SPATIAL ENTROPY A DESIGN THEORY

1. SPATIAL ENTROPY A DESIGN THEORY Jamie Lynn Slenker 2009

2. The view of design and what is to be done focuses centrally on the human experience. In interior environments it is important to find the spirit of the without and to embody that feeling within, establishing connection to place. While interiority is retreat, it is also a place of advance, and consequentially should be viewed as the opportunity to create harbors of transition rather than a mountain of solitude. My theory of interiority is that it should discover what I am calling here spatial entropy. By this I intend to mean an unearthing of the energies released and passed from place to people to the wild beyond. The execution of this theory is rooted in three main principles; the creative process, environmentally and socially responsible acts and meaningful intentions. Design for the human experience lies at the intersection of these three conceptions. Through beautifully orchestrated action and reaction to this methodology, people and place become harmoniously unified. Inspiration for behavior and relationships become simply found. design is a VISION 1

4. THE CREATIVE PROCESS Designing to harness spatial entropy begins with a line or form naturally present in the physical or spiritual surrounding environment. This may mean finding the natural rhythms of a space unique to a family dynamic or a corporate culture. A good start to discovering these propensities could be in collecting captivating and inspirational and images for the user to define their affinities. From this jumping off point the designer is able to combine research and gesturally define interpreted values. Sketching and making processes provide ideal provocation of connection and interaction with the to-be built environment. It is a time to play, yet show craft and calculation. This cannot be a rote process. Using drivers that inspire new thought and ties unique to user and place bring about creatively new design. Varying dynamics and culture inspire invention. It is important to see this process as opportunity for discovery. imaginative CONCEPTION 3

6. ENVIRONMENTALLY AND SOCIALLY RESPONSIBLE ACTS A portion of this particular view of theory has to do with the selection of sustainable materials and making processes. These choices should come naturally starting with vernacular materials and develop further through proper investigation of environmentally conscientious and socially responsible making processes. Being a designer should be synonymous with humanitarian and preservationist, as we have such a profound impact on the earth. The basis of this conception places strength on the relationship to environment; the primitive human connection to the earth. Biomimicry and biophilic design stimulate the primitive arousal of human connection to people and place. In following these paths to design a simple harmony evokes timeless character and inherent beauty while allowing natural energies of form and material to pervade the senses. simplicity BOUNDING WITH ENERGY 5

8. MEANINGFUL INTENTIONS Through all of these psychological, cultural and phenomenological aspects, intent to meaning becomes fully established and makes design a more meaningful experience. It is in the critical consideration of process, environment, and social relationships that we imbue meaning and reflect intention. The character of our environment is such that energy can neither be created nor destroyed but flows between things integrating, opposing, transitioning and redefining. In creating an order for this energy to flow, movement and intrigue are nurtured. vivid ANTICIPATION 7

10. DESIGN PHILOSOPHY This investigation of theory has proved to further solidify my design philosophy as well as inspired my hands and imagination developing my love and cognition of design. Design should spring naturally from purpose and desire. It is an opportunity to inspire thought and invoke action. Design should not only be seen, but experienced. As a designer I search for the organic line of nature’s hand. From this gesture I build layers to evoke feeling. Through balance of light and space I can create relationships. Through contrast I can form meaning. In finding flow of movement and order I can nurture discovery. It is my goal to explore, to bring energy and passion to form and materials. 9