Interior Design Portfolio
Christie Andresen
Mission As an interior designer I want to create spaces that enhance communities, nurture human relationships, spark personal growth, and instill spirit in their users.
As a designer I plan to bring these values to projects in order to best meet the needs of the clients and improve their quality of life.
Environmental sustainability and improvement of occupant mental and physical health are essential responsibilities of the designer. With each project I do my best to specify recycled, local and reused materials.
I thrive on human interaction and helping others. It excites me to know I am making a difference in peoples' lives for the better.
I would describe myself as compassionate, collaborative, hardworking, energetic and artistic. My primary values are education, drive, selfimprovement, and positivity.
Table of Contents
1. 2. 3. 4. 5. 6. Design Build LuxMotus Pavilion
DBIA Competition Rhodes College
Corporate Office Amman Workplace
Visitors Center Rural Community Design
Art Gallery & Residence Millers
7. 8. Education Center Eureka! Palouse
Construction Drawings Corporate
Personal Artwork
1.
LuxMotus Pavilion
Objective
Studio Culture
Approach
The objective of our Fall 2016 Design-Build studio was to computationally design and digitally fabricate a pavilion structure as a team. A goal of this project was to help students gain an understanding of what it takes to bring a design from 2D to 3D.
From day one on this project, our professor, Saleh Kalentari, made it clear to our studio that our class was the culture of a firm. No project had been done like this before at WSU in the SDC; if we succeeded, we all succeeded together.
The design and construction of the pavilion was collaborative. Each member of our team had a role that we executed individually or in a partnership to organize our work. However, everyone helped to construct the pavilion as a team.
Team members: Instructor - Saleh Kalantari, Christie Andresen, Bashair Bazaid, Laura Filardo, Erin Golden, Lyndsey Greene, Amanda Helfer, Rachel Letterman, Frances Manley, Roxanne Meza, Carli Short, Sharla Thiesen
Concept The inspiration for our project was a sea turtle. The Pavilion is called LuxMotus. "Lux" means light in Latin and "Motus" means movement. As a team of designers, we wanted users of the pavilion to experience light and movement when interacting with the structure. We harnessed biophilic design methods, taking inspiration from the sea turtle, to create the structure of our pavilion as well as the form of the extrusions.
Prototype Materials
Process At the beginning of the semester, we individually researched materials, construction methods, and case studies of similar projects. We then began designing our own projects. After presenting our individual pavilion concepts, the class selected the top three designs to incorporate into one collaborative design. The second half of the semester was dedicated to the class pavilion design and construction. We divided into different teams and roles such as: website designers, networking coordinators, detail engineers, and computational designers. Our digital design team performed a software exploration from which our team then created a prototypical model. After constructing the prototype the team realized several mistakes and where improvements could be made. The LuxMotus studio went through several prototypes before deciding on the final design. The final design was made of pieces cut with the CNC individually from plywood. The shapes were laid out, connected with zip ties, and suspended from the ceiling to create the overall form of the pavilion. Finally, the plywood pieces were connected permanently using steel plates that were bent specifically for each unique angle. Diagrams by LuxMotus team member: Lyndsey Greene
Reflection The team was very proud of the final design and fabrication. The most valuable take-aways of this project were always teamwork, collaboration, and shared responsibilities. Like any team, we were our strongest when we worked together and tackled problems by talking to one another to brainstorm answers. We also learned from our mistakes. Our failures provided us with further information and excited us to find new possibilities to form solutions.
Pavilion Materials
Design Construction
The construction process was entirely a team effort. We all took turns cutting the CNC files, sanding the wood edges, arranging the pieces into their proper locations, bending and sizing metal plates, assembling, disassembling, and making fabric covered tessellations.
Computational Design
The computational design team consisted of Bashair Bazaid and Lyndsey Greene who digitally synthesized our team’s collective design vision for the pavilion. The pavilion was designed primarily using Rhinoceros software with Grasshopper plug-ins. The computational design software was a powerful tool. It allowed me to achieve designs beyond the capabilities of a pencil and paper.
Materials
For the construction of our pavilion prototypes, we modeled the structure using corrugated plastic and MDF that we sized using a laser cutter. This simulated our final construction method in which we used six-ply plywood and a CNC machine. I was responsible for researching wood construction and helped to guide the team with fabrication techniques. Diagrams by LuxMotus team member: Bashair Bazaid
2.
Amman Workplace
Client
Location
Approach
For the Spring studio of Junior year, the client was a global technology firm. The program requirements included: 25,000 SF, ~150 personal, kitchenette, a mezzanine level, and incorporation of the country and company culture.
The studio was split into groups of five and each group was assigned a different global location simulating where the technology firm is established. I was assigned the Abdali District in Amman, Jordan.
This project began with extensive research of the technology company and of Amman, Jordan. I also utilized research on human behavioral studies, in relation to corporate work spaces, to help guide the design.
Concept The title of this project is "Diversity Diffusion". When learning about the rich culture of Amman I was inspired by the nature of the community as a melting pot of cultures from nearby regions and religions. "Dynamics, evolution, and introspection" were the three inspiration words that helped to focus the concept and execution of the design, to create spaces that met the needs of the users, the client, and the community of Amman.
Design Research
The corporate world of design is changing rapidly. Traditional ideas of cubicals and offices are being by-passed by a wide variety of work station styles such as pods, desking, and individual work stations. Studies show that employees are happier and healthier as well as more collaborative, efficient, creative, and productive when they have control over their environment. The work spaces are designed for flexibility and a variety of working styles for every type of employee in the company.
Zoning
These renderings are examples of several spaces that were included in the design to decrease negative stress while at work and increase happiness and fun. The game room is a place for play but also collaboration. The meditation room allows employees a place for mindfulness and reflection.
Materials
The materials were selected based on their characteristics of sustainability, safety and durability. The finishes also helped to aid the intended psychological experience of the spaces, such as relaxing or focusing.
Collaborative Individual
Level 1
Level 2
Design Space Planning
The space planning of the office provides a variety of work space options for users. There are a wide variety of collaborative as well as individual spaces ranging from heads down desking, to individual booths, or large enclosed video conference rooms, to family style seating in the lunchroom.
Thinking
The adjacent renderings highlight several views of the corporate design for the tech company. The change in flooring helps to define the zoning throughout the large office and EGD. The EGD were created using the concept inspiration graphic as a wayfinding tool for employees. The bright modern color selection is directly related to the high energy client company culture.
Furniture
In today’s fast pace corporate world, the best way for companies to be successful is to always be prepared for anything in the future. Having furniture that is flexible, mobile, customizable for each user, and comfortable will allow employees to change their space to best meet the needs of their current challenge, no matter how often.
3. Construction Drawings
A full set of interior design construction drawings were a part of the Amman Workplace project deliverables. Digital or physical copy of the CD available upon request.
4. DBIA Competition Overview
Challenge
Approach
The 2016 DBIA Student Competition closely mimicked the real-world process of designbuild. Thirty-one teams from 23 universities entered the first round of the competition, submitting a RFQ - Request for Qualifications.
The objective of the competition was to design facilities for the Rhodes College campus in Memphis, Tennessee. These facilities included a parking garage structure, athletic educational facilities and classrooms, with and an athletic turf field.
This project was highly collaborative. As a team we were required to produce the following: site selection, ADA floor plans and furniture plans, digital renderings, building information modeling, as well as a construction budget and schedule.
Project Teammates: Marie Landsverk, Steven Bradshaw, and Connor Schneider
Design Space Planning
Biophilia is the concept that humans are inherently drawn to nature and when they are exposed to nature they are happier and healthier. For this reason, each room has plenty of exposure to natural light and views of the landscape. Each space was planned to be flexible and highly functional.
Thinking
When designing the classrooms and athletic facilities, I wanted to focus on placemaking and the health of the students. I wanted to create spaces that the students or teachers could customize in order to meet their needs today but also for years to come. EGD aided the sense of placemaking.
Materials
The materials were selected for their longevity, durability, ease of sanitization, sense of Rhodes College school spirit, and warm comforting qualities. By selecting materials with these characteristics, the Rhodes College facilities will stand the test of time, physically, financially, and aesthetically.
5. Visitors Center Overview
Community
Concept
The Ice Age Flood Visitor Center of LaCrosse Washington was a part of the Rural Community Design Initiative partnership with Washington State University. The goal of the project was to design a visitor center from a freight shipping container.
LaCrosse is a rural community in Washington with a rich geological history. The scablands of eastern Washington were formed by the Missoula floods which tore through the landscape during the last ice age, sculpting the iconic horizon.
Evolution Junction blends LaCrosse’s geologic and community history by paying tribute to the scablands and railroading industry on which the town was built. This design honors the past while harnessing modern ideals of environmental consciousness.
Project Partner: Sharla Thiesen
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GRAY'S BISCUITROOT
SHADED SEATING: DIMs: 12'x 12'
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COYOTE WILLOW
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LACROSSE EXHIBIT SIGN DIMENSIONS: 2'-6" X 5'
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WHEELCHAIR ACCESSIBLE RAMPS
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SITE PLAN
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IPAD STATIONS
TABLE FOR INTERACTIVE ELEMENT
INTERIOR FLOOR PLAN
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We hope to see aspects of the design come to life in the LaCrosse Visitor Center shipping container design.
HANDICAPPED PARKING SPACE
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We were so excited by the wide breadth of experience that Evolution Junction provided and the opportunity for so much creativity.
PARKING LOT
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This project allowed my partner and me to be interior designers, architects, urban planners, graphic designers, museum designers, geologists, historians, meteorologists, and landscape architects.
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Reflection
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Design Space & Site Planning When designing the site, we studied the historic solar and wind patterns to best orient the structure to protect from the harshest Eastern Washington elements and make users most comfortable. The interior layout is arranged to ease circulation and aid viewer engagement and education.
Renderings
The views of the repurposed shipping container turned visitor center demonstrate the realistic potential and functionality of the design. Evolution Junction is as universally designed as it is ADA accessible and kid friendly. iPad stations with adjustable heights engage visitors and allow them to customize their environment.
FF&E
This project aimed to have a zero-carbon output. We did our best to include reusable materials in the interior, utilizing solar panels to power the iPad stations, applying local wood for the siding, harnessing the sunlight and wind for natural ventilation, and specifying indigenous plants for the site design so that they do not require additional energy to manicure and maintain. The design also takes advantage of rammed earth construction methods for the ADA accessible ramps.
6. Gallery & Residence Client
Culture
Approach
The Gallery and Residence Design is an adaptive reuse project of the Hamilton Studio in Spokane, Washington. The goal of this project was to design a gallery and residence for an artist and his visually impaired spouse.
The design was required to incorporate the artistic style of the artist in his residence and his gallery. My artist was a watercolorist from Spokane. The overarching goal of this project was introduction to universal design.
My inspiration was derived from a lightbulb. The spherical form of the light bulb represents enlightenment, the curvilinear imperfections engraved in the glass capture the idea of rusticity, and the rays of light exemplify illumination.
Ground Floor Plan: Residence and gallery
Second Floor Plan: Studio and gallery
Residence Overall Space Planning
The building is divided into zoned sections. The east half is the residence and the west half is the gallery. The gallery is entirely ADA accessible and the organic layout was inspired by the artist’s watercolor medium . The residence is subdivided between public and private zones. The public areas such as the kitchen and living room are the central hub of the space, while the bedrooms, bathrooms, and the studio are on the perimeter of the public spaces.
Residence
The design of the residence was inspired by the Pacific Northwest, watercolor, and adaptive reuse. The original hardwood floors of the Hamilton Studio were stained to provide the visually impaired spouse a sense of location within the space while preserving materials. In addition, there are few walls in the residence to provide an open connection throughout. The second floor is the custom designed studio for the artist. The second floor is open to the residence below. The studio has plenty of storage and access to natural light.
Gallery Custom Seating Element
The custom seating design was a blend of the building faรงade and the lightbulb project concept. The design uses the same Spanish brick as the building, wood seating, and curved iron rods for the backing.
Gallery
In the gallery, curvilinear display partitions tie directly back to the concept inspired by the lightbulb as well as the art of watercolor. The open gallery layout allows the visitors to comfortably flow throughout the space, drifting from piece to piece. In addition, a video presentation space, retail space, private viewing room, and classroom provide the artist with a variety of opportunities in the gallery space.
FF&E
Adaptive reuse was an important parameter in the development of this project. The original Spanish brick, hardwood flooring, and concrete were maintained to preserve the original essence of the building. A cool color pallet was selected to pay tribute to the Pacific Northwest and watercolor inspiration.
7. Eureka! Palouse Client
Culture
Approach
Eureka! Palouse is an informal learning space for S.T.E.M. (science, technology, engineering, and math) programs located in Pullman, WA and Moscow, ID inspired by Gever Tully’s tinker spaces.
Eureka! is a place for children four years old to eighteen years old that promotes hands-on learning as well as the love of learning. It is a safe place where students are encouraged to make mistakes and learn.
Four words were used to direct the design approach of this space: Growth, Strength, Change, and Learning. This words helped to guide the design of the educational space through untraditional methods.
Concept
Progress
Process
Concept Four words that have directed the design of these spaces are: Growth, Strength, Change, and Learning. The triangle represents strength through its structure in physics and change, like the delta symbol. The overlapping triangles represents collaboration and working together. The black and white triangles represent right and wrong and good and bad. At Eureka! Palouse, making mistakes is encouraged. The red triangle represents passion and excitement for learning. Finally there are multiple sizes of triangles because each student is valued for differences, changes, strength and growth.
Design Process
This project began by meeting with the founders of Eureka! Palouse. They communicated their goals for the facilities and presented their ideas. The design was required to include a: computer lab, chemistry classroom, tinker space, toddler space, and room for clubs. In addition, upcycling and environmentally conscious design decisions were important values to the client.
Thinking
The top right view is of the tinker space. The tinker space is a place for woodworking, metalworking, plastic working and more. Upcycled milk crates act as storage and upcycled closet doors provide flexibility for dividing the space. The bottom rendering is of the reception and waiting area. It is warm and more mature for the administrative assistant employee as well as parents waiting for their children.
Finishes
The finishes at Eureka! Palouse were selected for their durability and functionality. Materials such as concrete, solid surfacing, and sheet metal are able to stand the test of time and conserve resources by replacing materials less often.
Furniture Plan
Design Furniture Plans
Class sizes are small at Eureka! allowing teachers to connect with students each session and cater to their learning. The furniture is almost entirely mobile, giving students and educators greater control and flexibility over their environment.
Floor Plans
To the right are two floor plans, of which the top plan is an egress plan. The egress plan shows that the space meets fire egress code requirements such as distance of the common path of travel, location of fire extinguishers, and exits. The bottom floor plan shows the environmental floor graphics as a wayfinding technique.
Egress Plan
Furniture
The furniture was selected to promote new ways of thinking through flexibility with mobile and stacking furniture. The furniture allows students with ADHD to move in class rather than focusing on sitting still. The magnetic glass markerboards promote untraditional learning environments where students engage with their space to learn.
Floor Graphics
8. Personal Artwork
Interior Design Portfolio
Christie Andresen