MARY MORGAN SMITH INTERIOR DESIGN PORTFOLIO
CONTACT
MARY MORGAN SMITH UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE + DESIGN 615.812.3471 MSMIT273@VOLS.UTK.EDU WWW.MARYMORGANSMITH.NET
CONTENTS
ABOUT
_07
DESIGN COMMERCIAL PROJECT
_11
RESIDENTIAL PROJECT
_27
GRAPHICS PHOTOGRAPHY
_41
ABOUT
I am currently a third year interior design student at the University of Tennessee. Here, I have had the opportunity to broaden my scope of knowledge and understand the importance of the design process. My design philosophy is to understand the needs of others and create a space that solves problems effectively. I believe design has the ability to change lives and leave the environment more efficient than ever before. My goal is to design meaningful spaces that are admired for not only beauty, but also for the way they bring people together.
7
DESIGN
“Choose your corner, pick away at it carefully, intensely and to the best of your ability and that way you might change the world.� -Charles Eames
9
NEW YORK, NEW YORK MEAT PACKING DISTRICT WHITNEY MUSEUM
INTERSECTING SPACES
BOTANICAL RESEARCH CENTER. Formerly an art museum, the Whitney now acts as a botanical research center. Located at 99 Gansevoort Street, in the Meat Packing District of Manhattan, the building was designed based on the nature that surrounds it. This new space includes office space for research, interior exhibition space, a library, work space, and a botanical greenhouse. Inspired by all the crossing paths and connection points in New York City, The Whitney acts to advance understanding of how this diversity in space comes about. Its design was shaped by this intention: that the Laboratory’s architecture would express its integral relationship with the High Line Garden beyond. These intersecting spaces facilitate the integration of public and private space, nature and the built environment, and historical architecture and modernity.
11
12
CONCEPT. The very definition of New York City is diversity – diversity of people, of thought, of religions, and of nationalities. This diversity in people crossing paths in New York City is embodied by the project. It is inspired by the crossing paths and connection points throughout America’s largest city. The design of the Whitney Botanical Research Center was shaped by this phenomenon of people crossing paths, and it celebrates the integration of nature and the built environment, and of public and private spaces. The laboratory’s architecture expresses its integral relationship with the project’s inspiration: The historical and widely acclaimed High Line public park, which runs adjacent to the Whitney. The Whitney Botanical Research Center acts to advance understanding of how this diversity in space comes about. ORGANIZATION. New York City has cultivated space using a rectilinear organizational grid, creating pockets of manmade space into which nature fits. The Whitney mimics this configuration by integrating indoor and outdoor spaces into what could be considered a microcosm of this rectilinear pattern. The architectural model facilitates a dynamic, interactive, blended space to enable visitors to celebrate how New York uses and incorporates nature into a dense urban environment. SPACE. This project has programmatically integrated space through the creation of two large openings in the floor, on both sides of the core in order to link the upper and lower levels. This deliberate design facilitates the integration of public and private, through this space running vertically. On one side, the public exhibit space, which is below private offices, features an aperture, enabling workers above to see people below, yet still be separate. On the opposite side of the core, the office space is below, and a public library is above. The exposed structure in the floor openings not only give the building support, but they also expose visitors to the historical structure of the building, just as the adjacent High Line exposes much of its original framework.
13
14
15
BB
7th Floor Legend
AA
1. Core 2. Reception Desk 3. Exhibit Space 4. Public/Private Offices 5. Exterior Exhibit Space 6. Workspace
7TH FLOOR PLAN
SECTION AA
18
BB
8th Floor Legend
AA
1. Core 2. Workspace 3. Open Work Space 4. Conference Room 5. Library
8TH FLOOR PLAN
SECTION BB
19
SUMMER- 8:00 AM
SUMMER- 11:00 AM
SUMMER- 2:00 PM
SUMMER- 5:00 PM
LIGHT DIAGRAMS
20
WINTER- 8:00 AM
WINTER- 11:00 AM
WINTER- 2:00 PM
WINTER- 5:00 PM
21
24
25
KNOXVILLE, TENNESSEE SEQUOYAH HILLS PACE RESIDENCE
SETTING THE PACE
THE PACE RESIDENCE. The Pace residence is a riverfront, midcentury modern rancher, located at 1300 Cherokee Blvd, Knoxville, TN 37919. This is a one story, 3 bed, 3.5 bath home, designed for professor Ashley Pace, her husband, and 3 children. Her day to day responsibilities consist of being a mother, professor, architect, and an active member of the community. The glass house, by Philip Johnson, was used as inspiration when creating this space. The idea behind this house was to show connectivity, productivity, and sentimentality.
27
28
29
CONNECTION.
The word connection describes Ashley and her lifestyle because of her dedication to her family, work, and the community. This house portrays this idea through its physical connection to nature. While acting as exterior windows, large glass doors open, allowing access through the center of the home. This passageway acts as a bridge, extending the community to nature. These long concrete pavers also create a connecting environment, inviting the exterior in.
30
31
SENTIMENTAL. The word sentimental describes Ashley and her lifestyle because of her personal side. She is sentimental about memories from her past, her children’s artwork, and anything that has a special meaning. In order to show this in her living space, a circular office, located in the center of the house, is used to contrast all of the harsh linear elements with softer curves. This also represents the hearth of the home, with a fireplace included in the circular structure. Panels were created and located at the two main entrances of the home. These panels are made of a circular pattern, with all of the overlapping (connecting) elements extracted. This pattern represents the light-hearted side of Ashley and her family. These three elements combine to inspire the concept and design behind the Pace residence.
32
33
PRODUCTIVE. Productive. The word productive describes Ashley and her lifestyle because of her efficient work ethic. In order to integrate productivity into her house, clean straight lines are incorporated into the furniture, structure, and accessories. Materials consist of durable, low-maintenance, and minimal material, such as concrete, glass, and stainless steel.
34
35
AA
BB
36
SECTION AA
SECTION BB
37
KNOXVILLE, TENNESSEE CUMBERLAND AVE. YOUNG MOTHERS AT-RISK CENTER
SYSTEM OF SUPPORTS
YOUNG MOTHERS AT-RISK CENTER. Located in Knoxville, Tennessee, The Young Mothers at Risk Center is a public community facility available to support young mothers and equip them with the skills and proficiency they will need to be successful role models for their children. The mission of the center is to help prepare young mothers with knowledge, skills, and support to empower them to provide for their children and to help them grow together to be successful, contributing members of society.
39
STRUCTURE. The structure of the space is very versatile representing the different needs of each woman. The main workspace is a multipurpose space for a classroom, sewing studio, and pop-up shop. There is also a nursery and office. Classes are held in order to teach each women important life lessons as well as sewing classes.
SUPPORT. The interior space is representative of the structural environment by a system of metal beams used to divide space and display work. This program is run like a co-op. Each mom rotates with a duty in order to be a support system for each other.
GROWTH. Things come full circle when the public can purchase textiles from the center to help grow the families or sign up to take a class from these young mothers to have them spread their knowledge.
The Young Mothers at Risk Center endeavors to take the existing structure of a young woman, add a support system, and help them put their life in order piece by piece.
LIGHT DIAGRAMS 40
SYSTEM STRUCTURE EXISTING STRUCTURE STRUCTURE DIAGRAM HIGH SOUND TRANSMISSION CLASS PARTITIONS: 56 STC MEDIUM SOUND TRANSMISSION CLASS PARTITIONS: 43 STC QUILTS: HANG TO PROVIDE TEMPORARY NOISE REDUCTION AS NEEDED ACOUSTICS DIAGRAM
FLOOR PLAN
ADJACENCY DIAGRAM
41
1
FLOOR PLAN CLASSROOM LAYOUT
1. WORKSPACE ONE 2. WORKSPACE TWO 3. WORKSPACE THREE 4. OFFICE 5. NURSERY 6. CORRIDOR 7. WASHROOM 8. NURSING ROOM 9. STORAGE ROOM 10. LAN ROOM
1.
2.
3.
AA
4.
5.
6.
7. 8.
BB
8.
9.
10.
1
REFLECTED CEILING PLAN
1. WORKSPACE ONE/ ENTRY 2. WORKSPACE TWO 3. WORKSPACE THREE 4. CORRIDOR 5. OFFICE 6. NURSERY 7. RESTROOM 8. NURSING ROOM 9. STORAGE ROOM 10. LAN ROOM
2.
3.
1.
4.
5.
6.
8.
7.
9.
10.
8.
3
EM
3
EM
1
REFLECTED CEILING PLAN LEGEND
45
1
SECTION AA
THIS MODULAR WORKSPACE IS DESIGNED TO HOUSE MANY DIFFERENT ACTIVITIES DURING THE WEEK. THE VERSATILE NATURE OF THE SPACE CORRELATES WITH THE DIFFERENT ACTIVITIES OCCURRING ON EACH DAY.
46
1
SECTION BB
SECTIONAL PERSPECTIVE
47
MATERIAL. THE MATERIAL THROUGHOUT THE SPACE EVOKES A FRESH AND LIGHT FEEL. NEUTRAL COLORS WERE CHOSEN IN ORDER TO KEEP THE SPACE SIMPLE, ALLOWING THE TEXTILES TO BRING IN THE MAIN COLOR. DURABLE MATERIALS ARE USED TO HELP KEEP THE PLACE CLEAN AND SANITARY. -HERMAN MILLER - WOOD VENEER - WHITE ASH A2
-HERMAN MILLER - HOPSAK - YELLOW DARK 14A39
-SHERWIN- WILLIAMS - 7005 PURE WHITE
-TATE ACCESS FLOORS -CLASSIC CONCRETE PANEL -24” X 24” -NATURAL SET
-CROSSVILLE TILE -LAMINAM -COLLECTION BIANCO
-METAL FINISH -OIL RUBBED BRONZE - US10B 613
FURNITURE. THE FURNITURE THROUGHOUT THE SPACE IS ALSO VERY NEUTRAL. THE WHITE ASH FINISH IS USED ON ALL THE WOOD ON THE FURNITURE TO KEEP A CONSISTENT LOOK. POPS OF COLOR ARE INTEGRATED IN THE FABRICS. IN THE NURSERY, ROUNDED EDGES ARE USED TO KEEP THE FURNITURE SAFE FOR CHILDREN. - HERMAN MILLER - SWOOP PLYWOOD LOUNGE CHAIR
- HERMAN MILLER - SWOOP PLYWOOD LOUNGE STOOL
- HERMAN MILLER - MAGIS TOM AND JERRY STOOL
- HERMAN MILLER - EAMES MOLDED PLASTIC ARMCHAIR ROCKER BASE
-
-
RECESSED LIGHTING EATON/ HALO LED 9.62 WATTS
TRACK LIGHTING EATON/ STASIS LED 17.2 WATTS
48
- HERMAN MILLER - EAMES MOLDED PLYWOOD COFFEE TABLE WOOD BASE
- OEUFNYC - SPARROW CRIB
-
SUSPENDED LIGHTING EATON/ CORELITE LED 46.3 WATTS
TILE SYSTEM GHOSTED AXON + MODEL
49
50
51
GRAPHICS
“If there were a prerequisite for the future successful digital creative, it would be the passion for discovery.” -John Maeda
53
PHOTOGRAPHY
FLORENCE, ITALY. This summer, I was given the opportunity to study abroad in Florence, Italy. Here, I took a course where we were taught digital and film photography. Each of the compiled images displays the unique architecture and culture of Florence, Italy. Being able to stop moments in time through the perception of a lens is a special art. Photography allows moments and experiences to be preserved over time. “We travel not to escape life, but for life not to escape us.� -Anonymous
55
56
57
58
59
60
61
62
63