ART
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MY INSPIRATION stems from the coalescence opposites - the mixing of soft and hard, angular and organic, bold graphics and blended textures. Throughout my undergraduate education at the University of Oregon, I have come to appreciate the many facets of design: from the large-scale and architectural, to the small-scale and artistic. Above all, I have tried to develop a thorough sense of personal expression in my range of work, blending the line between art and architecture. This portfolio exemplifies my desire to express creativity in all varieties of design; from artistic explorations in 2D and 3D medium, to architectural and exhibition/museum design projects.
AMELIA RUTH TYSON
ARCHITECTURE
Various projects completed during my time in the University of Oregon School of Architecture, ranging from introductory to thesis studios.
EXHIBIT DESIGN
Museum work, design projects and artist administration completed for various classes and internships in the arts, both for credit & volunteering.
2D | 3D ARTWORK
A variety of pieces, both two and three dimensional, completed for pleasure as well as in an effort to complete my minor in Fine arts.
architecture
A NEW SCHOOL FOR THE CREATIVE ECONOMY
ABOVE | A STOREFRONT FOR INNOVATION. The primary design move and interface between the community and the vocational school became a retail zone in which students and professionals would sell objects and artwork produced within the school. The facade would reflect the departmental retail within. The western facade would have manually operable perforated metal sun shades, allowing exterior flexibility and dynamism.
PROJECT LOCATION | DOWNTOWN EUGENE, OR PRIMARY MEDIA | ILLUSTRATOR, AUTOCAD, PHOTOSHOP, SKETCHUP, RHINO, VRAY
The intent of my architectural thesis project was to find the interface between a current education crisis and the future economy; the Eugene 4J school district budget has severely declined since the economic crash in 2008, resulting in the slashing of arts education programs. Yet at the same time, the country is shifting out of an economy based on manufacturing, into the creative economy - a system entirely dependent on innovation and creative thinking.
TIMELINE OF FUNDAMENTAL ECONOMIC STATES IN THE US
FEDERAL SPENDING FOR THE DEPARTMENT OF EDUCATION
THE GREAT DEPRESSION WWII
1900
1930
AGRICULTURAL
(UNDER 3% OF TOTAL BUDGET)
EUGENE 4J DISTRICT BUDGET 1960
1980
2000
(IN MILLIONS)
2013
0 % LABOR FORCE
2008 CRASH THE GREAT STAGNATION
MANUFACTURING
100
THE CREATIVE ECONOMY.
A PROGRAMMATIC SOLUTION: Combine intensive arts education with an advanced consideration of the future creative economy.
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EDUCATION
02
PRODUCTION
03
ECONOMIC REVITALIZATION
A CALL TO ACTION
My terminal studio project began by following the Lyceum competition brief, which called on participants to respond to a problem within their community with a design solution. Through various forms of research and mapping, I discovered a severe decline in arts education at the high school level in the Eugene 4J school district. This led me to design a vocational arts school, aimed at bringing high school-level students into the creative economy through artistic instruction and ample opportunity for practice and production.
ABOVE | Primary mapping: As per the competition instructions, a graphic was created to lay out the context of the problem. The top graphic is a timeline of the fundamental US economic states, juxtaposed with national and local school budgets. Below is a geographical mapping, locating Eugene 4J schools in relation to Downtown Eugene, where there exists an educational void. Yet, as mapped in yellow, there is an abundance of creative locations. The site for this project was chosen at the heart of downtown, direction next to the public Kesey Square.
RIGHT | Ground floor plan and section through curricular divisions of the school, showing vertical overlap between spatial use and blending of retail zones in plan. All divisions are united by the student circulation core, which also acts as the primary structure and service core. BELOW | Curricular divisions: School classrooms (top), production spaces, work spaces, and retail zones (bottom). Students move from general creative courses in the classroom zone directly into for their chosen department. Students would then work and sell their creative endeavors in an effort to move into the creative economy.
SCHOOL
PRODUCTION
WORK
RETAIL
SPATIAL OVERLAP
The ultimate goal in every design move of the project was to unite the arts through flexible overlapping spaces. This was achieved by two means: 1)sliding gallery panels, allowing the ground floor retail spaces to open to become one large gallery space, and 2) varying levels of material opacity, from concrete to perforated metal mesh, to a facade of glass. ABOVE | View of the Product Design showroom, with views to the primary student circulation, wood shop, and mezzanine work spaces. LEFT | View from primary student circulation core to production and studio spaces. Shows material change between concrete (opaque), glass (transparent), and perforated metal (transition).
The retail interface activates the square; the facade would be composed of pivoting concrete panels, creating flexibility and allowing indoor/outdoor gallery spaces. These public spaces would operate separate from the rest of the school, allowing them to participate in after-hours, city-wide activities, thus engaging the community. ABOVE | View of the building from the public plaza during an event. RIGHT | Lasercut model using a sectioned technique to enhance layered effect of spaces.
ROWING CENTER
TOP | Contextual map, showing landscape and forestation between highway and water. BOTTOM | Ground floor plan. Student and public docks extend into the water, while an outdoor couryard blends both interior spaces into the context and out to the water.
FOREST DENSITY
ENTRY TO THE CLEARING
WATER AS FOCAL POINT
TOP | Inspirational diagrams; acrylic on canvas. ABOVE | Section through site, showing opening to water. BELOW | Public outdoor entrance with views into the rowing center.
PROJECT LOCATION | DEXTER LAKE, OR PRIMARY MEDIA | ACRYLIC ON CANVAS, COPIC, GRAPHITE, PHOTOSHOP
This was an introductory studio project set on a site at the scenic Dexter Lake Reservoir. We were asked to design a rowing center for the UO club team, following a specific program and spatial needs. Conceptually, I wanted to mimic the variation between density and clearing in the contextual forrest. This studio was taken in conjunction with a lighting seminar, so I wanted to introduce beautiful lighting strategies while keeping with the specific program.
CIVIC CENTER
TOP | Public entry perspective. ABOVE | Programmatic diagram depicting differentiation. RIGHT | Council chamber perspective; directly adjacent to public entry, becoming the symbol for public discourse.
PRIMARY CIRCULATION
OUTDOOR PUBLIC SPACE
RESPONSE TO THE TOWER
BUILDING HEIGHTS
While some chose to keep or simply eliminate the old, unused yet symbolic water tower, I chose to embrace the essence of the water tower and recreate it; the new tower allowed for the design of a viewing deck for public enjoyment, as well as a central hub and circulation zone that united the programmatic zones. ABOVE | Diagrams depicting spatial moves, highlighting the new water tower and viewing deck. RIGHT | Ground floor plan showing most important spatial connections, from exterior to interior spaces. BELOW | Courtyard perspective, showing primary public outdoor space, rooftop garden space over the library, and circulation that wraps the courtyard allowing light into the building.
PROJECT LOCATION | JUNCTION CITY, OR PRIMARY MEDIA | COPIC, GRAPHITE, PHOTOSHOP, ILLUSTRATOR
The primary challenge with this studio was to unite all programmatic components of the “Civic Center” (a community center, a senior center, a library, a police station, and city hall) in an effort to create a public hub for Junction City. This was solved with the introduction of a courtyard that united all programmatic components. A secondary challenge arose with the town’s existing water tower, located on our designated site.
PEARL DISTRICT ART SCHOOL
ABOVE | ARTMAKING ON DISPLAY. A view of the painting studio, surrounded by the moving gallery and public circulation.
PROJECT LOCATION | PEARL DISTRICT, PORTLAND, OR PRIMARY MEDIA | PHOTOSHOP, SKETCHUP, VRAY, ILLUSTRATOR, CONSTRUCTION PAPER
This project was to design an art school for the Pearl, a district of downtown Portland once predominantly industrial that has undergone significant urban renewal.The primary spatial design for this project became a “moving gallery:” much like the Guggenheim by Frank Lloyd Wright, a continuous ramp/staircase would become a public gallery and display space for students to use for exhibitions or daily pin ups.
THE GALLERY STAIR
DAYLIGHTING
TOP | Exterior rendering of the focal corner of the building. The public stair and gallery, encased in glass, hangs out over the sidewalk to create an outdoor eating area and extension to the cafe. ABOVE | Diagrams (1) depicting the nature of the stair and the spaces it forms, and (2) the offset corner allowing light into the school. RIGHT | Ground floor plan: this was an exercise in working with angles in plan and section, creating good, usable, yet dramatic spaces.
CONCEPT: GALLERY AS CIRCULATION
3D FIGURE GROUND/SITE MAP
MODEL: OFFSET CORNER
The circulation of the school forms the most important interior spaces - the studios - offset from the exterior grid in order to allow more visual impact. It also acts as a beacon for the public, highlighting both the moving gallery, as well as the artmaking taking place within the building. BELOW | Interior perspective of the cafe and public auditorium with views towards the start of the gallery walk. The entirety of the first floor would be public, reaching out to the creative individuals in the Pearl district. The staircase breaks the grid, helping to call attention to the art.
exhibit design
INTERPRETIVE COAST EXHIBIT
HISTORIC PHOTO COURTESY OF LCHM
HECETA HEAD
Each group was instructed to choose an area of the museum to hypothetically display their exhibit; we decided to use the exhibit space near the stairs with the idea of mimicking the geographical differentiation between the locations. Heceta Head lighthouse rests atop a hill that overlooks the sea lion caves in the distance. ABOVE AND RIGHT | Conceptual and layout diagrams for our portion of the exhibition design; our goal was to recreate the feeling of being at the coast with imagery and evocative colors and sounds.
Key concepts with this project were to: (1) Recreate the feeling of the coast through color schemes, imagery, interactive elements (IE soundscapes and touchables) and artifacts. (2) Present information about the coast in an easy to understand way for visitors of all ages. LEFT | Sea lion exhibit conceptual rendering. Imagery and props would be used to create a cavernous ambiance while explaining the history of the site. Graphic design and font would help communicate the ‘old western’ history of the caves, and would lend to the adventurous spirit of the exhibition. BELOW | Conceptual rendering moving through the Sea Lion cave exhibit, up the stairs to Heceta Head. Interactive elements, such as a life-size sea lion replication, would engage visitors and children alike. A shift in imagery would help visitors feel as though they were moving out of the caves, into the light of Heceta Head.
PROJECT LOCATION | LANE COUNTY HISTORICAL MUSEUM, EUGENE, OR PRIMARY MEDIA | ILLUSTRATOR, HISTORIC PHOTOS, PHOTOSHOP
In this exhibition design studio, I worked with the Lane County Historical Museum to create an interactive exhibit about the wonders of Lane County. My particular project for the exhibit focused on the coast, including the Sea Lion caves and Heceta Head lighthouse in Florence, Oregon. The project was a great exercise in determining essential elements in an exhibit, collecting artifacts, and presenting information in an informative and interactive way to visitors young and old.
JSMA REDESIGN HIDDEN RECEPTION UNUSED SPACE
AWKWARD DETAILS
COURTYARD
Key steps with this project: (1) Meet with users of the future front desk and determine critical design features. (2) Determine optimal location for front desk: in close proximity to the entryway, somehow situated on entry ramp. (3) Design desk space for one person with ample storage, a computer privacy screen, and a platform to mitigate and even out the slope of the ramp.
NEW
LOUNGE 1 0 2 0
1 0 1 2
RIGHT | Diagramming of user circulation paths through the entry space; relocation of the front desk allows for easier communication with visitors, as well as new possibility for a lounge space. BELOW | Working drawings of the new front desk in 3D and interior elevation with dimensions; ample storage was incorporated into the design, as well as useful amenities such as the built in outlets.
NEW DESK
LOBBY 1 0 1 2
GALLERY NEW
INTERIOR ELEVATION
AXONOMETRIC
OLD ENTRY SEQUENCE
LEFT | Night rendering of the new lounge space, during an event or gallery oening. New light fixtures would help to modernize the space and provide ambiance. BELOW | Final rendering of the desk design in the space; the new desk would be compact, allowing views from the lobby directly through to the famed courtyard. Visitors would move through the space more efficiently, while relocating the desk allows the interior circulation space to open up, becoming a lounge.
PROJECT LOCATION | JORDAN SCHNITZER MUSEUM OF ART, EUGENE, OR PRIMARY MEDIA | RHINO, 3DS MAX, AUTOCAD, PHOTOSHOP
I was hired as an intern under the Associate Director of Administration and Exhibitions to help design a temporary front desk. The existing front desk was overly large, awkwardly situated in the space for its use, and outdated. The idea was to design a modern desk and add modern light fixtures to contrast with the beautifully historic building.
ART IN NATURE EXHIBITION RIGHT: Festival handout design, intented to incorporate fonts used throughout Arboretum marketing campaigns. 10 BELOW | Map of the Art in Nature event sites. I met with artists prior to the festival and walked them through the event space to help them determine specific sites for their installations. I quickly gained familiarity with the sites, as well as an understanding of which site typology would suite a specific installation concept.
Welcome to the 34th annual
Wildflower & MUSIC FESTIVAL Admire hundreds of
local wildflowers On display all day in the White Oak Pavillion Thanks to the
Native Plant Society of Oregon & Lane Community College for making this possible!
Today’s
Music
10:00 am 11:00 am 12:00 pm 1:00 pm 2:00 pm 3:00 pm 4:00 pm
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Schedule
Low Tide Drifters The Dirty Turnips GEO 4 My Father’s Ghost Hot Milk Satori Bob Kudana
Nature Walk With Experts
Take a
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7
12:00 pm 1:00 pm 1:30 pm 2:00 pm 3:00 pm 3:30 pm 4:00 pm
WHITE OAK PAVILLION Find the
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Dan Thomas Dave Wagner Glenn Miller (Weed Walk) Bruce Newhouse Chris Roth & John Koenig Bruce Newhouse (Weed Walk) Chris Orsinger
ARTin NATURE Installations!
Map of sites and complete list of artists on reverse.
EXIT
5
11
4 3 2 ENTRY
1
4
PARKING
SUE BITTERLING
LEFT AND ABOVE | Signage made for this year’s and future Art in Nature events. Installations were labeled numerically in correlation to the event map. The “Art in Nature” sign was made using a reclaimed piece of oak from the site, sticks, cotton twine, and leaves. TILKE ELKINS THE EVENT | Images of the various pieces artists made and installed the day before the Wildflower festival, while I managed and helped whenever needed. The work blended into the landscape while emulating Andy Goldsworthy’s work.
CAMILLA RICE
ERIN MOORE
PROJECT LOCATION | MOUNT PISGAH ARBORETUM, EUGENE, OR PRIMARY MEDIA | ILLUSTRATOR, WOOD & HAND TOOLS, EXCEL
I was brought on as an intern by the Education manager to organize Art in Nature, an outdoor exhibition inspired by the work of Andy Goldsworthy. The event, being a fairly new addition to the 30+ year Wildflower Festival, had previously been insufficiently organized. My goal throughout my internship was to improve the organizational structure of the event, as well as critical design components, in an effort to make the event better for years to come.
artwork | sculpture
SPATIAL/HUMAN INTERACTION
PROJECT CONCEPT | Physically connect a part of the human figure to a specific contextual, architectural component. PRIMARY MEDIA | Metal flat bar connected using MIG welding, mirror, Epoxy My intent was to blend the visual experience of looking out a window with the piece (connecting the window and the eye), creating a confused amalgamation of inside-outside imagery and space. The flat bars were cut and welded to fit exactly within the window, framing various outside elements. Specifically cut mirror pieces were then epoxied at critical locations in the piece, making a 2D sculpture activate 3D space.
SYMBIOTIC RELATIONSHIP
PROJECT CONCEPT | During the weekend-long, hands-on seminar, learn about the construction of exhibits and gallery spaces. PRIMARY MEDIA | 2x4 studs, sheet rock, shop We learned how to construct a non-loadbearing wall, like those used to divide space in gallery settings; we were also encouraged to consider agallery or exhibit space as more than just architecture, and how a designer could possibly encorporate structure into an art piece.
PROJECT CONCEPT | Recreate a parasitic relationship found in nature. PRIMARY MEDIA | Construction paper, glue I was inspired by the way mistletoe absolutely consumes and overtakes its host tree. I wanted to recreate the phenomena by utilizing an architectural element to mimic the host, while construction paper “arms� were arranged to wrap it.
EXHIBITION CONSTRUCTION Various three dimensional works from 2010 to present. Projects were completed in two different sculpture classes. Media ranges from paper to wood to metal. I have come to love and appreciate the irrefutable correlation between sculpture and the architectural space it resides within. My experience with sculpture has truly changed the way I think about architectural design and possibilities for interaction between art and architecture.
RECONTEXTUALIZED OBJECT PROJECT CONCEPT | Create an exact replica of your foot in clay; recontextualize the plaster cast. PRIMARY MEDIA | Clay, plaster cast, metal rebar, wire tie
My primary concept was to consider feet the key structural component to the human form and mimic this delicate balance. Rebar provided a literal structural component, while delicate ties hint at the fragility of balance. The piece was designed to be of average human height.
ABOVE AND LEFT | The finished product, designed to appear as if it were balancing. BELOW | Clay sculpture of the foot, before making a mold and subsequent plaster cast.
CONSTRUCTING CONSTRUCTION PROJECT CONCEPT | Inspired by local construction sites, sculpt using wood at any scale. PRIMARY MEDIA | Plywood, bass wood, spraypaint, wood glue From initial sketches and concept collages to the finished product, this piece conveys the skewed sense of perspective I experienced when viewing constuction sites. The wrapping nature of planes in contrast with structural “lines” allowed me to think about architecture in a new light: every structural and spatial element should be connected. ABOVE AND LEFT | Finished piece at the installation site, a column in the middle of the studio. BELOW | Inital inspirational drawings using graphite and construction paper.
artwork | graphics
PROJECT CONCEPT | Create an infographic about a place. PRIMARY MEDIA | Illustrator, maps, photoshop
For an Infographics class in the Digital Arts department, we were instructed to create an infographic that explained something about the place you live. I chose to abstract the assignment slightly and, inspired by the Dymaxion map created by Buckminster Fuller, designed a map of the NorthWest intended to depict geographical and infrastructural connections.
artwork | paintings
WATERCOLORS ABROAD
TOP IMAGES | Watercolors from my time in Athens, Greece on an art-based study abroad program. BOTTOM IMAGES | Ink and watercolor drawings from a vacation to Paris, France.
ACRYLIC ON CANVAS
Paintings in acrylic on canvas and watercolor. The watercolor pieces were primarily created as per inspiration abroad; I have found a quick way to convey architectural details and inspirational beauty through a combination of ink and loose color. The acrylic paintings were completed on my own time as a hobby and method of relaxation; I have developed a style dependent on heavy textures created with a palatte knife and stark contrast.
resume education
UNIVERSITY OF OREGON | SCHOOL OF ARCHITECTURE Bachelor of Architecture, Fine Arts Minor CLASSES OF INTEREST Interpretive Exhibits studio | SPRING 2011 Infographics | DIGITAL ARTS | WINTER 2013 Spatial Composition | FALL 2010
experience
ART IN NATURE COORDINATOR | MT PISGAH | SPRING 2013 Organized an art exhibit for Mount Pisgah Arboretum’s Wildflower festival. Contacted and managed artists, designed flyers and signage, and assisted in festival organization. Improved the organizational structure of the event. DESIGN INTERN | JORDAN SCHNITZER MUSEUM OF ART | SPRING 2012
Worked with the Associate Director of Administration and Exhibitions to design a temporary front desk and entry space in preparation for an eventual architectural redesign.
PREPARATIONS INTERN | JSMA | FALL 2011
Assisted the head of the Preparations department in the installation, framing, and building of necessary equipment for various exhibitions in the museum.
EDUCATION INTERN | DENVER ART MUSEUM | SUMMER 2011
Helped research for an exhibit to be held in October 2011; performed various office tasks; participated in the design of interactive activities for the exhibit.
s t r e n g t h s ANALOG | HAND DRAFTING, SKETCHING, WATERCOLOR, COLLAGE, ACRYLIC DIGITAL | ADOBE CS 6, SKETCHUP, RHINO, V-RAY, AUTOCAD, LAYOUT 3D | WOOD WORKING, MIG WELDING, ARCHITECTURAL MODELING, PRESENTATION DISPLAY | FRAMING, MOUNT AND LABEL MAKING, INSTALLATION ADMINISTRATIVE | POWERPOINT, EXCEL, ORGANIZATION
CONTACT ME
ART
PHONE | (720) 308-9534 EMAIL | ameliaruthtyson@gmail.com WEB | ameliartyson.squarespace.com LOCAL | 1334B SW 16th Ave, PDX 97201