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CONTENT
LAYER & REFLECTION
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TWIST & BALANCE
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RHYTHM & BLUES
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INDUSTRIAL HOTSPOT
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DECO & THE UNDERGROUND
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LAYER & REFLECTION BLENDING LIGHT & CELLULAR FORM
An illness can vary from a simple twoday cold to bone cancer and AIDS, but all should be treated with the same care and concern. Doctors, nurses and other healthcare officials have trained for many years and have taken oaths to serve the patient, no matter what it takes. The environment in which patient treatment is provided must support positive emotions and motivation for recovery; in essence, the environment becomes a participant in the healing process by design. The concern in designing this prostate cancer treament center, came from the desire to create a place that wasn’t sympathetic, but rather empathetic. My goal started simply: To create a space that is real, honest and naturally uplifting. I find that doing interview and testimonial research provides better and more sincere answers to problems I face in programming, space planning and finish design. Through interviews with men who have been through similar treatments, I found that the typical hospital experience was uncomfortable, thus making the treatments less condusive to recovery. My goal was to achieve the fine line of a place of progressive thinking and modernist approach, in a sterile, yet inviting space giving the patient a sense of professionalism and confidence.
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The space is arranged by function, and the flow between those functions. Each one acts as a layer that the patient must progress through to reach the end of treatment. Aesthetically, each layer, be it the floor or the ceiling, has either an element punching through or part of itself removed so the layer beneath can be seen. These distinct details help further the depth of light and space, while also furthering the notion of layers. The natural relationship of the space is counterbalanced by its inclusion of digital technology and modern systems for information management. One of the main elements is an in-floor interactive LED screen that replaces the traditional healing garden one would find in other clinics and hospitals. The playfulness of the programming, as well as the easiness of use, acts as a diversion from the seriousness of cancer. Also included are embedded informational LED panels for patients to understand their schedule and who they will be meeting.
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While thinking about cancer, I realized there was a metaphorical similarity to an onion. The onion, like cancer, has many layers; it can be seen as a sour, negative object; or it can be viewed as something that can be transformed. With its layers, potent aroma and refractive translucency, the onion became a strong design, visual reference. Instead of focusing on color and pattern, I made a choice to use translucency, reflection and organic shape. This creates a dynamic, flowing space that isn’t broken up by walls and doors, but rather separated by the changing of light and finish.
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TWIST & BALANCE FUSING TRADITION & INSPIRATION
I have a variety of experiences in furniture design and construction. One of my final projects for my first year at Harrington was to collaborate with another designer and research, design and construct a chair. Our guidelines were to use our inspiration in an obvious, yet subtle and integrated way. The chair had to be able to hold up to 200lbs and much time was spent researching the engineering to meet this requirement. The class had been focused on small scale works made using paper and wood. This foray into the design of a human scaled three-dimensional piece was altogether unique and created an interesting learning experience. Some of the concepts we explored took forms of classic chair types, using modern materials and dexpressed movement. We wanted to marry the traditional with the avant garde.
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We visited the Luminaire showroom and were immediately drawn to the small objects, such as vases, throws and sculptures. Some of these forms were rounded and supple, and were “frozen in time�. When we came to the design, we knew that the overall structure of the chair would be our focus, rather than in gratuitous detail. We wanted to create a chair that referenced Midwestern farms and lakes, but also could be easily placed in a very modern environment. We first played with the idea of using large compressed cardboard tubes as the structure. This would directly reference our inspiration and ultimately, the chair would be made sustainably. However, after investigation and review, we came to the conclusion that the bulk of the chair would be too large and the feasibility of bolting together each tube would be too complex. The decision to use wood as the primary material became evident as it would also allow us to retain the chair permanently as a functional piece.
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S I W T We were inspired by a vase that we discovered at Luminaire, shown here at the left. We combined the modern abstract idea with a traditional outdoor Adidrondack chair to create a fusion of elements and ideas; that of domesticity and modernity.
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The chair was constructed out of a combination of poplar and maple woods to ensure stability and strength of the cantilever. After the chair was fully built, we sanded the entire surface with three different grit sandpapers to achieve a completely smooth surface for the application of paint. After the first coat of paint, we did one more sanding to smooth out any roughness between the wood and paint. The white was chosen to give the idea of a picket fence and to fully realize our rural and urban influences. For the photography, we decided that the contrast of the white chair to the greenery of a natural, Iowa forest would be ideal. I directed the photography, which was taken by Jill Burgess, to better demonstrate the ideas behind the chair and to allow the gallery visitor to experience it in a natural setting, starkly contrasting the concrete context of the gallery.
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RHYTHM & BLUES CREATING METALLIC FORM & SPACE
We approached this challenge with a desire to let the fabric speak for itself; to let the textile hang in its loose condition. However, we knew that I doing this we would need to look closer at the meaning of enclosed space. What are the conditions that made a room or a space happen? This question informed how our research progressed. We started by looking at theatrical spaces, such as Chicago’s Auditorium Theatre where Adler and Sullivan created a multi-layered proscenium. This strong repetition of layering creates an understandable, yet dramatic perspective which creates non-physical vignettes of space in and overall large space. Our next research took us further into the idea of a theater. By this time, we had decided that we wanted to locate our installation on the University of Texas Austin’s South Mall, which consists of a large, slightly downhill plane of lawn; a perfect alignment with the state capitol and another perfect alignment with U of T Bell Tower. This existing dramatic layout would be furthered by some sort of theatrical venue and installation. With this information, we went about finding a use for this space. Austin has a strong music history of being involved with Blues music. What we decided on was to create a concert and theater venue that could be used during the warm seasons, especially during the summer. This would highlight the connection between Austin and the University of Texas and would create an additional venue that would bring in people from all around the area to listen to great music and enjoy their surroundings. Our final research delved into the idea of what fabric expresses in the abstract. Textile movement expresses a fluid or liquid quality that could be expressed through rain or a waterfall. The way the wind moves fabric has a similar effect that wind has on falling sheets of water. The liquid quality was further explored and we decided to touch on the heaviness and almost liquid metallic malleability of water. We wanted to find a material that would express the weight, especially when submitted to a direct outdoor wind.
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We proposed an installation that has a dual purpose: as an art piece and as a music and theater venue. It would be of a large scale, but be tied into the surround area through color and shape. The surrounding landscape served as alternate dividing pillars that helped to further differentiate the space. The installation appears to form a mass from one angle, but all but disappears at another angle. The material would be metallic and would express the forms and weight of water. It would be further shaped to reflect the musicality of Blues. The piece would effectively create a space similar to a theater that can literally be represented during performances set in the area, or metaphorically for the everyday “theater” of life that occurs on a college campus. Our proposal is to create a visually appealing art installation of stainless steel coil curtain finished in a satin copper coating, and placed in a layered plan that transverses the South Mall lawn. Each panel will have its bottom cut and shaped in a different way, each relating to both the inspiration of blues music and the direct visual axis of the state capitol building. The use of the space can differentiate between a normal lawn and a concert venue/theater space. Each panel will be tied into the masonry of the surrounding buildings by large masonry hooks. From each hook will come a half inch stainless steel cable which will be able to support the weight of the stainless steel coil curtain, which will have a good deal of weight. The curtain itself will be attached to the cable with steel loops which will allow for movement of the material along the cable during mild to heavy winds. Due to the weight and length of each panel, there may need to be additional stays on the ground to reduce horizontal and vertical movement. During concerts, lighting would be installed that would create for a heightened theatrical experience. Each panel would reflect the light due to the metallic nature. The lighting would be LED based, which allows for differentiation in hue and value of color, as well as being more energy conscious.
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The chosen material for the panels would be made of from a coil curtain system, that specifically of Cascade Coil Drapery of Tualatin, Oregon. We found that their product is non corrosive as well as being available in a outdoor protective finish. The product is being adopted more and more by design professions for use in interiors, exterior cladding, safety screens and as a fire proof alternative to regular fabric draperies. The coil is usually presented in long panels as to accentuate both length and height of spaces. What is great about this coil drapery is that it is perfortated and when layered behind itself, it builds upon the coloring, but only gradually. Below are a couple images of how the coil looks up close and also how it looks in a combined effect.
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The model work, shown above, was created to understand what reflections would occur with a copper surface and how lighting would affect said curtain. We found that the product actually began to resemble, in abstract, the liquid quality that we had first sought after.
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INDUSTRIAL HOTSPOT SUSTAINABLE - INTERNATIONAL - INSPIRED
Initial research began by looking at Boston’s history, landmarks and civic symbols. The Zakim Bunker Hill Bridge grabbed my attention as being a modern symbol to one of the oldest historical centers in the United States. The bridge itself has a simple design, with nautical touches such as the cables used for suspension. In addition to the structural elements, the colorful architectural lighting adds a playful component, contrasting with the hard concrete and steel. My subsequent research included looking at Fort Point’s history and their current goals as a neighborhood, I found that historically, this was an artistic and industrial center, as well as a center for business and family; all characteristics that are currently being pursued and pushed. When I started designing my Street Seat, I focused on creating a piece that would go beyond being just another place to sit, but would also become an artistic symbol that would create social hotspots. I looked into popular outdoor spaces in the United States and what made them popular. I found that parks and neighborhood spaces that were lit during the night had increased popularity and safety. I focused in on New York City’s Highline Park, built on the abandoned elevated railway running along Manhattan’s west side. I found that a creative use of lighting not only illuminated the walkways, but created zones of light in areas where people could stop and sit. Most of the lighting is low, preventing unwanted and often annoying glare of typical path lighting.
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In my final design, I was inspired by the industrial nature of the neighborhood, as well as its proximity to water. I decided to keep the form simple and understated. In contrast, I wanted to include a colorchanging light element that would highlight the form and provide ambient light to the surrounding area. This introduced a focal point along the canal. When I design and think through a problem, I like to lay out large sheets of paper, which allow me to sketch without hitting the edge. I pin these up and get a different viewpoint. Through this way of thinking, I was able to conclude that a simple bent wood or plastic, assemblage of repetitive slats, would allow me a surface for embedded LED colorchanging lighting, as well as a simple shape that would be relatable and comfortable. The structure was important in supporting this form to prevent sagging under the weight of the user. Using structural inspiration from the Zakim Bunker Hill Bridge, I applied stainless steel cables as a gusset to support a minimum of 600 Lbs., effectively creating a structure that uses its own weight to stand strong and become a valiant symbol for a neighborhood reborn.
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Finalist Award from Design Museum Boston
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DECO & THE UNDERGROUND MULTI-LAYERED PERIOD CONTRAST
68 E. Wacker, formerly known as the Chicago Motor Club Building, was an interesting building to reconceive as a hotel. If I didn’t respect the history and original details, I knew I would not be able to create a harmonious and complementary design. Originally built in 1928 by Holabird & Root, in the Art Deco style, it was completely renovated in 1989 for office use. The impressive grandeur of the three-story lobby meant the interior scale and detail had to be immense. I studied historic Art Deco hotels and restaurants, discovering colorful and graphic elements showcased in hotel lobbies and supper clubs. In some cases, such as New York’s 21 Club, the interiors had been built over time using old townhouses, creating a compartmentalized interior. The later was a motif that helped link both the hotel rooms and restaurant. I didn’t want to recreate a bygone era. I wanted to move forward, while referencing the past. I discovered a documentary, Herb & Dorothy, about two New York City art collectors, who had amassed one of the greatest collections of minimalist and conceptual art in the United States. Much of their collection was created during the late nineteen-sixties to the late nineteeneighties in New York, by such artists as Roy Lichtenstein, Richard Tuttle and Donald Judd, the last of which gave me the idea to combine minimalist and conceptual sculpture and art with nineteen-thirties Art Deco.
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During a visit to the Chrysler Building, I noticed how all original light fixtures diffused the light indirectly, highlighting recesses and installed murals, while still hinting at the automobile. This focus on metaphorical references guided me in my creation of floor patterns and ceiling motifs. Programmatically, the hotel is geared toward medium-stay guests, staying anywhere from one week to two months. These guests would typically be business associates working nearby. For this reason, I created larger suites that could accommodate parties and dinners. Aesthetically, it needed to be warm and inviting, while still being grand and impressive, to help the guest impress clients. Throughout, I chose finishes that felt strong, clean and most importantly, original. It was important to not only maintain, but expand the existing details to heighten the overall effect. I used soft velvets and bold patterns to reflect light and draw attention respectively. Dark woods and reflective surfaces were chosen for their cross-era associations. Large murals were employed throughout to bring whimsy to otherwise heavy and rigorously shaped spaces. Colors were drawn from these murals that give neither a feminine, nor masculine scheme to each space.
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HOTEL
NASH
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SHERMAN
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