ANDRA PADILLA
interior design
CONTENTS 2
DESIGN II bat observation & exhibition
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DESIGN II atrium cafe
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VISUAL COMMUNICATIONS II vault perspective | bat drawing
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VISUAL COMMUNICATIONS III parametrics practice
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DESIGN IV retail kiosk | flagship store
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CONSTRUCATION II ceramic tile | innovative assembly
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DESIGN V shelf iterations | art exhibition
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ENVIRONMENTAL CONTROLS I luminaire
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VISUAL COMMUNICATIONS I wood joint | tonal drawing | rockite cast figure drawing
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RESUME
BAT OBSERVATION & EXHIBITION DESIGN II | PROFESSOR BRETT GREIG | SPRING 2014 LADY BIRD LAKE/CONGRESS BRIDGE With the central focus of vertical circulation in order to observe the Austin-native Mexican free-tailed bats, this project continuously ramps upwards from the ground exhibit space to the upper-level observation deck. To control sunlight, the screening louvers are placed at angles that shield sunlight in the upper, public areas and filter light into the lower, private areas.
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ATRIUM CAFE DESIGN III | PROFESSOR TAMIE GLASS | FALL 2014 BLANTON ART MUSEUM As a redisgn of the Blanton Art Museum’s atrium and two anti-rooms, this design includes an upper level cafe and grand staircase, both faced in copper to compliment the natural petina of the material as well as the existing Stacked Waters. These additions extend out from the two existing anti-rooms and create a pause in the circulation throughout the surrounding exhibition spaces.
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MATERIALS & COLORS
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MOMENT MODEL
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FLOOR PLAN: SECOND FLOOR 10
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RETAIL KIOSK DESIGN IV | PROFESSOR CLAY ODOM | SPRING 2015 LANEWAY IN MELBOURNE, AUSTRALIA As a display kiosk for designer Titania Inglis’ fashiongarments, this design is developed from a series of relationships and parameters derived from Tatiana’s own original designs and construction methods. The pentagonal form, mimicking the seams in Tatiana’s garments, is used both in the generative form of the kiosk as well as the geometry of the interior pattern.
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original geometry
ORIGINAL GEOMETRY
stretched/pulled
variation in scale
VARIATION IN SCALE
paneled pattern
MULTIPLIED
SHEEN
MATTE
SHEEN
MATTE
LIGHT
DIM
LIGHT
DIM
CIRCULATIONMATERIALITY RELATIVE TO PROGRAM PATTERN AND SIZE
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multiplied
STRETCHED/PULLED
PANELLED PATTERN
CIRCULATION
SITE LINES
CIRCULATION
CIRCULATION RELATIVE TO PROGRAM CIRCULATION RELATIVE TO PROGRAM
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FLAGSHIP STORE DESIGN IV | PROFESSOR CLAY ODOM | SPRING 2015 LANEWAY IN MELBOURNE, AUSTRALIA Designed as a continuation of the retail kiosk for fashion designer Titiania Inglis, this store occupies a corner spot in a Melbourne laneway. With projections through the entrance and upper level windows, this design is a continuous form that varies for specific program. The form wraps around the stair, throughout the upper-level studio space, and functions as a garment display case. The pattern generated in the kiosk is also incorporated into the inner line of the generative form.
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SECOND FLOOR PLAN
FIRST FLOOR PLAN
SKETCHES 22
LONG SECTION
SHORT SECTIONS
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STORAGE REDESIGN DESIGN V | PROFESSOR NEREA FELIZ | FALL 2015
Tasked with creating iterations of Ettore Sottsass’ Adesso Pero bookcase, I began by mirroring each unit of the shelve’s column around the central axis to create a double-sided shelving unit that could aggregate in both the x- and y-directions. I then altered both the scale of each unit, the degree of rotation, and the number of sides on each unit to create three varied iterations that thoroughly explored the possibilities of Sottsass’ original shelving unit.
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ORIGINAL
ITERATION: REFLECT
5’ 10-7/8”
83”
7-7/8” 5-3/8”
7-7/8”
6-3/4”
4-1/2”
9”
13-1/2”
1’ 1”
2’
9”
2’4”
63”
3-3/8” 19-3/4” 13”
7’ 3”
10’ 3”
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ITERATION: RADIATE
ITERATION: TESSELATE
5’ 10-7/8”
5’ 10-5/8”
7-7/8”
6-3/4”
1’ 3”
1’ 5”
1’ 4-1/2”
1’ 9”
6’ 8-1/2”
2’ 6”
4-1/2”
7’ 5-1/2’
10’ 1”
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ART EXHIBITION & DISPLAY DESIGN V | PROFESSOR NEREA FELIZ | FALL 2015 VISUAL ARTS CENTER, UNIVERSITY OF TEXAS As an extension of the storage iterations, we were tasked with selecting a group of objects for exhibition, as well as designing the exhibit shelving for the space. This design elaborates on the original relationship between the shelf and the column, and forces a sense of directionality and circulation that leads the observer throughout the space. The exhibit holds lithographs and typewriters from the Olivetti company, which are displayed in both vertical glass panels as well as horizontal glass shelves. The typewriters are to appear as if they are floating on the shelves and are interspersed throughout the ground level. The columns change in scale as a continuation of my earlier iterations and are designed to immerse the visitor as he/she walks throughout the space.
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B 31
GROUND FLOOR: TYPEWRITER DISPLAY
11’ 3”
5’ 5”
8’ 6”
3’ 1”
12”
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4’
12”
3’ 10”
15”
3’ 9”
15”
16’ 1”
MEZZANINE: LITHOGRAPH DISPLAY
10’ 9”
5’ 11” 7’ 8”
1’ 9” 15’ 7”
6”
4’ 6”
6”
4’ 4”
9”
4’ 3”
9”
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WOOD JOINT VISUAL COMMUNICATIONS I | PROFESSOR JOYCE ROSNER & NICHOLE WIEDEMANN | FALL 2013 After practicing blind contour drawings both left- and right-handed, this wood joint was designed to resemble the connection between two joined hands. When together, the wood joint appears to be two identical halves, but when pulled apart it becomes clear that one half holds more strength, similar to the dominance of one hand.
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TONAL DRAWING VISUAL COMMUNICATIONS I | PROFESSOR JOYCE ROSNER & NICHOLE WIEDEMANN | FALL 2013 After a study of light and shadow through photography, this drawing represents the affects of light and reflection through the medium of a graphite drawing.
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ROCKITE CAST VISUAL COMMUNICATIONS I | PROFESSOR JOYCE ROSNER & NICHOLE WIEDEMANN | FALL 2013 Proposed as an investigation of stereotomy through the use of one object type placed within a bounding box, I used oreo cookies to test the outcome of stacking one particular object to carve space within another.
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FIGURE DRAWING VISUAL COMMUNICATIONS I | PROFESSOR JOYCE ROSNER & NICHOLE WIEDEMANN | FALL 2013 As a exercise on figure drawing, we were tasked with completing multiple charcoal drawings of both a male and female model within a given amount of time. These practices ranged between two to ten minutes per drawing and were designed as a study incorporating the influence of light and shadow on a figure.
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VAULT PERSPECTIVE VISUAL COMMUNICATIONS II | PROFESSOR JUDY BIRDSONG & KORY BIEG | SPRING 2014 As a continuation of a digital practice in vault patterning, this perspective drawing shows a bird’s-eye view, worm’s-eye view and plan in two point perspective. Each drawn from the original vault plan and elevation, these drawings were drafted by hand.
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BAT SKELETON VISUAL COMMUNICATIONS II | PROFESSOR JUDY BIRDSONG & KORY BIEG | SPRING 2014 Drawn along side a design studio focused on the Mexican free-tailed bats of Austin, TX, this drawing incorporates the use of hand-drafting, as well as an exercise in tone and shading.
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PARAMETRICS PRACTICE VISUAL COMMUNICATIONS III | PROFESSOR KORY BIEG & MARLA SMITH | FALL 2014 As the first use of Grasshopper parametrics, this practice studied the effects of changing one parameter to differentiate both the length and number of projections on a design, and the vast differences those changes can create in spatial and scalar qualities.
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CERAMIC TILE CONSTRUCTION SPRING 2015
II
|
PROFESSOR
TAMIE
GLASS
As a continuation of the design for fashion designer Titania Inglis, I incorporated the interior pattern of the retail kiosk into the fabrication of eight ceramic tiles. Each tile is hand molded, casted, pressed, fired and glazed allowing for a unique individuality.
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Clay is built up or carved out to create variations in height and pattern for the original template.
Tile is coated and casted to create a plaster mold for replicating each tile.
TILE TYPE 1
TILE TYPE 2 54
TILE LAYOUT
Mold is taken out of the frame and the clay is cleaned out.
Tiles are han the casted mo dry lightly cover
nd-pressed into old and left to red in plastic.
Tiles are outsourced to a kiln to be fired.
Glazing is hand-painted onto each tile to create two different tyle types.
Tiles are then outsourced again to be fired and set the glazing.
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INNOVATIVE ASSEMBLY CONSTRUCTION II | PROFESSOR TAMIE SPRING 2015 | PARTNER: ANNA PEREZ
GLASS
Tasked with creating an innovative ceiling assembly using recycled materials, my partner and I created ceiling tiles which incorporated recovered, burnt out lightbulbs into an industrial-style suspended ceiling system. With the use of one working lightbulb in each tile, the ceiling assembly also includes fully functioning lighting that creates a spotlit technique.
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PRIMARY FURRING CHANNEL (1-1/2")
PLYWOOD BOARD 2’ X 2’
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STEEL CHANNELS (1-1/2") 4' 4'
SINGLE TILE PANEL SINGLE TILE PLAN
MULTIPLIED TILE PLAN MULTIPLIED TILE PLAN
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LUMINAIRE ENIVORNMENTAL CONTROLS I | PROFESSOR KEITH SIMON & MATTHEW TANTERI | FALL 2015 PARTNERS: MACKENZIE WILT, MARSDEN MERKLE, ANNA PEREZ Tasked with creating a luminaire for a specific setting and purpose, this design was meant for a bedroom with standard electrical lighting. Our design was intended to be used primarily at night, and offers a lighting system that can be altered by the user for any given program by rotating each part of the housing around the central lighting tube, varying the luminaire’s lighting effects. This luminaire also doubles as a night stand, and therefore is dimensioned to function alongside a bed.
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section
5’’ 2.5’’ .75’’ .25’’ 2’’
8’’
10’’
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axon 8 layers of stacked birch plywood frosted plexi glass casing around LEDs cork surfacing for worry-free drinks and accessory placement
1.5’’ tall niches for various bedroom accessory storage
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ANDRA PADILLA andra.padilla@utexas.edu
(903) 340 - 0588
Austin, TX
https://issuu.com/andrapadilla
EDUCATION University of Texas at Austin School of Architecture Bachelor of Science in Interior Design Expected graduation: May 2017 CGPA: 3.62 Wills Point High School Graduated: June 2013 GPA: 4.2 EMPLOYMENT Rachel Horn Interiors | May 2015 - present Assistant Designer and Intern Assist with design of numerous projects from architectural new-builds to interior design renovations; drafted construction documents for architectural work University of Texas at Austin School of Architecture | August 2014 - August 2015 Student assistant in the Undergraduate Advising Office Assist with prospective student visits, tours, and student panels; design digital media for UTSOA events University of Texas at Austin Jester Area Office | August 2014 - present Jester Special Projects Assistant Manage and implement multiple projects throughout the semester for the area office manager and five hall cordinators Anthropologie | May 2014 - January 2015 Sales Associate Responsible for sales and customer service, cash register, and inventory
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SKILLS Digital: Photoshop Illustrator InDesign Rhinocerus Revit 3DS Max AutoCad Grasshopper Microsoft Office Analogue: model building hand drafting sketching wood working INVOLVEMENT University of Texas at Austin School of Architecture May 2014 - present Dean’s Ambassador UTSOA student respresentative for prospective students University of Texas at Austin August 2014 - present Undergraduate interior design University of Texas at Austin August 2013 - present ULN member and community
School of Architecture representative for the Undergraduate Curriculum Committee University Leadership Network service participant
MEMBERSHIP UTSOA Ampersand ASID Texas Chapter IIDA Texas Chapter REFERENCES Nerea Feliz | Assistant Professor, UTSOA Justin Kreizel | Rachel Horn Interiors nereafeliz@utexas.edu jkreizel@me.com 65
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