Denise's Studio

moving on...

2010-10-21T04:43:00.000-07:00

hello. thank you for visiting!

i have received my degree in interior architecture from the University of North Carolina at Greensboro, and am pursuing my career in the design industry.

my website/portfolio:
www.denisesmithdesigns.com

please feel free to contact me, for freelance or other design opportunities.

cheers,
denise

mid-semester critique + feedback

2010-03-16T12:33:00.000-07:00

our studio met on friday, march 5 in the crit space for mid-term critiques of our schematic design for oneida mills. in attendance were 11 students/presenters, jo leimenstoll [professor], and 4 visitors--eddie belk [architect/mill expert], 2 members of historic society, and travis hicks [prospective professor]. our visitors gave their feedback and insights following our presentations.

generally, natural light and views for the residential spaces are the primary challenges in the apartment design due to the constraints and limitations for historic tax credits. being that 10 of the 11 students chose building 2 as the location for their apartments, the natural lighting and views for building 2 was the primary concern/critique. specifically, has the wall that joins buildings 1 and 2 been addressed correctly/effectively for natural lighting/views, circulation, and historic preservation? parking location as well as traffic flow through and around the site was also a primary concern. feedback from our visitors was helpful, as we learned the elements that were working in our designs and those that needed further development, however, time constraints limited any detailed feedback.

my apartment design and commercial space is in buildings 3 and 4, respectively. regarding my design, i learned from our visitors that i need to focus more attention on how i will address the wall that separates buildings 1 and 2 since my design indicates apartments on the first floor of building 2 and offices space in building 1. i received no feedback from our visitors on the design for the apartment 'cluster' in building 3, but i received strong feedback from the class about the cluster design and presentation, so i plan to proceed with the design and make adjustments if there are any building code violations. i did learn from our visitors that the monitors that i had planned for the apartments may be an issue regarding historic preservation, as the monitors cannot be visible from any direction or distance. no feedback or suggestions of the design and location of the commercial space was given by our visitors.

as for my presentation, i received positive feedback from the class about specific parts that were strong and legible--the 'cluster' image, circulation diagram, logo image, sections, and perspectives, to name the majority. however, i understand that i need to focus on unifying the presentation to make more legible and my design more understandable.

i received positive feedback from my lighting design mentor regarding the apartment cluster. instead of monitors on the roof for more central daylight, it has been decided that skylights will be used with stationary exterior louvers to eliminate/control heat gain. we discussed the skylight design details last week to satisfy LEED requirements. for the commercial space [cafe], we discussed the balcony design as it relates to the rest of the building, as well as the south- and east-facing curtain walls--how to incorporate daylight controls into the structure such that no window shades/coverings are required. cool!

back to the drawing board....

schematic design | oneida village

2010-03-16T10:38:00.000-07:00

conceptual haiku

2010-02-22T12:40:00.000-08:00

here, i used words--a haiku--to conceptually relate a selected image to my plans and ideas for the oneida mill. my image is actually made up of 2 images, one overlaying the other.

site plan, spatial relationships, + tactics

2010-02-22T11:43:00.000-08:00

site analysis + strategy

2010-02-18T12:46:00.000-08:00

honors project | salvation army store, high point :: display window

2009-12-17T05:52:00.000-08:00

following is are images and annotations that document the process of the design and installation of the display window at the salvation army store in high point.

installation complete | exterior views

installation complete | interior views

10 images | plexi-glass, transparencies, binder clips

boards and letters are installed

tools of the trade

letter installation

this is Simone, a volunteer worker and high school student. she wanted to help with the installation, and took the time to help prepare and clean 20 sheets of plexi-glass. a wonderful young lady.

board installation

letter production | template, styrofoam, foil tape

board preparaton...in the kitchen.

installation time |
after receiving the images from salvation army and Laura's planned design, i decided that my original plan just doesn't 'work' any longer. so, here is my re-design plan. red boards of different widths will cross and overlap to represent the ribbons on a gift. the images received from the marketing department will be able to be viewed from the outside and inside of the store by printing the images on mylar and protecting them with plexi-glass on each side. silver binder clips will secure the images within the plexi-glass, and will provide a method for hanging.

a studio mate, Laura, has volunteered to do the 2nd window display in the store. this is the design/plan for her installation, and plans to use lots of red ribbon/tape.

i visited with Ron, manager of the high point store, on Tuesday, 12/8 to discuss the window display installation and timeframe. the installation is scheduled for 12/14-16, monday thru wednesday of the next week. i asked him to send any images or information about salvation army that sent messages about salvation army or told the salvation army 'story'. on friday, 12/11, i received 10 fabulous images from the salvation army marketing department.

initial plan | instead of the mannequins + shields, i plan to use red "santa sacks" in the shape of the iconic salvation army shields with the letters G-I-V-E in white on each sack. i plan to include gift-wrapped boxes that include written messages and/or images about salvation army.

initial idea | for the high point store, i plan to use a variation of my idea for the SELECT store display window.

final project | debut

2009-12-01T21:42:00.000-08:00

more to come...

perseus? | ideas on paper [blog]

2009-11-06T07:37:00.000-08:00

signage : storefront, gallery

theatre space + lighting

retail space

floor design : suggestive of meteorite impact

display panel : space-maker

natural light from ceiling design creates meteor shower on textured wall

constellation 'perseus' in the abstract

the hatchery | narrative

2009-10-28T11:17:00.000-07:00

this [image] narrative is my initial ideation for 'the hatchery' space. each image relates, in one fashion or another, to a meteor and/or the meteor shower concept.

this concept fits 'the hatchery' notion of collaboration in that a meteor shower is only truly exciting and effective if there is a multitude of meteors. a single meteor is nice, but certainly uneventful and anticlimactic. lighting will be key in this space, and i envision orbs/spheres that represent 'heavenly bodies'. daylighting will be used to its full effect, with interesting artificial lighting.

the hatchery | big, bold, ballsy ideas

2009-10-23T08:00:00.000-07:00

inspiration boards. i believe "meteor shower" is the winner, as it fits 'the hatchery' notion of collaboration in that a meteor shower is only truly exciting and effective if there is a multitude of meteors. the concept is also intriguing to me, as it will require interesting use of light--both natural and artificial.

meteor shower

hula-hoop!

hen house

the hatchery | spatial relationships

2009-10-18T18:02:00.000-07:00

when given the task of organizing space for 'the hatchery' through "bubbles", i first decided the types of spaces that would be used, and then the most logical and functional location of each space--will it function well at street level, or would the 2nd level be more suitable? what would the advantages/disadvantages be for each space on each level?

the different types of spaces are

__performance: fine art, theatre, dance, music
__exhibition: fine art, photography, sculpture, graphics
__retail: "museum" store-fine art + accessories, coffee + art
__consultation: private, public
__studio: photography, cooking/nutrition, dance
__facilities: restroom(s)
__elevation: stairs, elevator
__egress: entrances, exits

bubble model

the hatchery | inventory

2009-10-14T09:38:00.000-07:00

here are some possibilities for products/inventory for the spaces within the hatchery:

photography studio--

www.facebook.com/pages/Greensboro-NC/Student-Image-Photography

fine art exhibitions/performances--

http://www.uncg.edu/art/programs/mfa.html

literary readings/works--

www.takver.com/history/sydney

theatrical performances/classes--

www.uncg.edu/the/

dance performances/classes--

www.uncg.edu/dce/

cooking/nutrition classes--start 'em young!!

www.santafenm.gov/images/pages/N1189

design/graphics services--

www.uncg.edu/iar

the hatchery | site visit

2009-10-14T09:01:00.000-07:00

the measuring and recording of the hatchery space was a "collaborative" effort in and of itself. we divided into groups, and each group had a part in the measuring. the difficult part was putting all the measurements together into scaled drawings of the site, and have them actually make sense. i believe we did ok!!

the hatchery | precedent X10

2009-10-13T22:12:00.000-07:00

the precedents i chose to study for "the hatchery" are mostly results of "collaborations"-- groups of concerned individuals that work together for a cause and the greater good. they vary from modest to grand in scale.

seattle central library | downtown seattle

media & information mecca
modern design
open floor plan for flexibility
daylight control through architectural design

"an enhanced public space around knowledge" www.archdaily.com

www.archdaily.com

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

chicago printmakers collaborative | chicago, il

"provides a studio environment for artist-printmakers to pursue their work and to broaden their knowledge of printmaking media" www.chicagoprintmakers.com/docs/aboutus/

served as a studio for more than 100 members from 14 different countries
classes
workshops
exhibitions
lectures/demonstrations
exchange collaborations
forerunner & innovator among arts organizations in Chicago

www.chicagoprintmakers.com

studio | www.chicagoprintmakers.com

advertisement | www.chicagoprintmakers.com

art exhibit | www.chicagoprintmakers.com

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

city arts factory | downtown orlando, fl

houses five separate art galleries
a classroom
artists studio
8,000 sq ft events & performance space - 2nd Floor

"...a wonderful group of like-minded individuals and companies have come together with the common goal to support these artists by giving them a place to call home. The CityArts Factory is the realization of the desire for a space where visual and performing arts can co-exist in the heart of downtown Orlando." www.cityartsfactory.com

facade | www.cityartsfactory.com

interior | www.cityartsfactory.com

gallery space | www.cityartsfactory.com

roho coffee & art | www.cityartsfactory.com

glassblowing | www.cityartsfactory.com

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

piedmont-triad farmer's market | colfax, nc
a grand-scale example of unitary urbanism organized by NC dept of agriculture & consumer services

21,120 sq. ft. retail shelter
retail space for local growers
lawn and garden products - A.B. Seed & Co.
centrally located in the heart of the Triad
admission is FREE
promotional events-Watermelon Day, Pumpkin Day, annual Craft Fairs, cooking events

aerial view | www.ncagr.gov/markets/facilities/markets/triad

map | www.ncagr.gov/markets/facilities/markets/triad

BUILDING "D" - RETAIL FARMERS BUILDING #1
21,120 sq. ft. of space for local growers - produce, plants and ornamentals

BUILDING "E" - RETAIL FARMERS BUILDING #2
10,750 sq. ft building for local growers
area for many promotional events throughout the year

BUILDING "F" - ENCLOSED RETAIL BUILDING -

year-around facility-heated in the winter
12,600 sq. ft.
crafts, baked goods, candies, plants, jams, jellies, honey, eggs, cheese, meats, snack bar
gifts, gourmet & specialty food items

BUILDING "G" - RETAIL GARDEN CENTER
modern Garden Center

BUILDING "H" - MOOSE CAFE RESTAURANT
family-style restaurant, featuring farm-fresh vegetables right from the market

BUILDING "I" REFRIGERATED WHOLESALE BUILDING

30,000 sq. ft. of cooler and office space
provides fresh produce to grocery stores, institutional facilities, independent restaurants & several restaurant chains.

SUPER SOD
turf outlet offers 6 different varities of sod grass for residential & commercial landscapers

outdoor event | www.ncagr.gov/markets/facilities/markets/triad

a vendor | www.ncagr.gov/markets/facilities/markets/triad

the market | www.ncagr.gov/markets/facilities/markets/triad

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

Arts @ Emory | atlanta, GA
a dynamic, multidisciplinary environment for the study, creation, and presentation of the arts

Dance Program
Department of Music
Theater at Emory
Creative Writing Program
Emory Poetry Council
Woodruff Library Literary Programs
Art History Department
Department of Film Studies
Michael C. Carlos Museum
Schatten Gallery of the Woodruff Library
Visual Arts Program

events brochure | www.arts.emory.edu

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::
isms & gallery 023 | denver university

isms | "to increase awareness of the arts and to provide visual art related activities [in all its forms] both on campus and in the surrounding areas"

field trips
activities
exhibitions

gallery 023 | student-run gallery, in room 023 of Shwayder Art Building
art created by and/or curated by students

graffiti art
the art of tattoo
art by elementary school children
work of many DU students.
international artists

gallery | www.du.edu/art/people/students.htm

www.du.edu/art/023/exhibitions_past.html

exhibition logo | www.du.edu/art/023/exhibitions_past.html

www.du.edu/art/023/exhibitions_past.html

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

heart of taunton arts collaborative | taunton, ma

a center of commerce and culture for the greater Taunton community
"a nonprofit, independent organization made up of retailers, professionals, bankers, service organizations, developers, city officials, historic preservationists, and people dedicated to the downtown's growth and prosperity." --www.heartoftaunton.com/arts_collaborative.htm

dance performances
book sales
painting instruction & performances
art shows
board meetings
auditions
literary readings
school break workshops
cartooning
internships

venues--

The Dessert Club Coffee House
Encore! Community Chorus
Friends of the Taunton Public Library
Heart of Taunton
Industrial Theatre
Nemasket River Productions
NoteAble Blend Chorus
Old Colony Historical Society
Star Players of Taunton
Taunton Art Association
Taunton Civic Chorus
Taunton High School Drama Club
Taunton Family

spinn productions & childrens dance party images:

dance instruction | www.heartoftaunton.com/photo.htm

local favorities | www.heartoftaunton.com/photo.htm

outdoor venue | www.heartoftaunton.com/photo.htm

air force jazz band performance:

jazz performance | www.heartoftaunton.com/photo.htm

local favorite...again | www.heartoftaunton.com/photo.htm

audience | www.heartoftaunton.com/photo.htm

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

BioScience Research Collaborative | Rice University, houston, tx
a grand-scale version for unitary urbanism for medical research
"an innovative space where scientists and educators from Rice University and other Texas Medical Center institutions work together to perform leading research that benefits human medicine and health. ...it is an interdisciplinary, interinstitutional catalyst for new and better ways to collaborate, explore, learn and lead."

477,000 gross square feet
A 280-seat auditorium
A 100-seat seminar room
10,000 square feet of retail space for a restaurant and shops
cutting-edge laboratory
theoretical and computational investigations
eight floors of research labs, classrooms and auditoriums
visualization center
biomedical informatics

facade | www.rice.edu/brc/

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

the store @ design collaborative | north of Atlanta in Canton, GA

great use of unitary urbanism on a 'smaller' scale
promotes "reuse & reimagine"
retail space
design laboratory offering the firm’s existing collection of branded products
commercial & residential design services

this design firm offers existing products and services to the community in their street-level retail space that "provides a fun and innovative way to channel the team's creativity in an environment that's ideal for experimentation and exploration".

i thought this piece on their philosophy was great:
"When the economy hands you lemons, simply put, make lemonade! This was an effort to take control of our destiny. It was an effort that required the whole team to implement, but in the process became a rallying point for everyone involved, instilling a sense of ownership and pride in the company and optimism for the future. The unofficial Store motto—A retail stream-of-consciousness for cockeyed optimists—became our mantra. Great brands have the power to engage the public, create movements and alter the course of local communities. Such grassroots efforts can be ignited by emotional and intellectually compelling design. Even with minuscule budgets and unrelenting economic conditions, great design can move people, create change and advance causes." --www.aiga.org/content.cfm/case-study-the-store-at-grant-design-collab

facade | www.aiga.org/content.cfm/case-study-the-store-at-grant-design-collab

design center | www.aiga.org/content.cfm/case-study-the-store-at-grant-design-collab

www.aiga.org/content.cfm/case-study-the-store-at-grant-design-collab

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

the Arts Union | Carleton College, Northfield, MN

a 'grand-scale' project that will exercise unitary urbanism among all art-related departments. a "facility geared toward creative collaboration"--slated for completion in 2011. project includes

departments of art history and studio art, cinema and media studies, theater and dance, and English
teaching museum
a dramatic theater
a cinema theater
a small black box theater
dance studios
the student-run radio station, KRLX
coffee shop
interdisciplinary library

rendering | interior north entry
apps.carleton.edu/arts

plan & renderings | apps.carleton.edu/arts

:::: ::::: :::: ::::: :::: ::::: :::: ::::: :::: ::::: ::::

painting party @ SELECT

2009-10-13T21:55:00.000-07:00

a few of us went to 'the store' to paint objects white (and the stools tiffany blue) on wednesday evening. it was also decided that the brown curtains (thank you, Suzanne) will look great in the dressing rooms with the accents of tiffany blue. we got alot done, but still lots left to do...

random found objects

2009-10-13T21:45:00.001-07:00

for the window display back drops, we all gathered as many random objects that will all be painted white. this dart board was a pretty interesting object i found...among many others.

chair refurb | circles unbroken

2009-10-13T10:02:00.000-07:00

here's the first of 2 chairs that i'm refurbishing that will be part of the raffle at the new Salvation Army SELECT on November 7. what do you think?

before | after

the process

and here's the second. a simpler refurb than the first one--it just needed a good cleaning, a coat of spray paint, and a piece of fabric to replace the vinyl. what a cool chair! i

before | after

better...

2009-10-02T20:25:00.000-07:00

after more discussion, changes were made to the window display design to make it appear visually lighter, less busy. and the dress with more dimension. no mermaids here.

saSELECT large display | design specs

2009-09-29T20:19:00.000-07:00

we decided as a class that the "collage" design would be the suitable overall design for the new sa SELECT store. for the large display windows, it was decided that 1 mannequin would be in each window--one lady, one man--and they would be visually connected by the notion that each is preparing/dressing for a holiday party. to tell the story, each window will include a dresser/vanity with a mirror (cutout of backdrop). all surfaces will be painted white, and the garments will be made of MANY red shields that will spread over the display surfaces.

so that we can get an idea of scale and general idea of the design, we were each tasked with producing a scaled sketch, image, or model (physical or digital) for next studio. as i put the image together, i began to have reservations. is this a red mermaid outfit gone awry??

question: what is the significance/function for covering various surfaces with the red shields? what are we trying to say?

week 5 | give

2009-09-25T05:30:00.001-07:00

the studio was divided into 3 groups--REUSE | GIVE | ???--to capture the essence and purpose of the store within the displays for the large windows, end caps, and smaller displays for the cash wrap and shelves.

this is a small display idea for the SELECT store. bags--for gifts and donation--are made of donated white pillow cases and red shoe strings. the logo was stenciled with red spray paint.

signage/information

display

oh, joy...

hmmm...window displays

2009-09-22T20:14:00.001-07:00

we've been challenged to dream up three window displays for the SELECT store.

after reading the chapter on window displays in our text and studying group members' inspirations, i was a bit overwhelmed at the plethora of possibilities. so, to narrow it down for myself and organize my thoughts, i gave myself a couple of guidelines for the exercise--keep it very, very simple. one point, one idea for each display. as Alannah Weston stated in our text " Not having too many ideas, having great compostion and really being able to tell a story are so important when designing a window display." as well, it's time for the Christmas displays, so i incorporated a Christmas element. oh....and of course, the red shoes, too!

the first idea was inspired by some of my inspiration images. crisp billowy whites (these could be fashioned from donated sheets, bedspread, etc.), sparkle of light (the Christmas element), a "refound" chair (painted white), and a contrasting merchandise example on a white mannequin. and oh, the red shoes.

this display was inspired by Mira's inspiration cards--the parking lot taco stand that looks and sounds like so much fun! the image that evolved was piles of 'stuff'--food, cups, wrappers. i fashioned a super-sized oh-so-familiar salvation army Christmas donation bucket to fill with clothes and accessories. now, where to put the red shoes???.......hmmm, i'll put 'em on top. that should be an eye-catcher.

through the process of the other two ideas, this idea just came to me. an attention-getter, perhaps--the SELECT shields as clothing. and they have shoes--RED ones!

sa SELECT marketing | inspiration

2009-09-21T07:37:00.000-07:00

my excursion to find inspiration this weekend included a visit to AREA--a modern furnishings boutique in downtown Greensboro--and searches for "before & after". following is an amalgamation of things/images that i thought somehow could be incorporated into the "furnishings" piece of marketing for salvation army select.

the idea of a large "jack" came to mind after reflecting on the large ostrich in Anthropologie. it doesn't necessarily have to be a "jack", but an inspired idea--large scale--certainly creates the "unimagined experience". as well, i captured inspiration for displays and lighting, re-making of used furnishings (before & after), and using unexpected items for furnishings.

sa select marketing | a plan

2009-09-18T03:45:00.000-07:00

after each studio member pitched their idea for marketing for merchandise for the new "salvation army SELECT" store, different categories of marketing formed--T-shirts, print/graphic marketing/"slogos", guerrilla marketing, and furnishings. of course, my idea fell under the furnishings category, and we divided into groups to work on plans of action for executing these ideas--the answers to who, what, why, how, when, and where.

as a group, we decided to tackle both furnishing ideas--raffle items and in-store fixtures for sale.

general plan

type of furniture - simple seating, desks, tables, lamps, accessory props (jewelry cases/holders, tie racks, etc); no heavily upholstered pieces

each team member works on a 'piece' individually at home or studio unless other plans/arrangements are made

refurbishing supplies - paint, fabric, wallpaper; find sources for discounted supplies/ mismixed paint/freebies

funding for supplies - speek with Ivan

pass from Ivan/management to pick up furnishings free of charge at area salvation army locations

hang tags - contact print marketing group

in-store furnishings for sale

identify what types of furnishings for store - meet with Stoel's studio

raffle items

advertisement via web page/facebook/blog - notify website group
window display in vacant adjacent spaces - contact Ivan for approval
2 posters for advertising raffle--one in-store and one in vacant window
raffles - to take place monthly for however many pieces are refurbished; a raffle ticket will be given for donations of a substantial size (tbd)

that's all for now. more to come...

salvation army select | marketing brainstorm

2009-09-16T08:04:00.000-07:00

my marketing idea for "salvation army select" would be to gather great "used" furniture finds and refurbish them for a raffle in exchange for donations for the new store, OR pieces that the store could actually sell when they open. Hmmmm...

i visited the salvation army "family store" on Lee st. i found these pretty interesting (and very used!) side chairs that could be wonderfully refurbished with a little ingenuity. a little bit of paint, some fabric, or perhaps rope, straps, or strips of something.....?? these could be a really fun addition to anyone's decor!

the paint is worn and the seat cushion is vinyl, but this one has great potential!

this wicker jewel needs some extra tlc, but a great find nonetheless.

some leftover paint and fabric from previous projects...

week 3 | timepieces

2009-09-13T19:50:00.000-07:00

time for shīr
as a product design exercise for our retail space, i've designed 3 different timepieces for shīr. they each were inspired by some aspect of my original concept--crop circles--either by form, process, or both. each has rendered, annotated orthographic views along with a perspective, if necessary.

which one do you like the most??

shĪr | designer coats & accessories

2009-09-04T16:42:00.000-07:00

materials spawned from a crop circle

what a fun project! this was definitely an exercise in "concept". i learned that the final product/solution is not and should not be your first instinct. who knew that coats, scarves, and ties could be related to crop circles. but, here it is--a posh retail space inspired solely from crop circles.

of course, i'm all for keeping it simple and clean (and straight), so the whole 'circle' idea kinda threw me at first. my remedy was to 'go big' with the circular forms such that they would be a little more manageable as well as create an interesting retail space along the way. the materials, textures, and colors are inspired from nature--specifically the wheat fields of southern England where most crop circles are made. i took the idea a step further and decided on a British name and British fashion designers for the merchandise. nearly all finishes and furniture in the space is custom, excluding the sisal carpet.

materials board

crop circle makers--hahahaha!!

week 3 | instamatic schematic

2009-09-02T08:40:00.000-07:00

inspiration

retail space: coats | ties| scarves
concept: crop circles

textures

hardware

wall or lighting design

color inspiration

color palette

week 2 | material investigation

2009-08-31T01:46:00.000-07:00

lavitadolce
coffee retail/gelato café | southpoint mall

even though this space was not strictly retail, the fact that this mall café just simply “sucks you in” was reason enough for me to include this place in my case study.

the use of materials here is simple and clean—glass, stainless steel, chrome, Formica—each used very effectively to create a modern, fun, yet still sophisticated space. of course, it’s Italian! the Eames wire chairs instantly let us know that “this is a cool place!” the ‘wavy’ orange Formica back bar is the element that draws one’s attention, making the space fun and inviting. the rest of the surfaces are either white, chrome, glass, or stainless steel, and very reflective. plates and cups--white, plasticware – silver, shopping bags—white. this is a gelato café, so all of the surfaces are smooth such that they can be wiped/mopped easily. the accent lighting on the back bar creates interest and accentuates the wavy surface. not your typical ice cream parlor. =D

personal photo

UNITED COLORS OF BENETTON
clothing retailer known for their colorful sweaters and scarves | southpoint mall

WHITE! and non-reflective/matte finishes—flat white paint on the walls, glazed tile on the floor that has a satin finish (not glossy). even their metal racks have a satin finish, as do the letters of their signage. wood shelves/cabinetry, clothes hangers are a very light wood, the mannequins have a white matte finish. a very large, matte finish (not glossy) photo of a fresh young face covers the wall at the back of the store which [1] attracts shoppers to the back of the store, and [2] identifies target market. flat finishes and accents of wood create a warmer, casual environment while enabling the brightly colored merchandise to ‘pop’ and attract shoppers’ attention. each section of the store features the different color groups—warm and cool colors. lighting is warmer/yellow, and spotlights highlight key display/merchandise and signage.

personal photo

AVEDA
high-end, natural, environmentally responsible beauty products

natural surfaces/materials—wood furniture and accessories; wood floors; some rougher and/carved, some smooth, but none shiny. plants, carved wood, and grasses give send the message of “natural/botanical”. lots of natural-colored (not white) soft cotton terrycloth towels; walls painted with a warm, earthy color (flat finish). the checkout counter is mde of flax seed, giving it an interesting texture. a very tactile environment that invites shoppers to touch (“buy me!”) the ambient lighting is fairly dim, creating a ‘zen’ atmosphere, with accent lighting on displays. packaging is simple and in earthy hues for the target market.

www.newreflectionssalon.com

www.perseaveda.com

www.charlesthomassalononline.com

GODIVA
high-end chocolatier

this one I visited online, because the store associate would not allow photos, and the environment was entirely too uncomfortably royal and “close” to sit in the store and draw. smooth, reflective surfaces of dark brown (wood) and gold. lots of glass—cases, doors, store front. many of the furnishings and accessories resembles the color and texture of melted chocolate—luscious! their signature gold packaging and signage speaks “money”, and the materiality says “plan to spend it if you shop here”.

www.malls-info.com

thumb2.visualizeus.com

www.basketsbyexpressions.com

COACH
high end handbags and accessories | southpoint mall

white surfaces, dark wood accents, wood floors—all non-reflective. only reflective surfaces was the merchandise and the signage in glossy white letters. another example of the merchandise providing the color. comfortable, approachable seating—leather, of course, tan accented in dark brown—with a bright orange and pink “Coach” pillow that was available for purchase. merchandise was showcased in warmly lit, individual “shadow boxes”. clever use of cooler/bluer lighting in the back of the space created contrast and a focal point, directing shoppers all the way through the store. clever use of lighting in general—all luminaries are concealed, revealing only the light.

personal photo

personal photo

personal photo

week 1 | brand identity

2009-08-28T02:08:00.000-07:00

CARIN GOLDBERG

we were given a designer from the book "women of design", and were asked to research our designer to determine if they had a particular style or "brand", and if so, identify the characteristics.

carin goldberg (my designer) is a graphic designer, and has a very distinctive, identifiable style. as described in her bio, "goldberg's design sensibility is a mix of sophisticated typography and rich visual awareness of historical design that morphs and evolves...plus, dashes of humor and wit...". her style leans towards the post-modern...very "bauhaus", and almost always contains some form of humor, perhaps hidden. at first glance, it just looks like letters, words, and simple forms thrown on a page...but no, it's much deeper than that--much. after just a little bit of study, one sees that each word or shape has a purpose. her designs are intentional (i like that word.) a classmate actually helped with that word, and is essentially how i would like my designs to 'read'. i would describe her work as "playful sophisication". attractive, approachable, and yet very sophisticated.

carin has worked at several high-profile positions at well-known publishers and recording studios designing (and/or overseeing the design of) book jackets and album covers. she has owned her own business, and has taught design at the school of visual arts for 25 years. she received the 2009 AIGA award--recognized for her "ability to join intelligence, craft, and an eye for the evocative image".

i would post some of her designs that i found inspirational, but that copyright infringment rule keeps getting in the way. so i put together something of my own that was inspired by her work and her ideas of what comprises a succesful career and/or life.

this was my attempt at portraying carin's style--hardly even close to her fabulous designs, but perhaps it does send a message about her thoughts on success, as a designer and person. the background image is a morphed headshot of ms. goldberg.

chevaucher

2008-12-06T00:25:00.000-08:00

HIGHLAND MILL DESIGN PROJECT
FALL STUDIO ‘08

Project Description
My fall studio ’08 with Professor Robert Charest involved the redesign, renovation and revival of the Highland Cotton Mill—now Mill Village—in High Point, NC. The design requirements for the existing 300,000 square feet included that it be a mixed-use facility—retail/showroom, restaurants, office space, and residential—and “gentle modern” in style.

As a group, we were asked to divide and organize the given space and provide a schematic floor plan for the mixed-use facility. From that, we were to focus on one space in each of the retail, restaurant, office, and residential sections of the facility, and provide a detail design for each space. As a group of three and each of us experienced in AutoCAD, we decided to each design a space and have frequent meetings to ensure that our final product was cohesive. I chose to design the restaurant and retail spaces.

A “grand gesture” was required for the space, and our vision was that continuous and intersecting overhead planes would “connect” the different parts of the facility—parking-to-retail, retail-to-office, office-to-residential, residential-to-parking, and so on. The planes, at different lengths and widths, resembled a wonderfully modern art piece. The same philosophy was used to divide the building into its different spaces—the larger retail and office spaces, and the more intimate residential spaces. Upon completion of the floor plan, we had a Mondrian-like composition. The concept—“Chevaucher”, meaning to overlap.

Very much thought went into our design to ensure that it was well received by the community, and that the different sections worked well together and individually. Great care was taken to ensure the feeling of privacy within the residential section, while designing easy accesses to the offices and retail spaces. The “connection” of the buildings and spaces with overhead planes provides interesting way-finding throughout the Village. We included sidewalk accesses for the “locals” in the adjacent residential area, and considered the demographic in the Village retail spaces and aesthetic with the notion that “Rodeo Drive will not work in Harlem”. On the flip side, some of the facility would be used as showroom space during furniture market, so adding upscale restaurants, meeting spaces, and rental spaces for overnight stay to satisfy market-goers. The inclusion of old and new materials with a gentle modern approach allowed flexibility in the design details of each space. Natural lighting and the direction of the sun at given times of day was important in choosing placement of the different sections as we considered window locations, skylights, open markets, and patios.

The owners desire a sustainable building, and we were careful to preserve the brick shell, original wood flooring, and weathered corrugated aluminum that was taken from random exterior buildings and used as accents on the interior. To utilize the flat roofs, we incorporated solar energy panels and green roofs. Parking decks were proposed on the existing paved areas across the street to preserve the green areas that surround the Village.

Design Influences
In order to prepare a good “foundation” that would facilitate great design, the studio class performed historical research. Site surveys, old and recent, were gathered to determine where the utilities and easements are/were located and whether propane tanks still exist. The surveys aided in answering the questions “What was there? What is there now? What needs to be excavated? What can we reuse?” Topographical maps were researched to obtain information on the “lay of the land”. Area maps were retrieved for information on adjacent properties—a large residential area, park, railroad tracks, stream, a forest, and natural wetlands. City history was gathered from periodicals and libraries to obtain information on the rise and fall of the Mill and the area, which led to the area’s current depressed state. Prototypical research on similar renovation projects around the globe was performed to get ideas of how other designers have approached such a large project. A title search was performed to obtain information on all the owners of the property to get insight on how the building has been used over the years. Fortunately, after the Mill closed, the only other use for the building is its current one—Mill Village. Cisco Brothers of California are the current owners. Owner research and interviews were performed to determine background, business philosophies, and visions of the space.

As explained earlier, a “gentle modern” design was required for the Village. Our design stayed ‘true’ to the tenets of modern architecture, maintaining simple geometry, a strong horizontal line, bands of windows, “pure” materials, and lots of natural light. Although no one specific architect was an influence to our design, our design appears to have been unconsciously influenced by Ando and Le Corbusier. The original column grid of the structure, which we were urged to keep and thought would eventually present a problem in our design and aesthetics, proved to be a wonderful asset to our final design, adding a touch of vertical dimension to our strongly horizontal design.

Project Images
AutoCAD was the chosen media for the project. Rendered floor plans, sections, and perspectives—all taken from our 3D model—communicate the vision wonderfully.

These images are a portion of the total and final project. Two of the images—the “Site Plan” and “Money Shot”—were included to offer a better understanding of the complete project, and were designed by the group. The remaining 13 images are floor plans, sections and perspectives of the restaurant and salon, my contributions to the group project.

CENTER for NEW NORTH CAROLINIANS FINAL PRESENTATION

2008-05-09T04:15:00.000-07:00

BOARD PRESENTATION

FLOOR PLAN
1/4" = 1' - 0"

RECEPTION AREA PRESENTATION

RECEPTION PERSPECTIVE

RECEPTION AXON
1/4" = 1' - 0"

RECEPTION SECTION
1/4" = 1' - 0"

RECEPTION REFLECTIVE CEILING PLAN
1/4" = 1' - 0"

BRANDING

LOGO

RECEPTION DESK AXON
3" = 1' - 0"

RECEPTION DESK MODEL
3" = 1' - 0"

RECEPTION MODEL - VIEW FROM ENTRY
1/4" = 1' - 0"

RECEPTION MODEL - VIEW FROM COURTYARD
1/4" = 1' - 0"

MATERIALS MODEL - RECEPTION VIEW

CLASSROOM PRESENTATION

CLASSROOM PERSPECTIVE

CLASSROOM AXON
1/4" = 1' - 0"

CLASSROOM SECTION
1/4" = 1' - 0"

CLASSROOM REFLECTIVE CEILING PLAN
3" = 1' - 0"

CLASSROOM MODEL
1/4" = 1' - 0"

MATERIALS MODEL - CLASSROOM VIEW

GROUP OFFICE PRESENTATION

GROUP OFFICE PERSPECTIVE

GROUP OFFICE AXON
1/4" = 1' - 0"

GROUP OFFICE SECTION
1/4" = 1' - 0"

TYPICAL WALL-TO-FLOOR DETAIL
3" = 1' - 0"

BAMBOO SCREEN DETAIL
3" = 1' - 0"

REFLECTIVE CEILING PLAN - OFFICE
1/4" = 1' - 0"

OFFICE SOFFIT CEILING DETAIL
3" = 1' - 0"

GROUP OFFICE MODEL
1/4" = 1' - 0"

MATERIALS MODEL - GROUP OFFICE VIEW

my sisters' house - sketchup renderings

2008-05-07T00:45:00.000-07:00

my sisters' house - viz renderings

2008-05-07T00:40:00.000-07:00

a visit to my sisters' house

2008-04-01T06:22:00.000-07:00

views of my sisters' house

2008-03-27T09:15:00.000-07:00

entry

common area

hallway

center bedroom

kitchen

opposite view of common area

center for new north carolinians: schematic design

2008-03-13T17:17:00.000-07:00

CONCEPT, FLOOR PLAN, & COLORS
Presentation Board 1

FLOOR PLAN DETAIL

SECTIONS/ELEVATIONS & BUILDING PERSPECTIVE
Presentation Board 2

SECTION A-A' DETAIL

SECTION B-B' DETAIL

PERSPECTIVES
Presentation Board 3

MULTI-PURPOSE SPACE DETAIL

PERGOLA/ENTRY DETAIL
COURTYARD & RECEPTION DETAIL

COMPUTER CENTER & OFFICES DETAIL

cnnc: incorporating growth

2008-03-02T06:08:00.001-08:00

I liked my original layout of space and material ideas for creating the sense of 'home', but the exterior seemed a bit ordinary and uninspired, and didn't incorporate my concept of 'growth' very well. So, I changed it.

entry | wood beams which incorporate a converse arc of the barrels, using the 'growth' concept; stucco/concrete; bamboo screen

courtyard perspective | my original design on steroids! minor tweaks in the floor plan and materials, but the form is 'growing'.

my entry/roof inspiration

cnnc: feeling the space

2008-03-02T05:12:00.000-08:00

These are my original ideas for the CNNC. I chose to fill the space with familiar textures and colors--brick/terra cotta, bamboo, concrete/stucco, and plants--to give the feeling of home. The courtyard features a cupola which will give natural light to the connection.

entry/facade

entrance | bamboo pergola, brick walkway, stucco, water feature

kitchen/community/multi-purpose space | wood/bamboo colonnade, terra cotta tile, stucco

playroom | knee walls and ceiling of bamboo, ample glass/windows for ease of keeping an eye on the children

cnnc: organizing space

2008-02-27T05:25:00.000-08:00

I decided to move the entry to the south side...much better. The more central location lends itself to my concept of 'growth'. The larger public spaces are central (like the core or a trunk) to the entire building, and the smaller private spaces 'branch out' into smaller, more intricate spaces.

cnnc: inspirations

2008-02-27T04:33:00.000-08:00

The Montagnards, Hispanics, and Sudanese are agricultural people, and many grow their own food, making them very familiar with the growth process. And because CNNC will be a center for their growth, support, and education, it is only natural to make 'growth' my concept for the project. 'Growth' will be represented in forms, patterns, while the colors and textures will be reminiscent of their homes.

The following images were fundamental in defining my concept:

Growth: A strong base--a center--that supports the branches, foliage, and fruit.

The most influential, comprehensive image--a large, definite central core balanced by surrounding smaller forms and organic shapes that are representative of colorful produce and fruit. The colors are appropriate as well--earthy, warm.

My primary concern is the clients--the immigrants--while still considering the CNNC staff. I took time to study the dwellings and spaces related to the Hispanic, Montagnard, and Sudanese cultures in order to incorporate some of the materials, textures, and colors of "home".

The following 2 images are inspiration for the bamboo panels that are used throughout the space for privacy and division.

charette de facade

2008-02-26T05:50:00.001-08:00

We had a charette to 'jump start' us into our CNNC design. The building as it exists is lacking any real point of entry, so our mission was to design an entry and facade. My first inclination was to make a prominent entry on the east facade. Uh, no.

what's old is new again

2008-02-21T01:07:00.000-08:00

what a classic! bauhaus design never goes out of style. the eye is drawn to the "bull's eye" and follows the texture and vibrations of the circle. this strong focal point is balanced by the strong vertical on the left, and grounded by the dark, rich color and repeating horizontals at the bottom. the dark brown circle further enhances the vividness of the vibrating circles. all text styles are sans serif, and offer texture and balance to the design. the space is filled with shapes, color, and text--very little negative space.

bond...james bond. this pop art design for 007 takes advantage of line and negative space. the strongest line is the spiral that leads the eye to the center where the silhouetted bond stands in a classic pose. the spiral, a distorted image of a THE woman, and 007 create the positive black space, and they each contain sharp points and knife-like shapes that evokes a sense of violence and aggression. the contrast between the positive and negative space gives the design texture, while the vivid red adds to the aggression and creates a strong horizontal. this strong image needs no text.

are they candles or skyscrapers? the colors are retro; the shapes and images are abstract, making it modern--retro-modern. the dark images create a strong vertical on the right which is balanced by the diagonals that become 'heavier' on the left. wonderful texture is created by the repetition of smaller shapes--the 'cells' of the vertical shapes, the collection of circles in the top left, and the flock of 'birds' that hover over the verticals. texture is also found in the negative space--the yellow-stippled orange. no text was used in the design; a strategically-placed word or two may have added more understanding.

fun nostalgia. the reflective, black surface in perspective grounds the design and creates a strong, central vertical with the cup. contrast strengthens this design with the use of black/white vs. vibrant/funky, intricate vs. simple, real vs. imaginary. these contrasts give texture. the text fonts accent 'funky'.

stylized subway

2008-02-13T22:06:00.001-08:00

Parallelism: Natural Inspiration

2008-02-12T09:47:00.000-08:00

This lamp very obviously has taken its form from nature, seemingly from a lily-of-the-valley.

Well-designed. Why?

2008-01-30T18:22:00.000-08:00

The Zucchetti ad is of very strong design. The sizes of the contrasting elements--the elements of which the advertiser wants the viewer to pay attention--steps the viewer through the image in order to give depth and perception. The contrasting elements are all highlighted with white light, including the text "introducing soft" in the background. All other elements in the image are dark, but softly illuminated for the feeling of "soft". "Soft" is also conveyed with the towels, chair, and water. The placement of the contrasting elements and the use of a soft blue within the darker space creates an asymmetrical balance in the image. The text within the ad is simple but effective--for information only.

The hampton & larson ad is effective design. The caption is a strong statement (perhaps a bit suggestive), which grabs the viewers attention. Putting the 'catch phrase' aside, the image of the wood facade with strong verticals and juxtaposed horizontals creates a tension within the ad as well as balance. The contrast of the honey-colored wood against the blue-tinted glazing draws the viewer's eye to the wood.

Casa Lusso appears to have done "something different". At first glance, the viewer's eye is immediately drawn to the company name and logo which includes an image of the Italian flag--the only bright colors in the ad--and is offset by the contrasting white background. The ad contains good balance--the large image of the tub is balanced by the smaller images of fixtures and the company name/logo, and the black 'text' banners at the top and bottom of the ad are simple and informative. The viewer's eye is lead to the words "something different" on two occasions--first in the logo, then to the top banner by the two verticals in the image of the tub that appear to be pointing to the individual words.

IAR 212: Mood Composition: - Aggression

2008-01-29T05:32:00.000-08:00

4 different images were used to create this evocation of aggression.

IAR 202 - An Interview

2008-01-24T18:04:00.001-08:00

Scenario: It is Tuesday, January 22 at 3:55 pm. Claudio is in Atlanta to meet with a business colleague. He has just gotten of a plane from China, and is on his way to the hotel.

Ashley/Denise: Hello, Claudio. Thank you for taking the time to help us with our project. So we’ll begin by asking you what city you are from in Italy?
CS: From Naples.
Ashley/Denise: We are wondering why you would want to leave such a beautiful country?
CS: Yes, it is a beautiful country, but because of political and financial reasons, the opportunities and freedom for a prosperous life do not exist as they do here in the States. Our family was very poor; I would have not been able to go to college in Italy.
Ashley/Denise: So you went to college? Where did you go?
CS: Yes, I went to UNC-Wilmington and majored in International Business.
Ashley/Denise: That’s fabulous! So how old were you when you came to the States?
CS: I was 15. I’ve been here for 20 years.
Ashley/Denise: And how was your journey here?
CS: Well, I already had 2 older brothers that were American citizens, so the move here was not difficult. I lived with my family in New York for a year when I came over, and then we moved to Wilmington [NC].
Ashley/Denise: Will you tell us about your family?
CS: Yes, I have 4 older brothers and a younger sister. I also have 3 nieces and 2 nephews. My oldest brother, Giovanni, still lives in Italy near Bologna. Another brother, Nunzio, is in New York. He is married with 2 children. Everyone else is still in Wilmington.
Ashley/Denise: Are you married?
CS: No.
Ashley/Denise: And your parents?
CS: My Mom is in Wilmington as well; my father passed away in ’01.
Ashley/Denise: We’re sorry to hear that. How is your mother?
CS: She’s doing ok. Since all of us kids are grown, she thinks often of moving back to Italy to be with her twin sister in Ischia. Her English is still very broken, so it’s been difficult for her.
Ashley/Denise: So English has been hard for her. But you hardly have an accent. Was learning English difficult for you?
CS: Yes, I think that was the most difficult thing at 15 and having to go to high school. We all had tutors though.
Ashley/Denise: Were there other challenges?
CS: The process for getting a green card is long and tough. Oh, and finding Italian foods, like bread, meats, and different pastas was very difficult when we moved to Wilmington. The only kind of bread we could find was sliced sandwich bread. And Mueller’s pastas are awful.
Ashley/Denise: What kinds of things did you have to adapt to within the American culture?
CS: In America, drinking is such a ‘big’ thing. In Italy, it’s part of the culture—you grow up drinking wine that your uncle made. It’s a regular thing at dinner.
Ashley/Denise: So why did your family choose Wilmington for your place to live?
CS: Mainly because it’s close to the beach, and that is what we were used to in Italy. And, at the time, Wilmington was still very quiet and affordable.
Ashley/Denise: So your work is in Wilmington?
CS: Yes. I am the International Sales Manager for House of Raeford. We export poultry to other countries. I travel quite a bit.
Ashley/Denise: Do you enjoy it?
CS: Yes, I do. Importing/exporting is what I wanted to do when I finished college. For a few years, I imported Italian wine into the States. It was interesting and I learned a lot, but it was hard to make money. I guess there’s too many other people doing that as well.
Ashley/Denise: It sounds like you are enjoying your life here. What other things did you do to adapt to the American culture?
CS: I worked to get rid of my Italian accent. I believed that has helped me succeed in business.
Ashley/Denise: Well, Claudio, that’s all the questions that we have for you. Thank you so much for your time.
CS: You’re welcome.

LIFE PORTRAIT COLLAGE

IAR 212: Pattern Perception

2008-01-24T04:12:00.001-08:00

Stylized sunflowers? Gears? The lights of the NY skyline --from Tribute of Light-- make starburst patterns.

IAR212 - Computing in Architectural Design: Response

2008-01-16T20:33:00.000-08:00

It seems a bit unbelievable that with all the development of computer intelligence and cyberspace, there has yet been development of a really robust architectural design application that “does it all”. Kalay discusses how CAD “continues to set goals for computing technology”. Within that same line of thought, I believe that the design profession will continue to (and always has) set new goals for CAD, that the needs will be ever changing and growing—faster than computer technology can manage. If ever a truly comprehensive design application is developed, I believe it would prove inefficient, as it would require an enormous amount of data entry and/or maintenance just to keep up with the latest changes in design materials, products, and technologies.

We are only at the beginning of our next Movement, and designers are facing more and greater challenges than ever. I predict that the same will continue to hold true—that the design profession will continue to set new goals for CAD. I believe that better tools for designers will continue to be developed for better communication and faster, perhaps more novel designs. I believe that if such a beast as a “computer-designer” is ever developed, it would be a tragedy as well as a travesty, as nothing can perceive the human condition and respond to human and environmental needs better than another human. Although computer technology may change a designer’s tasks or make them more efficient, the purpose and function of a designer will remain long after the next great design program. Furthermore, a design created in a design program is only as great as the designer driving it.

IAR202 - Welcome Mat (Finland)

2008-01-16T06:35:00.000-08:00

My welcome mat for my Finnish visitor incorporates Scandinavian design--simple, clean lines, and trueness of materials (solid birch and cotton rope) that I believe they would easily recognize. Wood dowels were placed vertically in the raised frame and the rope was tightly woven horizontally for added support. When standing on this mat, you'll be surprised by its cushioned spring-like effect. I think my Finnish visitor would feel very welcome, and it would make a great entry mat for a Finnish sauna!

The following are images used for inspiration for my welcome mat for my Finnish guest. Saunas are very popular in Finland (about the same number of saunas as cars!), so I've incorporated the suggestions of each of these images in my design. My welcome mat will be suitable for any indoor entry, however, given the materials and concept, it would be most suitable for a sauna entry.

Sauna interior

Sauna "pillow"

Birch "vihta" - an aromatic bunch of birch branches used for stimulating circulation to the skin

Finnish flag

"Close to Home" - Analysis of Lowenstein Exhibit

2007-11-16T13:30:00.001-08:00

Collaboration Surrounds Lowenstein
A Review of the Lowenstein “Close to Home” Exhibit

When asked to assign a word to the Lowenstein “Close to Home” exhibit, I would reply, “Collaboration”. When asked to assign a phrase to the exhibit, I would reply, “Synergy through collaboration.” The installation is a collaborative effort of collaborative efforts. More explicitly, faculty, a team of Interior Architecture students, and community members worked together to manifest an artful, well-designed collection of Lowenstein's successes in the same manner in which Edward Lowenstein, his partners, team members and business contacts worked together to realize Lowenstein's visions. And collectively, each team created its own masterpiece.

When entering (or exiting) the exhibit on the left, a list of faculty and students names within given classes is displayed proudly with signatures. This gesture is like an exclamation point on the entire team installation and visitor experience.

A more symbolic moment within the exhibit that further represents the teamwork and collaborative efforts is the gestural, diagonal form that “both unites and divides the space”, and appears to be reaching outward through the glass walls and telling the visitor, even the community, to look to the future. The natural and artificial light that engulfs the ‘point’ accentuates the moment.

Double-duty: This grand gesture within the exhibit is not only used as a dramatic divider for the space, but is also iconic of the diagonal structural walls that Lowenstein incorporated into his architecture.

As I continued to study and become more ‘intimate’ with the exhibit, I noticed the details and nuances that made a significant impact to the beautiful, geometric simplicity of the exhibit. The use of stained and natural wood for the structure, metal rods and perforated steel screens for display panels, and the best part—small magnetic discs that held the 2-D graphics and text displays in place. How clever!

Magnets were instrumental in the display of Lowenstein’s story and philosophy. Small discs held the 2-D media while informational magnets in a free, geometric shape (design for the “Close to Home” logo) were a ‘fun’ addition to the exhibit.

During my exhibit tour, it became necessary to step outside the gallery for a moment, and moved towards the closest exit. At that time, I realized that the exhibit had been designed such that there was no direct path between the entries on the right and left sides of the gallery. The walls are positioned such that guests are guided into and around the exhibit. As well, the sequence of the ‘clusters’ of information— Commencement houses, Lowenstein’s residence, residential and commercial projects, general information on modernism, exhibit details—reads well from either direction, whether a guest entered from the left door or right door of the gallery.

The video media—or flythrough movies—of the Commencement houses and the Lowenstein residence were effective in representing the modern and progressive nature of Lowenstein and his architecture. However, the video of the Commencement houses projected onto the perforated steel was a bit difficult to read, as it seemed to ‘double’ the image that was projected onto the steel sheet on the opposite side of the panel. Though difficult to read, the effect, in and of itself, was quite original.

And, a most important detail awaited each guest as they were entering or leaving the exhibit…

Did you leave your name as a witness to this most honorable and collaborative affair? “Fabulous! No stone left unturned.”

My Sisters’ House: Phase III - Suite Design

2007-11-16T08:26:00.000-08:00

INTENT

In the suite design for My Sisters’ House, I intend to further extend and develop Bright Star’s intent—“a comfortable, contemporary space that will foster a healthy environment for infant/child care, learning/education, and family life.” The young mothers will be spending most of their time in their suite with their infant, so the focus is on function within a smaller space. Through clever use of furnishings, color, glass, and reflective surfaces, I intend to create a space that is inviting as well as a functional, efficient ‘powerhouse’.

PROGRAM

Kitchen
Flooring – Polished concrete, stained in “putty”
Chandelier – Starburst Chrome – Louie Lighting
Appliances – Kitchen Aid - stainless
Refrigerator (33 in)
Stove
Microwave – Space saver w/ vent
Dishwasher (compact)
Cabinets – StarMark: Quarter sawn red oak, brick finish
Backsplash – Blue/green glass tile with mirror tile accents
Wainscoting – corrugated aluminum
Countertops – Polished concrete, unstained
Table and chairs – Thomas Bernstrand “Mayflower” chairs (lt. green)
High chairs for babies (3)
Thomas Bernstrand “Uddabo” table
Ceiling fan – aluminum

Bedrooms
Lighting – SunMoon SMB3801 wall lights
Mirrored Tiles – 24”
Beds - Twin "Dado" Storage beds by Presotto Italia (www.presottoitalia.it)
Cribs -
Built-ins – custom-made in birch
Chair – custom-built from natural rubber and aluminum cylinder
Night table – Brigitte Oval Side Table – Bungalow 5

Baths
Flooring – polished concrete
Wall tiles - glass/mirrored glass
Toilet
Sink - bowl-style
Bathtubs - Rogerseller by Jaime Hayon

My Sister's House - Color Selection

2007-10-26T08:40:00.000-07:00

The process of color selection for My Sister's House included an individual color selection and model, a group color selection, and a final group Color Model. It was decided that the group color selection would include a red, yellow, blue, and green. We each selected a second color palette. My 2nd individual selection was chosen for the final model. Pieces and parts of my individual model were chosen for the final group model.

history + theory of design ii: self-reflection

2007-10-13T10:41:00.001-07:00

1. Comment on how this course has changed the way that you view design as a fundamental practice central to humanity.

Thus far, I’ve realized the impact of how historical events and eras influence design, and have a peaked interest in designers’ responses to changes and events that spawn a need, perhaps even a movement or revolution—social, political, environmental—on regional and global levels. I’ve included a time line that closely represents or depicts the relationship between art/design and historical events for France, North America, and South Europe from 1800 to the present.
(Source: http://www.metmuseum.org/toah/intro/atr/10sm.htm)

I find the competition between cities, countries, and designers themselves to be equally as interesting (actually humorous). Even though competition and the fight for power and “bigger’s better” exists all around us, I had not transferred that line of thought into the design world.

2. Select one building, space, or object that we have talked about in class or is contained in the readings for this course. As you encounter this object, space, or building, suggest how it links forward to design practice today. Select an image of your chosen artifact and include that on your blog.

Etienne-Louis Boullée’s cenotaph for Isaac Newton (c. 1784) was extraordinarily advanced for the era in scale as well as style. This is certainly an example of a person living before their time. In a period when classicism and ornament was prevalent, Boullée’s design was extremely innovative and forward thinking with its simple geometric form(s) and lack of ornament. Although Boullée’s design did not materialize (and because of its scale, could not have at the time), the documentation of such a concept was remarkable and necessary for the inspiration and growth of future architects and designers. The “pure geometry” and “enormous” scale of the cenotaph design links it to today’s skyscraper designs.

3. Accepting the view that we always fall back on history, how do we create a new perspective that both embraces the past and says something innovative about our present circumstances?

“Too much of a good thing is not good for you”, “K-I-S-S, keep it simple, stupid”, and “the truth is somewhere in the middle.” I don’t remember where I was or when I first learned of those concepts, but I believe they all apply in our present circumstances. We’ve lived and thrived to the extreme for the past several decades, as there is a product available to fulfill our every whim and fancy on any given day. For example, there is a paper toss-away thing available for cleaning every single surface and body part; our mop heads are even tossable. And how many different kinds of detergents and fragrances do we really need? Enough already! We’ve learned that we need to, as individuals and a society, scale it back and fulfill needs, not fancies. We’ve tested the pure and the simple, the tried-and-true, and they work. Those things we should carry forward with us into the next Movement. And with the pure and the simple, we need to be creative again—innovative —to ‘make do’ with the simple for the good of Mother Earth.

4. Your [icons of modernism] exercise provided an opportunity to think about explicit connections between design and culture. Using the topic from that assignment, speculate on how the topic as you understand it (because of your research) influences the same topic in the twenty-first century context (2000-2007) in which we currently reside.

Beatniks: Forty Years Later

Although today’s non-conformists are not labeled Beatniks, there are still renditions of Beatniks called Tree Huggers (also Alternatives), which spawned from the Hippies, which spawned from the Beatniks. Just as the Beatniks, they are easily identified by their clothing style, hairstyles, tattoos, piercings, music choice, diet, and the clubs and lounges they frequent—namely downtown coffeehouses. They are largely an intellectual population who claim to be vegetarians and environmentalists (“Earthy”); however, their environmental activism is often funded for by the capitalism of their parents.

My Sister's House - "Best of Intentions" (Individual)

2007-10-08T12:26:00.001-07:00

Through creative use of bright color, reflection, open spaces, and the “unexpected”, Bright Star intends to create a facility for pregnant teens and young mothers that will foster a healthy environment for infant/child care, learning/education, and family life. Our given materials from the “good, bad, & ugly” charrette—natural rubber, aluminum, mirrored tiles--will be key in inspiration for interior and exterior elements and spaces, including, but not limited to, furnishings, flooring, siding, and playground. As well, these materials will promote a sustainable environment.

My Sister's House - Group Intent

2007-10-08T12:20:00.000-07:00

Our intent for My Sister’s House is to create a comfortable, contemporary space that will foster a healthy environment for infant/child care, learning/education, and family life. We intend to play with positive and negative space, allowing the interior forms to define the exterior. The materials we were given will create the unifying factor within and throughout our design.

Materials Collage

2007-10-04T15:42:00.001-07:00

2007-10-04T15:27:00.001-07:00

"Learning from Las Vegas"

2007-09-27T22:27:00.000-07:00

Book report on "Learning from Las Vegas" -- by Robert Venture, Denise Scott Brown, and Steven Izenour

Page 1

Page 2