R
E
S
U
M
E
M I K A GILMORE 791 Tremont Street Apt E 508 Boston - MA 02118
mika.gilmore@the-b a c .edu
Objective - to constantly aim to further my education in design while experiencing a design focused working environment. E D U C AT I O N : Boston Architectural College - 2006:present - Bachelor of I n t e r i o r Design Cape Cod Community College - 2004:2005 - General Education Lynchburg College - 2001:2003 - Journalism/Psychology/A r t S K I L L S : Organizational: filing, documenting, creating organizational systems for offices, reformatting previous organizational methods and libraries while productively demonstrating the ability to constantly multi-task. Communication: abilities to perform patient listening while maintaining a enthusiastic and sympathetic calm cognitive state,in every scenario realize the importance of complete understanding and will ask for clarification/aid in order to achieve optimum results. Computer: adobe software; CS3-photoshop, illustrator, InDesign, adobe - acrobat 9. Auto-cad 2-D, base knowledge of Revit, Microsoft office, and parallel knowledge of usage of MAC systems.
EMPLOYMENT: Kallmann McKinnell & Wood Architects Inc. (2007-present) initially hired for project support promoted in 7 months to project support involving experience in model building, Construction administration (4 months), interior materiality research and presentations, meeting with reps, marketing, while still training and supporting the admin staff. Berard Martel Architects Inc. (spring 2007) internship: participated in design and client meetings, produced hand drawn conceptual renderings for a client presentation, re-organized and moved the entire materials library, visited sites, met with product reps, ordered and researched materials. Sullivan O’Connor Architects (winter 2007 3 weeks) internship: made blue prints, re-organized the filing system and electronic files, plotted, contributed to the production of plumbing schedule mock-ups, measured/analyzed new sites. Mocha Motts (2003-2006) barista: trained new employees, managed register and financial transactions, close outs. Farm Institute (2004/2005) teacher’s aid: helped organize students and led group activities; farm chores and art projects. Bray’s Tax Service (1999) admin/rec
S
E
M
E
S
T
E
R
1
S
T
E
R
2
S
T
E
R
3
S E M E S B2: BATTERY - MARKETING OFFICE JAN. / MAR - 2008 6 WEEKS TIM BACHELLER CATHERINE WINFIELD
T
E
R
4
A1: HOUSE OF CARDS SEPT. - 2006 2 WEEKS MIKE DANIELS A1: CUBE SEPT. / OCT. - 2006 5 WEEKS JOSH SAFDIE A1: CUBE NOV. / DEC. - 2006 5 WEEKS JOSH SAFDIE S
E
M
E
MASTER’S A: FIGURE GROUND JAN. / MAR - 2007 6 WEEKS LEE PETERS MASTER’S A: MUSIC AXON MAR / MAY - 2007 6 WEEKS S
E
M
E
B1: ALVAR AALTO SEPT.. / OCT. - 2007 5 WEEKS DEBORAH CHADBOURNE B1: GREEN PARTY - NON PROFIT NOV.. / DEC. - 2007 DEBORAH CHADBOURNE
B2: BRITA - RETAIL MAR / MAY - 2008 6 WEEKS TIM BACHELLER CATHERINE WINFIELD
C D
W
P
R
A
A
T R
E R
I
N
N T
K G
N
O
W
I
O
S
S
H O U S E
Randomly
of
chitectural
C A R D S
selecting
a term from a list, then
attempting
to
visually define that word
through
a
se-
ries of design challenges. This was the first project introduced my first semester at the Boston ArCollege
and successfully illustrated the necessity
of
the
tive process.
iteraThis
assignment also demanded hands on visual interpretation of a 2-D understanding to a 3-D description.
Term to define:
VOID As Incomplete spaces Missing parts Defined vacancies
90 minutes 30 business cards 1/8� graphic tape
VOID as a Frame After
the
initial
attempt
it
became
clear
the
definition
was
not
legible. Creating multiple frames outlining empty spaces with out any formation of logic or concise execution represented more of a cob web of actual potential spaces. I decided to simplify this idea of framing empty space while utilizing the materials available in a unique manner. I rolled the business cards to create a more structured object composing a series of frames clearly describing the emptiness of the spaces within or behind.
1
The scale of the final frame in the VOID series was manipulated through the actual
scale of the object and change of material.
Using 3� x 6�
corrugated cardboard panels.
This was challenging to con-
struct the same exact object in the same construction with a
completely
especially
new
material,
considering
had rolled the cards
I
I had
to approach the stiff cardboard in the same fashion.
2
RE-creating the same model again using only the corrugated panels without any adhesives, only joint systems composed of the cardboard as well.
This step was
also a struggle considering the tape was my main material in the previous models, pushing my interaction with the cardboard to full capacity at this phase.
3
New Terms
Continuing the usage of corrugated cardboard and joints three new terms were chosen and then pursued.
Cluster My interest in manipulating the material was fluent in this visual definition.
I
Datum
joined the cardboard panels
This model attempted to use
by using slits and slots
a repetitive language and
to join the panels at a
appearance of form to com-
This model was a very lit-
central axis hidden inside
municate an iconic piece.
eral visual definition. The
the model. Once the panels
This
seem
two side panels are com-
were in tact I then ripped
to reach legibility but I
pressing the middle member
and shredded the cardboard
think encouraged a further
of the model to show the
to create a chaotic image.
understanding of the word.
energy of the act of two
model
did
not
Compression
structures compressing each other. I was interested in how the joint aspect also contributed to the function of the model’s definition.
I
N
T
R
O
D
U
C
I
T
H
N E
G
A M
C A
R
L
I B
E L
N E
The marble as a client desired a place to rest after a long exhausting day rolling around the labyrinth.
Using the word compression I decide to create a
stabilized sanctuary for the marble to be completely stationary and peaceful
This model mimicked the functional aspect of the original compression model.
The marble
rests in the structural web of the object and when you squeeze the sides of
the model the web
compresses releasing the marble.
This
model
involves
4
intersection
Here there are 2 forms penetrating each other
planes joined at an axis to represent
using compression to balance each opposing
diagrammatically the energy of various
member supporting the secondary shape to bal-
members compressing.
This model was
ance on top of its primary as a base. The marble
thought of a place to view a serene
acts as the joint holding the two half circles
scenery such as cliff or mountain top
together in the most secure position possible.
T
C
Developing
a
conceptual
cube and a set of logical steps in which the primary cube would be constructed, and then to also compose a system that de-constructs
U
that same cube while maintaining the order of the developed set of rules. It was proposed that a cube may be a container, frame, or volume but must obey the dimensions
B
of
4”x4”x4”.
Playing with these definitions
I
created
my
own,
playing with the idea of frame
while
introducing
planes and striving to create an illusion that the primary cube exceeded it’s
E
required dimension, while implying
circular
form
through rectilinear planes.
S
K
E
T
C
H
E
S
Sketching to understand the cube as two intersecting planes appearing to make four separate planes which in plan represent an X exposing the axis in the middle of the structure.
The discovery in this process was that this combination
of elements created the illusion that the cube exceeded the 4”x4”x4” dimensions. SKETCHES:
plan
After
exploring
3-D elevation
my
ideas
axon
of
a cube in sketches it was then proposed
that
thoughts
we
in
model
lected
junk
ed
construct
to
construct with
items.
I
my
our col-
decid-
intersect-
ing planes with hanging folders. To
incorporate
joinery
I
that
attempted
struct
the
planes
in
four an
fashion
only
material
to
con-
intersecting
origami folding create
without
J
seamless to
a
style the form
adhesives.
U
N
K
M
O
D
E
L
SIDE TRACKING: Over Focus on JOINTS W R
This next phase of the project became obsessed with the joint system of the cube development
O N G
W A Y
creating a very bulky object for no apparent function.
Although constructing joints were
a great learning experience I decided to step away from this idea and continue the focus back on to the 2 intersecting planes and the illusion that the 4”x4”x4” dimension was demolished.
I T E B
R
A
A
C
T
K
I O N
O
N
T
J
R
U
A
N
C
K
K
M Thinking back to the Junk model I created another version to RE-study the structure. The symmetrical composition was irritating although using two planes intersecting at their core made avoiding symmetry an issue.
I then began
to approach a series of sketch models to explore the model in elevation.
O D E L
Series exploring elevation qualities and the construction of a main cube
F
I
N
A
L
C
U
B
E
These models explore how to escape the symmetrical nature of the two intersecting planes. and color I attempted to alter this imagery.
Through pattern
Although this shallow attempt led me to work with the symmetry
by repeating it using the concept of line and frame.
Although replicating the planes form in the voids be-
tween them it distracted the linear symmetrical density by creating a circular form through optical blending.
#4 This is the final cube design. The
two
intersecting
planes
stayed as initially developed. I
added
lines
to
produce
a
frame encapsulating the cube. The frames although repetitive offset the initial strength of the symmetry while also enhancing the illusion that the cube is larger then it actually is.
Through models I began to clarify the construction and de-construction of cube #4. The construction series will be cubes 1-3 and the de-construction series cubes 5-7.
P
R
O
C
E
S
S
F
I
c
o
n
s
t
r
u
N
c
t
i
o
n
A
d
e
-
c
o
n
L
s
t
r
u
c
t
i
o
n
These models begin to explore the various ways that the two planes composing cube #4 may be dissected and then re-assembled again.
I aimed to cover every area of
the planes through the creation of frames and skeletons. The construction series began to take the form of frames increasing in volume moving towards the central axis horizontally as the de-construction looked at the skeleton aspect of the planes .
The light gray frame found in cube #4 was also considered as an element
to follow these logics. tire process 1-7. processes.
Although I choose to leave them in tact through the en-
These frames were decided as a main datum throughout the cubes
They seemed to maintain the main idea while creating a space for the
cube to take form and then lose form. The construction became a process where the frames grew inwards until a full plane evolved where the de-construction began from the axis point vertically and horizontally removing parts as the steps increased.
1
C U B E
2
3
4
5
6
7
J O I N
This project’s objectives
were
to
design
joints and then develop a conceptual site. Through
the
abstrac-
tion and spatial analysis of the joints the site began to be re-introduced.
The joints
were then inserted to the pre-developed site where the overall de-
H
sign
O
form.
U S E
development
of
the two began to take My
main
goal
was to work naturally with the site considering the creation of interior spaces based on their views to the exterior
remnants
of
the site, melding the two
ideas
into
one.
(my definition of)
JOINT: a combination of materials in which a primary structure supports the injection of a secondary and even tertiary component. I attempted to illustrate these definitions through web-like formations welded with copper wire while introducing either copper planes, plastic rods or wood. The structures mostly were the web like objects although occasionally the additional materials became the support for the structures such as the plastic rods or wooden dowels.
Final Joint Model Three Materials: Copper, Plastic Rods, Wooden Dowel. This model was the last made and evolved to present the most spatial possibilities. The organic forms creating a web like structure that appeared flexible and able to welcome structural components while also maintaining inhabitable qualities.