Teaching Portfolio by Madison Sabatelli

M A D I S O N M S AA B DA TI ES LOL N I

S A B A T PORTFOLIO E L L I DESIGN RESEARCH

M A D I S O N S A B A T E L L I DESIGN RESEARCH PORTFOLIO TABLE OF CONTENTS

Introduction Teaching Philosophy Student Work Professional Work Thesis Graduate Work

My name is Madison Sabatelli

INTRODUCTION

I received my BFA in Interior Design from Miami University in 2015 and gained significant professional experience in interior design practice while working at Elevar Design Group in Cincinnati, Ohio. Working as a designer provided me with familiarity in designing commercial, educational, healthcare, and institutional projects. Collaborating in multidisciplinary teams of varying sizes, I was exposed to a wide range of design practices and methodologies. My accredited education and professional practice experience preceded my NCIDQ certification in 2018. I also gained my LEED Green Associate certification in January 2021. I received my MFA in Design Research and Development from The Ohio State University in 2020. My graduate studies have served as an extension of the foundation I have built in the field of interior design to reflect my interests in incorporating a range of multi-modal skills used for spatial thinking, including sketches, models, and words. Specifically, my MFA thesis employs an ethnographic approach to explore ways in which writing can be used in the design process and aims to provide insight on alternative methods for meaning-making that extends beyond preliminary images. Using my own experiences as a student and my practical knowledge of design, I have demonstrated and expanded my continued interest in pedagogical approaches within the field.

I am currently an instructor at both The Ohio State University and Appalachian State University. Using my professional experience and credentials, I aim to utilize first-hand knowledge of the design industry in all of the courses I teach to make real-world connections for students. As an educator, I aim to provide insight on necessary skills for interior designers while empowering students to develop their design interests and abilities to think critically. Because my students represent a range of nationalities, cultures, skills, and disciplinary backgrounds, I listen to each individual I work with carefully to truly understand how to best assist in their learning. I have taught a range of courses, including design studios and technical courses. The studios I have taught include those for first through fourth years majoring in interior design, covering topics such as retail, healthcare, workplace, and selfdirected design projects. I have also developed and led classes on AutoCAD, Revit, and SketchUp as well as construction documentation. Finally, I have led introductory design courses for both studio and lecture formats offered to non-majors and students applying to the program. These courses have been offered in variety of delivery methods, including asynchronous and synchronous online as well as inperson, demonstrating my capabilities as an effective and flexible educator.

As an undergraduate student and a professional interior designer, I found myself existing in the space between architecture and graphic design. Working among the large-scale construction documents and site plans while also simultaneously diving into the world of typography and branding, I came to understand that interior design was a profession of adaptability and multivalency. This multifaceted approach to interior design has shaped me as both a professional and an academic within the design field. As an educator, this mindset manifests itself as an opportunity for encouraging multimodal engagement that extends beyond disciplinary boundaries.

TEACHING PHILOSOPHY

I seek to let students drive conversation using their own ideas and interests, with my input in class discussion as a means of facilitating and furthering inquiry. By fostering a community of discourse, students gain additional necessary communication skills and work towards self-efficacy and autonomy. Likewise, while working with students individually, I listen closely to their intentions and concerns in order to reinforce the same communication goals while asking pointed questions to further a student’s line of thinking. Through both group and individual interactions I view my purpose as an educator as that of a facilitator who enables learning and empowers students.

In this way, it is not only students who learn, but myself included. During classroom engagements I consistently look for clues to inform the effectiveness of my own communication. I attempt to reiterate what students disclose to test my own understanding and employ visual, verbal, and kinesthetic measures of illustrating ideas depending on each students’ individual needs. By compelling students to consider important questions about their work, I urge them to be the experts of their interests, responsible for the reception their projects receive. My teaching experience has been diverse and interdisciplinary. It has included assisting in design courses such as foundational, intermediate, and advanced studios, technical courses in AutoCAD and Revit, interior finish materials, and design history. One aspect that many of these positions have in common is the opportunity to speak with and work directly with students to aid in crystallizing their ideas - it is this that I value the most as an educator. Overall, my approach to education is one which relies on an abandonment of disciplinary divides, a passion for storytelling, and a deep desire for learning and inquiry. I am invigorated by the opportunity to provide this to the students I work with and to empower them to achieve their own professional, academic, and personal goals.

STUDENT WORK

While serving as an instructor for various institutions, I have been able to teach a wide variety of courses. Working with both beginner and advanced students in studio, lecture, and technical course settings, I have developed my identity as an educator in different capacities to serve the needs of my students. The following pages illustrate some of my students’ work.

Merchandise Display Cafe Space

1 A10

Lobby / Reception Area 2 Lobby Elevation

1 A4 A8

Design Notes

Recreation / VR Room

Vestibule

Restroom I

Individual Work / Brainstorm Area

The concept “Crystals Are Bright Like A Vivid Mind’’ explores the unknown through adventure, curiosity, and exploration. There are limitless possibilities with an open and free mind. Exploring the outdoors leads to new discoveries and picturesque scenes. Crystals are bright and translucent that stand out in the frigid air. They are translucent to see through to endless adventures and explorations. Looking beyond to see the gleaming crystals leads to endless destinations. The concept incorporates a dominant color scheme consisting of black, white, and teal. The sharp contrast of colors coordinates with the main colors of the company, the vivid presence of cyrstals in nature, and infuses Salomon’s encouragement for exploration of nature.

Small Conf. Room

Level 1 1/8" = 1'-0" Space Planning 3

Workstations 3

Conference Room

Mech. Room

IT Closet

Permanent Workstations

Private Office I

Office Supplies & Copiers

Employee Lockers

Storage Room

Private Office II

Furniture Plan

scale 1/8”= 1’-0”

Owner Project Name

Janitor’s Closet

1 A9

Private Office III

Leslie Webb - INT 2110 - Spring 2020 - Salomon Office - Boone, NC www.autodesk.com/revit

Company & Concept

Hoteling Workstations

Individual Teleconference Collaborative Work Space

1 A4

Restroom II

- All furniture specified is from Steelcase. - Custom Reception Desk and Merchandise Display Case. - The furniture is designed to provide comfort for successful producitivty at work. - All furniture was placed considering its performance and desired function. - The workspace is designed to be organized for successful morale. - The arrangement of furniture creates an atmosphere that is worker friendly. - Posture, movements and motions required were considered for the layout of the workstations. - Noise levels of spaces were considered. - Layout of the space relates and connects to the natural environment to enhance productivity and workplace morale. - The floor plan was designed considering the noise level of each space. Loud spaces are separated from quiet work spaces. - There are different locations within the office to fit different work environment preferences.

No.

Description

Date

Floor Plan Project number Date Drawn by Checked by

Project Number Issue Date Author Checker

A1 Scale 1/8" = 1'-0"

4/26/2021 4:39:26 PM

Cafe Elevation

WORKPLACE DESIGN STUDIO

Furniture Plan

Recreation Room & Cafe

Work Spaces - There are spaces to work individually or to work in groups.

- These spaces are separated by their locations and through implementing acoustical panels and sound absorbtive ceilings to block sound from adjacent areas.

Tech LightingEssence Trio Linear

- The acoustical ceiling above the Hoteling Workstation area has a Sound Absorbtion NRC rating of 1 this ceiling is also present in the Lobby. It provides a good source to absorb sound and to prevent sound from traveling to quiet work areas.

Individual Workspace

Virtual Reality Area

Private Office

Beaver Laminate Dining Chair Blue Dot- Barstool

Recreation & VR Room

Design Notes

Level 2 15' - 0"

- The design consists of social spaces to allow for employees to socialize and

Level 2 15' - 0"

collaborate with their coworkers in a casual environment. - The Recreation Room features a V.R. area to explore new products, a lounge

Level 2

Collaborative Area 15' - 0"

Level 2 15' - 0"

area, and a Ping-Pong Table for recreation. - The Cafe provides an area to socialize, work, or meet with coworkers. There is

Workstations

a small kitchen and bar. This area is good to have lunch or get coffee.

Featured Furniture (all furniture specified from Steelcase)

- Drinking fountains and water bottle fill-up stations are also located in the Cafe.

Sustainability Note Marmolium flooring from Forbo is used in the Café and Recreation areas. It is made out of 97% natural raw materials, 72% rapidly renewable, and 43%

recycled content. It also does not contain phthalates, plasticizers or mineral oil. Cafe Elevation 1 3/16" Leslie Webb - INT 2110 - Spring 2020 - Salomon Office - Boone, NC = 1'-0"

Level 1 0' - 0" Cafe

Cafe Elevation scale 3/16”= 1’-0”

3D Knit Back Chair

Sylvi - Booth Collaborative Table

Level 1 0' - 0" 3

Level 1 0' - 0"

Workstations

1/8" = 1'-0" Flex Acoustic Boundary Kart Stacking Chair Cafe Elevation

Uhuru- Truss Chair

Cafe Elevation Social Spaces

Leslie Webb - INT 2110 - Spring 2020 - Salomon Office 1- Boone, 3/16" =NC1'-0"

Clipper

Level 1 0' - 0"

1 Workstation Elevation Coppier & Office Supply Area A9 scale 3/16”= 1’-0” Workstations 3

3/16" = 1'-0"

Work Spaces

Level 2 15' - 0"

Level 1 0' - 0"

Second year studio in workplace design. Topics included systems furniture, contract furniture, ergonomics, human factors, building codes, and ADA. Students’ Lobby Elevation 2 Lobby Elevation 3/16" = 1'-0" and current workplace strategies, looking to 2 local and international guest speakers to inform current trends. Documentation of final projects implemented traditional 3/16" = 1'-0" workplace designs included furniture plan, electrical plan, codes plan, and electrical plan. Extensive instruction Elevations on platforms new to students, including Revit and Owner Elevations Owner Enscape, was integrated into course instruction. A4 Project Name www.autodesk.com/revit Project Name www.autodesk.com/revit No.

Description

Date

Project number Date Drawn by Checked by

Project Number Issue Date Author Checker

Scale As indicated

4/23/2021 1:34:42 PM

1 A10

No.

Description

Date

Project number Date Drawn by Checked by

Project Number Issue Date Author Checker

Scal

RETAIL DESIGN STUDIO D E S I G N I T.

MAKE IT.

The first space users enter is a friendly and inviting room with screens and virtual reality (VR) stations to see what SketchUp is digitally capable of. The kiosk screens are easily moveable to open up the space for a gathering, using the large VR display screens for presentation purposes.

VR TheDISPLAY. “MAKE IT.“ space shows digital SketchUp designs and ideas brought to life through four art installations reflecting the four industries. These simple yet empowering displays will inspire all users and add a fun physical aspect to the digital learning! Users are even able to choose an item from the room and get a small version printed out on a 3D printer to take home themselves.

Touch Screens.

Seating.

VR Station.

Presentation Space.

Sanitize.

Instagrammable.

Industry Space.

Digital Touch Island.

Physical Connection.

3D PRINT

Sanitize.

INTERACTIVE SCREENS. V R

Take home a from one of

3D PRINT ARCHITE

LANDSCA

URBAN P

E X P L O R E T HE INDU STRIES . 3D PRINTING. Make what you imagine. Start modeling right away. Create any shape imaginable. Take risks. We’ve got

E N J OY T HE PR O C ESS. ARCHITECTURE. Bring your sketches to life. Visualize in no time. Create construction documents. Present to impress.

What can I do?

Where do I start?

SketchUp is modeling software for 3D printing that’s simple, fun, and predictable.

LA N D SC A P E A R C H . Move mountains with your design. Create and modify 3D terrain. Pull entourage objects from 3D warehouse.

Individual. Purchase Space. DIGITAL TOUCH ISLAND.

Bar Seating.

Support.

PERSON

URBAN PLANNING. A city planner’s tool box. Complete compelling visualizations. Access the world’s largest 3D model library. What can I do?

Where do I start?

Where do I start? From massing model to proposal, SketchUp is 3D urban design software that helps get the (whole) job done.

INDIVID

Sanitize.

From schematic design to documentation, SketchUp’s 3D architectural design software gets the (whole) job done.

What can I do?

From planters to parks, landscape architects use SketchUp to bring their ideas to life.

Now that the digital to physical connection has been made, personal creativity comes to life. This last room has individual pods for extended, productive learning as well as a bar seating area for SketchUp use, tutorials, and purchasing alongside helpful staff.

Not only are the four industries represented in a physical aspect, but the digital touch island in the middle of this gallery space has plenty of information about each. From specific examples, to common uses, to ideas on how to get started in the industry the user will not be disappointed.

Fourth year design studio for the annual PAVE competition. Students created pop-up retail spaces for SketchUp while also utilizing the digital platform to develop their projects. Studio involved extensive instruction on retail design practices, branding, and presentation skills.

HEALTHCARE DESIGN STUDIO

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;Xee X _ àÃğêʩ˘ʎˌ˘˼˘ʣˊ

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ROOM PACKAGES The residents have a selection of two diﬀerent room packages to choose from when moving in. The two room styles are named after the characters from The Andy Griffith Show, The Andy Taylor Room and The Don Knotts Room. The Andy Taylor Room is the more expensive from the two selections which includes a kitchenette for the residents who love to cook!

Andy Taylor Package

Don Knotts Package

RESIDENT ROOM - The Andy Taylor Room A private, peaceful sanctuary for the resident to rest. A place where they feel at home while being in the safety of a healthcare building. The resident can pick wallpaper and tile from a list of selections to make their room feel more like home.

HexArt Gris Deco 8" Porcelain Matte Tile

Around 500 square feet and includes: ● A small sitting area ● Kitchenette ● Closet ● ADA accessible bathroom ● Room for a queen sized bed ● Extra room for resident’s furniture ● A beautiful view

Wide Embossed Vinyl Flooring COREtec

Around 270-320 square feet and includes: ● A small sitting area ● Closet ● ADA accessible bathroom ● Room for a queen sized bed ● A beautiful view

Zale Gold Metal 8-Light Sputnik Chandelier

Liza Hathaway Matthews Harmony Wallpaper

Andy Warhol Butterﬂy Artwork

Third year studio for healthcare design. Students worked in small groups to design a space for a healthcare nice of their choosing. Evidence-based design principles were introduced and reinforced throughout the semester, culminating in a final research paper relating to their group projects.

SENIOR CAPSTONE DESIGN STUDIO

INSTRUCTIONAL KITCHEN

MAIN FLOOR

The main floor of this facility is where all of the main interactions happen. Located on this floor are the main entrance, cafe, staff offices, therapy rooms, and instructional kitchen. Having all of these more public areas on the main floor allow for resident privacy on the ground floor and 3rd floor of the building.

W. Rest Room

M. Rest Room

CONFERENCE ROOMS

STAFF OFFICE N.T.S.

CAFE

CLASSROOM

COMMUNITY AREA

THERAPY ROOM PHYSICAL THERAPY ROOM

Final senior capstone studio centered around student-directed projects. Students developed comprehensive concepts for the design of 20,000+ SF spaces. Worked with students individually and in small groups to develop comprehensive design documentation, material selections, and final presentations to showcase work.

CONSTRUCTION DOCUMENTATION

appalachian state university - interior design

Interior Design Const. Documents &Details

56' - 0"

ID-5

INT 4330 Spring 2021

2 D1

WAITING ROOM

BUSINESS OFFICE

1 1 4

ID-4

Revit Drawing Assignment

3' x 3'5"

RR. #2

Phase 3

EXAM ROOM #2 5

3 6' x 9'5"

2 17' x 11'6"

13'4" x 11'6"

STG.

10' x 9'

GENERAL NOTES

3 2 D2

EXAM ROOM #1 6

10' x 9'

ID-5 2 2

RR. #1

27' - 6"

C1 2

12 8'7" x 6'4"

LAB 2

11 4' x 6'4"

10 9' x 7'6"

PROCEDURE ROOM

10' x 11'

10' x 12'

BREAK ROOM 2

JAN.

CONSULATION ROOM

7 10' x 8'

CEILING HEIGHT 8' 0" AFF

FLOOR PLAN 1/4" = 1'-0"

NAME

Karson Starling DATE

Furniture Schedule Assembly Description Furniture & Accessories Furniture & Accessories Furniture & Accessories Furniture & Accessories

Family and Type Table-Round: 12" Diameter Table-End: 24" x 36" Sofa: 54" Chair-Breuer: Chair-Breuer

Type 12" Diameter 24" x 36" 54" Chair-Breuer

3 1 1 7

Count

3/4/2021 SCALE

1/4" = 1'-0"

TITLE

Floor Plan SHEET

ID-1

Construction Documentation and Detailing course for upperclassmen. Class explored aspects of building components and construction as well as proper execution of design drawings. Course assignments included sketch assignments, content quizzes, and construction documentation sets utilizing AutoCAD and Revit.

INTERIOR DESIGN MATERIALS The webs of spiders Sticking to my face In the dusty woods

Attribute Diagram

Materials Palette Haiku

Attribute Diagram

Mind Map

Attribute Experience Board

Experience Material Board

Serving as a guest lecturer under the direction of the instructor, Rebekah Matheny, I introduced this project introduced using words to produce a materials-based outcome for a second year Materials Course. Students selected one of four haikus to inform ideas. They developed Mind Maps to begin analyzing the written context, connotations, and sensorial imagery of the haikus. Students then created Attribute Experience Boards with words and visual imagery to form a bridge between the written and visual. Each of these steps informed the final deliverable of the project, an Experience Material Board; the Experience Material Board combined “found” objects (a bouquet of flowers, a scone, etc.) with interior finish materials that integrated sensory elements to create a cohesive visual identity that could be used to develop an actual interior space. Using a sensorial experience project accompanied with a writing-based approach over traditional methods of teaching a materials course results in improved student understanding of material properties. Writing in the form of haikus and word mapping exercises allows students to be more attuned to material qualities and more creative in their expression without a specific space in mind.

JOURNEY JOURNEYMAPPING MAPPING

This project asked students to observe a physical journey by mapping out their journey. Students gained interpretation and storytelling skills by using sketches, diagrams, page layout, and words to communicate their path. Students demonstrated the use of compositional elements with intention to create mood or support narrative. As a GTA in the Design Fundamentals course at OSU, I assisted in leading course instruction, providing feedback to students, and evaluating work for this project.

PATTERN AND SCALE

This project asked students to utilize patterns developed from a previous project to develop two models which emphasized depth and volume. Students employed knowledge of design elements and principles as well as craft skills to create pieces which captured the essence of these two characteristics. As a GTA in the Design Fundamentals course at OSU, I assisted in leading course instruction, providing feedback to students, and evaluating work for this project.

SENSORY ABSTRACTION

The goal of this project was to apply learnings from the term’s modules on design elements and principles, form, color, pattern, and scale to design a poster that exemplifies a sensory experience in both 2D and 3D. Using both vector and raster tools, students designed a poster that conveys a visualization of their sensory experience that strongly communicates the experience to an audience. As a GTA in the Design Fundamentals course at OSU, I assisted in leading course instruction, providing feedback to students, and evaluating work for this project.

PROFESSIONAL WORK

Over the course of my professional career I have engaged in diverse interiors projects, including workplace, educational, healthcare, retail, and institutional projects. In each of these projects, I supervised each stage of the design process and engaged with clients, coworkers, and contractors alike. I developed initial design options for client review, created floor plans and materials boards, and produced construction documents and submittal materials. The following pages illustrate some of this work.

INTERIORS

Material selection, casework design, construction documents, and furniture coordination for Cincinnati Financial Corporation.

INTERIORS

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 with brand Responsibilities included included collaborating collaborating with with architects, architects, engineers, engineers, standards. Responsibilities enhineers, and clients to produce documents and and conduct construction administration duties. construction documentts andconduct conductconstruction constructionadministration administrationduties. duties. documents

Material selection and coordination, construction documents, branding, and furniture coordination for Clermont. (above). Mercy HealthPlex - West Clermont and Mercy Health Family Medical - West Clermont. Clermont

INTERIORS

Construction for West HighMercy SchoolHealthplex. (above - left). Final images documentation for West Clermont HighClermont School and Project included implementation of interior finishes and furnishings, producing construction documents, and working with construction Material and coordination, managersselection to oversee project execution.construction documents, and furniture coordination for Mercy HealthPlex - West Clermont (above - right).

Designs and construction documents for Kroger Marketplace (above).

Designs and construction documents for Kroger Marketplace (above). Designs and construction documents for Kroger Marketplace (above).

FLOORING

ACCENT WALL PAINT RT2

PT2

PRT1

PT3

ENVIRONMENTAL PROTECTION AGENCY - ATLANTIC ECOLOGY DIVISION - NARRAGANSETT, RI 1st FLOOR RENDERED PLAN - 04

CT1

24 April 2018 : EPA- ATLANTIC ECOLOGY DIVISION - NARRAGANSETT, RI 1st FLOOR RENDERE Ch The designs are owned by Interface and its subsidiaries, are pro and state copyright law, and are provided with the understandin will receive an order in the near future for the products set ou The designs are for the recipient's use only, and will not be d third parties (including any other flooring manufacturer or dis Interface's express consent. Interface makes no warranties themselves. CAD floor plans are required to ensure accurate tak which may otherwise be impaired by poor

CPT1 INTERIORS

Summa

CPT2 CPT3

CONFIGURATION- 1 25cm x 1m INSTALLED RANDOM ASHLAR CPT- 2 TRIO 103880 GREY/STONE 25cm x 1m INSTALLED RANDOM ASHLAR CPT- 1 DUO 103872 STONE 25cm x 1m INSTALLED RANDOM ASHLAR CPT- 3 ONLINE 103791 CLOUD 25cm x 1m INSTALLED RANDOM ASHLAR

Scale 1:160 (original drawing scale 1:0)

ENVIRONMENTAL PROTECTION AGENCY - ATLANTIC ECOL

MATERIALS LEGEND ACCENT WALL PAINT

RAMP

FLOORING

PT2

RT2

DN MATERIAL BREAK ROOM

PT3

PRT1

MECHANICAL

LIBRARY

MEN

WOMEN

24 April 2018 : EPA- ATLANTIC ECOLOGY DIVISION - NARRAGANSETT, RI 1st FLOOR RENDERED PLAN - 04.24.18 JANITOR Chuck Timmerman The designs are owned by Interface and its subsidiaries, are protected by federal and state copyright law, and are provided with the understanding that Interface will receive an order in the near future for the products set out in the designs. The designs are for the recipient's use only, and will not be distributed to any FE third parties (including any other flooring manufacturer or distributor) absent Interface's express consent. Interface makes no warranties as to the designs themselves. CAD floor plans are required to ensure accurate take-off on designs which may otherwise be impaired by poor PDF floor plans.

FE PB PB

CPT1

630 LF HIGH DENSITY STORAGE

FIRST AID/ LACTATION

CPT2

WORKSTATIONS (3)

Summary Report SHOWER HUDDLE

L L L L

BADGING

L L L L

ENVIRONMENTAL PROTECTION AGENCY - ATLANTIC ECOLOGY DIVISION - NARRAGANSETT, RI 1st FLOOR RENDERED PLAN - 04.24.18 DN

CT1

CPT3

WORKSTATIONS (12)

SHOWER

WORKSTATIONS (8) CONFERENCE

WORKSTATIONS (2)

HUDDLE

Scale 1:160 (original drawing scale 1:0)

page 1

EPA NARRAGANSETT ADMINISTRATION BUILDING RAMP

Selection of interior finishes and documentation for EPA Facilities in Narragansett. Produced complete set FIRST FLOOR FINISH of plans for installation and permitting. Coordinated interiorPLAN needs with engineering and architecture time. Ensured all materials complied with EPA requirements regarding sustainability and aesthetics. DN

MATERIAL

MECHANICAL

LIBRARY

BREAK ROOM

WORKSTATIONS (12)

MEN

WOMEN

BADGING

JANITOR

630 LF HIGH DENSITY STORAGE

FIRST AID/ LACTATION

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HUDDLE

SHOWER

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SHOWER

Design for this project included complying with Hyundai and Acura brand standards while meeting the needs of the client and the office’s staff.

CINCINNATI MOVABILITY STUDY FEASIBILITY CINCINNATI STUDIES 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. A Movability Study was conducted as part of this Feasibility StudyUS toMarshall’s develop a scale for each space’s “movability” or ease of relocation, depending on a number of factors, including USDC USDC USDC Sattelite COA the space’s locationCourtroom within the109 building, its adjacencies, use ofCommand specializedCenter interior finishes, and other factors. Clerk’s Office & GSA Office Auxiliary Space Staff Attorneys Courtroom 117 Office USDC USDC US Marshall’s USDC Sattelite COA Clerk’s Office Courtroom 109 & Command Center GSA Office Auxiliary Space Staff Attorneys Courtroom 117 Office USDC Chambers

USDC Arbitration

USDC Chambers

USDC Arbitration

Probation Probation 1st Floor US Tax Courts Pretrial

1st Floor

US Tax Courts

Vacant

Vacant Vacant

COA Staff Attorneys Office

USDC Chambers

2nd Floor

USDC Chambers

COA Staff Attorneys Office COA Circuit Mediators

Vacant

2nd Floor

COA Circuit Mediators

Pretrial COA Facilities 1360 SF Vacant 1360 SF Vacant

COA Facilities

Vacant Vacant

COA HR COA HR

USDC Probation Pretrial IT USDC Probation Pretrial IT

3rd Floor 3rd Floor

COA US Marshall’s Office Office Vacant

USDC Jury Assembly

COA US Marshall’s Office Office Vacant

USDC Jury Assembly

Vacant

Vacant USDC Jury Room Vacant

Storage

Vacant

Vacant USDC Jury Room Vacant

Storage

9th Floor

Not movable

Vacant/Should be moved

Not movable

Vacant/Should be moved

Vacant 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

7254 SF Probation

Vacant

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

1st Floor

8104 SF Associated Space, Jury Facilities, & Clerk Storage

13924 SF USBC Chambers and Clerks

2829 SF USDC Clerks

Third Floor

This was a comprehensive study to determine viable spaces to house the United States Bankruptcy Courts in Columbus and Cincinnati. I worked with my team and the General Services Administration (GSA) to conduct charettes involving the USBC Judges and Clerks to 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. Documentation included a Movability Study to develop a scale for each space’s ease of relocation, a comprehensive photo catalogue of the building, circulation diagrams to demonstrate the secure paths required for judges, building code analysis, and information on the consideration of the building’s historical status.

Navigating the Design Process Through Writing: An Ethnographic Study of Design Studios

THESIS

This ethnographic study serves to investigate how design students utilize writing alongside drawing to effectively communicate design concepts. This study will include classroom observations, informal and formal interviews (with recording), and accumulation of students’ process work (notes, sketches, models, and their forms of documentation used to inform a final design). Data will be gathered from sections of underclassmen and upperclassmen interdisciplinary courses offered at the Department of Design at The Ohio State University, which includes majors in Industrial Design, Interior Design, and Visual Communication Design. Examples from a range of students in the beginning of their design education to those nearing its completion serve to create a comprehensive corpus referencing the many ways in which writing is used to conceptualize design concepts. Furthermore, the interdisciplinary nature of these courses aims to position this study to look at how writing is used across disciplinary lines.

NAVIGATING THE DESIGN PROCESS

METHODS

Surveys Questionnaires disseminated at the beginning and end of the semester

Interviews Informal student interviews during class time and more formal, in-depth interviews with key participants

Observations Weekly field notes and recording of events across all three studios

Documentation Meticulous notes and photographs of students work and other artifacts

Utilizing an ethnographic approach, this study serves to investigate these questions in order to understand how design students engage writing alongside drawing to effectively communicate design concepts. Classroom observations of students at work, informal chats and formal interviews with key participants, and documentation of students’ process work (notes, sketches, models, and other forms of documentation used to inform a final design) all serve to paint a complete picture of the manner in which writing is used in design education.

PARTICIPANTS 01

Design Fundamentals Studio

Inclus-city Studio

Redefining Retail Design Studio

Advanced collaborative studio designed by Adam Fromme

Advanced collaborative studio designed by Rebekah Matheny

Introductory studio course led by Emily Valentine

Using this methodology, I aim to illustrate the combined design and writing processes of several undergraduate studios within the Department of Design at The Ohio State University. These courses include a first-year introductory studio for students applying to a major within the Department of Design (Design Fundamentals) and two sections of collaborative advanced studios consisting of third and fourth years (Collaborative Design). Examples from a range of students in the beginning of their design education to those nearing graduation serve to create a comprehensive corpus referencing the many ways in which writing is used to conceive design concepts. Moreover, by surveying students enrolled under different instructors representing their own independent pedagogical practices as well as differing assignments and content, aims to investigate varied writing practices while identifying common themes.

NAVIGATING THE DESIGN PROCESS

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ANALYSIS Using Miles, Huberman, and Saldana’s Qualitative Analysis 2019, I conducted several rounds of coding using images, recordings, notes, and documents.

Descriptive Coding

Assigns labels to data that summarize in a word or short phrase – most often as a noun

Process Coding

Concept Coding

Uses gerunds (-ing words) to connote observable and conceptual action in the data.

A word or short phrase that symbolically represents a suggested meaning broader than a single time or action

KATZ (April 2020)

—TBD

With the emphasis on telling the story of design student’s use of writing, I meticulously organizing images from my documentations and observations while iterating on the proper terminology to convey each grouping. I first used descriptive coding to interpret the images of student writing found in sketchbooks, posters, and digital documents. A second round of process coding and concept coding focused more on the context of the documented writing and what it was “doing” (L. Katz, personal correspondence, 2020).

WRITING TYPES

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My simple analysis of what the use of text WAS became a determination of what it was DOING, resulting in the formulation of the writing types shown above in relation to Chen and Venkatesh’s stages of the design process (2013).

NAVIGATING THE DESIGN PROCESS 3 6

BUILDING A DESIGN MINDSET

Student observational notes from the Inclus-city Studio

Drawing from Cross’s (2001) ideas about the ways in which designers borrow from both the humanities (which are human-focused) and the sciences (which are problem-focused), a “design mindset” is the way in which designers approach a design problem. Designers borrow from both of these realms to think in a way that is both in the rational, cognitive sense, but also emotional and imaginative (Cross, 2001; Lawson, 2006). With this, writing plays a role in aiding the task of negotiating what is known, what is felt, and what is invented.

MAKING CONNECTIONS

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Students using writing to align design principles with project qualities in the Design Fundamentals studio

(CHUTE GERDEMAN) Writing as making connections serves as a kind of hinge between students’ use of text to absorb and process course material with the steps involved with designing and making something new. It is characterized by students beginning to design intangible qualities– things they can’t quite yet draw or model. Students begin with memories, stories, and qualities molded by words rather than concrete shapes, colors, and products defined by images. Provided with the grammar of a design mindset, students work to put what was presented in their own words and to create a bridge between what is known and what can be imagined.

NAVIGATING THE DESIGN PROCESS 4 5

QUICK IDEATING

Collaborative ideating using sticky notes in the Inclus-city Studio

Once students identify the initial parameters for project goals and begin to familiarize themselves with its tools and language, they begin to come up with ideas. In interviews with students, writing was identified as a key way to “get ideas down” or to facilitate an “idea dump” (Interview, March 30, 2020). Unhindered by the burden of getting the still-forming details right via drawing and empowered by the convenience and simplicity of words, students turned to writing as a way to quickly convey their ideas.

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CAPTIONING

Student concept development identifying project qualities and interactions in the Design Fundamentals Studio

Although the previous writing types thus far have all been relatively text-focused, at some point students’ projects things became more and more visual. Even then, however, text did not vanish. Writing continued to make its appearance as captions: words describing a sketched scene, post-it notes within a cluster of images, and arrows clarifying depicted qualities. As students winnowed their ideas and turned a bit more towards visual representations to describe an idea for a design, text continued to play a role in clarifying the intention of drawings and describe what couldn’t be communicated in images or drawings.

NAVIGATING THE DESIGN PROCESS 5 2

PLANNING

Student group “to do” list from the Redefining Retail Design studio

While writing has since been used in ways to explicitly aid in the learning of major design concepts and the formation of new ideas, it also takes on a more background role in the form of planning. To-do lists, needed materials and actions, and charts aligning intent and execution all point to the prevalence of writing as planning. During my observations of all three design studios, there was evidence of this writing type wedged between project ideas (quick ideating) and drawings with descriptors in sketchbooks (captioning), laid out on big sheets of paper among group members, and typed into digital documents.

GIVING AND RECEIVING FEEDBACK

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Students used discussion boards in the the Inclus-city studio to share ideas and give feedback remotely

As student designers are drawing or writing to take in course material, come up with new concepts, and carry out their plans, at some point they need feedback. Sharing and discussing ideas and providing constructive criticism have always been important components of the design process. While these activities may be primarily thought of as verbal, writing facilitates feedback while providing opportunities for students to both compose and interpret text to improve visual designs.

NAVIGATING THE DESIGN PROCESS 6 0

REFLECTING

The Design Fundamentals studio required students to submit process journals for each assignment in which students reflected on and documented work

Finally, students were found to use writing as a way to document and process their ongoing thoughts throughout the design process and at specific checkpoints. While much of the design process focuses on constant iteration and “doing,” reflection offers students an opportunity to slow down, ask themselves questions, and revisit other writing types. As inferred by interviews with students, making these thoughts explicit on paper or digital screens allows students to fully process their actions and remain mindful of their work.

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THEMES Mentorship Role of Design Instructors Social Nature of Design Student Self-Reflection and Awareness

As the findings reveal, the act of writing played a critical role in not only students’ development of their designs, but also in their growth as designers. Drawing from design theory and practices on reflective teaching, each of the courses and course instructors demonstrated a strong sense of mentorship practices through writing. This aspect of mentorship and modeling was furthered through opportunities for students to provide and interpret textual feedback in group critiques and class discussions. Finally, students demonstrated a strong sense of self-awareness in their writing practices and knowledge of how writing helped them as learning designers.

GRADUATE WORK

During my time as a graduate student at The Ohio State University, I built upon my background and training in Interior Design to develop multidisciplinary projects and studies. These projects ranged from collaborative team-based and codesign initiatives to individual and self-studies. I found ways to relate my own research to the projects at hand while broadening my technical and research skills. The following pages illustrate some of this work.

SKETCHBOOK ETHNOGRAPHY Sketchbook Typologies Content included: included: Content Class notesa short survey was disseminated - Class notes For this project, Questions - Questions amongst graduate students to understand current Ideas/concepts written -- Ideas/concepts feelings about writing.-- written This served to inform an - Ideas/concepts Ideas/concepts -- sketches sketches ethnography of the participants’ sketchbooks and Lists -- Lists documentation of the design process to understand -- Diagrams Diagrams how writing is already being used. Writing styles were

The “Mapper” The “Mapper” ---

Heavy on on diagramming diagramming Heavy (note that “class notes” notes” (note that “class were all Liz’s diagrams) were all Liz’s diagrams) Ideas expressed expressed as as space space Ideas on the the page page on

coded, catalogued, and typogriphied.

SKETCHBOOK ETHNOGRAPHY

Sketchbook Typologies Content included: - Class notes - Questions - Ideas/concepts - written - Ideas/concepts - sketches - Lists - Diagrams

TheThe “Question The Master” “Question Master” “Mapper” “Mapper” Content driven by by questions questions -- The Content driven --

Did not not seem seem to to have have direct direct Did - Heavy diagramming class notes,on but rather class notes, but rather (note that “class notes” follow-up thoughts follow-up thoughts were all Liz’s diagrams) - Ideas expressed as space on the page

The “QuestionThe Master” “Question Master” -

Content driven by questions Did not seem to have direct class notes, but rather follow-up thoughts

The “Jot”

The “Jot” -

The “List-Maker”

Brief bits of information organized by “-” Well-versed in all content areas Utilizes sketchbook to make sense of something

The “List-Maker” -

Mostly organized notes as lists separated by horizontal lines Sees ideas as tasks

The above typologies represent a range of personified writing styles based on the types of writing content utilized as well as the general organization and direction of the books. Along with the survey each student answered, this study positions writing as an important step in designing visual works. While most designers demonstrate more confidence with drawing, the untamed nature of the sketchbook may be a good place to start when encouraging writing practies for those who consider themselves to be more adept in visual communication

COMMUNITY IN RESTROOMS Anonymous submssions were collected in private poling boxes placed in men’s and women’s restrooms in Hayes Hall A participant-led, research-based approach was utilized for a group project, (Design Department). which involved inviting restroom users to inform the concept and qualities of community in shared restroom. statingattempted this question After gathering responses, ourByteam to rather ambiguously in both a private and shared answer format, we were better able to gauge the categorize the responses. The themes that emerged “temperature” of this and understand several key themes around community, provided anunderstanding the population’s approach to including safety, aesthetics, social behaviors, accessibility, and sexuality. answering the question, if community exists (positively or

Hayes Hall Boxes - results Anonymous submissions were collected in private submission boxes and via graffiti walls at restrooms in an academic building and a residence hall on OSU’s campus. Responses were categorized into themes shown in the table and graphs to the right.

negatively), and other aspects of bathroom culture we were interested in learning about, including safety, aesthetics, and sexuality.

The key categories presented to the right largely tended to be those related to “not community” and “explicit content.” In addition to the polling boxes, public “graffiti walls” were hung near men’s and women’s bathrooms in Paterson Hall (undergraduate dorm) to provide a comparative mode and location of gathering responses. The themes that emerged from this postulation tended to be more community oriented in the way that they were driven by the shared space of a group of users who lived relatively close to one another

Paterson Hall Graffiti Wall - results Cleanliness

Courtesy

Shower water

Slights off

Hair

Keep tighty

Pee on seats Food in sink Shower curtain clean Menstrual Blood Vomit

Turn off shower

Mock the question (Meme drawn) Question expected outcome

Bonding over bathroom functionality

Comments on others

Complain about cleanliness/floodin g/authority

Funny

Sarcastic

Non-malicious

Share knowledge about what is broken/flooded Bond over noise complaint

“HOW IS COMMUNITY FOSTERED IN OSU’S PUBLIC RESTROOMS?”

Focus Group - results ●

Researchers 7 theme categories:

●

Focus group 7 theme categories:

○

Environmental Qualities/Comments

○

Improvements

○

Social Behaviors/Norms

○

No Homo

○

Community Suggestions

○

Explicit Content

○

Exchanges

○

Graffiti

○

Rando

○

Not Community

○

Germs

○

Other

○

A category between BM & Exchanges

Following the ocus group convened to categorize and provide participants’ interpretation of the comments received in order to follow our participant-led approach. While some of the categories from the focus group differed from the ones our team had originally invented, many were similar and both contained a total of seven typologies.

While the results of this study were inconclusive in regards to the question of “How is community fostered in OSU’s public restrooms?” we were able to uncover and present some important findings on restroom culture in general. While there may not be a sense of “community” in the more accepted sense of the term, the context of the restroom provides a microscopic vision for how we share spaces and the various modes of engaging with others in them. In these more private, shared spaces we apply our implicit beliefs about the community we wish to have.

CODESIGN

Our team of students and codesigners assembled a list of communication issues existing within the Westminster Thurber campus. In order to visualize and enact change, these issues were prioritized among both independent living residents (those living on their own in apartments) and those living with assistance (residents in assisted living and healthcare with more limited mobility).

Working List of Priorities Independent

Living with Assistance

No.1

Hearing

No.1

Campus TV

No.2

Campus TV

No.2

Smart Tech

No.3

Digital Calendar No.3

Hearing

No.4

Smart Tech

Digital Calendar

No.4

This was a collaborative project between graduate students and senior codesigners at Westminster Thurber Retirement Community focusing on technology and the aging population.

Auditorium Resident’s Room

Future Chatterbox Calendar

Future TV Channel / Live Streaming

Future Education for Residents

Future Hearing Technology

The ideas Our team that engaged we envisioned our codesigners with the in codesigners a number ofserve reflective, as guiding creative, principles and discursive for future activities imagining to start of thea conversationThurber Westminster around Community. the theme ofThese communication. ideas were presented Each of our asconversations ideals and values andtocreations strive forresulted in orderin toaimprove deeper understanding ofamong communication not only allthe residents uniqueand communication staff. Additionally, challenges it aims at to Westminster raise awareness Thurber, about but issues also issues olderpresent adults for most face and older to start adults. a larger conversation in encouraging new innovations to be resident-led.

M A D I S O N S A B A T E L L I DESIGN RESEARCH PORTFOLIO