K
FARMER
TO ME
DESIGN
“...a continuous thread, weaving together the most essential elements in order
IS
to create the fabric of life.�
SEQUENCE SEQUENCE
C U B E + P L E N U M
Individual Work Materials: Foam core, Plexi-glas, Acetate, Poplar wood, Crescent board, Colored vellum
Grid Organization
MODELING SPACE
Based on a grid-like organization, the first and second iterations of the cube offered a clearly defined circulation path enhanced by spatial hierarchy and the frequency of outside views. Vertical movement is celebrated and highlighted by a large scale wall with a gridded pattern which also serves as the focal point that can be seen upon initial approach before even entering the structure. The manipulation of spatial qualities relating to light, scale and level of enclosure allow occupants to have a range of experiences as they move throughout. The overall space within the cube becomes more enclosed and affords less outside views as the occupant advances towards the upper levels.
Vertical Circulation + Focal Wall
CUBE CUBE + + PLENUM PLENUM
C U B E + P L E N U M
STUDIO: MODEL BUILDING |
SPRING 2010 + SUMMER 2010
Section View
Entry + Open Lower Level + Enclosed Upper Level
After a series of trials and errors, the final design of the cube culminated in a form organized according to an irregular grid. Vertical circulation and strategic spatial sequencing allows occupants to experience meaningful transitions between light and dark, expansion and compression, and also spaces which are open and enclosed space. A linear system which also relies on the grid, implies enclosure while still maintaining a connection between the occupant and the outside environment. The system also allows for penetration of light which drastically changes the experiential quality of each space within the sequence.
Developing Context: Process Model
Final Plenum Model
Primary Node + Light Manipulation
Careful analysis and examination of the University of Florida’s fine arts courtyard and its spatial relationship to surrounding buildings generated the context which eventually became the host for a plenum. A process model explored how the plenum would become part of its context, which was later adapted into primary and secondary nodes which nested into the context. The qualities of light and ways in which it could be manipulated also became an essential part of the design. A soft green glow reflects off of white crescent board to highlight interstitial spaces within the plenum.
P
R
I
S
M
Design Team: a. bailey, t. jonk Software: AutoCAD 2011, Vector works, Photoshop CS5
INNOVATING CULTURE.
PROVIDING EXPERIENCE.
RETAIL DESIGN
ESTABLISHING IDENTITY.
Lifestyle Collection Color Palette
Inspired by psychologist Carl Jung’s personality test and the visible light spectrum, PRISM strives to recreate and redefine store culture. A new organizational system was developed to not only meet the need for a more customized shopping experience but also to promote self-actualization and discovery through shopping. Consumers can “design their lifestyle” by choosing one of four lifestyle collections (each corresponding to a specific personality type, color and style of dress) or by mixing and matching them together to find a look that best suits them.
Women’s Clothing + Accessories
RDI RDI COMPETITION COMPETITION
P
R
I
Retail Logo
Cosmetics + Perfumes
S
M
STUDIO: RETAIL |
SPRING 2011
|
7 WEEKS |
Plan + Elevation Views of Custom Fixtures
Women’s + Men’s Shoes
23,000 SQ. FT.
PRISM’s design was inspired by the direct effects that occur when rays of light strike a prism. This concept yielded a radial organization of departments centered around a centralized point, the jewelry counter, which is representative of a prism. The colors of the four lifestyle collections, polished sophistication (purple), simply classic (teal), individually eclectic (chartreuse), and radically edgy (orange), symbolically embody the characteristics of light that are often associated with a prism-- reflection, refraction and vibrance. Ultimately, consumers will experience an innovative way to shop that caters to the individual rather than generalizing an entire population.
Main Entrance
Panel Detail at Entrance
Private Break Out Space + Water Cooler +Client Pathway
P
South Elevation of Main Entrance
R
I
S
M
Q U E R I N I - S TA M PA L I A
Individual Work Materials: Mylar, Vellum, Pencil, Ink
The study of Carlo Scarpa’s renovation of the ground floor of the Fondazione Querini Stampalia emphasized the importance of designing with consideration for surrounding context. Located in Venice, Italy, it is important to understand the impact of constantly changing water levels and how it effects the city and its built environment. The strategies that Scarpa incorporated into the building give flexibility to the structure and allow for adaptation to rising and falling water levels. By doing so, the building is able to sustain its ongoing functions within its interior spaces with little disturbance to the character of its design. Through the process of creating a series of diagrams, it became clear that Querini-Stampalia was designed as a vessel to contain displaced water resulting from flooding.
ANALYZING SPACE
Section Showing Water + Detail Levels
Details of Materiality
QUERINI-STAMPALIA QUERINI-STAMPALIA
STUDIO: ANALYSIS |
Q U E R I N I - S TA M PA L I A
Axonometric Diagram
SUMMER 2009 |
1 WEEK
Axis + Proportion
Not only is the building a vessel for water, but it also houses living quarters, an archive, a library, and a museum of paintings and furnishings. Scarpa’s thoughtful design solutions resulted in intricate details enhanced by the varied use of materials throughout. Ever-changing waterlines are demarcated by datums which are highlighted by a change in materials. Keeping this information in mind while diagramming the Fondazione Querini Stampalia, an evolution of the true understanding of the space developed.
Threshold + Itinerary
Interior vs. Exterior Space
Vessels
Water Zones
SHIFT
Design Team: c. dockree, m. urrutia
CORPORATE DESIGN
Software: Revit Architecture 2011, Photoshop CS5
Felice Varini Concept
+ Inspired by artist Felice Varini, the concept for the design of IDEAOLOGY’s corporate office is based on the idea of shifting and evolving perspectives. Additionally, the contrasting effects of opacity and transparency were inspired by the company’s logo and are key elements which bring complexity to various spaces. The final intention was to provide a space that is not only aesthetically pleasing but also visually and mentally stimulating for the employees who work there.
Reception + Main Lobby
IDEAOLOGY
STUDIO: CORPORATE |
1 2 3 4 5 6
Plan View
SPRING 2011
|
Reception Lobby Large Group Workshop Guest Food Support Small Group Workshop Alpha Lounge Project Centric Zone
6 WEEKS |
7 8 9 10 11 12
23,000 SQ. FT.
Project Centric Zone Private Offices Employee Food Support Private Project Centric Zone Conference Room Idea Gallery
Further inspired by the shifting, angular geometries found in I.M. Pei’s architecture of the building, specialized graphics occur throughout the interior space to stimulate work productivity and generate ideas. Energetic colors and warm wood tones create an environment that counteracts the isolation and sterilization sometimes caused by technology. Large pivot doors are integrated into social zones which encourage both employees and guests of the office to not only interact with their surrounding environment, but to shape it as well. The integration of white boards on walls and doors facilitates the flow of ideas during brainstorming sessions with clients, while project centric work zones provide spaces for collaboration. Private breakout spaces are also provided for individual thought and reflection.
Collaborative Project Centric Work Zone
Elevator Lobby
Small Group Workshops + Client Pathway
STUDIO: CORPORATE |
Employee Mobile Unit Focal Wall
Employee Break Area + Kitchenette
SPRING 2011
|
6 WEEKS |
23,000 SQ. FT.
Taking into consideration the rapidly changing workplace due to recent technological advances, innovative design solutions had to be implemented to meet workers’ needs. Research by Steelcase showed that more “Generation Y” employees are entering the workforce and new technologies allow workers to spend less time in the office. Less people in the office means more desk space; however, this results in a lack of personalized space for all employees. The idea of a mobile storage unit combined with each employees’ photo provided a unique solution which became an integral part of the workplace culture as well as an extension of each employee’s identity. When not in use, each brightly colored unit is stored within a wall which allows each worker to still have a presence within the office even when out for the day.
Employee Mobile Unit Focal Wall
Private break out spaces provide a meeting place along the client path and promotes conversation and interaction between employees. They consist of smaller groupings of furniture which are clustered around the plan to allow for meditation and relaxation in between work mode. These spaces go hand in hand with the alpha lounge which includes multi-functional spaces stimulates alpha brain waves, creative processes and productivity through alternative experiences related to ‘leisure’ activities. This includes: Music production room, Karaoke area, Digital ‘Mixed Media’ painting wall, ‘Frustration’ rooms for employees to rid themselves of negative creative energies.
Materials + Color Palette
Project Centric Work Zone
Private Break Out Space + Water Cooler +Client Pathway
The FleX House is a modular, prefabricated home designed and built by the student members of Team Florida. The team consisted of students from the four major Florida universities who collaborated to compete against 19 other teams from around the world in the 2011 Solar Decathlon. Sponsored by the U.S. Department of Energy. The competition was held in Washington D.C. in October of 2011. The 930 sq. foot home, inspired by a traditional Florida cracker style home, was designed to embrace the hot and humid climates of Florida. Utilizing both active and passive cooling systems, The FLEX HOUSE provides a comfortable and spacious living environment for its occupants year round.
SOLAR DECATHLON
Design Team: c. camargo, r. castro, c. dockree, p. cotera, j. emminger, t. ho, n. horan, e. lam, m. laverde, p. walker Software: Revit Architecture 2011, Photoshop CS5, MS Office: Excel + Powerpoint
North Facing Bedroom Module + West Entry
2011 DOE DOE COMPETITION COMPETITION 2011
DESIGN-BUILD |
1
1 2 3 4 5
FALL 2010-2011
1 YEAR |
Photovoltaic Solar Array Louver/ Shading Umbrella Structural Steel House Envelope Floor + Ceiling Structure
2
3
4
5
Structural Systems Diagram
|
Plan View
930 SQ. FT.
The base module of the FleX House is designed for a young couple or a couple with a small child living in central Florida on a moderate income. However, as a family grows additional modules can be added to the base to expand living space as necessary. Therefore, as a family grows, FleX House grows with it. Other features include abundant glazing and an uncluttered, open floor plan, which give the interior spaces a sense of lightness and openness. Visual and physical connections to the garden and surrounding environment are made possible by four large sliding glass panels which allow the outside patio to become an extension of the kitchen and living area. Additionally, the kitchen, living, bedroom and bath areas have the option to flow together into one continuous space or to be partitioned for privacy and thermal zoning by three large pocket doors.
Kitchen + Living Room
Bedroom
Materials
Transverse Section: Bathroom + Study +Bedroom
DESIGN-BUILD |
North Facing View of Patio
FALL 2010-2011
|
1 YEAR |
930 SQ. FT.
The plan includes many space saving features that create comfort within a smaller, more economical envelope. A rolling kitchen island doubles as a dining table. A study adjacent to the bedroom doubles as an exercise area. A compact washer/dryer unit fits into a closet next to the bathroom. The bathroom can be partitioned into three separate zones for the shower, the lavatory and the toilet so that three people can use the same space at once and still have privacy. Bedroom + Study + Loft Interior View
Bedroom + Study + Loft Interior View
Kitchen + Living Room Interior View
UNDERGROUND TUNNELS
BATHS
TOWER PATIO 1 PATIO 4
CASA C
CASA E
CASA B
PATIO 2
PATIO 3
CASA A
CULTURE CULTURE
P
A
L
E
N
Q
U
E
Design Team: class collaboration, individual intervention Software: AutoCAD, Photoshop CS4
Temple of Inscriptions Model
PROGRAMMING SPACE
To further study the ruins in Palenque, Mexico, a theory based on the Mayan afterlife was developed. The theory states that King Pakal’s construction of vessels at Palenque is a physical manifestation of the final spiritual journey taken in the afterlife as commonly believed within the Mayan religion. In studying this theory more closely, it is easy to see that both structures designed by Pakal (The Temple of Inscriptions and The Palace) act as organizers and containers of space.
Intervention within the Temple of Inscriptions
PALENQUE PALENQUE RUINS RUINS
STUDIO: RUINS | FALL 2009 |
P
A
L
E
N
Q
U
Site Plan
5 WEEKS
E
Concept Relief Model
Concept Drawing
The outer perimeter of the Palace consists mostly of public spaces which move upward in order to bring occupants deeper into the structure. As the occupant moves inwardly through the construct, space becomes increasingly more private and compact accompanied by a change in scale and the utilization of narrow walls. Concurrently, distinctive spaces (such as the tower) gain a gradual upward movement while others (the subterranean tunnels) gain downward movement. Although the Temple of Inscriptions appears to be an impenetrable fortress, the spaces within are organized in a similar fashion. The arrangement of space and movement throughout closely relates to the Mayan religion which holds that once a person of royalty died, they would have to endure a difficult journey through the 9 levels of the underworld (Xibalba) in order to reach the final stage of rebirth.
Process of Tomb Construction
To further investigate how this theory would hold up, a large contextual model was constructed by all studio members based on existing site conditions. Each individual was then required to explore their theory through the process of constructing a physical model that would intervene within the contextual class model. In relation to Mayan afterlife theory, a program was developed which provided spaces for storing, transporting and blessing god pots-- a common ritual that was highly practiced in Mayan times.
Intervention within Contextual Model
Section of the Temple of Inscriptions Tomb
Palace + Temple Connected by Tunnel
SUPPORT SUPPORT
ALZHEIMER’SINSTITUTE
Design Team: c.dockree, n. jones, j. jurich
After extensive pre-design research on Alzheimer’s Disease and the USF Health Byrd Institute, it became clear how much the design of an environment can affect issues such as wandering, sign legibility, mood and lack of understanding one’s surroundings. It was determined that destination points were crucial for helping patients gain a better sense of direction. For this reason, the concept of using architectural moments related to the seasons was implemented throughout the design.
HEALTHCARE DESIGN
Software: AutoCAD 2011, Revit Architecture 2011, Photoshop CS5
Secondary Check-in + Nurse’s Station
BYRD ALZHEIMER’S ALZHEIMER’S INSTITUTE INSTITUTE BYRD
ALZHEIMER’SINSTITUTE
STUDIO: HEALTH CARE |
SPRING 2011
|
Each season is defined by a color, which further defines spatial zones according to function. Fall consists of a warm color palette which is found in the public ares to put patients at ease during their wait. The Winter color palette is used for sterile environments such as the P.E.T. scan room, exam and injection rooms while the colors of Spring define physical therapy areas. The Summer palette is found throughout all the administrative work areas for staff. Furthermore, each zone is defined by an architectural moment which symbolizes a tree. Lowered radial panels integrated with a column act as a canopy to give interest to and compress the space near the nursing station. It not only serves as a destination point but also provides a secondary check-in point for patients or family members, while allowing staff to keep an eye on patients and deter wandering throughout the clinic.
6 WEEKS |
23,000 SQ. FT.
Concept: The Seasons
Elevator Lobby + Signage
Plan View
Resource Library
Transverse Section
Main Circulation Path + Signage
Longitudinal Section
Exam Room
Physical Therapy Room
Typical Exam Room
GOVERNMENTHOUSE
Design Collaboration: d. florville, m. sheppard Media: AutoCAD 2010, Photoshop CS4, Hand rendering
“Discovering the Past, Building a Better Future“ Steeped in layers of history and once known as the Government House, the Saint Augustine Cooperative Historical Research Center will be adapted into a public research facility functioning as a nucleus for the city of St. Augustine. By creating a partnership between the local community and members of the University of Florida, its design will bring together students and researchers of multiple disciplines for the collection and sharing of knowledge. It features an exhibit which displays and houses archeological artifacts found throughout the city by leading researchers and archeologists.
Archeology Exhibit
GOVERNMENTHOUSE
First Floor Plan
STUDIO: ADAPTIVE REUSE | FALL 2010 | 6 WEEKS | 19,000 SQ. FT.
Color Palette
Though the Saint Augustine Cooperative strives to become a hub for students, researchers and archeologists, its main function is to inform the public about the historical significance of their community. A lecture hall provides ample space which can be used for public meetings and events and is also rentable to private businesses. Additionally, the facility houses an interactive research center for the public and an independent study center for students interested in disciplines related to architecture, archeology and historic preservation. A galleria space allows students to temporarily display their work and/or findings for the benefit of the public. Additional support spaces include temporary offices for faculty, graduate students and researchers along with a coffee kiosk and outdoor study area in the courtyard. Second Floor Plan
GOVERNMENTHOUSE
STUDIO: ADAPTIVE REUSE | FALL 2010 | 6 WEEKS | 19,000 SQ. FT.
Second Floor View of Archeology Exhibit + Workspace
The main lobby, galleria and restrooms on the first floor along with the stairs leading up to the vestibule, lobby and governor’s conference room were left in their original state to preserve the integrity of the design of the government house. Repurposed spaces that called for a more modern feel had pops of color strategically placed throughout.
Transverse Section
Archeology Research Library
Main Lobby + Reception
DESIGN CHARRETTE |
FALL 2011 | 4 DAYS |
20,000 SQ. FT.
Individual Work Software: Revit Architecture 2011, Photoshop CS5
The Cade Museum stands to bridge the gap between problems and solutions, art and science, yesterday and tomorrow, and ultimately, creativity and invention. Expanding on this idea of connection, the design of the building itself facilitates both a visual and physical connection to Depot Park, allowing the park to become part of the museum. Visitors of The Cade Museum can expect to have an interactive experience with the help of today’s technology. Upon entry, each guest will receive an interactive wearable pin that guides them through the museum’s exhibits. The idea is to encourage a different way of thinking for each guest, as well as social awareness of how other visitors of the museum are thinking.
South Elevation
Interactive Wearable Pins
Main Entryway Showing Skywalk
Depot Park Site Plan
KF
KRISTA LYNNE FARMER
2405 River Hammock Ln. Fort Pierce, FL 34981 Phone: 850.260.1784 | Email: k.lynne.farmer@gmail.com
EDUCATION
PROFESSIONAL EXPERIENCE
ADDITIONAL INVOLVEMENT
BACHELOR OF DESIGN
DESIGN INTERN
ASID STUDENT MEMBER
ARCHITECTURE OF PARIS
SKILLS / SOFTWARE
INTERIOR DESIGN, TEAM FLORIDA
University of Florida: Gainesville, FL Graduation: May 2012
Paris Research Center: Paris, France Summer 2010
ASSOCIATE OF ARTS
Santa Fe College: Gainesville, FL Graduation: Dec 2008
Espinosa, Inc.: Palm City, FL Summer 2010, 2011
Proocient Revit Architecture AutoCAD Adobe: Photoshop, InDesign MS OďŹƒce- Word, Excel, Powerpoint Familiar Google Sketchup Rhinoceros Visual Lighting 3DS Max
American Society of Interior Designers Gainesville, FL: Aug 2009- Present
U.S. Department of Energy Solar Decathlon 2011 Gainesville/Tampa, FL: Aug 2010- October 2011
LEED GREEN ASSOCIATE
Leadership in Energy and Environmental Design West Palm Beach, FL: July 2011
SCC MEMBER
Studio Culture Committee Gainesville, FL: Aug 2011- Present
ECO-REP
SCC Eco-Reps Subcommittee Gainesville, FL: Aug 2011- Present
ARCHI-TUTOR MENTOR SCC Architutor Program Gainesville, FL: Aug 2011- Present
My sincere gratitude goes to those who have provided endless support along the way: To my parents, Don and Debra, who have been nothing less than supportive throughout my twenty-four years of life. To my professors at UF, who have shaped the way I view the world, always with design in mind. To my amazing friends from studio who I’ve gained through a number of sleepless nights and late night food runs: Anie, Antony, Mario, Melissa, Daphne and Danielle. And to my best friend, my other half, Kristi Lynn Clifton. Thank you for always being there when I needed you most.
FARMER
k.lynne.farmer@gmail.com