KIRSTEN BRIDGES
KIRSTEN BRIDGES 401 Frontier Court Seymour, Tennessee 37865 [p] 865.712.2497 [e] kbridges18@gmail.com
table of contents
01architecture 01.1 01.2 01.3 01.4
intra-urban junction relics of memory defend the sacred manchester memorial clinic
06 14 20 28
02study abroad 02.1 nakkilan kirkko 02.2 field manual 02.3 photography
36 40 42
03mixed media 03.1 sketches 03.2 graphic design 03.3 fabrication
48 52 58
A wide range of studio projects throughout my time at the University of Tennessee has exposed me to numerous design problems and solutions. Each project brings with it a unique set of conditions, both site and client based, that challenge me to consider multiple directions a design may take in order to best solve that problem. Through individual as well as group projects, I have gained experience in studio prompts sited in both urban and rural settings and across all project types from healthcare to residential.
01architecture 01.1 01.2 01.3 01.4
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intra-urban junction relics of memory defend the sacred manchester memorial clinic
01.1
intra-urban junction
fall 2015 | integrations studio | professor james rose governor’s chair for energy + urbanism studio in collaboration with breanna browning + joey kutz place: knoxville, tennessee type: micro-housing The mission of this investigation is to harness the rapid production capabilities of additive manufacturing as a means to support a continuously evolving demographic. The resulting constructs, in turn, should be highly custom, spatially inventive, and instantaneously changeable. By investigating a projected community with ever changing needs and inquiries, a mass-customized environment becomes necessary and fundamentally significant in our approach to additive manufacturing. In other words, a symbiotic relationship is created: a curious community requires a custom environment, and a custom environment can only be realized with innovative methods- additive manufacturing being the most appropriate.
In order to create a truly custom environment, we propose employing additive manufacturing at the scale of the component instead of the entire residential unit. The components should be easily modifiable, movable, and printable. They will be inserted into a normative, permanent structure. The entirety of the custom façade assembly (except for glazing) will be printed to respond directly to climate stimuli and site orientation factors. The façade will be printed in detachable sections to allow for easy and expedient component removal and insertion (components slide in through front of each unit). All components will be printed at an on-site microfactory.
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A symbiotic relationship is created: a curious community requires a custom environment, and a custom environment can only be realized with innovative methods.
program overview 7
COMPONENT 01 [3DP 1.0-1.2]
BATHING integrated plumbing 3 piece print
B EQ CBUI 3 C EQ CBUI -
D EQ CBUI UPQ
E EQ LJUDIFO 3 F EQ LJUDIFO - G EQ CFE H EQ TUPSBHF I EQ GBDBEF - J EQ GBDBEF 3
COMPONENT 02 [3DP 2.0-2.1]
COMPONENT 03 [3DP 3.0]
COOKING + EATING integrated water/power 2 piece print
COMPONENT 04 [3DP 4.0+]
SLEEPING fold up bed unit/ space saver 1 piece print
STORAGE configurable per resident 1 piece print
COMPONENT 04 [3DP 5.0-5.1 +]
ENCLOSURE shades glazing (summer) filters in light (winter) 2 piece print/unit
$0.10/&/5
$0.10/&/5
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01 D C
B
G
I H E F H J
04
05
test assembly 8
$0.10/&/5
02
$0.10/&/5
$0.10/&/5
TEST ASSEMBLY 1.0
COMPONENT CATALOG a
component 01_bath contains shower, toilet, sink integrated plumbing concealed HVAC system
3dp 2.0
3dp 1.2
integrated lighting, appliance hook ups, and plumbing storage and counter space
3dp 2.1
custom prints 3dp ??
up to 22x26x6 ft we will print it
c
component 03/04_ bed + storage fold up bed component easily configurable storage integrated electrical
Chair Energy + Urbanism
gn Studio Fall 2015
component 02_kitchen 3dp 1.0 3dp 1.1
d
b
3dp 3.0 3dp 4.0
example configuration + assembly
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component catalog sources
COMPONENTS: example unit STORING COMPONENT 04
BATHING
SLEEPING COMPONENT 03
COMPONENT 01
COOKING + EATING COMPONENT 02
The unit functions as a highly customizable and individualized component. Occupants modify unit layouts to fit their specific needs at the time of move in. A catalog of components is available for customization in order to allow this. The components are then printed on site to maximize efficiency. EXTERIOR FACADE LIVING
example unit configuration Governor’s Chair Energy + Urbanism Integration Design Studio Fall 2015 Instructors: Rose, Tryggestad, + Guerguis Bridges, Browning + Kutz
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TRUCTURE: corner axon
FLASHING ADM CONCRETE
ENCLOSURE: performance
TENSILE STRUCTURE
SUMMER COMPONENT 01
TPO ROOFING MEMBRANE RAISED FLOOR SYSTEM
6” POLYISO NSULATION
REMOVABLE FACADE 30-40 PERCENT OF TRANSPARENT GLAZING SHADED
4” CONCRETE SLAB
SUN REACH INTO EACH
WIDE FLANGE BEAM W18X71
W18X71
ernor’s Chair Energy + Urbanism corner connection
ation Design Studio Fall 2015 ctors: Rose, Tryggestad, + Guerguis es, Browning + Kutz
MINIMIZED SOLAR GAIN
WIDE FLANGE BEAM
Governor’s Chair Energy + Urbanism
self-shading facade
Integration Design Studio Fall 2015 Instructors: Rose, Tryggestad, + Guerguis Bridges, Browning + Kutz
0
detail
2
4
8 FT
sources
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additively manufactured panels + translucent glass give privacy
enclosure + materials The pre-constructed, central concrete core creates a shared living atrium space for residents. This shared space occurs every three levels, providing additional square footage to each unit.
atrium section 12
a
knoxville visitor center
possible double unit configuration
b
shared living room atrium
b
one per three floors
ada accessible elevator ada accessible elevator trash chute detachable selfshading facade possible single unit configuration
gay street
tva tower
tva credit union unit level plan 13
passage to the platform
01.2
relics of memory
summer 2015 | finland studio | professor brian ambroziak place: helsinki, finland type: student housing
“But I believe above all that I wanted to build the palace of my memory; because my memory is my homeland.� Anselm Kiefer
Memory often comes in one of two forms: inherited and personal. Inherited memory concerns itself with the past and what has come before. It is pre-existing and concrete. The events of the past influence sites and people of today in some way or another. We are aware of a place’s history either through direct storytelling or clues left behind for us to decipher and interpret ourselves. Through these clues, we can begin to better understand a place. For this project, the site is assumed to have a certain inherited memory. Existing ruins have been found here: a fortress of memory. The remnants speak of pre-existing conditions on the site dealing with issues of protection and
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privacy. Eleven sets of monumental stairs lead to an elevated plinth. Nine of the ten show age through their deterioration. Grass overgrows and invades the stone, showing the passage of time. The building inherits the foundation wall. These ruins serve as the foundation of the structure, just as inherited memory is the basis for personal experience. The spaces within the foundation are for contemplation and relaxation; here, inhabitants are immersed in a memory different from their own. They protect the newer spaces, allowing new memories to be made. The old and durable guards the creation of the new and fragile.
The project serves as housing for the future students of the Finland Summer Architecture Institute. A park along the coastline of Helsinki borders the site, giving the project a natural setting within the city. A secluded cove offers privacy for the sauna component.
site + context 16
The existing foundations serve as both the metaphorical as well as the physical basis for the project. Material selection represents these types of memories that are celebrated. The durable and lasting concrete plinth expresses the inherited memory of the site while the lighter wood material alludes to the newer memories created by each student’s personal experience.
night from the water
foundation wall 17
A barrier between public and private is created to shield the more intimate housing units and shoreline from the publc walkway beyond. However, passersby are given a glimpse of the units to highlight the relationship between the existing ruins and the newly constructed student housing.
privacy barrier 18
An existing plinth serves as the foundation of the project. It becomes an intermediate platform between the semi-private and private spaces for students and faculty. The platform allows access into the gathering space, sauna, housing, and shoreline.
sections through platform 19
section through aqueduct
01.3
defend the sacred
spring 2017 | diploma studio | professor hansjoerg goeritz place: united states type: new rural utopia
nevada
The fifth year Diploma Studio project spanned across rural United States. The studio prompt called for a new frontier for rural Americana, leaving the interpretation of what that meant to each student. A manifesto was developed as part of this process which outlined each person’s agenda and call to action for reinvigorating rural communities across the country. My manifesto dealt with “defending the sacred.� This to me meant identifying and then celebrating key cultural elements of various rural communities across the nation. Rural areas were identified by types of historical productivity that ultimately led to the settlement and flourishment of these communities.
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Two specific sites were more thoroughly investigated for this purpose. A suburban and rural area of southern Nevada brought about ideas of water management in the desert Southwest. Here, the landscape became the sacred piece to be celebrated. A defensive wall serves to prevent further suburban sprawl while also highlighting the absurdity of such developments in such a landscape. The second site occurs in western Nebraska. Agricultural production defines much of the Midwest region. However, much of this has been lost to large scale industrial farming. A line in the landscape here functions to reintroduce this key programmatic use of land to communities.
In order to defend what remains of this unique landscape that defines much of the American Southwest, these sprawling developments must be contained. The line in the landscape creates a barrier between the two opposing conditions, further highlighting their contrast. The neighborhood become a surreal and unnatural oasis within the desert context, expressing the absurdity of such developments.
aqueducts containing sprawl 22
wall + gardens as barrier walkway + garden along aqueducts
The larger aqueducts within the walls feed into smaller canals that run into the city. Each of these ultimately lead into ponds within the gardens. This creates a buffer between development in the city, the city wall, and the untouched landscape beyond.
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section through fields
nebraska
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The line in the landscape works to reintroduce program into an existing context. Kearney, Nebraska is one of many communities founded on agricultural production throughout the American Midwest. However, this principle has been lost within the city limits itself as local farmers have given way to large scale producers.
The agricultural grid holds hierarchy over the city grid. But now, city growth and sprawl take over what was once programmed for agriculture and superimposes itself over the existing built context. Agricultural zones are erased by the imposition of the city grid, erasing the area’s founding identity with it.
entry elevation
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reintroduction of agricultural identity
view into agricultural fields
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Here, the line addresses this situation. By running through the established city grid, the line expands in order to reintroduce an agricultural component at the forefront of the city. This expresses the area’s historical significance in agriculture by showcasing it to the interstate to the south. Passersby will now know the importance the industry had on the region and this city in particular.
entry sequence axon 27
01.4
manchester memorial clinic
fall 2016 | appalachia studio | professor john mcrae in collaboration with haven bush place: manchester, kentucky type: medical clinic The rural medical clinic’s main purpose is to unify the campus of Manchester Memorial Hospital. Incorporating and connecting a series of green spaces throughout the site brings together its various components while maintaining the region’s strong connection to the land and nature. While preserving this connection, a healthier lifestyle for the public is promoted through the proposal of a walking path. This path creates the physical connection among the campus elements while also incorporating the CREATION health ideals of leading a healthier life.
The building takes several cues from the surrounding context in order to inform its siting and layout. Prominent mountain views to the north dictate the orientation of the atrium and connection between the north and south gardens. Creating these two distinct gardens became a key design element in incorporating the heuristics of the project in creating an open and accessible community clinic that promotes a healthier lifestyle for all who visit.
section through clinic 28
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central reception + atrium
staff spaces exam rooms
central reception
clinic reception
south main entrance
entry level plan 30
The CREATION health ideals became a key driver for the layout of the building. One clinic space looks back toward the existing campus, focusing on its connection to the hospital. Meanwhile, the other clinic focuses on a connection to nature overlooking a mountainous landscape.
entry + south garden
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Groups of two designed a new mobile medical clinic for Mission in Motion, the Manchester Memorial outreach organization, during the first three weeks of the fifth year Appalachia Studio. Teams were given specifications for dimensions to ensure mobility and durability when traveling on the back roads of rural Kentucky. Our team proposed a mobile clinic with a modifiable layout to streamline efficiency of spatial use and storage. It operates in three configurations with varying degrees of ease of use, yet still remains operabe in all three phases.
exploded axon of components 32
closed configuration
open facade
semi-open configuration
The mobile clinic utilizes moveable shelving units in order to maximize storage while also maintaining the flexibility of the space itself. This allows multiple types of configurations based on the needs and demands of that particular setting.
open configuration 33
A semester abroad in the summer of 2015 helped cement a lasting design philosophy. As a student at Aalto University in Helsinki, Finland, I had the opportunity to immerse myself in a unique culture strongly rooted in design. The Finns pride themselves in designing with the essentials. I was exposed to this through the study of both historic as well as contemporary Finnish architecture. Their careful consideration toward materiality and sustainability greatly affected my own approach to design. Over the course of the summer, I measured and documented an iconic Finnish church by hand while also recording my travels and experiences through published writing and photography.
02 study abroad 02.1 nakkilan kirkko 02.2 field manual 02.3 photography
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02.1 nakkilan kirkko summer 2015 | finland documentation | professor scott wall Our class spent the first two weeks of the first session of the summer of 2015 touring the architecture of southern Finland. Three days were spent in the small town of Nakkila hand measuring and documenting the local chapel, Nakkilan Kirkko, by the Finnish architect Erkki Huttunen.
front elevation
I specifically focused mainly on documenting the chapel’s interior. I recorded rough drawings and measurements that then translated into the plans and interior perspectives with contribution to exterior drawings as well.
in collaboration with: Breanna Browning Savannah Dixon Aren Edwards William Harvell Grant Joerger Joey Kutz Camille Lane Macy McCarty Brittany Peters Frank Potts Joseph Shedd Ryan Smith Austin Winter 36
plan at +5’
section perspective
south elevation
Students broke up into teams of three or four to measure and document a portion of the building. Quick drawings were made to record the measurements, and the final drawings were later made in studio after returning to Helsinki.
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02.1 nakkilan kirkko summer 2015 | finland documentation | professor scott wall The drawings produced from the documentation informed a hand-built model of the chapel, adjacent building, and surrounding site as well. After completion, the model was exhibited by the Finnish Museum of Architecture.
interior light quality
in collaboration with: Breanna Browning Savannah Dixon Aren Edwards William Harvell Grant Joerger Joey Kutz Camille Lane Macy McCarty Brittany Peters Frank Potts Joseph Shedd Ryan Smith Austin Winter 38
rear elevation
front elevation
chapel with context
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02.2 field manual summer 2015 | finland studio | professor brian ambroziak
FIELD MAN UAL 09
The field manual showcases certain experiences and writings produced throughout a semester abroad across Finland. The publication features ten themes of experiential qualities of architecture. These themes are grouped with a representational image, a corresponding quote, a selection of writing, and relative diagrams.
FINLAND SUMMER ARCHITECTURE INSTITUTE
FM 09.01
RELICS OF MEMORY “But I believe above all that I wanted to build the palace of my memory; because my memory is my homeland.” - Anselm Kiefer.
Walking among rows of chairs in a small chapel in Copenhagen, I am taken back to another place and time. I sit in my late grandfather’s woodworking workshop at six years old. I watch him make something out of nothing, amazed that he can transform a block of wood into something as delicate as a spoon. I do not understand it, but I am eager to learn. Sunlight streams through the windows, casting shadows on the scuffed floor of the chapel. Suddenly, I think of enjoying the rays of sun with my grandfather during our ice cream breaks. These days go by all too quickly until they are gone for good. I find it odd that a piece of furniture inside a chapel in a country I had never before been to can conjure such memories. But that day in Copenhagen, I finally met my grandfather in his workshop again.
left. Sunlight striking chairs in Grundtvigs Kirke in Copenhagen, Denmark. above. Diagram of a neuron used in memory transmission.
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FM 09.02
FM 09.04
DETACHMENT
MOVEMENT
“So the darkness shall be the light, and the stillness the dancing.”
“Every man is a creative cause of what happens, a primum mobile with an original movement.”
- T.S. Eliot. “Existence really is an imperfect tense that never becomes a present.”
“I never found a companion that was so companionable as solitude.” - Friedrich Nietzsche, The Clock and the Arrow: A Brief Theory of Time.
- Henry David Thoreau.
From my seat on a passenger train, I watch as strangers shuffle through the crowds of Amsterdam Central Station. They move along the platforms with the single-mindedness of those who are focused solely on their destination. Soon, the platforms are left deserted as passengers board their trains, speeding off in every direction. The swarms of people and trains seem chaotic and erratic; they depart as quickly as they arrive, leaving moments of stillness and quiet. The movement alternates from person to train.
No sounds besides my own could be heard as I wandered the passages of the casemates beneath a castle in Helsingør. I immediately become more aware of the space around me as sounds reverberate and bounce off the cold stone walls. The air is damp and the ground uneven; not a space that would typically put one at ease. But down there, I escape the herds of tourists and din of traffic. My focus is on each careful step I take, exploring deeper into the castle’s depths.
I soon realize that I see chaos because I try to understand the movement as a snapshot. But it can’t be defined by a single moment. The movement ebbs and flows in a precise choreography. The moments rely on one another; one cannot exist without the previous and next.
When I happen to come across another person, I do not see their face. I see their shadow. I see the space around them as the light penetrates as far as it possibly can before darkness consumes it. I see the tunnel as a section drawing. The figure joins the darkness, and the negative space comes to life.
left. A moment of stillness on a platform in Amsterdam perceived from a moving train.
left. A figure walks along the casemates of the Kronborg Castle in Helsingør, Denmark. above. Section drawings of tunnels.
above. Diagram of the network of movement.
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02.3 travel photography summer 2015 | finland summer architecture institute A summer semester abroad in 2015 at Aalto University provided the opportunity for me to travel to a variety of places throughout Europe. I studied architecture in Helsinki, Finland but was also able to visit a range of other countries and architecture during my free time. My travels took me across Finland and throughout Scandinavia to Sweden and Denmark and then further out to The Netherlands, Scotland, Germany, and Estonia.
copenhagen
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turku
turku
turku
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hvittrask
grudtvig kirke
nakkilan kirkko
st. henry’s chapel
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kiljava
THE CALL OF
KIASMA
AN ART MUSEUM IN URBAN by Pekka Suhonen
The use of a variety of media has helped to shape a distinct style of representation and expression. Experimenting with this continues to push my abilities as a designer. Each project brings with it a new set of problems and needs, requiring a unique solution expressed in an appropriate method. This mixed media section includes explorations in freehand sketching from the predesign phase of studio projects to those from a travel sketchbook. Graphic design projects also explore the implications and capabilities of digital presentation. And finally, fabrication looks into model making and the physical artifact.
03 mixed media 03.1 sketches 03.2 graphic design 03.3 fabrication
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03.1 freehand sketches
dipoli at Aalto University
assembled lantern
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dipoli at Aalto University
design for cormac mccarthy library
exterior panel assembly 49
kiasma
relics of memory 50
intra-urban junction
intra-urban junction
relics of memory 51
03.2 double page spreads spring 2016 | presentation design | professor diane fox This assignment required students to choose a building and corresponding article in order to design two double page spreads. The spreads are meant to reflect the design or images of the building in some way in order to convey a sense of the architecture through graphic representation. “At dusk, KIASMA becomes a radiant source, shaping space far beyond
”
its physical boundaries.
After the site selection for the Museum of Contemporary Art had been made, and the program for the architectural design competition drafted, the main emphasis was placed on “the importance of museum design in terms of the conditions imposed on it by the art itself.” The museum director Tuula Arkio writes: “The space where the viewer encounters a work of art is central to the design, everything else is built up around this space. Only together with the works of art does the building become a museum.” To experience art, some works require silent contemplation; some require the observer’s active participation.
THE CALL OF
KIASMA
AN ART MUSEUM IN URBAN SPACE by Pekka Suhonen
01
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The internal demands of the museum must be fulfilled, of course, but the site also has its own requirements. Today museums have also acquired new symbolic significance. Kiasma’s location in the core of Helsinki imposed tight external design requirements. All of these internal and external demands were to be resolved simultaneously: this became the challenge facing the architect, Steven Holl.
On one hand, the surroundings of Kiasma are charged with significance because it is located a place familiar to all Finns. On the other hand, the location is characterized by its openness and generous possibilities for sight and movement. The museum has become a part of the landscape along Helsinki’s main street, Mannerheimintie, but it is also set within the cityscape of Arkadiankatu to the west and Töölö Bay to the north. The nature of the site has been defined by its relatively long history. As a symbolic footnote, Helsinki’s main art museum, the Athenaeum, was sited across from the railway station, an important means of communication of its time. The new museum is sited between the Central Post Office and Sanoma Corporation’s (a Finnish media company) new headquarters continuing the art museum as a medium for conveying information, an idea present in Finland for well over a century.
In 1993, Steven Holl wrote in the Finnish Architectural Review that “the geometry of the city and the landscape are reflected in the shape of the building. An implicit cultural line curves to link the building to Finlandia Hall, while it also engages a ‘natural line’ connecting to the back landscape and Töölö Bay...” These words clearly align Holl with Aalto. Aalto’s vision of the heart and lungs of Helsinki was never realized, with the exception of Finlandia Hall, but Kiasma revitalizes this vision. One strong aspect of Kiasma is the view of Töölö Bay from the inside of the building. The jury of architectural competition for the Museum of Contemporary Art described Kiasma in these words: “The building is a mysteriously sculptural piece. In a traditional sense, the curvilinear building mass is not cohesive with the cityscape.”
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05
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Kiasma derives from the Greek word khiasmos, which means crossplacement, and derives from the X-shaped letter khi. In antiquity speakers referred to it as a sentence pattern, where all the different parts of the sentence join one another tightly and in mirrorlike symmetry. It is this sense that Holl refers to when describing his concept as joining “an interior mystery and the exterior horizon, which, like two hands clasping each other, form the architectonic equivalent of a public invitation.” The museum extends its visual invitation to the public by means of modern speech. As seen from the north, the distinct form of Kiasma declares a new era. At dusk, it becomes a radiant source, shaping space far beyond its physical boundaries.
01. kiasma. jussi tianen. 02. ground floor plan. steven holl architects. 03. atrium ramp. jussi tianen. 04. gallery. jussi tianen. 05. site plan. steven holl architects. 06. atrium. jussi tianen. 07. light-washed walls. jussi tianen.
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07
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03.2 point, line, plane spring 2016 | presentation design | professor diane fox The point, line, plane assignment pairs a sentence with a representational gray scale image. This particular set focuses on ideas of a line. The images were meant to reflect the sentence, “A line is an infinite series of points.� The fence posts in the final image express this through the use of perspective.
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01
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01 A line is the connection between two points, or it is the path of a moving point.
02 A line can be a positive mark or a negative gap.
03 In typographic layouts, lines are implied as well as literally drawn.
04 Lines appear at the edges of objects and where two planes meet.
05 A line is an infinite series of points.
06 Lines can be straight, curved, continuous, or broken.
A line is an
i
n
f
i
n
i
t SERIES
P
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O
I
N
T
S
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e of
03.2 propaganda for new rural americana spring 2017 | diploma studio | professor hansjoerg goeritz The studio focused on establishing a set of ideals for a hypothetical New Rural Americana Deal. Students were meant to craft a manifesto outlining these ideals and then create propoganda to promote them. The context surrounding this new deal could be utopian ideas or a reaction to our current society and where we see that leading. This set of propaganda expresses the push to preserve what is culturally significant to rural America.
DEFEND THE
SACRED
a beacon of hope in a clashing of cultures
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In a global society that values commercialism and innovation, what cultural ideals remain? The modern capitalist society strips regions of their cultural identity in the search of globalism through technology. Uniqueness is seen as falling behind on trends of today as innovation spreads. What once defined a place now is lost in the race toward innovation.
ISLANDS OF CULTURAL IDENTITY
IN NEW RURAL AMERICANA
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03.3 light language [projection] spring 2014 | second year studio | professor brian ambroziak The form of the lantern transforms the shadows. They seem three-dimensional, giving depth to the flat surface onto which they are projected. A gap between the paper skin and bottom surface allows light to escape underneath and cast shadows on the surface on which the lantern sits. The intricate weaving pattern takes precedent over the rigid frame. Different forms of screens are introduced to create contrast: one regulated and synthetic, the other free-flowing and organic.
form + pattern
layered shadow
assembled lantern
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“So the darkness shall be the light, and the stillness the dancing.� TS Eliot
layered projection projected shadow
The shadows come alive with the changing position of the light source, emphasizing and exaggerating the intricacy of the various screen elements. Reproductions of shadows are printed onto the outer paper skin. When real shadows are cast onto the paper, the lines between what is real and what is not become blurred.
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