Life Sketch

Weaving a Web

2011-04-25T14:31:00.000-07:00

Much of the job market today seems to be a little more "who you know, not what you know." While credentials are clearly necessary and a valuable asset, the job market is so competitive that making a name for yourself plays a key role in gaining an edge over competition. Perhaps an extension of "branding yourself," a young designer must network to meet both future employers and mentors. Internships, design society events (ASID, IIDA, etc) and volunteer opportunities are some of the best ways to weave this web of support.

I recently attended the David Orr lecture on the subject of "Black Swan Events" and was shocked to discover that it was directly related to a project I'd been introduced to months previous at my internship with Quaintance-Weaver. Likewise, my involvement with Global Studio landed me at the reception of the Global Studio exhibit. I was introduced to Mike Hayworth, who's involvement in the furniture industry led him to appreciate our design-oriented humanitarian project.

The overlap of these events lends truth to the "small world" our global society has become. Everything we do beyond the borders and limits of out everyday life allows us to meet new people and explore new opportunities.

Keeping current

2011-04-25T14:21:00.000-07:00

To stay in touch with current and developing trends in the design world, we worked to compile and compose research papers on topics of our choosing. From my work as Design Team Manager to the Quaintance-Weaver design team, I was drawn to use my experience in LEED Platinum Proximity Hotel and further explore the developing role of sustainability in hospitality design. Here is a snippet of my work:

The Emergence of Sustainable Materials, Construction and Operations in

Hospitality Environments

The UN defined sustainability at the 1987 Brundtland Commission as “Meeting the needs of the present without compromising the ability of future generations to meet their own needs.” This definition was later expanded to include a balance in the dimensions of environmental protection, social development and economic growth, at the 1992 Conference on Environment and Development. With the rapid emergence and heavy influence of sustainability in design, it is key that we recognize the burden that industry places on the environment, and our responsibility to apply the weight of this influence to our consideration of sustainability, in practice. As one of the largest trades in the world, the Hospitality industry stands as the largest consumer of energy and water, and a leading threat to the environment. True to its nature, the hospitality industry operates to meet the “needs of the present”- the guests. As such, it is vital that this industry gain leverage on the frontier of sustainable design through standardized systems of sustainable practice. This must begin with their principal machines of operation, the buildings, and extend through the veins of hospitality functions.

...The saturation of sustainability into present society and culture generates a need for consideration of major players in the today’s industry. The hospitality industry places a heavy stain on the environment, as one the world’s most prominent consumers of energy electricity, and materials. With buildings producing the most pollution of anything else on the planet, and this pollution so directly affecting its users, it is vital that we consider ways of implementing sustainable design into Hotels. These “green” buildings will not only offer enhanced living and working environments, but will provide influence for the hospitality industry across the world, promoting sustainability as a basic building block in future design. Materials, both in production and implementation, are ideal contenders for “green” substitutions, as new options are constantly filtering into the “green” market.” Sustainable construction methods are continually changing and developing to reduce costs and ensure efficiency in green construction. Although sustainable solutions come with a cost, green technology is becoming more affordable every year. Such a cohesive cultural trend enables “green buildings” to be far more marketable. They boast far more efficient consumption of energy and water, and therefore maintain minimal operating costs, contributing to a short-term pay off to otherwise costly alternatives. Hospitality offers a tangible means of connecting sustainability to individuals across the globe, promoting sustainable design for all through consideration at the industry’s source.

Hot 'lanta!

2011-04-25T14:13:00.000-07:00

To put our skills to the test, our class ventured to the biggest city in the southeast, Atlanta, GA. Thanks to the phenomenal help of our current and former advisory board members, we were able to explore such firms as Herman Miller, Gensler, and TVS (to name just a few). It was incredible to see that the work we've been doing was comparable to the work generated for actual clients of these firms. We fully understood the projects we were introduced to, and it was clear that we can and will enter the job market on a competitive level. This experience allowed a clear idea of what to include in our portfolios, and we received some great advice to help us stand out to the firms we aspire to work for.

The business of design

2011-04-25T14:01:00.000-07:00

Design, by nature is a field vested in creativity. We work against the grain, break rules, and manipulate the "known" or familiar. This is perhaps best described by our department's logo, "ask forgiveness, not permission," but makes it difficult to consider how and where rules work into this business. To learn about the inner workings of these business affairs, we developed mock design firms, even dividing our groups into partners and staff. I worked with my group to devise the business plan. This was particularly challenging, considering the rigid, rule based nature of such a document, but with some precedent work it became more clear where the line must lie between business and design. We accuountd for pretend backgrounds of each team member, as well as the history of our firm. I enjoyed exploring the possible specifications to tailor to certain markets. In our case, Helix design caters to large, global investors and maintains relations with big business on an international scale. This sort of clientele was incredibly exciting, but terribly difficult to budget for. We are accustomed to small local projects with rather low budgets. To consider finances for a multimillion dollar skyscraper carried us into vastly unfamiliar territory.

Set apart from the rest

2011-04-25T13:53:00.000-07:00

With such competition awaiting us in the job market, it's vital that we find ways of "packaging" our skills to best market ourselves to future employers. We worked to create our physical portfolios, but also generated a finalized resume and cover letter, "leave behinds" and a CD of our work. It was interesting to think of this as a "branding" for myself. My linked in profile and up and coming website are other ways I hope to network with the professional world. It's amazing what a long way networking can take you- I look forward to exploring my new connections.

Define: Me

2011-04-25T13:32:00.001-07:00

One of the most challenging parts of generating my portfolio was deciding which projects best represented my skills. Its hard to eliminate work you were so heavily invested in, but I came to realize that my selection of work was my opportunity to define myself. Beyond the font, text, and graphics (also very important, but difficult choices), I aimed to choose work that represented my primary interests in humanitarian design, graphics, and design documentation.

Drumroll please...

2011-04-25T13:20:00.000-07:00

Four years of sleepless nights and studio sunrises can make our work seem rather never ending. Computer bugs, last minute pinups, sleepy model mistakes- its all part of the studio experience that shapes us into the creative and innovative designers we are. I can honestly say that there is nothing more rewarding than seeing four years of hard work neatly presented in a polished, designed portfolio. Valuable as it is, a portfolio finally reflects a designers abilities. Down to its very construction and presentation, a portfolio can define a designer.

Marketing: Me

2011-04-25T12:58:00.000-07:00

Gearing up for the real world...

2011-04-25T12:34:00.000-07:00

With fourth year coming to a close and graduation fast approaching, the concept of life in the real world (or life beyond the IARC studio) is setting in. With the economy looking up, the design world is regaining its strength and we must realize the competition we face. There is a great deal of discussion pertaining to the definition of Interior Architecture. What separates us, as interior architects, from interior designers? And from Architects? And can we even title ourselves interior "architects"? And how do we answer these questions to find out place in the design world.

For starters, we will pinpoint our strengths. We are trained to consider space from the inside out. We understand the influence of design elements, while focusing on their interaction with form and shape. We have a comprehensive understanding of building systems, materials, and construction methods implemented into interior spaces and use these- often manipulate these- to shape space.

The design world is multi-faceted and ever-evolving and, as I have discovered, a realm with endless job opportunity. Considering our training, we now have to opportunity to determine what interests us and the confidence to go for it.

My Sister's House: Agi32 Exploration

2010-01-11T23:44:00.000-08:00

My Sister's House: Progress

2009-11-05T13:21:00.001-08:00

My Sister's House has seen incredible progress since our work this summer!

Summer Studio

2009-06-14T23:12:00.001-07:00

Please take a look at my sister blog, from ground, up | US[2]. This is digital journal of my experience building Youth Focus, My Sister's House. This is my summer studio and will follow the house through its expected completion in September 2009. A complete background on the house can be found at the iarcurbanstudio blog.

WPA Poster

2009-04-30T08:19:00.001-07:00

To navigate through Adobe Illustrator, I produced a WPA poster based off of a picture of a sea turtle. My volunteer work at the Topsail Sea Turtle Hospital inspired my subject selection.

Object of Persuasion

2009-04-27T23:20:00.001-07:00

Though a graphic design exploration, my studio was instructed to create an advertisement for a previous design. The table pictured in the above image was my design for A Place to Dine, in which I chose to play with level changes and the concept of spacial hierarchy in dining. I chose to keep my advertisement clean and simple to emphasize the unique relationships of the shapes in my design.

urbanPATHways

2009-04-14T07:27:00.000-07:00

From a vintage photo of a woman in the city, I used Adobe Illustrator to essentially animate the photo. I was fascinated by the textures in the original photo, and therefore tried to incorporate them into the edited copy.

Scene of Discourse

2009-03-31T00:34:00.001-07:00

Using two assigned words as inspiration, our 2D rendering class was instructed to create a composition that was representative of both words. My compositions are representative of Frustrated Patina.

Pattern Perception

2009-03-23T20:40:00.000-07:00

As a first attempt at Photoshop, our 2D rendering class was assigned the challenge of finding a cityscape and breaking it down to create an abstract pattern. I broke an image of Berlin at night into lines and angles, mirrored them, and then fused small images to create a circuit board-like pattern.

Release: Breakaway

2009-03-06T07:19:00.000-08:00

In designing a spa, one does not often consider the specific challenges of physically disabled clients. Furthermore, it is infrequent that a designer find oneself faced with the challenge of designing a spa environment focused solely on the needs of these physically challenged persons. Our studio was presented with just such a challenge; to design “a place to bathe” for wheelchair bound clients. This space was to include at least one ramp and follow the bathing traditions of a culture of our choosing.

My precedent research began with an exploration of global bathing traditions. I gathered information on the modest bathing traditions of the Quakers, to those extravagant traditions of the ancient Romans, to the spiritual bathing of the Japanese. Only after reading about the Scandinavian sauna, or sweat bath, was I able to begin developing my concept for my spa.

Because a handicapped client is confined to a wheelchair, it became clear that a spa should offer freedom from such restrictions. A health spa, incorporating the benefits of a sauna, became the focus of my design, paired with a progression from restrictions to ultimate freedom. My design reflects this progression as organic shapes progressively break away a grow from the confined geometry of straight lines.

The sauna has existed as a prominent Scandinavian tradition for much of recorded history. Saunas have been long believed to promote a healthy overall wellbeing and encourage social bonding. In the early days of the sauna, they were even referred to as the poor man’s apothecary, providing a sanitary environment for surgeries, births, and shelter for the sick. Even today they are often used in combination with fresh birch twig massage and cold water pools to improve circulation and promote healthy skin.

Upon entering my spa, the client passes through a foyer, assisted by an attendant if desired, into the Sauna. Here there is a bench for massage or relaxation. They then proceed to the cool pool, following a curved ramp. The pool is designed to cool and refresh the body after the intense heat of the sauna. The pool also offers benches or four feet of water in which the clients are able to release tension and achieve optimal wellness, according to Scandinavian beliefs.

The materials in the spa are intended to support the feeling of natural wellness. I chose to incorporate slate and rich toupes and purples, while utilizing natural light through the implementation of large skylights.

A Place to Dine | Intimacy Gradient

2009-03-01T10:12:00.000-08:00

Finding Direction

2009-01-28T12:30:00.000-08:00

Throughout history, the worlds of politics, design and art have seen movements manifested in specific ideals. These movements spread through the veins of society, offering goals to which humanity must strive to reach. With the increased concern for the planet's welfare has come a growing interest in "green" design. Not only do I feel that sustainable design is vital for the protection of the environment in which we operate, but I feel that we need to reevaluate the way we design and live. We must remember that what we are responsible for environmental impact resulting from the artifacts we produce. Our approach to design must be to operate without a trace. Design must be productive but should exist in harmony with nature, its effects neutralizing with the environment. The artifact pictured above is a representation of this manifesto. The progression in size and opacity from pure and transparent plexiglas to solid white symbolizes the pollution resulting from human interaction with the environment. To represent the neutralization of these environmental effects, the plexiglas progresses back to its transparent state, resuming its properties as a pure substance.

Computer Aided Architecture:

2009-01-25T20:33:00.000-08:00

Anna Will

IAR 212 Reflection

The 1970s brought about the introduction of software into the world of architecture. Rooted in age-old drafting and rendering instruments, software acted as a tool to greatly expand the resources and abilities of architects. Early architectural software originated in universities and diffused into architectural firms and further into general use. This progression accompanied the advancement of computer processors and resolution, as well as the increased availability of ink jet printers. CAD software enabled architects to not only draft digitally, but allowed them to visualize and communicate ideas technologically. Computer programs improved communication and gained the role of assistants, taking on human tasks to speed up the design process. As designers we must recognize the limitless possibilities offered by architectural software, but must also heed the fact that computers are merely tools and must fully understand their abilities before relying upon their aid.

bus|shelter: unveiled

2009-01-24T11:41:00.000-08:00

Alas, the Community by Design, second year studio has completed the Tate Street bus shelter. After hundreds of drawings, a handful of sketch models, countless material investigations, advertising excustions, and long hours in the wood shop, our Studio has accomplished this seemingly impossible design|build. Through Bus|Shelter we declare a commitment to the welfare of humanity and environment. With design as our vehicle, we present the community with a small but powerful solution which speaks for both second year studio and Greensboro, as a whole. This shelter is our physical story for fellow community members to share and experience; a little piece of Interior Architecture integrated with the dynamic history of Greensboro’s public transit.

Eames' La Chaise: Watercolor

2008-11-10T13:03:00.000-08:00

Eames Desk: Colored Pencil

2008-11-10T13:01:00.000-08:00

Waiting Game

2008-11-10T12:59:00.000-08:00

This man was a fellow passenger on my recent GTA bus ride. He looked so familiar with the routine, and for this reason I found him quite an interesting subject.

King Louis XIV Bed: Pencil

2008-11-10T12:57:00.000-08:00

Modern Dresser: Sharpie

2008-11-10T12:55:00.000-08:00

A Centennial of Change

2008-11-10T11:41:00.000-08:00

History has offered the design world a host of changes, each driven by events of the time. New materials and technology enable architects and designers to push boundries of conventional form; a trend seen repeatedly through the 20th century. Today, architecture is influenced by each of these architectural movements, perhaps leading us into a new generation of architectural expression.

John Hancock Center Conference Room

2008-11-03T20:21:00.000-08:00

Forcing my way through the bustling crowd, coffee splashes on my crisp white button-down. Heads down, men in suits corral like cattle along the bleak streets of Chicago. This daily pilgrimage is interrupted only by newspapers littering the streets screaming "PRESIDENT CARTER: COMMANDER IN CHIEF" and "VIKING II LANDS." After years of economic hardship and social turmoil, it seems unlikely that anyone could see our great nation through these hard times. As I round East Delaware Street, the newly completed John Hancock Building towers before me; I have yet to adjust to working in such a monstrous building.

Although the view from my new office is spectacular, my office seems to integrate smoothly into the stale, cold winter landscape. The building is too modern for my taste- and not without its share of problems, but it is nice finally settle in. Even these strange tulip chairs, I think they call them, are different from the Mackintosh style chairs at the old office. It is no surprise that this building is quite different from other buildings, such as the Empire State Building in New York, because it has living quarters, shops and even an observatory.

Shortly after my arrival, my secretary informs me that I have a meeting concerning new technology being implemented in the office. The office has been buzzing with news of some new Intel microprocessor and the Apple I. Since the development of the floppy disc, our office has seen leaps and bounds in technology, so I am excited to see what information they've prepared for us.

I join a group gathering in a large room central to our floor. I take my seat at the conference table, awaiting the big news from the Intel. This conference room has proved quite handy for presentations such as these, as it allows everyone a good view of the speaker. The table is much bigger than we've ever had, so we can host large meetings with no shortage of room. The presenter appears with some of the most fascinating contraptions we've seen; perhaps change is not too far out of sight after all.

Unity through Tragedy

2008-10-27T13:43:00.001-07:00

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

2008-10-16T21:47:00.000-07:00

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

2008-10-13T22:49:00.000-07:00

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, Knol l, Smithsonian, and printpattern

shelter|bus: Unity through Rhythm

2008-10-10T16:48:00.000-07:00

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

2008-10-03T10:55:00.001-07:00

[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

Artifact Investigation: The Conference Table

2008-09-29T18:01:00.000-07:00

[artifact]
The Conference Table (1975) can be attributed to the designs of Andrew W. Palmer, John H. Norton, and Michael A. Goldfinger. This group of men was known to be a part of the 1971 Union Woodworks, of Warren, Vermont. The table is made from red oak and black walnut, standing at 29 1/2 x 120 x 42 in.

[influence]
The 1970s were a time of global change and revolution. Not unlike today, energy crisis and gasoline rations resulted in heightened economic awareness, while the costs of the Vietnam war placed a heavy burden the delicate US economy. Such social revolutions as integration and feminism reached their climax, and design was integrated with the scientific and postmodernism trends. The scientific community became fascinated with calculators, the Voyager, and Stephen Hawking's theory of black holes. Pop-art and postmodernist art was integrated with design, shedding light upon the works of such designers as Wright, Kahn, and Mies van der Rohe. The corporate culture grew, and hierarchy within the work environment was lessened, streamlining with the social revolution of the time. The Conference Table's design reflects many of the common themes of the 1970, namely scientific and post-modern ideas.

[compare]
This table shares qualities with Frank Lloyd Wright's Barrel Chair, which plays off of a rather traditional chair design. It incorporates recognizable materials (warm wood) with the rather unexpected use of circular and linear elements of an otherwise familiar object. Likewise, the Conference Table is a traditional table design which explores the relationship of sculpted curves and lines.

image courtesy of cache.wists.com

[contrast]
The Conference Table has little relation to the industrial Coupe Table Lamp (1967), designed by Joe Colombo. Its chrome and lacquer contrast with the warm wood of the Conference Table, and the mixed media nature of the lamp greatly contrasts with the sleek wood design of the table.

image courtesy of www.dwr.com

A moment of reflection...

2008-09-26T09:26:00.000-07:00

These images reflect on my fall semester experience in studio thus far. I've compiled thoughts and images for each of bus | shelter and shelter | bus in such a way to demonstrate all that I've learned from these projects.

Comm[unity] Integration

2008-09-22T09:18:00.000-07:00

In groups, we were assigned the task of essentially integrating our Second Year Studio with the Greensboro Community, while simultaneously spreading the word about our Bus|Shelter project. Below are a few examples of our guerrilla marketing designs, which include a T-shirt, which would fund new, better bus shelters (built by our studio) and a coupon book which would allow for a discounted bus fair.

Group: Anna Will, Jenny Deal, Nacarra Lessane, and Lauren Foster

Roadblock: Gateway

2008-09-19T01:16:00.000-07:00

Until only recently, our studio projects were virtually limitless; asking only for boundless creativity. We were challenged with the implication of codes and standards for our current shelter:bus and bus:shelter projects, which, as we quickly observed, was much harder than one would assume. Although we recognized the use of codes through our everyday use of buildings, we had difficulty understanding and applying them to our projects. Ergonomics was, at first, equally as foggy a topic, but we soon realized that answers could be found in the experiences of our group member, Christyn. With her first hand experience, Christyn was able to describe the challenges and obstacles she endured during her time in a wheelchair. This insight allowed us a solid understanding as to how we could best accommodate handicapped individuals. Through research and experimentation, we realized that our culture has standards of proxemics ground into the instincts of each individual American. While there are texts and diagrams depicting these standards, we were able to develop an clear understanding through role-play and observation.

With our new found understanding of codes and standards, we would strongly push designers to make buildings more assessable. As noted by Christyn, buildings that are “handicap assessable” are not nearly as assessable as they ought to be. While they may not be in violation of code, it is important that designers understand their clients well enough to make their buildings function universally. Codes may not solve this problem, but they certainly help by ensuring a human’s ability to use and interact with a space safely. Our studio has grown accustomed to loose, conceptual designs, to which codes may have seemed a hindrance. It is now clear that their implication is somewhat of a relief, a gateway into functional, universal designs.

4s Group: Ben Adams, Leah Petriccione, Christyn Dunning, and Anna Will

node | shelter | bus

2008-09-16T23:02:00.000-07:00

Through the shelter|bus charette, our studio has ventured into the realm of community service. We were instructed to design two mobile disaster relief buses to address two separate needs of hurricane victims. With much deliberation, our group narrowed it down to comfort and communication. We poured ideas onto paper, trying to integrate bus + function.

We used a bubble diagram to define the function and layout of the space. Bubble diagrams enable a person to visualize relation and hierarchy of an idea. In this case, we used it to create a floor plan for our "Comfort Bus."

We worked our sketches into refined drawings to help create a sketch model of a section of the Comfort Bus. The sketch models show how a person would access each private room on the bus, which includes a bed, table, and full bathroom. These rooms would be ideal for a family of four

Bubble diagrams came into play for our Communication Bus as well. We felt that in time of disaster, people often loose family and friends and have no way of gathering information about the crisis at hand. The Communication bus includes phones, TV, Internet, and an alert Marquee to inform and aid in communication. We felt that privacy was a factor in this situation, and therefore used a private/public bubble diagram to experiment with resulting spacial arrangement. Privacy is created by phone "pods" in the central "X" kiosk and through the small rooms at either end of the bus.

Because of flooding that so often occurs as a result of hurricanes, we felt that incorporating the idea of a "Duck Bus" would be ideal for this situation. This would make our bus a Hydra Terra vehicle, enabling it to drive on land or in water.

Our sketch model of the Communication Bus is a section, allowing the viewer the opportunity to view the phone kiosk an interiors of the private rooms.

2008-09-15T08:22:00.000-07:00

To better understand our clients, we conducted interviews at the Greensboro Bus Depot and at bus stops across the city. We were unable to recieve video or audio documentation, as we had hoped but its clear that the clients' words tell stories of their own.

4s Group: Ben Adams, Leah Petriccione, Christyn Dunning, and Anna Will

node| client

2008-09-13T23:46:00.000-07:00

In an effort to carry our studio work beyond Greensboro's borders, we were instructed to choose a natural disaster and assume a victim from a video to be our client. We were to design something to prevent or ease the affects of the natural disaster. Our group decided to focus on earthquakes, and was particularly affected by the recent and devastating earthquake that occurred in China. Please follow the link below to meet our client; a father whose only son was killed when his school collapsed in the earthquake. We developed our design with all of the young victims' parents in mind.

Client: Father; Son lost in Sichuan Earthquake

www.worstearthquake.com

We chose to design a central "safe room" for schools, which would be easily accessible by every area of the school, and perhaps also act as the cafeteria. This would be a heavily reinforced, dome-shaped structure for children and teachers. The following images and sketch models document it's construction.

It is suggested that in the event of an earthquake, one should stay low to the ground, indoors, under a strong object. These desks would act as emergency earthquake shelters, in the event that children could not reach the "safe room" in time. They would be constructed using building techniques incorporated into the foundations of earthquake-resistant homes. The would also have a titanium frame anchored into the foundation for rigid support.

The Gate City divide

2008-09-05T07:14:00.000-07:00

Public transportation is somewhat of a new phnomona to me. I’m ashamed to say that never before have I boarded a city bus with the intent to ride anywhere short of a UNC basketball game. Alas, my recent excursion via a GTA city bus has broken this sheltered cycle. My first impression of this public transportation was revealed to me following the hiss of the bus doors.
“Get on the bus!” barked the toad-faced woman behind the wheel. She scowled as my friends and I fumbled with our student IDs, stomping on the gas before we could even comprehend nearby seats. Getting oriented, I realized that the attitude of the bus driver was not too far a cry from those seated around us. Someone was snapping, bitterly, at their cell phone as another couple groaned about personal problems. Many patrons swayed, hypnotized, to the beat of their iPods, lip syncing to the distant droan that drifted from their earbuds. Others were engaged in deep thought, bumping along silently to the rhythm of the bus. And then there was our group; a sore thumb, a glowing beacon of ignorance. Well, perhaps without our intent fixation with our surroundings- staring, taking photos- we could have better settled into the dismal atmosphere. We, the white college kids, seems foreign those around us. We were completely separated from this world- segregated, if you will. These people did this daily and to us, this was an adventure. With very little thought, I realized the irony of the situation. Since the1960s, something had changed drastically. The fact is, people prefer to take their own cars, pinning a sore reputation upon a public transportation system that has long been a symbol of historical of significance. It is all too true that, after years of fighting for desegregation and peace, we all sit, segregated and ill, all the while finding this preferable. Something has certainly been lost over time, perhaps something we should rediscover.

Way finding in a new light

2008-09-03T07:28:00.000-07:00

The start of second year studio has certainly redefined my definition of "group project." Working on a single project from an individual level to a group of nearly 60 shed light on the difficulties of working in a group. It is never easy for a handful of minds to unite on a single idea, but in the modern world this is a challenge we will often encounter. Our challenge here was to map out an assigned "way finding" experience through annotated images, which were then incorporated into a small group project. The products of each small group were then absorbed into a project involving our entire studio, thereby introducing us to the delicate balance of leadership and cooperation. Through much trial and even more error, our studio combined the models, maps, and images of our small groups to produce a life size game exploring the idea of way finding. I am not only impressed by the project we were able to produce, but too by the way in which we were able to organize people and ideas in such a large group. There was a strong effort to bring each and every idea to the table for consideration, and a universal push for cohesiveness both within our group and project.

First Year Finale

2008-08-13T21:07:00.000-07:00

For our final project we were assigned a famous individual for whom we were to create a habitable wall. We were then assigned to a group and our clients' "walls" were to collectively create a neighborhood within the 3rd floor of the UNCG Gatewood Studio Arts building. Our resulting design was to best suite the needs of our client considering location, relativity to other clients, structure, and lighting. My client was Mark Rothko, celebrated abstract expressionist painter. I plan to continue revisions in my iterations, but my most recent product was designed to be a movable, changeable structure to fit his mood- whether it be joyful or depressed. I took advantage of the many windows in our studio to optimize lighting for his painting. His structure incorporates a select few of his signature colors, but not so much that it could overwhelm and strain his ability to start afresh on a new painting. My next designs will move towards a more simplified, unified structure to express a more solid concept.

No where like Elsewhere

2008-05-08T00:30:00.000-07:00

Most anyone that has been to Elsewhere Museum (Greensboro, NC) would probably describe their experience as... well, hard to describe. Elsewhere is an artist's haven, brimming with just about any and every object imaginable. On numerous occasions, I heard people express the need for some particular object, followed by "Well it's got to be here somewhere!" This statement really describes Elsewhere in a nutshell. The great part about this space is its interactive quality. The objects in Elsewhere are designed to be rearranged and manipulated, so long as nothing is removed or added. Artists create eerie and playful exhibits amidst the towing piles of, well, stuff! One will surely find our classes' once stratigically placed post-it notes moved and worked into any number of places throughout Elsewhere!

My Design Visualization class was challenged to map out the Museum for Elsewhere's website. Considering the amount of space available to draw, it was difficult to choose just one. I chose my space based upon it's composition. The fabric on the walls created interest in contrast with the objects arranged around the couch. This was such a fun and unusual experience, from which I gained great drawing experience. Thank you Elsewhere and thank you Suzanne!

Nick Knack Pattywack

2008-04-15T19:39:00.001-07:00

In preparation for an upcoming visit to Elsewhere Museum (Greensboro, NC) our Drawing class was assigned the task of drawing "Nick knacks" around the house. These are just a few that I had fun drawing. They became rather animated once I added color, which really made it a fun assignment!

Salsa with that Sketch?

2008-04-09T21:13:00.001-07:00

My drawing class took an excursion to El Carraton, the local Mexican restaurant, where we spent our class period sketching over lunch. This was certainly not a "good day" for my drawing, but it made for a very fun experience!

2008-04-09T21:06:00.001-07:00

These perspectives began with a floor plan of a 12'x 36' room at 1': 1/4" scale. The room progressed through rough perspectives to create a finished perspective. To experiment with color, we divided the perspective into four quadrants and used a different medium/ paper for each. We then chose our favorite medium and used it to create a renovated perspective of a classmate's room. My renovation followed Kara's downtown loft-style space.

My first experience with perspective drawings has certainly taught me a lot about mechanical rendering. I have always toyed with perspective, and always found the lack of perspective to be a severe flaw in my drawings. Having mastered the technical, scaled steps to creating a perspective, I hope to improve my free-hand drawing skills.

In a new light

2008-04-09T21:04:00.001-07:00

After months of black and white, we have finally approached color in our drawings! We began learning perspective through furniture, and proceeded to add color and shadow to bring our drawings to life.

Zzzzz...

2008-03-26T06:43:00.001-07:00

Roman Portable Bed

Roman Bed

Incan Bed

African Bed

Space Shuttle Bed

The Great Experiment

2008-03-23T23:25:00.001-07:00

In my design studio we were given the opportunity to partake in the TerraCycle Inc Bottle Cap Contest. Our challenge is to create an artifact out of reused, recycled plastic bottle caps. We are to use only recycled materials in the production of this artifact, and our studio has also required that we relate the product to the theme of the book Radical Simplicity. My brainstorming really took off from ideas from the assigned reading. From the book, I found that, utilizing sensible design, I should consider primitive needs with modern uses. My design focus centralized around the ideas of privacy, sense of "individual space," security, and multifunction. From this point my thinking moved from objects such as screens, room dividers, and blinds to textiles and materials. What if we could replace existing plastics and man made fibers with plastic made from recycled plastic bottle caps? I didn't feel that bottle caps in their native form would do such an idea justice so I went about attempting to alter their form to produce a more workable medium. Naturally, my project began with some serious dumpster-diving. With the help of map gas, a cast iron skillet, and a metal putty spatula, I was able to melt the bottle caps into a gooey, putty-like substance and mold them into a unified mass. My initial goal was to create plastic tiles, but I had trouble controlling the consistency of width and color. Tiles would be ideal for garages and similar spaces, as they are water-proof and would be unaffected by grease and oil. After my overcooked tile folded into a gray omelet, I began to pick at the blob, forming a stringy, web-like material. Playing on this idea, I continued to pull continuous strands strong, coarse thread from the smoldering plastic blob. Recycled Plastic bottles are water-proof, durable, and long lasting, and would be great materials to replace olefin , nylon, and other man-made plastics in textiles. Made into thread, this could prove excellent, for shower curtains, shoes, and coats. The thread, while a very good starting point, is brittle in its inconsistent thickness, and flammable at very high temperatures. These are things I hope to improve upon, while contunuing my experimentation in means of production.

Class Spy

2008-03-15T21:21:00.000-07:00

These are drawings of my Islam classmates interacting during class. Drawing candid sketches such as these can make a person feel very sneaky!

Ode to an Eggplant

2008-03-06T10:56:00.001-08:00

The bulk of this half of the semester has been spent dissecting, contorting, and abstracting a fruit/ vegetable of our choice, mine being an eggplant. The project, titled Nature as Teacher, forced us away from recognizable images and into the realm of abstract. We began by creating drawings and sections of our subject, zooming in to find even the texture of its fibrous innards.
We then created patterns, which we then contorted using an everyday tool. After choosing tweezers, I pulled, twisted, and picked at my patterns, and added grey scale to add interest. From our final pattern, we were instructed to make a usable space with an interior. The first pattern below was my pattern of choice, from which I created the following models. Difficult as it was, I learned a great deal from this project!

Imagine all the people...

2008-03-05T20:03:00.001-08:00

Scale figures- no matter how abstract- help a viewer determine the proportion and scale of images in a drawing. The best way to utilize scale figures is to create figures that are interacting within the space. The style figure I tend to draw looks like a wooden drawing model.

CAUTION: Drinking and Drawing Enforced

2008-03-05T19:47:00.000-08:00

Sometimes the best inspiration for a good drawing comes from the simple comfort of, well, comfort. Our assignment for drawing was to get comfy with a drink and draw. A cozy seat with a hot cup of coffee and a muffin make up my recipe help me get "in the zone" to draw.

Never a "Board" Moment

2008-03-03T21:44:00.000-08:00

In an effort to expose ourselves to the art of presentation boards, my drawing class compiled work focusing on specific campus buildings to create a well-organized, 2-D presentation. These boards included function diagrams, which offer specific information about a building (Public/Private spaces, Functions, etc,) 3"x3"drawings of the building's details, and the imitated style drawings. It is important to keep clean datums and a clear hierarchy in a presentation board.

The results are in:

2008-02-21T20:07:00.001-08:00

These are three of the images inspired by the artists styles found previously. After experimenting with different scale figures, I added people to the drawings to allow the viewer a clearer understanding of the space.

Train of Thumbs

2008-02-17T22:35:00.001-08:00

Sometimes small snapshots, or thumbnails, are the best way to explore a space, as I have discovered through this drawing assignment. It's also a great way to find numerous views of one space so that one may determine the best view to draw. They become your train of thought in a space.

My posse, my entourage

2008-02-16T14:59:00.001-08:00

from le pen quotidien

from http://www.fotosearch.com/ARP112/entourag/

from Ivo Kircheis

from le pen quotidien

from Rock Kyndl-Creative Pursuits

After researching examples of scale figures for my drawing class, I began to wonder why scale figures must be people. My definition of a scale figure entails an example of a figure interacting with the space to allow the viewer reference to the space's size. I love all of these drawings, but those which stood out most obviously to me were the personified animals from le pen quotidien.

Orthographic Practice

2008-02-14T10:06:00.001-08:00

Creative Juice

2008-02-12T08:30:00.001-08:00

Xiaofang Luo

Bin Cao

France Belleville

Ivo Kircheis

Al Rusch

The latest challenge in my Drawing class is to find inspirational sketches and translate their styles into sketches of our own. My goal is to play with a variety of styles and incorporate their styles into sketches of the Elliot University Center, the UNCG student union.

Edible Design

2008-02-07T22:59:00.000-08:00

Centralized

Grid

Cluster

Radiant

Linear

In my History and Theory of Design class we were instructed to create five, 12"x12" images representing centralized, grid, cluster, radiant, and linear- all important elements of design. Being that I was very hungry, I let my stomach do most of the thinking in this assignment!

Its all in the details

2008-02-07T09:05:00.001-08:00

In my Drawing class we were instructed to sketch details of interior spaces. These are some of the most interesting subjects I found.

Define: System

2008-02-06T13:39:00.000-08:00

For our IARC Studio, we were assigned the task of creating a self-sustaining sytem using the entirety of a 2"x4"x18" piece of lumber, without any form of fasteners or glue. In my system, chose to explore the effects of rhythm on form.

An Organized Mess...

2008-01-30T09:04:00.000-08:00

Fin.

2007-12-14T20:50:00.000-08:00

Alas, the time capsule project has come to a close. It has been a challenging, yet rewarding experience, from which I have gained priceless information about design process. This project, which began at the halfway point of our first semester, required us to explore the challenges of group work, rendering, and even the relationship of materials to construction. With such a large project, we were forced to buckle down and organize our process through Partis, sketch models, scale models, detail models, and finally a full scale model. Never have I found myself so frustrated, but there too I have never felt so accomplished. Each and every student found themselves exceeding what they once believed to be their limits, allowing each of us the opportunity to learn more about our abilities as designers. The final design of my time capsule was to be made of 24 gauge galvanized steel boxes to mimic the exposed duct work of the design studio. It was to include 16 boxes, each of which contained 3 compartments to hold sketches of each student. It was to be located in the lobby of the Studio Arts building, allowing the exposed ducts, signature to the IARC studio, to filter down into other parts of the building. The idea was that the structure would appear to have a domino affect, symbolic of our dependence on collaboration within our first year studio. Though my time capsule offered a plethora of hardships, I am quite pleased with the final product and truly appreciate everything it has taught me.

Expert Review

2007-12-14T19:40:00.000-08:00

Campion Platt
This designer's use of organic shapes and clean lines create comfortable, refreshing spaces. He uses texture and materials to add to small spaces, making his designs personal, yet easy to relate to. Lighting in the spaces is well incorporated into the designs, making for fantastic contrast within th space. Storage and practicality make his spaces incredible sensible.

Dean Marchetto
The modern lines and shapes of this green designer's spaces are intense, but easy to relax into. Although contemporary, his designs achieve a level of comfort that invites visitors to explore the artistic characteristics of his homes.

Stephen Knollenberg
Beautiful designs. His intelligent blend of clean lines with traditional concepts forms a comfortable, aesthetically pleasing space. His use of unconventional contrast in spaces is stunning, but used carefully to prevent it from becoming overwhelming.

Jaques Grange
I would best describe spaces designed by Jaques Grange as tasteful eclectic. He does a great job of carefully blending international flavors and textures to produce a warm,worldly feel.

David Harvey
This designer has excellent concepts, but uses materials that are too strong from the spaces. They become overbearing and uncomfortable. I love his use of color and art in his rooms.

Professional Pros and Cons

2007-12-10T20:22:00.000-08:00

Hiller Architectural Firm- I was blown away by the quality of this website’s design. It was certainly an inspiring, entertaining experience. The site was extremely user friendly, even fun to navigate. The designer utilized white space and color, which allows the eye to travel smoothly across the pages.

Ewing Cole- This site has a very clear layout and excellent use of pattern and color. This site was also very entertaining and immediately grabbed my attention. A changing series of pictures keeps the main page fresh and exciting, while the remainder of the site is straightforward and pleasurable to explore.

Skidmore, Owings, and Merrill LLP- This website features amazing designs which are well presented through a clear, concise layout. The information on the site is comfortably divided into list-like sections following a series of balanced datums.

Opus Group- This was an extremely uncomfortable experience. The small font was accompanied by fast moving photo slides, which made it very difficult to find the focus of the site. The cold blue color scheme boasted little emphasis of any one section the page, forcing it to feel unbalanced and uneasy.

LS3P- This site features a beautiful intro page, but is unclear as to how to actually enter the site. Once past the small text “enter LS3P,” the site is rather cold and corporate. Even so, the site had a tremendously successful layout with interesting lines. The pictures and text were apparent, but somewhat washed out- a negative stylistic choice, in my opinion.

Karlsberger- I was quite impressed with the layout of this site, as it was clear and concise. The pages included text, small pictures, and a large picture, as well as navigation info at to top. Considering the amount of information on each page, they chose successful layouts. The site may have been more successful with less information on each page.

Pei Cobb Freed & Partners Architects LLP- This is a very successful, professional firm, so I would be fitting that such qualities be brought into their website design. As a whole, the site utilizes a very plain font and weak colors. I find that the site speaks poorly of the firm.

Gensler- This website caught my attention immediately. Their use of clear datums ensured clear organization, making it easy to follow. The images on the first page included a largely white room, which was then carried into the text. This flow served to direct the eye across the page. Because the contents of this site was grouped into lists along the side, the website was very pleasant to read.

Perkins + Will- The alternating images and clear labels on this website were incredibly fascinating. The four focuses of the website- Vision, Expertise, Design Solutions, Sustainability immediately show the viewer how to navigate the website.

Callison- Although I really appreciated the designs pictured on their website, Callison immediately struck me as cold and corporate. Because of the cold colors and commercial appearance, I felt very detached from the designs and could not relate to the firm. Despite their stunning designs, I found myself at a loss of interest.

Global Revolution

2007-12-10T15:15:00.000-08:00

Diagnostic and Treatment Center, Daimiel, Ciudad Real
Considering the purpose of this building, I feel that it is unbearable cold and industrial. In appearance it is uncomfortable, which seems perhaps unnecessary if not overwhelming for a Diagnostic and Treatment Center. Purpose aside, this building is very abstract is successful in its interesting use of materials.

Filter Perk Parking Garage, Chicago
This parking garage is transparent, designed to span the entirety of the Kennedy expressway. This seems like a brilliant way to eliminate the problem of concrete parking decks, but I am curious to learn what material they could construct such a structure from. The deck itself will have a “filtering” urban garden, but it would be interesting to see if they could use a sustainable material for the massive structure. The use of color could also bring life to this interesting structure.

Architectural Review, 12/07

Leaps and Bounds

2007-12-10T15:10:00.001-08:00

Architects and critics such as Chuck Hoberman and Martin Pawley have envisioned a new strain of sustainable buildings. Hoberman has developed a new technology that will allow construction cubes made operable anodized-aluminum extrusions with the ability to expand in a gridded structure. These will allow limited air and sunlight to enter the cubes, but can be retracted to open the space up to light and air.

Similar to the lenses of sunglasses, Laboratories across the country are in the process of developing photochromic windows to increase energy efficiency of buildings. These windows are constructed of “Smart Glass,” which utilizes light and heat sensitive thermochromic glazing to eliminate the need for electricity. Additional research involving mirrors could improve energy performance to the point of reflecting both visible and infared light.

Architectural Review, Dec 2007

Cultural Identity

2007-12-10T15:07:00.000-08:00

Archithese (German): After reviewing several editions of this journal, I was very impressed with the apparent flexibility within the solid identity of German design. Clean lines and thoughtful lighting and materials enable German architecture to cross from industrial to beautiful. Steel, glass, and concrete are paired with intense hues to produce a hypnotizing rhythm, intelligently used to unite a space. The industrial feel behind German design is a clear reflection of their history, reminiscent of their not so distant industrial era. The design portrayed in these Archithese journals is enticing, leaving me with a desire to learn more.

Abitare (Italian): Thus far, I have learned little about the existence of cultural identity within design, but I felt a strong presence as I opened the pages of Abitare. Unlike german design, Italian designers seem to play off of color and texture more than materials. Here, too, I saw clean lines and the use of steel and concrete, but the industrial feel was overwhelmed by the contemporary design of the space. For example, a solid white room with stainless steel accents was drawn into the realm of contemporary with its use of playful shadows and faint imprints of trees in the white walls. Although I never felt cozy, I certainly felt artistically inspired.

Graphis (Swiss): Perhaps the best way to describe the design I experienced in the Swiss joural, Graphis, is contemporary artistic. I saw the industrial materials and definite lines, characteristic of German design, but there was a very artistic feeling clinging to such design. Detached from the design itself was a heavy layer of modern art, which, in correlation with industrial design, submits the designs into into powerful, sophisticated works of art. Because of this, I felt that they were pleasing to the eye but held little hope of usability.

Leaf Me Alone!

2007-12-10T14:47:00.001-08:00

For our Design Visualization exam we were instructed to find a leaf and draw it nine different ways on a 17x 17 square. This was my first experience drawing leaves, so I learned a great deal about the shape and structure of such organic forms.

Orthographic Exploration

2007-12-04T10:56:00.001-08:00

Location Location Location

2007-12-04T10:44:00.000-08:00

Time Capsule Zine

2007-11-26T19:52:00.000-08:00

RonChamp

2007-11-20T00:53:00.001-08:00

This sketch of RonChamp, by LeCorbusier, explores the dynamic shading that results from the buildings intricate angles .

Laying it on the line

2007-11-20T00:46:00.001-08:00

In preparation for the creation of my Zine, I made a prototype layout exploring datums and materials. I wanted to incorporate materials applicable to my time capsule, using crinkled aluminum to mimic galvanized steel.

Timely Progress

2007-11-16T19:07:00.001-08:00

Things are just now falling into place as I make decisions about the location, construction, and materials of my time capsule. My design focuses on the strong community within first year Interior Architecture and our reliance upon one another. The dynamic structure is composed of 55, 24 gauge galvanized steel boxes, each of which contains the drawings of one first year student. Ideally, each box will be held together using pop rivets and the structure itself will be mounted on the wall, so to appear snaking up towards the ceiling. I have little doubt that my design will take some drastic turns in the near future, and it will be interesting to see where this can go!

Time Capsule Exploration

2007-11-15T12:19:00.001-08:00

These are drawings exploring my designs for the Environmental Design first year time capsule. They focus primarily on form and shadow, therefore allowing a better understanding of the designs, themselves.

A little shady...

2007-11-05T20:27:00.000-08:00

These are exercises from my design visualization class. each of which gave us a chance to look at shading in a "new light."

Drawing with Shade

2007-11-02T06:36:00.000-07:00

In my design visualization class, we are experimenting with shading techniques to transform contours into shaded, spacial forms. These techniques include crosshatching. hatching. smudging, scribbling, and dotting.

Zen

2007-10-29T20:53:00.001-07:00

My initial feeling of this home was a contented sense of relaxation. The rich, mahogany wood and warm lighting create a spa-like atmosphere, which is set off by the iron-framed glass and large indoor plants. The spherical chandelier ties the room together resulting in a very complete, smooth design. (Architectural Digest, Sep. 2007)

The best of both worlds

2007-10-29T17:58:00.000-07:00

This house is not only a beautiful, contemporary take on the traditional farmhouse, but it is also largely sustainable. The house’s interior is expansive, boasting a multitude of far-style windows and planked ceilings with exposed beams. An “inverted gable” acts as a ventilation silo, as it collects and exhausts both hot air and rainwater for the gardens. The silo’s windows are by photovoltaic panels, and the home is geographically positioned to increase energy efficiency. Because of the ventilation from natural convection currents, the home does not require air conditioning, and the silo’s panels trap warm air in the house during the winter months.
(page 300 architectural digest September 2007)

Modern Twist

2007-10-29T17:54:00.000-07:00

Staircases are eternal places for improvement in a home. They are near-sculptural pieces begging for an identity. This staircase does an unbelievable job of recognizing its identity. It’s graceful curves offer a modern, artistic flow that transforms its surrounding space into a richly intelligent and dynamic experience. (Wallpaper June/July 2007)

Le Fem Southern

2007-10-29T17:43:00.000-07:00

While I have a great fondness of color, I am usually hesitant to consider pink as for a room. It can be difficult to transition pink from its soft, girly tone into a more solid, adult accent. Paired with the antique circular windows and the sleek browns, pink is ideal in this space, creating a warm, feminine feel, absent of its stereotypical childish characteristics. (page 110 southern accents July/Aug 2007)

Clean and Cozy

2007-10-29T17:05:00.000-07:00

One may usually consider an asymmetrical fireplace to be a little drastic for a small space, but such a fireplace works beautifully in this space, in perfect sync with the diagonal grains in the dark wood-shelving surround. The room is not overwhelmed by contemporary elements, but certainly has a comfortable contemporary influence. (Page 138 Traditional Home September 2007)

Cityscape

2007-10-29T17:04:00.000-07:00

Most design journals are littered with advertisements. They usually catch my eye, but do little to hold my attention. This was not the case with one ad for Marvin windows and doors in the October 2007 edition of Dwell. The Ad was showed the view from a big-city apartment through a beautiful palladian window. The captivating feature of this room was in its brilliant design. The room seemed to flow seamlessly into the skyscrapers beyond the window, and the two were further connected by the inclusion of the buildings’ accents within the interior space. The designer recreated the grid pattern, created by the windows on the skyscrapers, throughout the room, and maintained the same neutral whites and grays found in the city’s landscape. The use of repetition aids in the development of such a space, and the simplicity of the room certainly draws the eye out into the view of the city.

Desert Oasis

2007-10-29T16:58:00.000-07:00

This home provides a highly tasteful, well-blended take on its Californian terrain. The crisp lines and organic wood materials mimic the flat plains and weathered textures found naturally in its surroundings. Because the home does not have layer for a foundation, it seems to seep into the rough desert ground beneath it. This home has beautiful lines and a comfortable familiarity with it’s location. (page 130 Architectural Digest September 2007)

Big City Flair

2007-10-29T16:53:00.001-07:00

The Merseyside in Liverpool, England, is a perfect blend of comfort and chic. This space has a visible flow and eye-catching use of lines, seen clearly in the central metal hood, windows, and stair rail. The wide variety of materials utilized in the room adds incredible breadth, giving the room a unique identity. The industrial metals, clean tile, and sharp wood offer drastic contrast in texture throughout the room, but balance beautifully in the context of the room. The blend of natural lighting and dim artificial lighting create strong shadows, adding yet another dimension to the room’s dynamic shape. (Page 150 Wallpaper June/July 2007)

Chic Legal Affairs

2007-10-29T16:44:00.000-07:00

Law offices are rarely so comfortable and inviting as that of Pillsbury Winthrop Shaw Pittman. Designers Felderman Keatinge + Associates did an excellent job incorporating a variety of lush textures into this space, while maintaining a comfortable blend of soft crèmes and neutral begies. The color palette is ideal for this space, as it allows clients a much needed relaxing environment, aided by soft natural light. The space has a very open feel, as the architects made use of curved glass walls, but is offered versatility through the use of privacy screens. (page 137 Contract May 2006)

A Seamless Blend

2007-10-29T16:39:00.000-07:00

The architecture of the Colorado residence described in “Where Earth Meets Sky” (10/07 Architectural Digest) maintains a delicate connection with its mountainous landscape. Set in a ridge of the Rocky Mountains, this house was designed to flow seamlessly into its surroundings. The vast number of windows and careful use of materials creates the illusion of no boundaries. While modern elements, such as sharp lines, seem to contrast with the landscape, the natural stone and wood materials act to ground such variations. This is exemplified in the designers choice to use one curved, frosted glass wall, paralleled by a straight, rough stone wall. Each had used materials to blend contemporary and organic to maintain the natural feel of the house.
Because this house is designed around multiple floors (see floor plan), the many different layers imitate the feel of looking down a mountain. Its steep view is interrupted by varying lines and textures, as would the view down a mountain. The house has numerous angles, which creates shadows and depth, further enforcing the dynamic quality of this space.

Dirty Spoon

2007-10-24T23:53:00.001-07:00

Coffee, anyone?

2007-10-24T23:52:00.001-07:00

Zine for Thought

2007-10-18T10:40:00.001-07:00

To further our understanding of layouts, my drawing class was assigned the task of creating a "Zine." This miniature magazine was to include ten buildings, interior environments, products/ artifacts, graphic media design or designers discovered through design research. Creating mosaics is a passion of mine, so I chose to research and create a Zine about tile. The latin title, Tegula, recognizes its historical importance in Architecture. The Zine examines ten different variations of tile used in architecture, today.

Self-Understanding

2007-10-13T11:39:00.000-07:00

My studio class was assigned the challenge of creating a free-standing sculpture with eight self-portraits to allow others the opportunity to get a better understanding of us. I chose to make a very abstract sculpture, with emphasis on dynamic form and delicacy. The sculpture is made from metal mesh nailed to a wooden board. I applied a ribbon of plaster to draw attention to the shape of the sculpture, and fastened two metal rods in a curved, "X" shape to further illustrate the dynamic curves. The sculpture, itself, was very fun to design and build, but I had a great deal of trouble creating self-portraits to support it. My fear was that the drawings would take away from the sculpture, or accidentally convey a false statement about myself.

The Metamorphosis Spectrum

2007-10-12T03:03:00.001-07:00

This studio project revolved around the metamorphosis of two students' projects, to create three new designs. The final product was intended to form a spectrum, clearly illustrating the movement from one design to the next. The two projects that I was assigned to work with were those of Alexandra Camacho and Arntia Smith.

Alexandra's Egg Environment

Arntia's Memory Container

It all began with ten thumbnail sketches...
From here I chose one sketch that represented a balanced blend of elements from each project, and designed an artifact to demonstrate this metamorphosis. I chose to illustrate the unnatural balance found in Alexandra's project and the interrupted rhythm in Arntia's memory container. In my "balanced" iteration, the pyramid is suspended to add this unnatural feeling, also blocking the view through the Plexiglas cube.

We were then assigned the task of creating two more iterations to complete the spectrum of metamorphosis between the two projects. Each of these artifacts was to resemble more closely a project on either end of the spectrum.

This iteration falls between Alexandra's egg environment and my "balanced" iteration. The pyramid shape is maintained in the outer structure, while the cube is blocking the view through the triangular windows.

This iteration falls between Arntia's memory container and my "balanced" iteration. The cube shapes are carried throughout and the black pyramid obstructs the view of the cubes behind it.

Dedication.

2007-10-11T10:07:00.001-07:00

My original intent for this project was to illustrate the late nights that make up life in the studio, but I realized that it's not so much about the late nights as it is about the dedication. My peers and I give whatever it takes to bring our designs to life, and, in my mind, this is the epitome of studio.

The Start of "Another All-Nighter"

2007-10-09T17:30:00.000-07:00

This layout, from the July/ August edition of I.D. magazine, is what I am using to direct my design for "what makes studio, studio?" I plan on incorporating several textures (dirt, sawdust, glue, etc.) to lay under pictures that define my studio. The layout will utilize white space to emphasize the pictures, and I hope to include short captions as well.

A Container for a Memory...

2007-10-02T13:35:00.001-07:00

For this project we were assigned to create a container for a memory. Simple as it may seem, this assignment was quite challenging. I chose to contain my memory of visiting the Albuquerque Hot Air Balloon Fiesta, where I rode in a hot air balloon. Because this is such a special memory, I had trouble convincing myself that I had done the memory justice. My goal was to allow the viewer the opportunity to experience looking up into a hot air balloon. At the balloon fiesta I was surrounded by incredibly bright colors as the balloons took off. The brilliance of these colors increased exponentially upon looking into the vast balloon- the light filtering through to intensify the hues. To allow my viewer this incredible experience, I set out to create an object that could mimic the light filtering through colors of a massive balloon. Through numerous iterations, I experimented with countless shapes and materials, including paper mache and fabric. My more successful materials were Mod Podge, resin, and tissue paper. My final iteration took shape around the glass of an oil lamp with a Styrofoam egg to round it off. I wrapped this shape in saran wrap, used Mod Podge to layer it with tissue paper, and painted several layers of resin over top.

Drawing from the Dark

2007-09-25T10:26:00.001-07:00

In my Design Visualization class, we were assigned to draw a self portrait "from the dark." We were instructed to angle a light on our face in a dark room, so to create a dynamic contrast between the light and shadows across our face. We were to use a white pencil to draw these light areas, thus creating a portrait of our face. This was very difficult for me, as I was fearful of the extreme contrast and found it hard to produce a face from the light areas.