Kpaul teaching portfolio

KELSEYPAUL TEACHING PORTFOLIO ADE-623-01 College Teaching:Practicum Pratt Institute 2015-2016 interior designer 206.384.9236 klpaul718@gmail.com http://issuu.com/kelseypaul718

kelseypaul_ADE621/623_Pratt Institute

KP

Kelsey Paul INTERIOR DESIGNER 206.384.9236 klpaul718@gmail.com http://issuu.com/kelseypaul718

E d u cat ion : 2014-May 2016: Pratt Institute.

+ MFA Interior Design. + 2015: Elisava,. Study Abroad, Barcelona. Retail Design Certificate.

2009-2013: University of Idaho.

+ Bachelor of Interior Design.

CIDA Accredited.

+ Minor in Architecture.

+ 2013: CAT, Wales. Study Abroad,

Green Architecture Graduate Studio.

CL AS S R Oo M & I n d u s t ry E x p e r i e nc e :

Q u a l i f i c at i o ns :

2016. Teaching Assistantship, Pratt Institute. Sping.

Sophomore undergraduate interior design studio.

Personal:

*Lecture: Critical & Confident Voice. Strategies for Public Speaking. *Juror Panel Participant: INT202 Retail Project Final.

2014-2016. Graduate Assistant Pratt Institute. New York, NY.

Materials Librarian.+Main Office Assistant.

Materials management library organization.

2014/2015. RAAD Studio, Intern. New York,NY. 7 months.

Residential Design. Small project management, space planning, specifications, furniture design, ordering, billing, site visits.

Intuitive, positive, self starter, competent, leader, poised, persistent accountable, inventive, steadfast, genuine.

Technical:

3D: Revit, AutoCAD, 3DS Max, Sketch Up, Rhino

GRAPHICS:

Adobe CC: InDesign, 2013. Ankrom Moisan Architects, Fall Intern. Portland,OR

Photoshop,Illustrator,

Commercial Design. Hospitality, corporate+mixed use.

Hand Drafting., Model

Schematic design, construction documents, furniture and finish

Making.

selection, submittals, change orders, pull sheets.

ORGANIZATION: 2009. Teaching Assistantship, Roosevelt High School. Seattle, WA. Mac+PC Proficient.

Photography class. Darkroom developing black & white photographs.

Microsoft Office,

Power-point, Excel.

L e ad e rs h i p +H on ors :

R e f e r e nc e s:

2014: + Connect Award: Sofa; Soft Objects Functional Art and Design.

Pratt Institute.

Academic:

2013:

+ IIDA Pacific Northwest Student Mark Up Scholarship. North

west Design Awards: Student Scholarship; Sevenly Office Project.

+ Dean’s List, College of Art+Architecture. University of Idaho

+ IIDA, Student Campus Liason + Member. University of Idaho.

2012:

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+ Fall Showcase, College of Art+Architecture, University of Idaho + Vice President of Foundation, Delta Gamma Nu Chapter

kelseypaul_ADE621/623_Pratt Institute

Camille Martin.

Pratt Institute. tmarti12@pratt.edu

Shauna Corry. Professor.

University of Idaho. scorry@uidaho.edu.

208.310.9066

TEACHING STATEMENT. Artists and designers are taught through a series of exercises and learn from critique. These exercises initially include a series of experimentation and exploration through materiality and form. This has been seen through foundation years, similar to those conducted at the Bauhaus. With this experimentation and exploration, comes constructive thinking, creativity and innovation.The methodology used by teachers, whether influential or evocative, stays with a student throughout. Whether directly or indirectly, each experience we have, in academia or life, leave an imprint on our being in the world. As an educator, my job is to help my students reach their highest potential and achieve the goals they have set out for themselves. By facilitating various vignettes conducive to the individual student population, such as various styes of critiques that foster a socratic style of teaching and learning is what I have found to be the most effective approach. My pedological views see educators as mentors, and I strive to adopt principles of mentorship in the classroom and within the critique setting.

I have a creative mind, genuine nature, a strong intuition for space, and an avid belief of design as an advocacy for change. Virtuous design leads by example and guides its users to naturally excel in their everyday tasks. Exploring design further than physical space, and looking to the philosophy, societal trends, and global emphasis and imbuing that with creative thinking, is where innovative design begins. My interest for being a collegiate design educator, sparked from the support and knowledge cultivated from my various professors. By infusing my passion for teaching, inspiring others to achieve their goals and sharing my love for design, becoming a design professor is where I see my future. At the end of the day I strive to make a positive influence on those around me.

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TABLE OF CONTENTS. 00 INTRODUCTION 01 TEACHING JOURNAL 02 CASE STUDY: TEACHING SPACES 03 CASE STUDY: DESIGN PROFESSOR 04 LECTURE 05 PROJECT 06 SYLLABUS

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INTRODUCTION INT202-DESIGN 2

For the practicum portion of this course I was placed in the sophomore interior design studio.

Titled INT202/Design 2: The Fundamentals of Design, it was composed of seven different sections of around 10-12 students. Through the course of the semester, I observed three different instructors for each of the three projects.

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01: Practicum Course Syllabus & Project Brief Review INT 202 Syllabus PRATT INSTITUTE SCHOOL OF DESIGN DEPARTMENT OF INTERIOR DESIGN SPRING 16 INT 202 01.02.03.04.05.06.07 INT-202 / Design 2: The Fundamentals of Design “Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.” -Paola Antonelli “The key to success is to risk thinking unconventional thoughts.

Convention is the enemy of progress.” -Trevor Baylis 00 introduction: course overview 01 an interior façade for a restaurant: issue date: 01.21.16 final review date: 02.15.16 02 an individual space for worship: issue date: 02.15.16 final review date: 03.10.16 1 Course Description: This course deals with our relationship to space, form and the environment in a broad sense. Emphasis is on human occupancy and experience through study of scale, material qualities and structure. Students will problem-solve through analytical and critical thinking, writing and designing with consideration of professional problems of a modern scope. The projects will progress from the investigation and application of a material generator, to identifying and questioning prototypical spatial components, to a full scale collaborative construction and will culminate with a final project which considers all the above and addresses global social conditions through a local lens.

Course Objectives: INT 202 further develops ideas, methodologies, principles, and skills learned in INT 201. Students will build upon their introduction and understanding of the design process, focusing specifically on ergonomics, anthropometrics, human scale, and materiality as they relate to site, program, identity, details and connectivity and our relationship with form and the interior built environment.

Through the presentation/critique strategy students will demonstrate creative thinking through presentation of a variety of ideas, approaches, and concepts. 4f Students will perform rigorous research and analyses, and develop strategies for translating concepts into sophisticated spatial conditions. The semester will introduce the students to -and focus on- specific professional “real world” programmatic, socio-cultural and socioeconomic conditions as project parameters.

Course Outcomes: -Develop a coherent design process including basic research methods to inform the design process.

-Understand and apply basic organizational and spatial principles in combination with programmatic requirements to inform the design of interior spaces.

-Speak and write effectively about each project and its process.

-Explore a variety of representational media to examine, construct and communicate spatial concepts. -Continue to develop model making and drawing skills.

-Understand how social, economical and cultural diversity affect and inform design. 2c -Recognize the spatial implications of a design proposal at varying scales and in different contexts.

Methodology: CLASS PARTICIPATION: 5% of final grade [noted by professor] Objectives:

-Build upon the practice and recognize the importance of discussion and collaboration in the design practice -Introduce the importance of peer dialogue and constructive criticism.

-Engage and express ideas clearly through dialogue, visual and oral communication.

SKETCHBOOK: 5% of final grade [presented weekly in studio] Objectives: -Reinforce and continue to develop sketching skills and constantly implement this tool that you are never without. -Utilize the sketch[book] as a tool to clearly express, develop, observe and document ideas, through visual media to [ideation] as a design tool inform design 6d PROCESS BOOK/PORTFOLIO: 5% of final grade [due one week post project final review] Objectives: - Continue to develop the necessary tools to reflect upon, archive and present work -Produce a portfolio of work that clearly and thoughtfully demonstrates the semester’s design process and progress -Understand the importance of the written word and graphic hierarchy in 2d design layout -Express ideas clearly in written communication 6c PROJECT 01: AN INTERIOR FAÇADE FOR A RESTAURANT 25% of final grade [8 classes 21 January –15 February] The project begins with a thorough research and analysis of a given sustainable building material. The material properties such as pattern, texture, module, reflectivity, transparency, opacity, translucency, rigidity, flexibility, softness, thick/thinness, porosity, security, etc., are tested and the conventional definitions of boundary and threshold are questioned as they relate to the relationship between interior and exterior. The contemporary dining typology of fast casual restaurants is studied as a precedent. Circulation, occupancy and comfort while traveling direct exploration and inform proposals which culminate in the prototypical design of an interior façade, and dining area for Chipotle in global transportations hubs. and contribute to design solutions which are informed by the hybridization of each student’s results.

Project Objectives: -Understand and recognize material properties and analyze and record carefully 11a -Undergo an in-depth site and program analysis using research, models, photographs and drawings -Develop a critical, systematic, and analytic graphic and written language -Continue to develop a range of design research and problem solving methods 4b -Determine appropriate furniture size and layout -Understand, analyze and communicate theories of spatial perception, definition and organization. 9c -Learn about typical fabrication and installation methods, and maintenance requirements. 11b -Research and integrate lighting as a design component Project Outcomes: -Utilize plan, section, axonometric and perspective drawings as tools to communicate ideas -Demonstrate an understanding of the concepts, principles, and theories of sustainability as they pertain to building methods, materials, systems and occupants 2a -Utilize detail drawings to illustrate interconnecting elements.

-Understand the interaction of color with materials, texture, light, form and the impact on interior environments. 10b -Develop a design strategy that integrates the client’s identity and responds to user needs and site interfaces

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Process: -Research, document and analyze – the designated material and an existing condition -Catalyst – Determine a relationship from findings of combined analyses [material and program] -Test and Develop –Study the physical manifestation and organization of this relationship 2 and 3 and 4? dimensionally through drawing, model, photography.

-Write – about your process resulting in a concise project statement -Final Requirements will include a written project statement, material, precedent and site analyses, perspective drawings, floor plans, reflected ceiling plans, elevations, sections, detail drawings, furniture plan, axonometric, color and material selection boards, process sketches, process models, a presentation model and photo montages.

PROJECT 02: AN INDIVIDUAL SPACE FOR WORSHIP 25% of final grade [7 classes 15 February – 10 March] Everyday small spaces and contemporary and archetypal spaces of worship are studied, documented and discussed; the intimate interior environment of a bathroom, a public changing room, an [almost extinct] telephone booth and the vast interior landscape of a gothic cathedral, a heated Bikram yoga room... Informed by a thorough investigation rooted in human occupancy and routine, a space for modern worship is defined and built at full scale from a recycled material. Students are encouraged to solve design problems though innovation, rigorous testing and creative thinking. 4g Students work in small groups; initially 2 or 3 per studio, culminating in a studio wide collaborative.

The site, located at 43 West 22nd Street and just around the corner from an existing Housing Works Thrift Store asks the students to consider proximity and specificity when proposing their design solutions. Students will address contemporary issues affecting interior design. 2d An emphasis on section, void, volume, interior, exterior, visual and physical adjacency and occupancy is provoked by multi-level project site.

Project Objectives: -Experience and exhibit a range of design research and problem solving methods 4f -Understand how design needs and decisions vary and are affected by different cultural and social groups with different economic means 2c -Understand that social and behavioral norms may vary from their own and are relevant to making appropriate design decisions. 3a -Understand the range of perceived and physical occupancies and adjacencies.

Project Outcomes: -Exhibit competence of project concept building.

-Exhibit an understanding of visually and physically inhabitable spatial adjacencies -Demonstrate an understanding of space planning, furniture selection, finishes, and layout.

-Demonstrates and understanding of color principles, theory and systems. 10a -Exhibit competence in basic technical drawing and modeling tools -Apply elements and principles of design to 2-dimensional design solutions. 9a -Continue to integrate lighting as a design component, and Project Objectives: understand the principles of natural and electrical lighting -Students are able to synthesize information and generate design. 12a multiple concepts and/or multiple design responses to -Demonstrate the ability to select, interpret and apply appropriate programmatic requirements. 4c ergonomic and anthropometric data 3c -Experience teamwork structures and dynamics as an approach to Final Requirements: design solutions 5a -Final Requirements will include a precedent/site analysis, -Develop strategies from previous assignments perspective drawings [computer/hand] floor plans, reflected -Look at interior design as a conveyor of information ceiling plans, elevations, sections, detail drawings, furniture plan, -Develop a structural logic axonometric, furniture, color and material selection boards, process -Develop and test a material and construction detail in full scale models, a presentation model, photo montages, and a written Project Outcomes: project statement.

-Demonstrate the ability to select, interpret and apply appropriate Assigned Texts: ergonomics, anthropometric data in project design 3c -Apply Readings will be assigned throughout the semester and can be elements and principles of design to 3-dimensional design found on the LMS. solutions. 9b Required Texts: -Utilize shop tools to explore full-scale investigation and 100 Things I learned in Architecture School, Matthew Frederick, MIT develop an understanding of details and material connectivity.

Architecture; Form, Space & Order, Francis K. Ching -Identify and define relevant aspects of a design problem (goals, Architectural Graphic Standards OR Interior Graphic Standards objectives, performance criteria). 4a Geometry of Design Studies in Proportion and Composition, -Conceptualize and develop a site-specific intervention Kimberly Elam, Princeton Architectural Press INTIMUS: An Interior - Students apply precedents to inform design solutions. 8e Design Theory Reader ed. Mark Taylor and Julieanna Preston Final Requirements: Interior Design Illustrated, Francis K. Ching - Will include a written project statement, including evidence Subscription to Interior Design Magazine and Retail Design of group collaborative strategy and experience, perspective Recommended Texts: drawings [computer/hand/montage] site floor plans, elevations, A History of Interior Design, John Pile sections, detail drawings, axonometric, assembly manual, process After Taste: Expanded Practice in Interior Design, Kleinman, models, full size model, photo montages.

Merwood-Salisbury, Weinthal Archispeak: An Illustrated Guide to Architectural Terms , Tom Porter PROJECT 03: A MULTI-LEVEL RETAIL STORE 35% of final grade Architectural Graphics, Francis K. Ching [14 classes 21 March - 04 May] project is distributed 10 March Designing with Models, Criss B. MIlls before spring break 14-18 March.

Geometry of Design, Kimberly Elam Utilizing the sensibilities and sensitivities derived from the A History of Interior Design, John Pile previous group project, students [individually] will use a Space Planning Basics, Mark Karlen prescribed article of clothing as a conceptual driver and design Color Space Style, Chris Grimley & Mimi Love a retail store for The New York City organization, Housing Works. Thinking Architecture, Peter Zumthor

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Basics Interior Design: Retail Design, Lynne Mesher Ava Academia Basics Interior Architecture: Form + Structure, Graeme Brooker & Sally Stone Basics Interior Architecture: Context + Environment, Graeme Brooker & Sally Stone Basics Interior Architecture: Drawing out the Interior, Ro Spankie Basics Interior Architecture: Elements/Objects, Graeme Brooker and Sally Stone The Modern Interior, Penny Sparke Construction and Detailing for Interior Design, Drew Plunkett

Studio: The basic assumption of a studio is that students learn as much from each other as from the faculty. The studio process is active and communal and involves a repetitive sequence of doing, looking, articulating, clarifying and doing again. All effort and critique is public, therefore it is essential to learn to trust and respect each other.

Assessment and Grading: On Performance Class Participation, 5%, Sketchbook, 5%, Process Book: 5%, Project 01: 25%, Project 02: 25%, Project 03: 35% Each assignment will be evaluated in terms of analysis, progress, execution, verbal articulation, written articulation, participation, and attendance. Timely completion and presentation of written and graphic assignments (plans, sections, models, etc.) as well as verbal participation in class discussions will be taken into account.

DESIGN STUDIO is not a preparation for making things; it is learning by making things over and over. Students should ask a new question or examine the same question at a higher level of sophistication with all iterations. Therefore, there is no one “correct” response, or “right and wrong” answers. Students will be given feedback in the direction that has been taken, as well as suggestions for further work and assessment of their projects’ architectural implications. Given assignments should always be considered a minimum, and students are encouraged to augment them with their own personal interests.

In addition, while refining his/her abilities, the student is asked to recognize his/her own operational focus and employ that understanding in the practice of making. Only after discovering one’s own “voice” can conversation without preconceptions truly begin.

Attendance: It is not possible to make up a missed studio session. Any absence must be explained. It is the absentee’s responsibility to get assignments from other students, not from your instructor. Two unexcused absences will adversely affect grading and three will constitute a failing grade. Chronic lateness will also affect one’s final grade. Inform your instructor in advance of any expected absence or abbreviated attendance.

It is never permissible to miss a review. Failure to attend or present work at a critique will result in failing grade for the project. Students are expected to be present and alert for the entire class period, including all critiques; arriving late, leaving early, and not paying attention during the review will be considered during grading.

5 Work in studio! Work in studio! At no other time does a designer have access to so much intelligent feedback and constructive criticism. Take advantage of it.

Academic Honesty As a student you are expected to conduct yourself in a manner that reflects the ethical ideas of the profession. Any act of academic dishonesty not only raises questions about an individual’s fitness to practice design, but also demeans the academic environment in which it occurred. Plagiarism, i.e. the presentation as one’s own work of words, drawings, ideas and opinions of someone else, is a serious instance of academic dishonesty. The submission of any piece of work (written, drawn, built, or photocopied) is assumed by the school to guarantee that the thoughts and expressions in it are literally the student’s own, executed by the student. Destruction of another’s work or the studio is forbidden and holds extreme consequences.

Accommodations for Students with Disabilities Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the Institute. Students requesting accommodations must submit appropriate written documentation to Director of Disability Services and Parent Programs: Mai MacDonald on 718.636.3711 in the office of the Vice President for Student Affairs prior to the start of the semester. Mutually agreed upon and approved terms for completion may then be set forth and adhered to by the student and the Institute.

Office Hours Office hours are by appointment. Please request a time to meet before or after class sessions, or contact the professor.

LMS: All readings, assignments, inspiration, and updates will be posted on the Learning Management System (LMS) which can Grading Criteria be accessed through my.pratt.edu. There you will find a main A = Work meets and exceeds all requirements. Presentations are lecture section (INT 201) as well as individual studio sections. virtually flawless, complete, and finely detailed. Work exhibits CIDA INDICATOR INDEX, bold indicated primary, undefined professional and explorative level of craft. Student has developed [for now] are secondary and tertiary. an individual design process that shows a high level of independent 4f. The interior design program includes exposure to a range thought and rigor. Work shows evidence of intense struggle to go of design research and problem solving methods. course beyond expectations, and beyond the student’s own perceived limits objectives of their abilities.

2c. Students understand how design needs may vary in cultural B= Work meets all requirements. Presentations are complete and and social groups with different economic means. project 3 finely detailed. Work exhibits professional level of craft. Student has 3c. Student work demonstrates the ability to select, interpret, developed an individual design process that shows a high level of and apply appropriate anthropometric data. project 1 independent thought and rigor.

6d. Students are able to express ideas clearly through visual C = Work meets all requirements. Presentations are complete. media (ideation drawings and sketches). sketchbook Student has is developing an individual design process but is lacking 5a. Students have awareness of team work structures and in craft and/or design resolution dynamics project 2 F = Work does not meet minimum requirements. Student does not 9b. Students effectively apply the elements and principles of develop process, and/or does not finish work on time. design to three- dimensional design solutions. project 2 INC = Grades of “incomplete” are not given under any circumstances 13f. Student work demonstrates understanding that design unless there is evidence of a dire emergency (death in the family, solutions affect and are impacted by vertical circulation accident, debilitating illness). Classes and work missed due to illness systems. must be explained with a physician’s note, but will not result in an Omit, move to 301/302 INC. 2a. 2d. 2e. 2g. 3a. 4g. 5c. 6b. 6c 6g. 8e. 9a. 9c. 11a. 11b. 12a.

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Kelsey Paul ADE 623 Special Topics: Sophomore Design Studio.

College Teaching: Practicum Spring 2016: 4 Credits Professor: T. Camille Martin

Classroom Journal: INT 202 Distributed: Feb. 1, 2016 Due: May 2, 2016 (13 week assignment)

w01feb 1: All studio Mid-Crit. w02feb 8: Small Group Critique w03feb 15: Project One; Final Critique. w04feb 22: Project Two; Session Two. w05feb 29: Project Two; 3/4 Critique w06mar 8: Project Two; Pre Final Pin Up w07mar 21: Project Three w08mar 28: Bag Dissection + Site Analysis w09april 4: One on One Desk Crits w10april 11: Desk Crits w11april 18: Project Reflection w12april 25: Last critique before the final. w13april 25: Last critique before the final. kelseypaul_ADE621/623_Pratt Institute

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w01feb 1: All studio Mid-Crit.

Today was my very first day in the classroom and also my very first experience as being a juror. I was paired up with Tania Branquinho, who is very well versed both in the practice of design and architecture and within the classroom. She is currently a professor for both an undergraduate senior thesis studio at Pratt in addition to this sophomore studio. The sophomore studio as a whole, are now midway through their first project of the semester, titled; An Interior Facade for a Restaurant. Their client is Sweet Green, a fast casual restaurant, who is looking to open up a new location in a large airport. Focusing on the idea of boundaries and thresholds, the project allows students to define what that means through designing a spatial condition. Exploring the opportunities and constraints of materiality, each student had been assigned one of four chosen materials. The format of the critique, was round robin, meaning each section professor, rotated around to four different sections and critiqued a few students from each, switching every 45 minutes. At the end of the day, we had critiqued projects for all four material categories.

I personally have never been involved in this style of critique, but I think it was a very successful strategy (1) for novice learners to receive and observe feedback from a variety of professors at an early stage of their project and (2) it was conducive in response to the project brief and the four typologies of material focuses. In addition, for me personally it was eye opening to see how each individual section presented a vast variety of produced work in response various approaches taken and conversations had in previous studio sessions.

Though I had thoroughly prepped myself on the syllabus, project brief and assigned readings for the project, as a novice juror, I still felt less prepared than I ideally would have hoped to be. I know that much of this will come with practice and built confidence in the classroom and in the design profession. The importance of assessment of the group, in conjunction with finding my own personal critique style will attribute to improving within a classroom setting and beyond.

What I took from most, was observing Tania’s approach to critiquing. She had informed me that within her section, they began with defining what a boundary is and created taxonomy diagrams to explore 12

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this definition spatially. From there she worked with them to translate the conceptual diagrams and investigate the constraints of their assignment materiality. Moving forward for the mid-critique, her emphasis has moved to the connection and details of how the materials can perform and enable the designed boundary. Throughout the critique switch, Tania’s approach to the project, translated into the feedback she shared with the students.

She utilized the critique as a learning opportunity for both the individual and the group, through addressing individual aspects and vocalizing observations that she had made for the class as a whole. Another learning opportunity, took place in-between each 45 minute session, when we passed other studio professors and had a moment to share observations and ideas as a group of educators.

In conclusion, the first day exceeded my expectations. I have a ways to go, but through practice, reflection and improved confidence, I am excited to participate in this design studio and continue to learn. Can’t wait to see where I will be by the end of the semester!

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w02feb 8: Small Group Critique For my second day in the classroom, they conducted pin-ups in groups of three. The groups were divided up based on the material they were assigned, as mentioned in the previous write up. The critique took place in the sophomore studio, more specially in the row of studio desks assigned to their section. Their area is composed of two aisles of desks running perpendicular to the main wall. This configuration allowed for a small area to gather and use the pin up space on the wall.

Though the set up was less than ideal, the closeness of the critique, allowed for the other students to continue to work individually and overhear their peers critiques.

Today, I chose to take the role of an observer during the small group critiques. With only two studio sessions left, the context of the critiques consisted of analyzing updated building models, updates made to their floor plans, and looking at the connections and details of their designed boundary. Each student was given a total of ten minutes, but many ran longer.

Prior to class Tania provided me with a handout she provided for her section, that detailed out a step by step list of all the deliverables for the project. She noted that she usually does not provide this for her studios but since they are only in their second semester of design studios, that it has acted as a good guiding tool for the students. During this session of being an observer, I chose to focus on the narrative used to facilitate the critique for the students. Each student was given the opportunity to speak about their design developments since the last session, and then Tania provided feed back. Some of the narrative that stood out most to me was:

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Think about the connections.

What is your definition of boundary?

What’s lacking now is…. …. Could be a language that starts to address it.

Opportunities…

Tying back to the client…

You need to be strategic.

This needs to be more clear.

Why do you feel stuck?

What is your circulation?

How does the boundary shape the user experience and flow of the space?

Narrative is a crucial aspect of both teaching and designing. In a critique centered discipline, the narrative has the ability to shape students development. I noticed that the statements that I felt were most beneficial, one instilled the goals and themes of the project brief, and two, offered ideas to expand the current bounds of where each student was. Being novice learners, much of the narrative conversed of function and tectonic elements of the students designs. Bringing to attention the purpose, function, circulation and perceived language from their designs. At this level, their design eyes are still being conditioned, and the role of the professor is to bring to attention elements of the design that need to be improved upon, along with elements that are strong.

I appreciated the narrative provided by the instructor, for its direct yet encouraging tone.

During the three hour studio session, I took the time to compose a list of tools for an effective small group desk critique based on my observations. The list included: Homosote/Pin Up panels, drafting desk, ambient/ direct lighting, stools/chairs, an architecture scale, trace paper, pins, markers, and pedestals for models.

In addition to this list, allowable space. Though at the beginning the allowable space was very tight, I made a suggestion to move the center row of desks into the extra space closest to the main aisle of the large studio. We then made the small modification midst the critiques, and the extra two and half feet, made a nice difference. Overall, the second class period was successful. I enjoyed observing and note taking on the narrative of the critique, along with the spatial qualities to the classroom. Next session they will be presenting their final for project one.

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w03feb 15: Project One; Final Critique..

“Awaken the student to the light in his or her own mind, and the rest of it doesn’t matter.” Lapham’s Quarterly Today was the final critique of project number one. Located in steuben 103, each student pinned up their final project boards accompanied by study models, detail models and a final model of their design. The juror panel consisted of two a practicing architects, one who works had worked with Tania the instructor in the past, and the other juror was a professor of Tania at New York School of Interior Design, and is teaching there currently.

For critiques, often people talk about how important the art of curating a panel of outside jurors is. Both jurors brought strengths to the critique, and in my opinion, they were a good pairing for this project. I chose to take the role of an observer for this final critique, as it being my first experience in a final critique setting where I was not having my own project being reviewed. Juror number one, who had worked with the instructor prior, brought a critical eye and progressive take on the students projects. The second juror brought an additional educator eye to the critique, and was successful in pin pointing aspects of each students projects that were successful, ones that could be improved upon, along with making suggestions for “next step” ideas for the students to build upon their project in the future.

One challenge of todays session, was timeliness. Many students were late due to issues plotting. This lead to a later start time, students still pinning up their projects during other students critiques, a distraction for the beginning critiques in response, as well as the critique running overtime to allow for every student to present and receive feedback. The instructor did a good job of addressing the issue to the class as a whole, and stressed the importance of plotting the day before the final presentation. As a student, mostly in the beginning years of design studio, I too ran into issues from plotting the morning of the final critique, and now coming from the perspective of an educator, I wonder what techniques can be put in place to prevent this from happening in the future. And my secondary question to that is, can time management be taught and what does that look like? The students were assigned to complete their board and narrative for their presentation the class period prior, which took place on Thursday. Since the final critique took place on a Monday afternoon, many students made significant progression on their projects over the weekend.

Would requiring students to email the instructor their final version of their boards that Saturday, and allowing two extra days of development, be effective? As a teacher, there is a fine line between micromanaging and facilitating manageable checkpoints for students to complete assignments in a timely manner.

Touching back on the topic of narrative from my prior reflection, I have noticed that where students struggle, especially in the beginning semesters is in the presentation. During a presentation there are various factors that play part in its success in addition to the 16

contextual quality of the project. Some factors include body language, clarity of voice, eye and engagement with the jurors, the order in which the progression of the project narrated, the graphic quality and layout of the presentation boards, the craft of the models along with how they are integrated into the spoken presentation, and the strength of the conclusion. Each element have the potential to determine the outcome of your critique.

In the end of the day, we as designers are salespeople.

Rather than selling a manufactured product from another source, we are selling our intellectual property to our intended clientele. For many students, especially at the beginning of their academic career, the setting of a critique evokes some fear and nervousness. With anything, practice makes perfect, but coupled with a primer for curating a successful critique as a student, this could improve the overall setting of final critiques.

Speaking personally as a novice juror, I too could benefit from more practice coupled with a primer for curating a stimulating experience to the students I am critiquing.

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w04feb 22: Project Two; Session Two. With project one completed, project two of the semester is well on its way. Titled An Individual Space for Worship, today was the second meeting for the students. The main themes of this project are consumption and ritual.

Today was my first day observing a new section of students and a new mentoring instructor. The students are split up into teams of three or four students, and overall the class is comprised of three teams. Focusing on action: occupancy + envelop, today each team pinned up anthropometric mapping diagrams of a chosen ritual, research on their material: coffee cups, an investigation about ritual & worship, research on how we consume as a society, study models, as well propose concept ideas to move forward on. The session prior, students were handed out a project brief to outline the required context for todays pin up. The last section of the handout included a short primer for documentation and presentation.

For many of these students it is the first time that they have worked on a group project for a design studio.

This was apparent through the disconnect of work within most groups both visually and verbally. Group work is at the core of the professional design practice, but often at the academia level is not addressed as often as it could be. A question I often think about is can group work be taught, and what would it look like?

Exposure to group settings, is a first step, but a second step to effective group work, would be to access the work styles of each individual. Moving forward for this project, the class will draw from these three initial proposals and come up with one design solution as a class and build it to full scale. The instructor today, primed her section on the assignments for the next class, along with instructing them to come up with a list of a suggested role for each person in the section based on their strengths.

Through my observations, I appreciated the facilitating techniques of this instructor. She taught with an established level of authority, and was very direct with each student. In addition to this, her teaching style of facilitating conversation and discussion throughout the session, helped to strengthen the experience of a pin-up for all students. As mentioned prior, the themes of ritual and consumption at the forefront for this project. After all groups presented, she had 18

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her section of eleven students gather go around the table and share what ritual means to them individually and how it plays a role in their everyday lives. Many of the students responded with listening to music, going on walks, talking to family, and playing sports as their daily rituals. A connector between many of the rituals, was the state of mind and self-reflection that happened as a result to this ritual. Expanding the idea of ritual as being religion based, this discussion helped the students to understand the scope of a ritual, the emotional experience connected to it, as well as start to think spatially about the varying elements that heighten the experience of ritual. Through creating this understanding, this will help to inform their design in a variety of levels.

Todays session took place in rm 107, located in the qualifying/thesis graduate student studio. The overall size and allotted pin-up space fit the needs of the classroom sufficiently, but the main challenge was volume control. The main dividing wall between the classroom and the adjacent studio, is only a partition wall and does not create a full sound barrier between the two. This let to distraction from the elevated amount of noise battling from both sides of the partition. The two large tables aided the class and allowed the whole group to sit around the table and discuss for the last

part of the session. Prior to that discussion, the large tables became obstacles in the room, limiting the space for each student to gather closely around each teams projects pinned up on the wall.

One comment that was made a few times during the session, from the instructor, was in attempt to get the students to comment and give feedback on their peers work. The attempt by the instructor was direct and abrupt stating, “you all need an opinion.� Yes, I completely agree, but there has been numerous classes that I have been in, where an attempt of the instructor to get the students talking and critiquing their peers work, was unsuccessful. Critical thinking is very important in the development of design students, but even more so, the development of a critical voice is just as vital. Lately I have personally been trying to work on further developing my own critical voice, and I think often on how developing these skills could be further integrated into the syllabus of a design studio. I don’t think I have the answer just yet, but it is definitely something I find very intriguing. session they will be presenting their final for project one.

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w05feb 29: Project Two; 3/4 Critique Today the studio had a 3/4 shared review with one of the other sections. At this point of the project each section is working as one cohesive unit and each presented their the design development on their projects. They were required to present all their human scale research, ritual and materiality research, along with their concept proposal, and various scale models of their proposal. One thing mentioned in my earlier journal entries was the question of if group work can be taught? The critique took place in Steuben 103.

It was very interesting seeing two different groups present side by side, and through observations it was fairly clear which section was working best as a group. This was shown from both the visual and verbal cohesiveness throughout both groups presentations.

One groups visual presentations had the same overall language visually through using the same colors, typography, hierarchy of images, and most importantly each person spoke during the presentation. In response this socialistic approach, their presentation took 30 minutes to deliver, but it was very clear that everyone was on the same page and had contributed to their presentation today. In contrast the other section opted to only have four out of eleven present and the overall presentation, visually lacked cohesion.

I am suspect that the lack of a clear design concept and potentially leadership within the overall group, attributed to their struggle. Another thing to mention, is that today this studio was introduced to their new instructor for the next few weeks. Inferring deeper into the lack of cohesion in the sections presentation and project development, could have been attributed to a lack of leadership, facilitation and direction from their previous instructor. After observing a variety of sections this semester, I have seen how much influence the individual professor has on their students work.

Without knowing extensively the backgrounds or teaching approaches of each and every instructor it is hard to make a hypothesis of the exact reasonings behind it, but the differences are noticeable.

Despite the contrast between the two sections projects, both groups received valuable feedback from both professors, and even more so, gained valuable insight from listening to the other group present. After both groups finished presenting, they Sheryl and the 20

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new instructor had everyone gather around to debrief and conclude as a whole group. Points were made for both groups to move forward on and they spoke about common observations and points for improvement that both groups shared. Each section then pinned down as a group and broke off into individual sections.

What I appreciated most about the instructor I am currently observing, is her strength in facilitating group discussion. She did a great job about note taking throughout their presentation and sharing back with her section about what she overall observed from the presentation and the observed roles of each student for the presentation. In doing so, she was able to suggest and delegate responsibilities to students in order to strengthen their overall presentation.

Reflecting on the personal development my critical voice and confidence, I worked hard this session to take notes, and develop questions and comments to critique upon for both groups. It was uplifting to see that some of my comments from the previous week, materialize and help inform the students project proposals today, and hopefully some aspect of my critiques will resonate with them in moving forwards for next week. Small steps, but if anything, this self-reflection on the idea of developing a critical confidence, is inspiring ideas for a course to be written in the future.

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w06mar 8: Project Two; Pre Final Pin Up Six weeks into my classroom observations and I am beginning to feel more comfortable in the role as a teachers assistant each week. For this session, the professor held a semi-formal pin up critique in one of the hallways located outside of the sophomore studio. Nearing the final for project two, the class had produced half of their full sized installation. Along with the progress on the full scale model, they presented their progression on their project catalogs that will also be presented at the final this Thursday.

In response to the material presented, various feedback was presented. (1) How can they investigate their module more thoroughly to inform their design?

When constructing the full scale model, the students initial design kept morphing due to the constraints of their module. Initially they had planned for straight walls, but due to the current design of the module, the construct continued to curve in response. This point tied in with the second feedback made. (2) How can the joinery technique be altered or modified to be able to control the curve? (3) In regards to the catalog, the lack to visual hierarchy and graphic representation, was commented on most. After receiving feedback, the professor summarized the points the group needs to move forward on to achieve their highest potential

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at the final critique. She with suggestions from the students facilitated smaller work groups and they all broke off right after to work on their assigned tasks for the rest of the time.

For me, this was really my first opportunity to work with the students one on one and in small groups. This week being midterms, presented an added element for the students. It was fairly apparent the amount of stress that each student was feeling, and how that stress was effecting the group dynamic as a whole. In comparison to the positive perceived group dynamics from last Monday, the over all mood seemed to be much lower today. A few teary eyes, and exasperated gasps were present. Sheryl and I spent a half hour or so providing feedback and additional help to the students. I noticed that we got to a point where it was time to step back and let them do their thing. By the end of the class period, they were able to make progress on their next iteration for the module, design drawings in response and making changes proposed to the catalog. Overall today was very successful and I am enjoying getting to know the class more and being of some help.

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w07mar 21: Project Three Moving into the ninth week of the semester, today was the first day of the students third and final project. For this project I am observing Chelsea’s section of twelve students. Chelsea is currently out of town on a business assignment and Susanne is leading her section until she returns. Just getting back from spring break, the students were assigned to work on and have their process books almost complete by todays session. For the majority of the class, Susanne and I went around to each student individually and conducted desk critiques on their process books. Since the last project was a group project, the majority of the context of each book was the same, with the addition of individual process work, but the approach to the layout and narrative of the book varied from each student. For me, this was a great opportunity to get to know each student and their working style. Their final process books are due the next class period. I also enjoyed co-critiquing with Susanne in the informal environment. The majority of the students work, was complete and thorough with only a few organizational changes to be made in order to strengthen the narrative of their books. Only a couple of students fell below the level of work of their peers based on incompleteness and lack of clarity. At first glance, I felt that desk critiques for a process book was repetitive and insufficient. Many of the comments were similar, but I observed the attentiveness of each student and the importance of one-on-one feed back.

Especially since they are all making the transition from a group project, and challenged with how you can credit group effort but highlight the elements that you specifically contributed to. The common feedback which was given was to add captions to supplement the titles of the images they were showing. This in general was a important message for the students to carry into the next project. We spoke about effective ways to explain to the reader what information did you take away from each component of analysis, and how did this inform the final design?

Another task of today’s studio was to deliver the project brief for the final project and introduce their first tasks within. In contrast, Susanne did an effective job of gathering the students as a group, introducing the information and facilitating a conversation to get the students to start ideating ways to approach the project. This took place in room 204, with the students gathered around a large table, while Susanne projected images of their given site, the client, and spoke more about a retail project she had worked on in the past. Susanne spoke in a altruistic manner, and in result their was a good level of engagement from the students during their conversation as a class. The discussion was based around the question: what issues play part in retail design? Moving forward, the students will conduct site analysis and three detailed case study analysis on retailers, and on Thursday they will be touring their clients current retail space.

Overall today was a pleasure and I am feeling even more comfortable within the classroom setting. This may be based on this particular personality of the group of students and the teaching tonality of Susanne, but most likely with anything, comfort comes with time and practice. Concluding, I received great feedback and thanks from Susanne based on my helpfulness and input during the critiques today. I am looking forward to the next few weeks.

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w08mar 28: Bag Dissection + Site Analysis For this session, it was their instructors first day back after being gone for four weeks. The beginning of the class consisted of a check in and catch up discussion with the instructor and the students. This section in comparison to the last, consists of many quiet students.

There for, most of the talking was done by the instructor with little said by the students.

After the check in, we all headed downstairs where the students had already pinned up their work that they had produced since the last class. The amount of work and quality of work between the students differed greatly. Interestingly enough, the two strongest students, who had analyzed the site and their selected bags most thoroughly, were the two who presented first and last. Each student had been asked to analyze their site, three precedents, create an existing catalog of drawings for their bags and come up with three concept words to move forward on their designs for Housing Works. One thing that I noticed students struggled with most was the creation of analysis diagrams to visually explain their observations. A few only pinned up images of the space, with no originally drawings or annotations to show. The approach the instructor took to address this lack, was by telling the students that they have shared insightful information, but if they do not have drawings to show on the wall, then they are not allowed to continue on presenting the information. This same comment was shared with a two or three other students as well. Looking back at the variety and quality of work that was presented, may have been an effect of having their professor absent for so long, but I believe other factors were involved.

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One of my observations that continues popping up is how to encourage student participation when your student population are young, quiet novice learners.

Speaking with another professor on campus, she said that she continually tries to make her students laugh so they talk to her. It seems like a good strategy and attempt to make the students feel more comfortable and relaxed in their environment, but it did not seem that she was getting the results she was hoping for.

Growing up very shy, this is something I think about a lot in regards to having my own class one day. Class participation and vocalizing thoughts and ideas in a safe constructive learning environment is an imperative part of learning, and without this open dialog, we as students and educators are missing out on valuable opportunities.

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w09april 4: One on One Desk Crits Todays session by far has been my favorite. With four weeks left of the final project, Chelsea conducted individual desk critiques. Though it took nine weeks to feel most comfortable and helpful within the classroom setting, I am so happy that I could finally experience that! Coming into the session my energy was lower than usual, but that quickly changed after I began speaking with the students about their projects. For today, they created conceptual models based on what they have learned so far from their precedence and bag dissections.

For the first part of the class, they met as a group and discussed the field trip that they will be going on for their session on Thursday. Directly following, we all headed back to their desks and Chelsea and I both went around and met with students individually. Much of my conversations with the students were surrounded around developing their concept, solidifying what merchandise their stores were holding, and how they can start to translate their findings from the bag dissection and precedent analysis into spatial strategies for their design.

w10april 11: Experience Reflection

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w11april 18: Project Reflection From my observations while being a teachers assistant in Design 2: The fundamentals of Design, and looking back at the three projects assigned throughout the semester, I believe that some reworking of the order and scope of the assigned projects could be advantageous for the growth of the students. Scope of the projects proceeded from medium, small, to large. The first project, titled an interior facade for a restaurant focused on materiality and beginning design principles of space making, functionality, and the tectonics of how designs are built, all constrained by an assigned sustainably deemed material. The second project, titled an individual space for worship, was a full scale built design executed in teams of 10-12.

Again constrained by an assigned reused material, the students were challenged to take reused coffee cups are their module to build their space for worship. Much of what I observed being a challenge for the students during the first project, were addressed in greater depth during the second project. These issues dealt with the actual scale of space, tectonics of how their material module worked as a unit to build the whole space, ergonomics, and feasibility of drawn designs to realized space. The third project, titled retail: a multilevel store, and‌ , is the largest scope of all three projects. Dealing with a large client, program, and two floor space, the students are challenged with analyzing retail spaces and designing a second hand thrift store. Reflecting back, one small improvement would be to rearrange the existing projects and move the second full-scale team project to be the first project of the semester, making the facade restaurant project become the second project, and conduct it in pairs, to strengthen individual skills, learning from peers, and to continue to build teamwork, and last keep the third project as is, but create more of a defined program or program options to let the students further develop upon.

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w12april 25: Last critique before the final.

Reflecting back on these past twelve weeks, not only have flown by but I have noticed a large growth in myself from the beginning few weeks in the classroom to these past few weeks. My level of comfort and confidence, has allowed myself to provide feedback and guidance to the students with more ease. These past few weeks especially, I have seen growth and development in a few of the students projects, based on the discussions that we had had. Along with this, a few students expressed positive feedback for the help that I had provided to them. Today’s session especially was very rewarding and reinforced my intentions of wanting to become an interior design professor in the future. The comment I received was asking if I was going to teach be teaching at Pratt the following semester and that she felt that my feedback was always very constructive and inspiring. Literally, I could not have dreamed of receiving that heartwarming of feedback from one of the students on my last day in the classroom. Though, I was very flattered by the

question she had asked, practicing professionally for a few years prior to reentering academia, will in the long run be most beneficial to both the development of my future students and to myself. I will be giving a lecture this upcoming week and then finishing off the semester being on the juror panel during their final critique. Both experiences will be great experiences to end my semester as a teachers assistant.

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w11april 18: Project Reflection Today was the students last and final critique of their first year of design studios. The critique took place in two parts and six students pinned up at a time. The critique jury comprised of six including Chelsea and myself, along with a few other jurors who stopped in for a short bit.

Lucky for me, this curation of jurors was one of the strongest and most insightful panel that I have experienced thus far. As a collective, they brought a strong energy, knowledge and passion for design and the students projects and conversation amongst themselves as a part of the feedback experience for the students. They brought honesty, empathy, and challenge for the students who produced less successful projects. Much of what they critiqued, especially for these less successful projects, had similar nodes to what I had observed and similar conversations I had had with a few of the students for the past few weeks. I saw this similarity as reassuring but also as a challenge of figuring out various methodologies to work with the students and get them past that point prior to the final critique. My immediate inclination would be to add an edge and certain amount of forwardness to my personal critique style.

Like other challenges that I have faced through this experience, this too will improve as my personal confidence and experience in the design world increases. Acknowledging this not only as a personal struggle but seeing how it reflects upon the students overall development adds incentive to improve on this to reach my potential as an educator.

On the flip side, one of the most exciting aspects to see was the development and growth of many of the other students. Recollecting conversations that had been had and their growth on creating evocative spatial experiences. One of the students in particular exhibited tremendous growth even within the last few weeks and in result benefited from a very positive and constructive final critique. For the first few weeks she struggle with making the transition from her concept model being placed into the interior more as a sculptural element than a spatial condition. By the final critique through farthing exploring the potential of her conceptual form on a varying range of scale, porosity, continuity throughout the space, and opportunities for functional retail display elements. She improved tremendously on her ability to conceptualize space and translate a concept and precedent studies into a successful spatial condition.

Reflecting upon my own personal growth and development, I have improved very much on approaches to educating and facilitating, but most importantly have noticed a lot of personal growth. By being integrated within the classroom setting on the educator side, something I have desired for a few years now, on a routine basis, reflecting back on the experience weekly, and fulfilling various checkpoints such as participating in various types of critiques and executing a lecture for all 70 sophomores helped to bring improvement. Each individually and as a collective on the onset seemed daunting, not because of the rigor of the task, but because of my nerves surrounding the task. Even at the last critique, the nerves were still present, but had been significantly dampened in comparison to the first final project critique that I had been a part of. I know that there is still much to learn and I am excited to do so and improve upon those skills within the professional practice setting for interior design, but the growth and confidence that I have gained throughout the course of this year and this semester even more so, is something I am very grateful for. I am thoroughly looking forward to my next opportunity within the classroom setting.

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Kelsey Paul ADE 623 Special Topics: Sophomore Design Studio.

College Teaching: Practicum Spring 2016: 4 Credits Professor: T. Camille Martin

Case Study: Teaching Spaces Distributed: Feb. 3, 2016 Due: Feb. 24, 2016 (3 week assignment)

Inquiry Question: In what ways is the education of artists and designers determined by the physical environment?

Objectives: + Clearly document & analyze spaces for instruction and learning. + Develop an understanding of how the physical environment can positively or negatively impact teaching and learning.

1. Write a detailed description of the space you are teaching in. Use photos, sketches, diagrams, and/ or video to aid the description.

2. Detail whether or not the physical environment supports the educational goals of the class, i.e. are there tables and chairs with a computer for a photoshop course?

3. Detail how the spatial arrangement and physical conditions can be more supportive of the productive and nurturing learning environment.

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part01Background + Research: For this case study of a classroom, I focused on analyzing two settings located in the interior design department at Pratt Institute. The interior design department is located on the main Brooklyn campus, and calls the Pratt Studios building home. This building is also home to the fashion and industrial design department. More specifically, I was analyzing the setting of a sophomore interior design studio.

The first setting I analyzed was located within the sophomore studio and the second was in the largest classroom in the department.

The case study began with an in-depth research into what the experts consider as being a conducive environment for learning. Much of the research discovered that classroom setting that imbue opportunities for cooperative, active, and engaged learning are the most successful for both the students and the educators. In a report issued by Herman Miller, “classroom spaces that support such a shift in teaching and learning have lagged behind. A significant opportunity exists for maximizing learning opportunities and creating meaningful experience by rethinking the classroom experience.”

The first study I looked at was conducted over the 2011-2012 academic year, of 751 students in the town of Blackpool, England. There they examined the effects of learning from the architecture and design of classrooms. Published in the journal Building and the Environment, they “found that classroom design

could be attributed to a 25% impact, positive or negative, on a student’s progress over the course of an academic year.” The parameters of the study included: light, sound, temperature, air quality, choice, flexibility, connection, complexity, color, and texture. Out of the 10 listed parameters, they found that six had the most abundant effect on learning. For my analysis of the classrooms I have currently been observing in, I chose to follow the same 6 parameters and rate them on a scale of 1-5. The six categories were: choice, complexity, flexibility, connection, light and comfort. Below I have listed a few examples of what they looked for within each category.

Choice: The quality of the furniture in the classroom (functional & ergonomic). Sense of ownership.

Complexity: Greater context of the site & building area. Balance and orderliness.

Flexibility: how the space could accommodate pupils and mitigate crowding & ease of rearrangement for required activities & teaching styles within the classroom setting.

Connection: Access and connection to classrooms and adjacent spaces and technology.

Light: Amount of natural light & user control of artificial lighting .

Comfort: Physical & physiological The graph on the left is a study from the National Training Laboratories in 2000, where they found that only about 5 percent of the information delivered through lecture was retained. In comparison, retention levels of 50 percent for discussion group, 70 percent for practice by doing, and 80 percent retention occurred when students taught other students. It is a fact that student engagement is key to a successful learning outcomes. A question we as designers and design educators can ask ourselves is, how does the physical design of the spaces we are teaching in support or hinder the growth of our students? Especially within the higher education sector, cooperative learning, interaction and engagement help to improve learning retention.

“Learning is not a spectator sport…{Students} must talk about what they are learning, write about it, relate it to past experiences, apply it to their daily lives.

They must make what they learn part of themselves.”

-Chickering & Gamson

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case study: teaching spaces

part02Classroom Analysis: 1. Choice: The quality of the furniture in the classroom (functional & ergonomic). Sense of ownership.

Ethos of design studios. An overall sensibility of orderly chaos, within the design studios, allows for students to experiment, make and thoroughly explore the opportunities for their designs. Often prospective students and parents are drawn to clean, updated learning environments when in the process of selecting an institution to attend for design school. In reality, the pristine conditions of design schools, can subconsciously hinder the students willingness to make and trends have shown a tendency for computer generated designs to emerge. Pratt, an institution built upon the foundation of making and creating, providing studio spaces with an ethos of orderly chaos, aligns with the pedagogy of the institution.

2. Complexity: Greater context of the site & building area. Balance and orderliness.

When analyzing the complexity of the classroom’s at Pratt, they possessed many positive attributes.

The accommodations and 24/7 security of campus, swipe access and 24/7 accessibility to studios, the proximity of studios to supply stores for design projects , natural setting of the quad on campus, opportunities to purchase healthy food on and near campus, adjacency of student recreational center to Pratt Studios, mental and physical health & wellness services, animal therapy from local Pratt Cats.

3. Flexibility & Ease of Movement: A stronger connection or interaction occurs when the design of the classroom allows for the professor to move around freely within the space. In result, the ease of movement within the space, increases satisfaction and improved outcomes from more faculty-student interactions.

When analyzing the classroom space within the studio, ease of movement was lacking. For the small group pin-up critiques, the amount of space was very limited, difficult to move around in, and did not provide sufficient space for the students to gather near and actively learn from their students critiques.

This disconnect due to the spatial quality, lead to distraction and slight fatigue from the other students

occurred.

In contrary, the density of the space played a positive role in the classroom environment. Each student has is provided with their own 4’x3’ desk each year. During this class period, small groups of with similar material choices, gathered in the small area closest to the wall in their designated section. With the close proximity of the small group critiques to the student desks, it allowed for everyone to stay partially active within their peers critiques even when it was not their turn to pinup.

When analyzing flexibility of the space, though limited with the allotted square footage, this setting was fairly flexible. One strength was in having the ability to morph from solely a student work space to a space for small group pin-ups. Addressing the lack of space for these pin-ups, after critiquing one group, a suggestion was made to move the central row of desks into the extra space on the other end closest to the central circulation aisle. Once the problem of the learning environment was addressed, solutions were proposed, and changes were instilled, the added four feet of space transformed the cramped pin-up space, into a breathable functioning environment. Moments like these, highlight the importance of teachers to design their provided classroom environment to best fit the learning objectives of the day and execute them. Many institutions do not have the luxury of large, newly remodeled spaces, but there are always opportunities to innovate and act upon.

4. Connection: Access and connection to classrooms and adjacent spaces and technology.

During an interview with a Visiting Assistant Professor at Pratt Institute, we spoke about the role technology plays in the classrooms at Pratt. “Honestly, it usually takes longer to set up the projector than give the actual lecture. So I usually avoid projecting lectures during my classes to avoid wasting time and the headache that challenges that more than often arise when I do decide to do so. Often I resort to having the class gather around and show images for the lecture from my personal laptop.”

5. Light: Amount of natural light & user control of artificial lighting. .

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The space that excelled most in the category of light, was the larger classroom used for the final critique.

Though the first space provided sufficient artificial light, the second classroom provided artificial and natural lighting. More importantly, this classroom presented opportunities for user control of the amount and type of lighting within. The artificial lighting scheme was composed of ambient florescent lighting throughout the space, and located directly in front of each allocated pin-up space, flexible focal task lighting was present. This pairing allows for each student to direct lighting onto their projects but some constraints that hinder this solution is the height of the ceilings and need to manually adjust the focal light to best suite the individual. The strongest element of lighting within this space was the access to natural light. Often the need to pull down the blinds, is rare, but the capability to do so is present.

6. Comfort-Physical & psychological: Promotion of a sense of well-being, focused minds and limited distractions.

Reducing student fatigue within the classroom, is an attribute that can be used to sustain student attention and heighten success. Temperature comfort is one area that the classrooms at Pratt struggle with. Especially during the winter months, many classrooms are notorious for transforming into saunas while others are stuck in the tundra. When analyzing the final critique classroom, the temperature level was luckily cooler on that day. This could have been in result of the three large windows on the east wall of the classroom space, or the insufficiency of the heaters on that particular day. Either way, cool temperatures can play a role in

designated classroom area pin-up critique space 11 student desks adjacent studios

(a) Studio Classroom Setting: Small group informal critique

main circulation through large studio

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case study: teaching spaces

(b) Large Classroom Setting: Individual formal critique

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alertness of the students and benefited them to stay actively engaged when listening to their peers reviews.

In conclusion, the aim of classroom design should be to foster active learning, engagement and teaching, along with supporting the higher goals of the individual institution. Though the case study showed that the classrooms within the interior design department at Pratt Institute are lacking in various elements, they show strength in others, and are presented with various opportunities for improvement and growth within the future.

part03Conclusion: Moving forward, I would like to end with a few principles brought up within the Herman Miller report. In todays classrooms, a desire to move beyond conventional thinking towards classroom design is at the forefront. What are the guiding principles that we can look to for improving the design of classrooms for the future? (1) An institution has the power to create spaces that promote students’ success and advance teaching and learning (2) Creating new spaces allows an institution to address the changing needs and expectations of students and faculty (3) Learning spaces cannot constrain or prescribe a certain style of teaching or learning. It is up to us as designers and educators to assure the design success of our classrooms. The spatial quality of these classrooms will in result act as the underlying leader and take design education to the next level by facilitating a conducive environment for successful learning outcomes.

Works Cited: Vanhemert, Kyle. “Study Shows How Classroom Design Affects Student Learning; A new study shows how color, lighting and other classroom design choices can have a huge impact on student progress.”18 January 2013. Wired. http://www.fastcodesign.com/1671627/study-shows-how-classroomdesign-affects-student-learning Darby, Alexa. “Understanding Universal Design in the Classroom.” Elon University. http://www.nea.org/home/34693.htm Leiboff, Michael David. “Rethinking Classroom Design Guidelines; The guiding principles of classroom design are changing. New models for small to medium classrooms, coupled with ever-shifting educational technology practices, are requiring guidelines serve to foster more detailed discussions of cost benefit, long term planning, and overall classroom design goals.” 2 June 2010. Campus Technology, CA. https://campustechnology.com/ articles/2010/06/02/rethinking-classroom-design-guidelines.aspx Herman Miller. “Rethinking the classroom; Spaces Designed for Active and Engaged Learning and Teaching.” Solution Essay. 2008. http://www.

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Kelsey Paul ADE 622 College Teaching: Teaching, Learning & Research in Art & Design Fall 2016: 3 Credits Professor: T. Camille Martin

“ Constructing a Pragmatic Interior Design Academic Experience.

Case Study of an Interior Design Professor �

Featuring: Annie Coggan Due: November 11, 2015

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Introduction: The purpose of this case study is to investigate and analyze the pedagogy of an graduate interior design professor at Pratt Institute. The focus of the case study will take place in the setting of a Design I graduate studio, taught by a traverse interior design professor, who is classically trained in architecture and practicing within the design industry today. In order to form a more focused study, I will study how the application of design briefs and the critique structure is molded to the student population and the pedagogy of the professor?

Case Study Participant: Annie Coggan Annie Coggan is a Visiting Assisting Professor at Pratt Institute in the graduate Interior Design Department.

She teaches Building Construction I, Design I, Interior Design Studio, Soft Construction, and a few other graduate electives. In conjunction with teaching, as stated on her website “Annie Coggan is a designer, artist, educator, founder of Chairs and Buildings, and a principal at Coggan + Crawford Architecture and Design based in Brooklyn, NY. A native of Atlanta, Georgia, Coggan received her Bachelor of Fine Arts from Bennington College in Vermont and her Master of Architecture from the Southern California Institute of Architecture (SCI-Arc), Los Angeles CA.” With a diverse background in architecture, fine arts and literature, Annie brings a unique traverse approach to the world of interior design.

Interview: Annie Coggan.

Date: October 2, 2015 Duration: 45 minutes The following interview is written in the format of summarization with the insert of direct quotes from the professor.

1.What sparked your career in teaching? How did it emerge? What keeps you teaching?

Two years during graduate school and a year following, I got a job in the architecture program for children at SciArc where I taught kids about architecture. This sparked a lot of understanding of the how and what she was teaching, thus creating further clarity in my work. The program emphasized model making and materiality, and really taught me how to explain design on an everyday basis. This made me more pragmatic and grounded in human experience, talking to students as real people, rather than layering on design speak along with unpacking spatial thinking. This exposure and ability to design and make has stuck with me throughout my career. The teaching experience there, then fueled further work in my life and I developed an adult program for mothers of the children. We used the Vitruvius program with similar methodology to the Reggio Emilia Approach: education method of teaching and fusing art and architecture, architectural thinking for non architects. Later on, I worked with Coach, Fashion Milan, doing corporate workshops for out of the box thinking.

I am very interested in the “built”. I believe in manifesting an artifact and having that be the base of your work.

Since teaching at SciArc, I have also taught at Mississippi state (CIDA accredited), Parson, SVA, and here at Pratt in the architecture and interiors department. These experiences developed my methodology of working with a strong narrative in mind. Transferring this into the classroom, I am always encouraging my students to think with their hands, “making” their research.

2. How has your training and practice in architecture informed your approach to teaching interiors?

I am a pragmatist, creator, not a functionalist (and not a German kitchen designer). Architecture is changing so much, today it is more based on systems and technologies of a space. What sets me apart from my training in architecture is that I am interested in the small scale, the intimate, and the everyday. I am interested in American politics, gender shifting, and mental and physical health. “There is this culture in design and 38

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architecture, of not sleeping and a lack of emphasize of keeping your mind and body healthy. I see this in my students and my daughter Madeline as well. When people are sleeping enough, eating right and doing physical activities, that is when they are at the peak of their creativity. I try to encourage my students to keep a healthy balance.”

3. What have you learned most from teaching? How has teaching informed your practice?

“Teaching keeps me honest and intellectually healthy. Rather than just practicing, where often you just react, teaching and practicing challenges me to constantly check back with my practice and evaluate whether I am staying true to what I am teaching in the classroom. This is how you stay really true through this type of selfreflection.”

I want an equal balance of teaching and practice. Textiles, for me in my practice, allows for researched based design. “I am a maker and this method allows me to self reflect. For me, making objects is my version of writing a book. Sometimes practice based work can become a tangent. I am working on opening up a new business by spring. The business will be based on creating decorative objects that have historic content rather than solely acting stylistically.” Another avenue for me to stay intellectually healthy is through AIA book reviews, for their monthly book club. This then further fuels my thinking for teaching. The books are about architecture and urban design, keeping in language of where we are a society. “I am a big advocate of feminism and gender equality. I had to tell the AIA that I refused to review any more books written by white, male architects.”

4. Describe your different approaches to critique? Probe: Take me through a typical critique process.

In a desk and pin up critique setting I rely on my practitioners eye. Focusing on what looks undercooked and what looks professional, I look to pick out pragmatic elements. I think it’s important to listen to what the students say and how it’s connected with what they are visually showing on the wall. Creating this conceptual margin with how they are making. I then identify the students strengths on the student and then figure out whats lacking. I look at my students work with a bosses eye, which helps get their work to a certain level.

When preparing for a mid or final critique it is very important to craft the perfect critique panel for the needs of that specific class. During the critique I try not to control the guest critique and the feedback they are giving to my students. To ensure a constructive critique, I make sure to prep them on the brief of the project and the goals and objectives that we have been focusing on throughout the design process of the project. “I am not interested in devastation. My goal is to give each student confidence throughout their final presentation.

Staying honest with my students is important to me, along with establishing a constant continuum of critiques.

The architectural association of a critique being harsh, emotional, edifying is not healthy. Looking back at those types of critiques as a student, I didn’t remember anything from it, positive or constructive. My experience at SciArc was much more of a dialogue, rather than a critique. In a year my students will be peers or competitors with me, so in my opinion it is not worth it to have that form of critiques especially at the graduate level.” It is my job to prep them as best as I can.

5. Is teaching and higher education in interior design an imperative?

“People that aren’t trained in interior design are dangerous. There is a difference between a design that offers innovation and an authentic user experience verses a design that decorates or styles. Often the untrained designer is a product of a capitalistic system of buying and matching. Higher education in design determines longevity, both on a career and a spatial basis. Design education makes students understand objectives and along with making spaces to last longer than a two years. Pinterest is not a design education, it ables people with good taste, to have an elevated sensibility to share with the public. But that alone will never compare to having a degree in design.”

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Syllabus: The following portion consists of the syllabus for INT-711/621: Design I. This studio is the fall studio for the first year graduate interior design students. Some students are continuing students from the qualifying year prior (coming from a non-design related background) and others are in their first year (with a background in design) at Pratt Institute. The whole class is then divided up into four different sections, with around twelve students per section. I have taken out the criteria for grading, attendance, ect. ______________________________________________________________________________ PRATT SCHOOL OF ART & DESIGN p 1 of 5 INTERIOR DESIGN FALL 15 INT 711 & 621 01.02.03.04 INT‐711 & 621: Design I Tuesday 9:30‐12:30/ Friday 9:30‐12:20 / 6.0 credits

01 Annie Coggan 02 Francine Monaco 03 Corie Sharples 04 Edwin Zawadski Course Description: Studio assignments deal with unique and prototypical, small to large scale interior problems, across a wide array of typologies. Problems will deal with real sites and more realistic requirements. A holistic three-dimensional approach to problem solving is emphasized, including investigation of spatial manipulation, materials, structures, light and color.

Course Goals: The projects assigned within this course pursue the following set of goals in the development of each interior designer: + Interior designers have a global view and weigh design decisions within the parameters of ecological, socio-economic, intellectual and cultural contexts in order to inform design decisions. + The work of interior designers is informed by knowledge of behavioral science and human factors. These critical elements of design will be explored in detail through design projects and research. + The design process is an integral component for Interior Designers to be able to utilize in their approach to problemsolving. This most often involves different types of research that inform the design process. Research such as: mapping, light and sound analysis, sensory investigations, etc... + Interior designers must interview and dialogue with various other professionals who have expertise and knowledge about behaviors, ergonomics, structural capabilities, as well as other specific information related to achieving a successful design resolution. Students will have the opportunity to exercise this idea during this course. + Interior designers apply all aspects of the design process to creative problem solving. A well- developed iterative design process enables designers to identify and explore complex problems and generate creative solutions. + Interior designers should engage in multi-disciplinary collaborations and consensus building. + Interior designers are effective communicators. + Interior designers apply knowledge of interiors, architecture, art, and the decorative arts within a historical and cultural context. + Interior designers apply the principles and theories of color and light.

Student Learning Objectives: Student work demonstrates an understanding of:

1. concept as an overriding strategy derived from analysis and synthesis of program, building, site, scale, and end user

2. the concepts, principles, and theories of sustainability as they pertain to building methods, materials, systems, and occupants

3. contemporary issues affecting interior design

4. a variety of business, organizational , and familial structures

5. a variety of social and cultural norms

6. universal design concepts 40

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7. the interaction of color and light, and their implications on development of materials, furniture and furnishings

Students, as part of their design process:

1. identify and define relevant aspects of a design problem (goals, objectives, performance criteria)

2. gather appropriate and necessary information and research/ evaluating, synthesizing and

applying said to design

3. generate multiple concepts and/or multiple design responses

4. understand the importance of, and are able to analyze precedents to inform design solutions

5. understand and facile application for furniture and finish materials as means to support and strengthen the overriding concept Course Requirements: Project 1 A Residence Intended to consider the changing value of community and domesticity in an urban context. How have the rituals within the private realm responded to broader cultural changes? What are the tools the designer has to create an interior?

Emphasis is placed upon concept development as it pertains to the notion of public vs. private, along with consideration of the social dynamics within a residential typology. Focus on and investigation of the impact of color, texture, joinery, and application of materials in the definition of identity and space. Furniture and finishes are considered an integral part of the concept development.

Project 2 Work Place A project addressing the social and spatial development of a contemporary workplace in a canonical mid century modern skyscraper. What factors have driven the changing environment of the workplace and what contemporary issues are driving potential design changes.

Material sustainability, the integration of thermal “health” of the office, consideration of daylight, etc. are all relevant. The advantages and possibilities of current systems furniture options will be researched. Particular attention will be paid to the integration and adaption of current technologies, modes of work, and communication in an iconic mid- century modern building that will need to be adapted to fit these evolving requirements.

Readings and LMS: Readings and Individual Project requirements shall be distributed with each project description.

All readings when available, assignments, inspiration, and updates will be posted on the Learning Management System (LMS) which can be accessed through my.pratt.edu. There you will find a main lecture section (INT 621) as well as individual studio sections.

Recommended Readings Weinthal, Lois Toward a New Interior – An Anthology of Interior Design Berger, John, The Sense of Sight, Vintage, 1993.

Bucsescu, Dan and Eng, Michael; Looking Beyond the Structure: critical thinking for designers and architects, Fairchild, 2009.

Zumthor, Peter, Thinking Architecture, Birkhauser, 2006 Zumthor, Peter, Atmospheres, Birkhauser, 2007.

Pallasmaa, Juhani, Encounters, Rakennustieto, 2005.

General Reference Harmon, Sharon Koomen and Kennon, Katherine: The Codes Guidebook for Interiors, Wiley, 2011.Ramsey, Charles George and Reeve, Harold: Architectural Graphic Standards, 11th Edition; Wiley, 2007.Grimley, Charles and Love, Mimi: Color, Space and Style, Rockport, 2007. Jackson, Paul: Folding Techniques for Designers: From Sheet to Form Studio: The basic assumption of a studio is that students learn as much from each other as from the faculty. The studio process is active and communal and involves a repetitive sequence of doing, looking, articulating, clarifying and doing again. All effort and critique is public, therefore it is essential to learn to trust and respect each other.

Work in studio! Work in studio! At no other time does a designer have access to so much intelligent feedback and constructive criticism. Take advantage of it.

Students are expected to bring in new work, drawings, models, etc. for EACH class.

Observation: Design 1. Project One; Final Critique Date: October 6, 2015 Duration: 3 Hours

For the observation portion, I sat in on INT 621/711, during their final review of Project 1. Annie had selected Francesca Bastianini, a professor in the department of architecture and interiors at Pratt to be their sole juror at the critique. Prior to the critique, Annie prepped me and Francesca on the project brief and the kelseypaul_ADE621/623_Pratt Institute

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intended focus of the critique being precedent, concept, and material. The critique of nine students took place in the central first floor hallway of the interior design building, and projected a certain informal feeling, but also allowed for the students to present their work in a constructive and potentially less stressful environment. Each student had the opportunity to present their work in a matter of five to ten minutes, and then were given feed back from both Annie and Francesca. Each juror used this platform not only as a time to give specific feedback on the students individual project but took the the time to address learning opportunities for the whole class.

There was a trend of the jurors to point out the strengths of the project, identify aspects that were lacking, address the opportunities for improvement and then end with a positive note. Terms like “all clear, push one more idea”, “not quite reading…really good thought”, “i appreciate”, “circle back around, this could be a knockout project, continue to investigate this idea,” “you’re ready for a challenge.” I heard Annie interject during on of the students critiques that final critiques are here to “blow your mind.” She mentioned that it was a time to really analyze the conceptual thinking, and what the deeper notion that is being conceptually addressed. Many of the critiques touched on precedent, concept, material, and vocal and visual language displayed throughout the presentation. A few times Annie vocalized the reasoning for a certain direction of a students project due to a specific conversation they had prior. From my observation, the most engaging critique was the one where both jurors got out of their chairs and interacted with the students models and presentation boards. This student to juror interaction, allowed for the most constructive and engaged conversation to occur. Overall, the structure of the critique was very honest to the pedagogy of Annie and the learning objects of the project.

Literature

As observed through the conducting the interview and sitting in on a studio session, I a discerned the focus on invention and pragmatic learning to at the core of how Annie leads her interior design studio. For further research I first looked to George E. Hein. Constructivist Learning Theory. 1991. The essay begins with defining constructivism, “the idea that learners construct knowledge for themselves - each learner individually (and socially) constructs meaning.” With this method, the role of the teacher is to offer avenues for students to build their own knowledge. “We have to recognize that there is no such thing as knowledge ‘out there’ independent of the known, but only knowledge we construct for ourselves as we learn (Dewey, Experience and Education, 1938). Learning is not understanding ideas, but rather a personal and social construction of meaning out of the bewildering array of sensations which have no order or structure besides explanations which we fabricate for them (G. E Hein, 1991, pg.44).” This quote, is very indicative of studying interior design, because it deals with space on an intimate human scale. Experimenting with materiality, soft architecture, furniture, and other elements of the interior is a very attainable process.

Building off of constructivism, I looked to the essay title The Hand from the in The Craftsman by Richard Sennett, 2008 and his quoting of Immanuel Kant. At the core of constructivism, is acknowledging how much “our sense of touch, affects how we think… Two centuries ago Immanuel Kant casually remarked, the hand is the window into the mind (chapter five, 2008).” This process of experimentation and constructing, adds a level of depth to the learning experience of design, that lectures and textbooks can not reach.

The last piece of literature that I looked to was Jeffrey Slatenik’s essay, “Josef Albers , Eve Hesse and the Imperative of Teaching.”(http://www.tate.org.uk/research/tateresearch/tatepapers/0spring/ saletnik. htm) (pp. 41-110). Through the text we can see that Albers & Hesse too emphasized a level of making and experimentation in design education. “The artist (Johannes Itten) claimed that through exercises dealing with materials and materiality ‘a…new world was discovered.” This idea of learning by doing was also seen through the encouragement of experimenting with the materials further, thus allowing for a true understanding of the potential use and limitations within the intended design. This too, is seen in Annie’s approach of material exploration and inventiveness in the works of her students. A certain essence of the Bauhaus is apparent in her pedagogy.

Analysis

Based on my observations during the critique, I would classify Annie as a judge, with a side of encouragement. The judge, a term coined in The Handbook; The Art Students Sourcebook & Survival Guide, is “an instructor that appears to operate with a large degree of detachment and without any predetermined position and no style appears to be favored over another. The judge weighs the evidence, and her assessments are balanced between positive and negative (Buster & Crawford, pg. 97)”. During the interview 42

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Annie spoke that “Staying honest with my students is important along with establishing a continuum of critiques. I rely on my practitioners eye. Focusing on what looks undercooked and what looks professional, I look to pick out pragmatic elements. Its important to listen to what they say connected what they are showing on the wall.” This was very consistent to how the critique operated. When I observed Annie made sure to point out positive elements of the students work, making a connection to the goals of the project, along with giving the students constructive feedback or areas they can improve upon. Often judges have a face of neutrality, but Annie’s face of neutrality showed itself in a uplifting, approachable manner. Each student received a dose of pragmatic, constructive and positive feedback for improvement.

Constructivism is very much at the core of Annie’s approach. “Encouraging my students to think with their hands, making their research,” as stated in our interview, aligns with the guiding principles of constructivist thinking. Summarizing the points listed in (G. E Hein, 1991, pg.45), the pedagogy that “learning is an active process in which the learners uses sensory input and construct meaning out of it” was visible in Annie’s teaching process. Each student’s project exhibited a main concept idea that surpassed the norm of space planning and material application, which was shown through a digital or physical model of that idea.

This execution stayed true to both Annie’s pedagogy and the course goal that stated “Interior designers apply all aspects of the design process to creative problem solving. A well-developed iterative design process enables designers to identify and explore complex problems and generate creative solutions.”

One strength of Annie’s is to look at the larger picture of her students learning experience and facilitate various avenues for individual growth of her students. I experienced this first hand when I was one of her students for the same course. During desk critiques, Annie will first capitalized on the inventive thinking and experimentation of the proposed concept idea by offering constructive feedback and proposing additional precedence to look at, but also acknowledged and challenged the students to think about what their larger personal goals were. For me, coming into the masters program, I had completed a bachelors program in interior design at a classically trained design school prior. Annie constructively challenged me to “explore and define meaning for continuing my studies at the graduate level.” She said to me, “we both know you’ve got the good girl designer part down. Now challenge yourself to stretch those binds, and interrogate your abilities as a designer. Make a goal of visiting galleries on the regular and look down new avenues to inform your work.” This is an example of Annie’s ability to assess what type of learner each student is and tailor her critique on a personal level. Along with this, she fulfilled the course goal “interior designers have a global view and weigh design decisions within the parameters of ecological, socio-economic, intellectual and cultural contexts in order to inform design decisions” through recommending precedences beyond the field of design.

Conclusion

Based on this thorough investigation into the pedagogy Annie Coggan, and a closer look into the application of design briefs and critiques in a Design I studio setting, it has helped to understand one method for teaching interior design at the graduate level. There will never be a definite answer to this inquiry but I have found the importance of pragmatism, constructivism, and inventiveness to be an effective means to teaching an interior design studio. When comparing it to the education of a similar trade, like architecture, in the words of Annie, “architecture is changing so much, today it is more based on systems and technologies of a space.” What often differentiates the interior from architecture is the level of scale and closeness to the human experience. This case study has offered insight into techniques for teaching design on a spatially intimate level, but could be strengthened with a comparison to an architectural course? We are still at a time in society where the education of interior designers and architects are often divided with little collaboration at the academic level. This brings up further questions of whether or not this separation of educating both fields is helpful or hindering in the long run? Interior design, essentially is a subset of architecture, but can we identify effective approaches in teaching interior design verses teaching a course in architecture? Overall, this case study experience has been an informative basis on how to teach a studio course on interior design.

References Hein, G. (1991). Constructivist Learning Theory.

Sennett, R. (2008). The Craftsman. Part Two: Craft. Chapter Five. kelseypaul_ADE621/623_Pratt Institute

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Kelsey Paul ADE 623 Special Topics: Sophomore Design Studio.

College Teaching: Practicum Spring 2016: 4 Credits Professor: T. Camille Martin

Lecture: Critical + Confident Voice: Strategies for Public Speaking Distributed: Feb. 24, 2016 Due: March. 30, 2016 (4 week assignment)

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Intro: Raise of Hands; Who loves presenting?

Who considers themselves a strong presenter?

Critical + Confident Voice: Strategies for Public Speaking kelsey paul + int 202 lecture + sp2016

My personal journey with public-speaking: Growing up very shy, the idea of public speaking evoked a lot of fear. Even throughout grad school it has been something I too have struggled with. Indeed it essentially is ironic for me to give a presentation on public-speaking. I know that I am not alone, so I chose to take this opportunity to investigate some and share with you all someways that we all can improve our presentations.

“Talk like TED: The 9 Public-Speaking Secrets of the World’s Top Minds.”Techniques for Public Speaking: Story Telling: Project Narration Have a Conversation: Verbal Communication Confidence + Execution: Non-verbal Communication As designers our strengths and focuses often lie within the realm of visual communication, but through strengthening our verbal and nonverbal communication skills we can persuade our clients to take our creative concepts and make them tangible

the warm up: shake it off

actions.

The Warm Up: Ice Breaker.

Who all has played sports, danced, exercised, etc?

Activating our mind & body Energized movements can change your state of mind, boosts your energy level and makes a huge impact on the way that your audience perceives you. -Tony Robbins pg.106 Vocal warm up, roll head, stretch, shake out arms, small jumps, high five neighbor, etc.

Now we are fully warmed up to learn tools of how to up our verbal and nonverbal skills!

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Background: Gallo, Carmine. Talk like TED: The 9 Public-Speaking Secrets of the World’s Top Minds.

Carmine Gallo: Former CNN & CBS anchor & correspondent, current communications coach, and author of The Presentation Secrets of Steve Jobs.

1. emotional 2. novel 3. memorable Gallo, Carmine. Talk like TED: The 9 Public-Speaking Secrets of the World’s Top Minds.

“Ideas are the currency of the twenty-first century.”Gallo and “Like it or not, we are all in sales now.”Daniel Pink (author: To Sell is Human) Conducted analyses of 500 TED presentations.

Based on this analysis he established three components of an inspiring presentation: Emotional-They touch the heart Novel-They teach something new Memorable-They present content in unforgettable ways “Better-than-average communicators are generally more successful than other people, but great communicators start movements.”

Role of Passion in Presentations: TEDnote p.21 Q: What evokes pre-presentation jitters most?

Q: Now, ask yourself what makes your heart sing?

What is it fundamentally about interior design that you are passionate about?

what makes your heart sing? role of passion in presentations TEDnote p.21

Your passion is not a passing interest or even a hobby.

A passion is something that is intensely meaningful and core to your identity… Your true passion should be the subject of your communications and will serve to truly inspire your audience.

Lets all look back on epic presentations that we have watched. What was it about this presentation or presentation style that stood out most to you?

I start to think about peers and teachers who I view as strong presenters and 99% of the time, it is their enthusiasm, charisma, and passion that they share for their topic, that makes their presentation stand out to me.

Pratt community of Learners: We are each others best tools & support system.

Socratic Method of Learning + Dialogue “When you’re surrounded by people who share a collective passion around a common purpose, anything is possible.”-Howard Schultz CEO Starbucks. p.37 Each and everyone of us has the potential to visually

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“Stories are data with a soul.”

and verbally communicate our creative genius and captivate our audiences during our presentations.

Story Telling + Narration: “Stories are just data with a soul.”- Brené, TEDx Houston 2010 pg.41 Storytelling is the best way to reach people’s hearts & minds:

- Brené, TEDx Houston 2010

“Brain scans reveal that stories stimulate and engage the human brain, helping the speaker connect with the audience and making it much more likely that the audience will agree with the speakers’s point of view.” pg.44

TEDnote p.41

Theory: The Power of Persuasion: p.47

ethos: credibility logos: logic+data pathos: emotion - Aristotle. Greek Philosopher. power of persuation p.47

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“The greek philosopher Aristotle is one of the founding fathers of communication theory. He believed that the persuasion occurs when three components are represented: ethos, logos and pathos.

Ethos: Credibility Logos: Logic, data, & statistics.

Pathos: The art of appealing to emotion

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1. personal 2. other people 3. success or failures Three Types of Stories: p.53

Three Types of Stories: p.53 1. Personal: directly related to the theme of the conversation or presentation 2. Other people: who a have learned a lessons others can relate to 3. Success or Failures: of products, brands, or spaces Brand Storytelling Through Design: p.61 As interior designers, knowing the brand & identity of our client, blended with our knowledge of design & critical thinking skills, leads to great designs and user experiences.

It is our jobs to both express this to our clients visually and verbally.

“To succeed, you have to persuade others to support your vision, dream, or cause. Whether you want to motivate your executives, organize your shareholders, shape your media, engage your customers, win over your investors, or land a job, you have to deliver a slain call that will get your listeners’ attention, emotionalize your goals as theirs, and move them to act in your favor. You have to reach their hearts as well as their minds - and this is just what storytelling does” Peter Gruber, president of Mandalay Entertainment, producer of Batman & the Color Purple (pg.66)

“Don’t fake it till you make it. Fake it until you become it.”

- Amy Cuddy, TEDglobal 2012

Have a Converstation: Don’t fake it till you make it. Fake it until you become it. - Amy Cuddy, professor, Havard Business School pg. 75 The more you practice, the more comfortable you will be, and the more successful your presentation will be.

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1. plan a. visual b. verbal

Step to Concocting a Strong Visual + Verbal Presentation.

1. Plan a.Visually b. Verbally

Three Types of Stories: p.53

Presentation Mapping:

map it out.

Gather your tool kit: all iterations, research, process & designs.

Bubble Map: Key information that informed the story of your design through all phases.

This will help you build a narration map to guide your visual and verbal presentation.

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Possible Mapping Points: Client + Brand: What makes their brand unique?

What was the starting points to inform the design development?

Client + Brand: Precedents + Case Studies: Design Development: Spatial Narration & User Experience Make an Impression

Precedents, Case Studies: What did you research?

What did you take away from these and how do they start to inform your design?

Design Development: Merging of 1 & 2. Concept & form development, space planning, etc. How does all you know so far, start to form itself spatially, visually, experientially?

Spatial Narration & User Experience: Take us on a journey: Circulation, ephemeral experience, light quality, material experience, the life that happens within? What does it feel to walk through your design?

What are the different user experiences? Highlight design details, pieces of your design that are strongest to portray the story of your project.

social sustainability:

JUNKSPACE CONSIDERED AS REGENERATIVE SPACE.

dialogue, community circulation + exchange

0

transforming stagnant self-storage facilities

kelsey paul_mfa thesis_2016

concept research:

furniture

l e roy

G

DN

DN

DN

e

DN

DISPLAY+STORAGE DN

ADMIN:office

INFO:desk

A

POP-UP shop

e

:

_module

accessible modular storage

41% floor coverage of accessible storage.

3: demo+community kitchen

B

choice of unit sizes: 3.5’x3.5’x8’ 3.5’x7’x8’

C

360 unit accessibility

e

hud so n

weekends:

Public Flea Market

_module

3: community eating space

DN DN

INFORMATION: interactive area

theCollective FLOOR PLANS:

D

s t re e t

e

KITCHEN STORAGE: movable system

DN

SHARED foodSPACE: INFORMATION: interactive area

CIRCULATION OF ITEMS

3.5’x7’x8’

3.5’x3.5’x8’

8x8_circulation per unit movement_module rail_system

FOOD TRUCK: window

ENCLAVE:

WC: 1

PASSENGER ELEVATORS: a+b

DN

stoop sale capabilities

street

1

private unit opens & allows user to sell items directly from their unit during the weekend flea market

PRIVATE UNITS

2

24/7: ACCESS + APPRECIATE ITEMS

(1) private storage

small business MEMBERS

OP

(2) small business owners

CLOS

G

ORKIN

verbal + visual.

SHARING

DN

SINGLE ITEM: conveyor belt

WC: 1

SHARED POOL STORAGE

furniture is the most common stored item in the US

the COLLECTIVE

2.35 billion SQF

rent + GIVE

WC: 2

UP

(3) single item storage

non active. saved space

PASSENGER ELEVATORS: a+b

active. access to individual stored items

S T OR E ,s ha r e , s e l l , b u y, r e nt + G I V E

THEFACTS

24/7: VISIBILITY + ACCESSIBILITY STORE,sell, buy,

FREIGHT ELEVATORS: a+b

ED LO

unity Comm

REFUSE CENTER: recyle+organize +donate

( 4 ) s h a re d p o o l s t o r a g e

SELF-STORAGE RESEARCH:

billion-per-year industry in the United States

OPEN STORAGE: small items

Private Self-Storage

mor t on

GE

NETW

PARSONS KITCHEN ALLAN WEXLER + compressed for storing + operable in shared flexible space

lity

the COLLECTIVE

LIVING ROOM

22

E

FOOD TRUCK+ UHAUL WC: 2 OPEN STORAGE: small items

MUSEUM: visible storage SINGLE ITEM: conveyor belt stoop

UP DN

( 0 ) t h e s u r ro u n d i n g community

ssibi

KITCHEN

flat pack modular

+STORA

acce

BATHROOM

90* FURNITURE KapteinBolt

weekdays:

e LOADING DOCK: 1+2

DN

FREIGHT ELEVATORS: a+b

DISPLAY

stoop

visibleSTORAGE

DN

THIRD PLACE

BEDROOM

02

UP

UHAUL

SHARED makerSPACE:

SHARED mediaSPACE

visibleSTORAGE

05

We l c o m e t o t h e c o l l e c t i v e : a storage facility focused on c o m m u n i t y, s h a r i n g , a c c e s s i b i l i t y and a closed loop lifestyle.

interchangeable flexibility within a restricted space

circulation through site passageways

sporting goods

oversized

FIRE EGRESS: 2

DISPLAY

CO-STORAGE PROGRAM:

CRATE HOUSE ALLAN WEXLER

household

DOCUMENTATION: catalog+ organize

DISPLAY+STAIRS TO LOFT

e

04

McCormick Tribune Campus Center OMA

H

e

THE REGENERATIVE MODEL SELF-STORAGE

the COLLECTIVE

+ scarcity and abundance

PRECEDENT+ METHODOLOGY:

hardware

PACKAGE: center

DN

MEDIA STORAGE: movable system

+ junkspace; modern architecture and the ramifications of the culture of excess.

- Rem Koolhaus

JUNK+SPACE REGEN+SPACE

01

Surrounding COMMUNITY MEMBERS

singleITEM STORAGE: UP

FIRE EGRESS: 1

THE CURRENT MODEL SELF-STORAGE

Q: how design can solve this need for sustainability, accessibility, circulation and redistribution of already owned items?

s t re e t

00

Make an Impression: Conclusion, recap your concept, and end on a high note.

Write out your whole script.

Merging Visual + Verbal: Looking back on all your hard work up to this point, it is time to go back and edit which Design presentation boards, powerpoint, props, etc.

Visual + Verbal = Same Narration & Language

closed loop lifestyle:

STORE,share, sell, buy, rent + GIVE

A PLACE FOR COMMUNITY

1

A . v i s i bl e m us e um s t o r age heirlooms, and antiquities, the

03_Second Floor 1/8" = 1'-0"

(02) SECOND LEVEL

B. l a r g e s i n g l e i t e m s

SHARE SELL trade rent

SINGLE ITEM STORAGE

beds, bikes, furniture, sporting goods, etc

UP

nationwide

=

PRIVATE UNITS

SHARED makerSPACE:

STOOP MARKET

4x8

3

---

FREIGHT ELEVATORS: a+b

USERSURVEY

RAGE

Y+STO

4x4

DISPLA

3 Manhattan Islands

SINGLE ITEM STORAGE

DISPLAY+STORAGE

0-4 membership.

select module.

2

small business MEMBERS

a

0-3 membership.

b

pop-up shop.

Includes all perks.

3

SINGLE ITEM STORAGE

a

0-2 membership.

b

select method.

Includes all perks.

4

SHARED POOL STORAGE

a

0-1 membership.

b

shared spaces.

WC: 1

PASSENGER ELEVATORS: a+b

SINGLE ITEM STORAGE: a

SINGLE ITEM STORAGE: b

SINGLE ITEM STORAGE: c

DISPLAY+STORAGE

DISPLAY

TO RAGE DISPLAY: small items

DISPLAY: small items FOOD TRUCK: window

imbedded into display shelving

MUSEUM: exhibition space

1

SINGLE ITEM:

GATHER: meeting nooks

conveyor belt

DN

stoop

WC: 1

KITCHEN STORAGE: movable system

stoop

PASSENGER ELEVATORS: a+b

UP DN

DN

DN

ADMIN: office

3: demo+community kitchen

SHARED SPACE: cooking maker space

LOBBY: front desk

DN

3

POP-UP SHOP: a

UP

SHARED SPACE: 2 loft storage

ENTRANCE: (b) hudson street

02SHARED SPACE

SHARED SPACE: 3 loft storage

DISPLAY+STORAGE

stoop

sha ma re ke +

0M

DISPLAY+STORAGE

---

ENCLAVE:

stoop

---

KITCHEN STORAGE: movable system

DN SINGLE ITEM STORAGE:

SINGLE ITEM STORAGE:

a

small items

DISPLAY

FOOD TRUCK: window

DN WC: 1

E

KITCHEN STORAGE: movable system

DN

DN

movable storage

DN INFORMATION:

3: demo+community kitchen

interactive area

ADMIN: office

food truck window + eating

GATHER: meeting nooks

conveyor belt

PASSENGER ELEVATORS: a+b

DN

SHARED SPACE: cooking maker space

LOBBY: front desk

3

DN

3: community eating space

01

D

B

DN

DN

POP-UP SHOP: a

ENTRANCE: (a) hudson street

ENTRANCE: (b) hudson street

C

ENTRANCE: (b) hudson street

D

fur sin nit gle ure ite sto m rag e

0m

C

demo+ community kitchen

A

community eating space

A

01

sh ma are ke +

SINGLE ITEM STORAGE:

b

c

UP FIRE EGRESS:

2

UHAUL FLEXIBLE SPACE: catalog + organize

SHARED SPACE: maker space

2

1

DN

FREIGHT ELEVATORS:

a+b

P LAY+S TO

FOOD TRUCK+ UHAUL

R AGE

DN

LOADING DOCK:

LOADING DOCK:

2

+ workshop

DN

WC: 2 DISPLAY+STORAGE

DISPLAY DISPLAY:

small items

DISPLAY:

small items FOOD TRUCK: window

STAIRCASE TO LOFT: imbedded into display shelving

SHARED SPACE: library + media

MEDIA STORAGE: movable system

MUSEUM: exhibition space

1

SINGLE ITEM:

GATHER: meeting nooks

conveyor belt

center

DN

ENTRANCE: (d) morton street

DN

DN WC: 1

KITCHEN STORAGE: movable system

stoop DISPLAY+STORAGE

DISPLAY+STORAGE

PASSENGER ELEVATORS: a+b

UP DN

ENTRANCE: (d) leroy street

DN

DN

DN

DN

DN INFORMATION:

3: demo+community

interactive area

kitchen

DN SHARED SPACE: cooking maker ADMIN: office

LOBBY: front desk

space

DN

DN POP-UP SHOP: a

---

INFORMATION: interactive area

ENTRANCE: (a) hudson street

ENTRANCE: (b) hudson street

3

DN

01 3: community

eating space

01

SHARED foodSPACE: INFORMATION: interactive area

ine aN zz

DN

DISPLAY+STORAGE

DN

B

DISPLAY+STORAGE

DISPLAY:

MUSEUM: exhibition space

SINGLE ITEM:

stoop

stoop

UP DN

INFORMATION:

interactive area

me

SINGLE ITEM STORAGE: furniture+ household

SHIPPING + PACKAGING+

ENTRANCE: (e) leroy street

PASSENGER ELEVATORS: a+b

DIS

DN

2

1

FOOD TRUCK+ UHAUL

WC: 2

DISPLAY: small items

1

DISPLAY+STORAGE

DN

01

UP

FIRE EGRESS: 1

RECEIVING: center

ENTRANCE: (g) leroy street

E LOADING DOCK:

LOADING DOCK:

DN

R AGE

WC: 1

DISPLAY+STORAGE PASSENGER ELEVATORS: a+b

WC: 1

UHAUL

TO

UP

DN

SINGLE ITEM: conveyor belt stoop

UP

0M

UP 2

a+b

P LAY+S

DISPLAY+STORAGE

DISPLAY+STORAGE

SHARED SPACE: 1 loft storage

DISPLAY+STORAGE

stoop

visibleSTORAGE

SINGLE ITEM STORAGE: c

FIRE EGRESS:

FREIGHT ELEVATORS:

DIS

RAGE

SHARED mediaSPACE

visibleSTORAGE

SINGLE ITEM STORAGE: b

2

DISPLAY

imbedded into display shelving

movable system

flexible space

UP

SHARED SPACE: 2 loft storage

FOOD TRUCK: window

F

0M SINGLE ITEM STORAGE: a

FLEXIBLE SPACE: catalog + organize

SHARED SPACE: maker space + workshop

STAIRCASE TO LOFT:

SHARED SPACE: library + media center

MEDIA STORAGE:

DISPLAY+STORAGE

DN

FOOD TRUCK+ UHAUL WC: 2

MUSEUM: visible storage

theCollective catalogue

SHARED SPACE: 3 loft storage

stoop

SINGLE ITEM STORAGE: furniture+ household SHIPPING + PACKAGING+ RECEIVING: center

DN

DISPLAY+STORAGE

-

---

DISPLAY OPEN STORAGE: small items

stoop

UP

FIRE EGRESS: 1

ENTRANCE: (e) leroy street

ENTRANCE: (d) leroy street

furn sin itur gle e item sto rag e

FREIGHT ELEVATORS: a+b

OPEN STORAGE: small items

loft storage space

WC: 1

buy. Members have option to sell items on the colelctive cataloge to the community.

LOADING DOCK: 1+2

DN

DISPLAY+STORAGE PASSENGER ELEVATORS: a+b

---

po sto ol ite ra m ge

store: Pool Item Tools, Single Item Furniture

ENTRANCE: (e) morton street

UHAUL

UP

DN

DISPLAY+STORAGE

0M

---

share. Items for making + creating

UP

FIRE EGRESS: 2

f

DISPLAY+STORAGE

SHARED SPACE: 1 loft storage

makerspace.

sporting goods

oversized

DOCUMENTATION: catalog+ organize SHARED makerSPACE:

MEDIA STORAGE: movable system

+access to all of the e v e n t s , p ro g r a m s , t h e n e x t f l e a m a r k e t , ro t a t i n g f o o d trucks, pop-up shops and items that live within the s t o r a g e f a c i l i t y.

3: community eating space

DN

ENTRANCE: (b) hudson street

DISPLAY+STORAGE

household

make: DIY Projects, Woodshop based Projects

DN

Y+STO

di a l og u e c om m u ni t y c i r c u l at i on e xc ha ng e

01

DN INFORMATION: interactive area

DN

ENTRANCE: (a) hudson street

01

DN

DN

INFORMATION: interactive area

hardware

rent. Furniture for staging, movie sets, photoshoots

ENTRANCE: (f) leroy street

DISPLA

STREET

STREET

MOR TON

LEROY S T R E E T

01

DISPLAY

STAIRCASE TO LOFT:

DISPLAY+STORAGE

DN

-

furniture PACKAGE: center

Repair

stoop

H U D S O N

2

1

a+b

---

singleITEM STORAGE: UP

FIRE EGRESS: 1

Trade

DISPLAY+STAIRS TO LOFT

residential analysis

LOADING DOCK:

LOADING DOCK:

DN

FREIGHT ELEVATORS:

FOOD TRUCK+ UHAUL

SHARED SPACE: library + media center

movable system

DISPLAY+STORAGE

ENTRANCE: (d) leroy street

Sell

---

intial passageways diagram through building

rent. Cooking tools for staging, movie sets, photoshoots, small dinner parties buy. Food from connected food truck + culinary tools

UHAUL

MEDIA STORAGE:

Utilize thecollective catalog:

DN

commerce analysis

intersecting streets diagram through building

make: Food, meal prep, learn to cook, + attend cooking events at the community kitchen.

2

2

DISPLAY+STORAGE

-

west village

sh ma are ke +

UP FIRE EGRESS:

FLEXIBLE SPACE: catalog + organize

SHARED SPACE: maker space + workshop

WC: 2

Rent

“Stoops allow neighbors to get to know each other, keep a check on neighborhood events, and create a social hotspot to for the community.

Kids can play stoop ball, and adults can have stoop sales.”

0M

stoop

SINGLE ITEM STORAGE: furniture+ household

DN

DISPLAY+STORAGE

Share

Buy

SHARED SPACE: 3 loft storage DISPLAY+STORAGE

stoop

SHIPPING + PACKAGING+ RECEIVING: center

ENTRANCE: (e) leroy street

P LAY+S

Trade

Browse

daily:

STORE,share, sell, buy, rent + GIVE

share. Items for cooking, recipes, + food

UP

DISPLAY+STORAGE

UP

FIRE EGRESS: 1

FOODspace.

store: Pool Item Cooking appliances + utensils, Single Item Cooking Utensils

DISPLAY+STORAGE

DISPLAY+STORAGE

---

(01) MEZZANINE LEVEL

DIS

Rent

closed loop.

ine

Share

c

ACTIVATE + UPCYCLE

daily:

CO-Storage + THIRD SPACE 03SHARED SPACE 0m

UP

SHARED SPACE: 2 loft storage

stoop shops.

nyc stoop culture

rent. Furniture for staging, movie sets, photoshoots buy. Members have option to sell items on the colelctive cataloge to the community.

DN

closed loop.

Sell

Rent d

po sto ol ite ra m ge

make: DIY Projects, Woodshop based Projects

SHARED SPACE: 1 loft storage

c

aN

Buy

stoop market.

Options to sell & circulate unwanted items from units to community on weekends.

---

demographics:

Average age 25-44.

Gen Y & Millennials.

Rent $2,100-3,000.

Medium income $68,700.

Non-family, single household, & married family.

Mircro Housing.

share. Items for reading, listen + playing store: Pool Item books, moviesSingle Item vre

stoop

Utilize shared items Host classes/rent out for events

zz

Browse

435 hudson street new york, ny 1001

buillding info:

Year Constructed: 1931 Number of Floors: 9 Total Building area: 291,064 SF Floor Sizes: 30,755-31,579 SF Neighborhood Name: West Village

01SHARED SPACE

MEDIAspace.

SHARED foodSPACE: WC: 1

Share items in pool

Monitored storage Museum

me

catalog.

SITE SELECTION:

Opportunities to curate & sell at on-site pop-up shop (rotating)

DISPLAY+STORAGE

03

thecollective

MUSEUM: exhibition space SINGLE ITEM: conveyor belt

PASSENGER ELEVATORS: a+b

stoop

Large: 4x8x8 c

c

UP

SHARED mediaSPACE

DISPLAY+STORAGE

Includes all perks.

Includes all perks.

stoop

Small: 4x4x8 shared spaces.

Attend workshops.

DISPLAY+STORAGE

PRIVATE UNITS

a

b

Public seating

DISPLAY+STORAGE

1

Gather Food trucks

DISPLAY+STORAGE

third place.

DISPLAY

Surrounding COMMUNITY MEMBERS

a

b

DISPLAY+STORAGE

0

01

ENTRANCE: (b) hudson street

0M

loft shared space scale 3/32 storage

10’

DN

3: community eating space

DN DN

ADMIN:office

INFO:desk

POP-UP shop

INFORMATION: interactive area

ENTRANCE: (a) hudson street

(00) GROUND LEVEL

ENTRANCE: (b) hudson street

7’

3: demo+community kitchen

0M

3.5’

ENTRANCE: (b) hudson street

4

01

SHARED POOL STORAGE

shared space

01

stairs integrated into visible storage.

non active. saved space

active. access available to loft storage

kelseypaul_ADE621/623_Pratt Institute

51

Craft your Critique Experience:

craft your critique experience - Annie Coggan.Adjunct Professor.

Pratt Institute.

What type of critique is it?

Client meeting, site visit, desk crit, informal pin-up, formal pin-up, final critique.

Who is your audience?

Client, professor, department chair, industry professional, peer, community member?

Each audience type will have a different understanding, expertise, interest that will play a part in how their view & interpret your presentation.

Put Yourself in Their Shoes?

From the presentation you have designed, what is the message being told from your visual and verbal communication?

What questions might they have? How can you clarify and answer these questions in your presentation? Constantly be asking yourself why, why, why?

Practice, Practice, Practice

2. practice, practice, practice Three Types of Stories: p.53

52

Read aloud alone Practice aloud to an audience Record yourself presenting Watch the recording.

Print boards early, practice presentation aloud in front of your presentation.

kelseypaul_ADE621/623_Pratt Institute

Read aloud alone Practice aloud to an audience Record yourself presenting Watch the recording.

Print boards early, practice, practice, practice

Passion, Practice & Presence

Presentation Flow:

- Amanda Palmer , TEDglobal 2013

Passion, Practice & Presence

TED2013 presenter Amanda Palmer “preaches the importance of the three P’s: pg.80

This will help you to deliver presentations in genuine, conversational ways.

kelseypaul_ADE621/623_Pratt Institute

53

Rate: Speed at which you speak Volume: Loudness or softness Pitch: High or low inflections Pauses: Short pauses to punch key words Enunciation + clarity

How to Say it so People Listen: pg.81 Rate: Speed at which you speak Speak in a Conversational Tone: TED presenter Bryan Stevenson: pace of 190 words per minute. Pay attention to how he is telling the story, the natural tone, conversational manner, and authenticity of his voice. pg.84 18 minute presentations are proven to be the most effective length. Know how much time you have for your presentation & base the word count of your narrative on the suggested pace.

Volume: Loudness or softness Pitch: High or low inflections Pauses: Short pauses to punch key words Enunciation + clarity Inform + Entertain: “Great speakers act out a story. They must embody their words.”

Nonverbal communication: Body Language

nonverbal communication.

“Body language makes a world of difference. It helps identify the difference between deception and truthfulness,” - Morgan Wright CIA, FBI, NBA pg.89 Based off his study of 300 criminal cases whose outcomes were know….

“When I watch someone give a presentation, I evaluate them the same way as I did during interrogations,” Wright said. “When you’re delivering information that you don’t believe in or are lying about, you manifest the same behaviors as suspects in criminal or espionage cases who are lying to officers or agents.”

Wrights advice: believe in what you’re saying… “If you don’t believe, your movements will be awkward and not natural. No amount of training - unless you’re a trained espionage agent or psychopath — will allow you to break that incongruence between your words and actions. If you don’t believe in the message, you

54

kelseypaul_ADE621/623_Pratt Institute

cannot force your body to act as though you believe in the message.” pg.89-90

body language. command your presence.

Command Presence: Air of Confidence: Walk the walk, talk the talk, look the look. As people and designers we are constantly selling ourselves and our ideas.

Ways to command your presence: head high back straight dress to impress: solid colors to stand out make strong eye contact give a firm handshake speak concisely and precisely stay calm use “open” gestures: palms up, open, hands apart project you voice “The way you carry yourself actually changes the way you feel when you’re delivering a presentation.” pg.94 Hand Gesters:

hand gestures. use strategically. power sphere.

“Studies have shown that complex thinkers use complex gestures and that gestures actually give the audience confidence if the speaker.” pg.97 Simple Fixes to improve the way you use your hands: pg.97 Use Gestures: Let your hands be free! Stay away from keeping your hands in your pocket, hugged around your sketchbook or bound to a piece of paper.

Use Gestures Sparingly: Use them naturally. Your story will guide them.

Use Gestures at Key Moments: Save the most expansive gestures for key moments in the presentation. Let these purposeful gestures help to reinforce your key messages. Keep them genuine to your personality and style.

Keep your Gestures within the Power Sphere: Eyes to the belly button. Hands that hang below your navel lack energy and “confidence.” Hand gestures in the power sphere give the audience a sense of confidence about you as a leader, helps you to

kelseypaul_ADE621/623_Pratt Institute

55

communicate your thoughts more effortlessly, and enhances your overall presence.

Show example of Jennifer Granholm’s words with corresponding Gestures pg.99

eager nonverbal. quick fixes.

Eager Nonverbal: This example of Granholm’s body language is an example of a style that social scientists have found to be persuasive. Very animated, broad, open movements; hand movements openly projected outward; and forward-leaning body positions.

TEDtip: pg.101 “Sit up. It will help you feel more self-confident.

A 2009 study published in The European Journal of Social Psychology found that posture makes a difference in how people evaluate themselves.

Volunteers who filled out a mock job application were told to either sit straight or slouch. Those who sat straight as they filled out the form reviewed

themselves far more favorably than the slouchers.

When you practice your presentation, stand tall.

It will give you confidence for the real thing!

Easy fixes for Common Body Language Problems:

“Our bodies change our minds and our minds can change our behavior, and our behavior can change our outcomes.”

- Amy Cuddy, TEDglobal 2012

56

Fidgeting, Tapping, & Jingling: Moving with purpose Standing Rigidly in Place: Walk, move and work the room.

Hands in Pockets: Utilize your power sphere!

Conclusion: Power Stance “Our bodies change our minds and our minds can change our behavior, and our behavior can change our outcomes.” - Amy Cuddy.

Power stance practice: stand up, arms above head, palms up, head tilted back, deep breathe.

We got this.

kelseypaul_ADE621/623_Pratt Institute

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58

05

kelseypaul_ADE621/623_Pratt Institute

Kelsey Paul ADE 623 Special Topics: Sophomore Design Studio.

College Teaching: Practicum Spring 2016: 4 Credits Professor: T. Camille Martin

Project Brief: Spatial Preset: All About Volume Distributed: April 6, 2016 Due: April 26, 2016 (3 week assignment)

Take aways from the projects in INT202:

From my observations while being a teachers assistant in Design 2: The fundamentals of Design, and looking back at the three projects assigned throughout the semester, I believe that some reworking of the order and scope of the assigned projects could be advantageous for the growth of the students.

Scope of the projects proceeded from medium, small, to large. The first project, titled an interior facade for a restaurant focused on materiality and beginning design principles of space making, functionality, and the tectonics of how designs are built, all constrained by an assigned sustainably deemed material.

The second project, titled an individual space for worship, was a full scale built design executed in teams of 10-12. Again constrained by an assigned reused material, the students were challenged to take reused coffee cups are their module to build their space for worship. Much of what I observed being a challenge for the students during the first project, were addressed in greater depth during the second project. These issues dealt with the actual scale of space, tectonics of how their material module worked as a unit to build the whole space, ergonomics, and feasibility of drawn designs to realized space.

The third project, titled retail: a multilevel store, and‌ , is the largest scope of all three projects. Dealing with a large client, program, and two floor space, the students are challenged with analyzing retail spaces and designing a second hand thrift store. Reflecting back, one small improvement would be to rearrange the existing projects and move the second full-scale team project to be the first project of the semester, making the facade restaurant project become the second project, and conduct it in pairs, to strengthen individual skills, learning from peers, and to continue to build teamwork, and last keep the third project as is, but create more of a defined program or program options to let the students further develop upon.

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Instructor: K Paul kpaul7@pratt.edu 206.384.9236 Office Hours: M-2-5pm

(a) ergonomic measurements.

PRATT INSTITUTE SCHOOL OF DESIGN DEPARTMENT OF INTERIOR DESIGN SP2017 INT202-01.02.03.04.05.06.07

(b) Jeppe Hein. Please Touch the Art.

(c) Vardehaugen Arkitekter.

00 spatial preset: all about volume Issue date: January 21, 2016 Mid term: January 28, 2016 Final due: February 4, 2016 Total time: Three Weeks Course Description: The spatial condition is the core of interior design. As interior designers conditioning our eyes to see and understand space volumetrically on varying scales is the foundation for building and designing human experiences. This exercise is all about measuring, observing and creating an inventory and perception of space. The project will be conducted in teams of two and take place for the first three weeks of the semester.

How do we begin to understand and develop technics for recording and fully comprehend volumetric space.

Through a series of exercising, starting with a charette where we will design & build a full scale furniture piece using reclaimed pallets. Following we will conduct a rigorous study of space at the human, furniture, and built scale. The project will end with an in-depth precedent analysis, recording and reporting of a small coffee shop. .

Learning Objectives: + Experience team work structures and dynamics as an approach to design solutions P 5a + Develop methodology for recording, documenting and creating taxonomies of space. + Generate a critical, analytical, and systematic way of graphic and written language. + Demonstrate the ability to select, interpret and apply appropriate ergonomics, anthropometric data in project design P 3c + Familiarize and understand volumetrically measurements for universal design at the human, furniture, and room scale. + Undergo an in-depth site analysis using research, models, photographs and drawings.

60

kelseypaul_ADE621/623_Pratt Institute

+ Understand, analyze and communicate theories of spatial perception, definition and organization. 9c + Learn about typical fabrication and installation methods, and maintenance requirements. 11b Learning Objectives: + Students will develop a deeper understanding for volumetric space through a series of spatial investigations at various scales. + Students will learn strategies to best execute thorough site inventory and documentation, in written, diagrammatic and modeling language. + Students will execute detail drawings to illustrate interconnecting elements and calculated dimensions. + Students will utilize diagrams, collage, videos, plan, section, and models as tools to communicate ideas. + Students will demonstrate an understanding of the concepts, principles, and theories of sustainability as they pertain to building methods, materials, systems and occupants 2a

000: full scale charette Acting as a primer for the in-depth investigation of varying scales, this charette will act as a foundation for exploring and understanding volumetric space. In small teams the students will build a full scale chair out of reclaimed pallets. Using our existing knowledge of scale and measurements, we will then test the ergonomics of these built pieces to our human scale. Exposure to basic fabrication techniques, material reuse, and group work will be present within this phase.

Materiality: Reclaimed Wood Pallets.

Requirements: 1:1 scale chair built out of provided wood pallets.

00: personal space + universal space Investigation of ergonomics at the human scale. This phase consists of full measurement analysis of your own body. Understanding your body scale and ergonomic needs will create a deeper understanding of scale in relation to objects and space. After cataloguing our measurements we will see how they compare to the recommended universal measurements. How can we use our bodies as a form of estimating measurements?

Requirements: Documentation of actual measurements of the human scale. This must be demonstrated through the use of diagrams, collage, photos, videos to understand the scale of the human body in relative terms.

1:1 scale analysis drawings, diagrams, plan, and elevations.

01: object space Investigation of ergonomics at the furniture scale. This phase consists of full measurement analysis of furniture objects. Taking the understanding your body scale in relation to designed fixtures within space. This will create a deeper understanding of scale in relation to objects and space. For this analysis you will document, record and take a stance on the functionality of these objects in relation to the human scale.

Requirements: Documentation of actual measurements of the furniture object scale. This must be demonstrated through the use of diagrams, collage, photos, videos to understand the scale of furniture in relative terms.

1:1 scale analysis drawings, diagrams, plan, and elevations.

02: built space kelseypaul_ADE621/623_Pratt Institute

61

Investigation of ergonomics at the spatial scale. This phase consists of full documentation of actual measurements of the built scale. We will be taping out floor plans, understanding square footages, space allowances, and the spatial sensibilities allotted by designed measurements. For this analysis you will document, record and take a stance on the functionality of these objects in relation to the human scale.

Requirements: Documentation of actual measurements of the room scale. This must be demonstrated through the use of diagrams, collage, photos, videos to understand the scale of the room in relative terms.

1:1 scale analysis drawings, diagrams, plan, and elevations.

03: precedent analysis For this final phase a detailed precedent analysis of a small coffee shop will occur. What is the relationship be human, object, and built space? How do the three work together to design a spatial experience for the users?

Complete dimensions and site inventory of the space: images, drawings, videos, and model of the chosen space. For this analysis you will document, record and take a stance on the functionality of these objects in relation to the human scale.

Requirements: Documentation of actual measurements of the room scale. This must be demonstrated through the use of diagrams, collage, photos, videos to understand the scale of the room in relative terms.

1:1 scale analysis drawings, diagrams, plan, and elevations.

Minimum Final Requirements 1. Full Scale Chair.

2. Final Presentation: Printed presentation should be a synthesis of each phase and your collective findings and understanding about volumetric space.

Catalog 01: Human Space Analysis, Catalog 02: Object Space Analysis Catalog 03: Built Space Analysis Catalog 04: In-Depth Precedent Analysis of Small Space 3. Sketchbooks and all process work (diagrams, sketches and conceptual/study models) References:

1.

2.

3.

Architecture: Form, Space, and Order, Frank Ching, February 1996: John Wiley + Sons, Inc. Architectural Graphics, Frank Ching, June 2002: John Wiley + Sons, Inc. Human Dimension and Interior Space, Julius Panero, 1980 St. Martins Press

All readings will be posted on the LMS. Individual sections will be assigned required readings by professor.

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Kelsey Paul ADE 623 Special Topics: Sophomore Design Studio.

College Teaching: Practicum Spring 2016: 4 Credits ADE 622 College Teaching: Teaching, Learning & Research in Art & Design Fall 2015: 3 Credits Professor: T. Camille Martin

Syllabus: INT444 Communication: Problem Solving & Critical Thinking for Designers + INT731/456 Design Beyond the Building; Community Design-Build Options Lab

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Instructor: K Paul kpaul7@pratt.edu 206.384.9236 Office Hours: M-2-5pm

PRATT INSTITUTE SCHOOL OF DESIGN DEPARTMENT OF INTERIOR DESIGN SP2017 INT202-01.02.03.04.05.06.07

Syllabus: INT444 Communication: Problem Solving & Critical Thinking for Designers

Class Bulletin: Great projects emerge at the intersection of visual and verbal communication. For designers at all stages of their career, communication, problem solving & critical thinking are paramount for success. This course will dissect and exercise what it means to have success in each of these areas. Communication theory, public speaking, thinking critically, design as process, problem definition & analysis, asking questions, looking for questions, and developing a critical voice will be central points through the duration of the semester. Each section will be approached through theory, analyses, and practicum. As designers we are continuously creating, analyzing, and making decisions throughout our time in academia and the practicing profession. The tools for critical and verbal communication that you will learn during this class will assist you throughout your life. Ideas are the currency of the twenty-first century, lets as designers strengthen our skills to vocalize them.

Definition of Critical thinking: “Consists of an awareness of a set of interrelated critical questions, plus the ability & willingness to ask & answer them at appropriate time.” + Through the analysis of famous and personal oral presentations, students will strengthen their verbal communication skills.

Course Goals: + Students will develop skills and knowledge of verbal communication. + Students will strengthen their ability to problem solve and think critically as interior designers. + An understanding of research methodology for design will emerge. + Knowledge of theory of communication and public speaking will be obtained.

Learning Objectives: + Through the practicum of active listening and asking questions, students will strengthen their critical voice and confidence within the design setting. + Weekly practicing of verbal presentations in class will familiarize students with various techniques and mediums for presenting.

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Socratic Teaching + Critical Thinking The oldest, and still the most powerful, teaching tactic for fostering critical thinking is Socratic teaching.

In Socratic teaching we focus on giving students questions, not answers. We model an inquiring, probing mind by continually probing into the subject with questions. Fortunately, the abilities we gain by focusing on the elements of reasoning in a disciplined and self-assessing way, and the logical relationships that result from such disciplined thought, prepare us for Socratic questioning.

Thankfully, there is a predictable set of relationships that hold for all subjects and disciplines. This is given in the general logic of reasoning, since every subject has been developed by those who had:

• shared goals and objectives (which defined the subject focus)

• shared questions and problems (whose solution they pursued)

• shared information and data (which they used as an empirical basis)

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• shared modes of interpreting or judging that information

• shared specialized concepts and ideas (which they used to help them organize their data)

• shared key assumptions (that gave them a basis from which to collectively begin)

• a shared point of view (which enabled them to pursue common goals from a common framework) Each of the elements represents a dimension into which one can delve in questioning a person. We can question goals and purposes. We can probe into the nature of the question, problem, or issue that is on the floor. We can inquire into whether or not we have relevant data and information. We can consider alternative interpretations of the data and information. We can analyze key concepts and ideas. We can question assumptions being made.

We can ask students to trace out the implications and consequences of what they are saying. We can consider alternative points of view. All of these, and more, are the proper focus of the Socratic questioner.

As a tactic and approach, Socratic questioning is a highly disciplined process. The Socratic questioner acts as the logical equivalent of the inner critical voice which the mind develops when it develops critical thinking abilities. The contributions from the members of the class are like so many thoughts in the mind. All of the thoughts must be dealt with and they must be dealt with carefully and fairly. By following up all answers with further questions, and by selecting questions which advance the discussion, the Socratic questioner forces the class to think in a disciplined, intellectually responsible manner, while yet continually aiding the students by posing facilitating questions.

A Socratic questioner should: a) keep the discussion focused b) keep the discussion intellectually responsible c) stimulate the discussion with probing questions d) periodically summarize what has and what has not been dealt with and/or resolved e) draw as many students as possible into the discussion.

Paul, R. and Elder, L. (April 1997). Foundation For Critical Thinking, Online at website: www.criticalthinking.org)

+ Structural & functional; cognitive & behavioral; interactionist; interactionist; interpretive; critical theory.

2. Public Speaking Theory & Analysis: + Informative; persuasive; impromptu; extemporaneous; debate; storytelling; oral presentations; drama; soap box speeches.

3. Thinking Critically & Design as Process: + What is Critical Thinking?

Importance of Critical Thinking in Interior Design The design process 4. Problem Definition & Analysis + Integrated Design: Teamwork communication 5. Asking Questions 6. Looking for Questions 7. Presentation Execution: + Emotional; Novel; Memorable

8. Practicum & Assignments: Soap Box Speech Influential Speech Monologue & Analysis Project Presentation & Video Tape Analysis Assignments: a0 Weekly, students will post short response to reading or analysis of a presentation to the class website.

This response can be manifested through a quote accompanied by a video clip, diagram, or image in relation to the quote. a1: a2: a3: a4: final presentation Practicum & Assignments: Soap Box Speech Influential Speech Monologue & Analysis Project Presentation & Video Tape Analysis

Course Outline:

Required text:

1. Theory:

Piotrowski, Christine M. Problem Solving & Critical kelseypaul_ADE621/623_Pratt Institute

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Course Calendar: Thinking for Designers. 2011 John Wiley & Sons. w1: AugustNew 23, 2016 Hoboken, Jersey.

Gallo, w2: August Carmine.

30, 2016 “Talk Like TED; The 9 Public-Speaking Secrets w3: September of the World’s 6, 2016Top Minds.” March 2015. St. Martin’s w4: September Griffin. New 13, 2016 York, NY. c4: Project Image Dissections + Presentation Berlo, David K. (1960): The Process of Communication: An Introduction Quick Critiques: to 10Theory minuteand group Practice, criticalNew dissection York, NY: + Holt, 15 minutes Rinehart summary and Winston. & presentation Prep + 5 minute Critique Pitch (Teams of 2) Each pair will be assigned a case study project, varying typologies, and based off the images provided and the project & client description, they will be challenged to come up with a list of questions and answers based on their analysis of the provided information. This charrette will exercise the designers critical thinking skills based on limited information, teamwork, critical thinking, asking questions, and putting together a short presentation of their summary & analysis of the project.

Points to think about when dissecting: + List some ways that critical thinking impacted the design process? + What questions were asked when approaching this design brief in relation to the client and typology? + What questions do you still have? + What was their design approach? How was this executed or not executed conceptual, spatial, materiality, functional? + What factors impacted their design decisions? + What information is missing? + What questions were asked and answered during the design process. + What can we take away? w5: September 20, 2016 Differences between Analysis and Synthesis Analysis: Define the problem Establish goals Gather Information Analyze the problem Implement the agreed-upon solution Synthesis: Develop alternate solutions Evaluate the alternative solutions Select and present the best option Obtain approval from client Evaluate the project solution and success C5: Product Specifications + Process Critical thinking and analysis is an integral part of 68

the design products. With so many products on the market, research, question asking, and investigation are all steps into making effective material choices that effect the life safety and wellness of the overall space. + Selection of material + Questioning: + What must you find out from the client in order to properly specify materials and fixtures? What are the physical, functional, spatial, conceptual properties of this material? + Research: + Obtaining + reading MSDFs, third party certification, can we trust the information that is provided? ATSM, code regulation, fire safety standards, etc. w6: September 27, 2016. Problem Definition and Analysis *Business Goals & Objectives. Pg.41 Business goals are ends that a business wishes to achieve. A business can establish numerous business goals concerning marking, revenue, staff, financial performance, and other areas of business. A common business goal is to increase revenue or profit. ` C5: Designer and Firm Analysis The setting of an interview for a job, client, or project is a communication typology that you as a designer will encounter throughout your academic and professional career. Knowing who you are as a designer and the foundation of who you are working with/working on will enable you to sell yourself and your design.

You: w7: October 4, 2016 no class-FALL BREAK: October 10-11, 2016 w8: October 18, 2016 w9: October 25, 2016 w10: November 1, 2016 w11: November 8, 2016 w12: November 15, 2016 w13: November 22, 2016 w14: November 29, 2016 no class - STUDIO WEEK: December 5-9, 2016 w15: Final December 13, 2016 GRADING POLICY The following chart shows the grading system currently in effect in the program.

A = 4.0

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A- = 3.7 B+ = 3.3 B = 3.0 B- = 2.7 C+ = 2.3 C = 2.0 C- to F = 0

Academic Dishonesty: As a student you are expected to conduct yourself in a manner that reflects the ethical ideas of the profession of interior design. Any act of academic dishonesty not only raises questions about an individual’s fitness to practice, but also demeans the academic environment in which it occurred.

Plagiarism is a violation of an assumed trust between the school and the student.

Note: Participation in discussions and engagement during in class exercises is imperative.

Grading Criteria: A Student completes readings & all assignments, demonstrates engagement and understanding of the material and contributes constructively to the discussion in class weekly. Assigned work meets all requirements and exceeds them. Presentations (including weekly analysis) are clear, complete, wellreasoned and finely detailed. Work exhibits a very high level of analysis and originality. Work shows evidence of a struggle to go beyond expectations.

Student has developed an individual position vis-àvis the subject matter, demonstrating a high level of independent thought and rigor.

B Student completes readings & all assignments and contributes to the discussion in class regularly.

Work meets all requirements. Presentations are complete, well-reasoned and detailed. Assigned work exhibits analysis and some originality.

Student has developed an individual process that demonstrates engagement and effort.

C Student completes most readings & assignments and contributes to the discussion in class. Assigned work meets most requirements.

Presentations are complete. Student has developed an individual hypothesis but is lacking in resolution or rigor, and may contain significant errors.

C- or below Student does not complete readings and/or does not contribute to discussions in class.

Work does not meet requirements. Craft is at an unacceptable level, and / or student has not sufficiently developed an individual thought process and / or does not finish work on time.

INC Grades of “incomplete” are not given under any circumstances unless there is evidence of a dire emergency (death in the family, accident, debilitating illness). Classes / work missed due to illness must be explained with a physician’s note.

Plagiarism, i.e. the presentation as one’s own work of words, drawings, ideas and opinions of someone else, is a serious instance of academic dishonesty in the context as cheating on examinations. The submission of any piece of work (written, drawn, built, or photocopied) is assumed by the school to guarantee that the thoughts and expressions in it are the student’s own, executed by the student. All images and text must be clearly attributed, whether in print or digital media.

Attendance: Students are expected to attend each class punctually and for the entire class period.

You are to inform your instructor in advance of any expected absence or abbreviated attendance.

Please use the resources provided to contact your instructor.

Three unexcused absences may result in failure of the course. Attendance and participation in presentations are required. Successful completion of all project requirements and reviews is required and no makeup or postponed submissions will be accepted except in the case of medical emergencies or other extraordinary circumstances. Excused absences and project delays must be officially cleared by professor in advance in order to be considered valid.

An absence at the final presentation is grounds for failure.

Required text: Piotrowski, Christine M. Problem Solving & Critical Thinking for Designers. 2011 John Wiley & Sons.

Hoboken, New Jersey.

Gallo, Carmine. “Talk Like TED; The 9 Public-Speaking Secrets of the World’s Top Minds.” March 2015. St. Martin’s Griffin. New York, NY. Berlo, David K. (1960): The Process of Communication: An Introduction to Theory and Practice, New York, NY: Holt, Rinehart and Winston.

Paul, R. and Elder, L. (April 1997). Foundation For Critical Thinking,

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Syllabus Course INT 731/456 Design Beyond the Building; Community Design-Build Options Lab Department Interior Design - School of Art & Design Credit Hours 3 Credit Studio - Prerequisite: INT 302 Class Meeting Wednesday 5-8:50 PM Semester Spring 2017 Enrollment 12 Students Instructor Kelsey Paul Contact 206.384.9236 cell Email klpaul718@gmail.com Office Hours Wednesday 2:30-4 PM

”If You Build It.” Studio H. Emily Pilloton. Directed by Patrick Creadon. _____”Beyond The Building”. Mass Design Group: https://vimeo.com/86836064

Bulletin Description This course will run as an options lab in the Interior Design department. Open to all majors, this course is a 3 credit lab. Based on the parameters of a community service design-build studio, students will work in conjunction with a local organization. It will focus on the design development of each student while working in collaborative setting with their peers and community as a design-build firm. Simulating the design phases that take place within a professional setting, students will develop this small group project from initial conception to physical completion. Exploring creative problem solving to benefit the needs of our local community, will be central to this options lab.

Course Description Starting with the idea that people matter and shelter is an essential right, designers have the ability to take our skill set and creativity to foster positive change in our neighborhoods. Community outreach is a key component of education and can act as a framework for learning the means and methods that take place in the profession of architecture, and more specifically in the design-build realm. The semester long course will address a small-scale community-based design/build project, while students learn the means and methods of running a design-build practice. In conjunction with the Pratt Center for Community Development and funding provided by grants and the local business community, students will design and prepare to build a small community project for a local nonprofit group. The students gain experience with real clients, public agencies, historic preservation, knowledge of the business of design and hands-on construction. The end of the semester the students will meet with the client and user groups to build out the developed project designed throughout the semester. Using a consensus model, we will work in groups during both the design and construction phases. Students are responsible for site analysis and planning, project design, project or working 70

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drawings, materials procurement, fabrication, and scheduling. For the duration of the semester we, will work on each phase as a cohesive team, functioning as a professional design studio. Designed spatial experiences are not just a luxury for the wealthy. Utilizing the lo-fab method, through the use of upcycled building materials and local fabrication, together we can define the potential of design beyond the building.

All students must be enrolled or have taken Shop Safety-14/FA-IND-001 Course Focus 1. Collaborative, consensus design experience: We do all our work in the studio; in groups; using a consensus method with a facilitator. All voices are equal and valued (discussion proceeds by group discussion of pro, general, and cons voiced by each team member).

We will break into small subgroups to conduct design charettes, drawings and models.

2. Learning-by-doing and real-world design: Design/build projects allow for students to move past schematic design and learn from challenges that arise on the job site. During this hands on experience we will touch on structure, detailing, and construction strategies in this three-dimensional reality.

3. Development of communication skills: The framework of client and community meetings throughout the semester will allow students to continually practice their presentation and professional skills.

4. Community specific identification and place-making: Design beyond the building, is a manifestation of the identities the users on various levels, especially within the realm of a community based project. Stepping further, the ability to design a spatial experience for the users that shows them they have a place in this vast world, keeps the design thriving for years to come.

5. Redefinition of values-community service/commitment: Design and architecture have always been a service profession, traditionally serving those who can afford it. By working for clients who do not have access to architecture, the students are exposed (often for the first time) to community outreach. For many students this will be the first time they see their own project being built out.

They learn that through working together, we can actualize our designs for the greater good. We deal with design issues in a pragmatic way in this studio, while learning building techniques and detailing, but the real lessons involve self motivation, perseverance, self-reliance, courage, dignity, teamwork, and service to others.

Course Goals To familiarize the student with the design-build method.

To identify the needs of the community, place making, challenges, and opportunities that the design is intended for.

To increase awareness of the impact of political, economic, cultural factors in a community design.

To develop an understanding of codes and construction process.

To design a space with consideration for social and cultural influences as well as site, community and regional characteristics.

To familiarize students with sources of information imperative for a successful construction of a design.

To develop a means of effective and confident communication through interviews and dialogues with kelseypaul_ADE621/623_Pratt Institute

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various community members and design professionals who have expertise and knowledge about structural capabilities, ergonomics, human factors, vernacular & sustainable design methods, as well as other opportunities to exercise this idea during the course.

Expose students to the opportunities for service in the design industry and develop a passion for using design as a means of giving back to communities in need.

Course Learning Objects Students will be able to conduct each phase of a design-build project.

Students will develop a working familiarity with code, zoning and universal design factors and their impact on a project’s design.

Students will create and fill out detailed specifications and drawing schedules.

Students will be able to develop a project from the schematic phase to being ready to construct.

Students will familiarize themselves with working in a collaborative team setting.

Students will develop an understanding for the role of community service in the design industry.

Course Format Foundation Research Ideate Develop Prototype Refine Build The course is based on the premise of collaborative learning. The formats will be:

+ In studio design charettes/workshops

+ Site visits, tours, & client meetings.

+ Small group/peer pin-up and critique

+ Large group formal presentations

A. Assignments & Readings: Write Up/Blog Post B. Projects: Individual/Group C. Lecture/Workshop: Discussion/Ideation

* Students must come prepared to each workshop with design supplies for in class work time on projects.

Projects P1: Up-cycle Furniture Renovation| Research + Ideate

Presented: January 18 Due: February 1 (3 Weeks. Individual Project)

For this project we will be pairing up to design a small furniture piece specific to the needs of our client (partner). Focused on ideation, client centric design, placemaking, and construction, this project will take place during the first three weeks.

Phase 1/Client interview

Understanding and developing our clients is the first step to designing. We will pair up, conduct interviews.

This will serve to practice verbal communication, interview skills, placemaking and the art of listening. The 72

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students will be designing a furniture object for their client based on the knowledge obtained during the interview. The interview will also act as a community building activity for the whole team.

Phase 2/Resourcing, Schematic Design & Presentation

Utilizing small found furniture objects, each individual will develop & present designs schemes to their client.

Provide concept statement, images and any other material to communicate your design and elicit discussion and understanding of the client. Preliminary Plan(s); Visualization Sketches, Elevations, Sections, Perspectives, Diagrams; Materials, Furnishings ect.

Phase 3/Design Develop & Build

Building off the schematic design presentation with their clients, students will develop, build & present final design to the class. 1:1 Scale P2: Collaborative Design| Develop + Prototype

Presented: February 1st Due: March 8 (5 Weeks. Groups of 3 Project) Meaningful spaces should be affordable to all, and by using reclaimed objects as a module for building materials, these spaces can become a reality. For the second project, in teams of three, we will be designing a small reading room/shared library for the surrounding neighborhood. Addressing the needs of the users, community & space, we will approach this project with lo-fab in mind. The scale of the project will be within the framework of a parking space, also known as a parklet. http://bit.ly/1KFGvQU Phase 1/Research, Analysis, Case Studies & Site Analysis Each team of three will need to compile and present Phase 1 work, as well as subsequent phases, into a design package. A detailed, individualized project schedule will be submitted for instructor review. Included in this design package will be an investigation on the community, site analysis, case studies, and additional research applicable to each groups proposal.

Phase 2/Programming & Schematic Design Example Pin-Up Requirements: Concept statement and images; Site Diagrams; Detailed Program; Space Adjacency Analysis Diagrams (matrix, zoning, circulation, and block diagrams showing approximate sq. ft.); Preliminary Plan(s); Visualization Sketches, Elevations, Sections, Perspectives, Diagrams; Materials, Furnishings ect. Include information that will help you communicate your design and elicit discussions.

Phase 3/Design Development Design development and communication drawings, materials and furniture specifications, and verbal presentation.

P3: Collaborative Design| Refine + Build (7 Weeks. Whole Class) Phase 4/Construction Documents & Project Notebook Students will need to submit a complete bound set of construction documents for their project. A separate kelseypaul_ADE621/623_Pratt Institute

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bound project notebook including information from Phases 1-3 must also be submitted along with a project CD including digital versions of all phases as well as select project images/renderings. Refer to Phase 4 requirements document and course schedule for additional details.

Following the completion of the construction documents, the physical building of the project will take place in the following weeks of the summer. Time spent building will account for additional service learning hours, if chosen to partake in. This portion of the class in not required for students, but a great additional hands on learning experience. *This is comprised of multiple group assignments with the selected projects in mind.

Assignments A1: Letter of Application| Foundation A2: Design-Build Firm Case Study| Research A3: Interview for Projects| Ideate A4: Zoning & Building Code Analysis| Develop A5: Specifications| Prototype A6: Cost Estimating & Invoicing| Refine Readings R1: Awan, Scheider, Till. Spatial Agency; Other Ways of Doing Architecture. Routledge.

R2: Schwarz & Krabbendam. Sustainist Design Guide: How sharing, localism, connectedness and proportionality are creating a new agenda for social design. Bispublishers.

R3: Willats, Stephen. Beyond the Plan: The Transformation of Personal Space in Housing. John Wiley & Sons, 2001.

Schedule Week 0: January 17| Last day for 100% tuition refund upon withdrawal (WD) …………………………………………………………………………………………………………………………

Week 1: January 18| Welcome!

Lecture/Focus: Design Beyond the Building; Community Design-Build.

+ Class/Project One Introduction.

+ What is Design-Build services?

+ Human Resources| The Business of Design: Ch.4 Workshop:

+ P1_Conduct client interviews in pairs.

+ A1_ Begin in Class

For Next Week:

+ A1_ Letter of Application Due (Jan 25)

+ P1_Bring in two found objects from the streets of NYC. One large, one small.

Identity cultural/social topic you feel strongly about to pin up. Renovation development workshop next class.

+ R1_ Read Spatial Agency. Bring in a few questions/points that resonated with you. …………………………………………………………………………………………………………………………

Week 2: January 25|

Focus Lecture: Designers as Makers 74

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+ What is Design Build| Guide to Design Build: Ch.1

+ TED Talk: How to revive a neighborhood: with imagination, beauty & art.

Theater Gates. https://www.ted.com/talks/theaster_gates_how_to_revive_a_neighborhood_ with_imagination_beauty_and_art?language=en Workshop:

+ P1_Present Phase 1/Develop Phase 2

For Next Week:

+ P1_Finish renovation & prepare for presentation. …………………………………………………………………………………………………………………………

January 31| Last day to Add/drop classes without a WD grade …………………………………………………………………………………………………………………………

Week 3: February 1| P1 Presentations, P2 Introduction

Focus Lecture: Community Specific Design

+ Research in Design: What is the vernacular design of today?

+ Client meetings, Site Visits, Contracts, Zoning

+ Asking the right questions Workshop: + P1 Presentation

For Next Week:

+ P2_Work with team on investigation on the community, site analysis, case studies. …………………………………………………………………………………………………………………………

Week 4: February 8| Site tour & Client Interview

Focus Lecture: Place-making: Learning from client & site Workshop:

+ Site tour & Client Interview

For Next Week:

+R2_ Sustainist Design Guide. Is sustainability an imperative? How can we

approach our project with the Sustainist Design Guide in mind?

+ A2_Design-Build Firm Case-Study …………………………………………………………………………………………………………………………

Week 5: February 15|

Focus Lecture: Beyond Materiality; LoFab.

+ Like minded organizations & precedence

+ Sourcing materials: Inventive Thinking Workshop:

+ Schematic Design Critique

For Next Week:

+ Continue to Develop Projects in Groups …………………………………………………………………………………………………………………………

Week 6: February 22|

Focus Lecture: Construction & Interviewing

+Design Services in Design-Build. Guide to Design Build: Ch.2 Workshop: + Design Development

For Next Week:

+ A3_Material Specification …………………………………………………………………………………………………………………………

Week 7: March 1|

Focus Lecture: Design Beyond the Building; Community Design-Build.

+ Community Engagement: Preparing Effective Presentation_Visual & Verbal

+ Interviewing for Projects: RFQ & RFPs Workshop:

+ P2_Phase Three/Prepare for Presentations Next Week kelseypaul_ADE621/623_Pratt Institute

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For Next Week:

+ P2 Final Presentations …………………………………………………………………………………………………………………………

Week 8: March 8| P2 Presentations

Focus Lecture: Community Engagement; Learning from Design Proposals Workshop:

+ P2_Round Robin Community Presentations

For Next Week:

+P2_Project Reflection

+ Have a good break! …………………………………………………………………………………………………………………………

Spring Break: March 13-19| No Class March 15 …………………………………………………………………………………………………………………………

Week 9: March 22| Two Selected Project Revealed!

Focus Lecture: Design Beyond the Building; C

+ Project Management| The Business of Design: Ch.5 Workshop: + A4_Zoning/Contracts …………………………………………………………………………………………………………………………

Week 10: March 29|

Focus Lecture: Bringing a Project to Life

+ The Architect as Contractor. Guide to Design-Build Services_Ch.3 Workshop:

+ A4_Continue to Work …………………………………………………………………………………………………………………………

Week 11: April 5|

Focus Lecture: Financial Management & Specification

+ Business & Financial Management| The Business of Design: Ch.2

+ The RFP & Selection Process Workshop:

+ A5_Specifications …………………………………………………………………………………………………………………………

Week 12: April 12|

Focus Lecture: Cost Estimating & Invoicing Workshop:

+ A6_Cost estimating & Invoicing

For Next Week:

+ A6_Cost estimating & Invoicing (Apr. 19) …………………………………………………………………………………………………………………………

Week 13: April 19|

Focus Lecture:

+ Licensing Laws for Architects, Designers & Contractors. Guide to Design-Build Services_Ch.12 Workshop:

+ Work on Construction Packet in Groups …………………………………………………………………………………………………………………………

Additional Opportunity: April 22| LEED Accredited Workshop. $200. http://leadinggreen.ca/bing/ …………………………………………………………………………………………………………………………: Week 14: April 26|

Focus: Design Beyond the Building; Community Design-Build.

Workshop:

+ Work on Construction Packet in Groups

For Next Week:

+ Prepare for Final Presentation 76

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…………………………………………………………………………………………………………………………

Studio Days: May 2-5| No Class May 3 …………………………………………………………………………………………………………………………

Week 15: May 10| Last Day: Celebration of Design & Community!

Workshop: + Final Presentations Class Requirements A semester long options lab studio based on a community outreach design-build project. The class will run as a design firm, emphasizing on the various elements and phases of professional practice.

Required Text/Readings/Media Quatman, Dhar, AIA. The Architect’s Guide to Design-Build Service. Hoboken, New Jersey, John Wiley & Sons Inc Ltd 2003.

Granet, Keith. The Business of Design; Balancing Creativity & Profitability. Hoboken, New Jersey, John Wiley & Sons Inc Ltd 2009.

The American Institute of Architects. The Architecture Student’s Handbook of Professional Practice. Fourteenth Edition. New York, New York, Princeton Architectural Press, 2011.

Botsman & Rogers. What’s Mine is Yours. How Collaborative Consumption is Changing the Way we Live.

Willats, Stephen. Beyond the Plan: The Transformation of Personal Space in Housing. Great Britian, John Wiley & Sons Inc Ltd 2011.

Awan, Scheider, Till. Spatial Agency; Other Ways of Doing Architecture. Routledge.

Schwarz & Krabbendam. Sustainist Design Guide: How sharing, localism, connectedness and proportionality are creating a new agenda for social design. Bispublishers.

Willats, Stephen. Beyond the Plan: The Transformation of Personal Space in Housing. John Wiley & Sons, 2001.

Resources TED Talks: Gates, Theaster. How to revive a neighborhood: with imagination, beauty & art.. https://www.ted.com/talks/ theaster_gates_how_to_revive_a_neighborhood_with_imagination_beauty_and_art?language=en Performance Evaluation 15% Workshops/Participation/Attendance 15% Assignments/Readings 20% Project 1 25% Project 2 25% Project 3 Full attendance is required. Attendance will be taken during every class. Unexcused absences will result in the loss of a letter grade as per Pratt guidelines, three unexcused absences will result in a fail as per Pratt kelseypaul_ADE621/623_Pratt Institute

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guidelines.

Formal excuses will be accepted on a case by case basis and must be accompanied by a doctor’s note or equivalent.

Grading Guidelines A This is the grade of LEADERSHIP AND EXCELLENCE This indicates that you have worked, produced, grown, and contributed to the class and your own development in a way that indicates the highest level of educational, personal, and professional commitment.

You have made every effort and succeeded at obtaining all that the course and professors have to offer. You have honored yourself and your faculty.

A-/B+ This is the grade of EFFORT & ABOVE AVERAGE PERFORMANCE You have taken responsibility of your design, personal, and professional growth and applied yourself well to the given tasks as well as reached beyond the specific requirements to examine your proposals fully. You have shown signs of leadership and are encouraged to continue your search for excellence.

B/B- This is the grade of BALANCE & AVERAGE PERFORMANCE You are interested in, and feel a responsibility toward your class and your work, but have not fully realized your talents or applied your energy in a consistent manner. You seem factors outside the department have adversely affected your performance, we hope they can be resolved in the near future, and where practicable, you should seek guidance from the faculty to assist you in resolving them.

C/C+ This is the grade of QUESTIONING & BELOW AVERAGE PERFORMANCE This is the time to examine your commitment and or the talent you are expending towards your work. Talent without a disciplined application and a consistent challenge will prove frustrating. You are apparently able to support your own work to a small degree, but with only marginal contribution to your class and profession and with only minor benefit to yourself. You should question yourself and seek the advice of the faculty regarding changes that you can make or about the efficacy of continuing in the field.

C- This is the grade of WARNING & FAILING While you may have talent, after repeated urging you have not applied or displayed this gift. You much reexamine your position with regard to your education. To continue at this level will only waste our time and your money.

INC. INCOMPLETE Through some extenuating circumstances beyond your control (health, emergency, etc.) you have been unable to complete the work required for the project or course. We are convinced of the opinion that, had it not been for this circumstance, you would have been able to earn a passing grade. You are required to complete the work before the end of the following semester, when your grade will be changed to whatever the professors feel you have earned. If you do not, the grade will automatically become an ‘F’ and you will be required to retake the course.

Policies Institute-wide policies listed in the “Community Standards” section of the bulletin: Policy on students with disabilities: Any additional applicable school, departmental, or Individual course policies: Accommodations for students with disabilities Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the institute. Students requesting accommodations must submit appropriate written documentation to Director of Disability Services and Parent Programs : Mai MacDonald on 718 636 3711 in the office of the Vice President for Student Affairs.

Accommodations request must be done at the beginning of the semester. Student and professor will reach mutually agreed to terms about the completion of work. Terms should be documented in writing and signed.

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