MADISON SABATELLI DESIGN PORTFOLIO
TABLE OF CONTENTS LOCATIVE MEDIA
....5
WRITING TO DESIGN
...11
SENIOR CAPSTONE
...25
FEASIBILITY STUDIES
...35
INTERIORS
...45
INTERDISCIPLINARY
...51
EXPLORATIONS IN LOCATIVE MEDIA
The first semester of my graduate studies at The Ohio State University focused around a studio course theme of Locative Media as an avenue of exploring my thesis topic of writing for the design process. Locative media offered the opportunity to explore storytelling and communication within place-based settings accessed through grepgraphic information systems (GIS). Presented in the following pages are the various elements of this multi-part inquiry of locative media, including: VISUALIZATION Graphic communciation of the intersections of locative media in relation to writing and the chosen social issue of homelessness. COMPREHENSION Understanding the capabilities and technicalities of using locative media and coding in sharing dissenting narratives. APPLICATION Development of a mobile application interface that utilizes locative media as a vehicle for writing as an individual and social practice.
EXPLORATIONS IN LOCATIVE MEDIA
VISUALIZATION This preliminary project focused on graphic communciation of the intersections of locative media in relation to writing and the chosen social issue of homelessness. Using the city as a background and the spaces in which we exist, this project aimed to explore the idea of imposing images to visually demonstrate the ability of spaces to embody more than one story. One deliverable included a framework in map form. The known city grid of Columbus, shown in plywood, was utilized as a stable element for other narratives to be imposed. A white acrylic, which can slide in and out of the plywoood frame, symbolizes the imposed ideals of places and landmarks that define this ara of the map. The clear acrylic layer is meant for those holding the piece to add their own narratives, sketches, and diagrams. The layers can be viewed individually, only two, or all three. Altogether, the three layers visually represent the conflicts around the questions of: who gets to tell their story, how is this shared, and how are individual narratives mediated with those of a group?
This project also examined objects as evocative personal items that could be imposed within the public sphere to create a similar discussion to that of the city grid framework. For this visualization, recognizable personal items were placed out of context on city street corners and the sides of public buildings.
EXPLORATIONS IN LOCATIVE MEDIA
COMPREHENSION This project employed the practical use of locative media by breaking down how it works. With the primary goal of understanding the capabilities and technicalities of using locative media and coding in sharing dissenting narratives, the process of learning a new technology was documented and shared with others through videos, and interactive test app, graphics, diagrams, and a glossary of terms.
Possible Project Paths Beacons RaspberryPi - DIY
Passbook/ Wallet
Estimote Without app Android
iOS iBeacons
Eddystone-URL
Swift coding with Estimote SDK
Eddystone-UID Eddystone-EID With iOS app Physical Web Google Proximity API
App that changes Background Color Coding from scratch using Swift libraries
Possible Project Paths
App that pulls dierent View Controllers
Abandoned
Viable
Not-Viable
EXPLORATIONS IN LOCATIVE MEDIA
APPLICATION The final installment in this series of projects worked to develop a mobile application interface that utilized locative media as a vehicle for writing as an individual and social practice. Three models were established, inclduing: INDIVIDUAL - single-user, location-based writing prompts EXCHANGE - multi-user, location-based writing exchanges which allow for users to add on to each other’s stories PUBLIC - wiki-sourced stories bound to a specific location 9:41 AM
LIBRARY
+
100%
WRITING TO DESIGN
In early 2014 I submitted a research proposal through Miami University to explore ways in which writing could be used to strengthen and influence the design process. This idea of using writing for to design largely came out of my own love of writing and drawing and the parallels I saw between the stages of creating a verbal or graphic piece. My proposal was accepted and I spent the next year researching and investigating this topic before sharing my findings at local presentations and at the DAKAM ARCHTHEO Conference in Istanbul, Turkey. Through this project I identified and investigated several writing methods to be used for the design process: PROJECTION: recording of goals and predictions before each project to set expectations and initiatives of the project WORD: utilizing a single word to derive spatial qualities LITERATURE: relying on interpretation of written works to inform a graphic representation NARRATIVE: creating stories around real or imagined spaces to inform design decisions REFLECTION: recording of outcomes and lessons learned after each project to reflect and analyze findings The following pages present designs developed from the Word, Literature, and Narrative methods with accompanying Projection and Reflection components.
Note: I am currently expanding upon this topic for my graduate studies at The Ohio University. This research will involve participants from design education and design practice to provide a fuller picture of writing’s capabilities for the field of design and to inform the making of a toolkit for each of these groups to utilize in order to improve their writing.
WRITING TO DESIGN
WORD languid
PROJECTION This method will utilize the words sterile, languid, and threshold to determine word connotations and document the affects of word choice on designs. I predict that some words will have a strong connotation with a particular event or place and influence objects an materials in addition to the space itself.
threshold
sterile
REFLECTION Using words as a design tool proved to convey strong connotations. The word “languid” brought about strong images of a beachy, vacation-like scene in addition to curving, looping forms. Its meaning was strongly tied to a certain type of place. On the other hand, the word “threshold” was used as a jumping point to imagine the significant transition between two spontaneously chosen space, relying very much on the contrast between these two places. “Sterile” fell somewhere between these two examples, relying heavily on the connotation of a healthcare environment while also requiring the demonstration of an absence of something, such as the absence of color, personality, or nature. This suggested that nouns (such as threshold, passageway, or overlook) provide a more open means of place-making and adjectives (such as such as languid, cozy and sterile) rely on their connotations with specific places. Overall, I believe the Word method to be useful in identifying the good, bad or neutral connotations words may have when used to describe a design. Additionally, investigating words one may want to be associated with the design is useful in identifying the forms, materials, and other characteristics that space should have. This method could be investigated further with many more words or a variety of participants.
WRITING TO DESIGN
LITERATURE
“THE FALL OF THE HOUSE OF USHER”
PROJECTION This method involved analyzing word choice, structure, context, and other literary techniques in the short story by Edgar Allen Poe, “The Fall of the House of Usher,” to develop its visual representation. By investigating the language of a short story, I wanted to understand how verbal descriptors translate to the visual form and how personal connotations and ideas overlap with what the author is presenting.
1.
Described images of a grey-tone, gloomy landscape and tattered interior evoked memories of scenes from my childhood. Images from the de Ville mansion from the 101 Dalmatians movie and PC game.
2.
Similes and personification of the building are used to support the underlying allegory of the story, which links the Usher family to that of the building itself.
3.
The punctuation and fonts Poe uses also have an effect on the tone of this piece. Dashes quickly separating suspenseful thoughts encourage the notion of a racing mind, and the use of italics promote uncertainty. These written concepts produced the familiar “creepy” sound found in many horror movies, recreating these associated images while reading the piece.
1. 3.
2.
3.
3. press
3. 2.
1.
Interior sketch of the House of Usher
Exterior sketch of the House of Usher
“the windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light...served to render sufficiently distinct the more prominent objects around...Dark draperies hung upon the walls. Many books, and musical instruments lay scattered about, but failed to give any vitality to the scene...”
“glowing in the unnatural light of a faintly luminous and distinctly visible gaseous exhalation which hung about and enshrouded the mansion”
REFLECTION The descriptive nature of “The Fall of the House of Usher” and the numerous literary techniques used (similes, metaphors, allegory, personification, etc.) all contribute to ease in which the setting, people, and events are relatively easy to picture. However, I was surprised as to how much I relied personal real and fictional mental images (and sounds!) to support the Poe’s imagery. Using literature for the design process could also play an important role in creating a shared understanding of what a space will look and feel like. However, a story that closely matches that of a space one is trying to design may be hard to come across. Future research could be centered around how others may interpret the text visually and how much they depend on personal memories.
WRITING TO DESIGN
LITERATURE
“SPRING IS LIKE A PERHAPS HAND”
PROJECTION This method utilized the poem ee cummings’ “Spring is Like a Perhaps Hand” to develop a design by drawing from the piece’s word choice, structure, context, and other literary techniques. Its goal was to understand how verbal descriptors translate to the visual form and how personal connotations and ideas overlap with what the author is presenting. From this, I expect personal bias, memories, and connotations to not play a role in the mental images conjured, possibly more so than that of Poe’s short story due to the more interpretive, open language used in poetry
III Spring is like a perhaps hand (which comes carefully out of Nowhere)arranging a window, into which people look(while people stare arranging and changing placing carefully there a strange thing and a known thing here)and changing everything carefully spring is like a perhaps Hand in a window (carefully to and fro moving New and Old things,while people stare carefully moving a perhaps fraction of flower here placing an inch of air there)and without breaking anything.
Initial sketches demonstrate the overall visual structure the poem embodies, as well as the concepts of framing and dynamic change. After several conceptual sketches, I noticed that I began applying these ideas to Olson Kundig’s buildings (shown at right). Changes were made to diversify the design one this similarity was identified
“arranging a window, into which people look”
“while people stare carefully moving a perhaps fraction of flower here placing an inch of air there”
REFLECTION The poem’s physical layout, punctuation, and word choice all played a role in shaping mental images, similar to that of “The Fall of the House of Usher.” However, language was often used in an unfamiliar ways, such as using “perhaps” abnormally and likening spring to the that of a hand - a not so obvious comparison. However, this open-ended way of using language opened up opportunities to think more deeply about what the author was trying to convey in so few words. The result was the idea of framing the changes of the landscape over the seasons, as shown in the sketches and final design. This method would be useful as a source of inspiration for a design, as it is not as direct as connotative words and short stories depending on the poem. Future research could utilize more than one poem and across several designers to see how interpretations of the text may differ.
WRITING TO DESIGN
NARRATIVE PROJECTION This method utilizes storytelling to inform a design based on a real, observed space. The space used for this method was Findlay Market in Cincinnati Ohio. Its goal is to obtain a better understanding on the effects storytelling has on the design of a related space and create strong mental images that reflect the real surroundings of a space and aide in create a new, imagined, designed place. I believe that this approach will be the the most creative and accessible outlet for designing, but may pose some challenges to those uncomfortable with writing.
I continue down the long length of the enclosed marketplace, past vegetable stands and the shops on the opposing side. I turn left down an opening in the pathway; a man plays the saxophone at this intersection, which opens up to a jumble of red-painted chairs and tables. Past the array of seating, where people are enjoying their morning meals, are the Saturday vendors. Here, farmers put out their weekend vegetables, cheesemongers their local cheeses, and at the end of this open-airway market exploding with flowers from local gardeners. This open-air market is a near replica of the enclosed market with it’s pitched, rafter-roof, painted in celery green, mustard-yellows, and Jazz-apple red. The end of this market, enclosed and dead-ended with petunias, marigolds, and other bouquets and hanging baskets is the only place at Findlay where you are stopped, where you must turn around. Otherwise you are constantly roaming around the edges of the long indoor market, through its center, stopped by the streets at its short ends and pushed again around its corner to the long passages bordered by the old, brick buildings with their windows overflowing with flowers. At times the market can be overwhelming; I feel lost and even forget where I parked—my street location forgotten with the new information of market prices, tomato types, and the smells and sounds of the market. In all this confusion all I want is a place to sit, to gather myself and to remember where I am, where I should be going. Yet on a Saturday morning, the seats are filling up quickly, the others doused in the morning rain not yet dried.
I wander through the crowds back towards my car parked on the street—I want to stay but the market demands movement, placement, and purpose. Along my path I notice an opening in the thick walls of the brick buildings parallel to the marketplace. Getting closer, I see it is a dark passageway, but there’s light at the end of it. I follow the passageway to the lights, running my hand along the brick walls, which are painted in bright colors, making the tunnel seem more inviting. My eyes widen despite the sudden light at the end of the passageway and I feel my mouth open in awe. The tunnel opens up to a large courtyard, dotted with uniform trees providing shade over metal and wood benches, brightly painted. Ivy crawls up the brick walls, meeting the windows of the residents above. The windows I had just seen before entering the courtyard, overflowing with flowers, weren’t just for show. Tenants used the extra space on their balconies to grow more freely—taller ferns with longer, fingering leaves, even several potted tomato plants and peppers. On one wall there’s a mural—it seems to be a bunch of bright rectangles and lines, but upon further scrutiny I see that it’s a map of the market, with people and vegetable stands included.
Lugging my bags, I make my way to other shops, picking up some breads, dry grains, and a coffee before heading back to the restaurant. I walk across the street to the restaurant—I haven’t changed the exterior much since purchasing the property a year ago. The large, storefront windows and green and gold windows and façade. I unlock the door— only discernible from the windows by being set back from the sidewalk—and step in to the restaurant. We just refinished and polished. Black iron and wooden tables are arranged over it, with white linen napkins folded in small squares at each seat. Exposed beams stretch over the space, recalling the rafters of both the outdoor and indoor markets at Findlay. A few lights hang down from the ceiling over the tables, unlit. The bar in the back, however, shines brightly—over 500 wine and liquor bottles are backlit by a soft yellow wall, illuminating the entire space in a soft glow. I go the kitchen, which looks in on one of the dining spaces—you can see all the action.
REFLECTION Using narrative as an observational tool and a way to inform a new design proved to be an easy outlet for meaning-making. While the other previous methods used required some understanding fof literary analysis or had limitations, narrative if the simple act of story-telling. I found the addition of observation to be even more helpful in creating spaces that were authentic, appropriate and “real” while providing a creative response. While I think those not used to the idea of story-telling may find this method more difficult, there is an opportunity to create narratives in a more visual way such as video clips or as comic strips for those who do not feel as comfortable using the written word.
SENIOR CAPSTONE
Food has the power to bring people together. For my Senior Capstone project, I investigated food sustainability with the goal of creating a center for people to learn about food, grow food, cook food, buy food, and most importantly, gather together as a community. For over a year, I surveyed site options in the Cincinnati area, volunteered with organizations located in food deserts, interviewed stakeholders, and researched successful models of sustainable food systems. By becoming immersed in the world of food sustainability, I was able to propose a comprehensive model that provided much more than proper nourishment.
PROJECT RESEARCH In addition data accrued from numerous texts and articles, actual locations were identified and observed to determine project needs and characteristics. Avondale, a neighborhood long known for its lack of grocery and higher poverty and crime rates, was chosen as the location for the Fourth Plate model. To understand this neighborhood and its residents better, I volunteered with a local agency, Gabriel’s Place, which offers a weekly farmer’s market, cooking classes, community dinner and other programs to fill the need for healthy food options in the area. By working with Gabriel’s Place, I learned what the community valued: many residents were part of the local running/walking club, were vegetarian or vegan, and were very interested in knowing how their food was prepared and where it came from. I also was able to incorporate into my program aspects that Gabriel’s Place lacked, such as daily flexible hours for their farmers market, space and resources for multiple cooking and nutrition classes, and community space to house its various programs and community members. This recognition of community values and needs was instrumental in designing a successful model for the community.
MAP OF CINCINNATI FOOD DESERTS
PROJECT LOCATION
GABRIEL’S PLACE - VOLUNTEER LOCATION
PROGRAM ORGANIZATION TYPOLOGIES The program developed consisted of the four main goals: to grow, cook, buy, and gather, with food at the center. Each of these activities were carefully studied to determine the possible forms they could take on and which ones would be most successsful.
GROCERY SHOPPING TYPOLOGIES Different methods of buying food were examined, including big-box stores that offer many types and brands of products, small co-ops with local offerings, and farmer’s markets that provide fresh goods in a temporary setting. All three typologies were combined for the final design to provide the community with variety and local taste.
SUPERMARKET
CO-OP
FARMER’S MARKET
COOKING CLASS TYPOLOGIES Cooking class typologies were examined to determine a preferred model for teaching cooking methods and fostering community engagement. These included individual or couples cooking, group cooking, and demonstration settings. The group cooking typology was chosen for the final design to allow class participants to each have a hand in cooking a meal together.
INDIVIDUAL
GROUP
DEMONSTRATION
8
FIRST FLOOR SECOND FLOOR
THIRD FLOOR
7
9
THIRD FLOOR
5 1
8
7
9
10
6
08 d it t nnaod rth e difth erty an eatmbo-
11
SECOND FLOOR
THIRD FLOOR
3 8
10
6
11
8
8
7
9
SECT
12 2
4
1
8
KEY
unte ce ood, on4 get so not. ar
SECOND FLOOR
8 0
10
20
30
40 ft
1
Marketplace
5
Storage
2
Garden Center
6
Nutrition Classrooms
10
Rooftop Garden
3
Kitchen (Cooking Classroom)
7
Auditorium
11
Offices
4
Courtyard
8
Community Areas
12
Garden
6
9
KEY
SECTIONS 1
Marketplace
5
Storage
2
Garden Center
6
Nutrition Classrooms
10
Rooftop Garden
3
Kitchen (Cooking Classroom)
7
Auditorium
11
Offices
4
Courtyard
8
Community Areas
12
Garden
12
9
Employee Lounge
8
8
Employee Lounge
10
SECTIONS
COURTYARD
MARKETPLACE
COOKING CLASSROOM
COOKING CLASSROOM
OM
COURTYARD
MARKETPLACE
GRAIN GRAIN WALLWALL
TOOLTOOL WALLWALL TOOL WALL
TOOL WALL WASHING TROUGH WASHING TROUGH WASHING TROUGH
COOKING CLASSROOM
INSIDE/OUTSIDE SHOPPING
WASHING TROUGH
FEASIBILITY STUDIES
My firm has conducted several Feasibility Studies in Columbus and Cincinnati for the United States General Services Administration. The goal of these studies was to evaluate existing tenant conditions and determine opportunities for reorganization in order to improve asset efficiency incorporate other federal agents and courts into these facilities. With the other members of my team, I helped lead charettes, document existing conditions, demonstrate findings, determine and illustrate proposed solutions, and present designs to the client. I was responsible for analyzing the great deal of information we had acquired from the studies and presenting it through graphic representations as well as with succinct executive summaries.
FEASIBILITY STUDIES
COLUMBUS Our team was contracted to provide a comprehensive study for the GSA to determine viable spaces within the Bricker Federal Building to house the United States Bankruptcy Court in Columbus. I worked with my team to conduct charettes involving the USBC Judges, USBC Clerks, and the GSA, determine viable options for tenant organization, and provide supporting graphics and summaries illustrating considerations for egress, security, and the unique spatial needs of the Judiciary.
CHARETTE IMAGES
COLUMBUS TEST FIT Below are preliminary floor plans devised from the needs of the Bankruptcy Court Judges and Clerks as well as the square footage allocations determined by the GSA.
Attorney / Witness Room 150 nsf
Deputy Clerk/ECRO Entry
Public Scanning Workstation & Marshal's Marshal's Copier Locker/Break Control Room 230 sf Room 455 nsf 190 nsf Public Counter/ Cashier 91 nsf
Storage 100 nsf
USABLE AREA SqFt
01001 500.00 TTO 1007 ATX06979
Courtroom A 1800 nsf
Attorney / Witness Room 150 nsf
SPACE ID
EXAMPLE
Judge's Toilet 52 nsf
Staff Toilet 52 nsf
SPACE TYPE AGENCY BUREAU CODE ASA NUMBER
A/V Room 120 nsf
HUD 12545 nsf Marshal's Office 103 nsf
Parking Garage
ACCESS CORRIDOR
EXIT ACCESS CORRIDOR
Fax 10 nsf Filing 60 nsf Storage 80 nsf Copier 50 nsf Service 20 nsf TOTAL 220 nsf Mechanical 95 nsf
Attorney / Witness Room 152 nsf Soundlock 87 nsf
Staff Toilet 52 nsf Judge's Toilet 52 nsf
A/V Room 120 nsf
Attorney / Witness Room 147 nsf
Storage 101 nsf
Public Entry
Robing Room 204 nsf
Judge/Law Clerk Entry
Public Waiting Area 414 nsf
Lounge 182 nsf
Chambers - Caldwell 1492 SF
Records Exam Area/ Public Fax & Computer Station 50 nsf Queing/ Work Area 100 nsf
Public Entry
Deputy Clerk/ECRO Entry
Fax 10 nsf Filing 60 nsf Copier 50 nsf Service 20 nsf TOTAL 140 nsf
Law Clerk 160 nsf
Toilet 50 nsf
Reception 100 nsf
Vestibule 50 nsf
Courtroom Deputy 150 nsf
Circulation 130 nsf
Closet 10 nsf Reception 100 nsf
Law Clerk 125 nsf
Vacant 1391 nsf
Circulation Closet 10 nsf 75 nsf Vestibule 50 nsf Reception Area Toilet 50 nsf 100 nsf
Judge Chambers 447 nsf
FIRST FLOOR
BUT UNCLASSIFIED (SBU) OF THE UNITED STATES GOVERNMENT AL USE ONLY ve this notice troy or return documents when no longer needed
Video Conference Room 510 nsf
Courtroom Deputy 158 nsf
Attorney Work Room 172 nsf (externs)
Conference Room 300 nsf
Mail Work Area 100 nsf
Supplies 150 nsf
Evidence Vault 150 nsf
Work Area 105 nsf
Education Center 1648 nsf
EXIT ACCESS CORRIDOR
Toilet 50 nsf Storage 80 nsf
Law Clerk 130 nsf Law Clerk 150 nsf
Storage 82 nsf
Staff Toilet 64 nsf
Staff Toilet 64 nsf
Law Clerk 150 nsf
Vestibule 50 nsf Fax 10 nsf Filing 60 nsf Copier 50 nsf Service 20 nsf TOTAL 150 nsf
Staff Breakroom 232 nsf
Courtroom Deputy Closet 10 nsf 154 nsf Circulation 130 nsf
Judge Chambers 424 nsf
Courtroom B 1819 nsf
IRS 4465 nsf
Judge Chambers 400 nsf
Law Clerk 130 nsf
Chambers - Preston 1505 SF
Medium Volume Copier Area 80 nsf Safe 20 nsf
Soundlock 80 nsf
Robing Room 106 nsf
Chambers - Hoffman 1493 SF
Public Waiting Area 400 nsf
Judge/Law Clerk Entry
Financial Vault 150 nsf
High Volume Copier Area 120 nsf
Computer Training Room 430 nsf
O & A Support First Line Supervisor 96 nsf
17 Deputy Clerks 1088 total nsf
O & A Support First Line Supervisor 96 nsf
O & A Support First Line Supervisor 96 nsf
1st Line Supervisor 150 nsf
Communications Server Room 400 nsf
Conference Room 420 nsf
O & A Support First Line Supervisor 96 nsf
3 Deputy Clerk Prof. open office Admin. & (IT) Line 195 nsf Positions 150 nsf
Prof. Admin. & Line Positions 150 nsf
Prof. Admin. & Line Positions 150 nsf
Active Rec. Equip. Stor. Storage Prof. 36 nsf 50 nsf Admin. & Line Clerk of Court Positions Visiting Office 150 nsf 198 nsf
Reception Area 100 nsf
Printer 50 nsf Shredder 25 nsf Low Volume Copier Area 50 nsf Fax 10 nsf TOTAL: 135 nsf
Manager 180 nsf
SEVENTH FLOOR
SENSITIVE BUT UNCLASSIFIED (SBU) PROPERTY OF THE UNITED STATES GOVERNMENT FOR OFFICIAL USE ONLY Do not remove this notice Properly destroy or return documents when no longer needed
SENSITIVE
COLUMBUS TEST FIT - CIRCULATION DIAGRAMS Circulation Diagrams were devised to demonstrate the secure paths required for judges as well as paths to be utilized by the Bankruptcy Court and the public.
Attorney / Witness Room 150 nsf Public Waiting Area 400 nsf Medium Volume Copier Area 80 nsf Safe 20 nsf Records Exam Area/ Public Fax & Computer Station 50 nsf Queing/ Work Area 100 nsf
EXAMPLE 01001 500.00 TTO 1007 ATX06979
Soundlock 80 nsf
SPACE ID
Judge/Law Clerk Entry Public Entry
Circulation Key
Robing Room 106 nsf
Judge's Toilet 52 nsf
01001 500.00 TTO 1007 ATX06979
Public
Courtroom A 1800 nsf
Attorney / USABLE AREA SqFt Witness Room SPACE TYPE 150 nsf
Deputy Clerk/ECRO Entry
AGENCY BUREAU CODE ASA NUMBER
Public Scanning Workstation & Marshal's Marshal's Copier Locker/Break Control Room 230 sf Room 455 nsf 190 nsf Public Counter/ Cashier 91 nsf
Storage 100 nsf
Judges (USBC)
Staff Toilet 52 nsf
A/V Room 120 nsf
Internal
Marshal's Office 103 nsf
Parking Garage
ACCESS CORRIDOR
Mechanical 95 nsf
Attorney / Witness Room 152 nsf Soundlock 87 nsf
Lounge 182 nsf
A/V Room 120 nsf
Attorney / Witness Room 147 nsf
Storage 101 nsf
Public Entry
Courtroom B 1819 nsf
IRS 4465 nsf
Vacant 1391 nsf
BUT UNCLASSIFIED (SBU)
Staff Toilet 52 nsf Judge's Toilet 52 nsf Robing Room 204 nsf
Judge/Law Clerk Entry
Public Waiting Area 414 nsf
EXAMPLE
Deputy Clerk/ECRO Entry
SPACE ID
USABLE ARE
SPACE TYPE
AGENCY BUR
ASA NUMBER
FEASIBILITY STUDIES
CINCINNATI Our team was contracted to provide a comprehensive study for the GSA to determine viable spaces within the Bricker Federal Building to house the United States Bankruptcy Court in Cincinnati. I worked with my team to conduct charettes involving the USBC Judges, USBC Clerks, and the GSA, determine viable options for tenant organization, and provide supporting graphics and summaries illustrating considerations for egress, security, and the unique spatial needs of the Judiciary.
EXISTING CONDITIONS 7254 SF USDC Clerks
11382 SF USDC Courtrooms
8345 SF US Marshals
4267 SF GSA
2437 SF COA Staff Attorneys 6014 SF USDC Judges’ Chambers
1365 SF ADR Suite
11400 SF Probation
8326 SF COA Staff Attorneys
1st Floor
2340 SF Tax Court
4369 SF COA Mediators 13942 SF Vacant
1777 SF Pretrial
680 SF Circuit Executive
470 SF COA 1162 SF USDC, Pretrial, and Probation IT
780 SF Vacant
3rd Floor
800 SF Vacant
2nd Floor 3558 SF USDC Courtroom below
1019 SF Circuit Executive
1937 SF Vacant
1300 SF Vacant
471 SF Circuit Executive (vacant)
4369 SF USDC Courtroom below
1600 SF 970 Marshall’s 1135 SF Vacant Jury Assembly Office
1120 SF 1120 SF Vacant USDC Jury Room
9th Floor
2700 SF USDC Chambers below
CINCINNATI MOVABILITY STUDY A Movability Study was conducted as part of this Feasibility Study to develop a scale for each space’s “movability” or ease of relocation, depending on a number of factors, including the space’s location within the building, its adjacencies, use of specialized interior finishes, and other factors. USDC Clerk’s Office
USDC Courtroom 109 & Courtroom 117
USDC Auxiliary Space
US Marshall’s Command Center
Sattelite COA Staff Attorneys Office
GSA Office
USDC Chambers
USDC Arbitration
COA Staff Attorneys Office
Probation
Vacant
USDC Chambers
2nd Floor
1st Floor US Tax Courts
Vacant
COA Circuit Mediators
Pretrial
COA Facilities
Vacant
COA HR
USDC Probation Pretrial IT
Vacant
3rd Floor Not movable
COA US Marshall’s Office Office Vacant
Vacant
Vacant USDC Jury Room Vacant
9th Floor Vacant/Should be moved
USDC Jury Assembly
Storage
Vacant
CINCINNATI CIRCULATION DIAGRAMS
Circulation Key Public Judges (USBC)
Circulation Diagrams were devised to demonstrate the secure paths required for judges and the paths to be utilized by the public and courthouse employees.
From Peck Parking Garage
Two (2) 1800 SF USBC Courtroom
Elevator Shaft 4267 SF Staff Attorneys
Basement
5731 SF USDC Clerks
Elevator Shaft
6297 SF Staff Attorneys
2nd Floor
7254 SF Probation
1st Floor
8104 SF Associated Space, Jury Facilities, & Clerk Storage
13924 SF USBC Chambers and Clerks
2829 SF USDC Clerks
Third Floor
INTERIORS
As an interior designer, I provide construction documents and specifications for numerous types of projects, including commercial, retail, recreational, healthcare, academic, and many other markets. Responsibilties include selecting finishes and furniture, space planning, and coordinating with architects, engineers, and other project consultants.
CINCINNATI FINANCIAL CORPORATION OFFICES
Developed new finish concepts for to be utilized in a nine story, three-tower office complex. Collaborated with clients and construction managers to ensure that project materials and products met the timeless aesthetic of Cincinnati Financial as well as project schedule and budget.
WEST CLERMONT HIGH SCHOOL, MERCY HEALTHPLEX AND FAMILY MEDICINE
This project included selection of interior finishes and furnishings for a high school, community recreation center, and medical offices. Design involved coordinating finishes between each of these entities while complying with brand standards. Responsibilities included collaborating with architects, enhineers, and clients to produce construction documentts and conduct construction administration duties.
HYUNDAI AND ACURA DEALERSHIP OFFICES
Design for this project included complying with Hyundai and Acura brand standards while meeting the needs of the client and the office’s staff.
UC HEALTH ECHO/CARDIO AND CATH LAB My team was tasked with utilizing updated brad standards to revitalize the Echo/Cardio and Cath Lab Departments at UC Health. Subtle tones are used to create interesting floor patterns that allow the space to be inviting, interesting, and calm.
INTERDISCIPLINARY
Many of my courses as an undergraduate at Miami University incorporated group projects throughout the semester. However, one semester-long studio held in my third year brought together students from interior design, architecture, and graphic design to work together. The first few weeks of this studio were centered around developing a brand, logo, and marketing tools, while the following months involved the research and design of a healthcare-related facility.
VISIONARY PROMO
Visionary Design, an interdisciplinary design firm, wanted to create a fun and interactive piece to give to potential clients. The result comes in a wearable form of the firm’s logo, a pair of wooden eyeglasses concealed in a clouded plexiglass box. They are “worn” by one of the four firm designers by placing the spectacles over the foldable information brochure. Users can customize their new accessory with the interchangeable colored lenses before taking a selfie to spread the word about the firm on social media. Etched in the arms of the glasses reminds clients: “Your vision, through our eyes.”
VIVERE Vivere - to live. With this Holistic Health and Wellness facility, Western and Eastern medicines are combined to promote effective healing for those who suffer from mental afflictions. Traditional medicine is complemented with meaningful activity, therapy, and holistic treatments in a space that is inviting and lively. The center’s goal is to provide people with a safe and open place to reflect and heal.
health and wellness center
Art Therapy
Recreation
Child Care
health and wellness center Concept Statement Vivere, to live. With this Holistic Health and Wellness facility, Western and Eastern medicine are combined to promote effective healing for those who suffer from mental afflictions. Traditional medicine is complemented with meaningful activity, therapy, and holistic treatments in a space that is inviting and lively. The center’s goal is to provide people with a safe and open place to reflect as well as to heal.
Group Counseling
Relaxation Therapy Resources
Doctors’ Offices
Nurtition Counseling
Green Room
Waiting Individual Counseling
Retail
Lobby
The concept for the design of Vivere relates the stages of therapy with building materials. As one moves from the outside, public spheres, to the interior, private spheres of the center, the materials transition from opaque stone to softer, transparent materials such as wood and water.
Family Room
Entrance
Cafe
VIVERE SITE AND INTERIOR
Lobby
Individual Therapy Room
Cafe
VIVERE BRANDING AND ENVIRONMENTAL GRAPHICS
1 Office
2
3Office
Office
health and wellness center health and wellness center
library cafe
1 Office
2Office
therapy
3Office
1 2 3 4 5
community family self 1 2 3 4 5
Office Therapy Library Gift Shop Art Gallery
6 Office 7 Therapy 8 Library 9 Gift Shop 10 Art Gallery