LAUREN WELLS | w o r k_s a m p l e s

LAUREN

WELLS | W O R K S A M P L E S

LW_W O R K S A M P L E S _1

RESUME

/

PORTFOLIO /

TECHNICAL SKILLS SOF T WA RE

L AU R E N W E L LS W E B S I T E : HTTPS://ISSUU.COM/LAURENWELLS E M A I L : LPWELLS09@GMAIL.COM ABOUT ME: LAUREN IS A DESIGNER WITH 9 YEARS OF EXPERIENCE SPANNING SEVERAL PROJECT TYPES INCLUDING COMPLEX SCIENCE AND TECHNOLOGY, GOVERNMENTAL, HEALTHCARE, EDUCATION AND CORPORATE PROJECTS. SHE HAS THE EXCEPTIONAL ABILITY TO INTEGRATE DESIGN WITH ARCHITECTURAL DESIGN CONCEPTS. LAUREN IS A HANDS-ON DESIGNER WHO WORKS WITH OWNERS TO CREATE INNOVATIVE SOLUTIONS. SHE HAS COORDINATED WITH CONSULTANTS, DESIGN TEAMS, CLIENTS AND VENDORS ON PROJECTS RANGING FROM LARGE SCALE MULTIDICIPLINE TO SMALL, HIGHLY DETAILED SPACES.

LAUREN WELLS_W O R K S A M P L E S _2

|

/ |

|

|

RHINO | GRASSHOPPER | VRAY | MAXWELL | AUTOCAD | SKETCHUP | REVIT | ENSCAPE | MAYA | T-SPLINES | LUMION | 3D PRINTING | LASER CUTTING |

||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||| ||||||||||||||||||||| ||||||||||||||||||||||||||||||| |||||||||||||||||||||||||| |||||||||||| ||||||||||||||||||||||||||||||| ||||||||||||||||||| ||||||||||||||||||||||||| |||||||||||||||||||||||||||||||

PHOTOSHOP | ILLUSTRATOR | INDESIGN |

||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||

E D U C A T I O N / Florida State College Associates of Arts

Jacksonville, Fl.

[2011]

University of Florida

School of Architecture

Gainesville, Fl.

Bachelors of Design in Applied Studies Xi’an Institute of Technology Study Abroad - East Asia

Xi’an, China

Georgia Institute of Technology

Masters in Architecture - School of Design

Atlanta, Ga.

Magna Cum Laude

[2015]

Cum Laude

[Summer: 2014]

- Provided emphasis on the cross-cultural dialogue intersection of architecture through the focusing between history and modernity, by looking specifically on the contemporary urban/architecture design within a complex urban context.

• • •

NOMA Design Competition Winner 2016 Portman Prize 1st Runner Up Design Fellowship F - ‘17 Scholarship Recipient

W O R K E X P E R I E N C E

[2018]

• •

Magna Cum Laude Portfolio S - ‘17 Scholarship Recipient Georgia Tech - Women in Architecture Student of the Month - January 2018

[Summer 2008, 2009, 2011] [Professional: 2015- 2016]

/

Bhide & Hall Architects Orange Park, Fl.

Prepared design development, rendering, and construction documents for medical, commercial, and educational facilities and maintained through construction phase.

Managed bidding for project Made site visits to do takeoffs before undertaking renovation/addition projects Conducted product and materials research for new projects

Freelance Graphic Designer North Florida

[2009- Present]

Responsible for the coordination and production of a variety of graphics products and services for Community, Educational, and Privately Owned Businesses.

HKS Architects - Interior Architect Atlanta, Ga.

[2016 - Present]

worked with clients to develop creative solutions for interior spanning several project types. Coordinated all aspects of planning for the built environment.

LW_W O R K S A M P L E S _3

FILIGREE FIGURING /“THE RESEARCH OF THIS STUDIO CONCENTRATED ON FIGURE AND CONFIGURATION TECHNIQUES THAT NESTLE THEMSELVES IN BETWEEN THE THREE MAIN CATEGORIES OF ARCHITECTURAL DESIGN: MASSING, STRUCTURE AND ORNAMENT.” AS AN AREA OF CONCENTRATION, THIS PROJECT FOCUSES ON THE TECHNIQUE OF PLEATING AND THE FORCES THAT IMPACT ITS PROBABLE CONFIGURATION.

PROGRAM: • •

1

1

1

1

1

4

1

2.

3

1 2.

1 1 1

1

1

1 1

3

1

LEVEL 14

4

1

2.

1

LEVEL 07

1. HOTEL SUITE 2. FIRE STAIRS 3. ELEVATOR LOBBY 4. ICE STORAGE

1

1. HOTEL SUITES 2. STORAGE 3. FIRE STAIRS 4. ELEVATOR LOBBY 5. ICE STORAGE

200 KEY HOTEL OVER 11,000 SQ-FT RETAIL SHOPS

1 1

2.

1

3

1 1

1 4 1

1

1

3

2.

1

SURROUNDING AREAS WITHIN THE SITE PROVIDES AMPLE AMOUNT OF PARKING FOR RETAIL AND HOTEL GUEST.

RETAIL DISTRICT

SITE

SURROUNDING THE SITE AREAS PROVIDE WAS ONCE A PARKING DECK SIX BLOCKS OF RETAIL AND THAT PROVIDED RESTAURANTS OVER 400 SQ-FT. OF UNDERUTILIZED SPACE

LANDMARK

BEHIND THE SITE EXIST THE 111 LINCOLN ROAD PARKING GARAGE BY HERZOG AND DE MEURON.

LAUREN WELLS_W O R K S A M P L E S _4

MAIN ARTERIES

SITE SITS ON 17TH STREET WHICH SERVES AS A MAIN ARTERY BETWEEN THE CITY OF MIAMI AND MIAMI BEACH.

1

1

1

1

PARKING

1

5

LEVEL 04 1. RETAIL SHOPS 2. STORAGE 3. FIRE STAIR 4. ELEVATOR LOBBY

3

LW_W O R K S A M P L E S _5

FACADE RESEARCH

/

FIGURES ARE SEEN AS THE MINOR GESTURAL IMPACTS THAT AFFECT THE BODY AS A WHOLE. CONFIGURATIONS ARE SEEN AS THE ADAPTATIONS OF A CLUSTER OF FIGURES. FIGURES AND CONFIGURATIONS WERE FORMED

BY EXAMINING THE TECHNIQUE OF PLEATING FROM SELECTED FASHION DESIGNERS. SAMPLES OF FIGURES

SAMPLES OF CONFIGURATIONS

FOLDING ALONG THE BODY

FEATURED DESIGNER: IRIS VAN HERPEN

1.

1.

3.

2.

1.

2.

1.

PART A PART B

1. DOUBLE VORTEX

FANNING

1. DOUBLE VORTEX 2. TRIPPLE VORTEX

1. TRIPLE VORTEX 2. QUINTUPLE VORTEX 3. QUADRUPLE VORTEX

1. TRIPLE VORTEX

PART A

PART B

2.

2.

2.

1.

1. DOUBLE VORTEX 2. QUADRUPLE VORTEX

RADIATION WAVES

2.

1.

1.

SWEEPING

1.

1.

1. QUADRUPLE VORTEX 2. TRIPPLE VORTEX

1. TRIPLE VORTEX 2. DOUBLE VORTEX

1. TRIPLE VORTEX

FIGURE A

1. QUINTUPLE VORTEX 2. QUADRUPLE VORTEX

FIGURE B

TORS

PART A

ON

3.

2.

2.

2.

1.

2.

3.

1.

3.

PART A

PART B

1.

1.

1. TRIPLE VORTEX 2. QUADRUPLE VORTEX 3. QUINTUPLE VORTEX

1. SEVEN VORTEX 2. EIGHT VORTEX

PINCHING

CTION

VER

PART B

3.

1. TRIPLE VORTEX 2. QUADRUPLE VORTEX 3. QUINTUPLE VORTEX

1. QUADRUPLE VORTEX 2. QUINTUPLE VORTEX

FIGURE C

IRIS VAN HERPEN -SS/’11 COLLECTION

FIGURE D

FOLDING ALONG THE BODY

FEATURED DESIGNER: IRIS VAN HERPEN

2.

2.

1.

OVERFOLDING

1

1.

1.

IRIS VAN HERPEN -SS/’11 ColLection

1.

1.

FIGURE 1A

FIGURE 2A

FIGURE 3A_1

1. TRIPLE VORTEX 2. DOUBLE VORTEX

1. TRIPLE VORTEX 2. DOUBLE VORTEX

1. TRIPLE VORTEX

3.

2.

1.

2.

1.

1. DOUBLE VORTEX

FANNING

FOLDING ALONG THE BODY

FEATURED DESIGNER: IRIS VAN HERPEN

1. DOUBLE VORTEX 2. TRIPPLE VORTEX

FOLDING ALONG THE BODY

FEATURED DEISGNER: NOA RAVIV

OVERFOLDING

1. TRIPLE VORTEX 2. QUINTUPLE VORTEX 3. QUADRUPLE VORTEX

1. TRIPLE VORTEX

1.

2.

FOLDING ALONG THE BODY

1.

2.

IRIS VAN HERPEN -F/’13 COLLECTION

2.

2.

1.

1.

1.

1.

1. QUADRUPLE VORTEX 2. TRIPLE VORTEX 3. SINGLE VORTEX

TUCKING

2.

FOLDING ALONG THE BODY

FEATURED DESIGNER: IRIS VAN HERPEN

FIGURE 2A_1

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. TRIPLE VORTEX

FIGURE 3B_1

1. DOUBLE VORTEX 2. TRIPLE VORTEX 1. DOUBLE VORTEX

1. SINGLE VORTEX

1. QUADRUPLE VORTEX 2. TRIPPLE VORTEX

1.

2.

2.

2.

2.

SWEEPING

1.

1. QUADRUPLE VORTEX 2. TRIPLE VORTEX 3. SINGLE VORTEX

1. TRIPLE VORTEX

1. DOUBLE VORTEX 1.

2. SINGLE VORTEX

2.

2.

1.

1.

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. SINGLE VORTEX

2.

FIGURE 2A_2

1. DOUBLE VORTEX 2. SINGLE VORTEX

1.

1.

1.

1. QUINTUPLE VORTEX 2. QUADRUPLE VORTEX

1.

1. DOUBLE VORTEX 2.

2. SINGLE VORTEX

1. DOUBLE VORTEX 2. SINGLE VORTEX

FIGURE 4A

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. TRIPLE VORTEX 2. DOUBLE VORTEX

1. DOUBLE VORTEX 2. TRIPLE VORTEX

1.

1.

1. TRIPLE VORTEX 2. QUADRUPLE VORTEX

1.

1.

1.

FIGURE 1B_2

1.

1. QUADRUPLE VORTEX 2. TRIPPLE VORTEX

2.

1. TRIPLE VORTEX

1.

2.

1. QUINTUPLE VORTEX 2. QUADRUPLE VORTEX

1.

1.

1.

1. DOUBLE VORTEX 2. QUADRUPLE VORTEX

2.

2.

3.

1.

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. DOUBLE VORTEX DOUBLE VORTEX 2. TRIPLE1.VORTEX

2. SINGLE VORTEX

1. SINGLE VORTEX

2.

PINCHING

1.

1. TRIPLE VORTEX

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. DOUBLE VORTEX 2. QUADRUPLE VORTEX

1.

1.

FIGURE 1B_1

1. SINGLE VORTEX

LAUREN WELLS_W O R K S A M P L E S _6

2.

1.

3.

TECHNIQUES THAT INFLUENCE THE PLEAT ARE ORGANIZED THROUGH THREE STYLES OF PLEATING. (1.) ORNAMENTAL, (2.) MOLDED, AND (3.) ENFOLDED. EACH TECHNIQUE ADDRESSES A NEW STYLE OF PLEATING, SUCH AS OVER-FOLDING, TUCKING, AND PINCHING. WITH THIS RESEARCH KNOWLEDGE, DESIGN IS REDIRECTED TO GENERATED AN ARCHITECTURAL SKIN THAT SIMULATES THE CAPACITY OF PLEATING.

2.

FEATURED DESIGNER: IRIS VAN HERPEN

1. DOUBLE VORTEX 2. SINGLE VORTEX

1. DOUBLE VORTEX

2.

OVERFOLDING

OVERFOLDING

DRAPPING

PINCHING

OVERFOLDING

PINCHING

OVERLAPPING

STYLE NO.THE1BODY FOLDING ALONG

7 - CREASING

CREASING

A

A

B

B

C

C

SAG

OVERLAPPING OVERLAPPING

CREASING

PINCHING

CREASING

OVERLAPPING

SAG

OVERFOLDING

SAG CREASING

OVERFOLDING

DRAPPING

PINCHING OVERLAPPING

CREASING

ENFOLDED _PLEATING PINCHING

CREASING

OVERLAPPING

SAG

SAG

CREASING

INSPIRED BY JAPANESE DESIGNER MIYAKI, THIS STYLE OF PLEATING ADDRESSES PLEATING AND DRAPING AS TWO METHODOLOGIES SYNCED AS ONE. FABRIC IS INITIALLY PLEATED AS A STRUCTURAL SYSTEM. ONCE PLEATED THE FABRIC IS TEN PLACE ALONG THE BODY AND TUCKED AT SELECTED AREAS.

LW_W O R K S A M P L E S _7

SWEEPING RADIATING

OVERFOLDING PINCHING

SWEEPING RADIATING

TWIST

EXPAND

10 - OVERFOLDING OVERFOLDING

BAND

COMPRESS

STYLE NO. 2 FOLDING ALONG THE BODY A

A

B

B

C

C

FANNING

TWIST

EXPAND

TWIST

SWEEPING

BAND

COMPRESS

RADIATING

BAND

PINCHING

ORNAMENTAL _PLEATING TWIST EXPAND

EXPAND

TWIST

BAND

COMPRESSING

COMPRESS

LAUREN WELLS_W O R K S A M P L E S _8

BAND

OVER-FOLDING INSPIRED BY GERMAN DESIGNER IRIS VAN HERPEN, THIS STYLE OF PLEATING ADDRESSES PLEATING AS AN ORNAMENTAL FIGURE. THE PROCESS OF DRAPING THESE ORNAMENTAL FIGURES ALONG THE BODY IS CREATED THROUGH THE PLACEMENT OF THE FABRIC ON CERTAIN AREAS OF THE BODY, THEN IMPACTED

BY THE GENERATIVE FORCES AND FLOWED ALONG CERTAIN AREAS IN AN ORGANIC WAY. THIS AFFORDS THE OPPORTUNITY FOR THE A CONSTANT FLOW BETWEEN ORNAMENTAL FIGURES AND THE CONFIGURATION (WHICH IS THE WHOLE BODY).

SWEEPING

FANNING

FOLDING ALONG STYLE NO. THE 3 BODY

SWEEPING

12 - TUCKING CLUSTER

TUCKING

BAND

FANNING A

A

B

B

c

c

D

D

E

E

EXPAND EXPAND

CLUSTER

CLUSTER

BAND BAND

FANNING

BAND

EXPAND

SWEEPING

EXPAND

MOLDED _PLEATING

CLUSTER EXPAND

CLUSTER

BAND

TUCKING EXPAND

BAND

EXPAND

INSPIRED BY FASHION DESIGNER NOA RAVIV THIS STYLE OF PLEATING ADDRESSES PLEATING AS AN MOLDED FORM. OBJECTS ARE INITIALLY PLEATED THEN MOLDED ALONG THE BODY TO CREATE PECULIAR SHAPES. THESES OBJECTS ARE THEN SUPPORTED BY A “MASS” PLEAT THAT HOLDS THE MOLDS ABOVE.

LW_W O R K S A M P L E S _9

Level 19 338' - 0 5/8"

Level 19 338' - 0 5/8"

Level 18 326' - 0 5/8"

Level 18 326' - 0 5/8"

Level 17 314' - 0 5/8"

Level 17 314' - 0 5/8"

Level 16 302' - 0 5/8"

Level 16 302' - 0 5/8"

Level 15 290' - 0 5/8"

Level 15 290' - 0 5/8"

Level 14 278' - 0 5/8"

Level 14 278' - 0 5/8"

Level 13 266' - 0 5/8"

Level 13 266' - 0 5/8"

Level 12 254' - 0 5/8"

Level 12 254' - 0 5/8"

Level 11 234' - 0 5/8"

Level 11 234' - 0 5/8"

Level 10 222' - 0 5/8"

Level 10 222' - 0 5/8"

Level 9 210' - 0 5/8"

Level 9 210' - 0 5/8"

Level 8 198' - 0 5/8"

Level 8 198' - 0 5/8"

Level 7 186' - 0 5/8"

Level 7 186' - 0 5/8"

Level 6 174' - 0 5/8"

Level 6 174' - 0 5/8"

Level 5 162' - 0 5/8"

Level 5 162' - 0 5/8"

Level 4 150' - 0"

Level 4 150' - 0"

Level 3 135' - 0"

Level 3 135' - 0"

Level 2 120' - 0"

Level 2 120' - 0"

Level 1 100' - 0"

Level 1 100' - 0"

EAST ELEVATION 0'

LAUREN WELLS_W O R K S A M P L E S _10

4'

8'

16'

NORTH ELEVATION 0'

4'

8'

16'

Level 19 338' - 0 5/8"

Level 19 338' - 0 5/8"

Level 18 326' - 0 5/8"

Level 18 326' - 0 5/8"

Level 17 314' - 0 5/8"

Level 17 314' - 0 5/8"

Level 16 302' - 0 5/8"

Level 16 302' - 0 5/8"

Level 15 290' - 0 5/8"

Level 15 290' - 0 5/8"

Level 14 278' - 0 5/8"

Level 14 278' - 0 5/8"

Level 13 266' - 0 5/8"

Level 13 266' - 0 5/8"

Level 12 254' - 0 5/8"

Level 12 254' - 0 5/8"

Level 11 234' - 0 5/8"

Level 11 234' - 0 5/8"

Level 10 222' - 0 5/8"

Level 10 222' - 0 5/8"

Level 9 210' - 0 5/8"

Level 9 210' - 0 5/8"

Level 8 198' - 0 5/8"

Level 8 198' - 0 5/8"

Level 7 186' - 0 5/8"

Level 7 186' - 0 5/8"

Level 6 174' - 0 5/8"

Level 6 174' - 0 5/8"

Level 5 162' - 0 5/8"

Level 5 162' - 0 5/8"

Level 4 150' - 0"

Level 4 150' - 0"

Level 3 135' - 0"

Level 3 135' - 0"

Level 2 120' - 0"

Level 2 120' - 0"

Level 1 100' - 0"

Level 1 100' - 0"

SOUTH ELEVATION 0'

4'

8'

16'

WEST ELEVATION 0'

4'

8'

16'

LW_W O R K S A M P L E S _11

LAUREN WELLS_W O R K S A M P L E S _12

LW_W O R K S A M P L E S _13

SOCIAL FARM

/

THIS STUDIO EXPLORED THE ARCHITECTURAL CONSEQUENCES OF EMERGING SHIFTS IN WORKING AND LIVING SITUATIONS AND THE POTENTIAL FLUIDITY OF THE TWO. URBAN CULTURE WAS MADE POSSIBLE BY THE AGRICULTURE REVOLUTION WHICH PROVIDED THE MEANS OF SUSTAINING RISING POPULATIONS. THE APPLICATION OF INDUSTRIAL MODES OF PRODUCTION TO AGRICULTURE MADE IT POSSIBLE TO MASS PRODUCE FOOD BUT THIS APPROACH ALSO HAD DETRIMENTAL EFFECTS ON OUR ENVIRONMENT AND ON SOCIETY AT LARGE. JUST AS MONO-CROPPING AND PESTICIDE RUN OFF HAVE THEIR ECOLOGICAL CONSEQUENCES, THE SEPARATION OF WORKING AND LIVING FROM THE LAND HAS HAD SOCIAL COSTS MEASURED IN THE NUMBERS OF DISENFRANCHISED AND HOMELESS. THIS PROJECT PROPOSES THE EXPLORATION OF URBAN FARMING AS A MORE SOCIALLY SUSTAINABLE PRACTICE

BY REINSERTING FOOD PRODUCTION AT A LOCAL SCALE. AS AN ECONOMIC SYSTEM IT CAN UTILIZE AN UNTAPPED WORKFORCE AND BOLSTER LOCAL ECONOMIES. AS AN ARCHITECTURE IT CAN BRING NEW LIFE TO BLIGHTED COMMUNITIES AND NEW LIVELIHOODS TO THE PEOPLE THEY SERVE.

LAUREN WELLS_W O R K S A M P L E S _14

LW_W O R K S A M P L E S _15

SITE ANALYSIS

/

THE MORPHOLOGY OF DOWNTOWN Atlanta becomes an ATLANTA REVEALS Aimportant DEVELOPMENT distribution center for theTHE region.

PATTERN THAT TANGIBLY SPLITS CITY. Development moves along Whitehall Street, ANDthe1970S ATLANTA main commercial corridor.

TREND OF THE POST-

BETWEEN 1940S FOLLOWED THE WAR MIGRATION TO THE SUBURBS. THIS AS A RESULT ESTABLISHED ZONING ORDINANCES THAT WERE PREDICATED ON RACE.

IN 1964 THE CIVIL RIGHTS ACT ENDED LEGAL RACIAL SEGREGATION; BLACK PEOPLE DISPLACED BY ‘URBAN RENEWAL’ COULD NOW MIGRATE TO THE SUBURBS.

ecomes an distribution the region. ment moves itehall Street, commercial

With the introduction of viaducts connecting the two blocks, development moves North.

Between 1956 and 1966 a federally subsidized redevelopment destroys poor black communities on the periphery of Downtown, as an exercise in urban renewal and to build a highway.

MARTA introduces a rapid rail transit system between 1970 and 1980 as an extension of the redevelopment.

Many bus routes are removed and the transfer system is discontinued.

Due to lack of patronage and depreciating property values local business are abandoned or fall into disrepair.

LAUREN WELLS_W O R K S A M P L E S _16

THE UN-UTILIZED LABOUR FORCE

\

CONSEQUENCES OF URBAN DEVELOPMENT: 1. FOOD DESERT 2. URBAN BLIGHT 3. DISPLACEMENT OF THE DISENFRANCHISED.

URBAN RESPONSE:

•

WHO ARE THE DISENFRANCHISED? •

THE EX CON, ONE WHO DO NOT QUALIFY FOR PUBLIC HOUSING AND CANNOT FIND WORK DUE TO THEIR RECORD

•

THE VETERAN, ONE THAT CANNOT FIND WORK AND/OR SUFFER FROM PTSD

•

THE IMMIGRANT, ONE THAT SUFFERS IMMEDIATE CHALLENGES OF LANGUAGE BARRIERS, SECURED EMPLOYMENT, AND HOUSING

•

1. IDENTIFY THE VOIDS

VOIDS (PARKING LOTS OR ABANDON BUILDING) WITHIN THE EXISTING SITE.

1.

AQUARIUM, SPORT FACILITIES

•

RESTAURANTS, BARS, CAFES, PARKS

2. ABSORB THE UN-UTILIZED

UNIVERSITIES, LOFTS, RESTAURANTS

ABSORBING THE UN-UTILIZED HUMAN WORKFORCE, SURROUNDING ORGANIC WASTE, BUILDINGS, AND LANDSCAPE.

HOSPITALS, CLINICS, PARKS, CHURCHES, GEORGIA STATE

JAIL, SUBURUBS, SCHOOLS

2.

•

THE MENTALLY ILL, ONE WHO SUFFERS FROM SOCIAL INEQUALITIES AND METAL HEALTH DISPARITIES

3. CULTIVATE THE UN-UTILIZED

PROVIDING LABOR FOR THE UNUSED HUMAN WORFORCE, DEVELOPING SUSTAIBLE SOLUTIONS FOR UNUSED ORGANIC WASTE, AND THE REINTRODUCTION OF ABANDONED REAL ESTATE INTO THE CITY

3.

DESIGN RESPONSE: “FARM WITHIN A FARM”

AQUARIUM, SPORT FACILITIES

THE IDEA OF A “FARM WITHIN A FARM” PLANTS THE IDEA OF CULTIVATING CROPS PARALLELS THE ACT OF CULTIVATIN HUMAN POTENTIAL. THIS IDEA IS FURTHER CLARIFIED THROUGH THE REUSE OF WASTE TO PERFORM FARMING OPERATION.

•

4. HARVEST AND SUPPLY

RESTAURANTS, BARS, CAFES, PARKS UNIVERSITIES, LOFTS, RESTAURANTS

RECLAIM THE UNUSED WORKFORCE FOR LABOUR, THE ORGANIC WASTE FOR FERTILIZER, AND THE ABANDONED BUILDINGS FOR INHABITATION.

HOSPITALS, CLINICS, PARKS, CHURCHES, GEORGIA STATE

4.

JAIL, SUBURUBS, SCHOOLS

LW_W O R K S A M P L E S _17

PROGRAM

/

PROGRAM OF THE SITE WAS ORGANIZED INTO THREE MAIN ARCHITECTURAL INTERVENTIONS: •

1. THE HOMESTEAD SERVES TO PROMOTE THE LIVE WORK PROCESS.

•

2. THE SANCTUARY SERVES TO PROVIDE A RESOURCES OF REHABILITATION AND REFLECTION.

•

3. THE BURROW SPACE THAT SUPPORTS THE REINTRODUCTION OF EDUCATION AND LABOR PRODUCTIVITY

S.B.

S.A.

LAUREN WELLS_W O R K S A M P L E S _18

THE HOMESTEAD

1

THE SANCTUARY

2

SECTION A - (S.A)

THE SANCTUARY THE BURROW

3 2

SECTION B - (S.B.)

LW_W O R K S A M P L E S _19

THE JOURNEY •

/

1. CLEANSE PERIOD OF CLEANSING THE MIND AND BODY. USER IS PROVIDED ACCESS TO HEALTHCARE AND GROUP THERAPY SESSIONS IS PROVIDED. SOCIAL EXPERIENCE |

STEP 1

CLEANSE. Period of cleansing the mind and body. Access to healthcare and group therapy sessions is provided.

•

2. DWELL USERS ARE PROVIDED WITH A LIVING SPACE ON SITE AND ACCESS TO FOOD AND CLEAN WATER. HE HAS A PLACE TO CALL HOME AND IS WELCOMED INTO THE |SOCIAL FARMING SOCIAL EXPERIENCE STEP 2 COMMUNITY.

DWELL. Alex is provided with a living space on site and access to food and clean water.

He has a place to call home and is welcomed into the social farming community.

•

3. NURTURE USERS ARE PROVIDED WITH THE EDUCATION OF PLANTING, NURTURING EXPERIENCE AND HARVESTING THE FARM’S SOCIAL | STEP 3 CROPS. THIS PROVIDES A SENSE OF PURPOSE, BELONGING AND SELFGROWTH.

NURTURE. He is provided with the education of planting, nurturing and harvesting the farm’s crops. Alex is not simply a part of the community but is a main component into helping it function. This provides a sense of purpose, belonging and self-growth.

1.

VIEW |

THERMAL BATHS

1.

2.

VIEW |

LAUREN WELLS_W O R K S A M P L E S _20

VIEW |

CHAPEL

+

3.

HOMESTEAD COMMUNAL

•

4. CONNECT MARKET ALLOWS CONNECTIONS TO BE MADE BETWEEN THE DISENFRANCHISED AND THOSE OUTSIDE OF THE SOCIAL FARM. SOCIAL SOCIAL EXPERIENCE | STEP 4 INTERACTIONS ARE MADE AND THROUGH THEM STEREOTYPES AND SOCIAL CLASS “The Homestead” BARRIERS ARE BROKEN DOWN.

“The

3.

CONNECT. Market allows connections to be made between the disenfranchised and those outside of the social farm. Social interactions are made and through them stereotypes and social class barriers are broken down.

2.

4.

1.

4.

VIEW |

1.

BURROW COMMUNAL KITCHEN

“The Sanctuary”

LW_W O R K S A M P L E S _21

NAVICENT CHILDREN’S HOSPITAL NAVICENT HEALTH SERVES A DIVERSE COMMUNITY THROUGHOUT CENTRAL AND SOUTHERN GEORGIA. THE BEVERLY KNIGHT OLSON CHILDREN’S HOSPITAL DESIGN TAKES CUES FROM THE RICH CULTURE OF ITS SURROUNDINGS, WITH INSPIRATION FROM GREAT LOCAL MUSICIANS INCLUDING OTIS REDDING AND THE ALLMAN BROTHERS. MUCH LIKE WRITING A SONG, THE DESIGN BEGAN WITH REFERENCING THE 50-YEAROLD HOSPITAL IT WILL REPLACE AND USED ITS RHYTHM AND STRUCTURE TO LAUNCH A NEW MELODY. THIS NEW MELODY SITS AT THE GATEWAY TO NAVICENT’S CAMPUS, ORIENTED ON THE SITE TO TAKE ADVANTAGE OF DOWNTOWN MACON VIEWS. THE BUILDING SEEKS TO MAINTAIN A LEVEL OF SIMPLICITY IN ITS FORM WHILE EVOKING EMOTIONS OF COMPASSION AND EMPATHY WHILE CREATING NOTE OF PLAYFULNESS AND JOY. THE PROJECT INVOLVES A 120,000-SQUAREFOOT, 120-BED TOWER AND 70,000 SQUARE FEET OF RENOVATIONS TO EXISTING FACILITIES. IT WILL FEATURE A SURGERY SUITE, IMAGING DEPARTMENT AND NICU BEDS WITH FUTURE CAPACITY FOR VERTICAL EXPANSION. • •

ROLE: INTERIOR ARCHITECT / PROJECT ARCHITECT PROJECT PHASE: COMPLETED 2018

LAUREN WELLS_W O R K S A M P L E S _22

/

LW_W O R K S A M P L E S _23

ELEMENTS OF MUSIC

/

s Pattern ythm / end 1.10 Rh terns ext

mth

plicity, t ty in sim is beau e talking abou There r you ar usic. whethe ure, art or m ct ite ch ar

1.9 1.9.1

dding

1.11.1

Rhythm y Harmon ion Repetit g Layerin Tone ity ns te In dy elo M Texture

/

-Otis Redding

for seating ldren’s or Outdo den or chiechoes the gar d forms ive playgroun repetit within the the sed expres architecture. donor interior of a rhythm, ses Detailing ive repetit h 1.12.2 wall expres and ent wit layering , consist y. elements strateg ign the des

1.12.1

1.10.1

is canopy by lob oden A wo within a feeling layered providing a inviting space, losure and tably of enc to comfor sts gue relax.

ion

Repetit

1.12

/ Planes

element ceiling d and ore A layered s a tail create ticated space; sophis

ic pat public Rhythm outdoor the into the, integrating interior spaces s with the garden cture. with archite garden and d layered har a A 1.10.2 alternating create ients s pat softscape nce tion for destina tors to experie cts of visi effe and ling the hea . nature

y / War Harmon

Otis Re

“There is beauty in simplicity, whether you are talking about architecture, art or music.”

g Layerin

1.11

the s into rnerextend e co strategy jacent to th rhythm, sign a s ad The deped garden ents create c spaces landscaLayered elem ing the publi lobby. iously extend harmonrs. outdoo

ents / Elem

1.10.1 1.9.1

There is beauty whether in simpli you are city, architec tal ture, art king about or music .

Otis Re dding

pt Conce/

THE DESIGN STRATEGY IS SIMPLE AND RESTRAINED. DELIBERATE COMPOSITIONS ARE CAREFULLY PLACED TO CREATE MOMENTS OF DISCOVERY FOR PATIENTS OF ALL AGES. CURATED SPECTRUMS OF COLOR RESIDE WITHIN A POLISHED AND SOPHISTICATED WHITE ENVIRONMENT, INFUSING PLAYFUL ENERGY AND ADDING LAYERS OF MEANING TO PRISTINE AND EFFICIENT HEALING SPACES.

1.5 1.5.1

Contras

t / Seati

ng

1.6

Sculptu ral seating element s upholst in var ered ying sha des of blue pro vide a tonality strateg , ically juxtapo among sed a polishe d white neutral environ ment.

1.6.1

Harmon y / Enclo Repeat ing seg ments light gra of ined wo od form an inviting enclosu creatin re, g a experie special nce

sure

1.7 1.7.1

1.7.2

1.12.1 1.12.2

Intensit

y / Mater

iality

Surfaces pristine are polished and of sop, providing not hist mainta ion wh es 1.11.1 iningicat and a dyn ile col appeali orful environ amic all ages.ng to patienment ts of Curated strateg color ically is to pla destina create invi ced tions ting

0.2 La1.1 yering

1.8 1.8.1

/ Form

s

Contras forms ting architectu composand patterns ral a harmoed to ach are ieve Attentiv nious balanc e. has a e lighting des inspirin calming effeign to heal. g patients’ spir ct, its

Music

of ts Elemen

Rhythm Harmon y Repetiti on Layerin g Tone Intensit y Melody Texture

/ 1.5.1

l Hospita n’s

Childre

Conce

1.8.1

in simplicity, There is beauty talking about whether you are or music. architecture, art Otis Redding

Navicen t

1.1 1.1.1

ing

Repetition / Light

ceiling Lighting and a sense elements evoke harmony, of rhythm and of visual creating a layer polished interest within a space and serene public

1.2 1.2.1

1.7.2

1.3

Layering / Fins

1.3.1

of layers Colorful create transparent glass ry a moment of discove

Texture / Materiality framing Repetitive layers of elements and at a glass create a rhythm bays. suite of infusion

1.6.1 lity

Harmony / Tona

1.4 1.4.1

placed Strategically create gradients of color clinical a rhythm in a transition space.

restrained. gy is simple and The design strate ully placed ositions are caref Deliberate comp of discovery for patients to create moments ed spectrums of color of all ages. Curat ed and sophisticated polish l energy reside within a playfu t, infusing white environmen of meaning to pristine and adding layers g spaces. and efficient healin

1.7.1

Childre

Rhythm Harmony Repetition Layering Tone Intensity Melody Texture

1.7.1

n’s Hospita l

/

RHYTHM HARMONY REPETITION LAYERING TONE INTENSITY MELODY TEXTURE

pt

t Navicen

KEY WORDS THAT EXEMPLIFIED THE DESIGN INTENT ALONG ARE AS FOLLOWING:

The de sig Delibera n strategy is simple and res to createte compositio tra ns of all ag moments of are carefully _ ined. dis reside es. Curated covery for paplaced within tients a polish spectrums white en of color ed vir an on d me and ad ding lay nt, infusing sophisticated and eff pla yful icient he ers of mean ing to energy aling sp pristine aces.

/ Elemen ts of

Music _

1 1.1.1

INTERIORS CONCEPT PRESENTATION | 2017 LAUREN WELLS_W O R K S A M P L E S _24

Concept

2 1.2.1

Navicent

3 1.3.1 4 1.4.1

_

Children’s

Hospital

/

Elements

of

Music

Style N

THE E

CONCE

2

4

12

13

5 3

9

1 6 15

11 10

7

14

9 8

1. vinyl wa upholstery lacquered wood luxu glass; 7. po in panels; 9 glass; 11. en able wall c / solid surf

CONCEPT MATERIALITY | 2017 1. VINYL WALLCOVERING; 2. BLEACH CLEANABLE FABRIC UPHOLSTERY; 3. SHEET VINYL FLOORING; 4. GLOSS WHITE LACQUERED WOOD PANELS AND ACCENTS; 5. FAUX WOOD LUXURY VINYL TILE FLOORING; 6. BACK-PAINTED GLASS; 7. PORCELAIN TILE FLOORING; 8. ARCHITECTURAL RESIN PANELS; 9.

TRANSLUCENT GLASS 10. FROSTED / OPAQUE GLASS; 11. ENGINEERED STONE; 12. XOREL BLEACH CLEANABLE WALL COVERING; 13. PLASTIC LAMINATE; 14.

CORIAN / SOLID SURFACE; 15. PRINTED VINYL WALL COVERING

Interior D LW_W O R K S A M P L E S _25

13

Style No.

2

OUTPUT

ELEMENTS OF MUSIC

/

6

5

THE INFRASTRUCTURE OF AN INSTRUMENT IS REVEALED AND “My andinthe spaces Thereclothes is beauty simplicity, DECONSTRUCTED. ENVISION AN X-RAY OF A VIOLIN AS A they inhabit aretalking inseparable whether you are about -architecture, they are oneartand the same. OF REVEALING ITS PARTS AND PIECES TO UNDERSTAND or music.

METHOD They convey the same vision, THEIR INFLUENCE ON THE ACOUSTICAL VALUES OF ITS SOUND. the message, and the Otis same Redding same sense of values.”

ent Musical Mom e Resonanc Vs Natural Light ation Digital Light Light Grad Tonality via Sounds of Narrative ut The Outp Impactful Playful w” installation “Colour Shado into how Eliassons’ departure to look ful 1. Olafur t l yet peace the perfec provides create a playfu ic/color/light light can ty via graph tful feature, color and 2. Tonali impac latmospherecan create an l 3. Natura gradation a contemporary chapems that helps (Digital perfect for es one of the mediu ial Light light becom space 4. Artificwill help activate the ly that activate 7 er medium of sound will direct bars nce Light) is anoth similar to 5. The resona the space visual output of lightlobbies or entry a e a Elevator relate via and provid board. 6. on a sound activated with lightRooms can have portals are rop. 7. Radiology soothing create a playful backd ent of light to proper treatm t. environmen 4

2

2017

2

OF SOUND

s. The visual finally begin ance are al moment their reson ted with The music sounds and activa ce. becomes output of the space user interfa the expressed; responds to the serve as energy that and technology an atmosphere Natural light patient is taken into ive of sounds The tes visual narrat medium.

The light. t and activa of color and environmen ss of curing a soothing as the proce provides s sense t’s the patien begins.

1

2

18

6

Style No.

3

3

NTATION INSTRUME MATERIALITY CONCEPT

5

4

8

5 11 9 2

3

6

7

ts e brass accen 2. antiqu 3. xorel upholstery; al instruments; l stone 1. vinyl 4. natura horn music lain tile inspired by ble wall covering; look porce and stone with a metallic bleach cleana g l surfaces for vertica sheet vinyl floorin gold and bronze 5. stery with inspired by burl flooring; vinyl uphol wall panels bronze metals; texture. 6. faux wood e drums; 8. antiqu tones. 7. snare 10. s and keys; wood guitarinspired by piano et valve caps. d by trump 9. wall tile wall tile inspire mirror; 11.

4

n Interior Desig

MELODY

PERCUSSION

LAYERING & INTENSITY

LAUREN WELLS_W O R K S A M P L E S _26

2017Veleste imus eum con natestium lam qu venet quia plantus, si deniandi aut arciis ac endit ped exceat lam sus accus experuptis Nam, si cus maximen totaquiati quuntum fu eturem explist lat vel di natiantemqui nulp

1. Rich the mo ness in the trasting od of a vibr color of the trum space. features, ant melody pet continu3. Whims harmonize . 2. Depth mirrors ical inst s within ity within allation the natureof conbuilds of a of its an instrum a space. 4. a a me personality ent, can be Rhythm of sense of lody of . 5. text an ess an inst emotio Gestura ential ures, structu rument’s ma nal imp l features feature act. rein re insp teri ire deli ality and 6. Raw ton force cacy of a spaits techno es of logical ce

Interior Desig n Conce pt | 07

10

MELODY

4

PERCUSSION

3

RHYTHM

2

LAYERING & INTENSITY

1

h 2016 | 07 Marc Concept

No. 3

The des RU M EN analysi ign strateg TATI by the s of musica y develo O N ped level rich materi l instrument from car of eful atio ident refinementality and sinuousn, inspired in southe this style, and sop form hist Spacesrn hospita showcasin ication s. A is toned are warmlity, comfortg a flair tow evviolins woods insp and inv , and hea ard itin tallic and guitars ired by the g, with ling. accent . materi richly Antiqu patina s are alit e ments of trumpetderived frombrass and y of . me s Lac the cents quered and oth beautif ul space are inspired and polisheer horn inst rud ma tients presents dis by piano keyboa terial acto adu and guests covery and rds. nectionlts, and demof all age appeal to The music. to the too onstratess, from chi paldre ls for makin palpable conn g and sharing-

h 2016 | 07 Marc Concept

1

5 4 3 1

16

Style

INST

n Interior Desig

WE AIMED TO CREATE MEANINGFUL GESTURES THAT HAVE A HIGH IMPACT ON THE PATIENT’S EXPERIENCE. FOR EXAMPLE, AS A METHOD OF WAYFINDING, EACH LEVEL WAS ASSIGNED A MUSICAL PERSONA THAT WILL BE EXPRESSED THROUGH A VARIANCE OF COLOWAYS, WHICH ARE INDENTIFIED IN SECTION, AND FORM. THE INTERIOR ARCHITECTURE IS DECISIVE AND CAREFULLY STUDIED. THE SPACE PROVIDES THE INFRASTRUCTURE TO HEALING - THE ANTICIPATION TO WELLNESS.

HARMONY

“My clothes and the s are inseparable - they same. They convey th same message, and t values.”

3 1

March 2016

17

5 17 4

13

14

18

15

19 16

6

12

9

3

11

7

10 2

8

20

20

20

1

LEVEL 01 | PUBLIC AREAS

1. vestibule; 2. registration; 3. information desk; 4. lobby / family area; 5. lift lobby; 6. counselor; 7. registration manager; 8. wheel chair / wagon storage; 9. public toilet; 10. family toilet; 11. kitchen equipment and food cart storage; 12. cafe service counter; 13. cafe seating; 14. retail display wall; 15. meditation; 16. ED check in; 17. ED waiting; 18. lact.; 19. ED waiting / sick area; 20. skype niches.

1. VESTIBULE; 2. REGISTRATION; 3. INFORMATION DESK; 4.LOBBY / FAMILY AREA; 5. LIFT LOBBY; 6. COUNSELOR; 7. REGISTRATION MANAGER; 8. WHEEL CHAIR / WAGON STORAGE; 9. PUBLIC TOILET; 10. FAMILY TOILET; 11. KITCHEN EQUIP-MENT AND FOOD CART STORAGE; 12. CAFE SERVICE COUNTER; 13. CAFE SEATING; 14. RETAIL DISPLAY WALL; 15. MEDITATION; 16. ED CHECK IN; 17. ED WAITING; 18. LACT.; 19. ED WAITING / SICK AREA; 20. SKYPE NICHES.

Children’s

Hospital

/

Elements

of

Music

LW_W O R K S A M P L E S _27

_

13

16

14

20

23

1

10 2

11

3

12

15

18

22

9 8 7

17

19

21

4 6 5

03| PUBLIC 1. Waiting; 2. Reception; 3. Consult; 4. Consult; 5. Height and Weight; 6. TLT-ADA; 7. TLT-ADA; 8. Water Fountain; 9. TLT-ADA 10. Work Area; 11.Sibling Area; 12. Family Amenities;LEVEL 13. Elevator Lobby; 14.

Technology Room; 15. Social Work; 16. Consult; 17. BIo- Med; 18. Housekeeping.; 19. Conference; 20. Family Resources; 21. Lactation 22. Staff Toilet; 23. Shared Office.

AREAS

1. WAITING; 2. RECEPTION; 3. CONSULT; 4. CONSULT; 5. HEIGHT AND WEIGHT; 6. TLT-ADA; 7. TLT-ADA; 8. WATER FOUNTAIN; 9. TLT-ADA 10.

WORK AREA; 11. SIBLING AREA; 12. FAMILY AMENITIES; 13. ELEVATOR LOBBY; 14. TECHNOLOGY ROOM; 15. SOCIAL WORK; 16. CONSULT; 17. BIOMED; 18. HOUSEKEEPING.; 19. CONFERENCE; 20. FAMILY RESOURCES; 21. LACTATION 22. STAF TOILET; 23. SHARED OFICE Children’s

Hospital

LAUREN WELLS_W O R K S A M P L E S _28

/

Elements

of

Music

_

Rendering of “Navicent Children’s Hospital / Elements of Music” L3 Waiting Area Design (overhead view), 2017

LEVEL 03| WAITING

LW_W O R K S A M P L E S _29

FEATURE WALL DESIGN / STACKED LAYERS OF COLORED ACRYLIC FOLLOW THE SINUOUS PROFILE OF A MUSICAL INSTRUMENT. AN ANCHORING ELEMENT TO THE PUBLIC SPACE, THIS SINGLE GESTURAL ELEMENT PROVIDES WALL ENCLOSURE, OPENINGS FOR POINTS OF RECEPTION, INFORMATION AND SECURITY, PRESCRIBES A PUBLIC PATHWAY AND AN ADDRESS VISIBLE FROM THE EXTERIOR. THE GROUND FLOOR TRANSFORMS THROUGH THE DAY AS THE COLORED “GUITAR” ELEMENT TAKES ON A COMPLETELY NEW, SATURATED APPEARANCE WHEN ILLUMINATED BY NIGHT.

LAUREN WELLS_W O R K S A M P L E S _30

to provide openings for reception, and public pathways.

The ground floor transform day as the colored “guitar” on a completely new, saturat when illuminated by night.

movement in the lobby.

1.3.1

here is beauty in simplicity, whether you are talking about ELEMENTS rchitecture, art or music.

4

•

Form / Profile

Gesture / Sur-

OF THE FEATURE WALLISENFRANCHISED? 1.3.1 1.4.1 The form takes shape by The overall gesture of a deliberate and careful study of instrument profiles, the musical element is abstracted by the use of scale.

the feature wall results from the sinuous profiles of instruments and its surface is always continuous bifurcating to provide openings for reception, and public There is beauty pathways.

1.5

Texture / Pattern

1.6

1.5.1

The pattern is carefully studied with a combination of 4” Wide and 8” Wide acrylic strips.

This allows for an overall effect of intensity and movement in the lobby.

1.6.1

FORM / PROFILE THE FORM TAKES SHAPE BY A DELIBERATE AND CAREFUL STUDY OF INSTRUMENT PROFILES, in simplicity, THE MUSICAL ELEMENT IS ABSTRACTED BY THE whether you are talking about USE OF SCALE. architecture, art or music.

1.3.1

TEXTURE / PATTERN Otis Redding THE PATTERN IS CAREFULLY STUDIED WITH A COMBINATION OF 4” WIDE AND 8” WIDE ACRYLIC STRIPS. THIS ALLOWS FOR AN OVERALL EFECT OF INTENSITY AND MOVEMENT IN THE LOBBY.

•

TONALITY / MATERIAL TONALITY IS APPROACHED BY THE USE OF 1.4.1 5 DIFERENT ACRYLIC COLORS THAT ARE CAREFULLY PLACES AND 1.3.1 EXTRUDED AT VARIOUS DEPTHS.

/

•

4

Children’s

1.4

Hospital

eature Wall

Otis Redding

1.3

Tonality / Material Tonality is approached by the use of 5 different acrylic colors that are carefully places and extruded at various depths.

1.3

Form / Profile

1.4

1.3.1

The form takes shape by a deliberate and careful study of instrument profiles, the musical element is abstracted by the use of scale.

1.4.1

1.5.1

Stacked layers of colored acrylic follow th sinuous profile of a musical instrument. A anchoring element to the public space this single gestural element provides wa enclosure, openings for points of reception information and security, prescribes public pathway and an address visible from the exterior.

The ground floor transforms through th day as the colored “guitar” element take on/aSurcompletely new, saturated appearanc Gesture 1.5 Texture /P when illuminated by night.

1.5.1

The overall gesture of the feature wall results from the sinuous profiles of instruments and its surface is always continuous bifurcating to provide openings for reception, and public pathways.

The pattern studied w combination o and 8” Wide ac This allows for effect of inte movement in t

1.3.1

1.5.1

1.4.1

3

1.5.1

1.3.1 1.5.1

1.6.1

3 /

Elements

of

Music 3

4

1.5.1

1.4.1

1.6.1

1.5.1

1.6.1

LW_W O R K S A M P L E S _31

CAFE/RETAIL DESIGN

/

•

•

LAYERING / FINS COLORFUL SPECTRUMS OF COLOR WILL TRANSFORM THE LOBBY GIVING THE SPACE A KALEIDOSCOPIC EFECT. TEXTURE / MATERIALITY 9’ TALL FINS WILL ALSO BE ILLUMINATED AT NIGHT WITH SMALL DOWNLIGHT FROM ABOVE. HARMONY / TONALITY THE COLOR AND TONE OF THE FINS WILL TRANSFORM FROM ONE END TO THE OTHER, RESULTING IN A FULL SPECTRUM.

LAUREN WELLS_W O R K S A M P L E S _32

1.5 1.5.1

Shelving

System

Shelves allow for a clean look and deliberate to be on items display.

1.6 1.6.1

Material

ity 1.7

Bronze hardware and oak shelves tie in the concep overall t of the wall bac k to the retail design overall of the fac ility.

1.7.1

1.8.1

Marketin

g

1.8

Shelves can hel p suppor any loc t al busine ss need by need bas on a is.

Mercha

ndise

1.8.1

Music of

Retail Wall de small gifts forsign can help cards, accomo patie wrappe candles, stunts, from “ge da _ te d allow for cookies. The ffed animals t-well” remain products to beshelving syste and de at the mi r of merchan on display whm can dise ile llwork be low or in can be concea the led storage.

ts Elemen / l Hospita n’s

Childre t Navicen

1 1.8.1

1.6.1

1.5.1

in simplicity, There is beauty talking about whether you are or music. architecture, art Otis Redding

1.2 1.2.1

parency 1.3

Repetition / Trans

Fins Translucent Glass d along will be repeate of the the perimeter curtain wall.

1.3.1

Layering / Fins ms of Colorful spectru rm the color will transfo space a lobby giving the kaleidoscopic effect.

1.5.1

1.4 1.4.1

to the acrylic fins fasten oscopic Colored glass or to create a kaleid exterior mullions environment. Color and or 1.8.m, harmony effect in the interi al to rhyth 1 light play are centrmusical composition. a and repetition of

lity

Harmony / Tona

Texture / Materiality

1.5

also be 9’ Tall fins will with illuminated by night from small downlight

1.5.1

above.

tone of The color and m the fins will transfor to the from one end in a full other, resulting spectrum.

Navicen t Childre

1.8.1

n’s Hospita l

1.7.1

/ Elemen ts of

Music _

1.2.1

1.2 Color Fins

•

REPETITION / TRANSPARENCY TRANSLUCENT GLASS FINS WILL BE REPEATED ALONG THE PERIMETER OF THE CURTAIN WALL.

cept n o C Co5nAceCafe pt / 1.

•

There is beauty whether in simpli you are city, architec tal ture, art king about or music .

Otis Re dding

1.5 Re tail

LAYERS OF COLORSENFRANCHISED?

/

COLORED GLASS OR ACRYLIC FINS FASTEN TO THE EXTERIOR MULLIONS TO CREATE A KALEIDOSCOPIC EFFECT IN THE INTERIOR ENVIRONMENT. COLOR AND LIGHT PLAY ARE CENTRAL TO RHYTHM, HARMONY AND REPETITION OF A MUSICAL COMPOSITION.

g shelvin lptural se A scu a sen adds the system ss to yfulne of pla retaining while of r ce, spa manne trolled selling a con g and displayin . andise merch

/

1.5.1.A

stem

ing Sy

elv ural Sh

Sculpt

1.5

Navicent

1.4.1 1.4.1

1.3.1 1.5.1 1.5.1

_

Children’s

Hospital

/

Elements

of

Music

LEVEL 01 | CAFE/RETAIL

ndering of “Navicent Children’s Hospital / Elements of Music” Cafe Design (overhead view), 2017

LW_W O R K S A M P L E S _33

LAUREN WELLS_W O R K S A M P L E S _34