TFOLIO 2013 / ARCHITECTURE PORTFOLIO 2013 / ARCHITECTURE PORTFOLIO 2013
AVA AMIRAHMADI current address: 455 west 37th st, apt 1606 new york, ny 10018 permanent address: 912 broadway #400 kansas city, mo 64105 +1.816.916.4124 aamirahmadi@me.com ava-amirahmadi.com
1 - 10
BUTTERFLY MODULE
11 - 16
ICE MODEL
17 - 22
A DIVIDED MANHATTAN
23 - 30
SENSATION PROJECT
31 - 38
ALFRED LERNER HALL ANALYSIS
39 - 46
HUDSON RIVER THERMAL SPA
47 - 56
DIRECTFRESH
57 - 70
MAGGIE CENTRE - BARCELONA
COLLAGE 3 10.5’ x 4’
7 1 1 6
2
71 - 78
RECOMBINATION FIELD
79 - 90
LIBRARY FOR THE PERFORMING ARTS
91 - 106
THE FILTER
107 - 116
EQUALITY AND CHOICE CAMPAIGN
8
9
VIEW LOOKING SOUTH ON PIKE STREET
117 - 126
NAfME REBRANDING
127 - 132
FINE ARTS
5
5
4 3 3
2
4
PLAN SCALE: 3/8” = 1’-0”
ONE MILLION SIGNATURES FOR THE RIGHT TO CHOOSE
n
a
f
national association for music m education
INDEX
SPECIAL TOPICS: MANUFACTURING ARCHITECTURE NICOLE ROBERTSON FALL 2012 This class focused on pre-fabricated and modular architecture. After being given an 18” x 32” sheet of paper, I developed wet paper fold modules of 8” x 6” to create a volume. Modular architecture always struggles with the issue of customization. Although all of the modules are made using the same technique, by moving the “pinch” point each module can be slightly varied, but still create a similar form. After developing ten modules, I then began analyzing Module 8 with a more in depth approach through two gridded paper models and a 3D print model.
BUTTERFLY MODULE 1
MODULE 1 BRISTOL - 6” x 8” x 4”
2 BUTTERFLY MODULE
ITERATION 1 BRISTOL - 12” x 14” x 20”
BUTTERFLY MODULE 3
10 9 8 7 6
MODULE 8 SCALE: 1-1/2” = 1’
5 4 3 2 1
4 BUTTERFLY MODULE
BUTTERFLY MODULES SCALE: 1” = 1’
ITERATION 2 BRISTOL - 12” x 10” x 6”
BUTTERFLY MODULE 5
ITERATION 2 BRISTOL - 12” x 10” x 6”
6 BUTTERFLY MODULE
ITERATION 3 BRISTOL - 12” x 10” x 6”
BUTTERFLY MODULE 7
3D PRINT PLASTIC - 14” x 12” x 6”
8 BUTTERFLY MODULE
3D PRINT PLASTIC - 14” x 12” x 6”
BUTTERFLY MODULE 9
10
DESIGN I NICOLE ROBERTSON FALL 2011 Our assignment was to design a container that held an ice cube during its melting process. After studying the shape of the ice cube and its puddle at 5 minute intervals, I used the outline to build each tier of the model. The ice cube sits on the top tier on metal wires, and the three wires falling down the middle allow the water to travel through the tiers and spread out on the ground beyond the natural melting radius.
ICE MODEL 11
12 ICE MODEL
ICE MODEL BASSWOOD + WIRE - 6” x 2.5” x 12”
ICE MODEL 13
ICE MODEL BASSWOOD + WIRE - 6” x 2.5” x 12”
14 ICE MODEL
ICE MODEL 15
16
ARCHITECTURAL REPRESENTATION: ABSTRACTION MADELINE SCHWARTZMAN FALL 2010 The Manhattan Yellow Pages is populated with words. Manhattan is populated with people. I was surprised by the inclusion of a Spanish section in the Manhattan Yellow Pages. I analyzed the difference between the amount of English and Spanish entries for each letter of the alphabet. I then used this split in Manhattan’s community to expand my analysis to Manhattan’s map. I studied the different ethnic population densities across Manhattan. By using the existing neighborhood divisions as boundaries, I analyzed the population change of each ethnic group between 1990 and 2000.
A DIVIDED MANHATTAN 17
WHITE
OTHER
HISPANIC
=
BLACK ASIAN MULTIRACIAL
=
ENGLISH
SPANISH
75% ENGLISH 25% SPANISH
A NEW GRID CAN BE IMPOSED ON MANHATTAN BY USING THE ALREADY EXISTING COMMUNITY DISTRICSTS.
COMMUNITY DISTRICTS
HISPANIC MANHATTAN
WHITE MANHATTAN
A DIVIDED MANHATTAN 19
POPULATION DENSITY: 2000
WHITE
OTHER
HISPANIC
WHITE HISPANIC OTHER
20 A DIVIDED MANHATTAN
MANHATTAN FINAL MODEL CHIPBOARD - 36” x 6” x 18”
A DIVIDED MANHATTAN 21
22
ARCHITECTURAL REPRESENTATION: PERCEPTION MADELINE SCHWARTZMAN SPRING 2011 For the first phase of the project, we had to design a device that immobilizes our hands. I traced the creases on the palms of the hands because this is where our hand bends. By blocking these creases, the hand can no longer move. I chose to immobilize the two hands together, palms out, because this position not only immobilizes the hands, but also a large portion of the upper torso. For the second phase of the project, we needed to design a sensory device that would enhance one or more of our senses. Going back to the hindering effect that I developed in the first phase, I decided to inhibit eye sight to better enhance the four other sense. With one sense removed, we can then better focus on our other senses.
SENSATION PROJECT 23
LEFT: EATING WITH CHOPSTICKS ABOVE: READING + TAKING NOTES
24 SENSATION PROJECT
SENSATION PROJECT 25
HAND IMMOBILIZATION MODEL BASSWOOD - 10” x 6” x 8”
26 SENSATION PROJECT
HAND IMMOBILIZATION MODEL BASSWOOD - 10” x 6” x 8”
SENSATION PROJECT 27
SENSATION MASK BASSWOOD + TRACE - 16” x 12” x 6”
28 SENSATION PROJECT
CLOSED
OPEN
SENSATION PROJECT 29 SIGHT DISABLED
SIGHT IS BLOCKED ALLOWING WEARER TO FOCUS ON THEIR SEINSUAL EXPERIENCES
30
ARCHITECTURAL REPRESENTATION: PERCEPTION MADELINE SCHWARTZMAN SPRING 2011 Using the collage technique, I analyzed the noise levels throughout the atrium of Alfred Lerner Hall, the student center at Columbia University. This space is a series of ramps that connect study rooms, lounge areas, cafeterias, and meeting rooms. I overlaid the noise sources I documented over a section cut of Lerner Hall’s atrium. The density of strips correlates to the noise level of the source. From these noise sources in the section, there are sound waves radiating as well. We then selected a portion of this collage to frame and build up in a series of reliefs.
ALFRED LERNER HALL ANALYSIS 31
COLLAGE 1 30” x 12”
32 ALFRED LERNER HALL ANALYSIS
COLLAGE 2 24” x 18”
ALFRED LERNER HALL ANALYSIS 33
COLLAGE 3 PRELIMINARY SKETCH 8” x 5”
34 ALFRED LERNER HALL ANALYSIS
COLLAGE 3 10.5’ x 4’
COLLAGE 3 10.5’ x 4’
ALFRED LERNER HALL ANALYSIS 35
36 ALFRED LERNER HALL ANALYSIS
RELIEF BASSWOOD + TRACE - 15” x 12” x 8”
ALFRED LERNER HALL ANALYSIS 37
38
DESIGN I NICOLE ROBERTSON FALL 2011 This is a public thermal spa that sits on the Hudson River in downtown New York City. Along the river lies the Hudson River Park. By studying the flow of commuters, tourists, and locals exercising on this path, I began to understand how this spa can be incorporated into the site. The spa does not hinder the existing pathway that aids with the efficiency needed by many of the existing users, but uses this main pathway as an entry point to the spa. There is an additional access point from the river. The spa is carefully laid out so that only spaces that are directly related are connected to each other. This thermal spa allows its visitors to escape the bustle of city life into the calm of the Hudson River.
HUDSON RIVER THERMAL SPA 39
DASH LENGTH = SPEED GRADIENT = DIRECTION THICKNESS = NUMBER IN GROUP Time
STUDY OF PEDESTRIAN CIRCULATION: VERSION 1
DASH LENGTH = SPEED SPACING = DIRECTION THICKNESS = NUMBER IN GROUP Time
STUDY OF PEDESTRIAN CIRCULATION: VERSION 2
N
FLOOR PLAN SUPERIMPOSED ON DIAGRAM
40 HUDSON RIVER THERMAL SPA
FLOOR PLAN WITH NEW PEDESTRIAN CIRCULATION
SPA/ SAUNA
WARM POOL
SUN DECK
HOT TUB
COLD POOL
MEN’S LOCKER ROOM
WOMEN’S LOCKER ROOM
CAFE
OFFICES RECEPTION
MASSAGE ROOMS
N
SCALE
0 2 4
8
16
FT.
HUDSON RIVER THERMAL SPA 41
42 HUDSON RIVER THERMAL SPA
HUDSON RIVER THERMAL SPA 43
44 HUDSON RIVER THERMAL SPA
HUDSON RIVER THERMAL SPA 45
46
DESIGN I ALESSANDRA SWINY FALL 2011 The assignment was to redevelop the FreshDirect delivery system so as to accommodate for a physical market that shoppers can visit. My DirectFresh Market has two primary components: a coffee shop and a garden. The garden will allow for local produce that DirectFresh can sell in this market to be grown. It also will act as a neighborhood garden for local residents. The other component is the coffee shop. Coffee house culture is on the rise and is another program element that will bring local residents to DirectFresh and can allow them to relax and socialize in between caring for the garden. By analyzing coffee production around the world, I developed density diagrams that helped shape the plan of the garden, the cafe, and the market.
DIRECTFRESH 47
MEXICO
GUATEMALA NICARAGUA
Wonderful Aroma Distinct Flavor Depth of Flavor Spicy Pronounced Sharpness Acidy Smoky Flavor
Distinct Flavor Spicy Acidy Smoky Flavor
PANAMA
PUERTO RICO
KENYA
Undistinguished Jasmine-Like Aroma Balanced Body Straightforwardly Acidy Unbelievable Acidity Acidity Reasonable Flavor Citrus + Honey Favor Fruity Aroma
Medium Body Sharop Acidity Perfect Balance
HONDURAS COSTA RICA
SMALL FARMS PLANTATIONS
48 DIRECTFRESH
Mild Well-Balanced Acidity Aromatic Sweetness
COLOMBIA
Sharp, Fruity Acidity Full Body Rich Fragrance
Clear Sweet Medium-Bodied Low Acid
BRAZIL
Medium Body Floral Aroma Sweet
RWANDA
ETHIOPIA
INDONESIA
Bold Statement Full Flavored Down-to-Earth Full Bodied
Rich Full Bodied Mild Acidity
Clean Sweet Citrus Flavor
Rich Flavor Full Body Classic Acidity
BURUNDI
TANZANIA
Clean Fragrant Moderate Acidity
PAPUA NEW GUINEA
COFFEE PRODUCERS
COFFEE PRODUCTION DENSITY PER COUNTRY
DIRECTFRESH 49
EXPLODED AXONOM 50 DIRECTFRESH
MASSING MODEL CHIPBOARD + BASSWOOD - 9” x 4” x 3”
DIRECTFRESH 51
52 DIRECTFRESH
DIRECTFRESH 53
FINAL - INTERIO
54 DIRECTFRESH
FINAL - INTERIO
DIRECTFRESH 55
56
CIEE: INTERMEDIATE STUDIO SUZANNE STRUM SPRING 2012 Maggie Centres are support centers for cancer patients. They started in England, but are expanding to other nations, such as Spain. Maggie Centres reflect the culture of the city they are in and act as an escape for cancer patients. Barcelona is unique because everyday life is lived outdoors in the public squares. I have attempted to directly connect the squares around the Parc de la Barceloneta to maximize the efficiency of the park. By analyzing the noise and sunlight on the site, I found the most secluded part of the park to site my project. I used the new pathways to define the border of my Maggie Centre. On the ground level are the public spaces, and on the second level are the private spaces. Ramps coming up from the paths cross over the building to allow park visitors to look out over the beach and onto the Mediterranean Sea.
MAGGIE CENTRE - BARCELONA 57
BARCELONA OLD T
58 MAGGIE CENTRE - BARCELONA
DIRECT CONNECTIONS BETWEEN PL
MAGGIE CENTRE - BARCELONA 59
PEDESTRIAN CIRCULATION 11 AM
60 MAGGIE CENTRE - BARCELONA
Key: Arrow: Direction of Movement Thickness: Size of Group Dash: Speed Circle Size: # of People Sitting
NOISE DIAGRAM MAGGIE CENTRE - BARCELONA 61
62 MAGGIE CENTRE - BARCELONA
0 20 40
100
200 m
MAGGIE CENTRE - BARCELONA 63
0
10
50
64 MAGGIE CENTRE - BARCELONA
100
MAGGIE CENTRE - BARCELONA 65
66 MAGGIE CENTRE - BARCELONA
MAGGIE CENTRE - BARCELONA 67
SITE MODEL MUSEUM BOARD + PAPER - 18” x 24” x 6”
68 MAGGIE CENTRE - BARCELONA
CENTRE MODEL BASSWOOD + TRACE - 36” x 24” x 10”
MAGGIE CENTRE - BARCELONA 69
70
DESIGN II KADAMBARI BAXI SPRING 2013 The Columbia University housing system is a complicated system that students have to navigate. Although it is a rigid system, students try to find tricks to try to get the best housing possible. After studying the storage of students at Columbia University, my partners, Christina Badal and Joseph Andrada, and I used this tension between a rigid system, our grid structure, and a more spontaneous and fluid system that intersects the grid at certain points, but is trying to break free. We devised a series of modular units and figured out their limitations to orient them around the gridded field. These modules create space barriers that allow people to see and hear people that are on the other side.
RECOMBINATION FIELD 71
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA
HARMONY
RIVER
HARTLEY
WIEN
BROADWAY
FURNALD
SCHAPIRO
JOHN JAY
CLAREMONT
FURNALD WOODBRIDGE
HARTLEY
SCHAPIRO
WALLACH
MCBAIN
CARMAN
JOHN JAY
CARMAN HOGAN BROADWAY NUSSBAUM
RUGGLES BROWNSTONE
RIVER WATT
CAMPUS APARTMENT MCBAIN CAMPUS APARTMENT
BROWNTONE
HOGAN
CLAREMONT
WATT
WOODBRIDGE
NUSSBAUM
RUGGLES
WALLACH
EAST CAMPUS
STORAGE OF STUDENTS IN COLUMBIA UNIVERSITY HOUSING
72 RECOMBINATION FIELD
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA
RECOMBINATION FIELD DRAWINGS
PERMUTATION 1
PERMUTATION 2
PERMUTATION 3
PERMUTATION 4
PERMUTATION 5
PERMUTATION 6
PERMUTATION 7
PERMUTATION 8
SECTION 1 SCALE: 1/8” = 1’-0”
SECTION 2 SCALE: 1/8” = 1’-0”
SECTION 4 SCALE: 1/8” = 1’-0”
BACK ELEVATION SCALE: 1/8” = 1’-0”
PERMUTATION 9
SECTION 5 SCALE: 1/8” = 1’-0”
LEFT ELEVATION SCALE: 1/8” = 1’-0”
SECTION 3 SCALE: 1/8” = 1’-0”
SECTION 4 SCALE: 1/8” = 1’-0”
RIGHT ELEVATION SCALE: 1/8” = 1’-0”
RECOMBINATION FIELD 73
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA
7 1 1 6
2
8
9
5
5
4 3 2
3
4
PLAN SCALE: 3/8” = 1’-0”
74 RECOMBINATION FIELD
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA MODEL BASSWOOD - 24” x 24” x 12”
RECOMBINATION FIELD 75
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA
76 RECOMBINATION FIELD
IN PARTNERSHIP WITH CHRISTINA BADAL + JOSEPH ANDRADA
RECOMBINATION FIELD 77
78
DESIGN II KADAMBARI BAXI SPRING 2013 The New York City Public Library is an extensive system that carries an incalculable amount of information. This new branch of the New York Public Library system, although focused on the performing arts, is intricately connected with the library system. Each column, in addition to being structural, represents a different branch. Lighting and TV screens around each column and on the bus lot register the books that are being checked out from these libraries and relates the information these books contain to the materials at this performing arts library. On the ground level, there will be a new bus depot that will alleviate a lot of the congestion associate with the Chinatown bus lines. By integrating the library and the waiting areas, people who are there for the buses will be enticed to check out the reading materials for their journeys.
LIBRARY FOR THE PERFORMING ARTS 79
NEW YORK CITY NYC PUBLIC LIBRARIES FLOOR PLATES CONNECTIONS FROM LIBRARIES TO SITE
NETWORK OF NYC PUBLIC LIBRARIES N 0
80 LIBRARY FOR THE PERFORMING ARTS
10 20
50
100 ft
PEDESTRIANS CARS BUSES
CIRCULATION N 0
10 20
50
100 ft
LIBRARY FOR THE PERFORMING ARTS 81
CULATION
82 LIBRARY FOR THE PERFORMING ARTS
EAST ELEVATI
FLOOR PLANS
READING ROOM SMALL PODS WAITING ROOM UP
BATHROOMS
UP
DOWN W M
LARGE PODS MEDIUM PODS READING ROOM
RESEARCH COLLECTION
4TH FLOOR PLAN
BASEMENT PLAN
RESEARCH COLLECTION
WAITING AREA
BUS DEPOT
UP
DOWN
DOWN
UP
1ST FLOOR PLAN
5TH FLOOR PLAN
ARCHIVE UP
ADMINISTRATION
DOWN
UP DOWN
CIRCULATING COLLECTION
ENTRY LOBBY
2ND FLOOR PLAN
6TH FLOOR PLAN
ROOF TOP
DOWN
GALLERY / EVENT SPACE
UP DOWN
3RD FLOOR PLAN
7TH FLOOR PLAN
N
0 10 20
50
100 ft
LIBRARY FOR THE PERFORMING ARTS 83
FIRST FLOOR VIE
84 LIBRARY FOR THE PERFORMING ARTS
SIXTH FLOOR VIEW
LIBRARY FOR THE PERFORMING ARTS 85
90 LIBRARY FOR THE PERFORMING ARTS
VIEW FROM BUILDING ACROSS PIKE STRE
LIBRARY FOR THE PERFORMING ARTS 87
PHYSICAL MODEL MUSEUM BOARD + BASSWOOD - 12” x 10” x 16”
P
88 LIBRARY FOR THE PERFORMING ARTS
PHYSICAL MODEL MUSEUM BOARD + BASSWOOD - 12” x 10” x 16”
PHY
LIBRARY FOR THE PERFORMING ARTS 89
90
DESIGN III KAREN FAIRBANKS FALL 2012 For my senior studio, Resources in an Urban World, we selected a resource to study with a partner. My partner, Shivina Harjani, and I selected water and sewage. We learned about all of the issues related to water distribution, sanitation, and recycling in Rio de Janeiro, Brazil. After researching about the lack of access to potable water, I independently designed a temporary pavilion that will collect and filter rainwater through the piping to feed activity areas around the plaza. I then developed a community center that my pavilion could connect to. It will tap into the beginning of the condominial block and redirect the water to its Granular Activated Carbon Filters. The potable water will be used in different activity areas in the community center, as well as feeding the rest of the condominial block. The roof also collects rainwater to feed the two green walls. By exposing the piping system and creating spaces with this continually flowing system, people who interact with these projects will be able to appreciate the beauty of water and learn about water filtration.
THE FILTER 91
WATERSHED NATURAL WATER RIO DE JANEIRO INDUSTRIAL DISCHARGE POINTS WATER TREATMENT PLANTS
PARAIBA DO SUL RIVER
GUANDU RIVER
RIBEIRAO DAS LAJES RISERVOIR
SAO FRANCISCO CANAL
RIO DE JANEIRO
GUANDU WATER TREATMENT PLANT
ATLANTIC OCEAN
92 THE FILTER
RIO DE JANEIRO WATER SOURCES
IN PARTNERSHIP WITH SHIVINA HARJANI
FAVELAS OFFICIAL WATER + SEWAGE SYSTEM UNOFFICIAL WATER + SEWAGE SYSTEM
LVIO
LVIO
R. SY
BA
BA
O TAVIAN SO O
A
LIVEIR
DE O
A
DE S
GAMA LO
RREIA
R. CO
IRA
PERE
R. ENG.
A
LIVEIR
DE O
A
DE S
GAMA LO
RREIA
R. CO
IRA
PERE
R. ENG.
R. SY
CONDOMINIAL SEWAGE SYSTEM
IN PARTNERSHIP WITH SHIVINA HARJANI
O TAVIAN SO O
R. ON
ANCO
CURRENT WATER + SEWAGE SYSTEM
USA FR
R. SO
EM
ES HOM
R. TORR
UCO
. NAB R. SEN A PINTO R. SILV
A PINTO R. SILV
ANCO
USA FR
R. SO
UCO
. NAB R. SEN
R. ON
EM
ES HOM
R. TORR
POTENTIAL WATER + SEWAGE SYSTEM
THE FILTER 93
UIÇAO
ONSTIT
N R. GO
ÇALVE
S LEDO
AS AV. P
S OS
PRAÇA TIRADENTES
N
0
20 40
100 ft
PLAN
UIÇAO
ONSTIT
PRAÇA TIRADENTES
R. GO
NÇALV
ES LED
O
AS AV. P
SOS
R. DE C
SCHEMATIC PLAN
R. DE C
EXISTING CIRCULATION ON PRAÇA TIRADENTES
PEDESTRIAN CIRCULATION
0
20 40
100 ft
PLAN FILTERS
PRAÇA TIRADENTES
N R. GO
ÇALVE
S LEDO
AS AV. P
SOS
R.
UIÇAO
NSTIT DE CO
FILTRATION SYSTEM
N
N
94 THE FILTER
0
20 40
100 ft
FILTER
IÇAO
STITU E CON
GRASS
PRAÇA TIRADENTES SOS
R. D
FULL SYSTEM
PIPING
AS AV. P
WADING POOLS
R. GO
NÇALV
ES LED
O
EVENT SPACE
N
0
20 40
100 ft
THE FILTER 95
96 THE FILTER
THE FILTER 97
DETAIL MODEL PLYWOOD, ACRYLIC + PLASTIC TUBING - 12” x 18” x 6”
98 THE FILTER
POTABLE WA
RAINWATER COLLECTION AND STOR
LOCKER ROOMS
FIRST FLOOR PLAN
OFFICE
POOL
BATH ROOM
012
5
012
5
10 ft
012
5
10 ft
WORKSHOP FILTERS
THIRD FLOOR PLAN
N
EVENT SPACE
N
100 THE FILTER
10 ft
SECOND FLOOR PLAN
N
THE FILTER 101
102 THE FILTER
THE FILTER 103
104 THE FILTER
THE FILTER 105
106
SENIOR SEMINAR: SPACES OF ACTIVISM KADAMBARI BAXI SPRING 2013 The main purpose for this campaign is to promote women’s rights in Iran. In 2006, there was a campaign called One Million Signatures for the Repeal of Discriminatory Laws. However, due to many complications, primarily political, it was never fully realized. My hope is to revitalize the campaign today, particularly because its web site and the people supporting the cause are still active. One component of the campaign is three promotional posters bringing awareness to the cause and the campaign. The second component will be a series of pavilions around the world that will inform visitors of the campaign. They will also be locations where visitors can sign the petition and each signature around the world will be illuminated inside the pavilion in real time. Also, on the outside there will be an ongoing count showing how many people around the world are signing the petition.
EQUALITY AND CHOICE CAMPAIGN 107
ONE MILLION SIGNATURES FOR THE RIGHT TO CHOOSE
LEGALIZED PROSTITUTION?
OR ‘SIGHEH’?
ONE MILLION SIGNATURES
C A
B N
D M
E G
L F
H
O
K
J
W
I P
R
Q
V
S X
T
U Z Y
EQUALITY AND CHOICE CAMPAIGN 111
A
B G H
C F I
D E J
K L
R
M P
Q S T
U
N O V
W X Y
Z
PAVILION PLAN
Lights registering names that have been added to the petition.
On outside wall, up-todate count of number of signatures on petition.
On side wall, information about the petition and cause.
Keyboard for visitors to sign the petition.
112 EQUALITY AND CHOICE CAMPAIGN
INTERIOR VI
EQUALITY AND CHOICE CAMPAIGN 113
CATHERINE SMITH - LATIN TEXT
HOMAYON GHASSEMI - ARABIC TEXT
AVA AMIRAHMADI - LATIN AND ARABIC TEXT
114 EQUALITY AND CHOICE CAMPAIGN
ILLUMINATION OF INPUT NAMES
116
ELISAVA: PROYECTOS II - COMUNICACION GRAFICA JUAN ARRAUSI SPRING 2012 Our assignment was to choose a cultural association to rebrand. I selected the National Association for Music Education (NAfME). This association has helped to establish a lot of the music education standards we have today and focuses on promoting the inclusion of music in schools. Included is a sampling of pages from my Dossier that covered all of the stages of my rebranding process as well as sample applications for the logo. After choosing a couple of important dates in NAfME’s history, I used these dates in a gridded structure that are reminiscent of piano keys.
NAfME REBRANDING 117
En 1907, esta asociación era fundado como el Music Supervisors National Conference. En 1934, cambiaron su número al Music Educators National Conference. En 1998, añadieron el nombre National Association for Music Education. EntonMusic Education. Finalmente, en 2011, perdieran MENC del nombre. Al principio conservaron el MENC porque querían mantener su reconocimiento. Pero, decidieran a perder el MENC porque era muy confuso diferenciar entre los dos nombres que no correspondieran y también por razones legales, ya no eran una conferencia pero una asociación. Cambiaron su nombre al National Association for Music Education porque explica perfectamente lo que es la intención de la asociación. Mantienen el ‘f’ en el acrónimo porque hay muchos otras compañías que tiene el acrónimo de ‘NAME.’ Escogieron la última marca porque usó un logotipo moderno
6
la nueva época de ser el líder de la educación de música. El mismo color y tratamiento de todas los letras en el nombre
-
el pasado.
118 NAfME REBRANDING
historia y descripción
n
national association for music m education
33
a
f
3 la marca: versiones de
NAfME REBRANDING 119
n
a
f
national association for music m education
BROCHURE COVER
120 NAfME REBRANDING
g 41 n
a
f
national association for music m education
Nombre Apelido Apelido 1000 Broadway New York, NY 10027
2 de Junio de 2013
Distinguida Se単ora/Distinguido Se単or,
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Nombre Apelido Apelido
1806 Robert Fulton Drive Reston, VA 20191 Tel: 703-860-4000 or 800-336-3768 Fax: 703-860-1531 menc.org
papel de carta
NAfME REBRANDING 121
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43 Michael A. Butera
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tarjetas
122 NAfME REBRANDING
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national association for music m education
Executive Director
1806 Robert Fulton Drive Reston, VA 20191 Tel: 703-860-4000 or 800-336-3768 Fax: 703-860-1531 menc.org
BROCHURE 15 cm x 10.5 cm
NAfME Brochure
15 cm x 10.5 cm
NAfME REBRANDING 123
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a
NALE SIC ATORS AL NFERENCE
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national association for music m education
2013
BIEN MU EDUC NATION CO
NAfME 2013: Biennale Conference T-Shirt Design
124 NAfME REBRANDING
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a
f
national association for music m education
n
2013
NALE SIC ATORS AL NFERENCE
BIEN MU EDUC NATION CO
a
f
national association for music m education
2013
NALE SIC ATORS AL NFERENCE
BIEN MU EDUC NATION CO
NAfME 2013: Biennale Conference T-Shirt Design
NAfME REBRANDING 125
126
FINE ARTS SELECTIONS 2008 + 2010
FINE ARTS 127
2008 DIGITAL - 20” x 25”
128 FINE ARTS
2008 DIGITAL - 40” x 20”
FINE ARTS 129
2010 PENCIL - 24” x 18”
130 FINE ARTS
2010 PENCIL - 24” x 18”
FINE ARTS 131
ARCHITECTURE PORTFOLIO 2013 / ARCHITECTURE PORTFOLIO 2013 / ARCHITECTUR