Leon Wood
The following is a collection of 7 projects. These works were selected to share design thought and process across a range of disciplines including architecture, environments, graphics and branding. I believe that design has the power to communicate. I hope you would find something here that speaks to you. Enjoy.
MIAMI DESIGN DISTRICT
THE GALLERY
PHOTOGRAPHIC ARCHITECTURE
SKIN
THE CONTAINER
STUDIO REBRAND
CAMBODIAN DORM PROJECT
ETC.
MIAMI DESIGN DISTRICT How do you create an environment fitting for the world’s most progressive contemporary art community?
An International Arts District
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Miami Design District is one of the world’s leading spots in the contemporary art scene. Between Miami and Basel, Switzerland, the world’s best art is displayed and collected annually. Because its existing building conditions had left the district in disrepair, the developer Dacra sought to revitalize and unify the district under one cohesive vision. With architecture designed by some of the world’s leading architects, including IwamotoScott, Leong Leong, Daly Genik, JohnstonMarkLee, and Pritzker Prize winner Sou Fujimoto, this was a unique signage and environment project to be a part of. I was responsible for concept, design and development phases of all of the environmental graphic pieces, including District-wide signage, regulatory enhancements (such as a custom painted crosswalk), wayfinding elements for custom-designed parking garages and other branded elements. Concepts for custom District crosswalks
5 center line of 2nd Ave is parallel to street curb
1'-0" 10'-0" 2'
P10 1'-5
"
1’-5” interior stripes to be painted in non-reflective white paint approved by City
rotated at 24˚ degrees 24.00° 90˚
center line of 1st Ave is parallel to street curb
P10
1'-0"
1’-5” interior stripes to be painted in non-reflective white paint approved by City
2' 10’-0” rotated at 24˚ degrees
24.00°
Final branded District crosswalks
90˚
1'-5
"
SIGNAGE TYPEFACE 6
Neutraface 2 Text - Book
ABCDEFGHIJKLMNOP QRSTUVWXYZ 01 23456789 Neutraface 2 Display- Bold
ABCDEFGHIJKLMNOP QRSTUVWXYZ 012 3456789
PROJECT SYMBOLS
Men’s Restroom
Women’s Restroom
Elevator
Parking
Handicap
Bicycle
Stairs
PROJECT LOGOS
Logo by Made Thought 7
PROJECT COLORS
P1 MDD Blue Pantone Blue C
P2 MDD Black MP33653 Black Stallion
P3 MDD White MP04473 Talcum Powder
P4 MDD Gold Pantone 872c
P5 MDD Cream Pantone 872c
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Iwamoto Scott, Leong Leong facade
Facade design by LEONG LEONG
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es. Reference: Pentagram
Exposed blue neon
Open metal channel
Facade design by IwamotoScott Architecture
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CL
Center panel on drive lane
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R I G H T T H I S WAY.
EXIT
E XIT
10"
OVER HERE. D O N OT E N T E R .
NEED A SPOT?
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5
SPEED LIMIT
MPH
Overhead Sign Messages
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Scale: 1/2”=1’-0”
EX I T
10"
1
4"
TURN OVER HERE.
M PH
NE E D A S P OT ?
10'- 0"
ALMOST THERE.
T H I S WAY O U T.
7'-6"
E XIT
Scale: 3/8”=1’-0”
R I G H T T H I S WAY. 4"
7'-8"
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Mounting
Note: - All interior parking signage is to be mounted at 7’-6”, verify locations prior to installation.
Overhead Vehicular Directional | Elevation Scale: 1”=1’-0”
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Scale: 1”=1’-0”
General Notes: 1. All signs, structures and letters need to be engineered by sign fabricator prior to shop drawing submittal and fabrication for structural and backing requirements to withstand local regulations, codes and weather conditions. 2. All sizes shown are approximate and should be verified prior to final fabrication based on construction documents and/or as built conditions. 3. Fabricator must use Matthews UV clear coat on painted surfaces to minimize / prevent as much as possible any noticeable fading. 4. All corners and edges to be eased; all welds to be ground smooth. Please Note: The suspended vehicular directionals are prototype designs only. Fabricator to coordinate with message schedule and suspended locations provided by parking garage consultant.
- All copy to be approved by client prior to fabrication.
Airline cable with painted 1” diameter PVC pipe
Side View
Note: - All interior parking signage is to be mounted at 7’-6”, verify locations prior to installation.
P7
Expanded PVC sheet material M8 with paint and vinyl type
CL
V3
1"
5"
4"
10"
2 3/8"
2'-10"
4"
CLEARANCE
Black indicates vinyl copy/arrows
6’ - 8 ”
ENTER. 3'-11"
8"
3/4"
3/4"
7'-8"
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Overhead Vehicular Directional | Elevation Scale: 1 1/2”=1’-0”
4"
Note: - Clearance height is to be 6’-8” and should be confirmed prior to final fabrication. - All copy to be approved by client prior to fabrication.
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Side View Scale: 1”=1’-0”
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Custom numeral design
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LEVEL SIX
LEVEL SIX
LEVEL FIVE
7'-7"
LEVEL FOUR
LEVEL THREE
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Elevator Core Level IDs Scale 1/8”=1’-0”
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3
Stair/Elevator #2 Typical Tier Scale 3/16”=1’-0”
13'-11"
9'-7"
1'-1/2"
1'-1/2" 3'-6"
2
Elevator Core Level IDs Scale 1/4”=1’-0”
10'-5"
5'-10"
LEVEL THREE
5'-0"
3"
1'-5"
CL 8"
16
2'-0"
7 1/2"
2'-0"
A
Message C
Message A
Message A Scale 1”=1’-0”
P2 V3
B
Message B
C
Message C
Scale 1”=1’-0”
Message B 2'-0"
1
Top View Scale 1”=1’-0”
Scale 1”=1’-0”
2'-0"
7 1/2"
P2
2'-0"
Message A
1
Top View Scale ”=1’-0”
V3
Message B
2
Message A
3
Message B
Scale 1”=1’-0”
Scale 1”=1’-0”
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THE GALLERY LA. A city of contrasts. An architectural study of material, spatial experience, light, with a concept of contrasting the manmade and the natural.
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The folded ribbon
Intersecting the grids of LA LA Gallery Strategically sited on the campus of the University of Southern California, the LA Gallery is designed to capture a glimpse of what defines the culture of Los Angeles. The organization of the pavilion borrows from the grid of its site, engaging the overlapping grid structure of Los Angeles City. Its design features two parts: a singular sculptural ribbon atop a landscape extrusion. The white ribbon which wraps over itself, creating pockets of enclosed and covered space while the base is an unassuming extension of the landscape, which rises from the ground, revealing striations of wood slats. The sculptural concrete ribbon, of man-made material, represents the beauty, appeal and, perhaps, the superficiality that exists in LA culture. The landscape element, with its natural green roof and organic shape and materials, represents the opposite; the understated presence of the natural ecology. The two, juxtaposed, create an ever dynamic contrast and dialogue, of real vs. fake, natural vs. superficial, organic vs. manmade, unobtrusive vs. extravagant. For its opening show ‘Contrast’, works of local photographers were displayed depicting snapshots and stills of moments of juxtaposition. These photographs ranged from the glamour and sensation of Hollywood ‘life’ to the day to day of an emigrant worker, often happening on the same street.
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The white ribbon which wraps over itself, creating pockets of enclosed and covered space. The sculptural concrete ribbon, of man-made material, represents the beauty, appeal and, perhaps, the superficiality that exists in LA culture. The landscape element, with its natural green roof and organic shape and materials, represents the opposite; the understated presence of the natural ecology. It is an unassuming extension of the landscape, rising from the ground, begging to be noticed. The two, juxtaposed, create an ever dynamic contrast and dialogue, of real vs. fake, natural vs. superficial, organic vs. man-made, unobtrusive vs. extravagant.
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Folded ribbon sculptural studies
Parti
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As one enters the project, the ground slopes lower as the ceiling gently rises. The striations of exposed ‘earth’ are represented in the linear wooden slats, creating dappled light and shadow, depending on the time of the visitor experience.
PHOTOGRAPHIC ARCHITECTURE What happens when light meets space? Can you inhabit a camera? Exploring the art and process of photography through an architectural lens.
PINHOLE CAMERA 30
I NST RU M ENTS OF PH OTOGRAPH Y Camera Obscura Apparatus
PHOTOGRAPHIC ARCHITECTURE The process of making something, anything and everything from the products we consume to the food we eat is returning to the forefront of our consumer consciousness. The act of producing, once generally eclipsed by the product being produced, now in many instances is rising to a level of equal importance. Consumers at all socioeconomic strata are demanding, even craving “more-for-their-money.” Transcending base monetary issues, this desire for “responsible making” encompasses an ever-expanding range of cost and value parameters including cultural, social, political, technological and environmental. The craft of photography is at once about capturing image, moment and time. It is also, most importantly, about capturing light. This projects seeks to explore the connection between the crafting of an image and the crafting of a space, and how those can be almost one and the same. It also explores the spatial qualities of images and the fleeting moments of architectural experiences that have so much to do with time and duration of architecture.
This self-made pinhole camera captures global views through its six compartments. The images are spatial in nature, capturing not just one point of view, but capturing 6 different views from the same position.
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CAMERA OBSCURA 32
I NST RU M ENTS OF PH OTOGRAPH Y Camera Obscura Apparatus
Abelardo Morell
Camera obscusea is an optical device that projects an image of its surroundings on a screen. It is one of the inventions that led to photography. Photographer Abelardo Morell created camera obscura rooms where he blocked out all light except for one hole facing cityscapes and famous landmarks. His photos served as inspiration and starting ground for my experiementation with apertures and exposures in the camera obscura apparatus I created.
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Inside the Great Balloon
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Experience Collages
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I NST RU M ENTS OF PH OTOGRAPH Y Camera Obscura Apparatus
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THE CONTAINER An everyday box becomes a life saver.
SHIPPING CONTAINER RELIEF HOUSING
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T H E C ONTA INER
Disaster Relief Housing
With a record increase in natural disasters worldwide, our planet and its inhabitants are in need of new, quick and creative solutions to the damages incurred by nature. Sited in Osaka, Japan, a place where both flooding and seismic activity are imminent dangers, this relief project makes use of material and resources which are abundant but poorly utilized. This projects explores modulation of spaces and elements and ideas of combining existing elemental blocks to create larger, more inhabitable spaces.
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T H E C ONTA INER
Disaster Relief Housing
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T H E C ONTA INER
Disaster Relief Housing
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T H E C ONTA INER
Composting Latrine ECOSAN COMPOSTING LATRINE COMPETITION The design for this EcoSan latrine makes use of an item that is readily available as a building material in many places and often wasted or overlooked: the shipping container. The fixed dimensions and compact nature of the metal container allows for efficient transport and assembly of the latrine units. All of the pieces which comprise the usable latrine can be stored and shipped in the 8x20 container. The garden element makes use of both the sold and liquid waste: the compost for planting and the urine for liquid nutrients. The single planter, into which the liquid waste drains, can be continually changed, allowing all of the planters to house flourishing plants. The fixed kit-of-parts in this container garden latrine design allows it to be used across countries and cultures and, essentially, wherever there is a need.
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SKIN Exposure. Enclosure. Architecture. The body. The human experience of space.
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SK I N
A study of pattern, exposure and enclosure ARCHITECTURE/SKIN Even during the modern movement, exterior walls in architecture were designed to be static and rigid. Visual access between interior and exterior environments was open with the use of glass and steel, but artificial climate control still determined the impenetrable limits of those glass walls. As times change, more recent public interest in sustainable design, energy conservation and zeroemission building design has infused the industry with renewed impetus to seek alternative solutions. With the emergence of new smart materials, the evolution of digital technologies, evolving and availability of mass-customization methods, those same walls can now be designed to be responsive, interactive and even porous, much like human
skin. As a “third” artificial skin (the “first” being clothing, the “second” the automobile), architecture can, in effect, bring man closer to nature by elevating the sensitivity of the building surfaces to simulate organic skins and shells. Thermallyresponsive materials in outer layers have the ability to make skins responsive to man and the environment, smartly and effectively. When heated these materials (e.g. Thermobimetals, Nitinol and other shape-memory alloys and polymers) can automatically deform/curl and can return to its original form without the need of additional energy. The potential for form-changing, self-ventilating or sun-shading is tremendous.
“The skin is the interface between an organism and its world...It is probably the most versatile of all organ systems, having mechanosensory and skeletal functions as well, whose relative importance is different in different groups of animals. These functions can all be incorporated into our technology, contributing to the new area of bio-inspired design.” Julian Vincent Biomimetics of Skins
Such is our way of thinking—we find beauty not in the in the thing itself but in the patterns of shadows, the light and the darkness, the one thing against another creates.” creates.
-Jun’ichirōo Tanizaki In Praise of Shadows
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SK I N
A study of pattern, exposure and enclosure
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SK I N
A study of pattern, exposure and enclosure
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Thermally-responsive materials in outer layers have the ability to make skins responsive to man and the environment, smartly and effectively. When heated these materials can automatically deform/curl and can return to its original form without the need of additional energy. The potential for form-changing, selfventilating or sun-shading is tremendous.
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Thermal bimetal perforation study models
6 SKIN
LEON WOOD 7
unit a unit a
unit b
unit b
stretched
stretched
unit a
unit b unit b
shifted shifted
36 SKIN
16 SKIN
shifted
8 SKIN
stretched stretched
LEON WOOD 37
32 SKIN
LEON WOOD 17
18 SKIN
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LEON WOOD 9
LEON WOOD 33
LEON WOOD 19
10 SKIN
34 SKIN
44 SKIN
LEON WOOD 11
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LEON WOOD 45
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32 SKIN
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LEON WOOD 33
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MoirĂŠ studies
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SK I N
A study of pattern, exposure and enclosure
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SK I N
A study of pattern, exposure and enclosure
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STUDIO REBRAND What happens when a design firm redesigns itself.
Existing logo
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R SM D ES IG N S T UD IO R E B RAND
Though holding the stigma of the newest member of the office, I was granted permission to lead the effort in the rebranding of RSM Design. I was solely responsible for team organization, leadership and directing the office and team members in working collaboratively to define the collective values and mission statement, which I ultimately drafted. The company logo was reimagined through a series of brainstorms and discussions. Ultimately, I took the refined logo and determined a fresh new color palette, reflecting the collective value of diversity. The former logo, representative of the three unique personalities of the leadership, has been evolved to reflect unity amongst the team, while still manifesting the personalities of the individuals that comprise RSM Design.
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CAMBODIAN DORM PROJECT A passion project.
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HELLO FRIENDS This project represents our vision for a better future. By giving away our talents, we can help make life more beautiful.
When compared to the weighty challenges that confront our world and plague our neighborhoods, this project might appear very small. However, we invite you to take a second look. For our small team, and the students involved, this effort represents something life changing. The Cambodian Dorm Project offers a unique opportunity for young designers to join in sheltering what matters. Through the art and service of design, we are leveraging our professions to contribute to something extraordinary: the education of the next generation of hope for Cambodia. Will you help us? Yours, Anthony & Krista Laney Missy Laney George Negrete Justin & Madison Kalama Leon Wood Paul Choi
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THEIR STORY The children of Cambodia are hurting. Scarred by abuse, a history of genocide and numbed by generations of poverty, these young lives face major disadvantages. Thirty years ago, the Khmer Rouge killed all the teachers. Today, the institution of the schoolhouse is still recovering. On top of this, the industry of human trafficking is quick to prey upon the ignorance and hopelessness of these young students. A few fortunate kids have found refuge in shelters established by local NGOs. These safe havens provide for the basic needs of children who are orphans, victims of sexual trafficking, or simply have no other options for education. But if they’re fortunate enough to find a shelter, the older students face another problem: they’re quick to aged-out. So now what? Back to the streets? Recruited by traffickers? How can they break the cycle they’ve worked so hard to overcome? They know they don’t want to go back to the streets. They’re just looking for a better alternative.
This is an opport for us to be a something greate ourselves.
tunity a part of er than
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ctional Diagram
ation & Shade
ral Ventilation
Diagrams by A. Laney
openings in walls and the open wood screen allow for increased natural ventilation while overhangs protect the building from sun and rain.
IMPARTING SMILES
DORM
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THE DORM The development of these dormitories is immensely strategic. These small homes would provide a gateway to a brand new life. This project directly attacks the lie that is
perpetuated by the industry of human trafficking and the culture of abuse: “You’re used and you’ve got no potential.” These dormitories are conceived as an affront to this filthy propaganda.
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A place where young minds can be nurt
Rendering by A. Laney, Plan by J. Kalama
tured.
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WATER MAIN FROM TOWER
WATER MAIN FROM TOWER
WALL FOUNTAIN KITCHEN SPACE
KITCHEN SPACE
A A
FUTURE DORM BUILDING
A
COMMUNITY PLAZA W/ WALL FOUNTAIN
COMMUNITY BUILDING
PLANTING AREA
A
A A
GIRLS DORM
BOYS DORM
PLANTING AREA
B GENT
LE
CONCRETE PAD FOR DORM
SLOP
E DI RE
B
CTIO
N
CONCRETE PAD FOR DORM
ACTIVITY FIELD
B PLANTING AREA
BIKE PARKING ON GRAVEL
GENT
LE
B
BIKE PARKING ON GRAVEL
B
SLOP
A
E DI RE
CTIO
PLANTING AREA
N
A FUTURE CONCRETE PAD
GENT
PLANTING AREA
LE
SLOP
A
E DI RE
CTIO
N
B
SMALL SITTING AREA
A
B
B
FUTURE DORM BUILDING
CONCRETE PAD FOR PARENT BUILDING
C
PLANTING AREA
PLANTING AREA
D
D
D
D
D
D
D A
C
PARKING
CULVERT UNDER SIDEWALK TO DETENTION BASIN DETENTION BASIN
PARENT BUILDING
LOW POINT
C
PLANTING AREA
PLANTING AREA
C A B
C
C ENTRY GATE
PROJECT
SCHEMATIC SITE PLAN APRIL 15, 2013
SCALE: 1/16" = 1'
MORE THAN A HOME Imparting Smiles then invited us to visit them in March, during the beginning of construction. The purpose of the trip was to develop a face-to-face relationship with our host and to gather first-hand information about the needs of their ministry. We would also visit the project site, experience the context of
the location, refine the dorm design, and develop a master plan for the entire property. Our team worshipped, prayed, and planned for several months prior to our trip. In many ways, our time of preparation was spiritually rich, as we all sensed that God was preparing us for something very special.
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DESIGN PROCESS We leveraged our time, our professions, and our personal savings to champion this dorm project. Using email and Skype, we sought to understand the needs our our client, the limitations of local resources, and the unique challenges of the rural context. We labored long
and hard to deliver an intelligent, site-specific, culturally sensitive design that would serve as a home for these young students. When we electronically delivered the drawings to the staff of Imparting Smiles, the design was enthusiastically received.
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THE TRIP Armed with sketchbooks, 3d models, project drawings, a laser measurer, and a guitar, our team of five men set off to a small city near the border of Thailand and Cambodia. What we experienced was beyond all our expectations. The needs of the region were more massive and the work
of Imparting Smiles was more commendable than we formerly understood. But this is what shocked us: The strategy for the formation of these dormitories was at the very center of a long-term effort to combat the devastation of human trafficking and the local culture of abuse
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and neglect. These dorms were on the front lines of the battle against the choke-hold of sexual slavery, illiteracy and poverty. If we were experiencing any fatigue in our efforts, suddenly we were filled with a new-found motivation to give. This occurred within the first three hours of our arrival in Cambodia.
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IMPARTING SMILES
Positioned at the very center of this dark context, Imparting Smiles has enabled children to dream again.
This long-term ministry is brilliant evidence of the transformational power of love. Their strategy focuses on the magnificent potential of children. In a country plagued by an absence of teachers, their mission is to raise up a new
generation of educators and influencers, from the ground up. Creating a special haven for students, Imparting Smiles provides both shelter and training for children who are orphans, victims of trafficking, or simply have no other options.
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Helping to share hope with the hopeless.
ET CETERA ...
Mercado Del Barrio Roof Sign RSM Design 2013
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Bloom DO|SU Studio Architecture 2012
MEANS Architectural Publication 2007
Evolo Entry w/ B. Travis & E. Lee 2013 Italy Sketchbook 2010
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Springboard AIA Dallas 2013 Campus Sketches 2009
YangGuang Center RSM Design 2011 #1
#1
Pacific City www.gopacificcity.com 2013
#1
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LA Mediateque Groth Studio 2009
Circulation Studies 2009
California Abilities Network 2012
IMPACT MY COMMUNIT Y
Sl NG & I WILL
National Gallery 2009
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Study on Y 2012
LA Mediateque Groth Studio 2009
ABOUT ME Thinker & designer. Formal education in Architecture. Passion for design communication and collaboration. Bridging spatial, emotional, & branded experiences; human experiences. Experience at IDEO, MADA s.p.a.m. Shanghai, USC School of Architecture and several creative offices. Please reach out at leonwood@gmail.com Thanks.
Leon
Thanks to GN, AL, JK, PC, SE, LO, JH, BT, EL, RSM