TABLE OF CONTENTS FIBERS
SAVANNAH COLLEGE OF ART AND DESIGN BACHELORS
OF
FINE
F I B E R S , 2 0 1 7
ART
VULTURE SCREENPRINTED COLLAGE
POJAGI
INTERIORS
UNIVERSITY OF TEXAS AT AUSTIN
COMMUNALIS PUBLIC BATH HOUSE FOR THE NORTH AUSTIN COMMUNITY
MASTER’S OF INTERIOR DESIGN CANDIDATE ANTICIPATING GRADUATION MAY 2022
DESERT RANGES
NATURALLY DYED FABRICATION STUDY
SPATIAL COLOR STUDY
ALAMO
ARCHITECTURAL DRAWING
SCREENPRINED YARDAGE
CONVENTION \ LINE \ COLOR \ COMPOSITION
PORTRAIT OF A YOUNG WOMAN
LE CORBUSIER CASE STUDY
FINE ART SCULPTURE | NICHE AWARDS SEMI-FINALIST
COLLABORATIVE WORK WITH EMILY YOON
WEST TEXAS HUIPIL ZERO-WASTE CONCEPT GARMENT | HAND WEAVING
PUFF ENVIRONMENTAL COLLECTION | SCREENPRINTING
POKE CONCEPT GARMENT | EXPERIMENTAL SCREENPRINTING
CEREMONY FINE ART | JACQUARD WEAVING
THE MEDINA FINE ART | HANDWEAVING
SKETCH PAGES FROM MY SKETCHBOOK
RASPADAS DIGITALLY RENDERED SURFACE DESIGN | REPEAT PATTERN
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Using paper collage methods of screen printing, Vulture is a series of four improvised compositions. American black vultures are known to lay their eggs on concrete slabs in vacant barns and seldom used structures.
HANNAH OPPELT, 2017, ACADEMIC
P O J A G I Pojagi is a type of traditional Korean quilt making used for wrapping gifts. This 30�x30� piece is made up of five hand painted silks and stitched together using a flat felled seam. Below are pictures of my color and material development process utilizing natural dyes.
HANNAH OPPELT, 2017, ACADEMIC
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The Texicana series pays homage to my San Antonio roots and explores the possibilities of contemporary surface design within the context of Spanish colonial crafts and iconography. This screen printed design contains elements of all five of the missions; featuring most prominintely the Alamo. Eight yards of two toned, hand-printed fabric on linen in two colorways and one length of experimental openscreen yardage.
HANNAH OPPELT, 2017, ACADEMIC
PORTRAIT OF A YOUNG WOMAN A multi media fibers exploration made of crocheted wool yarn and felted over olive wood. The unicorn horn is embellished with silk cocoons, wool roving, and pearl-topped push pins. HANNAH OPPELT, 2015, ACADEMIC
WEST TX HUIPIL This garment is inspired by traditional Guatemalan textiles where designs are unique to each region. The huipil is handwoven with zero waste cotton. Below are experiments with various color combinations and traditional and original weave structures.
HANNAH OPPELT, 2016, ACADEMIC
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A duo of two-toned patterns created for screen printing in two colorways. Designed while interning underneath the direction of Eron Howell of Guadalupe Hand-Print Fabrics in Boerne, TX .
HANNAH OPPELT, 2016, PROFESSIONAL
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Screen printed motifs of prickly pear cactus adorn this sheer robe in quilted silk accessorized with a handcrafted, leather harness.
HANNAH OPPELT, 2017, ACADEMIC
C E R E M O N Y The Mythic Series explores the connection between the sublime and the supernatural. Studying elements of ceremony, ritual and costume, the following works are an emotional response to the magical properties of primitive discovery. Derived from illustrated studies of yarn sewn onto rabbit pelts, Ceremony is a jaquard woven reflection on sacrifice and forgiveness.
HANNAH OPPELT, 2017, ACADEMIC
THE MEDINA Hand woven jute, cotton , wool, rafia, and horsehair pay homage to the history of the Medina river in southern San Antonio. A topographical map of Land Heritage Institute-- an organization dedicated to the perservation of the Medina River and the surrounding natural area-is laser engraved onto panels of acrylic that secure the weaving to the wall.
S K E T C H
HANNAH OPPELT, 2016-2018, PERSONAL
R A S P A D A S Raspadas is a collection of repeat patterns inspired by the work of Matisse. Through paper cutouts, color, form, and rhythm are balanced in a series of explosive abstract illustrations.
HANNAH OPPELT, 2018, PERSONAL
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COMMUNALIS Communalis is a communal bath house for north Austin, Texas residents. More than public bathing, the design necessitated a flexible social space for the changing Austin demographic. The primary program consists of temperature regulated pools, showers and changing rooms, treatment rooms, massage rooms, one sauna, one steam room, retail space, a service bar, and flex spaces for gathering. Bathrooms, reception, backof-house offices, laundry, storage, and a mechanical room were also essential.
Material selection came first. Expanding on the familiar use of 4x4” tile in public restrooms and transit stations, hyper-pigmented, glossy terracotta zellige is employed in its place. Applied liberally, zellige is selected for its evident quality of the human-hand, intrinsic to its ancient production practice. Warm, soft pink envelops the bather and evokes the safety of the womb. Tonal variation keeps the field qualities of application variable and dynamic, as well as the selection of two scales, 4x4” and 6x6”, to reflect the various programs.
The principle of dense field application carries over into the design of the ornamental vaulted ceiling. Made of more than a hundred glass-reinforced concrete barrels, the performative properties of this resolution is twofold: acoustic control and sculptural ornamentation. By harnessing light and shadow play, the concentration of ornamentation becomes participatory and elective as one meanders through the various programs. In more condensed spaces, the vaults are singular, amplifying sounds of water, breath and movement in meditative practice. The numerous vaults in the larger spaces act as a coffered ceiling, deflecting sound and dampening cacophonous auditory effects, reflecting occupancy.
The wool curtain does four things: it manipulates light, controls humidity, acts as a threshold between public and private spaces, and introduces softness to an otherwise dense interior. The two courtyards flood light into the larger pool hall which can be manipulated by curtain. Various bronze fixtures are scattered throughout the design, adding adaptability and creating opportunities for retail display and personal storage.
The use of durable, natural materials establishes permanence. This allows bathers to experience an otherwise transitory building with dignity; to provide a place for people to have equal access to surfaces that please the senses. By cultivating bespoke design in the spheres of public space, it insists that all who come are worthy of an equal experience.
DESERT
RANGES
CASE STUDY Three-dimensional compositional color study of Lafayette Maynard Dixon’s Desert Ranges, 1940 (above) translated into a painted, wooden block model. Limited to formal expression within a 1”x1” square grid system, The model is scaled 1”=1’ and represents a proposed 10’X10’ abstracted “wall”. Composition and tapestry weaving.
form
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Indian
ARCHITECTURAL
DRAWING
JOHN C. HEJDUK An expressive interpretation of John C Hejduk’s Museum C floor plan utilizing BIM Technology. Structure and massing excecuted in Autodesk Revit. Drawing detailed in Adobe illustrator. Above is the original plan. To the right is my drawing.
SCALE : 1/8” = 1’
LE CORBUSIER CASE STUDY
VILLA LA ROCHE Model-making and documentation exercise observing applied color and form in master works of residential architecture. Peer project in collaboration with Emily Yoon. Personal responsibilities included, research, digital modeling, drawing production, model material selection procurement and fabrication, model format, and shared model assembly. Handcut with the exception of laser cut mullions. Model is scaled 3/16” = 1’. Materials: 3/16” foam core, 1/16” Museum Board, Plotted color on heavyweight paper, Black laser etched Museum Board, balsa wood, and bristol.
hannahoppelt@gmail.com
(210-846-0839)