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Plan studies

According to MDG project designer Stan Eastland, the standard Pottery Barn plan strategy emphasizes axial spatial sequences that clearly direct a visitor or customer through the store. As shown in this early plan sketch, these axial arrangments also allow for sight lines that extend and capture the customer's attention throughout the store. A further feature of the typical plan are a series of symmetrically shaped spaces that house, define and reflect the scale of the various goods and displays contained in the store.

Facade studies

As shown in these sketches provided by the McCall Design Group, hand sketching, both black and white and color, was the primary means for developing and advancing the design. The predominance of elevational sketches take on an almost scenographic obsession with the main entry facade and demonstrate the importance of store image for the client. These studies also show the the client and architect's desires to utilize a clean, stripped down, ornamental language that reflects the store's location in a neighborhood with historic examples of Victorian, Edwardian and Mission style homes and commercial buildings.

One other notable feature of these sketches, was the use of notes that almost reveal a form of shorthand and accelerated discussion born through many prior years of collaboration between the architects, designers and client. Both Stan Eastland and Patti Kashima underscored how ideas are typically presented and exchanged in a fairly informal manner, both via fax and e-mail exchanges.

Based on the sketches and design studies that we saw, our team regretted that there weren't more 3-dimensional studies. Furthermore, we wondered whether the air of informality ultimately hindered the architect's ability to persuade the client to pursue alternative designs that would distinguish this store from the typical Pottery Barn. Thus, promising studies such as the last sketch shown at the bottom left became just that, an interesting idea not fully realized that the client didn't buy. Perhaps formal "dog and pony" presentation with a number of equally developed schemes, in drawn and model form, placed side by side for the client to ponder would have been effective.

design process
Feasibility study plan sketch Richard Altuna facade study Facade study Facade study with clock tower proposal and client comments McCall Design Group Design Charrette Sketch		Plan studies According to MDG project designer Stan Eastland, the standard Pottery Barn plan strategy emphasizes axial spatial sequences that clearly direct a visitor or customer through the store. As shown in this early plan sketch, these axial arrangments also allow for sight lines that extend and capture the customer's attention throughout the store. A further feature of the typical plan are a series of symmetrically shaped spaces that house, define and reflect the scale of the various goods and displays contained in the store. Facade studies As shown in these sketches provided by the McCall Design Group, hand sketching, both black and white and color, was the primary means for developing and advancing the design. The predominance of elevational sketches take on an almost scenographic obsession with the main entry facade and demonstrate the importance of store image for the client. These studies also show the the client and architect's desires to utilize a clean, stripped down, ornamental language that reflects the store's location in a neighborhood with historic examples of Victorian, Edwardian and Mission style homes and commercial buildings. One other notable feature of these sketches, was the use of notes that almost reveal a form of shorthand and accelerated discussion born through many prior years of collaboration between the architects, designers and client. Both Stan Eastland and Patti Kashima underscored how ideas are typically presented and exchanged in a fairly informal manner, both via fax and e-mail exchanges. Based on the sketches and design studies that we saw, our team regretted that there weren't more 3-dimensional studies. Furthermore, we wondered whether the air of informality ultimately hindered the architect's ability to persuade the client to pursue alternative designs that would distinguish this store from the typical Pottery Barn. Thus, promising studies such as the last sketch shown at the bottom left became just that, an interesting idea not fully realized that the client didn't buy. Perhaps formal "dog and pony" presentation with a number of equally developed schemes, in drawn and model form, placed side by side for the client to ponder would have been effective.
background	timeline	process	conclusions	related links