped the roof to better protect from the elements. Our new design strengthened its structure and allowed it to better integrate with the revised concept, diverse | unity.

The 1970s Workplace

The Conference Table was designed by Andrew W. Palmer, John H. Norton, and Michael A. Goldfinger for use in large rooms in office settings. Its organic shape encourages user interaction spanning the entirety of its 120 inch length. The table’s 42 inch width offers a significant amount of workspace and room for large presentations. Because of the practical form of the Conference Table, its influence can be seen in offices across the globe.

The 1970s saw the beginnings of the modern business place, with the erection of the Sears Tower (Graham, Chicago), John Hancock Center (Graham, Chicago), and the World Trade Center towers (Yamasaki, New York). New forms emerged in all disciplines of design as a result of advances in material technology. Innovative material use and construction resulted from America’s participation in the Vietnam War, while the US/ USSR space race brought about a keen interest in flight.

The 1975 Conference Table integrates naturally into the setting of a 1970s office. The table’s form challenges conventional table design to produce a buoyant, dynamic form. The Conference Table could be paired with Eero Saarinen’s Tulip Chairs (1955-56), which share with the table a sense of airy fluidity. Equally appropriate to the table’s design are the rich patterns of Angela Adams. Her rich color and organic forms are relate to the environmental emphasis of the 1970s. To accent the space, Jo Hammerborg’s Saturn drum light (for Fog & Mørup, 1970) in combination with wood-paneled dropped fluorescent lights characterize the lighting design of this era.




Sources: DWR, Classic-modern, Knoll, Smithsonian, and printpattern

shelter|bus: Unity through Rhythm

Our challenge here was to create a hurricane relief bus for four workers. We were to assume that this bus had access to water, electricity, and waste disposal, and develop our bus around a solid concept. My concept was unity through rhythm, which essentially takes into account the relationship between the needs of the relief workers and those of the disaster victims. By clicking on the images above, you can view a detailed explanation of my concept and a drafted exploration of my bus plan.


Unity definition courtesy of Merrium-Webster online

Bus| Shelter: NC A&T

[concept]

Through application on the North Carolina A&T University campus, this bus shelter will offer patrons of the Greensboro Transit Authority the necessary amenities of a comfortable bus shelter, while serving to enhance the architecture of its proximate locale. It is vital that the product be a considerate statement, while presenting the area with an engaging and beautiful form. Due to its location directly in front of the Saint John’s Lodge on Market Street, the structure must avoid overpowering or inhibiting the building’s facade. The design of the new shelter should compliment and accent the building with natural ease. Consideration must be taken in choosing materials, as they should be both consistent with those of neighboring structures and be of the sustainable variety. The surrounding structures are predominantly brick and concrete with a heavy emphasis on linear and geometrical forms. The design of the bus shelter should maintain these shapes and but vary slightly in their application and manipulation for the purpose of interest. The finished artifact must be easily identifiable as a bus shelter, and should be user-friendly and universal.


[location]

North Carolina A&T University

[site]

Plot on Market St. in front of Saint John's Lodge:
Outer Edge of NC A&T

[context:]

Surrounding Structures

[materials]

Recycled Plastic Lumber

Recycled plastic lumber is a sustainable alternative to wood and is ideal for outdoor structures. Because of its material make-up, it is long lasting and extremely durable. Unlike wood, it is non-porous and therefore moisture resistant. It does not split or crack and is impervious to insects. While it can be painted, lumber is produced with color throughout and does not require regular sealing or maintenance. RPL cleans easily and is therefore ideal for public structures in danger of graffiti. Recycled plastic lumber also contributes to waste reduction in landfills, prevents unnecessary logging, and eliminates the need for hazardous wood treatment. The initial cost of RPL is slightly more than that of natural wood, but over time proves to be a much better value.

Brick

One of the oldest building materials in production, brick also remains one of the best sustainable options. The clay used to produce bricks is readily available and renewable, enabling companies to produce bricks locally. The production of bricks is virtually free of negative by products. Similar to recycled plastic lumber, bricks are extremely durable and long lasting. They are also reusable, maintaining their strength and performance. Bricks are excellent for exterior instillations and are naturally resistant to the elements.

Information and images courtesy of Trex, germes-online.com, and CIWMB



[in detail]

[bus | shelter]



[the next step]

The following letter is one which I have submitted to such offices as the Greensboro Planning Division, Engineering and Inspections, and Transportation Department. It is our group's communal goal design a functional shelter to make a difference in the community.


To Whom it may concern:

Second year students of the UNCG Interior Architecture program have been diligently working to redesign the conventional bus shelter. Through a great deal of research, we have developed improved, functional designs that are capable of implementation in a very usable capacity. We recently designed a shelter with a location at NC A&T in mind. The existing bus stop is on Market Street in front of the Saint John's Lodge and consists of two benches and a trash can. We have completed thorough structure and material investigations in hopes that we could produce a covered shelter for this location. Would it be possible for our design school to take-on such an endeavor? We feel that this would be an excellent opportunity to unite UNCG and NC A&T, demonstrate the work of UNCG Interior Architecture students, and, above all, make a significant contribution the community. Please feel free to view our designs following links to students' blogs at http://communitybydesign.blogspot.com. We are more than happy to address any questions or address any concerns you may have. Please feel free to contact me, Anna Will, at akwill@uncg.edu. We greatly appreciate your time and interest in our work!

Sincerely,

Anna Will
http://lifesketch-anna.blogspot.com/
akwill@uncg.edu