Interior Architecture Portfolio / Polly Ann Blackwell by Polly Ann Blackwell

I I T T R R H H

CC AA NN

INTERIOR ARCHITECTURE PORTFOLIO P O L LY A N N B L A C K W E L L

P O L LY A N N Constantly inspired by people both near and far and the spaces in which they occupy.

Student. Bachelor of Science in Interior Architecture College of Architecture and Design The University of Tennessee at Knoxville

BLACKWELL web. pollyannblackwell.com call. 9014934781 email. pollyannblackwell@gmail.com mail. [t] 1618 branner st. knoxville, tennessee 37919 [p] 2108 kilbirnie drive germantown, tennessee 38139

INTERIOR PROJECTS I. REFLECTION CENTER 08 - 21

II. PRISMATICS 22 - 33

III. DRIVE INN 34 - 51

VISUAL REPRESENTATION IV. A YEAR BEYOND THE ALTAR 54 - 67

V. THE STAVES TOUR POSTER 68 - 71

VI. SLUMSTUDY 72 - 75

I I T T

I N T E R I O R P R OJ E C T S I. REFLECTION CENTER I I . P R I S M AT I C S III. DRIVE INN

I. R E F L E C Tresidence ION dolan CENTER FOR AT-RISK YOUTH 901 Mountcastle St. Knoxville, TN

RESIDENCE FOR TIM DOLAN

Here you will ﬁnd a space that offers hope and means for reﬂection on the Cherokee often hush-hush topic1300 of domestic violence. AsBlvd victims or those otherwise Knoxville, TNto open up at their own pace. effected enter the space, they are able Varying levels of openness are encouraged, as reiterated in the spacing of

FALL 2016

YEAR 03 SPRING 2017 RANA ABUDAYYEH

Tim serves as wall an and interior designglass/tile advisor, the Dolan wood panels on the east the overhanging awning avid cyclist, husband and proud dog owner. system. This youth center aims to bring light into areas that many tend to Tim constantly theone-on-one move,therapy whether hereﬂection is shy isaway from. Throughon art and sessions, bouncing between tasks getting a cycle in and expression are encouraged with or hopes of ultimately healing those during a free moment. He is a lover of open who participate. space with ample lighting and views. Tim’s This space recognizes the importance of movement, whether it be moving boldness lights up any room and his appreciaout of harmful situations or allowing peopleistoat positively move in others’ tion for quality time at home the forefront lives. Challenging public and private space through the modular of his priorities. In designing a residence forsystem, the adolescents here are likely to become more and more comfortable Dolans, it was important to keep each of these sharing their stories and learning how to adequately process and portray things in mind. A mixture of these aspects led to their past experiences. the three concepts that directed this project: bold, movement and open space.

CENTER

-- WINNER. Crossville, Inc. Sponsored Studio Competition

-- NOMINEE. Donghia Foundation Interior Design Awards

-- PUBLICATION. iJournal: Reciprocity

-- SHOWCASED. CIDA Exhibit

1 IN 3 WOMEN

6X MORE LIKELY TO COMMIT SUICIDE

10 2 DECADES OFF LIFE EXPECTANCY

1 IN 15 CHILDREN WITNESS

REPORTED EVERY 10 SECONDS

1 IN 3 ADOLESCENTS

1 IN 7 MEN

2X MORE LIKELY FOR SUBSTANCE ABUSE

4-7 KILLED PER DAY

DOMESTIC VIOLENCE GRAPHICS

DOMESTIC VIOLENCE STATISTICS. The project began with studies on the selected at-risk population, victims of domestic violence. Here, statistics were displayed through a series of graphics. The graphics were placed on plexiglass slides to display beneath various population and site studies.

DOMESTIC VIOLENCE SLIDE PHYSICAL MODEL 11

SUN AND SITE STUDIES. With reflection being the key factor to this design, it was crucial to understand the nature of light in the area. The goal of efficiently designing this space with light and reflection as integral components led to various studies on the sun and light qualities of East Tennessee.

JAN+DEC

JUNE+JULY

FEB+NOV

MAY+AUG

MAR+OCT

APR+SEPT

SUN ANGLES IN EAST TENNESSEE 12

NORTH FACING EXTERIOR WINDOWS LOW-RISE BUILDINGS SURROUNDING IN SHADOW FOR MUCH OF THE DAY SUNNY DAYS: 97 PARTLY SUNNY DAYS: 97 SUNSHINE THAT TOUCHES GROUND: 64% CLEAREST MONTHS: MAR - SEPT

35°57’16.017” N 83°56’13.419” W 901 MOUNTCASTLE STREET

SITE AND LIGHT STATISTICS OF EAST TENNESSEE

KNOXVILLE, TENNESSEE

POVERTY VS PERSONAL CRIME RATES

EXPRESSION

OPENNESS

SPATIAL CONCEPTS. The featured Crossville, Inc. product that inspired this design was the Sideview Glass linear bar in copper. This tile paired with the program of an art therapy center for victims led to five specific concepts: movement, inside and out, light and reflection, openness and expression. These concepts can be seen throughout the space as each serves an important purpose while also acting as a metaphor in the healing process. Victims must allow for movement, whether it’s through moving out of a harmful situation or allowing others to move in their lives through therapeutic methods. They must lead their inside emotions and traumas out while allowing positive outside influence to come in. Those in this space will be able to receive light as they are given time and opportunity for the reflection necessary to heal. Openness will allow others to connect to their story and ultimately encourage them to share their own. They must value expression so they can safely and effectively communicate their stories, whether that’s through one-on-one therapy or creating art itself.

LIGHT AND REFLECTION

INSIDE AND OUT

MOVEMENT

CONCEPT 14

TILE AWNING. The awning system begins at the front entrance and widens incrementally as one progresses through the space. It is constructed with tempered glass and steel rods, becoming a seating system for creating art and one-on-one therapy pods on the oppposite side of the entry. The formality is derived from the interplay of light between various lenses as the rays pass at different angles. Crossville, Inc’s Sideview Glass copper linear bar in copper is featured within the tempered glass. This leads to a series of reflecttive and refractive processes occuring beneath the awning, along with surrounding areas, throughout the day. It can be expected to change, sometimes suddenly, other times subtly, just as people do as well.

TIME OF DAY

EIGHTO’CLOCK O’CLOCKAM AM EIGHT

NINE NINEO’CLOCK O’CLOCKAMAM

SPACE

TEN TENO’CLOCK O’CLOCKAM AM

RECEPTION RECEPTION

ELEVEN O’CLOCK ELEVEN O’CLOCKAM AM

CLASSROOM CLASSROOM

TWELVE TWELVEO’CLOCK O’CLOCKPM AM

OFFICES OFFICES

ONE ONEO’CLOCK O’CLOCKPMAM

LOUNGE LOUNGE

TWO O’CLOCKPM AM TWO O’CLOCK

THERAPY THERAPYPODS PODS

THREE THREEO’CLOCK O’CLOCKPMAM

ARTPODS PODS ART

FOUR FOUR O’CLOCK O’CLOCKPM AM

LAVATORIES LAVATORIES

DAILY USE OF SPACE

FIVE FIVEO’CLOCK O’CLOCKPM AM SIX SIXO’CLOCK O’CLOCKPM AM SEVEN SEVENO’CLOCK O’CLOCKPMAM EIGHT EIGHTO’CLOCK O’CLOCKPMAM

TILE AWNING DETAIL 15

PROGRAM 1. Entry 2. Reception 3. Wailing Wall 4. Art Area 5. Modular Seating 4

6. Therapy Pods 7. Private Offices 8. Lounge 9. Storage 10. Lavatories

6 7

MODULAR STSTEM. As movement is a key concept, a modular system of panels and seating runs along a track system from the ceiling. Gypsum panels nestle in front of the storefront so as to display art work for the public. Drop-down easel holders provide a space to create work. When the holders are up, the panels are able to slide between slits in a perpendicular gypsum wall. The panels are then able to provide privacy wall along the modular glass seating on the end of the tile awning. This can be used to create a focus are for people to work alone or a somewhat private space for a one-on-one conversation.

WAILING WALL. The wood slats on the east wall begin to break up, presenting varying levels of openness, as people do within the healing process. As the wall progresses, Crossville Inc’s Sideview Glass tile begins to populate the open areas. Inspired by the Wailing Wall in Jerusalem, this system creates an area for victims to place notes, artwork and other means of expression. They can pin them in open areas or roll it up tightly and place in the grooves between the tiles to preserve privacy while allowing themselves to “let go” of whatever is on the page.

8 9

PLAN [MODULAR SYSTEM HIGHLIGHTED]

SECTION 16

MODULAR SYSTEM ITERATIONS

WAILING WALL DETAIL

WOOD SLAT AND WAILING WALL 17

TILE TO GLASS APPLICATION To place users between two reflective walls evoking emotion and encouraging reflection. To provide a sense of enclosure. To represent the act of bringing light to a dark situation. GLASS SYSTEM PIECES AND WALLS To challenge public and private spatial conventions. To create a sense of safety among victims who may fear being alone with another individual. To provide a healthy level of exposure. To allow light to pass through, refract and reflect. GLASS GROUT SIDEVIEW GLASS LINEAR BAR TILE TO SURFACE APPLICATION TILE TO TILE APPLICATION

THERAPY POD DETAIL 18

LOUNGE FEATURES. The wood slats are reminescent of those along the east wall and form seating and privacy for a more relaxed setting than other areas in the space. People are able to slide artwork along grooves in the back wall to put on display. ART AREA FEATURES. Gypsum panels are featured along a sliding panel so as to provide various levels of display for artwork right behind the storefront. Passersby are able to look in the space and see those at work.

LOUNGE 20

ART AREA 21

P R I S M AT I C S

II.

BOTANICAL RESEARCH CENTER New Whitney Museum New York City, NY While light is often a key component in major design projects, the stunning process of light becoming color is one frequently overlooked. Inspired first by the natural processes within the human eye, then by the interplay occuring in prismatic form, here lies a botanical research center that not only presents color in an integral way, but depends on it. With a concept reflecting the program itself, this scope of work aims to bring the outside in and vice versa. This botanical research center presents a unique experience for each visitor depending on the specific time of day and year, just as botanicals do in the natural world. YEAR 03 FALL 2016 LISA MULLIKIN

SITE FOR RENOVATION DESIGN. The Whitney Museum is currently an art museum. In this project, we were directed to re-design the 7th and 8th floors into a botanical research center.

WHITNEY MUSEUM 24

AMIDST HISTORIC CULTURE

VIEWS TO THE HUDSON RIVER

JUXTAPOSITION WITH SURROUNDING MATERIALS S

Y CONNECTS NATURE TO THE CITY

SITE: WHITNEY MUSEUM / MEATPACKING DISTRICT / MANHATTAN 25

ACRYLIC AND CELLOPHANE PHYSICAL MODEL 26

PRISMATIC ELEMENTS

PREVIOUSLY EXISTING

PRIVATE SPACE

CIRCULATION

PUBLIC SPACE

WHITNEY ZONING CONCEPTS MUSEUM 27

12 PM 11 AM / 1 PM 10 AM / 2 PM 9 AM / 3 PM

8 AM / 4 PM

7 AM / 5 PM

SEPTEMBER 21

12 PM 11 AM / 1 PM 10 AM / 2 PM 9 AM / 3 PM

8 AM / 4 PM

7 AM / 5 PM

SUN ANGLES DURING AUTUMN EQUINOX

DIAGRAMS: IMPLIED PRISMATIC FORM 28

6 7

7TH FLOOR PLAN

PROGRAM 1. ENTRY/RECEPTION AREA 2. EXHIBIT/LIBRARY 3. GREENHOUSE 4. COLLABORATIVE WORK SPACE 5. PRIVATE WORK SPACE 6. LOUNGE 7. LABORATORY 8. NOOK WITH MONITOR/TV

2 6 12

8TH FLOOR PLAN

2 6 12

INTEGRATION OF COLOR. The use of dichroic film on the fins extending from the skylights creates an everchanging color effect within the interior. Materials in the space were chosen to amplify this effect. With high-gloss white flooring and walls and a tempered glass ramp system, viewers interact throughout various colors in the interior at all times. Studies of the processes that occur within a prism directly influenced and informed this strategic design choice. As the sun angles change, the dichroic film projects different colors. Just as botanicals do in the natural world, this space changes throughout the day and year in response to the sun.

DRIVE INN

III.

1950’S INSPIRED HOTEL 3164 Parkway Pigeon Forge, TN

With values centered around family, the 1950’s is a decade remembered with unmatched fondness. With the introduction of the television set and the automobile, one can easily see specific ways the 1950’s culture amplified the family unit. The entire family could gather together around a single screen or pile up in their cars and drive around town. The two activities were combined in the beloved and iconic drive in. In this design, this family-centered lifestyle is emulated. As in 1950’s culture, this hotel fosters first to the child. YEAR 04 FALL 2017 RYANN AUOKAR

However, its incorporation of former realities into the technological advancements of today provides both parent and child with nostalgic memories of a time in which most of us never knew ﬁrsthand. As visitors pace the convenience store, interact with life-sizde screens, share a meal together in the diner or take part in a 4D drive in experience in the courtyard, they are sure to be teleported simultaneously into glimpses of the past and future alike.

SITE: PIGEON FORGE, TN 37

NONORTHOGONAL

ELLIPTIC

CURVILINEAR

ORTHOGONAL

ALTERNATIVE PLAN ITERATIONS

FIRST FLOOR PLAN [NONORTHOGONAL]

PINE MOUNTAIN PARKWAY

CHROME BARS WELDED TOGETHER WEAVING THROUGH HOLES IN PLEXIGLASS SLATTING.

CUSTOM BENT PLASTIC FORMS PLACED TO PROVIDE SEATING AND TABLETOP FOR EATING.

CAR STRUCTURES Permanent retro countoured cars greet visitors as they make their way to the entrance. The head and tail lights light the path, showing you where to go. A motion sensor also softly “revs an engine” for each car as someone passes, providing a full sensory experience before even entering the hotel. The wireframe cars are built with many features including a scent diffuser. While traditional drive ins were known for their simplicity, this version will include more than simply visual sensations as coordinating scents will diffuse out with scenes from the movie as to create a four dimensional experience.

CUSTOM PLEXIGLASS SLATTING ORIGINATING FROM CONTOURED THUNDERBIRD CAR SHAPE.

PLEXIGLASS PHYSICAL MODEL

LED SCREEN FACADE. A series of undulating LED screens form into a facade that displays movies starting at dusk. This screen faces the acrylic car structures so visitors can view the movie in the courtyard. Across the courtyard, the building is one story high, making the screen facade visible to passersby who travel by car or foot. This brings the entire community together, gathering around a single screen, as families were brought together by the introduction of the television set in the 1950â&#x20AC;&#x2122;s.

SCREEN IN SUITES. As people pass through Pigeon Forge, they are also drawn to this building by seeing multiple screens from the suites. With a curtain wall opposite the LED screen walls in the suitesâ&#x20AC;&#x2122; movie room, the community has the potential to see up to 13 movies displaying at once between these screens and the main LED screen facade.

CUSTOMIZATION IN SUITES. Another important aspect of the suites is the idea of customization. While visitors cannot control the movie on the LED screen facade and families in the 1950â&#x20AC;&#x2122;s didnâ&#x20AC;&#x2122;t have many options to choose from for their television viewings, here occupants can take part in their experience. In the movie room, they are able to choose from a wide variety of movies to watch together and also choose the lighting color and intensity coming from the ceiling system. This creates an ambience that is customized to the exact experience they are looking for.

ROOFTOP BAR. This hotel design caters first to the family unit. However, after a long day, while children escape into the movies on the screens, parents may want to escape into an adult-only area. This space provides comfortable seating to watch the movie or relax. Occupants are also able to move along a structure that brings them closer to the screen facade and get new views into the courtyard and city. With views out over the courtyard, parents can have direct eyesight where their kids are sitting in the car structures for safety reasons as well.

PINE MOUNTAIN

ROOFTOP BAR PLAN

PARKWAY N

RESTAURANT. Inspired by the iconic 1950â&#x20AC;&#x2122;s diner, this space takes a new approach to the family restaurant while capturing the nostalgic charm of the past. Here, families are able to order and pay for their food through the screens by each table, eliminating the need for a waiter. This allows them to sit for as long as they want or get out in a hurry so they can get out for a day of tourism in Pigeon Forge. The gingham accent wall is a direct nod to the southern area as well as the black and white checker tiles so often seen in the 1950â&#x20AC;&#x2122;s diner. Chrome accents and curved details in the space make reference to the cars of the time period.

Suite [Nighttime]

Suite [Daytime]

PINE MOUNTAIN PARKWAY

Suites Daytime vs Nighttime Lighting Plan

NOISE PODS. Being able to watch the movie screen from the interior only means so much if one is unable to hear it. However, not all passersby indoors wish to hear a movie in which they arenâ&#x20AC;&#x2122;t watching. Sound pods are set up with views to the courtyard for those who wish to tune in but remain in the comfort of the indoors.

CONVENIENCE STORE. A nod to the traditional convenience stores so prominent in the South in the 1950â&#x20AC;&#x2122;s, this space is a gathering place for any treat they could want while on vacation or watching a movie on the big screen. One canâ&#x20AC;&#x2122;t have a movie without popcorn or popcorn without a movie. In this case, a large scale popcorn maker is built into the interior. This way, visitors can instantly smell popcorn as soon as they step in the doors.

LIFE-SIZED SCREENS. Visitors are invited to take part in various games and activities on these life sized screens in the lobby and lounge area. These screens are reminescent of the concept of a traditional jukebox, with nods toward current day cellular devices.

R R P P EE

V I S U A L R E P R E S E N TAT I O N I V. A Y E A R B E Y O N D T H E A LTA R V. T H E S TA V E S C O N C E R T P O S T E R VI. KIBERA INDEPENDENT STUDY

A Y E A R B E Y O N D I V. ARCHITECTURE 504 DESIGN TACTICS A Year Beyond the Altar is a collection of visual representations exploring various mediums and design tactics. The ﬁrst step was creating a prose through the gathering and rearranging of phrases found from an issue of Vogue Magazine. This piece of poetry informed a storyline to push and explore throughout the semester.

Next came an ideogram by combining patent drawings of related terminology from the original prose. The ideogram informed a multi-image collage exploring the emotion behind such experiences. Last, the storyline and imagery was explored through a ﬁnal graphic novel.

YEAR 04 FALL 2017 BRIAN AMBROZIAK

A Year Beyond the Altar ﬁrst breaks down the use of pronouns of “you,” “we” and then “me,” as one must prioritize as such to build a strong relationship. These were then diagrammed three dimensionally and represented through a ﬁnal image.

T H E A LTA R

]

Over time, bare skin glows on its own (xxx). But as for me, I saw your luminosity instantly (0+). A broad spectrum, (0+) beauty that merged old and new worlds amid an evolving era (250+). Light reflecting (0+) in a concentrated infusion (0+). A kaleidoscope (302). And now, many wild, wordless years later, (xxx) as each contained their fair share of patchwork, (xxx) we are articles of faith (xxx). For rag and bone (103+), far exceeding picture perfect (103+). It was always you who stood sentinel just outside the camera frame (302). I find myself astounded by our portrait’s composition (308). Elevated yet effervescent, joyous and (302) beautifully rendered but also totally revealed (308). Beauty that merged old and new worlds amid (250+) an unexpected purity (250+). Two distinct people who ultimately identified as one (308), who tapped into our shared heart and, with this alchemy, brought the inside out (308).

Over time, bare skin glows on its own (xxx). But as for me, I saw your luminosity instantly (0+). broad spectrum, (0+) beauty that merged old and new worlds amid an evolving era (250+). Light reflecting (0+) in a concentrated infusion (0+). A kaleidoscope (302). And now, many wild, wordless years later, (xxx) as each contained their fair share of patchwork, (xxx) we are articles of faith (xxx). For rag and bone (103+), far exceeding picture perfect (103+). It was always you who stood sentinel just outside the camera frame (302). I find myself astounded by our portrait’s composition (308). Elevated yet effervescent, joyous and (302) beautifully rendered youand wenew me worlds amid (250+) an unexpected but also totally revealed (308). Beauty that merged old purity (250+). Two distinct people who ultimately identified as one (308), who tapped into our shared heart and, with this alchemy, brought the inside out (308).

[pab]

They say it’s supposed to feel like a fresh start (103+). Like a reflection (103+). To bridge timelessness with (103+) intricate details (103+) of soft silhouettes (103+). But perhaps equally it’s about preservation (0+) beginning with a fluid foundation (0+) that creates a natural radiance, (0+) with a compelling mix of strength and fragility (250+).

[pab

A quivering bundle of nerves (302), a very tentative look in my eye (302), the inevitable crossroads was at hand (308).While I was hardly confident, I was not scared (302) as I yearned to magnify the beauty of your eyes (0+). This, in combination with my own restlessness, made it plain that it was time for (308) making something new in the world (103+). Though I could never have envisioned the trajectory it would set in motion (302), in time, my hesitant steps became a strut (302), exhibiting performance after performance, each more dazzling than the last (250).

you

--Experience changes all of us (250). Figures of fascination, to be sure, yet they are oftentimes very different people from the last time we encountered them (250). There has, of course, been much progression since the period of (250) romantic escape (250+).

Experience changes all of us (250). Figures of fascination, to be sure, yet they are oftentimes very different people from the last time we encountered them (250). There has, of course, been much progression since the period of (250) romantic escape (250+).

A Year Beyond the Altar

We’re not much given to looking backward, reasoning that life only goes in one direction - forward - and so should we (232). We’ve allowed ourselves an anniversary opportunity for a rare moment of misty-eyed nostalgia (232). --Experience changes all of us (250). Figures of fascination, to be sure, yet they are oftentimes very different people from the last time we encountered them (250). There has, of course, been much progression since the period of (250) romantic escape (250+). A quivering bundle of nerves (302), a very tentative look in my eye (302), the inevitable crossroads was at hand (308).While I was hardly confident, I was not scared (302) as I yearned to magnify the beauty of your eyes (0+). This, in combination with my own restlessness, made it plain that it was time for (308) making something new in the world (103+). Though I could never have envisioned the trajectory it would set in motion (302), in time, my hesitant steps became a strut (302), exhibiting performance after performance, each more dazzling than the last (250). They say it’s supposed to feel like a fresh start (103+). Like a reflection (103+). To bridge timelessness with (103+) intricate details (103+) of soft silhouettes (103+). But perhaps equally it’s about preservation (0+) beginning with a fluid foundation (0+) that creates a natural radiance, (0+) with a compelling mix of strength and fragility (250+). Over time, bare skin glows on its own (xxx). But as for me, I saw your luminosity instantly (0+). A broad spectrum, (0+) beauty that merged old and new worlds amid an evolving era (250+). Light reflecting (0+) in a concentrated infusion (0+). A kaleidoscope (302). And now, many wild, wordless years later, (xxx) as each contained their fair share of patchwork, (xxx) we are articles of faith (xxx). For rag and bone (103+), far exceeding picture perfect (103+). It was always you who stood sentinel just outside the camera frame (302). I find myself astounded by our portrait’s composition (308). Elevated yet effervescent, joyous and (302) beautifully rendered but also totally revealed (308). Beauty that merged old and new worlds amid (250+) an unexpected purity (250+). Two distinct people who ultimately identified as one (308), who tapped into our shared heart and, with this alchemy, brought the inside out (308).

[pab]

]

you

you we me

[pab]

And now, many wild, wordless years later, (xxx) as each contained their fair share of patchwork, (xxx) we are articles of faith (xxx). For rag and bone (103+), far exceeding picture perfect (103+). It was always you who stood sentinel just outside the camera frame (302). I find myself astounded by our portrait’s composition (308). Elevated yet effervescent, joyous and (302) beautifully rendered but also totally revealed (308). Beauty that merged old and new worlds amid (250+) an unexpected purity (250+). Two distinct people who ultimately identified as one (308), who tapped into our shared heart and, with this alchemy, brought the inside out (308).

---

A Year Beyond the Altar

you

you we me me

]

you

you we me

[pab]

---

A Year Beyond the Altar

001

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00A

00B

a year beyond the altar

00C

00D

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table of contents light reflecting [light] 0+ light reflecting [reflection] 0+ a kaleidoscope [kaleidoscope] 302

001

002

003

00A

CLOUDLINE NUPTIALS CL.1 / CLOUDLINE. Show me the high dive So high up in the sky I’ll jump up, I’ll take flight Fall through the cloudline

00B

CL.2 / CLOUDLINE. Take me to your water And lay me on your shore I want to come in deeper But the water is so cold Sailed out on the water And I can’t see the shore What I see is wider Than it ever was before GAR / TELL ME THERE’S A GARDEN. Tell me there’s a garden Where my flowers will grow Maybe then all my starting will keep going Oh I hope so

+ three hundred sixty five HW.1

CL.1

GAR

CL.2

HON / HONEST. There’s always two thoughts One after the other: I’m alone No you’re not I’m alone no you’re not

00C

HW.1 / HUNDRED WAYS. These are the times When going up is not a straight line I cannot tell If this way goes toward heaven or hell HW.2 / HUNDRED WAYS. Don’t know what to say Don’t know what to do Split a hundred ways When I’d really like to follow you Creatures gonna run, people gonna move I don’t really know What I’m getting myself into

HW.2

HON

OVB / OVERBOARD. Screaming under water (SOS) Can you hear me calling (SOS) Did it to myself, now I need your help Alone and overboard yelling SOS // lyrics by joseph /// composition by polly ann blackwell 00D

OVB

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T H E S TA V E S

THE STAVES - NORTH AMERICA TOUR The High Watt Nashville, TN The Staves are a band of three sisters from the United Kingdom. As they have gained fans across the world, they now tour internationally. In 2016, they held a competition for their North American tour, where designers could enter designs for speciﬁc shows for the opportunity to be featured with their design selling at the show. My winning entry is a showcasing of their “Sleeping in a Car” EP album cover. The cover has the three sisters in one arrangement two alternative arragements superimposed on top of it. This new design multiplies this existing effect through additional layers, image re-sizing and a careful use transparencies.

SUMMER 2016

The natural geometry of the trio informs a shape to frame the image with, resulting in a prism of sorts. The Nashville skyline in the lower portion of the poster is a reference to the location of the concert.

TOUR POSTER

WINNER. North America Tour Poster Competition [Nashville Concert]

PUBLICATION. The Staves Nashville Concert

S LU M S T U D Y

VI.

INDEPENDENT STUDY Kibera Slum, Nairobi, Kenya I feel a deep responsibility to advocate for those who cannot advocate for themselves. My skillset as a designer allows me to do this in multiple ways. One way is through conveying story through visual representation. Designers have the abilities and reources necessary to represent those who may not have a public voice. Another way to advocate is by paving opportunities to provide sustainable and even healing spatial designs. YEAR 04 SPRING 2018 DAVID MATTHEWS

Slumstudy is an independent study that takes a glimpse into these realms of advocacy. With Kibera slum as the focus, it starts to break down the typical building and educational processes of the area and questions how design can play an effective role. As someone who holds Kenya dear, I plan to advocate for children in this area speciďŹ cally with my skillsets throughout my life and career. This study will provide a basis on which to build on over time

KENYAâ&#x20AC;&#x2122;S WORLD POVERTY RANKING

154 / 177 75

OFFICIAL LANGUAGES: SWAHILI + ENGLISH

between 1/4 and 1/2 earn less than

$1.00

per day

TYPICAL SCHOOL DAY 7:00 - 7:30 7:30 - 8:00 8:00 - 8:40 8:40 - 9:20 9:20 - 10:00 10:00 - 10:40 10:40 - 11:00 11:00 - 11:40 11:40 - 12:20 12:20 - 1:00 1:00 - 2:00 2:00 - 2:40 2:40 - 3:20 3:20 - 4:00 4:00 - 5:30

Arrive at school Parade [Announcements] First Period Second Period Third Period Fourth Period Break Fifth Period Sixth Period Seventh Period Lunch Eighth Period Ninth Period Student Preps [Study Hall] Physical Eduacation

P P B B AA