Architecture Portfolio 2022 by louisamcpherson

Louisa McPherson

Architecture Portfolio

2022

Louisa McPherson

Architecture Portfolio

2022

Table of Contents

Architecture 01

City STEAM

ACCC

Drawing (Un)Certainty

circulating the play immersing atlanta creating visual narratives

Interior Architecture

Small Works

Call to Arms

Interior Shadows

Writing Box Desk

Defining Spaces

Evolving Display

Transitions Book

LED-Bed Headboard

Urban Facade

Looking Up

Zaha Replica

102

raise your voice

hidden components growing with space

hand graphite rendering interior versus exterior deep study of architecture circadian lighting study case study rendering cityscape facades study diving into history

Architecture

City STEAM

ACCC

Drawing (Un)Certainty

circulating the play immersing atlanta creating visual narratives

City STEAM

circulating the play

Montgomery, AL spring 2021

To design a 25,000 square foot K-5 STEAM focused school located on the western edge of the central business district of Montgomery, Alabama. The design includes a 15,000 square feet of separate play space for K-2 grades and a 30,000 square foot play field. Learning, growing, playing, connecting, sharing, and community are some of the driving forces of the design. The school wraps around a center courtyard that features a large play field with seating space on the outer edge for the cafeteria, music room practice space, and library. On the south side of the building, two stories of classroom cores each hold three classrooms with one lab. Directly outside the classroom entrances is a large hallway that is used as a gathering space personalized for each grade level. These spaces allow for collaboration between the three classrooms.

LEARN CO Y A LL PL AB O

TE RA

OW SHARE ED GR UC A T

ESS CC SU

Site

Louisa McPherson selected works

a am

ll B

lvd

n Is land Ch ute

Ala

Riv

spring 2021 City STEAM

18+ 20+

16+

22+ 24+

14+

26+ 28+ 30+

12+ 10+ 8+ 6+

Site contours Topographic numbers Site emerged into topography

Louisa McPherson selected works

Solid

Carve

Rotate

Separate

spring 2021 City STEAM

Louisa McPherson selected works

Second floor plan

Common study space

Exterior porch study space

3rd grade classrooms

4th grade classrooms

5th grade classrooms

18 18

17 17

Program areas

Hallway circulation

17 16 16

Exterior hardscape

8 14

First floor plan

Entry security checkpoint

Administration

Cafeteria

Kitchen

Music room

Gym locker room

Gym

Library + media room

Art room Kindergarten classrooms

Lab

1st grade classrooms

2nd grade classrooms

7 6

10’

10 10

9 1

5’

12 12

1’

spring 2021 City STEAM

A1: Longitudinal section through classrooms and labs showing glazing that looks out onto small play spaces

A2: Longitudinal section through the ramp that goes through hallway of the classroom wing showing the reading nooks designed into the wall The top section (A1) is showing the two-story classroom wing of the school that has glazing in all of the classroom and lab spaces for views out to the play spaces. The children are always immersed in the play spaces, whether playing in them or looking out onto them from the hallways or learning spaces throughout the building. This glazing also allows for northern light to enter into all of the classroom spaces. On this wing, there is a cluster of three classrooms and a lab for each grade level with Kindergarten through second grade on the ground floor and

third grade through fifth grade on the second floor. The shared space directly outside the classrooms allows for interactive learning for that specific grade level. The bottom section (A2) is showing the ramp system that is utilized on ground level of the classroom wing to allow for the eight foot change in topography on that side of the school. There is a two foot rise between each classroom cluster, which is also dug into the play spaces to allow for accessibility for all students.

Louisa McPherson selected works

Detail section through a lab room [06 16 00] Glass-mat gypsum sheathing [07 21 00] Glass-fiber blanket insulation [05 12 00] Steel beam [05 31 00] Steel decking [21 13 00] Fire protection system [09 22 16] Non-structural metal framing [26 51 00] LED pendant lighting [07 42 13] Metal composite material wall panels [05 40 00] Cold formed metal framing [09 29 00] Gypsum board [08 44 13] Glazed aluminum curtain walls [09 51 13] Acoustic panel ceiling [03 30 00] Cast in-place concrete

Active Systems + Variable Refrigerant Flow System Outdoor VRF units Refrigerant Fresh air

[07 27 26] Continuous fluid-applied membrane air barrier [23 81 29] Fan coil units [23 81 29] VRF system components [26 51 00] 2X2 Lay-in LED lighting

spring 2021 City STEAM

Louisa McPherson selected works

Left: Courtyard play field with hardscape patio Right: Learning stair looking out to play field Below: Section through play field and learning stair

spring 2021 City STEAM

Top: Perspective showing terraced play space for kindergarten, first grade, and second grade Bottom: Perspective looking back up Maxwell Blvd

ACCC

immersing atlanta

Atlanta, GA fall 2021

To design a 80,000 square foot building that is able to immerse the Atlanta into the arts by engaging and inviting visitors into the building through the architecture. The building is designed to glow at night and give a glimpse of what is going on inside to allow people walking in the city to be immersed at all times of the day, whether they are inside the building or looking into it. The main exterior staircase invites the visitors up to the main public program space on the second floor, which holds the theater, bar, and gallery spaces. The main stair doubles as seating and has a platform to allow for small bands to play. A glass elevator is directly next to this main staircase in order to allow people who need accessibility to still be fully immersed in the activity. The main design of is to immerse the city into the culture of the arts by inviting guests in on all sides of the building and showcasing local artists in it’s galleries.

Site

Louisa McPherson selected works

Ponce de Leon Avenue NE & W Peachtree Street NW

Elevation + 7’

North Avenue NE

Elevation + 2’

North Avenue NE & W Peachtree Street NW

Elevation + 2’

Ponce de Leon Avenue NE

Elevation + 4’

fall 2021 ACCC

Program adjacency study drawing to find out which program to group together and what program needs natural sunlight versus artificial

PRODUCED BY AN AUTODESK

STUDENT VERSION

Louisa McPherson selected works

First floor plan

Ticket + coat check in

Cafe + kitchen

Gift shop

Open community gallery

Offices

Open work space

Support services

Private garden + waterfall wall

Second floor plan

Immersive exhibition

Gallery

VIP theater bar

Theater

Bar

Outdoor seating

Backstage + relax space

Changing room(s)

Office

8 6 6 6 6 5

Music practice rooms

Art mural studio

Open art studio

Dance studio

Outdoor event space

10’

25’

STUDENT VERSION

Recording studios

50 n

Right Diagrams:

PRODUCED BY AN AUTODESK

5’

Third floor plan

1’

STUDENT VERSION

Lobby

PRODUCED BY AN AUTODESK

Spaces enclosed with curved edges indicate transition zones

PRODUCED BY AN AUTODESK STUDENT VERSION

fall 2021 ACCC

18 16

15 23 CR.AL.AR

11 10

PRODUCED BY AN AUTODESK STUDENT VERSION

24 11

PRODUCED BY AN AUTODESK STUDENT VERSION

10 20

PRODUCED BY AN AUTODESK STUDENT VERSION

3 4

Gallery

Private garden and seating area

Immersive exhibition

Activated underpass to private garden

Louisa McPherson selected works

Top: Looking into the bar + event space outside the theater Bottom: Walking up the main outdoor staircase to the porch outside the theater

fall 2021 ACCC

Above: Looking at main entrance with the activated staircase The main exterior entrance brings visitors up to the second level which holds the majority of the public program. This stair is programmed to allow people to sit on the stairs and large platforms for bands to play. This would help to invite the guests up the stairs and into the bar area before they go into the theater or gallery spaces. To accommodate for wheelchair accessibility, a glass elevator is directly next to this main stair in order to provide guests who would need to use the elevator with the same experience.

Drawing (Un)Certainty

creating visual narratives

fall 2021

To design and create sixteen collages produced on Arches 140 Hot Press paper that draw inspiration from every semester of studio for both Architecture and Interior Architecture over the past four years. The collages focused on visual hierarchy from the known and unknown within each semester. The main idea of the collages was to better understand and appreciate the inventive significance of creating visual narratives for architecture. These collages helped spark further interest in learning how to communicate an idea visually, which is very important within the design field.

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Louisa McPherson selected works

fall 2021 Drawing (Un)Certainty

Interior Architecture

Call to Arms

Writing Box Desk

Evolving Display

raise your voice

hidden components growing with space

Call to Arms

raising your voice

Atlanta, GA fall 2020

To design a 95,000 square foot building in Atlanta as an adaptive reuse project that allows you to shop and speak out about your opinions. Fashion and protest relate to one another since they both allow you to represent who you are in what you say and wear everyday. These two forms of protest come together to create an atmosphere that allows people to express themselves in every part of their lives. There is a center tower of the building that uses digital walls to engage visitors with current events that spirals outwards and forces connections between the protesters and shoppers. The unique organic geometry created from the center protest tower fosters a system of shared walls between the protest center and retail stores surrounding.

Louisa McPherson selected works

Floor plans toned showing protest space, retail space, and shared walls Protest space Shared walls Retail space

1’

5’

10’

25’

fall 2020

Call to Arms

The protest is at the focal point in the building that shines up at night, to let its presence be known from all across atlanta. The division between the retail and protest space is blurred as you move from the interior of the tower to the rest of the building.

Louisa McPherson selected works

fall 2020

Call to Arms

Louisa McPherson selected works

Looking into retail store

The high end retail stores line the exterior of the protest center. Within each store, there are shared walls that allow connections between the protest and retail spaces. Within the Tom Ford store shown to the right, there are dressing rooms that have a door inside them that allows the shoppers to go through into the protest space. It also has a glass wall that allows you to see right into the protest spaces and forces interaction between shoppers and protesters.

Looking up inside protest space

Digital screens line the entire interior of the protest tower, which keep this space constantly activated even if a protest is not going on. The screens are updated with current news events and protests occurring around the world. The ramp spirals all the way up to the rooftop, allowing protesters to be seen and gives their voice more power from standing above the city.

fall 2020

Call to Arms

Louisa McPherson selected works

Relationship between ramp and tower

fall 2020

Call to Arms

Above: Shared wall within shoe store Right: Perspective inside shoe store A system of shared walls throughout the project stimulate interaction between the retail and protest spaces. These moments of connections allow you to see beyond into the protest space from the sneaker store retail space. There is glass on the protest side, which prohibits the protesters from touching the shoes yet still allows them to see through into the opposite space.

Louisa McPherson selected works

Abstract model collage showing time fading An abstract model was constructed in order to showcase the relationship between the play and protest elements work together. The protest element turned into the main protest tower within the building, while the play element was all of the retail space surrounding. The collage helped to define the relationship by showing the diffusion of division between the play and protest elements. These photos became driving factors that worked towards the final design for the building.

fall 2020

Call to Arms

Louisa McPherson selected works

9/01

ALEXANDER MCQUEEN

BLUR BETWEEN ARCHITECTURE AND FASHION

FASHION& AR CHITECTURE There are numerous architects who have become fashion designers, and fashion designers who have become architects. The two worlds collide since they both have numerous connections and similarities between the two. The number one underlying condition is that they are both DESIGNERS. Each have their own CONCEPT behind every DESIGN.

Whether a person realizes it or not, design is a part of their everyday routine. They wake up in a house or building that was designed by an architect then put on clothes that were designed by a fashion designer. It has been stated that Fashion and Architecture have an equal impact on our lives. Designed items are not just those that are expensive and feel out of reach for many, most are simple and functional and used everyday. An example would be kitchen utensils.

ZAHA HADID

FASHION& AR CHITECTURE

To no ones surprise, Hadid created clothing with the same concept that she uses to design her buildings; gravity-defining and lots of curves. It has been seen again and again that fashion and architecture have numerous similarities. Architecture is more permanent structure, while fashion can be changed daily. Hadid found fashion interesting because “it contains the mood of the day, of the moment - like music, literature, and art.”

CASEY CADWALLADER 9/07

Casey Cadwallader is an American designer who started off studying architecture before entering into the world of fashion. He studied architecture at Cornell University and then decided to take the fashion route after. He is now the creative director of Muglers, which is the iconic French house that has rooted in graphic shapes and architectural silhouettes. Cadawallader recalls going to various vintage stores during his youth years and was always drawn towards the extreme forms of Mugler’s wares. I believe that this is where his architectural interest spewed from, which then translated into his fashion designs. He is constantly searching for inspiration by travelling the world and looking at architectural elements and various textiles.

FASHION& AR CHITECTURE finding finding finding finding finding

inspiration inspiration inspiration inspiration inspiration

Research on Fashion and Architecture A fourteen day study was completed on the relationship between fashion and architecture. The research completed was used to help develop the retail stores for high end clothes and accessories. There are lots of connections between fashion designers and architects.

FASHION& AR CHITECTURE Some may consider fashion to already be it’s own architecture, or “wearable architecture”, but some fashion designers step into another zone where they actually creating designs that blur the lines between pieces of clothing and objects. Textiles are used to take the place of building materials withiin architecturally influenced fashion. These are shown in both unrealistic runway coutoure, wearable backpacks, and more. Fashion designer Winde Rienstra explored the idea of using scaled models of suspension bridges and the flying buttresses of Gothic cathedrals to create an innovating clothing article. Konstantin Kofta is another fashion designer who designed wearable architecture in the most real form. Kofta designed a series of backpacks that take their shape and form from baroque architectural elements such as column caps and flourishes. This backpack series have a realistic appearance due to the materials they were made out of, leather and stone gray accessories.

FASHION& AR CHITECTURE

Zaha Hadid is a legend and well known name in the architetural world. She was a British Iraqi architect who was the first women to receive the Pritzker Architecture Prize in 2004. She is known as the queen of the curve for the innovative architectural designs, but her vision was also extended to the body. She used her eye towards fashion design as well by designing shoes, jewelry, handbags, and more. Hadid’s vision had continued from her gravity defining buildings to her fashion design.

She used similar concepts within her design and did not shy away from making a statement and unique pieces. Hadid worked for huge name brands within the fashion world such as Chanel, Adidas, Louis Vuitton, and more. Hadid’s fashion designs are clearly inspired from her building designs. With her own signature aesthetic, many of the largest fashion brands wanted Hadid to add her own spin to their handbags and shoes.

9/06

Notre-Dame and Fashion...

Architecture and Fashion elevate aesthetics and appearance all while both having a functional purpose behind the design. Common elements between the two is how they utilize space, volume, colors, planes, textures, and structures. Whenever there is a development in technology, building and fashion designers.

8/31

“Queen of the curve”

Alexander McQueen was a British Fashion designer who pushed the limits of fashion and changed the way we view fashion today. He worked as a head designer at Givenchy from 1996-2001 but he believed he was still being held back. McQueen was known for the way he was able to manipulate a 2-D piece of fabric into a garment with unimaginable volume with the absolute perfection. Architecture and fashion blends into eachother in this sense as they both are take a human form or an idea and turning it into a volume and building space around it. McQueen had a mind of an Architect in the way he understoof every aspect of our bodies and reality and used that within his design. The slightest change of volume, shape, or color can change the entire design and turn it into something completely different. McQueen was influenced by architecture in the way he designed and it shows within his designs that relate to architectural buildings. Examples are shown to the right.

WEARABLE ARCHITECTURE

9/02

SIMILARITIES: ART, DESIGN, TECHNOLOGY, SCIENCE

FASHION& AR CHITECTURE PIERRE CARDIN

Pierre Cardin is a fashion designer who was always interested in dressmaking. At a mere 14 years old, he learned the basics of fashion while he was a clothing apprentice. Although, his father was hopeful that he would become an architect, which influenced Cardin to study architecture briefly in 1945. After finishing his final semester, it did not take long for Cardin to change his mind and join the fashion house of Paquin. Even though he switched from architecture to fashion, his influences for architecture became more and more present within his designs. Cardin was known for his avant-garde and space age designs, where his true architectural influences shined through the most. His designs demonstrated to have more concern for the geometry of the dress than the actual female form. Not only was architecture present within his designs, but also his own home. Cardin was always interested in geometric shapes and purchased the Palais Bulles (Bubble House) in 1991. Although he did not design the actual house, many of the furnishings within the house were designed by himself. Cardin was continuously influenced by architecture, even though he became a fashion designer.

9/10

fall 2020

Fashion and Architecture compare to have very similar amounts of environmental impacts. With the help of technology and green design, they have been able to reduce this. Sustainability in the design industry has been very important to helping cut back the impacts on the environment.

Iris van Herpen is a fashion designer who is widely known and is able to continuously push the boundaries of fashion by her forward-thinking attitutude. Van Herpen is able to fuse technology with Haute Couture craftmanship to turn her unique vision into a reality. By combining traditional and radical materials and garments, she is able to turn her unique aesthetic vision into innovative clothing designs.

IRIS VAN HERPEN

9/03

ENVIRONMENTAL IMPACTS

Architecture has been able to adapt green buildings and reusing buildings to help reduce their environmental impact. Also by switching their materials and designing for the environment in which the building is built in helps tremendously. Fashion has also been able to do similar things by adapting green ways to design. By reusing materials, similar to architects, fashion designers have been able to reduce the amount of wasted material every year. Many big name companies, such as Zara, Adidas, and Nike, have all pledged to play a major role in helping this impact by switching to only using organic, sustainable, or recycled materials in the near future.

THE MEAT DRESS

FASHION& AR CHITECTURE

Van Herpen is most known for utilizing 3D printing into her fashion design concepts. She has become very comfortable using technology as a guiding principle into her work and using it as a garment construction technique. This has been able to move her designs forward and create designs that are progressive and have never been seen before.

FASHION& AR CHITECTURE

Everyone needs to help out and continue to make their impact in order to help out the environment. It can not just be designers, but the entire world needs to start doing their part in order to continue to reduce the amount of waste every year. Recycling and buying thrift store clothes always help out, but the first step is being aware of the situation then making a cautious choice to do your part.

Neri Oxman is an architect who also is a product/fashion designer. She is known for her particular style through that is created by combining technology, biology, fashion, and architecture together. Her work embodies environmental design and each design takes the form of their natural shapes. Oxman came up with the phrase ‘material ecology’ to help define her work. She utilizes a 3D printer to help her achieve these unique wearable architectural pieces. She was able to successfully 3D print glass to create a set of glasswork as well as wearable designs.

“YELLOW” 9/12 OFF-WHITE

virgil abloh FASHION& AR FASHION& AR CHITECTURE meets biology CHITECTURE INNOVATION 3D PRINTING MATERIALS DESIGN ENGINEERING 9/11

Lady Gaga is a singer, songwriter, and actress who was able to break the boundaries of fashion in 2010 when she wore a dress completely made out of meat at MTV’s Video Music Awards (VMA). The VMA’s showcase numerous famous fashion designers and architect’s dresses/outfits. It is a place to be unique and stand out. Gaga’s meat dress was jaw dropping and very controversial to many people. Franc Fernandez was the designer of the meat dress. Fernandez went to both architecture and art school, yet dropped out of both later on. This connection to graphic design and architecture, I believe, helped lead him down the road to fashion design and help him gain such a big name for himself. All design is visual work, and this meat dress was another form of that. Architects always look for new ideas and new forms of expressing their ideas, similar to fashion designers. The meat dress was another way for Fernandez to express himself and give Gaga a dress that was jaw dropping and stunned numerous people by breaking the boundaries of fashion by introducing a whole new line. Although it was critiqued by many, it got a lot of attention. There will always be someone who judges a new building or clothing design, but you just have to keep moving forward no matter what.

FASHION& AR CHITECTURE LADY GAGA 9/05

9/04

NERI OXMAN

where

Call to Arms

Virgil Abloh, an ITT Master’s of Architecture graduate took his skills that he learned in architecture school and applied them within the fashion industry. He is most famous for creating the brand Off-White, a luxury label that has credit on the streets and the runway. Abloh learned early on that there is not a line between the designer and consumer, as he is also a consumer. He took this to heart in his designs.

He credits what he learned at OMA under Rem Koolhaas for the way he approaches things today. He learned to create in a way that looked beyond the buildings as places and instead looked at how they affected the landscape of culture. Also, he believes that design is as much about the process as it is about the final product. He is always looking to create something that doesnt excist by looking beyond what is there through deconstructing established norms. His work feeds off pop-culture.

“Your first ‘No’ will be the best thing that happens. Better ideas will come from there”

SIKI IM Siki Im is a fashion designer and owner of ‘SIKI IM’, a line of luxury menswear. Im started off studying architecture at Oxford, but then veered off from architecture and into fashion after he met David Vandewal, a designer for Raf and Dries. His designs and clothing line is inspired by architecture, culture, politics, and psychology. He wants to expand his studio that works in architecture and product design to create a multi-focus studio.

//// // STUDIO

9/13

FASHION& AR CHITECTURE

- Virgil Abloh

architectural fashion THE DRESS CODE

9/08

FASHION& AR CHITECTURE TOM FORD

Tom Ford is a well known fashion designer and film maker. Yet, many people wouldn’t know that he actually graduated from Parsons School of Design at the New School with a degree in architecture. He spent a lot of time in the school’s Paris campus where he simultaneously learned and got inspiration from French architecture and fashion. Ford also holds a strong appreciation for architecture, which is shown by his various homes that he has lived in that are designed by famous

architects. Although, he believed that architecture was too serious for him. Ford recalls always designing a dress into all of his architectural projects. I believe that architecture does not have to be serious, it can be just as fun as fashion, yet one has to realize it is long term. Clothes can be worn and given away the next day. Buildings stay for numerous years, which is what makes it more daunting to take big risks to me.

FASHION& AR CHITECTURE Architecture has it’s very own non-spoken dress code. Fashion and architecture have numerous things in common by using new textiles, constructing space and moments, etc. Yet, architects tend to be very minimalist in their fashion choices. This may be because architects want their designs to speak for themselves and feel like they don’t need to also express themselves fashionably. Another reason would because they already have to make so many decisions in their designs, that the last thing they want to also design is their wardrobe. Sleek, clean and an all black outfit is an architect’s go to. Although it seems as though architects rarely design through their outfits, they should keep up with the latest trends/fashion in order to never be out of style. This is similar to what they are designing as well, it should always be in style. As an architect, one has to come off as personable, yet professional.

9/09 63

Writing Box Desk

hidden components

fall 2019

To design a writer’s box desk for two southern literature authors, Jesmyn Ward and Toni Morrison. This box was to be both functional and include aspects from each author. The inspiration for the writing box desk was based on each author’s character to allow them a way to write without drawing attention to the writing box desk since it was disguised as a suitcase, which features hidden components. The intention for doing this was to focus on creating a design that is different from what it appears to be. The interior is made of non-stained natural wood in order to give a contrasting effect from the exterior to the interior.

Louisa McPherson selected works

Top Left: Hidden slide top used for storing books Top Right: Finger joint used for durability on the sides Bottom: Hidden circle push buttons to open up front drawers The writer’s box desk was designed for a group of people who were not allowed to read or write. This box was designed to look like an old fashioned suitcase, but actually be a writing box desk. The desk featured hidden drawers and storage for books, pencils, paper, and other utilities needed. Shown to the right, the top picture (1) shows how the book storage can slide out and turn into a portable writing surface. The bottom picture (2) shows the two circle push buttons that are strategically placed at the back of the desk to be kept a secret. Pushing these buttons, releases the drawers in the front out. These secret compartments were camouflaged in order to help hide their true identity, which was to hold pencils and paper.

fall 2019

Writing Box Desk

Evolving Display

growing with space

Selma, AL summer 2021

To design an adaptable assisted living center that can swing to independent living dependent on what is in demand. Intending for residents to evolve with place provides solutions to current community needs but allows for alterations, growth, and change to occur. Bathroom cores and vertical circulation organize a series of thresholds that provide a transition from public to private. Near windows, thresholds to bathrooms are even designed as nooks, or an additional place for a wardrobe, a desk or a reading chair. Within each unit, colors are muted to become a backdrop for residents’ belongings. To provide an escape from the isolation within one’s home, a vibrant and colorful community space is intended to promote continuous mental and physical activity. For this reason, bold colors, textures, and patterns add variety but are carefully contained to the interior surfaces of furniture.

Louisa McPherson selected works

SIT E

llas

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a Bro

Alabama’s first YMCA

t dS

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rda

Lau

lma

MA,

SEL

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summer 2021 Evolving Display

Personalized modular display wall

Louisa McPherson selected works

5 4

Second floor plan for assisted living

Community dining space

Community kitchen

Gathering space

Assisted living unit

Bathroom with shared shower Modular moveable wall

1’

5’

10’

Above: Modular wall helps to convert from independent to assisted living

summer 2021 Evolving Display

Third floor plan for independent living

Shared wall threshold space

Individual kitchen with dining space

Independent bedroom

Independent living room

Bathroom(s)

Louisa McPherson selected works

Threshold to independent units with personalized wall The community spaces feature personalized display walls for resident’s to display their belongings. The community spaces are shown to be vibrant and bright spaces, while the resident’s units are toned down to become a backdrop for their belongings. The main circulation space features two skylights with one over the stair and another next to the elevator to bring light into the interior of the building.

summer 2021 Evolving Display

Skylights

Bathroom pods

Vertical + horizontal circulation

Assisted living support space

Rentable space

Louisa McPherson selected works

Resident’s unit for assisted living showing how the color and pattern of the bathroom’s wall contrasts the interior bedroom walls in order to highlight a change in program

summer 2021 Evolving Display

Vibrant community space for assisted living that shows the modular wall used to display resident’s belongings and the shared kitchen and living space

Louisa McPherson selected works

Right: Work from mid-review that became a turning point in the design of the community space The turning point helped better understand the necessary shift of focus for the community space. The community space from mid-review had a lot of bright and colorful textures, which got toned down for the final design. From mid-review, the idea of having a place for residents to gather, relax, and engage in games right outside their door, which was used to help increase social interaction, was brought forward. By reinventing the community space in a later design, helped to control the use of numerous bright colors from all of the ceilings, walls, and floors to mainly just the modular wall. The modular wall was able to successfully use multiple color and patterns within the cubby’s without being overwhelming. Patterns with small textures were chosen so they would look like a solid color from afar.

summer 2021 Evolving Display

Small Works

Interior Shadows

Defining Spaces

Transitions Book

LED-Bed Headboard

Urban Facade

Looking Up

Zaha Replica

hand graphite rendering interior versus exterior deep study of architecture circadian lighting study case study rendering cityscape facades study diving into history

Interior Shadows

hand graphite rendering

spring 2018

A graphite rendering that was produced on Arches 140 Hot Press paper after deep research into Eileen Gray’s projects. The E. 1027 House was chosen to be used based off of it’s interior qualities in relation to the natural lighting. The rendering is a bedroom within the E. 1027 House that had large windows that cast shadows onto the walls and furniture, giving the rendering depth. Sunlight plays a major role in architecture, and this displayed that quality. The rendering was gridded out, as sketching was not a process to be used during this project.

spring 2018 Interior Shadows

Defining Spaces

interior versus exterior

spring 2018

A group project that turned into an individual project when a model was produced out of the cards that were created within a game. The game was played by two people at a time and consisted of creating spaces with a partner by first using only shapes that were hand cut out, then by only using black and white sharpies of various thicknesses on 5” by 8” pieces of paper. After completing 60 different solutions to a primary interior space and a secondary exterior space, three compositions were chosen and used as a plan and two sections. These two dimensional cards were turned into a three dimensional model that was then interlaced into one another.

spring 2018 Defining Spaces

Louisa McPherson selected works

3 3 1: Horizontal plan drawing 2: Horizontal section drawing 3: Vertical section drawing

Exploded axonometric showing each extruded card is placed into the model

Transitions Book

deep study of architecture

spring 2019

To design and create a book that focused on the transitions within spaces and buildings through time within a team. The basis of this research of transitions in architecture originally arose from the sparked interest of how architectural spaces were developed over time. After thorough research, my team members and I were able to acknowledge how there are transitions through all areas of architecture, and not just through spaces. As the world is turning into a more digital age, the future of architecture is unknown, and that is why through the study of the past, we are able to prepare ourselves for what could occur in the near future. Through this book, it is hoped that further interest within this subject is stimulated.

spring 2018

Transitions Book

Louisa McPherson selected works

Graphically achieved a visual narrative is used by using full bleed images on the section introduction to help the reader understand what the upcoming chapters are about

spring 2018

Transitions Book

LED-Bed Headboard

circadian lighting study

fall 2019

To design a light fixture that utilized circadian lighting for a patient that was in the early stages yet slowly progressing Alzheimer’s disease with a group of team members. The fixture was produced for a home, but could be used within an elderly facility that had patients who had memory loss. My team members included four other classmates; Daniel Burton, Victoria Shay, Elle Whitehurst, and Adan Youngblood. Our team created an LED Headboard that focused on using circadian lighting to help the patient know what time of the day it was. The headboard is adaptable for all stages of the disease and allows for the use, even as the disease progresses and the patient may be in bed rest. The gaps within the wood allow for the light to shine through so the patient can see the brightness of the light, even when sitting/ laying in bed.

fall 2019 LED-Bed Headboard

Bed LED

va-LED

PRODUCT DESCRIPTION The Bed LED is designed for a client who has Alzheimer’s disease. This product is a combined headboard and light fixture that can be easily installed above any queen box frame. Circadian lighting, which fluctuates in color depending on the time of day, is utilized in the Bed LED. This feature helps the user to reinforce their daily schedule while inside, which can be help memory for those with Alzheimer’s. The fixture is constructed from layering plywood, batting, LED light strips, acetate, and linen. LED light shines through slats in the plywood and is diffused by the opaque fabric. The Bed LED serves several purposes, including gently illuminating a bedroom, serving as a reading/task light to a person in bed, and being a comfortable surface to lean against.

DIMENSIONS U.S. Twin: 42” x 55” x 4.5” U.S. Double: 59” x 55” x 4.5” U.S. Queen: 64” x 55” x 4.5” (shown to the right) U.S. King: 80” x 55” x 4.5” Custom sizes avaliable upon request

MATERIALITY ¾” plywood, white cotton batting, linen, steel hardware

WEIGHT

The light bulb used within the Bed LED operates off a circadian rhythm to help the patient understand the time of the day

(including shipment materials)

U.S. Twin: 37 lbs U.S. Double: 42 U.S. Queen: 45 lbs U.S. King: 50 lbs Custom sizes avaliable upon request

LIGHT SOURCE LED Tape

ELECTRICAL Voltage/Frequency: 12 volts Standard U.S. wall outlet To service: detach from wall and open removable back panel.

RECOMMENDED CLEANING Wipe off using dry cloth or duster. Remove sticky or greasy areas, etc., using a damp cloth. Only use mild detergents or cleaners that are recommended for wooden furniture.

WARNING

The light bulb illuminates through the Bed LED and shines around the patient sitting in bed

Due to the possibility of personal injury or property damage, always ask a qualified electrician to install, adjust, service, or repair this fixture. Only use the equipment specified in this manual to avoid any injury or property damage. To avoid electrical shock, personal injury, or death, please turn off fixture and disconnect the fixture from all outlets before servicing.

Urban Facade

case study rendering

spring 2020

A colored pencil rendering that was produced on Arches 140 Hot Press paper after researching downtown Opelika, AL store fronts. The building chosen for the rendering was Sassy Salon due to it’s existing character and solid foundation. This rendering utilized mixing prismacolor pencils slowly. The technique used was to start off very lightly and continue to go over the drawing to produce the deep and rich colors similar to the actual building.

Looking Up

cityscape facades study

spring 2020

A series of photographs that were taken in various cities around the world. This set of photographs was deemed to document a diverse selection of facades seen, forcing one to look up. Many people walk past buildings without looking up and deeply into the facade, so this group of photos forces one to look more closely at facades found in cities.

102

103

Zaha Replica

diving into history

fall 2020

A hand-painted Zaha Hadid replica of The Peak Leisure Club that was scaled down to be produced on a four-foot by six-foot 1/2” thick wooden board. Hadid’s drawing was chosen due to it’s creative dive into the exploration of architecture. This painting was produced to gain a deeper understanding of the series of three-dimensional abstract paintings. In order to replicate one of her famous pieces of the collection, Hadid’s creative process was studied while working on the piece.

105

Chronology

10,000 lines

Lettering

Patterns

Interior Shadows

Built Patterns

Defining Spaces

Operative Conditions

Site Studio Space

hand drafted repetitions

folded idea initiative spatial movements

fall 2017

light defined hand graphite rendering interior versus exterior looking onwards

spring 2018

Precedent

Measure Draft Draw

Rotating Roof

Pavilion in the Open

Urban Infill

Outside the Box

Urban City Structures

Transitions Book

a deeper study connecting pathways relating to context digital website

fall 2018

focusing on the details public versus private suspending display

deep study of architecture

spring 2019

PRODUCED BY AN AUTODESK STUDENT VERSION

Food & Design

Southern Triptych

Urban Facade

Seen Unseen

Visual Weights

LED-Bed Headboard

Looking Up

hidden components

Bed LED

va-LED

freedom through words continuous section

MATERIALITY

circadian lighting study

¾” plywood, white cotton batting, linen, steel hardware

WEIGHT

Writing Box Desk

(including shipment materials)

salon to restaurant case study rendering diagramming the intangible cityscape facades study

U.S. Twin: 37 lbs U.S. Double: 42 U.S. Queen: 45 lbs U.S. King: 50 lbs Custom sizes avaliable upon request

LIGHT SOURCE LED Tape

ELECTRICAL Voltage/Frequency: 12 volts Standard U.S. wall outlet To service: detach from wall and open removable back panel.

RECOMMENDED CLEANING

Wipe off using dry cloth or duster. Remove sticky or greasy areas, etc., using a damp cloth. Only use mild detergents or cleaners that are recommended for wooden furniture.

WARNING Due to the possibility of personal injury or property damage, always ask a qualified electrician to install, adjust, service, or repair this fixture. Only use the equipment specified in this manual to avoid any injury or property damage. To avoid electrical shock, personal injury, or death, please turn off fixture and disconnect the fixture from all outlets before servicing.

fall 2019

spring 2020

Let’s Roll

School Research

Fashion & Arch

Into the Design Field

Call to Arms

City STEAM

work into play culturally common raise your voice

designing for future adults large versus small firm circulating the play

Zaha Replica

diving into history

fall 2020

spring 2021

AT L’s

GUIDE TO BUYING FOOD

35 MIN WALK TO GREEN MARKET

13 MIN DRIVE TO SOUPER FARMS

# OF MINI M A RT S

B P/Che v ron YO U A R E HERE

# OF FA R M S

Ponc e Mi ni Ma rk e t

Nort h Av e Foodm a rt

BP Publ i x Supe r Ma rk e t 1 st St op Mi ni Ma rt

american food stores indian food stores jamaican food stores

Gre a t Gre e n Mi c rogre e ns

Luc k i e St re e t Groc e ry St ore

B oul e v a rd Food Ma rt Pa rk w a y Conv i e nc e

mediterranean food stores

44 MIN WALK TO FREEDOM FARMERS MARKET

mexican food stores asian food stores italian food stores

SITE

L&M Ma rk e t

# OF FA R M E R S MARKETS

Pe a c h Ma rt

13 MIN WALK TO HONEYWOOD FARMS

14 MIN DRIVE TO EAST ATLANTA VILLAGE MARKET

10 MIN DRIVE TO CASTLEBERRY MARKET

38 MIN WALK TO THE MUNICIPAL MARKET

CSA OPPORTUNITIES:

TOP RATED FOOD STORES:

WHAT?

WHICH?

CSA stands for community supported agriculture and allows you to get sent fresh produce directly from farms weekly.

Publix Trader Joe’s Kroger

HOW MANY?

Material Mapping

14 MIN DRIVE TO CELESTE FARMS

Q ui c k t ri p

re-imagining our room

Mi dt ow n Ma rk e t

Unfolding Plan

150 25 28 10 55 44 5

Sa v i Prov i si ons

Publ i x Supe r Ma rk e t

growing with space

Che v ron

# OF G R O C E RY STORES

Evolving Display

IN THE GREATER ATL AREA THERE ARE....

317 250 79 11

There are 46 CSA’s in the greater Atlanta area.

WHY? Each has multiple locations, quality + fresh food. Trader Joe’s is specially known for low prices on unique food.

https://www.ediblecommunities.com/atlanta/local-resources/atlanta-csas/, https://atlanta.eater.com/2020/4/16/21222339/atlanta-grocery-liquor-stores-farmers-markets-csa-local-food-shopping-guide, https://www.google.com/maps/search/ farmers’+market/@33.7591797,-84.3714485,13z/data=!3m1!4b1, https://www.yellowpages.com/atlanta-ga/grocery-store-chains, https://www.google.com/maps/search/FARMS/@33.7636702,-84.4016195,14z/data=!3m1!4b1

patterns and textures

summer 2021

Info-graphic food research

Drawing (Un)Certainty creating visual narratives

ACCC

immersing atlanta

fall 2021

Colophon Typeface

Helvetica Neue

Designer

Max Miedinger

Year Created 1983

Thank You