INT 301 Process Book FA23

PROCESS PROCESS PROCESS PROCESS PROCESS ESTHER SONNE NSCHI NE P R A T T

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I N S T I T U T E F A L L

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PROCESS ESTHER SONNE NSCHI NE AN INTERIOR DESIGN PROCESS BOOK

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ESTHER SONNENSCHINE

FA23--INT-301

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TABLE OF CONTENTS 1 : S TA I R A N A LY I S I S

6-13

2: RESIDENCE

14-33

3: CURTAIN

34-43

4 : O F F I C E

44-77

P1: STAIR ANAYSIS

ESTHER SONNENSCHINE

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U N R AV E L E D S T E P S

P1: STAIR ANAYSIS

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P R O J E C T 1 : S TA I R A N A LY S I S In choosing Lina Bo Bardi’s Helicoidal Stair for my portfolio project, I was drawn to its understated brilliance and architectural elegance.

This helical staircase, located in the Grande Hotel Ouro Preto in Brazil stands out for its graceful simplicity. The stair’s geometric design showcases a harmonious interplay of form and function, embodying a fine balance between industry-standard dimensions and a departure from convention. Bo Bardi’s Helicoidal Stair, while deviating from traditional building codes, serves a distinctive purpose beyond its utilitarian function. Not built to code, it intentionally challenges norms, seeking to open up space and bring light to the dark basement levels. The stair’s unconventional approach speaks to its role as a transformative architectural element, defying standardization in favor of a more profound impact on the spatial experience.

DURATION:2 WEEKS

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P1: STAIR ANAYSIS

ESTHER SONNENSCHINE

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h

NO RISERS, ONLY RUNNERS

In ce bu

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NO HANDRAILS

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union of the replicated th and cart was er by the in peasant pop s c

UNEVEN TREADS VERTICAL WEDGE

A DA

The stair opened up the up the lower part of the museum wthat would usually be a dark closed off space to the upper part, with the lack of risers and lack of handrails.

4 RECTANGULAR BEAMS

be a d-

P1: STAIR ANAYSIS

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LINA BO BARDI

helicoidal wooden staircase In a spiral with a rectangular plan, supported by a central support, a new staircase was planned and built, maintaining the use of wood

"loose in space,"

NO HANDRAILS

OX+CART

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union of the traditional with the modern replicated the techniques of how an ox and cart was architecturally put together by the indigenous and lower-class peasant population, with no nails or s c r e w s

UNEVEN TREADS

A DA P T I V E

4 RECTANGULAR BEAMS

R E U S E Each inclined perimeter beam supports four trapezoidal steps whose thickness measures seven centimeters through a spike-type fitting, locked externally with a vertical wedge. The steps divide the beams into four equal parts.

P1: STAIR ANAYSIS

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CONECPT MODEL FOLDED PAPER, DNA STYLE, CUT OUT INTO A SQUARE SHAPE. NEWSPAPER REPRESENTS THE SIMPLE, ARCHIAIC STYLE OF CONSTRUCTION.

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DNA MODEL TEMPLATE

CUT INTO SQUARE

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M O D E L U N R AV E L E D

FORMING HELICOIDAL STAIRS

P1: STAIR ANAYSIS

ESTHER SONNENSCHINE

C O M P O S I T E D R AW I N G

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In this crafted drawing, I aim to convey the Helicoidal Stair’s essence through careful detailing of its components. Using varied line weights and shading techniques within a 24 x 30-inch space, the drawing emphasizes the stair’s simplicity and architectural finesse.

T h i s p o r t r a y a l c a p t u r e s t h e u n r a v e l i n g o f t h e s t a i r, s h o w c a s i n g i t s m a t e r i a l i t y a n d a t m o sphere while subtly communicating its intentional deviation from standard dimensions. The H e l i c o i d a l S t a i r, i n t e n t i o n a l l y n o t b u i l t t o c o d e , b e c o m e s a d e l i b e r a t e d e p a r t u r e m e a n t t o c h a l l e n g e n o r m s , e n r i c h i n g t h e a rc h i t e c t u ra l n a r ra t i ve w i t h a u n i q u e s p a t i a l q u a l i t y.

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SECTION

PLAN

AXONOMETRIC

PERSPECTIVE

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ESTHER SONNENSCHINE

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CURVED LIGHT

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P R O J E C T 2 : URBAN DWELLING In crafting the design for Project 02: Urban Dwelling, I’ve chosen to center my focus on the family scenario of Fernando and Mehiko, floral designers returning from San Paulo, Brazil. This unique family dynamic, including Mehiko’s parents available for support, introduces specific considerations for the dwelling’s spatial layout and functional elements. The decision to integrate a flower shop on the ground floor aligns seamlessly with Mehiko’s profession, adding both a personal touch and a distinct character to the dwelling.

The design aims to reflect the family’s connection to nature, incorporating elements that accommodate the storage and overnight safekeeping of flowers and supplies. This thoughtful approach not only addresses the family’s specific needs but also contributes to the overall narrative of the dwelling as a space that harmoniously blends the personal and professional aspects of their lives.

DURATION:5 WEEKS

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P2-URBAN DWELLING

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CLIENT RESEARCH

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2 STAIRCASES. Connective in that it transports. Looking back at Perec, can this staircase be more than a thresh

1 TO THE STREET. This street is quiet, private and noiseless. The door is hard, black and remains as a relic of the industrial history of the building.

1 FROM THE DOOR. This entry may seem superfluous, but it mediates the threshold between the exterior world and interior of the home, making the transition not as stark.

1 ROOF. An accessible roof is a luxury in Brooklyn, a thoughtful gift making up for the lack of ground level outdoor

space. This space is used for family gatherings, playdates and making memories. Grass planted on a roof would seem strange, but time has proven that flowers can grow wherever they are planted. The roof is vast and impactful in a building sandwiched between two others.

THEBUILDING

7:00 AM - Kitchen: Breakfast preparation for Daiwa, Fleur, and Fernando.

Fernando assists with getting the kids ready for school.

8:00 AM - Foyer: The kids grab their backpacks and run out the door to their school bus stop.

Daiwa and Fleur board the school bus, waved off by their grandparents and father.

Olga watches them from front window, then goes on her daily walk.

10:00 AM- Home Office: Fernando starts his day by turning on his computer.

He looks through his emails and makes a list of what he has to do, getting ready for a zoom meeting.

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A F T E R N O O N

5:30 AM - Foyer: Mehiko departs for the flower market in the city. She need to get there before 6, so she can park on the street.

3:30 PM - Kid's Playroom: Daiwa and Fleur return from school and enjoy playtime.

Olga excitedly welcomes the kids home.

8:00 PM - Kids' Bedrooms: Daiwa and Fleur get ready for bedtime.

6:30 AM - Kids bedroom: Mehiko's parents who have stayed the night help get the kids ready for school.

Olga bounces into the room excited to start the day.

4:00 PM- Living Room: The kids do their homework, not without a fight.

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8:00 AM - Foyer: The kids grab their backpacks and run out the door to their school bus stop.

Daiwa and Fleur board the school bus, waved off by their grandparents and father.

Olga watches them from front window, then goes on her daily walk.

M

10:00 AM- Home Office: Fernando starts his day by turning on his computer.

He looks through his emails and makes a list of what he has to do, getting ready for a zoom meeting.

I N

6:00 PM - Kitchen+ Dining Room: Family dinner preparation and mealtime, with Mehiko back home to join.

Fernando helps with dinner preparations after closing his computer for the night.

6:30- Foyer: Time for Olga’s nightly walk, the whole family joins.

11:00 PM - Master Bedroom: Mehiko retires to her bedroom for the night.

Fernando unwinds before going to bed.

7:00 PM - Living Room: Family time, such as playing board games or watching TV together.

Mehiko's parents might spend time with the family if they are still visiting.

11:30 PM - Guest Suite : Mehiko's parents sleep here as Mehiko has an early event she needs to get to in the morning.

12:00 AM - Master Bedroom: Fernando goes to bed around 12 AM.

DWELLING STREET

SITE

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10:00 PM - Storage Room: Mehiko stores her floral supplies and equipment safely.

Fernando ensures the company van is securely parked.

10::30 PM - Living Room: Fernando and Mehiko wind down for the night, sharing a quiet moment together.

They may enjoy a glass of wine or tea while reflecting on their day.

Olga settles in for the night, guarding her family.

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5:00 PM- Foyer Mehiko arrives back home after her long day at work.

E

6:00 PM - Kitchen+ Dining Room: Family dinner preparation and mealtime, with Mehiko back home to join.

Fernando helps with dinner preparations after closing his computer for the night.

6:30- Foyer: Time for Olga’s nightly walk, the whole family joins.

11:00 PM - Master Bedroom: Mehiko retires to her bedroom for the night.

Fernando unwinds before going to bed.

V

R

7:00 AM - Kitchen: Breakfast preparation for Daiwa, Fleur, and Fernando.

Fernando assists with getting the kids ready for school.

10::30 PM - Living Room: Fernando and Mehiko wind down for the night, sharing a quiet moment together.

They may enjoy a glass of wine or tea while reflecting on their day.

Olga settles in for the night, guarding her family.

7:00 PM - Living Room: Family time, such as playing board games or watching TV together.

Mehiko's parents might spend time with the family if they are still visiting.

11:30 PM - Guest Suite : Mehiko's parents sleep here as Mehiko has an early event she needs to get to in the morning.

E

N I N

6:45 AM - Bathroom: The banging begins on the bathroom door as they fight over space.

The teeth are washed, hair is brushed and kids are fresh to start their day.

5:00 PM- Foyer Mehiko arrives back home after her long day at work.

N

7:30 PM Bathroom: The kids start washing up for bed, taking a shower and brushing their teeth.

G

1:00 PM-Kitchen: Fernando takes his lunchbreak by preparing lunch for himself and giving the dog food.

10:00 PM - Storage Room: Mehiko stores her floral supplies and equipment safely.

Fernando ensures the company van is securely parked.

E

N

6:45 AM - Bathroom: The banging begins on the bathroom door as they fight over space.

The teeth are washed, hair is brushed and kids are fresh to start their day.

PROGRAM 5:00 AM - Master Bedroom: Mehiko wakes up early to prepare for her trip to the flower market.

Fernando may briefly wake up to say goodbye.

G

4:00 PM- Living Room: The kids do their homework, not without a fight.

N

6:30 AM - Kids bedroom: Mehiko's parents who have stayed the night help get the kids ready for school.

Olga bounces into the room excited to start the day.

G

8:00 PM - Kids' Bedrooms: Daiwa and Fleur get ready for bedtime.

V

2 ENTRY DOORS

3:30 PM - Kid's Playroom: Daiwa and Fleur return from school and enjoy playtime.

Olga excitedly welcomes the kids home.

E

3 SKYLIGHTS.

By opening up the ceilings, the problem of air is fixed. While windows are normally on the walls, Skylights break that rhythm by being on the ceiling. The air and light comes in from the top. Laying in bed, staring at stars seems like a dream, if only city light didn’t make them invisible.

5:30 AM - Foyer: Mehiko departs for the flower market in the city. She need to get there before 6, so she can park on the street.

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2 NEIGHBORING BUILDINGS.

Tightly squeezed between two buildings limits the airspace. Bedrooms need windows, the questions arises how to fit bedrooms in a long space. An industrial building does not need air.

Machines do not need air to function, humans do.

7:30 PM Bathroom: The kids start washing up for bed, taking a shower and brushing their teeth.

N

FLOOR 1. normally for entertaining guests, family time and discussions.

FLOOR 2. The sleeping space,

1:00 PM-Kitchen: Fernando takes his lunchbreak by preparing lunch for himself and giving the dog food.

R

2 FLOORS.

In a typical home, the ground floor is for living space, the second for sleeping. Can this be switched?

Can the ground floor be for sleeping and self care, closer to the entry point? Why should you have to run up the stairs to grab your forgotten item from the room? Shouldn’t your personal items be closer to the entrance?

5:00 AM - Master Bedroom: Mehiko wakes up early to prepare for her trip to the flower market.

Fernando may briefly wake up to say goodbye.

O

The windows there for the people inside or the voyeurs outside. These windows seem to mimic the ones directly across the street, almost jail-like in form. The bars take the place of window-coverings. Can we see out or can others see in? that is the fault of windows, the distributors of the harsh interior and exterior relationship.

M

7 WINDOWS. Longer in length than width, provide the neighborhood with a glimpse of what happens inside. Are

A F T E R N O O N

old? can we make it liveable through thoughtful design? One is a switchback design, the other a continuous run.

12:00 AM - Master Bedroom: Fernando goes to bed around 12 AM.

DWELLING

NEIGHBORHOOD

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P2-URBAN DWELLING

ESTHER SONNENSCHINE

Each day, Mom adorns their room with a bouquet of fresh flowers, an unspoken reminder of her enduring love even as she departs before their awakening. These delicate blossoms find their home in vases gifted by grandparents from Brazil, set against a wallpaper crafted by their father, where art forms engage in a silent dance, enriching the room with layers of meaning and emotion, even before the girls have started their day.

OBJECT 18

ROOM 18

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TEST PROGRAM DIAGRAMS

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WORK AT HOME, A STUDY INTO THE DIVISION OF BUSINESS IN RESIDENCE.

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SKETCHES

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SUNLIGHT STUDIES

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NEUTRAL TEXTURE

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D R AW I N G T I T L E

D R AW I N G T I T L E

MADE MATERIALS A COLLECTION OF HAND MADE MATERIALS, WITH A FOCUS ON BRIGHTNESS, SENSORY AND TACTILENSS, TO ADD DEPTH TO THE SPACE, WHILE NOT MAKING IT TOO HEAVY AND DRAK.

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GROUND FLOOR PLAN

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UPPER FLOOR PLAN

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GROUND FLOOR LIGHTING PLAN

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UPPER FLOOR LIGHTINNGPLAN

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LONG SECTION

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The section shows the lightwells, green space on roof and meditation space. The 2nd floor entrance is visible , as well as the lower level flower shoppe.

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SHORT SECTION

SHORT SECTION

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PERSPECTIVES

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UPPER FLOOR

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D R AW I N G T I T L E

FLOWER SHOPPE

D R AW I N G T I T L E

C U R V E D FAC A D E

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P3: CURTAIN

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KNOTTED CURTAIN

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PROJECT 3: CURTAIN PROJECT For this project Iset out to try a a unique knotted design that served as a form of protest against my perceived limitations as an architecture student, particularly in the realm of sewing. Choosing to work with long strips of fabric, I embraced the limitations of my skill set by opting for a tactile and unconventional approach—knotting each strip together to form a distinctive woven curtain. The intentional decision to leave the curtain unfixed added an element of adaptability, allowing for an interactive experience. Viewers could actively engage with the installation, pulling it open or closed to shape their own interactions with the space.

This project not only showcased a creative response to perceived constraints but also celebrated the beauty in simplicity and the engagement of the viewer in the unfolding narrative of the design.

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P3: CURTAIN

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SAMPLE 1

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SAMPLE 2

SAMPLE 3

SAMPLE 4

SAMPLE 4

I tested many different swatches, looking for ways to piece togetehr material without sewing or using hot glue. At first, I attepmted pleating, but switched to knotting as that was more feective for a larger curtain

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SCALED MOCKUP I c ra f t e d a s m a l l m o d e l o f t h e w i n d ow, a n d t h e n made a mockup of the curtain, focusing on connections and parts to form a whole. I bought it outside t o t e s t l i g h t i n g a n d d e s i t y.

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FULL SCALE CURTAIN 10’ Constructed curtain, with a focus on moveable knotted elements

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S H R E D D E D FA B R I C

LEADS TO TASSELS

SMOCKED TRIALS

KNOTTED TESTS

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KNOTTED CONNECTION

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FINAL DESIGN T h e l o o s e p a r t s a l l o w f o r e a s y a d a p t i b i l i t y, p u t t i n g the user in control

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OPEN

OFFICE

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PROJECT 4: OFFICE DESIGN In envisioning the open office project, aptly named the Epicenter, I aimed to transcend the conventional notion of a workspace by transforming it into a dynamic expression of the company’s ethos.

The Institute for Living Futures, dedicated to community and action, inspired the design as a testament to their commitment to environmental sustainability and social responsibility. Embracing the idea of the Epicenter as a living exhibit, I focused on integrating the company’s core values, vivid colors, and design petals seamlessly into the workspace. The circulation within the office was meticulously planned to accommodate guided tours while ensuring employees remained at the heart of the action.

Materials were chosen for their natural, smooth, and contrasting qualities, prioritizing privacy and collaboration. The design reflects the Institute’s commitment to a circular and regenerative economy, water balance, equity, solar-driven energy, and the celebration of design that uplifts the human spirit. The Epicenter thus becomes not just a workspace but a vibrant manifestation of the Institute for Living Futures’ mission, promoting health, happiness, and a sustainable world through innovative design.

DURATION:5 WEEKS

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DRAWING EXPLANATION

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METHODOLOGY

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BRAND

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ETHOS

ORGANIZATION

DATABASE

TIMELINE

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PRECEDENT

A N A LY S I S

My design analysis drew inspiration from Vitra’s Club Office concept, emphasizing modular design and spatial overlaps. In parallel, I explored the hierarc h i c a l l a y o u t o f t h e t a r g e t c o m p a n y, w i t h f o u r k e y figures and distinct departmental arrangements, informing my strategy for creating flexible and collaborative workspaces. The Living Product Challenge guided my choice of sustainable materials, aligning with the company’s commitment to environmental r e s p o n s i b i l i t y. A d d i t i o n a l l y, i n s i g h t s i n t o t h e c o m pany’s growth, media kit colors, and advocacy work influenced my design choices, ensuring a seamless integration of their progressive ethos into the workspace. This thorough analysis serves as a robust foundation for crafting a workspace that reflects both functional needs and the overarching values of t h e c o m p a n y.

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PROGRAM DIAGRAM

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UPPER FLOOR PROGRAM PLAN

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The program diagram strategically places “Production” at the core, radiating outward through layers of “Learning,” “Exploring,” “Inspire,” and “Observe,” not only delineating functional elements but also mapping circulation. This thoughtful arrangement transforms the workspace into a dynamic hub of community engagement, where the continuous flow between “Produce, Learn, Live, and Explore” seamlessly integrates with the collaborative spirit of the environment.

GROUND FLOOR PROGRAM PLAN

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CIRCULATION DIAGRAM

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W O R K + P L AY

P R I VA T E + P U B L I C

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LIGHTING DIAGRAM

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GROUND FLOOR RCP

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SHORT OFFICE SECTION B-B’

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L O N G S E C T I O N A - A’

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SHORT SECTION C-C’

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M AT E R I A L PA L E T T E

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RESIN+ INK

WOODEN SLATS

3 D P R I N T FA B R I C

GLUE SCREEN

In my handmade material explorations, I ventured into the realm of color and texture, looking for simple, sustainable options that would add a tactile element to an office space which is normally dark and monotonous.

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FURNITURE CHOICES The furniture was chosen from the ILFI database, looking at furniture with linear elements, continuing the planar design that i utilized in the design.

I looked for mid-century modern styles, because of their simplicity and comfort.

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LIGHTING CHOICES The lighting, similar to the furniture was all chosen for their planar elements. The wood slat ceiling is drawn from my material exploration and acts as accoustic panels, muffling sound. The plastic fabric is utilized as a light fixture, casting unique shadows.

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PERSPECTIVES

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ENTRY

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PERSPECTIVES

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MEETING AREA

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STAIRS

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SEMI-PUBLIC OFFICE

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MATERIAL LIBRARY

H A L LWAY

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C O L L A B O R AT I O N S PAC E

KITCHEN

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ESTHER SONNENSCHINE FALL 2023

PROCESS PROCESS PROCESS PROCESS PROCESS P R A T T

I N S T I T U T E