ACADEMIC PORTFOLIO ISABEL HUISMAN INTERIOR ARCHITECTURE
CONTENTS 01 01 4-5
02 6-7
03 8-11
04 12-13
05 14-19
06
20-23
07
24-27
Banner
08
am Ave
W Oldh
28-31
Light Diagram N
09
32-39
St al ntr Ce
Sight Lines Diagram
St
YEAR 1 SPRING 2021
01 INTERMISSION Intermission was my first semester final project. The program was an art gallery and gathering space. The design of the first floor embodies the word “poche” by carving away from the walls to create hidden corners and more wall space for artwork. From the upper street level, one’s eyes are drawn to the bright red panels and delicate wood beam interventions on the box outline of the space. As one approaches the site from the upper level a walkway leads one across the building to descend the spiral staircase. Upon descension, one may discover the hidden nooks and openings in the space, causing one to decide to what degree each moment provides opening or enclosure.
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
SPRING 2019 YEAR 3
YEAR 2
02 BODIES IN MOTION Underneath every design lies a connection with the human body and its movements, proportions, commonalities, and peculiarities. In architecture, the human body has aided in the development of formal principles and its symmetry in the measurement of harmony. Artist and photographer Eadweard Muybridge has revealed the vast range movement implies for design, and this project investigates such movement as a spatial agent.
OVERLAPPING FRAMES
YEAR 1 SPRING 2021
BODIES IN MOTION>> RESIDUAL CARTOGRAPHIES
YEAR 4
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
DIAGRAMMATIC NARRATIVE
MODELING MOVEMENT
FALL 2017
FALL 2020
SPRING 2019 YEAR 3
YEAR 2
YEAR 1 SPRING 2021
03
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
SPRING 2019 YEAR 3
SECRET MAPS >> IMPOSSIBLE FICTIONS Ruby Room Banking is strategically carved into the side of a cave, and explores the ideas of security, freedom, and opportunity through the site and design of the building. The signature ruby accent walls add confidence, give life, and brighten up the typically mundane and sterile space. The slight transparency to the ruby walls, the scenic floor-to-ceiling glass walls, and the open canopy-like roof prevent the interior from feeling too overpowered or claustrophobic. The scenic views from the floor-to-ceiling glass walls on the two floors offer an impression of empowerment and opportunity, leaving the customer inspired and refreshed.
ERODED STYROFOAM CUBE
YEAR 2
01
02
03
04
STRANGE ATTRACTORS// MODIFIED CUBE
HAND DRAWN PERSPECTIVE
SECRET MAPS >> IMPOSSIBLE FICTIONS
RENDERED PERSPECTIVES
YEAR 1
04
SPRING 2021
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
YEAR 2
SPRING 2019 YEAR 3
DIAGRAMMATIC STUDY OF BONE TISSUE This project started with a study of images of bone tissue and deriving a language from these diagrams to inform 3D design. A matrix of diagrams was created to illustrate different aspects of the bone tissue images. From this matrix, the three strongest sets of diagrams were chosen to continue with, and a set of six models were built based off the concepts of the sets. Entry and Path, Movement, and Zones were the three concepts continued through another diagram of each combining ideas from the previous diagrams and models. The strongest two concepts of Movement and Zones were developed into two bigger scale models. From the model and diagram of Movement, an art gallery was created. The concept of movement was derived from the path of blood cells through bone tissue. This concept manifested itself through the design of the floors, walls, and sculptural element inside the art gallery space. The floors contain openings for stairways and skylights which light and occupants can move through. The walls mimic the diagrammed possible pathways through the bone structure and direct circulation. The sculptural pipe-like component weaving within the space strengthens and draws attention to the concept of movement.
BONE TISSUE IMAGES
FIRST DIAGRAM MATRIX
ART GALLERY DIAGRAM
AXONS
MOVEMENT DIAGRAM
ZONES DIAGRAM
ART GALLERY MODEL
MODELS
ENTRY AND PATH DIAGRAM
05
ORIGINAL PATENT DRAWING
RECURSIVE TRANSLATIONS OF AN ASSEMBLED SPECIES Putting together fragments to create objects, forms, and eventually architectural areas is a defining characteristic of civilization. The machine aesthetic of the industrial revolution stemmed from architecture’s interest in assemblages. Using machines and machined objects in design actively informs the narrative of modern architecture. Understanding implications of assemblages is essential to an education as an architect and helps in later conceiving and executing spatial ideas.
This project was to choose an unfamiliar existing patent drawing and devise an innovative narrative or program for the object. From that narrative a 3D modeled object was derived and drawings were constructed showing its function. This patent was transformed into an In-Home 4D Theater designed to project a holograph of any type of video/ photo and provide sound, wind, and mist to further en- PROCESS SKETCHES// IDEAS hance the movie experience.
YEAR 1 SPRING 2021
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
SPRING 2019 YEAR 3
IMAGING CONSTITUENTS AND FORMS// PERSPECTIVE RENDERING
YEAR 2
RECURSIVE TRANSLATIONS OF AN ASSEMBLED SPECIES SECTION + PLAN
EXPLODED AXONOMETRIC
RECURSIVE TRANSLATIONS OF AN ASSEMBLED SPECIES
3D PRINTED AND LASER CUT MODEL// PHOTOS
SPATIAL IMPLICATIONS// RENDERED PERSPECTIVE IN PHOTOMONTAGE
YEAR 1 SPRING 2021
06
YEAR 4
FALL 2018 FALL 2019
SPRING 2019 YEAR 3
SITE PERSPECTIVE
The development of the architectural forms came from the previous studio project, which was a group project of a light modulator that resulted in 6 separate plywood pieces that were painted yellow on one side and cut and bent in a graduating pattern. The pieces formed a window screen to filter in light and create interesting shadows and lighting quality. As you enter the site, a ceiling canopy of the same screen pattern from the precedent leads you into an auditorium space with a similar wall and ceiling screen to filter light. As you exit the auditorium the program draws you around to a curved garden screen that provides place for plants to grow and directs circulation. The final node is the art gallery which is defined by an overhead screen that curves up and is supported from the base structure. The flooring of this area leads you in with occasional paved tiles in a shiny chrome material that eventually the entire floor is covered with.
SPRING 2018
SPRING 2020
KNOXVILLE BOTANICAL GARDEN REVITALIZATION The site of this project was an area inside of the Knoxville Botanical Gardens with intent to revitalize the art community. The program was one node with auditorium-style seating and speaker area in front, and another node to act as an art gallery.
FALL 2017
FALL 2020
SITE PLAN
YEAR 2
PLAN
SECTIONS
KNOXVILLE BOTANICAL GARDEN REVITALIZATION
RENDERED PERSPECTIVES
MODEL PHOTOS
YEAR 1 SPRING 2021
07 SITE LINES This project focused on representing scale and worked from a distance down. Chicago was the place of study and different spots filmed in movies along the river line were mapped. A three-mile stretch of the river was chosen based off the subject mapped, and crafted a map stitched together with multiple satellite images. Continually zooming-in to the city and mapped points of interest, a specific point was chosen to model in detail in the 3D modeling software, Rhino.
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
SPRING 2019 YEAR 3
YEAR 2
LINE MAP
0
5000
SITE LINES
0
1”
0
64’
CITY PLAN
DRONE VIEW
EMBODIED PERSPECTIVE
YEAR 1 SPRING 2021
08
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018
YEAR 2
SPRING 2019
FALL 2019
YEAR 3
03 SHINY
04 GLOWING
02 POROUS
This project made use of parametric manipulations in Grasshopper as well as lighting and material techniques in V-Ray to create genetic variations of forms based off the logic of the Punnett Square. Four random adjective words were drawn and placed into the Punnett Square, from which Grasshopper scripts were gathered and modified to create objects that were cousins yet displayed unique features. These objects were rendered, and one was chosen to create a rendered mashup.
01 SMOOTH
GENETIC DRIFT
01, 03
02, 03
01, 04
02, 04
[shiny, smooth] [shiny, porous]
[glowing, smooth] [glowing, porous]
GENETIC DIAGRAM
GRASSHOPPER SCRIPTS
GENETIC DRIFT
GENETIC VARIATIONS
[shiny, smooth]
[shiny, porous]
[glowing, smooth]
[glowing, porous]
RENDERED MASHUP
YEAR 1 SPRING 2021
09
YEAR 4
FALL 2017
FALL 2020
SPRING 2018
SPRING 2020
FALL 2018 FALL 2019
YEAR 2
SPRING 2019 YEAR 3
BREAKING BREAD CONCEPT: LAYERING OF TERRITORIES
Central
Layering refers to different thicknesses of materials or situating of something into layers. Territory refers to any specific characteristics of certain land, “an area of knowledge, activity or experience.� Layering existed in the Appalachian weaving, and model formed from principles and elements found in the weaving. The elements are layered on each other and create interesting intersection between materials and axis. When studying the site, layering manifests itself in the different material choices, lighting conditions, and social interaction within the area. Within the design, layering exists in different ways in each of the primary, secondary, and tertiary spaces. Within the tertiary space of the entrance, the ritual of entering was emphasized through a grand entrance gate-like structure, and a low ceiling that leads you into the space. In the primary space of the interior of the restaurant, the focal point of the circular installation brings your attention to the center of the room and, along with the bar, directs circulation around the space. The secondary space outdoors includes layered planes that direct or prevent sightlines and focuses on the impact of light on an environment. Three different seating experiences exist outside, defined by the overhead planes, and subtly overlap and layer on one another. The forms and materials of this design create layering of territories.
DIAGRAMMATIC SITE PLAN
Light Diagram N St al ntr Ce
Sight Lines Diagram
Longitudinal Section C: 1/4” = 1’0”
Transverse Section A: 1/4” = 1’0”
Transverse Section B: 1/4” = 1’0”
KITCHEN PATIO DINNING
C
MODELNUMBER PRODUCT TRADENAME MATERIAL
A BATHROOMS DINNING MODELNUMBER TRADENAME PRODUCT MATERIAL MODELNUMBER TRADENAME PRODUCT MATERIAL
MODELNUMBER TRADENAME PRODUCT MATERIAL
B
B
A
C
Plan: 1/4” = 1’0”
RENDERINGS
DIAGRAMS SITE DIAGRAMS
After exploring the site, taking measurements and photos, the surrounding shops and neighborhood were thoroughly explored and researched in order to analyze and document the site. Each site diagram subject influenced and aided in the following design of the restaurant.
Light Diagram
Isabel Huisman, Alyssa Kuhns IARC 271, Project 4
Bann er St
ham W Old
Ave
N t lS ra nt Ce Sight-lines Diagram
Material Connections Diagram
Isabel Huisman, Alyssa Kuhns IARC 271, Project 4
Isabel Huisman, Alyssa Kuhns IARC 271, Project 4
FORMAL CONCEPT DIAGRAM
KITCHEN FAMILY DINNING BAR SEATING MODELNUMBER TRADENAME PRODUCT MATERIAL
TO-GO COUNTER
A MODELNUMBER TRADENAME PRODUCT MATERIAL
DINNING
ENTRANCE
DINNING
MODELNUMBER TRADENAME PRODUCT MATERIAL
BATHROOMS MODELNUMBER TRADENAME PRODUCT MATERIAL
C
TABLE SERVICE DIAGRAM
02
03
04
05
02
03
06
07
08 09
01
10
14
13
03
12
11
MATERIALS DIAGRAM MATERIALS
B
ANALYTICAL DIAGRAM
MODELS
FINAL MODEL
TABLETOP MODEL
PROCESS WORK
A
FIN FALL 2018 IARC 221// PREOCCUPATIONS 03