gn desi f o e logu a i d the ugh o r h nt t eme v o m
x o F y lio e l h A s Po r t f o n t e uate s i r d K rgra
Und
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s t n te n o c Foreward
Interior and Architectural Design Richmond Flood Museum Battelle Corporate Lobbying Office Hydrometrics Software Development The Beanery and Tea Room Smull Island Hospice and Birthing Retreat
Fine Arts Drawings Photography Sculpture Paintings
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s s e c o r p
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N r e G v I n S o c E D tant is
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The point at which relationships between disciplines
was a sort of microcosm for what I would explore
of art blur is a fantastic place. Moving through an
during my future studies in design, and taught me
undergraduate training in Interior Design has led me
the elements and principles of design that I could
through many different processes of creation. I have
incorporate in a three dimensional level later on.
realized how integrated the fields of art and design really are, no matter how dissimilar they may seem.
Similarly, I feel that my investigation in interior design has prepared me for something larger, and has
Throughout my freshman year, I was trained in the
taught me the basics and principles for future studies
fine arts, taking classes such as figure drawing, color
in larger scale structural design. I sincerely hope that
theory, art history, 2-D design graphics, and portrait
you see a future in architecture in these pages, and I
painting. These classes were invaluable during my
thank you for your time.
next three years of study, contributing to the graphic quality of my design presentations in my interior design projects and studies. My first year of study
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n g i s e D l a r u t c e t i h c r A d n a r o i r e Int
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The proposed exterior for the Richmond Flood
I devised the concept of erosion to validate my
Museum is comprised of a portion of an aging,
design choices for the project. Interior walls of the
elevated railroad trestle and the Richmond flood
building are shifted to align with the floodwall instead
wall, with various structural connections in between.
of following the right angles of exterior walls. This
The juxtaposition of these two massive, seemingly
creates the suggestion that the walls were shifted and
indestructible structures that have both been decayed
shaped by some current or storm, just as shores are
and overcome by water during natural disasters
shaped by the waves that pass over them. The color
creates a strong statement toward the fleeting nature
choices used in the museum reflect the rusted and
of all manmade structures.
weathered I-beams found in the existing trestle and
further the concept of erosion and the hand of nature
Because of the nature of these building
elements and the program of the building itself,
over manmade structures.
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The technical axonometric drawings of the flood museum shown are all done by hand. Below is the first floor plan in watercolor.
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Top Left: Second level floor plan Middle Left: First floor plan Bottom Left: Building section Right: Interior view of the main hallway from the front lobby enrance
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i y b b te lo
Battelle Corporate Lobbying Office
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During my summer internship at Fox Architects, I
between) was the idea of analysis. I portrayed the
was challenged to create a suite in a shared office
concept of analysis using a series of patterns derived
building for a company called Battelle that reflected
from microscopic images, layering techniques, and
their corporate values and culture. Because Battelle
transparency. After initial sketches were created
provides so many different services, it was a
(seen at the top right on the opposite page), I did
challenge to devise a concept for the space. I found
studies of patterns found in natural materials at a
that the thread that connected each of Battelle’s
microscopic level. These studies helped me to
diverse research fields (that span from homeland
devise a pattern and organizational scheme for the
security to nanotechnology and everything in
floor plan.
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These pattern studies (at right) helped devise the patterns and layers seen within the space. Below are views of the entrance from the elevator lobby.
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The proposed lobby area features a fully movable reception desk and platform area to accommodate for press releases. The images shown are SketchUp renderings of the space that were detailed using Photoshop. The concept of analysis is seen throughout the space. All of the millwork features translucent resin countertops and accents. This serves to display the hardware used to construct the desks which encourages inhabitants to analyze the structures. The front facade of the offices near the core of the building is made of translucent corrugated plastic, which allows for the passage of daylight and views from the curtain wall (helping to gain LEED points and energy efficiency). The ceiling is implied using a lattice type wood ceiling, which creates an interesting pattern throughout the space. Main pathways are delineated by a change in floor material and overhead by a laminated wood drop ceiling element.
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t n e m p o l e v e
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The design challenge for this project was to design
system with maximum accessibility, so I worked to
a 10,000 square foot office space for a software
create a plan that eliminated all “dead corridors” and
design company. Personnel space and adjacency
allowed all “neighborhoods” (or departments) to be
requirements were given to us, along with the plans
easily accessed by others. The last space planning
for the original empty tenant space. The original
diagram shows a main corridor that wraps around
space is punctuated by columns every 22 feet.
each department to maximize flow, but still maintains
These columns were immovable, and became
space requirements for each employee and support
the biggest challenge through the design process.
space. Above is a view of the technical support
The space planning process can be seen at left,
offices along the curtain wall.
chronologically. I wanted to create an open office
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Software Development
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Support Space
Technical Support
Brand Marketing
Administrative
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not to scale
The concept of the space is based on the company’s vision. Every design decision is based in the company’s origins in chemical testing of water. The main corridor is fluid and wraps around each work station. Most interior non-structural walls are transparent to allow for an open office and maximum day lighting. All materials, such as fabric choices and finishes, were chosen to clarify the company’s purpose. In the process of rendering the interior space, I used a computer program called SketchUp to build a skeleton of the interior environment. I printed out line drawings from the program and used these as the framework for marker renderings. After the drawings were completed, I scanned the imaged back into the computer and added details like fabric texture, entourage, and exterior views beyond the windows.
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The Beanery and Tea Room
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The design challenge for this project was to create
and stained glass laden, while its residents are
a cafe space for design students on Virginia
fresh, vibrant and modern. This clash of styles gives
Commonwealth University’s campus to frequent and
Richmond’s Fan District one of the most interesting
use as an idea exchange. The original space is an
and distinctive cultures of any neighborhood. I
open courtyard beneath VCU’s Design School, the
wanted to incorporate this culture into the cafe’s
Pollak Building. This building houses Interior Design,
atmosphere by juxtaposing the old and worn next to
Fashion Design, Cinema, Kinetic Imaging, and
the modern. The sense of the space is inspired by
Graphic Design.
the charming disimilarity presented by the Fan itself. The first problem I solved was the design for the
I identified the character of this space with its prime
seating. I settled on booths with a semi-circular
location in the Fan of Richmond, Virginia. The Fan is
design that creates a cozy “nest-like” area for
the largest intact Victorian neighborhood in the U.S.
diners rather than two facing bench seats. My next
This place is a beautiful conglomeration of past and
sketches sought to solve the problem of privacy.
present. Its houses are civil war era, high-ceilinged,
The characteristically tall, thin windows of the Fan
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would suffice as separation between booths while still allowing light to pass through. Since these windows would go all the way to the ceiling from the booth seat, it gives the diner an impression of being in a very high ceilinged space. In addition, these separators may even be reclaimed windows from renovated Fan houses, lowering total cost for the owner and heightening ecological sensitivity. The booths are derived from the design of antebellum architecture, with high ceilings, double hung windows, and button tufted furniture. This classic design is taken into a modern context with tempered glass tables, graphic accents, and stainless steel hardware.
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The storefront faces a prominent Fan street and has
wheelchairs, since the cafe is raised 6 inches off of
a glass facade that protrudes at an angle, reaching
the courtyard to provide for radiant heating.
out over the sidewalk toward the neighborhood. The floor plan (on the opposite page) shows yellow lines
The reflected ceiling plan shows the placement of
at an angle, which depict etched glass illuminated
the existing concrete beams and lighting. In the bays
floor panels in line with the angle of the booths. This
between the concrete beams, wood planks span in
angle seems to be an important main line in the
the exact angle of the booths. These planks have
progression through the building: students usually
cutouts for pendant lamps, which provide added
pass up the steps and through the courtyard to
visual interest. Also, pendant lights are shown over
the opposite door at this angle. Also, a ramp and
the bar area in the front of the cafe.
is provided at the main entrance for individuals in
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Smull Island Hospice and Birthing Retreat
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This design for a joint birthing and hospice retreat
The hospice units are designed with many levels,
is situated on a small island in the Chesapeake bay
and the two prefabricated units are stacked on top
near Annapolis, Maryland. The units are constructed
of each other at a right angle, the second unit jutting
from two prefabricated 15’x16’x60’ units per each
out over the bay (see model at right). This top unit is
structure.
reserved for the patient and features a bathing area with a waterfall into the bay. The lower unit is split
The concept for the retreat was based on the idea of
into two levels, the first being a communal gathering
layers. In the life-changing events that we experience
space and the mezzanine reserved for murphy-bed
in a birthing unit or hospice center, the facade that we
style sleeping quarters (see images on opposite
build around ourselves is stripped away and our true
page). The entire unit features clerestory windows
self is shown. This is this idea that I wanted to portray
which separate the walls from the roof and further
in both the designs for the birthing and hospice units.
portray the concept of layers.
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The birthing unit is much more humble and low to the ground. Both units are built into the side of the earth and incorporate the topography into the interior. The units are arranged into a split-level configuration with the living quarters on the upper level and the communal space on the first level. The floor patterns of slate and wood incorporate grass to bring the outside in. The birthing unit incorporates a grass patio extending from the outside to the interior entryway.
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In order to create the renderings shown here, I created a skeleton framework in a computer modeling program and printed the images on watercolor paper. I used the framework to insert detailing like floor materials, railings, and casework. After sketching the interiors, I used guache and ink to render the images.
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e r u t lp u c S & y h p a r g o t o h P , g n i w a r D
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s g n i raw
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I have extensive experience with drawing and
On the opposite page in the right column, the
sketching from life. The drawing above is a study
drawings were done from life using figure models
from a Michaelangelo sculpture entitled Leda and the
from the same figure drawing class. On the left
Swan. It is a 24�x36� drawing on cold-pressed paper
side of the opposite page are sketches I did on a
with graphite. This was completed during a figure
visit to Frank Lloyd Wright’s Falling Water House in
drawing class in my freshman year of college, three
Pennsylvania.
years ago.
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Above is a marker rendering assignment done in my Advanced Graphics class during my sophomore year of college. To the left is a marker rendering done of my own design for a visiting chaplain’s quarters in a local children’s hospital. I drafted the interior view by hand and added color using marker and colored pencils. Below is another assignment from the Advanced Graphics class done using marker and colored pencil on marker paper. On the opposite page is an 18”x24” drawing I did using graphite and charcoal.
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y h p a r otog
ph
I have always had an interest in photographic
the summer, wherein I used constrction cranes
composition, but during my internship in Washington,
as framing elements or important compositional
D.C. during the summer before my senior year of
components. I liked the idea of construction in
college I began to take photographs with buildings as
progress, and the fact that everything in the city
the subject. Above is a photograph of the National
is constantly being rebuilt. A selection of these
Cathedral, which was the subject of many of my
photographs can be found on the opposite page.
photographs. A theme in my work developed over
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This sculpture was constructed from a solid piece of
fastening some screws deeper into the wood than
13�x23� cherry and 462 wood screws. The screws
others. The piece is meant to be hung on a wall.
are arranged into a topographical landscape by
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I designed and built this hanging lamp during my
over the lamp hides the detail of the painted paper.
senior year of college. It is formed from handmade
However, when the light is illuminated, the brass
painted paper over polystyrene, machine bolts and
mesh becomes translucent and allows the pattern to
nuts, and brass mesh. The light was a precursor
shine through. This reflects my concept quite literally-
to the hospice and birthing unit project described
-during times of spiritual illumination, the facade that
earlier, and was based on the same concept of
we build around ourselves is stripped away and our
layers. When the light is off, the layer of brass mesh
inner selves can be seen.
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s g n i t pain
I have been painting for as long as I can remember.
In the top right of the opposite page is a portrait
Long before I became interested in interior design
of James Joyce. It was created using oil pastels
and architecture, I was trained in fine arts. Common
and chalk pastel on a sheet of vinyl wall covering.
features of my paintings include the human figure
Excerpts from Joyce’s Portrait of the Artist as a Young
and heavy layering. I love the use of texture found
Man are inscribed on the portrait using an intaglio
objects. Above is a 36”x36” painting on stretched
effect. At the bottom of the opposite page is a classic
canvas using acrylic, oil, pencil, and found objects.
portrait in oil.
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To the left are two drawings in a series exploring gender identity. Both drawings are done on vinyl wall covering with chalk pastel, oil pastel, ink, and watercolor. Each drawing is 12”x18”. On the opposite page is a color study on matte board with acrylic paint. The finished piece measures 13”x18”.
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Kristen A. Fox