A R C H I T E C T U R A L L I G H T I N G I N T E R I O R A R C H I T E C T U R E A R T W O R K S A M P L E
PA LO M A
SHERMAN
ARCHITECTURAL LIGHTING
2013PA R S O N S FALL SPECULARITY IN CURVES MATERIALIZING LIGHT PLANES LUMINOUS TALKS RIEDEL : OFFICE AND RECEPTION SPACES BEAUX ARTS BALL SKETCHES CERAMIC LIGHTING
A R C H I T EC T U R A L L I G H T I N G
SPECULARIT Y IN CURVES C l a s s Lighting Studio I P r o f e s s o r s Craig Bernecker, Jason Neches, Amer Maleh P r o j e c t D u r a t i o n four weeks AN EXPLORATION OF THE VISUAL EFFECTS OF LIGHT. THE INTENT OF THIS PROJECT WAS TO FIND A LIGHT EFFECT AND TRANSFER THIS CHOSEN CONCEPTUAL IMAGE OF A LIGHT EFFECT INTO A 15 BY 15 INCH BOX. INITIAL TESTING FOR CONCEPT FINAL BOX CONSTRUCTION T h e f i n a l c o n c e pt u s e s t h e r ef l e ct i ve p r o p e r t i e s of my l a r fo r m e d i n a te s s e l at i o n to c r e ate a n i l l u s i o n of l i g h t t r ave l i n g t h r o u g h o u t t h e b ox .
35W MR16 Fo c u s e d s p ot d i r e ct l y o n s p e c u l a r c u r ve d s u r fac e w i t h a s m a l l h o l e fo r a t i g h te r b e a m s p r e ad .
Side Section Cut of Final Box Curved Board
FINAL INTERIOR CONSTRUCTION
B
B Front Section Cut of Final Box
Curved Mylar Lamp
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
specularity in curves
REFLECTIONS Alarm... Coffee... A pot on the stove. One point five cups of water, one-quarter cup of oats, salt, a cutting board, an apple, a knife. Twenty-five minutes. Spoon in the pot, dishes in the sink, soap, water. Shower... Sink, reaching for one of the three toothbrushes. Reflections. Of the metal faucet on the wall. Of the metal faucet on the bowl. Of the drain on the bowl. Of the sink on the soap dispenser. Of the sink on the faucet. Of the mirror on the sink. Relationships to surrounding
objects are magnified through reflections repeating their existence.
Shadows are cast in sharp detail of these mundane objects. Toothbrushes in the glass. Sink faucet on the wall. Sink faucet on the bowl. The bowl on the wall. Rings of light are transferred through
the toothbrush holder glass.
The mundane is turned from ordinary to extra-ordinary in these Reminiscent Pinpoints
small glimpses and details.
of its earlier uses, reflections from the single canister light cast watery patterns on the sink bowl.
of the lamp’s direct image are repeated over and over again throughout the reflections in bright spots of
brilliance.
Toothpaste goes on the toothbrush. A mixture of saliva and toothpaste interrupts the watery reflection Toothbrush back in the cup. Lights out... Clothes on... Out the door...
reflections
: fall 2013 : Prose for specularity
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
in curves
specularity in curves
of light.
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
specularity in curves
BOX INTERIOR
M AT E R I A L I Z I N G L I G H T P L A N E S Class Lighting Studio I Professors Craig Bernecker, Jason Neches, Amer Maleh Project Duration six weeks Donghia Collaborators R. Paloma Sherman + Silvia Mazzarri Silvia Mazzarri, R. Paloma Sherman, Linda Liljeback, Jordana Group Collaborators Maise-Goot, Venna V. Ressureccion, Zhoufei Ren, James Clotfelter, Sophia Mitchell, Veronica Barrantes, Paula Tocomal THIS DESIGN IS THE PRODUCT OF A TEAM OF TWO WORKING WITHIN A LARGER GROUP OF 10 PEOPLE TO DESIGN A RECEPTION FOR A LIGHTING EVENT THEMED NATURE AND MAN-MADE. AN OVERALL CONCEPT WAS DECIDED ON THE INTERSECTION OF NATURAL LIGHT WITH THE MAN-MADE ENVIRONMENT. MORE SPECIFICALLY LOOKING AT THE PLANES OF LIGHT CREATED IN THE EVENT OF THIS INTERSECTION.
CONCEPT DONGHIA GALLERY
CONCEPTUAL IMAGE
2 5 E A S T 1 3 T H S T. 3 R D F LO O R : NEW YORK, NEW YORK
DONGHIA GALLERY
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
DONGHIA GALLERY WAS MEANT TO BE A RELAXED BAR AREA WITHIN A GLASS ENCLOSED ROOM CENTRALLY LOCATED IN THE SPACE. PLANAR ELEMENTS OF LIGHT WERE REMATERIALIZE IT INTO A FUNCTIONAL ELEMENT IN G R O U P P H O T O M E T R I C F L O O R P L A N THE SPACE. G R O U P R E N D E R E D F L O O R P L A N HIGH BAR TOPS WERE CREATED TO PROVIDE THE ILLUSION OF THE PLANES OF LIGHT BECOMING A SOLID ELEMENT, FUNCTIONING IN THE SPACE AS BOTH AN ELEMENT OF INTEREST AS WELL AS PROVIDING FURNISHING FOR THE EVENT. materializing light planes
INITIAL LAMP POSITIONING structure
fabric
coves false wall
M O C K- U P P R O C E S S
WIRING PROCESS
PROCESS
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
materializing light planes
FINAL MOCKUP
FINAL MOCKUP DESIGN
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
materializing light planes
L U M I N O U S TA L K S C l a s s Lighting Studio I P r o f e s s o r s Craig Bernecker, Jason Neches, Amer Maleh P r o j e c t D u r a t i o n two weeks E v e n t C o l l a b o r a t o r s Parsons Lighting Program, Class of 2015 F o o d d e s i g n + c o - o r d i n a t i o n R. Paloma Sherman, Ashton Keefe S c o n c e d e s i g n + c o - o r d i n a t i o n R. Paloma Sherman, Ashley Main, Abraham Chandler
EVENT DESIGN: VARIOUS PROJECTS WERE PICKED, SIMPLIFIED, THEN DISPLAYED AT THE PHILIPS LUMINOUS TALKS RECEPTION. THESE PROJECTS WERE DESIGNED, CONSTRUCTED, WIRED, AND DISPLAYED BY THE GRADUATE LIGHTING STUDENTS. THE EVENT ITSELF WAS ALSO STUDENT-RUN BY THE CLASS OF 2015. FOOD DISPLAY, CO-ORDINATION AND LAYOUT WAS DONE ACCORDING TO THEME, THE MAN-MADE FOOD IN THE EXTERIOR GALLERY SPACE, AND THE “NATURAL” IN THE ICE CAVE.
PHILIPS EVENT FLOORPLAN
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
luminous talks
ICE CAVE PROCESS
SCONCE DESIGN
STRINGS STRING BAR
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
luminous talks
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
luminous talks
RIEDEL : OFFICE AND RECEPTION C l a s s Lighting Studio I P r o f e s s o r s Craig Bernecker, Jason Neches, Amer Maleh P r o j e c t D u r a t i o n five weeks C o l l a b o r a t o r s R. Paloma Sherman + Kiersten Hill SPACE PLANNING, PROGRAM AND LIGHTING PROGRAM WERE DETERMINED IN THIS FIVE-WEEK PROJECT FROM A GIVEN CLIENT BRIEFING. THE CLIENT BRIEFING DETERMINED THAT RIEDEL, THE WINE COMPANY, NEEDED SPACE FOR AN UPSTAIRS OFFICE OF 27 EMPLOYEES. LIGHTING WAS DESIGNED FOR OFFICE ACTIVITIES OF COMPUTER USE, GROUP ACTIVITIES AND MEETING SPACES AS WELL AS MEETING LPD REQUIREMENTS. LIGHTING LEVELS OF 30 FC WERE PROVIDED FOR ALL TASK AREAS, LEVELS OF 10 FC WERE PROVIDED IN ALL CIRCULATION SPACES.
R I ED EL N E W O FFI C E SPAC E: WA R EH O U SE D I ST R I CT, N E W YO R K , N Y
COVES AND DOMES
O FFI C E S PAC E
R EC EP T I O N S PAC E
WASH PROGR AM E D U C AT I O N A L D I S P L AY W A L L B A R TA B L E S P h i l i p s c o l o r k i n e t i c e f l e x L E D ’s a r e u s e d t o f o r m a w a v e o f l i g h t suspended from the ceiling, these programmable lights grow brighter then slowly fade back to normal output in different areas at dif ferent times of the day and are the star t of a cycle that “ WASHES” throu ghout the space. The bar t ab l e bel ow the b r i g h t L E D ’s b e c o m e s i l l u m i n a t e d a s t h e e f l e x l i g h t s f a d e b a c k to normal. Following this, the glass educational display wall slowly grows bri ghter from bot tom to top, essentially washing up to the office spaces and connecting the two floors.
SECOND FLOOR OFFICE SPACE
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
riedel
:
office space
FIRST FLOOR PUBLIC SPACE
EVEN LEVELS OF ILLUMINATION ARE CARRIED THROUGHOUT THE OFFICE SPACE. TASK LIGHTING IS PROVIDED IN VARIOUS FORMS ON THE INDIVIDUAL WORKSPACES.
a
SECTION a
SECTION b
b
SECTION B
B
INDIRECT TO DIRECT. CIRCULAR UPLIGHTS ARE POSITIONED WITHIN DOMES THAT ARE DESIGNED TO DIRECT THE LIGHT ONTO THE DESKS BELOW. FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
riedel
:
office space
CONFERENCE ROOM CEO’S OFFICE
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
RIPPLING CEILING COVES TURN ON THEIR SIDES AND ARE REPEATED LATERALLY ON THE WALLS OF THE CEO’S OFFICE.
riedel
:
office space
CEILING COVES MEANDER ABOUT THE OFFICE SPACE ILLUMINATING THE CIRCULATION SPACE, RIPPLES IDENTIFY MOMENTS OF TRANSITION, SERVING AS A WAY FINDER FOR ENTRY’S AND EXITS AND BECOME INTEGRAL IN PROVIDING OVERALL LUMINANCE OF THE POOL OVER THE CONFERENCE CENTER AND THE ELEVATOR HALLWAY.
THE HIGH LEVEL OF LUMINANCE OF THE STAIRS, CREATED BY ACRYLIC ENCAPSULATED T8 FLUORESCENTS STEPS SERVES AS THE INCIDENT POINT FOR THE WAVE FORMED BY THE LEDS.
50 FC REQUIRED ILLUMINANCE FOR A MOSS COVERED WALL TO FLOURISH.
SECTION C C
THOUSANDS OF TINY LED DIODES IN THE CIELING GRID ARE REPEATED IN THE HIGHLY SPECULAR SURFACES OF THE WINE GLASSES SUSPENDED FROM THE CIELING, THE BLACK GLASS CLAD COLUMNS AND THE EXTERIOR WINDOW.
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
riedel
:
office space
R EC EP T I O N S PAC E THE LOWER LEVEL WAS PLANNED AS AN ENTERTAINMENT/INTERACTIVE WINE BAR AREA. THIS STREET LEVEL BAR DRAWS THE ATTENTION OF PASSERS-BY WITH A WAVE OF LOW OUTPUT LEDS SUSPENDED ON A WIRE GRID. A COMFORTABLE SPACE TO ENTERTAIN AND WOW SPECIAL GUESTS WAS CREATED IN A SMALLER SIDE ROOM TO BE USED FOR SMALL BUSINESS EVENTS.
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
riedel
:
office space
P R I VAT E W I N E R O O M
ORBIS : STU DY CARRELL C l a s s Lighting Studio II P r o f e s s o r s glenn schrum, davidson norris P r o j e c t D u r a t i o n two weeks C o l l a b o r a t o r s sophia mitchell + mint thumrongluck SUN DIAGRAM (New York) Shaded: Times Sunlight May be admitted:
JAN
Strong Sun ( >75 F): Times Sunlight Should Be Prevented from entering the building
DEC
FEB
MAR
NOV
APR
OCT
MAY
SEP
JUN
AUG JUL
SUN DIAGRAM (New York) Shaded: Times Sunlight May be admitted:
JAN
Strong Sun ( >75 F): Times Sunlight Should Be Prevented from entering the building
AN IMAGE FROM THOMPKINS SQUARE PARK WAS THE INSPIRATION FOR THIS TIMEPIECE BASED BUILDING LOCATED IN THE EAST VILLAGE. THE VIEW INTO THE EXTERIOR IS ANGLEDAT 110 DEGREES TO CATCH THE MORNING LIGHT ON THE DARKEST AND GLOOMIEST DAYS OF THE YEAR. THE CURVATURE OF THE CIRCLE IS DESIGNED TO REFLECT DECEMBER LIGHT AT 8AM BRINGING AN ELEMENT OF INTEREST AND INSPIRATION BACK INTO THE COLD WINTER MONTHS.
SPRING 2014 : A R C H I T EC T U R A L L I G H T I N G
orbis
:
DEC
FEB
MAR
NOV
OCT
APR
MAY
SEP
JUN
AUG JUL
study carrell
1 1T H S T . A N D A V E N U E D
KEY SUN ANGLES SURROUNDING OVERSHADOWING
A
Section B
Section A
B
Section C
C
C
N
SUN MAPPING
A 1
B 3
1
1
1
RCP Mezzanine
2
PROGRAM 2’
concrete shell
meeting space 40
20
18
’7”
’
’
”
20
4’3
/16
’
3’4
”
3
2
study carrell
2
1
reading room
wood shell
SPRING 2014 : A R C H I T EC T U R A L L I G H T I N G
orbis
:
study carrell
RCP Lower Level
R EFLECTI VIT Y O F SU R FAC E roof
AMBIENT GLOW ON THE CEILING AND THE ENTRY WAY EMANATES FROM THE REFLECTED DIRECT SUN LIGHT OFF OF THE PAINTED ROOF OF THE BUILDING AND AN ANGLED ENTRY WAY, EMPHASIZING THE WARMTH OF THE WOOD INTERIOR SHELL.
entry
6PM
2PM
K E Y D O O R A N G L E T I M ES 3 . 21
12. 21. 8A M 12. 21. 8A M
3 . 21. 8A M
KEY SUN ANGLES SPRING 2014 : A R C H I T EC T U R A L L I G H T I N G
4PM
orbis
:
study carrell
6. 21. 8A M
6. 21. 2 PM
C ATC H A N D T H R O W
4”
4”
5”
AN INSET WALL BENEATH THE STAIR CAPTURES AND REFLECTS THE LIGHT BACK INTO THE STUDY CARELL, BOTH EMPHASIZING THE STEPS AND PROVIDING A PLACE FOR RECESSED ELECTRIC LIGHTING.
SPRING 2014 : A R C H I T EC T U R A L L I G H T I N G
orbis
:
study carrell
THE ELECTRIC LIGHTING SCHEME FOCUSED ATTENTION ON THE VOLUMES OF THE STRUCTURE ITSELF WITH EMBEDDED WALL WASHING TECHNIQUES, ORBITAL PENDANT FOCUSES THE INNER MEETING AREA’S LIGHTING BACK UPON THE ORB SHAPE OF THE EXTERIOR CUT OUT AND CARRIES MORE LUMINANCE TO THE LOWER LEVEL. LUMINANCE LEVELS ARE KEPT INTENTIONALLY LOW EXCEPT FOR IN THE STUDY CARRELL WHERE TASK LIGHTING IS FOCUSED DIRECTLY UPON THE HORIZONTAL PLANE.
ELECTRIC LIGHTING FURTHER EMPHASIS ON WARM VS. COOL FROM THE ELECTRIC LIGHT EMPHASIZES THE WARMTH OF THE WOOD WITH 3500K AND THE CONCRETE WITH 4000K TEMPERATURES.
SPRING 2014 : A R C H I T EC T U R A L L I G H T I N G
orbis
:
study carrell
NIGHT VIEW
B E A U X A R T S B A L L 2 0 1 3 : - i s m : LE XIN GTON AVEN U E ARM ORY Class Volunteer Opportunity Project Duration two days Collaborators Situ Studio, Renfro Design Group, Processional Arts Workshop, Nathan Halpern RENFRO DESIGN GROUP DESIGNED THE LIGHTING FOR THE ARCHITECTURAL LEAGUE OF NEW YORK CITY’S ANNUAL FUNDRAISING BALL. FRAMING PROJECTORS WERE USED TO EMPHASIZE SITU STUDIO’S SCULPTURAL “DADAESQUE” FLOATING ENTITIES, AND PHILIPS COLOR REACHES HIGHLIGHTED THE CEILINGS STRUTS FROM THE UPPER MEZZANINE LEVEL. BAR TABLES WERE ILLUMINATED BY T5 FLUORESCENT STRIPS, WHILE COCKTAIL TABLES WERE LIT FROM THE INTERIOR WITH TEMPORARY LED LAMPS. A VOLUNTEER POSITION WITH RENFRO DESIGN GROUP OFFERED AN OPPORTUNITY TO HELP POSITION AND OPERATE LUMINAIRES AND DETERMINE BEAM ANGLES FOR THE EVENT.
EVENT PHOTOS
RENFRO DESIGN GROUP LIGHTING SCHEDULE
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
beaux arts ball
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
beaux arts ball
...40
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
beaux arts ball
SKETCHING LIGHT
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
sketches
FALL 2013 : A R C H I T EC T U R A L L I G H T I N G
sketches
CERAMIC LIGHTING Class Professors Project Duration
E X P E R I M E N TAT I O N W I T H I N D I R E C T A N D D I R E C T L I G H T I N G
Ceramic Lighting Studio I Jonothan Pandolfi sixteen weeks
FOUR WISE MEN USING A COMBIHIPSTER SCONCE IS MEANT TO PROVIDE INDIRECT LIGHTING IN A SPACE, IT CAN BE GROUPED OR SINGULAR IN IT’S PLACEMENT ON A WALL. USING A CFL LAMP WITH AN OUTPUT OF 900 LUMENS THE LAMP IS SHIELDED FROM DIRECT VIEW, THE PORCELAIN HAT IS SUSPENDED AWAY FROM THE WALL CASTING A HALO OF INDIRECT AROUND THE BRIM OF THE LUMINAIRE ITSELF. THE ELECTRICAL CORD IS USED AS AN ACCENT IN THE FIXTURE AS IT WRAPS AROUND THE BASE OF THE BRIM MIMICKING A HAT CORD.
FALL 2013 : P R O D U C T D ES I G N
ceramic lighting
NATION INDIRECT LIGHT AND DIRECT LIGHT THIS PIECE IS MEANT TO BE A DISPLAY PIECE FOR MOOD LIGHTING.
FOUR WISE MEN
FALL 2013 : P R O D U C T D ES I G N
ceramic lighting
CONTENTS INTERIOR ARCHITECTURE
2013PA R S O N S SPRING ARTIST’S LOFT TOY SYSTEM AFTERTASTE
2012PA R S O N S FALL INVERSIONS AND JUXTAPOSITIONS SOUNDS OF THE SUBWAY THE GAMBLE HOUSE: A CASE STUDY
I N T ER I O R A R C H I T EC T U R E
ARTIST’S LOFT Class Interior Design Studio II Professor Memduh tayar Project Duration seven weeks
A R TI S T LOFT
DESIGN FOR A 300 SQUARE FOOT APARTMENT IN CENTRAL MANHATTAN.
GIVEN CLIENT PROFILE: PROFESSION: ARTIST/EDUCATOR WITH A PART TIME POSITION AT JUDD FOUNDATION 2011 REPORTED INCOME $21,000.EDUCATION: SUNY COLLEGE AT PURCHASE, BFA IN FINE ARTS MASON GROSS SCHOOL OF THE ARTS, RUTGERS UNIVERSITY, MFA IN VISUAL ARTS ACTIVITIES: SWIMS AT THE YMCA IN THE WINTER AND DURING THE SUMMER AT THE CITY POOL, LIKES JAPANESE NOODLES AND EATS AT GRAND SICHUAN & JULIUS’S, MEMBER OF PARK SLOPE FOOD COOP. READS BERTOLT BRECHT PARTICIPATED IN “OCCUPY WALL STREET” EXHIBITED WORK AT TIBOR DE NAGY GALLERY, DEVEN GOLDEN FINE ART AND THE MIX FESTIVAL. LIKES SCIENCE FICTION MOVIES: METROPOLIS, BLADE RUNNER.
C
D
E
F
FLOOR PLAN PHILLIPS Ledalite recessed
BIRCHWOOD Jake recessed linear
B
B’
A
A’
EUROFASE Kobi Electric 14 Watt Dimmable LED
REFLECTED LIGHTING PLAN
Designed for Flexiblity of Space, this 300sq ft. apartment makes use of the newest building application. The shell constructed of Laywood Filament, a 3D printable wood material, is an environmentally and economically friendly material composed of wood flour and bio-resin. Cherry wood accents inspire a warm, clean, comfortable environment in a small space. Inspired by the client’s love of japanese food, the space is influenced by the Japanese way of home living with no shoes indoors and allows for folding compartments in the floors exposing an alternate living space.
C’ SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
artist loft
D’
E’
F’
INITIAL CONCEPTUAL IMAGE PROGRAM VIDEO
CLIENT SCHEDULE SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
artist loft
C
E
D
faucet by GROHE
sink by KOHLER
F
FLOOR PLAN
B
B’
toilet by ROCA custom sink toilet by ROCA
A
A’ SECTION THROUGH BATH AND KITCHEN
F-F’
custom painting cabinet
C’
D’
E’
custom floor storage custom bed unit
F’
C-C’
WATER TEST
A partial enclosure of the porch creates a sheltered area for a sunlit artist studio, with the proper ventilation for toxic art mediums. Folding panels allow for flexible space.
3:32
custom planters
custom shelving
B-B’
SECTION THROUGH BATH AND LIVING SPACE 3/16” SCALE
artist loft
custom built-in desk
custom closet unit
showerhead and mixer by ROCA
3:42
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
SECTION THROUGH BEDROOM AND STUDIO
3D printing technology allows for easy production of curved shapes which created the possibility of this intriguing custom bathroom shelving. Frosted grey glass allows for exterior light entry without visual trespass. The shower stall and sink created from the extruded wood are inherently waterproof and the solid extrusions make for easy cleaning.
D-D’
SECTION THROUGH PORCH AND HALLWAY 3/16” SCALE
A custom built dresser serves as a partition between the living/bedroom area and the kitchen. Partial visibility into the space on the other side creates a feeling of privacy while maximizing the field of vision in the apartment to minimize claustrophobia.
KITCHEN AND PORCH M AT E R I A L S
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
artist loft
STUDIO
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
artist loft
FOLDAWAY FLOOR/BED NEEDED TO BE STRONG ENOUGH TO HOLD WEIGHT AND MOVEMENT BUT LIGHT ENOUGH TO EASILY PUT AWAY. THE STRUCTURE CREATED FOR THIS PURPOSE HAD CUSTOM ALUMINIUM JOINTS SPANNING ACROSS THE STRUCTURE TO HOLD WEIGHT, HANDLES FOR EASY MANEUVERING, AND WAS FLUSH WITH THE FLOOR.
FELT HIDDEN UNDER THE LAST PANEL SERVES AS A COVER FOR THE HEADBOARD.
SECTION FOLDED DOWN
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
artist loft
SECTION OF FOLDING BED PANEL (FOLDED UP)
TOY SYSTEM Class Interior Design Studio II Professors Memduh tayar Project Duration four weeks TAKING BUILDING BLOCKS AS A POINT OF DEPARTURE EACH STUDENT WILL DEVELOP A SMALL SCALE BUILDING SYSTEM CONSISTING OF A BASIC UNIT AND THE MEANS TO ATTACH IT TO OTHER UNITS. A SYSTEM IS DEFINED AS A SET OF INTERACTING INTERDEPENDENT COMPONENTS FORMING AN INTEGRATED WHOLE.
KEY TERMS:
A CHILD USES OBJECTS TO MIMIC WHAT THEY SEE ADULTS DO. BECAUSE THE AMERICAN NORM NO LONGER REQUIRES THE CHILD TO PITCH IN, THEY USE TOYS AS A FORM OF PARTICIPATION THROUGH IMAGINATION, CREATING STORY-LINES AND SCENARIOS MIMICKING THE ADULT WORLD. A LOG, FOR EXAMPLE, BECOMES A CAR, AND AN ACORN CAP, A TINY CUP. THIS TOY IS INTENDED FOR CHILDREN AND ADULTS TO SHARE IN THE MAKING AND USING OF SOMETHING THEY CAN BUILD TOGETHER, CREATING A SENSE OF PARTICIPATION AND ACCOMPLISHMENT.
W O R K A S P L AY N AT U R A L SURROUNDINGS SIMPLICITY C O L L A B O R AT I O N FUNCTION FOUND OBJECTS
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
toy system
TOY INSTRUCTIONS 1. 2. 3. 4.
FULL SCALE MODEL OF COMPONENTS
12”
1”
FULL SCALE MODEL OF COMPONENTS WITH COLLECTED STICKS SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
toy system
GATHER METAL CLIPS. COLLECT STICKS WITH A 3/8” DIAMETER AND A FORK AT ONE END. BREAK ENDS TO MATCH SO THE LENGTH IS EQUAL TO ONE FOOT. BUILD
A F T E R TA S T E S Y M P O S I U M R E C E P T I O N Class MFA Interior Design Program Project Duration two weeks DESIGN FOR A RECEPTION FOLLOWING THE AFTERTASTE SYMPOSIUM: THE ATMOSPHERE OF OBJECTS DESIGN INTERRUPTIONS SHIFT PERCEPTIONS OF COMMON OBJECTS. WE SEEK TO TINKER WITH ASSOCIATIONS OF THE MUNDANE AND TRANSFORM THEM TO A CELEBRATION OF THE ORDINARY. THE RESULTING SENSATIONS OFFER A RENEWED APPRECIATION AND UNDERSTANDING OF THE INFLUENCE OBJECTS HAVE ON OUR DAILY LIVES.
Coat hooks were fabricated from found objects. Red tape was used as a reflective material for a subtle red light effect.
Objects shed by the dinner guests gradually contributed to a wall installation of coats on coat hooks installed on the gallery walls.
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
aftertaste symposium reception
Testing for Materiality in the Interactive Table A communal table was manipulated so guests would have an unpredicted sensorial experience in their interaction with a seemingly ordinary communal table. The framed table was filled with a combination of sand and birdseed determined to provide an moving surface that would interact with the objects set on it.
Attention was brought to the mundane by red wiring weaving a network between the lightbulbs and drawing connections between the spaces above to the spaces the guests interacted with.
Circulation
Wiring
Chef Prep Area
Interactive Communal Dining Table Bar areas Food Tables Seating
Coat Installation Wall
Coat Installation Wall
A floorplan was determined to draw people away from the door toward the food in the back of the space and back to the table and/or provided seating areas.
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
aftertaste symposium reception
SPRING 2013 : I N T ER I O R A R C H I T EC T U R E
aftertaste symposium reception
I N V E R S I O N S A N D J U X TA P O S I T I O N S Class Professors Project Duration
interior design studio i alan wexler three weeks
USING CHIPBOARD AND GLUE, CREATE A BOX FOR A BEACHSTONE. AFTER THOROUGH EXPLORATION WITH THE BEACHSTONE, CREATE AN ENVIRONMENT FOR AN EIGHT FOOT WHITE ACRYLIC CUBE AND A LARGE ROCK (USING THE SAME STONE AT 1/8 INCH SCALE). THOROUGH EXPLORATION WITH THE BEACHSTONE REVEALED A VARIETY OF OPTIONS FOR ENCLOSURE, ELEVATION AND FETISHISM. WITH THE ADDITION OF A WHITE ACRYLIC CUBE, A JUXTAPOSITION BETWEEN MANMADE AND EARTH MADE WAS EMPHASIZED. A LANDSCAPE INTERIOR WAS CREATED FOR THE BEACHSTONE BY CREATING A SERIES OF CIRCULAR STAIRS, RADIATING FROM IT’S EXTERIOR. STAIRS START AT THE GROUND PLANE AND RECEDE BACK INTO THE EARTH EMPHASIZING THE STONE’S NATURAL CONNECTIONS. AS A JUXTAPOSED FORCE, THE WHITE ACRYLIC CUBE EXTENDS INTO THE SKY THROUGH A SERIES OF STEPS THAT RADIATE ITS CUBIC FORM, REFLECTIONS OF THE SKY ARE CAST ON THE CUBE RENDERING IT ALMOST INVISIBLE TO THE VIEWER AND EMPHASIZING THE EPHEMERALITY OF MAN AND THE OBJECTS THAT WE CREATE.
PAPER COVERS ROCK The juxtaposition of the stone with it’s box is explored through a paper thin shell that is holding the stone, yet could be crushed by it if placed in the wrong way.
BEACH STONE FETISH This box fetishizes the simple beachstone through a box that fits only this stone. BALANCING ACT A balancing act elevates the stone, again fetishizing it, while the rectilinear shape of the pedistal shows the juxtaposition of the stone with the manmade structure.
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
inversions and juxtapositions
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
inversions and juxtapositions
S O U N D S O F T H E S U B WAY Class Professors Project Duration
interior design studio i alan wexler eight weeks
GIVEN THE PLANS FROM MTA FOR THE NEW 2ND AVE. SUBWAY LINE, DESIGN AN INTERIOR SPACE OF INTRIGUE, AND EXCEPTION FOR THE PEOPLE OF NYC.
2ND AVE. SUBWAY AXONOMETRIC
MTA HAS A TRADITION OF SUPPORTING ART INSTALLATIONS AND MUSIC IN THE SUBWAY SYSTEM. VIA COMPOSITIONAL INSTALLATION, THIS SUBWAY INSTALLATION CONTINUES THE LINE OF INDEPENDENT THOUGHT AND EFFORT TO IMPROVE THE NYC SUBWAY SYSTEM, VIA BOTH PRACTICAL CHANGES AND ENTERTAINMENT VALUE.
Ground Level
IN AN EFFORT TO CHANGE THE MUNDANE PRACTICE OF RIDING THE SUBWAY, SOUNDS OF THE SUBWAY IS AN INSTALLATION BRINGING THE ATTENTION TO THE MOVEMENTS OF THE NYC SUBWAY PLATFORM, ELEVATING THEM TO A NEW LEVEL OF FOCUS AND BEAUTY. THE RHYTHM AND ANOMALIES OF SOUNDS FROM INTERACTION WITH THE SUBWAY SYSTEM WERE CAPTURED WITH ELEMENTS TO EMPHASIZE THESE MOVEMENTS. SEVEN MICROPHONES PLACED IN SPECIFIC AREAS (FOR EXAMPLE: A TILE, A HANDRAIL, A BENCH, A STAIR) PICK UP THESE SUBTLE MOVEMENTS AND ARE TRANSLATED INTO A LIVE FEED CREATING A SYMPHONY OF THESE SOUNDS IN “SOUND SHOWERS”. FOUR OF THESE SOUND SHOWERS ARE LOCATED THROUGHOUT THE SPACE AND CONCENTRATE LOW LEVELS OF CONTINUOUS COMPOSITION CREATED BY THE MOVEMENT OF THE SUBWAYS OCCUPANTS DIRECTLY BELOW, CREATING A MOMENTARY DISRUPTION FOR THE PERSON PASSING BENEATH. STRUCTURAL AND MATERIAL CHANGES IN THE CURRENT SUBWAY DESIGN LEAD TO A REDUCTION OF THE SOUNDS OF THE TRAINS ARRIVALS AND DEPARTURES. MAKING IT MORE PLEASANT FOR OCCUPANTS AND REDUCING LONG TERM HEARING COSTS. BENCH MIC
HANDRAIL MIC
STAIR MIC
DIAGRAM OF MICROPHONE PLACEMENT AND SOUND FEED FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
TILE MIC
RED: TRIGGER PURPLE: FEED
Mezzanine Level
Platform Level
DIAGRAMMMING AND SKETCHING OUT IDEAS: PLANS AND SECTIONS OF THE 2ND AVE. SUBWAY SYSTEM
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
VIDEO: LISTENING AND LOOKING AT FLOORING MATERIALS MANIPULATIONS IN FLOORING HELP TO CREATE THIS COMPOSITION THAT IS HEARD BY SUBWAY OCCUPANTS. A COMBINATION OF MTA APPROVED FLOORING (WOOD, RUBBER, CONCRETE) IS BOTH A LOCATING ELEMENT, AND A COMPOSITIONAL ONE.
FLOORING LAYOUT Concrete on the East side of the platform and Wood on the West side serve as an aural locational element, while rubber running down the center serves as a more comfortable surface to wait on.
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
SOUND DOMES Construction of a sound dome was inset in the ceiling to increase the momentary disorientation when encountering the symphony underneath as well as for long term wear and tear purposes. The dome shape was used to focus the sound directly below the speaker.
SOUND DOME MOCKUP
MICROPHONE LAYOUT
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
SOUND DOMES sounds of the subway
Seven points of incident lead to each of the four sound feeds on the platform, the triggers in each sound feed contain a variety of combinations of microphones from: stairsteps, wall tiles, handrails, and benches.
ORIGINAL CONFIGURATION
MODIFICATIONS TO ORIGINAL STRUCTURE Modifications to the structure reflect the sound of the rails back into the tracks and away from the platform. Roughcut limestone tile with a variety of different sized preforations helps to absorb the variety of soundwaves created by the train while the insulated layer behind it further increases the wall’s abilities to absorb the sound waves.
The current design structure and materiality allows for and encourages sound reflection off of surfaces and bounces uncomfortable sound waves from the train’s arrival
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
PLASTER MODEL FOR TESTING IMPACTS OF SOUND WITHIN SUBWAY’S CONCRETE STRUCTURE
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
PLASTER MODEL FOR TESTING IMPACTS OF SOUND WITHIN SUBWAY’S CONCRETE STRUCTURE
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
sounds of the subway
THE GAMBLE HOUSE Class Professors Project Duration
Final drawings were done on linen to emphasize this craftsman-style house, which had plans that were originally done in 1908 on linen paper by Greene and Greene.
representation and analysis erica, paolo, luben dimencoff
3 months
GIVEN THE PRECEDENT: THE GAMBLE HOUSE BY GREENE AND GREENE, VISUALLY REPRESENT IT IN ANY WAY FOUND APPROPRIATE AFTER AN IN DEPTH RESEARCH PROCESS. EMPHASIS TO THE CALIFORNIA ENVIRONMENT WAS PUT ON THIS HOUSE THROUGH CONNECTIONS TO THE OUTSIDE AND MATERIALITY. LARGE PORCHES ON THE UPPER LEVEL AND AN ENTRY WAY ON THE LOWER LEVEL THAT CREATES A THOROUGHFARE TO THE BACKYARD WERE A LARGE FOCUS ON THE HOUSE’S CREATION. CALIFORNIA CRAFTSMAN STYLE BUILDING IS APPARENT IN THE CAREFUL CONSTRUCTION OF THE EXPOSED BEAMS ON THE EXTERIOR, AND THE STAIR JOINERY.
EXTERIOR ELEVATION OF THE INTERIOR TO EXTERIOR BOUNDARIES
SECTION CUT OF THE PASSAGEWAYS CUTTING TO THE EXTERIOR: THE ATTIC, ENTRY, AND BEDROOM PORCHES FALL 2012 : I N T ER I O R A R C H I T EC T U R E
the gamble house
THE CRAFTSMAN STYLE MAIN STAIRCASE
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
the gamble house
FALL 2012 : I N T ER I O R A R C H I T EC T U R E
the gamble house
EXTERIOR AXONOMETRIC OF THE INTERIOR TO EXTERIOR BOUNDARIES, MATERIALITY AND PRIVATE/PUBLIC ACCESS
CONTENTS A R T W O R K S A M P L E
2012I N D E P E N D E N T SUCCUBUS SERIES FURNITURE OIL
D E S K : MAPLE, PURPLE HEART, FOUND DRIFTWOOD: 2008
2008 : A R T W O R K
furniture
2008 : A R T W O R K
furniture
L U Z : MAPLE, HANDMADE PAPYRUS PAPER, CFL: 2008
2008 : A R T W O R K
furniture
2008 : A R T W O R K
furniture
C O L O N Y : HIGH-FIRE PORCELAIN: 2012
2012 : A R T W O R K
succubus series
2012 : A R T W O R K
succubus series
S P U T N I K : HIGH-FIRE WITH ROCK CACTUS: 2012
2012 : A R T W O R K
succubus series
2012 : A R T W O R K
succubus series
D E F I C I T S : OIL, MICA: 2012
2011 : A R T W O R K
oil