LILY MCCOURT INTERIOR DESIGN STUDENT PORTFOLIO UNIVERSITY OF TEXAS AT AUSTIN
CARR Flagship Store Austin Resource Centre for the Homeless Poetry and Literature Centre Patterning : 2D to 3D Alexander McQueen Pop-up Shop Alexander McQueen Flagship Store Piazza Arte Moderna
Oxford Shirt Manipulation Material Translations Wood Joint Alamo Drafthouse Cinemas Document + Analyze
Figure Drawings Shade + Shadow Study Free Hand Drawing Watercolours
DESIGN
CREATE
DRAW
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DESIGN
CARR RETAIL FLAGSHIP DESIGN VI / TAMIE GLASS / SPRING 2013 The space embraces the stripped down southern hospitality of the CARR brand, while maintaining an air of subtle sophistication and comfort in experience.
DN
ELEVATION | facade
WO
ME
P.O
ACC
BOO DR
TAI
BAC
SECTION | sales floor 6
PLAN | floor finishes
PERSPECTIVE | men’s display
CARR RETAIL FLAGSHIP DESIGN VI / TAMIE GLASS / SPRING 2013 A transaction bar serves as the main point of sales. The bar serves as both a refreshment and transaction station, reinventing the typical retail experience by providing utmost comfort and sophistication.
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PERSPECTIVE | transaction bar PERSPECTIVE | women’s display
CARR RETAIL FLAGSHIP DESIGN VI / TAMIE GLASS / SPRING 2013 Inserted pristine lounges celebrate the luxury of the brand, while the sales floor remains bare, stripped to it’s essential parts and fit only with a system of simple framing display devices.
AXONS | soft seating 10
transaction bar
table display
outfit display
PERSPECTIVE | exterior approach
MATERIALS | selections PERSPECTIVE | dressing lounge
AUSTIN RESOURCE CENTRE FOR THE HOMELESS / INTERIOR DESIGN V / ALLISON GASKINS / FALL 2012 The goal of this project is to create a comfortable interior environment that allows freedom for the homeless clients to explore opportunities provided by various agencies, wait comfortably for their day to pass by, and experience more of the building that is currently provided for them in a less intimidating manner. This is achieved by opening up the previously limited second and first levels of the building to the clients, creating an equal grounds space for homeless clients and agency employees to interact.
S EAT I N G S M OK I N G A REA SECO N DA RY SECU RITY
KITCHEN
S T ORA G E
CAFETERIA
STA FF PA RK IN G M O V EA BL E SEATIN G
CONFERENCE / M U LT I P U R P O S E S PA C E
L OC K ERS OU T L ET B A R S EAT I N G STO RA G E
SECTION B
SECTION B
WC
L OC K ERS
UP
CA SE M A N A G EM EN T O FFICES
OUTDOOR SMOKING DECK
WC
RESO U RCE BO A RD
S E C O N D A RY RESOURCE DESK
RESOURCE
BOARDS
CLINIC
S E AT I N G ZONE
RESO U RCE DESK C ON T ROL L ED EX I T SL EEPIN G M AT STO RA G E
SECTION A
I N TA K E UP
SECTION A
UP
OPEN TO BELOW
S EC U RI T Y
COMPUTER LAB
L A U N DRY
IN PHO N E STATIO N
S TA F F L O C K E R S
PLAN | first level 12
PLAN | second level
SECTION | B
ARCH
PERSPECTIVE | security entrance
RE SO UR CE
PERSPECTIVE | secondary resource PERSPECTIVE | cafeteria space
S
AUSTIN RESOURCE CENTRE FOR THE HOMELESS / INTERIOR DESIGN V / ALLISON GASKINS / FALL 2012 Multiple resource hubs are inserted into the main resource lobby. These hubs provide opportunities for the agencies within the building to represent themselves on the floor for weeks at a time, creating more oneon-one client interaction than currently exists. Each hub features ample storage for the agency, a desk level surface for more intimate interactions, a bulletin board surface, laptop storage with power outlets, and an interchangeable name plate.
6 FT 10 FT
2 FT
FRONT STEPS
RENDERINGS | resource hub studies 14
WAT ER
M A IL FRO NT STE PS
PERSPECTIVE | resource lobby
RE
SO U RC ES
agon and Vladimir encapsulates our intent for this project: to create an essence of contentment for the inhabitants and waiting. From waiting for the lottery draw, to doing laundry, to even just the next day, the client spends much time with s in the presently dark and poorly ventilated space. By improving efficiency and defining programmed zones, the enviasure of despair out of waiting and replace it with hope. Our design focuses on the existing programs and delineating r flow, acoustics, and materiality, play roles in sharper accommodation. By proposing a security system and as a result, aximum efficiency of the space is addressed. We also allow the client to maintain a level of flexibility and control through seating and table elements that consider the concept of ownership, comfort, and storage.
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The
awning is a threshold element that transitions the
client from the alley way to the interior space. A demarcation of the entrance . This will be a welcoming and unpretentious space.
AUSTIN RESOURCE CENTRE FOR THE HOMELESS / EXTERIOR security 2
DESIGN V / ALLISON GASKINS / FALL 2012 PARTNERS: AMY WEST, JESSICA YONG
in this area eases traffic in the front Bringing while also addressing staff attention to the alley and building relationship. Outdoor conditions such as cobblestone floors and the continued building facade, interprets the space as an exterior zone, the final step before entering the “interior� space. It should carry the same threshold
experience
as the awning.
As a collaborative group production, the existing garage of the ARCH building is rethought of as a space for homeless clients to wait comfortably for their day to pass by. Security, comfort and, feasability allthe act of 3 The central meetingwere zone celebrates waiting, and its open plan is meant for all types of interaction important aspects for consideration. such as games and conversation. Movable seating and
tables makes the area flexible and gives the client a level of
control and creativity. However, to set boundaries for circulation and organization, floor materials will vary and be more textured in areas. Being farthest away from the natural daylight, this space will be lit with low hanging lights that create
pockets of space which will define the area. Ceiling
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fans and a heating system will be considered. A green wall
helps carry the outdoor energy to the innermost section of the space, and it benefits the
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2 2 PROCESS | green wall sketch 2
air quality and acoustics.
Originally the most appealing space due to the natural
lounge area
ventilation and light, this remains a social gathering spot with a stepped object for more
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seating and directional views. The exterior facade will have openings for ventilation, and the area will be demarcated
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zone. During the night, the object can double as a theater space with the movie being projected
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as a smoking
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on the glass separating the security.
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This nook is slightly pulled back from the central space and is to be treated as a
4 4PROCESS
| seating area sketch
quiet zone. Elevated by a ramped
platform, the space values individual reading and laptop
use. Lighting conditions may be operated by the individual based off of their activity. A bar can comfortably seat many
while still setting room for privacy. The surrounding space
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also incorporates storage.
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A
parking area for 5 vehicles . The area is visually
concealed from the rest of the zones and is accessed by staff only. And operable gate and the adjoining green wall aid in proper ventilation.
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PLAN | spatial interventions
Lily McCourt, Amy West, Jessica Yong
PROCESS | private zone sketch
A large seating object nestles the corner of the space, creating a sense of community and escape for the clients. With integrated ash trays, littering would be minimized. A loocked storage feature sits below each bench. This allows for clients to claim some property of the building for their own, as well as provides the ARCH building with some much needed storage space
SECTION | smoking & seating zone
PERSPECTIVE | movie screening
PLAN | smoking & seating zone
PERSPECTIVE | seating object area 17
POETRY AND LITERATURE CENTRE DESIGN III / TAMIE GLASS / FALL 2011 The project began with programmatic analysis and planning. The centre was developed as a space for performance, social gathering and the celebration of literature with a special collection library.
DIAGRAM | bubble
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DIAGRAM | spatial strategy
PERSPECTIVE | studies
POETRY AND LITERATURE CENTRE DESIGN III / TAMIE GLASS / FALL 2011 Wooden thresholds define space with a natural sense of comfort. A splash of lime green furniture throughout reinforces the connection between nature and poetry, while the scattered books throughout the interior reiterate the idea of an explorative library.
PERSPECTIVE | cafe
PLAN | second level PERSPECTIVE | performance
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PLAN | first level
PERSPECTIVE | library
SECTION | 03
FACADE
SECTION | 01
SECTION | 02
MODEL | stair design
PATTERNING : FROM 2D TO 3D DESIGN IV / CLAY ODOM / SPRING 2012 A simple vulture skull form, derived from the 2-dimensional patterns of Alexander McQueen’s work, is driven through a series of manipulations to study the potentials of pattern and function.
PROCESS | pattern wall studies
PROCESS | manipulations 22
FINAL | 3D wall production
ALEXANDER MCQUEEN POP-UP SHOP DESIGN IV / CLAY ODOM / SPRING 2012 Alexander McQueen’s designs are boldly daring, yet intrinsically feminine. Through a series of manipulations, a simple wall exemplifies similar bold aesthetics. The sharp angles coincide with the sharp wit of his garments, creating a pop-up shop form that works well with the fashion designer’s intent.
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ALEXANDER MCQUEEN POP-UP SHOP DESIGN IV / CLAY ODOM / SPRING 2012 By applying the eery lace-like qualities of the 3-dimensional vulture skull pattern studies to a bold formal mass, the pop-up shop is taken to a level of the striking, yet sharp, femininity. Small details of display, such as a structural accessory wall and an encased mannequin heighten the beautifully eerie nature of the Alexander McQueen experience.
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PLAN | final
IMAGES | final form
ALEXANDER MCQUEEN FLAGSHIP STORE DESIGN IV / CLAY ODOM / SPRING 2012 Bold, white, angular masses define the formal qualities of the retail interior. The ceiling plane compresses the customer upon entry, then releases them into an expansive central display atrium. With haunting floating mannequins above displaying pieces of McQueen’s couture collections, this retail environment emphasizes fashion as a celebration of artistic display.
PERSPECTIVE | approach
PERSPECTIVE | approach ELEVATION
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SECTION | 02
PERSPECTIVE | display atrium
WHITE LEATHER SEATING EXCLUSIVE LOUNGE
STORAGE APPARENT MONOLITHIC PODIUM
ELEVATOR
UP
FROSTED GLASS WALKWAY
VIEW SPACE
CLEAR GLASS
STEEL STAIRCASE DETAIL PERFORATED RISE ETCHED PATTERN RUN STEEL STRUCTURE
RAMP UP
ACCESSORY LOUNGE ELEVATOR
PLASTERED COLUMNS WHITE LEATHER SEATING
UP
BENT STEEL STAIRCASE PERFORATED RISE / ETCHED PATTERN RUN OFFICE RAMP DOWN
PERFORATED PEWTER METAL SCREEN
RAMP UP
DRESSING ROOM 1 COUTURE DISPLAY ATRIUM
MONOLITHIC DISPLAY CASES
TRANSACTION
CLEAR GLASS STREET DISPLAY DRESSING ROOM 2
RESTROOM 1
MONOLITHIC WHITE FLOORING
RESTROOM 2
APPARENT MONOLITHIC SEATING
ALEXANDER MCQUEEN FLAGSHIP STORE DESIGN IV / CLAY ODOM / SPRING 2012 Display systems present McQueen products as floating gems of beautiful craft, with hanging garments presented along the back wall in a customized angular rack, and an accessory display lining the shop front window. This accessory display runs into an elegant elevator that leads to the upper mezzanine deck for distinguished customers to have their garments altered in privacy.
CROSS SECTION | 01
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ANGLED CEILING PLANE
GLASS COUTURE SHOE DISPLAY CASE
DISPLAY MOUNT
ELEVATOR FLOOR
GLASS ELEVATOR SHELL
FROSTED GLASS ELEVATOR SHAFT
RETRACTABLE PATTERN GRATE
PROCESS | display elevator studies IMAGE | display elevator model
PIAZZA ARTE MODERNA, CASTIGLION FIORENTINO ADV DESIGN / SMILJA MILOVANOVIC-BERTRAM / FALL 2013 PARTNER: ERIN DEAR The replanning of the small Tuscan town of Castiglion Fiorentino opens up a primary pedestrian axis. The proposed Piazza Arte Moderna sits at the end of this pedestrian axis, inviting locals and tourists to travel the new pathway, and experience the Modern Art Gallery below the piazza.
PLAN | piazza arte moderna
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PLAN | interior gallery space
PERSPECTIVE | interior gallery
PIAZZA ARTE MODERNA, CASTIGLION FIORENTINO ADV DESIGN / SMILJA MILOVANOVIC-BERTRAM / FALL 2013 PARTNER: ERIN DEAR A series of gallery spaces fill the interior; they are experienced through a sense of wandering up or down multiple staircases. The new building is finished with smooth sawn sandstone pavers in order to utilize a traditional Tuscan material in a sleeker, more contemporary fashion.
LONG SECTION | interior gallery space
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CROSS SECTION | interior gallery space
PERSPECTIVE | rooftop piazza
CREATE
OXFORD SHIRT MANIPULATIONS DESIGN V / ALLISON GASKINS / FALL 2012 Beginning with interior analysis of the body, a plain white men’s oxford shirt was deconstructed into it’s smaller parts, and re-purposed to represent the flexible structure of the human rib cage.
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MATERIALITY TRANSLATIONS DESIGN V / ALLISON GASKINS / FALL 2012 A transition from flexible fabric to a dense plaster. By employing the use of CAD and a CNC router, the cut and twist became a mass form itself.
CAST / small scale inverted 40
MOULD / large scale
CAST / large scale
WOOD JOINT DESIGN I / JOYCE ROSNER / FALL 2010 Blind contour hand drawings lead to the study of the delicate nature of two interlocking fingers. This simple interlocking is abstractly expressed in a walnut crafted wood joint.
ALAMO DRAFTHOUSE CINEMAS | DOCUMENT + ANALYZE DESIGNING FOR HUMAN BEHAVIOUR / TAMIE GLASS / FALL 2012 PARTNER: DELANEY GRAVES Through film, case study analysis, and various other research methods, we documented and analyzed the current functions of Austin’s Alamo Drafthouse Cinema; a movie theatre and dining experience in one. We then focused on the potential need for seating and table redesign within the theatres, and developed a design guide for future design references.
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TABLES should incorporate some lighted area to view menu when lights are dimmed TABLES should be able to move towards the user
TABLES should always be placed in front of the customer
S PECS
TABLES should be between 25- 30” off ground TABLES should be between 18-24” wide TABLES should be between 1-2” thick
TABLES should have a place to store menus under the surface TABLES should be no further than 20” from customer CHAIRS should have some degree of recline
CHAIRS should be on a separate level than the waiter circulation
PROPOSAL
D I MENSI O NAL
CHAIR AND TABLE SPECIFICATIONS
CHAIRS should be covered in a material that is easy to clean, breathable, and durable
DRAW
FIGURE DRAWINGS | CHARCOAL VISUAL COMMUNICATIONS FALL 2010
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SHADE + SHADOW STUDY | GRAPHITE VISUAL COMMUNICATIONS FALL 2010
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FREE HAND DRAWING | GRAPHITE VISUAL COMMUNICATIONS FALL 2010
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WATERCOLOUR TECHNIQUES VISUAL COMMUNICATIONS SPRING 2011
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ABSTRACT WATERCOLOUR STUDIES VISUAL COMMUNICATIONS SPRING 2011
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ABSTRACT WATERCOLOUR STUDIES VISUAL COMMUNICATIONS FALL 2013
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LANDSCAPE WATERCOLOUR STUDIES VISUAL COMMUNICATIONS FALL 2013
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