Portfolio S II - Part I

M I K A G I L M O R E B

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B O S T O N A R C H I T E C T U R A L C O L L E G E

INTERIOR DESIGN VISUAL ARTS GENERAL ED C A P E

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2006 - 11

C O M M U N I T Y

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A R C H I T E C T S

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&I N T E R I O R

ARCHITECTURE

DESIGN

At HMFH I have thus far worked on the beginings of a high profile private educational instituation. Currently working on interior renovations for commerical and educational programs

KALLMANN MCKINNELL & WOOD ARCHITECTS INC

INTERIOR DESIGN EVERYTHING A R C H I T E C T U R E

As a Junior Level, Architectural Designer I worked on Schematic Design and Design Development Phases. Projects included high profile universities, federal courthouses, and commercial developments. I also prepared marketing and competition graphics and submissions in Photoshop, Illustrator, InDesign, and Sketchup. I also built 3D models, drafted SD, DD, and CD drawings, details, and wall sections in AutoCad and Revit. I received Revit training and worked on numerous projects in Revit. I also assisted many successful competition entries and marketing pitches.

S U L L I VA N O ’ CO N N O R A R C H I T E C T S I N C

&D O C U M E N T A T I O N

A D M I N S I T E A N A LY S I S

As a consultant I performed site analysis for a variety of high profile residential and commercial projects located on Martha’s Vineyard , Massachusetts.

2006

BERARD MARTEL ARCHITECTS INC

KMW

W| A M E N T O R

WEEK LONG INTERNSHIP

Spring Break 2006 : Shadowed Design Professor. Attended client meetings, worked on conceptual hand drawn elevation renderings and studies. Moved and re-organized entire materials library. Participated in office meetings and helped with administrative tasks.

t e c h n i c a l s k i l l s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AUTO CAD 2009 R E V I T A D O B E C R E A T I V E S U I T E SKETCH UP 7 3-D STUDIO MAX MS OFFICE MAC OS c o m p e t i t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2009

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D E C A T H L O N

P R O J E C T

&F U R N I T U R E

S U S T A I N A B L E IN T E R I O R

D E S I GN

I worked on a design team with fellow peers to create the final design scheme for an 800 square foot interior living space. I primarily focused on interior residential furniture systems that created a series of living arrangements including the ability to have an open floor plan. I also had influence on architectural changes, marketing proposals, branding designs and gaining sponsorship agreements.

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DESIGN FURNITURE B U I L D I N G

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S T R U C T U R E

F U R N I T U R ED E S I G N H E X Y

WALL

IMA GES O F N A TU R E A N D THE MA N Y PIEC ES THA T EXIST TO EN ABL E THE MOS T EFF ICIENT FO R M S O F FU N C TI O N. THESE P IEC ES C REATE P ATTERN S T HAT W E EXP E R IE N CE THR O U G H M A N Y VEN UES, OUR SURROUN DIN GS, EN VIRONME NT S , SCIENCE, AND SOCIETY. THESE IDEAS STIMULATE THE DESIRE WITHIN MY DESIGN ER ’ S M IN D T O LE A R N FR O M O U R EXISTIN G EN VIRON M EN T; THE ASP EC TS W HICH AR E H ER E A N D W O R K I N G . A P R OC ESS THA T F ORC ES THE REC OGN ITION OF FAMIL IA R SH A P E S A N D FO R M S MA S K ED IN THE P ATTERN S OF OUR EN VIRONME NT S .

I N S P I R A T I O N This board begins an exploration of these organic interests. The formula of this design studio asked that the project be approached freshly, and all preconceived notions of furniture pieces we may want to make for our own personal needs or desires be abandoned. Starting with a blank slate through the collection and creation of this inspiration board I was able to begin articulating what a furniture piece meant to me as a designer and not just a person. Aligned with my overall theories on design and sustainability I began to realize that my piece would have to be a multi- functional unit that was adjustable to the ever changing ways and environments that we experience as people that live in a time where the only thing constant is change. I began to explore the patterns in nature to develop the possible framework of a furniture piece that would be inherently structural, efficient and functional.

B O A R D

SKETCH : STO RA G E UNIT IDEA

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P R O C ESS SK E T CHE S : S T O R A G E

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A DDI TI O N A L L Y : DUE TO REC EN T EC ON OM IC RE CE S S ION AND THE E XP ERIEN C ES THA T HAVE ARRIVED IT SEEME D NE CE S S I TY TO DESIGN A PIEC E THA T WOUL D BE AF F ORD ABLE AND A C C E S S I BL E TO A VARIETY OF USER GROUPS. ALS O BE ING A FU N C TI ON AL WORK THAT WOUL D L AST OVE R T IME AND B E A DA P T ABL E TO VA RIETY OF DIF F EREN T USE S , MAKING IT A V E R Y E C ON OM IC AL PRODUC T IN M ORE WA YS T HAN ONE .

C O N C E P T

M O D E L

THI S C O N C EPTUA L M ODEL WAS M A DE OF AN OLD C O P P E R PIPE I F OUN D IN THE TRASH, I USED A PIPE CU T T E R TO S E G MEN T THE P IP E IN TO EQUAL L Y SIZED PIE CE S . I T HAN B E G A N O RGAN IZIN G THEM , I L ET THEM A C TUALLY OR GAN I Z E THE M SEL VES BA SED ON THE SHAPE AN D NAT U RE T HE MA TE R I A L STAC K ED A N D N ESTL ED VERY N IC EL Y, CRE AT ING A G O R G E O U S C OM P OSITION C OM P OSED OF P ATTE RN AND FOR M.

This concept model brought me to my final idea of creating a storage unit that was stackable, created of clusters of forms that naturally worked together to create a larger whole. I couldn’t help but remember the honeycomb, and decided to attempt to build a honeycomb storage wall.

CO NCEP T M O DEL : CO P P ER P IP E

T H E STEPS

1 2 3 4

Cut all the pieces of the hexagon.

Ensure that the table saw is set up to the perfect angle. The miter joint is crucial to the creation of a “perfect” hexagon. If the hexagons are not “perfect” to each other, they will not rest properly. (as I learned from this process)

I decided to inlay magnets as a secondary structural component that would also hopefully allow the piece to act sculpturally as well.

Therefore I had to drill each piece before assembling them for magnet insertion. It was very important that the magnets were flush with the plywood so they were not disruptive visually and so the individual hexagons would lock into each other most successfully.

Marking the magnets in order to keep track of the positives and negatives so I would know which pieces to use when assembling my hexagons.

Jig time! Here is where the battle began, setting the pieces of plywood to dry inside a larger hexagon made of 2 x 4’s with a rope clamp warped the angles and put too much force on the hexagon.

This was not the right way to go.

P R O C 1/ 4 E S S

SCALE

MODEL

INDI V ID U A L HE XA G O N S EQUIP P E D W I TH M A G N E TS C REA T E M A N Y C O N FI G U R A TIO N S A L T H O U G H THE Y DO NO T B E H A VE S TR U C TU R ALL Y. T H IS I S W HE N I U NDER S T O O D T HE N E E D FO R A LA R GE R IN DI V I DU A L U N I T TO A CT A S THE P I E C E S O F THIS PATTERN. MAYBE...

"CLUSTERS"

WOR KI N G : AS S E M BL Y L INE W/ J I G S

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THESE PHOTOS EXPLAIN SOME OF THE MANY STEPS AND ATTEMPTS I HAD TO TAKE IN ORDER TO DEVELOP AN EFFECTIVE JIG SYSTEM. BEFORE I COULD START TO COMPOSE MY ENTIRE PIECE I HAD TO FIND A WAY TO MAKE A PERFECT HEXAGON. WITHOUT THIS STEP THE ENTIRE PIECE WOULD HAVE BEEN A FAILURE. IF ONE INDIVIDUAL HEXAGON IS NOT PERFECT THEN IT WILL THROW THE ENTIRE STRUCTURE OFF. I TRIED A VARIETY OF DIFFERENT CLAMPING TECHNIQUES, MOSTLY THE JIGS WERE EITHER EXTERNAL OR INTERNAL OFFSETS OF THE HEXAGON . IN THE END THAT WAS NOT THE SOLUTION. THE PHOTOS ON THE RIGHT PAGE SHOW AN ASSEMBLY LINE OF PRE-ORGANIZED JIG SYSTEMS WORKING IN DIFFERENT PHASES. FIRST I GLUED THE PAIRS, LETTING THEM SET IN BETWEEN PRE-MEASURED SLATS. I DOUBLE CHECKED THAT ALL ANGLES MATCHED THE CORRECT DEGREES, AND THEN LET THEM SET. ONCE THEY WERE DRY I WOULD GRAB THREE PAIRS OR “COUPLES” AND PLACE THEM IN THE HEXAGON FOOTPRINT ASSEMBLY LINE.. HERE A SIMILAR PROCEDURE OCCURRED, DOUBLE CHECKING THE ANGLE, ALTERING THE JIG IF NEEDED, THEN RETURN TO STEP ONE AND REPEAT THE ENTIRE PROCEDURE. THIS WAS A VERY REPETITIVE PROCESS, JUST LIKE THE NATURE OF IT’S DESIGN.

P R O D U C T I O N

H E X Y W A L L

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DESIGN R ES I DENTIAL AN INDEPENDENT LIVING COMMUNITY

THE

THE

CLIENT

USER

GROUP

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PROFILE

CLIENT

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YOUTHFUL ELDERLY BOTH SINGLES AND COUPLES LOOKING TO ENHANCE THEIR QUALITY OF LIFE THROUGH COMMUNITY LIVING. THEY HOPE THEIR NEW HOME WILL OPTIMIZE SOCIAL, PHYSICAL AND MENTAL WELL- BEING WHILE MAINTAINING PERSONAL INDEPENDENCE.

IN RESPONSE TO THIS THE DESIGN AIMS :

USER

GROUP

TO CREATE ENERGETIC AND VIBRANT INTERIORS TO REFLECT THE YOUTHFUL AND POSITIVE ATTITUDE OF THE RESIDENTS. TO CREATE ALLOWANCES FOR RESIDENTS TO PERSONALIZE THE COMMUNAL AND PRIVATE AREAS TO ENHANCE THE FEELING OF HOME. TO AVOID AN INSTITUTIONAL FEEL. TO PROMOTE COMMUNITY THROUGH SPATIAL ORGANIZATION. TO IMPLEMENT DETAILS THAT RELATE TO THE ARCHITECTURE YET STRAY FROM CONSERVATIVE TRADITIONS. TO USE UNIVERSAL DESIGN TO AVOID SEGREGATION AND EXPOSURE OF THE AGING PROCESS.

THE

PROGRAM INTERIOR: 8 BEDROOM SUITES SMALL COMMERCIAL KITCHEN

12 people | buffet style | + recreational space

LARGE "COUNTRY" KITCHEN communal kitchen | family room | dinning area

LIBRARY private meeting areas | book storage | computers

ARTS & CRAFTS ROOM 6-8 people | work benches | storage

PUBLIC BATHROOMS lobby | commercial kitchen |country kitchen

STORAGE housekeeping | outdoor furniture | event gear

EXTERIOR: COURTYARD PATIOS PATHS GAZEBO 8 GARDEN PLOTS

PROJECT

LOCATION

:

A GORGEOUS MOUNTAINOUS TOWN WITH A WILD RIVER RUNNING THROUGH. HISTORICALLY THE CENTER OF THE CIVIL WAR, THEN THE RAILROAD HUB OF THE COUNTRY, THIS AREA SUFFERED GREATLY FROM WAR AND INDUSTRY. IN GREAT EFFORTS THE AREA WAS TRANSFORMED IN THE LATE 1980'S. GOVERNMENT AND PRIVATE FUNDERS REVITALIZED THE WATERWAYS AND THE DOWNTOWN AREAS. THIS ALLOWED CHATTANOOGA TO FINALLY LIVE UP TO ITS POTENTIAL. NOW KNOWN FOR ITS ART AND MUSIC SCENE, CHOCK-FULL OF MUSEUMS AND GALLERIES. IT IS A GREAT VACATION DESTINATION THAT IS AFFORDABLE AND FILLED WITH HISTORY, ART AND CULTURE. THIS MAKES FOR A PERFECT LOCATION FOR THE RESIDENTS OF PIEDMONT HEIGHTS.

C H A T T A N O O G A

T E N N E S S E E

SITE

DEVELOPMENT

:

The existing building is a “U” shaped brick construction coinciding with the vernacular of the area of Chattanooga, it is a Neo Classical building style. The challenge with this building was to utilize and maintain the aesthetic while re-configuring the entire shell to house up to 16 people. While also designing the landscape to increase the experience of the entire building and it’s site making a better lifestyle for the residents.

In attention to the town of Chattanooga’s great appreciation for the local river way I decided to tap into the nautical scenery of the area and create little vignettes of experience in the landscape. For instance the “Gazebo” is actually an old restore boat shell re-furbished to create an interior nook outdoors to sit and enjoy the landscape.

The “Courtyard” also includes a water feature trickling down it’s center in the form of rectilinear pools, available for the tenant’s personalization. Personal goldfish ponds that everyone can enjoy, share and maintain while having pets that also live together in this

the building: 6, 0 0 0 s q ua r e feet wa l l thi c k ne s s = 1 2 i nc h es pa rt i a l b a s e m ent h i p ro of w / 2 fo o t o v e r h a ng N E O CL A S S I C A L : B R I C K DE SI GN SKE T CH : F RO N T EN TR Y WA Y

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ROUN DA BOU T L A N DSC APE PA RK IN G GA RDEN PL OT S “GA ZEBO” N A TURE P AT HS P ATIOS C OURTY AR D

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The Gazebo Concept: Using an old boat carcass to create a unique experience.

Reclaiming common elements from the local environment and bringing it to this residence..

G A ZE B O

The objective was to avoid an institutional feel through the implementation of “eclectic” style, plucked from the local palette.

This ties in the location of the residence with the sense of “home”.

DESI GN SK E T CH : F RO N T EN TR Y WA Y LE ADS TO NATURE PAT HS

GARDE N PLOTS

COURTYARD

PARKING

PARKING

PAT IO

DESI GN SK E T CH : S IT E & G O L DFI SH P O N D

PATIO

ROUNDABOUT

S P A C E P L A N N I N G

BLOCKING IT OUT L IBR A R Y & LA U N DR Y Blocking diagrams help develop an understanding of the space and it’s individual program, letting you develop a simple layout. For instance the library and centralized common space in this layout was the beginning of a conceptual design scheme yet also informed the design of program and square footages to help organize the space to ensure the design and program would work.

R ESID E N T I A L S U I TE S Blocking out the suites was very important in effort to find a square footage that allowed maximum private living quarters while not suffocating the remaining program of the cooperative. Also finding a few different layouts for the suites based on different types of residents and what they may need, i.e. two double beds, one queen or full sized beds, working space, or more sitting and resting space. I had to battle with all of these possibilities and keep shuffling the program around until a combination that included the potential for all elements to exist was discovered. I wanted these spaces to be flexible so the resident would be able to arrange and customize their living areas to make it their own home.

CO M M ER C I A L & C O U N TR Y K I TC HEN S The development of the kitchen areas focused mostly on codes and accessibility. It was extremely important that these space were in line with universal design principals, meaning that the design must be usable by all types of people without the need for adaption or further specialization. Everything must consider all types of disability, mental and physical as a standard, that way there is no special treatment for someone with a certain disability who may be using the space. In the prototypical diagrams on the right I tried to include bathrooms in the program of these spaces to consider the user group’s comfort level.

P U BL IC & OU TDO O R Z O N E S

Here I begin to look at the entire public section of the building. I wanted the kitchen and dining areas to have access to views, natural light, and ventilation. I also wanted these dinning zones to have outdoor seating and eating areas. Due to the warm and mild climate I felt it necessary to encourage the residents to spend time outdoors. Creating these special outdoor zones increased the square footage of the original program, but was approved by the “client”. I wanted to tuck the laundry rooms in areas of transition between the public and private. Creating a physical turn or block to define the different zones.

PROTOTYPICAL

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I N S P I R A T I O N A L

THESE INSPIRATIONAL IMAGES WERE A GREAT REFERENCE, THEY REMINDED ME THAT THIS DESIGN FOCUSES ON A VERY "HOMEY" NON INSTITUTIONAL FEEL. THROUGH OUT MY DESIGN. EACH IMAGE REPRESENTS A DETAIL OR APPROACH THAT I FELT SUCCESSFULLY CREATED A VERY COMFORTING SPATIAL EXPERI-

l i b r a r y c o m m o n k i t c h e n

THESE IMAGES ALSO HAVE AN AESTHETIC I FELT APPROPRIATE FOR PIEDMONT HEIGHTS. THE LITTLE OFFICE TUCKED INTO A HALLWAY EXPLAINS A TECHNIQUE ON MULTI FUNCTIONAL SPACE USAGE. A NICE PLANAR KITCHEN GALLEY STYLE ALLOWS LOTS OF PEOPLE TO COOK AND WORK AT ONCE ALL TOGETHER.

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S C H E M A T I C D E S I G N

BUBBLE DIAGRAM After blocking and pro to-typing the individual aspects of the program I then was able to apply these typologies to the floor plan in order to figure out adjacencies and spatial relationships. I knew that I wanted the suites to all be near each other while having views into the courtyard area, and also having access to near-by parking to ensure an easy transition from the user’s vehicle to their residence. The main spaces were difficult to determine, in this diagram I put the library and sun room in the center of the building, with the two dinning spaces in the upper corners. This scheme did not work due to the private nature of a library or quiet space, and also the “long� journey from the suites to the common kitchen.

I wanted the kitchen to be closer to the suites for accessibility purposes.

SCHEME ONE “Country Kitchen”:

Entry:

Public Dinning Area:

A “U” shaped kitchen layout to maximize space and views to the front driveway.

Views directly to the courtyard and luxurious sun room and study.

A space for events visitor dinners and other special functions such as yoga or dance classes.

Suite Layout: Rectilinear Units with little vestibules leading from the parking lot. The only access to the main space is through an outdoor corridor.

This became problematic and dysfunctional. I needed to have an interior corridor in addition. But this design began the development of a great portico .

Scheme #1 : Creating a special feature space felt like an important addition to the developed program. In this scheme I chose the library with an inner sun room as a centralized focal point. This space had a glorious mosaic tiled ceiling with sitting areas for coffee and chess perhaps. This space was visually connected to the main foyer behaving as a boasting design feature for guests and visitors. The two dinning spaces are in the upper corners of the public zone, in effort to ensure great views to the public drive with many windows and connections to the other public areas.

SCHEME TWO “Country Kitchen�:

Library:

Built in nooks for sitting and enjoying. Exterior walls flooding with natural light and air flow.

Walls of books with desk space for private work areas hidden in the library’s structure.

Suite Layout: In this design, the bathrooms were in the middle of the suite acting as a spatial divider. I wanted to create interesting rooms that also organized space.

Corridors: Designed to open up to the courtyard with special ceiling details.

Scheme #2 : My process for these design schemes is to do layovers on trace with conceptual spatial perspectives to coincide with the floor plan. In this scheme I began to develop a circulation path on both sides of the private suites to allow two means of entry for cross ventilation and access to the private courtyard, along with direct paths to the main public and private zones.

I knew that I wanted these corridors to be special spaces with interesting design features that meshed with the neoclassical vernacular of the building site. I also began to realize that in the dinning areas I wanted to create as much seating as possible with little nooks and crannies for the residents to enjoy natural light and conversation.

SCHEME THREE Art Room: Built in work benches and storage to enable organization and efficiency in a very small space.

Corridors: Removal of outdoor portico to try and work with an interior path to gain more square footage in the suites.

Scheme #3 : This design version brings a water element into the private courtyard as a special feature for the residents to enjoy and possibly have pet gold fish. The suites began to become more evolved with moveable closet units that enabled flexible floor plan configurations based on the user’s desires, and needs. The main space became simplified, moving back to a rectilinear floor plan in order to use space more efficiently. I threw out the library / sun room as the centralized space, and began to think of the “Country� Kitchen as a centralized zone adjacent to the private suites as a perfect gathering space in the mornings and evenings..

PUBLIC

S P A T I A L

ZONES

S K E T C H I N G

Due to the strict nature and program of this project I had great difficulty creating a unique design. Through these many sketches I tried to develop specific aspects of the program as a focal space to discover which area would work best functionally and conceptually. I wanted to create a layering of interior and exterior space, while utilizing the center of the U shaped building. At first I had concentrated on the Library as the centralized space connecting the private and public zones. I began to create circular spaces starting at the entry and then enlarging towards the center of the inner U of the structure. After battling with these concepts in space planning I realized that the library as the main attraction was a waste of space and not successful as a true community gathering area, due to the obvious nature of a library setting. I then replaced this with the “Country Kitchen” noticing that as a node it worked perfectly due to the symmetrical layout and circulation paths from both east and west arriving from the private suites leading directly to the common kitchen area. I really tried to hold on to the true circulatory traditions of a normal household, and the kitchen being the first place of arrival once waking up or leaving your own sleeping quarters worked just wonderfully. I eliminated the circular forms in the plan and began to focus on the inner structural walls of the to-be private courtyard. Through the creation of openings in that wall I was able to create an interior/exterior courtyard stemming from each suites secondary doorway to the courtyard or to the laundry and “Country” Kitchen, eventually spilling you off into the more public and formal areas of the cooperative. Although I would have loved to have this grandiose space be a public and private feature, I think that the common kitchen as the main node achieved what was desired by the client and the concept.

PRIVATE H O M E Y

F E E L

While developing the private residential suites I wanted a sense of division of space while utilizing space efficiently. Through the usage of the inner courtyard and the removal of mass in the inner structure I was able to create a dual entry system in the suites that developed two circulation paths, one very private and one more shared and open to the other residents.

This also created a great gateway for cross ventilation and allowed lots of natural light. My goals for the entire essence of the cooperative followed in this sector as well. The circulation of the suites and the layout had to feel like and act like a normal home. Through these studies I played with moveable closet units that could be arranged by the staff based on the residents preferences that would help them feel as though they were designing the space, I also played with walls that would divide the living and sleeping areas of the suite, and the placement of the bathrooms as a way to create interesting spatial relationships. In the end I kept it very simple with a mirrored floor plan and partial height walls that allowed visual connections to the outdoors and the entire volume of the suite in effort to maximize the small square footage permitted.

ZONES

THE COOPERATIVE AT PEIDMONT HEIGHTS

S ITE PLAN

CIRCULATION TY P ES

ZONE S

FINAL DESIGN DEVELOPMENT MAIN E NTRY LIB RARY FORMAL DINING ROOM PA T I O

LIVING ROOM

PAT IO COMME RCIAL KITCHE N

COUNTRY KITCHE N

ARTS & CRAFTS

LAUNDRY

LAUNDRY

COURTYARD

GOLDFIS H PONDS

WEST SIDE SUITES

E AS T S IDE S UITE S

FINAL DESIGN:

THE COURTYARD The private courtyard grew into a very special space. In my efforts to maintain a true home like feel, I wanted there to be a private outdoor zone that the residents would have access to from their individual suites. Each entry had a door that led to a portico. The dual lateral entry system mimics the layout of a typical residence. A front door stemming from the driveway, to the body of the home, and another entry way leading to a back yard or garden. This direct path also allows the advantage of cross ventilation, bringing fresh air into the suite year round.

The portico’s openings align with each suites entryway creating a personalized transition for each resident. Once arriving in the courtyard you are greeted with cascading goldfish ponds. These ponds are intended for group usage, as a community lubricant.

Each suite can have fish in the pond, sharing the joy’s of each other’s pets, all living together in harmony.

Walking along these little ponds, you reach a gather point near another entry. Here you can find a large outdoor dinning set for community dinners. The french doors led directly into the “Country” Kitchen for easy accessibility. This also allows the kitchen to open up to the outdoors, allowing fresh air in while doubling the capacity, so the entire building is able to dine at once, some inside, and some out all together.

THE COUNTRY KITCHEN This community kitchen acts as a centralized gathering point in the private section of the building. It can be accessed from the main public entry, the private courtyard, or portico directly leading away from the resident’s individual suites. The design of this space uses a natural palette composed of sustainable materials such as cork and recycled tile. The cork is easy on the feet and great for sound absorption making a comfortable atmosphere for the aging community.

The entire Kitchen was designed to be accessible while still straying away from an institutional feel.

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LIVING ROOM

LIBRARY

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COMMON SPACES The common spaces such as the library and living area are the more public zones in the building. They are intended to allow different levels of capacity with nooks of quiet sitting areas. These spaces also follow a more traditional conservative approach. The library has gold wide striped wall paper to exude a sense of elegance and sophistication.

Since this space is intended for the residents to use as private meeting space for personal business. I felt these design moves were appropriate. I included ample shelving so each suite would have a space to personalize, with family photographs, diplomas, or other nick nacks. The window in the library facing the main entry holds a nice sitting space for viewing out to the front drive while basking in the fresh sunlight, a great spot for snooping or waiting for guests to arrive.

The main living space is a long rectilinear zone connecting the public areas with the more private areas.

The west wall is almost completely punctured with openings for windows and large french doors leading out to a small patio for lounging with guests and friends. The space is meant to be very simple and elegant in effort to impress family and visitors while also blending nicely with the more funky private areas of the cooperative.

LIBRARY’S NORT H WALL ELEVAT ION

WEST WA LL LIVING ROOM ELEVATION

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SUITE SEC TION : B ATHROOM & LIVING AREA

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SWEET HOME The suites at Piedmont Heights are the real attraction. The design intended to copy the routines, pathways, and rituals common in an everyday household. Each suite has two parking spaces which are located right at the mouth of the main entry. Once exiting your vehicle you then walk past a tall shrubbery which creates a nice barrier between the vehicles and the household. Through the shrubs and to your own front door, with your own mailbox and little path, just like you may find in your previous place of residence. After collecting your mail and greeting your neighbour you enter you space. A nice little vestibule or mud room welcomes you. A chair may rest there to comfort you as you take off your shoes, coat or take a deep breathe from a long day bustling about Chattanooga. A half wall creates a physical barrier between you and the rest of the space at this point, but visually you have a great view straight to the private courtyard directly ahead. Walking through the mini hallway where your favourite painting may be hung or collection of family photos, the door to your left takes you to a luxurious & spacious bathroom. Around the corner is a great place for a desk / work area, and on the other side of the half wall arrives an opportunity to have a little sitting nook with the possibility of a television. Your bed may be tucked in the corner near the nice large window peering out to your own section of the courtyard. Along that wall is a set of french doors which open up to a gorgeous portico and walkway leading you either to the courtyard or up to the common spaces. These doors create great air flow in your space and views to the outdoor areas.

S UITE S E CTION : BATHROOM & S LE E PING AREA

These boards are a traditional approach to the common more public areas. Board 1 addresses the living room and library. These spaces are more conservative and formal. I created a red-ish orange palette contrasting with soft browns and tans. The walls wrapped in fabric help with acoustics, while the wood floors with linoleum inlays help define spatial regions and pathways. Board 2 focuses on the entry and circulation zones connecting the larger public areas. This board shows a variety of different material types and configurations that would be helpful in connecting the entry to the living room, and the dinning zones. Here is where you may find art on the walls, resting areas, and decorative elements. Board 3 focuses on the commercial kitchen. I wanted this area to also feel homey, yet with a little formality to it. I used blues and browns to separate it from the formal living room while complimenting the warmer color palette, yet providing a nice contrast as the spatial function transitions. I envisioned many built in cabinets to store china and other nick nacks, while also including moments for art provided by the residents. I selected a variety of fabrics for upholstery to create a eclectic touch to this formal space. Using mostly natural colors as the background I felt this was a good way to include color and fun.

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The first row represents materials imagined for the “Country� Kitchen. I wanted to maintain a very homey feel that incorporated materials that provided texture, support, and contrast. Cork for the floors would be nice and easy on the feet, while a porcelain bumpy tile back splash creates a little vignette of texture reflecting light and shadow.

The second row are materials intended for the private suites. Since each suite would be inhabited by different types of people I kept a very simple palette of natural colors that were inspired by the area of Chattanooga.

Riverstone in the bathroom is good for slip resistance and represents the areas best feature, the river way. On the walls I used American Clay for sound absorption, air quality and easy cleaning. For the built in shelves lining one of the wall in the suites I used old reclaimed windows to create a nice aesthetic while providing extra storage. The built in closest followed suit, being constructed of old found doors and hardware.

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DESIGN CO RPORATE A N

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Collecting these images online helped me identify a symbolic identity for Trip Advisor. This research began to describe this firm as a hip company with a specific vision and service. They revolve around travel, fun, adventure, and experience.

They understand the importance of these parts of our lives, and offer a potential vacation for anyone and everyone. They believe in what they provide, and they are good at delivering their product.

They have a very successful business model, and as a team work very well together, as they take very good care of their employees. It is a very happy firm.

colle cte d icon s to he lp vis ually d e fin e tri p advi so r

CL IENT : T R I P A D V I S OR

CORPORATE HEADQUARTERS BOSTON MA THIS FUN AND ENERGETIC CLIENT NEEDS THEIR NEW OFFICE IN BOSTON DESIGNED. THE NATURE OF TRIP ADVISOR'S COMPANY IS TO WORK HARD AND PASSIONATELY ALTHOUGH ENJOY A BALANCE OF FUN AND RELAXATION. THEY ARE AN INTERNET BASED COMPANY THAT ASSISTS PEOPLE IN DISCOVERING THEIR PERFECT VACATION. THROUGH TECHNOLOGY AND INTER WEB NETWORKS THEY COLLECT INFORMATION ON THE USER AND LINK THEM WITH PLACES THEY MAY LIKE BASED ON THEIR PREFERENCES. THE COMPANY IS VERY SUCCESSFUL AND FUNCTIONS BASED ON AN INNER CORE OF ORGANIZATION AND EFFICIENT USE OF TIME AND RESOURCES. THEY DESIRE AN OFFICE ATMOSPHERE THAT RELATES TO THEIR VISION; A FUN, ENERGETIC, EFFICIENT SPACE THAT ALLOWS THE EMPLOYEES TO ENJOY THEIR WORK AND TIME IN THE OFFICE.

TRIP A DV ISO R’ S ICO N

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OBSERVING FLIGHT PATHS

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NOTICING NODES & CONNECTING CIRCULATION

E X P E R I E N C E THE JOURNEY IS THE INTRIGUING ASPECT OF TRAVEL. THE DIVERSE ROUTES AND WAYS TO ARRIVE ALL WORKING TOWARDS AN ULTIMATE DESTINATION. PLANES, BUSES, CARS, BOATS, OR TRAINS LATER YOU ARRIVE SOMEWHERE PLANNED AND EXPECTED, YOUR VACATION OR CHOSEN DESTINATION. THIS IS TRIP ADVISOR'S JOB, TO HELP YOU FIND YOUR ROUTE TO YOUR PLACE.DESTINATION

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NODES PATHWAYS

PATHWAYS NODES

DESTINATION

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COLOR AS AN INDICATOR

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2 0 P R I V A T E OFFICES C O L L A B O R A T ION AREA 2 L A R G E C O NFERENCE ROOMS

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2 NAP ROOMS MAIL AREA

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4 - 5 C O P Y A REAS 2 - 3 C O F F E E STATIONS R E C E P T I O N AREA (500sf)

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S E R V E R R O O M (400sf)

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This step organized and implemented the program with the site.

Due to the large program and square footage, it was a very important step of the process.

The larger spaces, such as the cafe and collaboration areas needed to find a place in the space where they did not disrupt work flow or waste space.

The workstations needed to be grouped together to promote team work while also finding place near windows or natural light sources.

These were all issues that were very important and addressed in the following diagrams.

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Scheme #1:

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This layout illustrates the work stations as the core of the office space. I imagined the dividing wall as an opportunity to create portholes of color and light in effort to connect the two split work zones. The private offices surround the working zones with the circulation paths in-between. I wanted all the working spaces to have shared natural light to promote a healthy working environment enjoyable for all employees. Another space needing access to open light and the outdoors is the Cafe space. Due to the office’s traditions of having in house events, this space is very important and must be a special space in the office. This is where the workers also take breaks for lunch and I imagined a glorious open space flooded with fresh light and air. I even had the opportunity to think of adding a deck right off the edge of the Cafe area, to also allow outdoor seating, increasing the space’s capabilities.

Unfortunately the massive square footage engulfed by the congregated work stations did not allow the rest of the space to flourish as desired.

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Scheme #2:

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Still hoping to make the central work zone successful I rotated the block to try and create quadrants of interesting spaces, where the rest of the program may be organized in the remaining spaces. During this process I really began to focus on my concept of journey and path. The rotated work zone created more interesting passageways from one part of the office space to another. Although it forced the remaining program to be clumped in the corners of the space. With all these conference rooms and offices overlapping and on top of each other I sensed a chaotic organization that did not utilize the space efficiently. The cafe still exists in the far left corner by the large openings, although had to shrink in size and this is not a successful approach. I really wanted to develop an interesting and funky layout to relate to the type of company Trip Advisor seemed to be.; dynamic, hard working, full of energy and fun. While really trying to make this spatial concept work I realized it is best that I start over in hopes to create more passageways and journeys.

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Scheme #3: This scheme is where the project really started to develop spatially. I broke apart the mass of workstations and sprinkled them amongst three different zones. This way the other programmatic elements, like the reception area, bathrooms, collaboration zones, and conference rooms had space between these work areas creating interesting circulation and spatial organization. The Cafe followed this logic and found residence in the remaining corner of the space. In this diagram I notice a wide centralized path develop wrapping around the bathrooms then shooting off to each work zone and eventually leading you to the Cafe. I started to realized that this journey through the space must end and head towards an ultimate destination point. The Cafe worked well as this space since it was a place that was always enjoyed by the employees either while taking a break from their day to have lunch or relax and also for office parties or events. The most resolved aspect of this layout was tucking the Nap rooms in the dead space located by the two stairwells. This is a great use of that space, and would be nice and quiet for nap time.

Scheme #4:

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Finally in this version you can begin to see the pathways carving through the 4 developed zones. I lined the dividing wall with private office spaces and still hoped to puncture that mass to let light and visual connections through the two bodies of the space. In each corner I placed the Server Room and HVAC in areas that needed more legible divisions of space. They worked well as barriers. This scheme was a great way to find pathways through the office although the organization in Scheme #3 was much more successful. In both schemes I began to enclose the Cafe with the conference rooms. This blocked off the Cafe, even through I envision the conference spaces to be composed of glass to allow light and visual paths through. In this scenario I wanted the conference rooms to have a second function during in-house parties and events. The doors would be large and sliding opening up to the cafe, increasing the square footage. A place where buffets could be set up, bars, or other places to mingle and talk.-

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C I R C U L A T I O N F RO NT ENTRY

PATHS & NODES This diagram is an overlay of scheme #3 on trace. It begins to outline the main arteries of circulation through the office, while also identifying main nodes where pathways converge or enter points of transition or direction.

Noticing these nodes, helped to determine the placement of other programmatic elements, like the coffee areas.

I wanted these nodes to be areas of collaboration, meeting points for the workers in the office to collide.

DEVELOPING THE CIRCULATION PATHS BASED ON SCHEME THREE

CIRCULATION AS THE CONCEPTUAL GENERATOR. THE CONNECTIONS BETWEEN THE "HUBS" (THE WORK ZONES) AND THE OASIS (THE CAFE), BEING THE ULTIMATE DESTINATION POINT. FINAL CONCEPT STATEMENT

SKETCHES OF CIRCULATION CONCEPT FR O N T EN TR Y

T H E W I N N E R

Closing Scheme #3 as the direction to be taken, I began to figure out the office’s circulation paths in order to begin developing the sense of journey throughout the space. I wanted these paths to resemble the many gateways found throughout a travelling experience. I also wanted to incorporate a “fun” theme throughout the office. Considering the space is divided into quadrants of mixed program I thought identifying each zone with a color would be a logical system for way finding and identification throughout the office. The passageways could then be gradients of color leading to each approaching space. Based on urban design and the uses of landmarks and nodes, I felt this office space should follow a similar theory. The landmark of the space being the Cafe, the largest aspect of the office, and also the focal design element sitting in the distance waiting to be reached. The path would start at the entry and lead you to each work zone and then eventually drop you off at the Cafe. The nodes in the space would be the connective points where people would collaborate and gather. These became great locations for shared coffee stations between the 3 work zones also acting as a rotary spinning the traveller off to another work zone, around the collaboration zone, and finally around and around to the conference corridor which introduced you to the cafe / oasis space.

DESK SYSTEM AND WORK AREA : SHADES AS A DESIGN FEATURE

MECHO SHADES

MECHO SHADES

MECHO SHADES

DESK SYSTEM AND WORK AREA : PLANT WALL AS DESIGN FEATURE

HERB POCKETS

HERB POCKETS

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MECHO SHADES W/ SCREEN PRINTS This elevation study begins to understand how the work stations will interact with each other and the building’s structure. I also realized while studying these spaces in three dimensions that there were opportunities to specialize the work zones with small design features. This sketch looks at the windows and begins to realize the need for shades could be a great detail to emphasize. Since the company Trip Advisor deals in travel I felt that screen printing the mecho shades with black and white photos of incredible destinations would be a nice way to include art and travel in the work spaces.

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This study focuses on bringing in a green feature. I envisioned little pockets of herbs hanging on the wall near the work stations by the windows. I thought it might be nice for the employees to be able to sit at their desk and take a fresh pinch of mint for their tea or water, while always enjoying the gentle fragrant aromas wafting off the walls.

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D ESI G N F E A T U R E : C O L U M N S L I KE TREES AND A CEILING OF GLASS PETALS

PR OT OT YP ICAL S P ACE P L A N N I N G SK ETC H ES

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OASIS SPACE CONCEPT In order to designate the Cafe as the Oasis space there had to be elaborate design features.

In order to capture an exotic landscape feel to accomplish an Oasis I decided to construct the walls of the space with tall slender columns. These linear elements would be painted various shades of brown to represent long skinny tree trunks, as they line the walls of the space they stagger in certain areas, creating secret openings for entries.

Once entering you notice a very large open space facing large spans of windows and light.

The ceiling is dressed with transparent undulating panels lit from above cascading a purple glow below representing translucent flower petals, as inspired by the image above.

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DESIGN FEATURE : COLORED GLASS WINDOWS BETWEEN OFFICES

S C H E M A T I C ELEVATION STUDIES : CONFERENCE & PRIVATE OFFICES

M A I N CO RRIDO R @ ENTRY TO RECEP TIO N

DESIG N SKETCH ES O F CO RRIDOR S WI T H C OLOR

CO RRID O R TO WO R K Z O N E 2

CO RRIDO R @ CO F F EE NOD E

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deck The finish floor plan, drawn on mylar with ink. The lines tell you that the floor in the corridors are a reclaimed wood designed to create a dramatic effect leading you to the final destination point; the “Oasis”. The curved walls are implemented to facilitate a fun dynamic experience for those travelling down the pathways. The curves also saved space while letting the circulation paths feel wide and spacious. The path delivers you straight to the reception area which also acts as a rotary spinning you off either to one of the two work zones in the first hemisphere of the space, or around to the coffee “node” where workers from all zones can meet in equal distance. The node then brings you to either another work zone or onwards to “Conference Corridor”, leaving you the option to go right towards the collaboration nest or left to the “Oasis”.

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E L E VAT IO N O F M A I N WA L L I N WO R K Z O N E 2 : SH O WS MECH O SH A DES A ND TRA NSITIO N TO CO RRIDO R

M AT E RIAL S BO A R D : C O L O R G R A DI EN T TO I DENTIF Y DIF F ERENT SP A CES

E L E VAT IO N O F DI V I SI O N WA L L B ETWEEN P R IV A TE O F F ICES TO TRA NSM IT LIG H T BETWEEN TH E 2 ZO NES

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r o o m s This elevation shows the glass panelling on the conference rooms. In response to the large scale linear gradient in the corridors and then the pixilations of that gradient at the “coffee nodes” here the elevation’s materiality starts to enlarge again, as the energy levels calm and cool down as you are getting closer to the “oasis” space. The large glass doors open to the oasis creating extra space if needed.

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Elevation to the left shows the wall dividing the entire floor plan in which the private offices inhabit. I punched various squares into the mass in order to create a visual connection between the private offices and the work zones. This allows the flow of natural lighting into these spaces since they are located on an interior wall.

Elevation to the right shows one of the coffee stations in the “node” of the circulation path. I pixulated the materiality of the corridor using subway tiles in different shades of green and yellow to create a static image representing energy and the “refuelling” process at the workplace. I included a number of small refrigerators for the three work zones to share to store lunches or any other personal items.

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f i x t u r e s The reflected ceiling plan mostly mimics the floor plan in materiality and design. I wanted to create definitive spaces that were longitudinally symmetrical to allow design emphasis on the vertical planes throughout the space, such as the colored gradients in the corridors, and the glass walls in the private offices. Although the basic lighting plan is simple I tried to incorporate some sophisticated yet unique focal fixtures. For the nap rooms I wanted to create a starry night type of space so I used pin lights speckled all over the ceiling plane randomly. For the collaboration area I chose a simple pendant with a colored interior shade to create a different type of ambience then the other work zones.. The Oasis space received the famous petal fixture to align with the concept of paradise and flowery ceiling feature. The conference rooms as transparent fortresses defining the “Oasis� zone I chose a pendent with exposed bulbs to bounce off the multi- colored glass wall panels, all in different shades of blue.

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F U R N I T U R E

B O A R D

Choosing a furniture system was one of the hardest challenges in this project. I did not want my design to stem or surrounding the system’s aesthetic or structure. I want a flexible system that could be arranged in many configurations. The kimball HUM was a good option because it offered a bunch of different variations on the same system allowing the system to adjust to my design and not the other way around. The HUM is basically white with little vignettes of bold colors which worked well with my color coding of the spaces.

DESIGN RESTAURANT A TEENY TINY LITTLE PLACE

KITCHEN B A T H R O O MS D I N N I N G AREA B A R F O R 12 L O U N G E AREA E M P L O Y E E STORAGE 2 W A I T STATIONS V E S T I B U LE M O P C L O SET

A D J A C E N C I E S

These little diagrams helped me determine which programmatic elements would interact with each other. I started by stacking together certain aspects of the program like the rest room, bar, and lounge. This created very clumpy spaces that were not connective.

I then divided the space with the rest rooms as a barrier between the dining and the bar, I imagined this as an opportunity to create a sculptural feature in the space. I also used the bar as a connective tendon between two small dinning areas. This worked nicely because it divided space in an efficient way while creating different possibilities for the design to flourish uniquely in each space.

SCHEMATIC DESIGN SPATIAL

PLANNING

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After the adjacency diagrams I developed the floor plan further. Placing the bar in the center of the space as a boundary between the public and the private aspects of the program. This allows a nice circulation path to develop from the front of the house to each area of the restaurant all the way to the back of the house. It is almost a radial lay out , symmetrical on an angular axis. The kitchen located behind the bar creates a back of the house as a centralized zone providing means of egress to all public and active points in the restaurant.

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I struggled greatly with the orientation and angular nature of this floor plan. I just couldn’t visualize or find a sense of the space.

In order to try and move forward I created a 3D diagram of the floor plan and used little pins and thread to find paths and understand space. This was a turning point in my process. Soon after I was about to develop my schematic floor plan and start to design my spaces in detail.

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This floor plan accessed the circulation paths I studied in previous process work to create a special corridor leading to the main public areas immediately and the private zones eventually. In this layout there are two dining areas; one meant to be slightly more intimate and formal and the other communal and casual. The walls of the curvilinear corridor house the living green feature of the restaurant. Due to need illumination for the plants I decided to use the corridor as a darker space leading to a bar that feels like a nest. Playing off of the whole outside inside concept, I began to imagine the inner walls of this corridor to have woven strips of backlit veneer to represent the roots of a tree, This mixed nicely with the green wall aspect and allowed the bar area to be a more dark and cavernous space.

F RO N T E N TR Y

DININ G A R E A S

DE SIG N SKETCH : Corrid or

D ES IG N S K E T CH : Sec t i o n o f C o r r i do r a n d t w o Din n in g are as to figure out gre e n w alls , ce ilin g he ights , an d drai nag e.

DESIG N SKETCH : Commun ity Tab les DESIG N SKETCH : O uthous e Bathroo m s

DESIG N SKETCH : RCP

DESIG N SKETCH : G re e n wall to Bathro o m s

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MA IN ENTRY TO H OST ESS ST AT I ON

E L EV A T I O N O F : H O S T E S S S T A N D

ELEVATION BEHIND THE BAR

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" N EST" Due to the very light and open feel of the restaurant, the Bar in contrast is dark and woodsy. Veneer strips wrap the other side of the green walls. These strips are very thin and semi transparent, allowing lighting from behind to illuminate them gently, creating a very sensual ambiance, resembling a “chic” “nest” like setting, perfect for a bar and lounge area.

The back of the bar shares a wall with the kitchen, allowing food to be passed between through a opening. This allows the bartender to be the most efficient in their service. I made sure to create many shelves and mirrored beer fridges under counters. As an ex-bartender I used my experience to organize the space to be the most efficient and functional.

BATHROOMS NEAR BAR

COMMUNITY DINNING The final of this design featured the large green wall with large tables for community dining. I wanted this space to be open for all types of parties and people, the large tables were not exclusive. They were available first come first serve, so one table may house a number of different parties. This was a way to encourage people in Boston to become more engaged with their community. I have experienced a few restaurants like this in NYC and found them extremely successful for meeting new and interesting people! The green wall creates a nice airy outdoorsy feel for Boston diners, year round! Living in New England during the gray and cold months can be very depressing, and I thought this open, light, and fresh space would be comforting during all seasons. In the summer the large windows on the opposing wall would open out to the sidewalk, opening the space even more towards the Boston community and city scape.

LIVING WALL IN SMALL DINNING AREA

WALL IN LARGE DINING AREA

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THE BAR "NEST"

DINNING ROOMS

Materials for this project were very simple. I used natural slabs of irregular stones for the entry hall to mimic an outdoor patio type of aesthetic.

I also used 4 different types of veneer for the focal walls lining the entry hall wrapping into the nest / bar area. I also incorporated a warm palette for that space to enhance the cosiness of the lounge space. The bar top was made of paperstone, and amber colored mosaic tiles created the backsplashes and covered the structure of the bar. The paint was a dark chocolate brown behind the veneer strips to ensure that the wall structure behind was as hidden as possible. The materials for the dinning zones were very simple, reclaimed wood on the floors, with charcoal gray subway tiles on the exterior walls. Gold light fixtures and accent tiles were used to create a little glam and glitz in these very modest dinning areas.

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W E AVI N G T H R O U GH T H E S P A C E W I TH THE UNDULATING GLOWING WOODEN WALLS

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GREEN WALL COMMUNITY DINNING ROOM