Volume I Spring 2014 by STUDIO Collective

STUDIO

La yo ut des ign by Lu i sa L a c sa m a n a , Au st i n L edz i an, a n d Kevin Ga rc i a Fir s t editio n . ÂŠ 2 0 1 4 St u d io C o l l e c tive C o pyr ig ht 2 0 1 4 A l l r ig hts rese r ve d . No p a r t o f t h i s p u b li c at i on may b e c o pied o r re p ro d u c e d w i t h o u t p e r m i ssi on. Fo r a req ues t : c o n ta c t@s tud i o c o lle c t i ve . o r g s tudio c o l l ec t i ve . o r g Des ig n ed in t h e Ap p a la c h i a n Mo u n t a i n s.

STUDIO COLLECTIVE Volume I, Spring 2014

Welcome. Studio C o l l ec ti ve i s a re se a rc h p ro j e c t a i m e d at creat i ng an ongoi ng arch i ve of convers at i ons about de sign in this tim e a n d pl a c e. Go o d d e si gn i s a b o u t p e o p le , s o t h i s p roj ect i s really about p eop le and t h e communi t i e s the y cre ate in C AU S , Vir g i n i a Te c h , Bla c k sb u r g, Ap p a la ch i a, and beyond. Th rough many long ni gh t s and lat e meet ings, we have pro duc ed s o m et h i n g weâ&#x20AC;&#x2122;re p ro u d o f o n t h e foundat i on of t h e works of our p eers . And we want t o s h are it with you . T he o pen f o r ma t o f st u d i o e n c o u r a ge s i n t e ract i on and collaborat i on. Unfor t unat ely, mos t maj ors are in diffe re nt b uil din g s w here p ro j e c t s c a nâ&#x20AC;&#x2122;t b e se e n by p eop le out s i de of t h at maj or. Th i s i s a p lace for t h os e p roje cts to be dis pl a yed f o r eve r yo n e t o e x p e r i e n c e a n d t o st ar t convers at i ons . We go beyond s t udent work by feat uri ng facu l ty bios, s tuden t in ter vie w s, c ove r a ge o f c u r re n t e ve n ts , and anyt h i ng we fi nd i nt eres t i ng t h at i s rep res ent at i ve of the pre se nt. T he j o ur n a l w il l b e re le a se d a t t h e e n d o f e ve r y s emes t er t o s h ow recent , relevant cont ent t h at can be a h e l pfu l sou rce o f in s pir a tio n an d i n t r i gu e t h a t c a n n o t b e found els e wh ere. Yo u c a n f in d m o re i n fo r m a t i o n o n h ow t o su bmi t or donat e t o our fall i s s ue at s t udi ocollect i ve.org

JOHN KNUTESON INTERVIEW

THE FARMER’S MARKET

DESIGNER SHOWCASE

CHRIS PRITCHETT INTERVIEW

CENTER FOR THE ARTS FORUM

PLAYLAB INTERVIEW

LOOKBOOK

FORM

STUDENT PROJECTS

MEET THE TEAM

SPECIAL THANKS & CREDITS

STUDENT INTERVIEW

JOHN KNUTESON “For me thesis is something that is going to challenge or broaden my idea of what design really is.”

How d id yo u a r r ive a t yo u r th e s is ? Wel l I h a d so m e t h i n g c o m p le t e ly d i fferent i n mi nd. I t h i nk t h at’s t h e cas e for mos t p eop le. A l o t o f t h e si s i s j u st u n d e r st a n d i n g wh at a t h es i s i s . At t h e begi nni ng, our wh ole s t udi o s ta r ted by d o i n g c o n c e p t u a l w o rk a nd ex p lorat i ons t o generat e s t udi es , s o t h e t h es i s really em er g e d o u t o f t h a t . W h a t I h a d i n mi nd i n t h e begi nni ng was s ome s or t of h ous i ng or res ident i a l p ro gr a m t h a t h a d so m e t h i ng t o do wi t h t h e A meri can Dream, wh i ch i s not at all w here I we n t” How d id yo u g ive yo u r se lf lim ita tion s ? I thin k yo u h a ve t o re m e m b e r t h a t you always h ave li mi t at i ons , even wh en you t h i nk you do n’t. T h a t’s w h a t d e si gn i n g i s– fi n d ing li mi t at i ons and fi ndi ng res i s t ance. To work wi t h my ow n l im i t a t i o n s i s a li t t le b i t d i ffe re nt , but t h en agai n t h at’s wh at t h e t h es i s i s . You know, it’s a th i n g t h a t yo u h a ve c o m p le t e cont rol over as a des i gner i n order t o let your i nt eres t c o m e t o t h e su r fa c e .” W ha t’s yo u r p ro c e ss w h e n yo u s ta r t a draw in g ? T he pro c e ss h a s e vo lve d ve r y m u c h . At t h e begi nni ng t h e drawi ng s t ar t ed wi t h memori es o r im p re ssi o n s t h a t I h a d o f sp a c e . Th at was j us t ki nd of a way for me t o do s ome s elfs ea rc hi n g, fi gu re o u t w h a t i s e sse n t i al t o arch i t ect ure, for mys elf. But t h at qui ckly ch anged. At this p o i n t I ’d sa y i t’s a lo t fre e r. It us ually s t ar t s wi t h a cons t rai nt now. So for ex amp le how do yo u fi n d sp a c e a n d e x p e r i e nce i n an axonomet ri c drawi ng? In t h e lat es t drawi ngs I ’ve b e e n d o i n g i n a xo n I ’ve e x p lo red t h e ques t i on ‘wh at i f I rot at e t h e p age 90 degrees ever yda y ?’ If I h a d t o d r a w, i t w o u ld be a di vergi ng li ne, not a convergi ng li ne becaus e I ’m tr yin g t o o p e n u p m o re a n d m o re q u es t i ons by abs t ract i ng more and more. How l o n g d o e s a d r a w in g u s u a lly take ? Wel l th e y va r y. I ’d sa y t y p i c a lly a d r awi ng would t ake t wo weeks . But agai n, at t h e begi nni ng I w a s d o i n g p e r sp e c t i ve s b e c a u se i t’s t h e convent i on I was more fami li ar wi t h . I kne w wh at I w a s d o i n g so t h o se d r a w i n gs w o u ld t ake les s t i me but t h e lat es t one I ’ve been doi ng t ook a l o t lo n ge r. Ju st b e c a u se I ’m n o t s ure wh ere i t’s goi ng and I ’m not concerned about t h e tim e l i m i t . W he n yo u’re w o rkin g d o yo u re a lly con s ide r t he lin e or act impuls ive ly? In a w a y I d o b o t h . I d o n’t w a n t t o know wh at I ’m doi ng before I do i t , I don’t want t o be s ure o f a n y t h i n g. T h a t i s a lo t e a si e r s ai d t h an done t h ough , I ’ve h ad t o t rai n mys elf not to thin k t o o m u c h a b o u t t h a t w h i c h i s wh y t h e s eri es h as p rogres s ed t h e way i t h as from a per s pe c t i ve t o t h e a xo n , w h i c h i s a lot more abs t ract . So I ’m not s ure about anyt h i ng, i t’s m o re i n t e re st i n g t o m e t o e x p lo re wh at’s embedded i n wh at I ’m maki ng. For t h e mos t p ar t tho ug h I d o n’t k n ow w h a t li n e we i ght t o us e, I j us t do.

STUDENT INTERVIEW

W h a t do yo u th in k a bo u t c o lo r in archit e ct ure ? We l ive i n a w o r ld w h e re c o lo r i s p re s ent , s o i t’s i nev i t able. It’s i mp or t ant t o unders t and t h e c o n s equ e n c e s o f c o lo r, so t h a t i t s u s e i s a ver y i nt ent i onal act . For me us i ng color i s j us t a n o the r la ye r t h a t c a n a d d so m u c h ri ch nes s t o quali t i es of li gh t or s h adow. I t h i nk i t’s a rea l l y w o n d e r fu l t h i n g t o se e c o lo r u s ed p ower fully. W h o a re yo u r f a vo r ite a rc h ite c ts a n d de s ig n e rs ? Luis Ba r r a gá n i s a Me x i c a n a rc h i t ect wh o I res p ect a lot for h i s us e of color and t h e tr a n s c e n d e n t a l m o m e n t s h e c re a t e s. Als o Ros s i h as h ad a maj or i nfluence on my drawi ngs . He’s int e re st i n g b e c a u se h e b u i ld s, he’s an arch i t ect , h e’s a t h eoret i ci an, a p h i los op h er, h e’s this re n a i ssa n c e gu y, a n d h i s d r a w i n g really h ave a p res ence. Sverre Feh n i s a Nor wegi an a rc hite c t w h o I d i sc ove re d b e c a u se of my fami ly h eri t age. I t h i nk t h ere’s s omet h i ng p ure a b o ut h i s w o rk . Fo r e x a m p le , t h e No rdi c p av i li on h as las t ed s olely becaus e of t h e arch i t ect ure tha t’s j u st t h e re fo r yo u t o e x p e r i e n ce. Do you th in k yo u r d r a w in g s h a ve b e e n s ucce s s f ul? Yes , I w o u ld sa y t h e y a re su c c e ssfu l, but s ucces s occurs i n di fferent ways . For mys elf t h ey a re ver y su c c e ssfu l b e c a u se I h a ve p a g es and p ages of wri t i ng wh ere I ’ve been s t udyi ng t h em. T hey’ve b e e n fr u i t fu l t o m e . Fo r o t her p eop le t h ey mi gh t not be as s ucces s ful becaus e t h ey c a n’t en ga ge t h e m o r m a y b e h a ve a h ard t i me ex p eri enci ng t h em. But t h e drawi ngs are not s uppo s e d t o b e p i e c e s o f a r t . So I t h i nk t h ey’re ver y s ucces s ful i n t h e convers at i ons t h at they’ve b e e n a b le t o e n ga ge .

THE FARMER’S MARKET

PHOTO ESSAY

THE FARMER’S MARKET “People are much more likely to have a conversation at a farmer’s market than at a grocery store.” -Kathryn Albright

b u st li n g fa r m e r’s m a rk e t i s sy n onymous wi t h t h e feeli ng of a s ummer morni ng. Fres h a i r, fre sh fo o d . T h e si gh t o f locally grown t reas ures i n a mot ley di s p lay ench ant t h e s en s es . Te x t u re s a m p li fy t h e b e a u t y of t h e s cene–a canvas ap ron nex t t o warm muffi ns , or the s o f t h a n d o f a t o d d le r a ga i n st t he fur of a farmer’s dog. Cri s p ap p les are p i led h i gh i n c r a tes wi t h d e e p gre e n le t t u c e s a n d a s p ect r um of t omat oes res t i ng on a t able nearby. L ocally pro duc e d e ggs a n d m e a t s e x p a n d t h e p os s i bi li t i es for eat i ng h ealt h y. Th e s mell of t h e ear t h in vites yo u t o t r a y s o f ve ge t a b le s t h at are as di vers e as t h e mi ngli ng crowd. B owls s h ap ed f ro m l o c a l w o o d , n e w ly fi re d c e r a mi cs , and h and-craft ed bees wax candles fi nd t h ei r way in to th e c o lle c t i o n o f go o d s o n d i sp l ay. T he Bla c k sb u r g Fa r m e r’s Ma rk e t i s an excellent ex amp le of t h e t wo-decade long res urgence o f s m all fa r m s. Ou r lo c a l fa r m e r’s market as we know i t t oday began i n t h e mi d-1980s , and it ha s grow n si gn i fi c a n t ly si n c e a volunt eer group called Fri ends of t h e Farmer’s Market to o k ove r m a n a ge m e n t i n 2 0 0 4 . Du e t o t h e i ncreas ed p op ulari t y of t h e market , t h e neces s i t y a ro s e fo r a la r ge r sp a c e t h a t w o u ld accommodat e t h e i ncreas e i n foot t raffi c and encourage l in g er i n g. T h ro u gh d o n a t i o n s a n d grant s , t h e t i mber-framed Market Square Park was bui lt o n the c o r n e r o f Dr a p e r Ro a d a n d Roanoke St reet . Th e p av i li ons are p owered by locally do n a te d so la r p a n e ls t h a t p a r a lle l an ecologi cal facet of t h e market , wh i le t h ough t fully pl a c ed t re e s c re a t e a n i n t i m a t e gre e n s p ace di s t i nct from t h e s t reet . It op ened offi ci ally i n 2 0 1 0 wi t h t h e “c u t t i n g o f t h e v i n e .” T he Fri e n d s o f t h e Fa r m e r’s Ma rk et members h ave organi zed over a dozen educat i onal pro g r a m s t h a t b e n e fi t lo c a lly su st a i nable foods . Event s li ke “Breakfas t at t h e Market” and the “ To m a t o Ta st i n g” a re re gu la r ly h eld i n t h e market t o fos t er a connect i on bet ween t h e f a r m er’s a n d t h e p a t ro n s. T h e ve n d o rs s up p ly h i gh quali t y, fres h goods t o market -goers t h us c rea tin g a li ve ly sy m b i o si s. L o c a l mus i ci ans s omet i mes p lay as market -goers res t on t h e b en c he s o r p e r u se lo c a l p ro d u c e fro m one of t h e merch ant s . Th e market ex i s t s as a uni que l ittl e u t o p i a , u n a ffe c t e d by t h e p a ce of t h e t own out s i de i t s modes t corner, and i s s t i ll un dis c ove re d by m a n y st u d e n t s. T h e Blacks burg Farmer’s Market p rov i des more t h an fres h a ppl es a n d h o m e ly b ow ls. It p rov i d e s a moment ar y es cap e from our rout i nes t o enj oy t h e b o un ti e s o f n a t u re a n d t h e i d y lli c b eaut y of a t h ri v i ng communi t y.

PHOTO ESSAY

The Fashion, Merchandising, and Design Society

DESIGNER SHOWCASE

Sa tu rd a y, Ma rc h 2 2 n d w a s t h e De s i gner Sh owcas e i n t h e Squi res Pers p ect i ve Galler y as a p rev i e w to t h e A n n u a l Sp r i n g Fa sh i o n Sh ow on Ap ri l 30t h . Ne w i deas i n fas h i on were h i gh li gh t e d a g a i n st t h e b a c k d ro p o f Ap p a la c h i a i n t h es e s elect ed p i eces . Th e t h ree collect i ons s h own t o t he r ig h t we re c h o se n fo r t h e va r i e t y of s t ori es t h at t h ey t ell. T he su n se t p i e c e s by K r i s Ke r n were an i t erat i on from a p rev i ous p roj ect i ns p i red by s t ai ne d g l a ss. T h e h a n d - d ye d gr a d i e n t i n t h e garment offers a warm and v i brant t ouch of s p ri ng; t he b l a ck a c c e n t s b a la n c e t h e t o n e s. La ure n Wa lk u p, a n i n d u st r i a l d e si gn s t udent , des i gned t h e s i mp le black eveni ng gown wi t h a s ub t ly d e t a i le d t e x t u re . T h e d re ss feat ures a s li t for added drama. T he h a n d - m a d e c o lle c t i o n by R i ley Si x t a cons i s t s of woven fabri c layered on s i mp le blac k g a r me n t s t o c re a t e c o n t r a st a n d an unus ual combi nat i on of mat eri als . Th e addi t i onal woven c o m p o n e n t s c o m p li m e n t t h e fo r m of t h e out fi t . 18

Interview with

CHRIS PRITCHETT

INTERVIEW

CHRIS PRITCHETT Architecture and Screen printing professor Chris Pritchett reflects on his profession, his past, and the town he’s come to love.

Ha ve yo u a lw a y s be e n in te re s te d in archit e ct ure ? Or is t he re a s pe cif ic t ime you re me mber b e c o m in g in te re ste d in a rc h ite c ture ? No t re a lly. A s a k i d I li k e d t o m ake t h i ngs and I li ked t o draw. W h en I was a s eni or i n h i g h s c ho o l, I t h o u gh t t h a t c o lle ge w as n’t for me. Hi gh s ch ool was really eas y for me, and I di dn’t tr y ve r y h a rd . So I e n d e d u p j o i n i ng t h e mi li t ar y, and I t h i nk four and a h alf years out i n t h at w o rld , se e i n g p e o p le t h a t h a d i t much wors e off t h an me, made me h ave an ap p reci at i on for educ a t i o n . I m e t m y w i fe w h e n I was get t i ng out of t h e mi li t ar y. It was me t h rowi ng a dar t at a da r t b o a rd c h o o si n g w h a t I w a n ted t o do. I ch os e arch i t ect ure over ar t becaus e I as s umed ar t m a j o r s we re n’t go i n g t o m a k e a n y money and arch i t ect s were. It was t h e abs olut e wors t reas on to c h o o se a m a j o r. Bu t w i t h i n t h e fi rs t t wo weeks I fell i n love wi t h i t , as a p rofes s i on and as an idea. How d id yo u e n d u p c o m in g to t e ach at Virg in ia Te ch? I w as p ro b a b ly fo u r m o n t h s fro m fi ni s h i ng up my mas t ers , my wi fe was goi ng t o get a p os tdo c , a n d Sc o t t Po o le , t h e n d i re c tor of t h e s ch ool, s aw t h at I was really i nt eres t ed i n t each i n g pr int m a k i n g. I w a s h e lp i n g o u t wi t h a s econd year clas s as a graduat e s t udent , and I j ust en j oye d w o rk i n g w i t h u n d e r gr a d uat e s t udent s . Scot t s aw t h at and as ked me i f I want ed t o come in an d t e a c h se c o n d ye a r st u d i o , and my wi fe really wouldn’t let me t urn i t down. W h a t is s o m e th in g yo u re a lly e n joy about be in g a prof e s s or? It’s a b o u t ge t t i n g t o k n ow p e o p le wh o h ave t h e s ame i nt eres t s I h ave, and t h en wat ch i ng t h em b l o sso m . T h a t so u n d s re a lly c h e es y. It’s about wat ch i ng t h em grow as des i gners and grow as peo p le . I re m e m b e r m e b e t we e n e i gh t een and t went y-t wo. Th es e years are a meani ng ful p ar t o f yo u r li fe . It’s w h e re yo u’re re a ll y becomi ng an adult , and for me t o ex p os e p eop le t o cer t ai n thin gs, t o m y p a ssi o n , a n d w a t c h t h em grow, t h at’s abs olut ely fant as t i c. How d id yo u be c o m e in te re s te d in s cre e n prin t in g ? It wa s w h e n t h e fo u r t h ye a r Ch i c ago s t udi o fi rs t s t ar t ed. I went up and we h ad t h i s clas s “ W h at m a k e s a t ow n ,” a n d yo u w o u ld go i n and you would evaluat e, you would p i ck li t t le as p ect s i n a n eig h b o r h o o d . Yo u w o u ld b e a n obs er ver, and ch oos e wh at made one p ar t i cular area di fferen t f ro m a n o t h e r p a r t i c u la r a re a . I c hos e graffi t i . I came back and I h ad t o document t h i s graffi ti s o m e h ow, a n d I e ve n p lo t t e d o ff s ome p os t ers i n t h e p ri nt room, and I felt li ke i t was t oo easy a n d i t d i d n’t gi ve j u st i c e t o t h e medi a t h at I was looki ng at . Th ere was t h i s fi ft h year and h e’s the o n e w h o t a u gh t m e t h e t e c h ni que. I fell i n love wi t h i t aft er t h at . I got p ret t y good at it, a n d I st a r t e d t e a c h i n g fi r st ye ar and s econd year s t udent s h ow t o s creen p ri nt , and aft er I g r a d u a t e d t h e c o lle ge a sk e d m e t o make i t i nt o a clas s .

INTERVIEW

How wo u ld yo u sa y g r a p h ic s h a ve c h an g e d t he w ay you look at or t hin k about archit e ct ure ? It’s ha rd t o sa y t h a t i t c h a n ge d t h e w ay I des i gn, becaus e I ’ve evolved as a des i gner wi t h i t . It m a de me m o re a w a re o f p ro c e ss, a n d I t h i nk t h ere’s a relat i ons h i p wh ere p roces s can creat e a g r a phic a n d p ro c e ss c a n c re a t e a b u i ldi ng. W h a t ha s s u r p r ise d yo u in yo u r tim e of t e achin g s cre e n prin t in g ? Oh, the gr a p h i c a b i li t i e s o f st u d e n t s. Th ere’s a bunch of s t udent s wh o are way bet t er grap h i c a r tis ts th a n I a m . I fe e l li k e t h e y’re t e ach i ng me s omet i mes . You wen t to Swe d e n re c e n tly. Wh a t can you t e ll me about g oin g t he re ? We wen t b e c a u se m y w i fe go t o ffe re d a really amaz i ng p os t -doc aft er my fi rs t year t each i ng here. T h e y a sk e d m e t o st i c k a ro u n d , but t h ere was no way I could do t h at . I would never be s epa r a te d li k e t h a t fro m m y w i fe . I t h i nk Sweden’s an abs olut ely amaz i ng p lace, but I don’t k n ow if I w o u ld c h o se t o li ve t h e re b ecaus e I li ke t h e rowdi nes s of Ameri cans . Swedi s h p eop le a ren’t rowd y. W h a t p l a c e h a s in f lu e n c e d yo u th e mos t ? Here. W h e n I sa y h e re I m e a n Vi r gi ni a. Ap p alach i a. Growi ng up i n r ural areas , and growi ng up ver y b lu e c o lla r, ve r y w o rk i n g c la s s , I t h i nk t h at’s i nfluenced t h e way t h at I look at li fe, the type o f a rc h i t e c t u re I a m d r a w n t o, t h e t yp e of p eop le t h at I ’m drawn t o. It’s Ap p alach i a. You h a ve sh e e p . A n d yo u bu ilt a ba rn f or t he m. How w as t hat e xpe rie n ce ? It’s f a n t a st i c . Yo u k n ow, w h i le we we re i n Sweden we fell i n love wi t h t h es e s h eep t h ey h ad there, ca lle d Gu t e sh e e p, a n d we w a nt ed t o bri ng s ome back. We bough t a farm, and we’ve a l w a ys b e e n i n t e re st e d i n h a v i n g so m e li ves t ock, but i t’s really di ffi cult t o get t h e Gut e breed here. So we re se a rc h e d t h e se sh e e p, a nd we found t h ere’s t h i s breed called Hog Is land s h eep. It’s the o n ly sh e e p n a t i ve t o Vi r gi n i a , and t h ey’re endangered. So we t h ough t i t would be really g rea t to b e a p a r t o f p re se r v i n g t h e m as a breed. And, i n a way, i t’s t h i s s ep arat e t h i ng from des ig n th a t I c a n e sc a p e t o. I a lso t h i n k i t’s p ar t of bei ng a des i gner. Des i gners are really good peo pl e w a t c h e r s, t h a t’s w h y we t r a ve l. We go and we abs orb ot h er p eop le’s cult ures , we abs orb o ther pe o p le’s h a b i t s. At so m e p o i n t we h ave t o become t h os e p eop le and I t h i nk we can learn a l ittl e b it m o re . So I k n ow t h a t I ’ve le arned a lot , as a des i gner and as a p ers on, j us t i n t h e p as t yea r o f t a k i n g c a re o f a n i m a ls. A n d I ’ve always want ed t o bui ld a barn. Th e barn i s as done as it’s g o in g t o ge t r i gh t n ow. On e d o o r i s not p ai nt ed, but I t h i nk once t h at door get s p ai nt ed I ’l l b e h a p p y w i t h t h e b a r n . W h a t a re o th e r th in g s yo u d o to c o n t in ue your in t e re s t in de s ig n ? I l ove f i lm s. My w i fe a n d I t r y t o w a t ch good TV, and we bot h really ap p reci at e good fi lms . I tr y to talk a b o u t d i re c t o r s i n st e a d o f act ors becaus e I t h i nk t h e di rect ors are t h e arch i t ect s of m ovies . In st e a d o f fo c u si n g o n t h e d i re ct ors we focus on h ow p ret t y Ryan Gos li ng i s , we s h ould ta l k a b ou t t h e p e o p le w h o a re b u i ld i ng mov i es .

INTERVIEW

Ca n you n a m e a n y d e sig n e r s o r w o rk s t hat you t hin k w ill be re me mbe re d in t he f ut ure ? I thin k Olso n Ku n d i g i s m a k i n g h u ge cont ri but i ons , and I t h i nk t h ey’re maki ng t h em at a s m a l l s c a le . T h e y’re fo c u si n g o n re si d e nt i al, for t h e mos t p ar t , and I t h i nk t h e moves t h ey make a t tha t sc a le w i ll b e re m e m b e re d . W h y d o yo u te a c h f ir s t ye a r stu d io ? I w a s g ive n a c h o i c e a n d I a c t u a lly a sked t o t each s econd year, becaus e s econd year would h ave b een ea s i e r t o t e a c h fo r m e . It re a lly focus es on arch i t ect ure and t h e s t udent s are more mat ure. I ’ve b ee n a m a ze d a t t h e le ve l o f m a t u ri t y bet ween ei gh t een t o ni net een. Fi rs t year i s a li t t le ha rder fo r m e , h owe ve r, I re a lly li k e i t . If I was as ked now t o go t o s econd year i t would be a to ug h de c i si o n b e c a u se I ge t t o e x p e r i ment wi t h fi rs t year a lot more. By not h av i ng t o focus on s tr ic tl y a rc h i t e c t u re , I c a n gi ve p ro j e ct s t h at are a li t t le more ex p eri ment al, and I enj oy t h at . W h a t d o yo u h o p e f o r yo u r s tu d e n ts t o t ake aw ay f rom t his ye ar? W hat do you e mphas ize ? Wo rk et h i c a n d o b se r va t i o n o f t h e i r env i ronment . Work et h i c i s h uge. Mos t ei gh t een year o l ds in t h e a rc h i t e c t u re d e p a r t m e n t have a really bad work et h i c becaus e t h ey’re s o s mar t and ever ythi n g h a s b e e n re la t i ve ly e a sy for t h em. Th ey h aven’t p us h ed t h ems elves as h ard as t h ey c o ul d o r n e e d t o. So I t r y t o p u sh t h e m and get t h em t o h ave a much bet t er work et h i c. W h a t re s p o n sibilitie s d o yo u th in k t his g e n e rat ion has in t e rms of de s ig n ? I do n’t kn ow. I d o n’t k n ow i f I b u y i nt o your generat i on bei ng t h at much di fferent from my g en er a ti o n o r m y ge n e r a t i o n b e i n g t h at much di fferent t h an my p arent’s generat i on. Ti me Ma g a z in e i s re a lly go o d a t i t , a t n a m ing generat i ons . I don’t know i f your res p ons i bi li t i es are a n y dif f e re n t t h a n m i n e . Ju st b e go o d ci t i zens . Do good work. Us e your t ools p rop erly. Fi na l l y, w h a t a re yo u r f a vo r ite th in g s about Blacks burg ? T he C el la r. T h a t’s p ro b a b ly o n e o f my favori t e t h i ngs about Blacks burg… I really li ke t h e s m a l l tow n a t m o sp h e re , b e i n g a b le t o walk around and s ee fami li ar faces , at leas t p eop le i n t h e s to res , a n d t h e re si d e n t s. A n d b e i n g clos e t o nat ure. I li ke bei ng able t o be around p eop le and then b e a b le t o d r i ve fo r t e n m i n u t e s and not be around p eop le.

Perspectives on the

CENTER FOR THE ARTS

With the Ribbon-cutting in 2013, the Moss Art Center became home to The Center for the Arts at Virginia Tech along with the Institute for Creativity, Arts and Technology. Designed by Snohetta, an architecture firm in Norway, the 150,000-square-foot facility holds a 1,260 seat performance hall, an amphitheater, classrooms, and several studios and visual arts galleries. The Moss Center, built on the perimeter of campus is undoubtedly one of the more contemporary buildings at Virginia Tech and has inspired a lot of conversation.

FORUM

With t h e R i b b o n - c u t t i n g i n Fa ll 2 0 13, t h e Mos s A r t Cent er became h ome t o Th e Cent er f o r the A r t s a t Vi r gi n i a Te c h . T h e cent er was des i gned by Snøh et t a, a h i gh ly es t eemed a rc hite c t u re fi r m i n No r w a y, w i t h not able p roj ect s s uch as t h e Os lo Op era Hous e, Bib l io t h e c a A le x a n d r i n a , a n d t h e v is ual i dent i t y for t h e Wi nt er Olymp i c games i n 2022. T he 1 5 0 , 0 0 0 - sq u a re - fo o t fa c i li t y h olds a 1,260 s eat p er formance h all, an amp h i t h eat er, c l a s s roo m s, a n d se ve r a l st u d i o s a n d ex h i bi t i on s p aces .

Loi s Ha n , In te r io r De sig n “ In term s o f t h e i n t e r i o r, I a t t e n d e d Crai g D ykers’ lect ures —I ’m a bi g fan of h i s fi rm—and it s eeme d li k e e ve r y t h i n g w a s m i n d f ully t h ough t out . It’s a well des i gned bui ldi ng. I love dr ivin g by a n d se e i n g i t s gla ss fa ç a d e.” Ca t Do , Arc h ite c tu re “ T he m a i n st a ge a re a i s re a lly ni cely des i gned for bot h cont emp orar y and formal per f o r ma n c e s, w h i c h e le va t e s i t t o a fi ne ar t s p er formi ng cent er. I t h i nk i t’s ni ce t h at t h ere’s a c er tai n p a t h t o ge t t o e a c h a re a , giv i ng a ‘wanderi ng’ ex p eri ence becaus e you can wander f ro m t h e st a i r s t o t h e o p e n a re a t o t h e ex t ernal ex h i bi t i on room. It’s obv i ous t h e bui ldi ng is m o re m o d e r n a n d b e a r s li t t le t o n o relat i ons h i p t o ot h er Vi rgi ni a Tech bui ldi ngs but I do n’t th i n k t h a t’s a b a d t h i n g. Pe r sonally, I t h i nk i t s et s i t ap ar t and cas t s a fut uri s t i c i dea o n to a t r a d i t i o n a l sm a ll t ow n .” Da r re n Sile r, Arc h ite c tu re “ I ’m imp re sse d by w h a t I ’ve se e n . It’s ver y modern and elegant . It h as a good balance of Ho k ie St o n e , w h i c h t i e s i t n i c e ly i n to t h e res t of camp us .” Tomon Sa s a ki, In d u s tr ia l De s ig n “ My in i t i a l t h o u gh t w a s t h a t i t w a s pret t y cool, but I di dn’t get t o s ee much . I walked i nt o the m ai n t h e a t re fro m t h e b a lc o n y and defi ni t ely li ked t h e s p ace and h ow i t’s arranged. Howeve r, I fe e l li k e t h e y we n t ove rboard wi t h t h e s t one t ex t ure as i t felt unneces s ar y i n pl a c es li k e t h e sp i r a l st a i r s. O ve r a ll, I t h i nk t h e bui ldi ng i s a ni ce addi t i on t o camp us —i t def in it e ly p u sh e s fo r a m o re m o d e r n di rect i on for fut ure cons t r uct i on.” Er i n Yo u n g , A rc h ite c tu re “ T here w a s a c t u a lly a p ro p o sa l t h a t h ad t h e s ame p ri ci ng and p rograms t h at p eop le were o n b o a rd w i t h . T h e y p ro p o se d u si n g Hoki e St one i n a really uni que way but t h e B oard of Vis ito rs sh o t i t d ow n . So , I fe e l a li t t le s our t owards t h e bui ldi ng becaus e I know wh at it c o ul d h a ve b e e n . T h e fro n t o f t h e bui ldi ng i s great , es p eci ally t h e bi g glas s wi ndow i n the f ron t . T h e p a t t e r n i s go t h i c w h i ch fi t s wi t h Tech s t yli s t i cally, but wh en you get t o t h e b a c k o f b u i ld i n g i t’s q u i t e u n a p p e a li ng. For a t own li ke Blacks burg, t h e CTFA i s t h e mos t un iq ue b u i ld i n g t h e y h a ve b u i lt , b u t wh y s et t le for t h e bes t i n t h e t own? We p ri de ours elves in tr a d i t i o n , b u t i t d o e sn’t h a ve t o be s o grounded i n t h e p as t —we are s up p os ed t o be in ven ti n g t h e fu t u re .” Da ni el C h o i, In d u str ia l De s ig n “ I ho n e st ly d o n’t re a lly k n ow h ow t o t ake t h e ne w bui ldi ng. I t h i nk i t’s rat h er s t range l o o k in g . T h e re a re a lo t o f p a r t s t o t h e bui ldi ng I feel t h at are a bi t unneces s ar y and I ’m c ur io us t o se e w h y t h e a rc h i t e c t s a n d engi neers deci ded t o bui ld i t i n t h at way.”

Interview with Archie

PLAYLAB INC.

o u n d a r y. Si m p ly t h e c o n c e p t i on of s omet h i ng t h at s ep arat es one t h i ng from anot h er m u st b e e n t i re ly fo re i gn t o Arch i e and Jeff, t h e p rop ri et ors of PlayL ab. A s i f s omeh ow the t w o a vo i d e d le a r n i n g t h e c o nfi ni ng les s on wh i ch boundari es i ns t i ll i n us . A rc h i e a n d Je ff, gr a d u a t e s o f Vi rgi ni a Tech wi t h degrees i n grap h i c des i gn and arch i t ect ure res p e c t i ve ly, m e t i n Cow gi ll a nd h ave s i nce been collaborat i ng under t h e name PlayL ab. Sin c e t h e n , t h e y h a ve b e e n d o i ng j us t about anyt h i ng t h at i nt eres t s t h em. T h e p a r t n e r sh i p b e t we e n A rc h i e and Jeff was s et i nt o mot i on at B ollo’s coffee s h op ; t h e n am e Pla y L a b w a s c o n c e i ve d i n t h e cafe. Wi t h nap ki ns as t h ei r medi um, t h e duo p roduced s equ e n c e s o f sk e t c h e s– c o n t i n u i ng unt i l t h ey made t h e ot h er laugh , or cr y. Even t oday t h ey de ve lo p i d e a s t h ro u gh si m i la r ly h umorous met h ods , a great ex amp le bei ng t h e Marc Jacobs c olla b o r a t i ve ( se e n e x t p a ge ) . Upon graduat i ng from Vi rgi ni a Tech , PlayL ab p roduced s ome reco rd s a n d a lb u m a r t i n 2 0 0 8 before mov i ng t o Greens boro, A labama t o L aunch Pi eL ab. Wi t h t h e h o p e t o re i n v i go r a t e th e s mall t own, p eop le were brough t t oget h er at one t able. Pie L a b w a s a c r i t i c a l c a t a ly st i n f ormi ng PlayL ab h ow t o move t h ei r des i gn fi rm for ward. “ We we n t d o o r t o d o o r a sk i n g p eop le t o come h ave p i e for $2 a s li ce, and event ually p eop le c a me , a n d t h e p a st o r b ro u gh t hi s gui t ar i n and p eop le s t ar t ed s h ari ng local s t ori es . And the n we go t a gr a n t t o b u y a b u i ldi ng on mai n s t reet . It was t h e fi rs t bui ldi ng t o op en i n t h e tow n i n t e n ye a r s. At t h e sa m e t ime i t was rat ed t h e #1 p i e i n Ameri ca by t h e magaz i nes my m om re a d s, b u t i t w a s n e ve r re ally about p i e, i t was about p eop le. A nd t h en we came back to Ne w Yo rk a n d we we re li k e , we need t o do s h i t li ke t h at agai n and agai n. It was n’t about m ak i n g a t o n o f m o n e y, i t w a s about doi ng a good p roj ect and maki ng i t s us t ai nable. Th at w as t h e t h i n g: m a k e so m e t h i n g and gi ve i t t o p eop le.”

ARTICLE

Des ig n , i n i t’s a t t e m p t t o b e si gn i fi cant and es t eemed i s oft en i ncli ned t o neglect t h e peo pl e a n d c o m m u n i t i e s fo r w h i c h i t i s i nt ended. Arch i e and Jeff learned t h rough t h ei r w o rk on Pi e L a b t h a t d e si gn i s n e ve r about an i ndi v i dual, i t’s about p eop le. Th ey ap p li ed this pr i n c i p le t o t h e i r d e si gn w o rk i n Ne w York, wh ere t h ey es t abli s h ed t h e PlayL ab fi rm t o o utput t h e i r i d e a s. Ju st a fe w o f Pla yL ab’s p res ent vent ures i nclude an arch i t ect ure j ournal, a s m a l l c lo t h i n g li n e , a n d a w a t e r - fi l t eri ng p ool t o float i n t h e ri vers of t h e Huds on Ri ver. Over c o ffe e , we h a d t h e p le a su re o f t alki ng t o A rch i e about wh at allows PlayL ab t o op erat e ef f ec tive ly i n so m a n y c o n t r a st i n g domai ns . “St ay i nt eres t ed i n t h i ngs , be cri t i cal but not to o c r i t i c a l, a n d m a k e t h i n gs yo u w ant t o make. Reali ze you h ave all t h e p ower i n t h e world to m a k e t h e m .” Yo u c a n fe e l t h e so r t of yout h ful ex uberance t h at float s from h i s words wh en dis c us si n g h ow Pla y L a b gre w fro m two s t udent s wi t h a p rop ens i t y for des i gn i nt o a s t udi o in Ne w Yo rk t h a t c o lla b o r a t e s w i t h t h e li kes of Marc Jacobs and Google. Th i s p alp able en thus i a sm i s d e r i ve d fro m t h e a b se nce of boundari es , as t h e exci t ement i s not li mi t ed by o n e’s p re c o n c e i ve d n o t i o n s. Wh e n s t ar t i ng a p roj ect t h ey are not h i ndered by wh at one thin k s t h e i d e a sh o u ld b e c o m e , a c h ieved by cons t ant ly recons i deri ng as s ump t i on, wh i ch i s un do ub t e d ly o n e o f Pla y L a b’s st ro n g es t as s et s . A rc hie a n d Je ff re a li ze d w h i le st u d y i ng at Vi rgi ni a Tech t h at t h ei r work was more t h an a t as k to c o mp le t e , a n d t h a t i n d i v i d u a ls c o uldn’t t h ri ve funct i oni ng as i s lands i n t h e s ea of des i gn. “ Yo u’re d r i n k i n g c o ffe e a n d li st e n i ng t o mus i c and s h ari ng t h i ngs wi t h p eop le and j oki ng a ro un d a n d b e i n g a ssh o le s. Yo u’re not worki ng 100% of t h e t i me and you do t h at becaus e in tho s e m o m e n t s, so m e re a lly n i c e t h i ngs h ap p en, but you mi gh t only be worki ng 15% of the tim e .” T h e b o n d b e t we e n A rc h i e and Jeff, one fos t ered wi t h i n t h e walls of Cowgi ll Hall, rem a in s a c o n st a n t i n t h e i r li ve s. T h i s connect i on i s wh y t h ei r work remai ns unmi s t akably s tro n g re ga rd le ss o f t h e c u r re n t PlayL ab di rect i ve. “Mos t days s t ar t off j us t meet i ng wi t h Jef f to t a lk . ‘ W h a t h a p p e n e d la st ni gh t ? W h at di d you s ee?’ We j us t t r y t o s h are wh at’s ha ppen i n g a n d ge t r i gh t i n t o i t , lo o ki ng for s omet h i ng s t i mulat i ng.” In em p h a si z i n g t h e p a r t n e r sh i p, I c e r t ai nly don’t want t o di s count t h e ap t i t ude for des i gn tha t A rc h i e a n d Je ff p o sse ss. Ta lk i n g wi t h A rch i e I t h i nk h e t ends t o do t h i s h i ms elf, only o ut o f m o d e st y. Bu t i t re a lly i s t h e yout h ful s p i ri t i n t h ei r collaborat i on t h at makes PlayL ab un iq ue a n d h a s st a r t e d t o a t t r a c t a h i gh ech elon of cli ent s t h at p rov i de t h em wi t h t h e res o urce s t o d o t h e i r m o st i n sp i r i n g work. At prese n t t h e y’re w o rk i n g o n Pla y Lab’s mos t ambi t i ous p roj ect t o dat e, t h e +P O O L . Th e w a l l s o f t h e p o o l w i ll a c t i ve ly fi lt er wat er from t h e Huds on Ri ver i nt o t h e p ool i t s elf, o f f er in g t h e o p p o r t u n i t y t o sw i m i n a ri ver t h at would ot h er wi s e remai n t oo p ollut ed. Th e s ha pe o f t h e p o o l i t se lf w i ll i n t ro d u c e a h i gh s ur face area of fi lt rat i on mat eri al i nt o t h e ri ver tha t w o u ld n o t b e p o ssi b le w i t h a d i fferent s h ap e. Th e +P O O L h as es t abli s h ed i t s elf as an o ptim i st i c b e a c o n fo r a c le a n e r, h e alt h i er ri ver and i t’s a beaut i ful di s p lay of an i ni t i at i ve in n e w t e c h n o lo gy. A to p c la ss o f e n gi n e e r s, su c h a s t h os e from A RUP and I D E O , are worki ng on t h e p ool’s f il ter s a n d a t e st c a lle d Flo a t L a b i s current ly under way. “ We rai s ed money t h i s s ummer t o tes t th e fi lt r a t i o n sy st e m t h a t we d e s i gned t o float i n t h e ri ver for s i x mont h s and t o t es t ever y 1 5 m i n u t e s. T h e fi lt e r s a re looki ng good s o far. Th ey s eem t o be worki ng, but we’ll s ee a t t h e e n d o f t h e si x m o n t h s.” Addi t i onally, a long li s t of h i gh -p rofi le corp orat i ons ha ve offe re d c a p i t a l a n d p u b li c i t y f or t h e +P O O L , now a nonp rofi t i ni t i at i ve. Th ere’s an ec o s ys t e m su r ro u n d i n g e a c h Pla y L a b p roj ect . “ Bec a u se o f t h e p u b li c i t y fro m +P O OL our p h one ri ngs a lot more, but we j us t keep i t ch i ll. We s til l j u st d o t h e w o rk we w a n t t o do. Now we j us t h ave a lot more freedom becaus e of all o f tha t . R i gh t n ow we’re t a lk i n g t o Marc Jacobs . Th ey as ked us i f we h ad i deas for t h i s one s pec if i c t h i n g a n d we ga ve t h e m so met h i ng t h ey di dn’t really t h i nk t h ey were goi ng t o get . A n d th e y sa i d ye s, le t’s d o t h a t . A n d we were li ke, ex act ly.”

MARC JACOBS SKETCHES

ARTICLE

LOOKBOOK We chose to document studentsâ&#x20AC;&#x2122; fashion whose looks are representative of the present.

Dar ren Siler

Malith Wahar aka

C hels ea Kilbur n

Jared Dura

Nikki Norris

Ricky Soto

FORM

Line, Plane, Solid exhibition

Interview with Mitzi Vernon Why did you do the form exhibition?

want to give it up for something off the shelf.

they worked overtime to make these happen when we needed them.

I think students learn quite a bit in the foundation year, and I think there’s something very specific that they ought to have before they start to do very technical things. It kind of emerged three years ago, and I was interested because I wanted that to be true for industrial design the way it’s true in architecture.

Our fabrication team of students cut, degreased, deburred, filed, and then brushed every surface on over 1100 pieces. It became an intense commitment to architecture, really. It’s architecture. I think we all felt crazy, none of us had slept for about two weeks before the opening happened.

Why did you make the displays rather than purchase them?

When you can design a system with a joint that can work with everything, that’s the very best of industrial design. It’s like architecture. You don’t put a thousand different conditions in a good piece of architecture, you have a system that you build on. I wanted them to understand from the beginning what it meant to design something that you have control over so that you can have a system that’s not thoughtless.

We were open to purchasing an extruded aluminum system, and it did come up when we were having a really hard time figuring out who was going to make these. But we realized that we loved this thing we had designed so much that we didn’t

There are seven different flavors of the joint, which is the heart of the project. I call it tinker toy for travel, because we needed it to break down to be shipped around the world. The guys in the metal shop felt that they could CNC mill them, and

For academics and students- the intellectual importance of the stuff we buy and use. For the general lay public- that product design is not skin-deep. I think the timing is good because people now can understand the beauty of an Apple product, and

What message are you trying to convey to the public?

that wasn’t true so much twenty years ago. But I think now people have a different level of appreciation for the thing that they hold all the time. So part of it is showing people that there is a level of thought beneath the production of things they buy. There’s a deep, layered foundation in order for students to do this professionally, like in architecture. To me, this should go other places, other people should see this. We’re currently talking about sending it to Japan, we also have a venue in Sweden that’s interested in it. We’re going to San Francisco to display at the AutoDesk headquarters as well. We wanted to share it with other academic places where students could participate in this exchange and show what we’re doing, why we’re doing it and that it’s important.

INTERVIEW

Interview with Amanda Phung What was the process of the exhibition? Well, Mitzi had asked us in the end of fall semester if there was any interest in helping the team. I thought there were going to be more people joining the exhibition team from my class, but I ended up being the only one and that caught me off guard a little bit. I just remember seeing the third and fourth years sitting around the white table, and at that point they were picking which pieces would go into the exhibit. It was really interesting to me to watch them identify the pieces that showed the qualities we wanted the most. At that point it was the only thing I had really seen, and it caught my interest. One of the third years who told me his platter went to Europe two years ago. And I thought “that’s really cool, that you can say your work has been displayed internationally.” I didn’t know at the time if we were going to be traveling, but I just kind of assumed we would, and I was really excited to be a part of something that big. How is it working with the upperclassmen? I love it so much! I love my studio and I definitely feel like ID is a lot tighter than architecture and other disciplines. I’ve gotten to know them and most are really friendly. Initially I watched people work and asked a lot of questions. I would say definitely that they’re like another part of my family now, like my studio and then their studio. We had a conference this past weekend, where a good amount of people went down to Savannah, so I would say that we’ve definitely bonded a lot. I’ve learned so much from them experience-wise, like what to expect next year, photography skills and light organization. It was quite worthwhile.

Interview with Matthew Cox What was the biggest lesson you learned throughout this entire process? I think craft is one of the big things that I feel like a lot of people missed out on, and I really had the opportunity to learn more about. For your work to be in an exhibit it’s got to be top-notch, and that just shows you that craft is extremely important. If the idea’s there but it’s not well-crafted, you don’t want it in the exhibit. I put a piece in there and I’m not happy with its craft, and every time I walk by it, I don’t like looking at it because I know that I could do better. And once I get that thing back I’m going to redo it. So I think craft is one of the things I definitely took into consideration and learned a lot about. Was there a specific project or a form of yours that was a success? I loved all of mine. But I feel like my most successful, not in the sense that it’s finished, but in the sense that it’s well-designed and well thought through, was a platter that’s up there right now. It’s really great because I got to learn all about the process. I made it by hand instead of CNC-ing it, and the process was something unbelievable, I can’t even begin to explain to you how intricate it is. It involves about ten machines, just going back and forth between machines and adding false pieces to turn it on the lathe and then taking off false pieces. But I don’t know, I know that it’s not done and I want to finish it a little bit more, there are some curves that I want to fix, but every time I look at it I know it’s one of my most successful pieces because I went through so many different iterations and so many specificities of how it’s made. Process-wise, it was really awesome. The exhibition is comprised of over 200 forms from over 100 Industrial Design students. It is viewable in the Perspective Gallery in Squires until May 17, 2014.

STUDENT PROJECTS

PINHOLE CAMERA ALBERT FAJARDO, FIRST YEAR ARCHITECTURE CITY OF HOPE WOMEN’S CANCER TREATMENT CENTER CHELSEA BUEL, FOURTH YEAR INTERIOR DESIGN BROTHERS MATTHEW COX, SECOND YEAR INDUSTRIAL DESIGN NEW RIVER HIKING CO. LOGO ALYSSA MORRISON, FOURTH YEAR GRAPHIC DESIGN COLOR STUDY: SCREEN PRINTING HANNAH BYRD, FIFTH YEAR ARCHITECTURE RISING URBANISM YASIR AMR, FIFTH YEAR ARCHITECTURE UNTITLED DYLAN FANT, FIFTH YEAR GRAPHIC DESIGN STEAM-BENDING WOOD LEO NAEGELE & BRENT SIKORA, FIFTH YEAR ARCHITECTURE TEMPORALITY OF ARCHITECTURE EMILY ANNA HAGEN, FIFTH YEAR ARCHITECTURE THINNESS IN CONCRETE GREG CATRON, FIFTH YEAR ARCHITECTURE RESPONSIVE ARCHITECTURE + DESIGN LINDSEY RAE SLOUGH, FOURTH YEAR INTERIOR DESIGN THE CHINATOWN TRANSIT HUB: A TRANSFER ACROSS SCALES NNEKA SOBERS, FOURTH YEAR URBAN PLANNING ABIGAIL ALLEN, FOURTH YEAR ARCHITECTURE KAITLIN VAVOSO, FOURTH YEAR LANDSCAPE ARCHITECTURE JORDAN KELLER, FOURTH YEAR ARCHITECTURE ALEX HELMS, FOURTH YEAR ARCHITECTURE

STUDENT PROJECTS

PINHOLE CAMERA

“ We were t as ked wi t h des igning a p i nh ole camera. I want ed t o break away from t h e s t ereot yp e of a box s h ape . The form i s i nformed by h ow li gh t trave l s in s p ace and h ow h umans s ee. To me, des i gn i s a p roces s for t h e ide a and t h e des i gner. Th ere’s growt h whe n you s t ar t out wi t h an i dea, and t h at be gins t o evolve as you feed i t wi t h time and creat i v i t y unt i l t h e i dea mat e rial ize s: as t h e i dea grows , t h e des i gne r l e arns. He i s curi ous and t h ough t ful of the funct i on. Th e combi nat i on of the two leads t o a great des i gn.” Alber t Fajardo Fi rs t Year A rchite ctu re

STUDENT PROJECTS

CITY OF HOPE WOMEN’S CANCER TREATMENT CENTER

“ We p erc ei ve t he en v iro n m e n t f ir s t th ro u g h o u r s e nse s, a nd t h e n t hro u gh o u r m in d s” . “ T hro ug h the trea tm e n t p ro c e ss, p e o p le c a n b e h ealed even if they a re n o t c ured a n d p e o p le w h o a re c u re d may not be h eale d. Hea l in g is no t li k e c u r i n g; p a t i e n t s c a n le arn t o be at pea c e des pite thei r c o n d i t i o n . He a li n g i n vo lve s t h e body as a who l e. T here n e e d s t o b e h a r m o n y o f t h e m ind, body and s pir it. T his tre a t m e n t c e n t e r fo c u se s o n t h es e t h ree facto r s in o rder to ai d t h e p a t i e n t s i n t h e h e a li n g p roces s . In order to des ig n f o r t h e m i n d , b o d y a n d sp i r i t , t h ere mus t be t he f o l l ow in g : c o n n e c t i o n s t o n a t u re a n d t h e out doors , ch oices a n d o ptio n s fo r p a t i e n t s a s a p a r t o f t h e t reat ment proce s s , a n d the s pa c e m u st b e d e si gn e d fo r so c i a l s up p or t . The trea tm en t in f u si o n a re a s a re p la c e d by t h e floor t o ceilin g w in dow s l o o k i n g o u t t o t h e h e a li n g garden and creatin g a s ea m l es s c o n n e c t i o n a n d i n t e r a c t i o n wi t h t h e landsc a pe. T he in f u si o n b a y s a re d e si gn e d t o gi ve t h e patie n ts c ho ic es dur i n g t h e t re a t m e n t p ro c e ss, from group infu s io n s pa c es to p r i va t e . The over a l l des ig n fo c u se s o n n a t u r a l li gh t , n at ure and su ppo r t; a l l o f w hic h d i re c t ly a ffe c t t h e h e a li n g p roces s . The s pa c e is des ig n e d fo r i n t e r a c t i o n w i t h t h e su rroundi ng nat u ra l en viro n m en t . By b r i n gi n g i n n a t u r a l m a t e ri als from t he s ur ro un din g en v i ro n m e n t a n d e x p o si n g t h e cent er t o t he outdo o r s , there w i ll b e a b le n d b e t we e n t h e t reat ment cent er a n d n a ture.” Ch el s ea Buel Fou r th Yea r In ter io r De si gn

STUDENT PROJECTS

BROTHERS: A FORM STUDY

“Brot h ers i s an ex p res s i on of relat i onship and a p lay on dep endence. Th e t wo venee rs are the s ame yet cannot ex i s t wi t h out each othe r. One s t ri p nes t s wi t h i n t h e ot h er and continu al l y reach es for t h e domi nant s t ri p. Th e you nge r s t ri p ch as es t h e older. Th e form ex p resse s l ine ar element s i n a flowi ng manor conveyi ng dire ction and movement . Th e p i ece was forme d u sing wood s t eam bendi ng, a comp li cat ed p roce ss that yi elds beaut i fully s i mp le res ult s . Mat t h e w Cox Second Year Indus t ri al Des i gn

“ Desi gn i s t o in ve n t with in te n t. If yo u tak e a wa y t he ‘ i n ven t’ b it, yo u h ave a n e n g in e e r. If you t a k e a w a y t he ‘ i n te n t’ b it, yo u h ave an ar tis t.” — Re b e c c a Re ube ns Des ig n is st u d y i n g, se e i n g, a n d c reat i ng. Studyin g th e h u m a n a n d i t s i n t e r a c t i o n s, s eei ng a n eed f o r i m p rove m e n t , a n d c re a t i n g t he manm a c hin e in t e r fa c e .”

STUDENT PROJECTS

NEW RIVER HIKING CO. LOGO

“Ins p i red by a Sunday h i ke wi t h a fri e nd, t h i s nat ure-lover s i t e reveals ne w p lace s to ex p lore. It’s a p lace for p eop le wh o l ove t o h i ke, camp, and ex p lore t h e Vi rginia mount ai n range and makes i t p os s i ble to s h are ex p eri ences , fi nd t rai ls , read rev ie ws, and organi ze group h i kes wi t h othe rs acros s t h e area.” A lys s a Morri s on Four t h Year Grap h i c Des i gn

STUDENT PROJECTS

COLOR STUDY: SCREEN PRINTING

“A s p ar t of t h e as s i gnment for my s creen p ri nt i ng clas s , we h ad t o do a s elf-p or t rai t (s h own left ) wh i ch led me t o become i nt eres t ed on h ow colors i nt eract wi t h t h e s ubj ect mat t er. Th e p or t rai t s eri es for me i s a way of s t udyi ng color. Th e color s elect i on is oft en a res ult of analyz i ng t h e p rev i ou s p ri nt s . Mos t of t h e s ubj ect s are mus i ci ans t h at I admi re. For t h e p ri nt I made of Bi g Sean, (s h own ri gh t ) I h and-wrot e all t h e lyri cs t o one of h i s s ongs as p ar t of t h e back-p ai nt ing p roces s , and p ri nt ed t h e black on t op.” Hannah By rd Fi ft h Year A rch i t ect ure

STUDENT PROJECTS

RISING URBANISM “ Red Ho o k o f Bro o k ly n N Y w a s t h e se t t i ng f o r o ur pro j ec t w h i c h p ro m p t e d u s t o p rov i de a n e w c en ter o f u r b a n i sm v i a re si d e n t i al, c o m m erc ia l , a n d i n d u st r i a l u n i t s. T h e a rea ha d b een re c e n t ly st r u c k by a m a j or s to r m w hic h b ro u gh t a flo o d t o a n a lre a d y des o l a te a rea o f t h e c i t y. Up o n re se a rc h i ng I f o un d tha t t h e p e o p le o f t h e a re a we re a ver y b ik e- f r iend ly c o m m u n i t y a n d I w a n t e d tha t to b e pa r t o f m y d e si gn , w h i c h le a d t o the c rea tio n of t h e e x p a n si ve r a m p r u n n i ng over the b ui ld i n gs. No r m a lly c o m m e rc i al a n d in dus tr ia l b u i ld i n gs c a n b e re j e c t e d by res iden ts o f a n a re a , b u t t h e r a m p n o t o n ly b uil ds o f f o f t h e se st r u c t u re s b u t p rov i d es s o m ethin g eve r yo n e i n t h e c i t y c a n e n j oy.” Ya si r A mr Fi ft h Ye a r A rc h i t e c t u re

STUDENT PROJECTS

UNTITLED

“ T his w a s my fi r st re a l sc re e n p r i n t e d p o st er. I cre a ted it a s pa r t o f a c la ss p r i n t e xc h a n ge . L i ni ng up f o ur c o l o r s w a s fa i r ly d i ffi c u lt a n d I w i s h I h ad us ed s o m e so r t o f re gi st r a t i o n m a rk s t o make i t ea s ier. I s till li k e t h a t so m e o f t h e c o lo r s don’t li ne up per f ec t b e c a u se i t re a lly sp e a k s t o t he i dea of s c reen pr in t i n g b e i n g a h a n d m a d e c r a ft ins t ead of j us t pr in tin g so m e t h i n g o u t o n a c o m p ut er. Th e im a g e jus t s t a r t e d o u t a s a r a n d o m sk e t c h , I really l ik ed the wa y t h e st y le e vo lve d so I b rough t t h e o r ig in a l w a t e rc o lo r i n t o p h o t o sh o p t o t r y and s ep a r a te the c olo r s fo r sc re e n p r i n t i n g. I d on’t h ave a s ig n if ic a n t c o n c e p t b e h i n d t h e p i e c e . It was s or t of n ic e to jus t d r a w so m e t h i n g a n d h a ve i t fl es h ed out in to a f in a l p o st e r.” D ylan Fant Fi ft h Ye a r Gr a p h i c Des i gn

STEAM-BENDING WOOD “ We s et out t o p us h t h e li mi t s of wood and of s p at i al des i gn t h rough an i ndep end e nt s t udy of s t eam-bendi ng wood. We t ook advant age of t h e t ech ni que t o make cur ves for bot h s t r uct ural and aes t h etic p urp os es . We bui lt a s ect i on of a wal l t h at we i magi ne could out fi t a s p ace , cur v i ng t o become op eni ngs , s h elve s, s eat i ng, or wh at ever els e you mi gh t want t o i mp lement i n a s p ace. We learne d a lot about p roces s and of cours e ou r mat eri al, A meri can as h , t h rough out the p roj ect . As we worked, we cons t an tl y refi ned our p roces s unt i l we reach ed pe ak effi ci ency. We als o develop ed a ve r y good unders t andi ng of t h e li mi t s and p os s i bi li t i es of s t eam-bendi ng wood.” L eo Naegele & Brent Si kora Fi ft h Year A rch i t ectu re

STUDENT PROJECTS

TEMPORALITY OF ARCHITECTURE

“A s tudy o f t i m e u si n g a rc h i t e c t u re t o f a c il ita te a n d c re a t e a n e n v i ro n m e n t t o f o s ter tw o typ e s o f t i m e - c h ro n o s a n d k a iro s . T he pe r m a n e n c e o f a rc h i t e c t u re i s g uided by the t e m p o r a l c yc le o f grow i n g a n d ha r ves tin g Ch r i st m a s t re e s.” “In t he m o u n t a in s th e re a re th o u s an d - ye ar o l d t rees, bu t in th e town s th e re a re h ard l y a n y hu n dred- ye ar - o l d pe o pl e” Em i ly A n n Ha ge n Fi ft h Ye a r A rc h i t e c t u re

STUDENT PROJECTS

THINNESS IN CONCRETE

â&#x20AC;&#x153;C o n c rete c a n do a n y t h i n g a s lo n g a s yo u u nders t and h ow t o do i t . T hro ug h the a c tion o f m a k i n g, we b u i ld a n i n t ui t i on t owards t h e nat ure of the m a ter ia l . We c a n n e ve r k n ow i t s t r u e n at ure, but we can as k i t qu es tio n s to a ppro a c h t h e u n d e r st a n d i n g o f i t s nat ure. K ah n as ked t h e bric k w ha t it w a n t e d , a n d i t sa i d i t li k e d t h e a rch . I as ked t h e concret e w ha t it w a n ted to b e , a n d i t t o ld m e i t w a n t e d t o be t h i n. Th i s work i s a study to a c hieve t h i n se c t i o n i n c o n c re t e a s a react i on t o i t s own des i re. T he pro g r a m o f a st o o l p re se n t e d i t se lf a s a m e ans t o t es t t h e li mi t s of thin n es s in c o n c re t e a t t h e sc a le o f m y ow n we i gh t . Greg Cat ron Fi ft h Year A rch i t ect ure

STUDENT PROJECTS

RESPONSIVE ARCHITECTURE + DESIGN

L i nds ey Rae Slough Four t h Year Int eri or Des i gn

“My p as s i on for t h i s p roj e ct ste ms from a h ydrop h obi c, or wat er repe l l e nt, façade wh i ch mi mi cs t h e s p i der we b and capt ures wat er from wi nd and fog base d on h umi di t y. Th e fut ure of de sign, to me , is s p aces , bui ldi ngs and commu nitie s that can s er ve t h e i ndi v i dual and social ne e ds s uch as h unger, drough t, e mpl oyme nt and more. Of cours e, not al l de sign has t o “s ave t h e world”, h owe ve r e ve n the s malles t of det ai ls can i mpact how a pe r s on ex p eri ences a s p ace. The de sign of t h e ch i ldren’s s p ace i s s i mpl e , ye t it allows ch i ldren t o ex p lore and manipu l ate t o meet t h ei r needs . Chil dre n are e ncouraged not only t o read book s bu t to creat e s t ori es . Des i gners have the abil ity t o s er ve p eop le and i nflu e nce the ir act i ons even at a mi nut e level . Cu stom fe a t ures t h rough out t h e li brar y su ch as the i nt eract i ve p ri vacy s creen and re sponsive ret ri eval s ys t em break t h e barrie r of pe rs on and arch i t ect ure. The two be come one and t oget h er t h ey are abl e to cre ate i ndi v i dual s t ori es duri ng the ir time in t h e ne w Ch ri s t i ans burg L ibrar y.”

STUDENT PROJECTS

CHICAGO TRANSIT HUB: A TRANSFER ACROSS SCALE

â&#x20AC;&#x153; Within a vibrant network of unique neighb o r ho o ds and n e t w o rk s, Chin a tow n is a s i gn i fi c a n t a sse t that is k n ow n f o r i t s v i b r a n t cu lture g ro un ded i n e m p owe r m e n t , u nity, a n d c o m m uni t y. B o u n d e d by tran s po r ta tio n in f r a st r u c t u re t h a t has dis c o n n ec ted th e n e i gh b o r h o o d from the g rea ter C h i c a go a re a , t h e propo s a l o f a tr a nsi t h u b lo c a t e d w it hin the hea r t o f t h e c o m m u n i t y not o n l y c o n n ec ts t w o e x i st i n g r a i l lines , b ut s er ves a s a n o p p o r t u n i t y for C hin a tow n to e x t e n d b e yo n d the phys ic a l boundaries and becom e s o c ia l l y c o n n e c t e d w i t h i n the g rea ter C hic a go a re a . T h e tran s f er b etween s c a le s u lt i m a t e ly diss o l ves b o un d a r i e s making Chin a tow n a pivo t o f c o n n e c t i o n .â&#x20AC;? Nneka Sobers , Urban Pl anning Abi gai l Allen, Arch ite ctu re K ai t li n Vavos o, L ands cap e A rch i te ctu re Jordan Keller Arch ite ctu re A lex Helms , Arch ite ctu re

MEET THE TEAM

PRESIDENT AUSTIN LEDZIAN

INDUSTRIAL DESIGN

Au st i n is a ver y p redi ct able p ers on becaus e all h e t alks about i s c h a i r s, ch ri s p y s t udi o, and red curr y. Hi s li fe goal i s t o own a Wa ffle Hous e.

VICE-PRESIDENT CHRISTINE YEN

INTERIOR DESIGN

Sh o r t t iny A s i an gi rl t h at i s always wi t h Aus t i n L edz i an. You wi ll m o st li kely h ear t h em t alki ng about des i gn and h ow great t h ei r fi r st ye ar s t udi o i s . Int eres t ed i n colors and fas h i on. Sh e t ends t o st a re a t p eop le wi t h p leas i ng out fi t s .

EDITOR STEPHEN GOOD

ARCHITECTURE

Qu i e t and cont emp lat i ve. St udent of Des i gn. Cas ual wri t er and e x p lo re r.

GRAPHIC DESIGNER LUISA LACSAMANA

INDUSTRIAL DESIGN

A n a li e noi d s up eri or and s cared of mos t h umans / h onorar y m e m b e r of ch ri s p y s t udi o #bread

GRAPHIC DESIGNER KEVIN GARCIA

ARCHITECTURE

T h e ot h er dark-s ki nned Fi li p i no p ers on, and commonly mi s t ake n fo r Lui s a L acs amana.

MARKETING MEGAN MYKLEGARD

MARKETING/TOURISM

Maj ori ng i n Market i ng and Hos p i t ali t y and Touri s m Manageme nt w i t h a mi nor i n Pop Cult ure. Exces s i ve us e of t h e words ch il l , r a d , and h ella.

SECRETARY SYDNEY NUGENT

APPAREL

Sydney h op es t o s h op as a career, s p eci fi cally as a ret ai l buyer. In h e r down t i me s h e enj oys t raveli ng and admi ri ng anyt h i ng i n a h o u nds t oot h p at t ern.

TREASURER SARAH ROZAIDI

ARCHITECTURE

A food ent h us i as t and keen ar t i s t wh o env i s i ons h ers elf t o be a n arch i t ect wh os e work p roudly embodi es t h e boldnes s an d i n t ri caci es of h er Malay h eri t age.

WRITER JENNIFER DANG

COMMUNICATIONS

Pro b a b ly t h e t alles t As i an gi rl t h at you’ll ever encount er wi t h an o b se ssi on wi t h s t yle.

WRITER CASEY FEDEROVITCH

ANIMAL SCIENCES

Na t u re lover s eeki ng a h i p, fas h i on for ward man for long-t erm re la t i o ns h i p. Mus t be at t ract i ve, s ubmi s s i ve, p unct ual and li gh t - h e ar t ed. Can be old but I ’d li ke t o h ave t wi ns s omeday.

FUNDRAISING CELESTE WONG

ARCHITECTURE

In t e r n a ti onal s t udent from Macau maj ori ng i n arch i t ect ure. Two w o rd s: out goi ng and p as s i onat e.

Blacksburg

colleyarch.com

211 Draper Rd SW, Blacksburg, VA (540) 951-9817 www.sycamoredeli.com

SPECIAL THANKS

CREDITS

Ka thr yn A lb r i gh t fo r h e r i n va lu a b le sup p or t

Joh n K nut es on Int er v i e w conduct ed by Aus t i n L edz i an and Ch ri s t i ne Yen

a n d k in d n e ss. El l en Br a a t e n fo r h e r i n si gh t fu l e d i t i ng. C hr is Pr i t c h e t t fo r b e i n g a n a m a z i n g s p ons or, he ha s s u r ro u n d e d u s w i t h so m a n y help ful peo pl e a n d re so u rc e s. Nug en t Fa m i ly fo r b e i n g o u r fi r st d o n at i on and s uppo r t i n g u s fro m t h e b e gi n n i n g. T ho m a s Ko o n t z A rc h i t e c t fo r t h e i r ge n erous do n a tion . Wo n g Fa m i ly a lso fo r t h e i r d o n a t i o n .

Sidn ey Ga rd n e r fo r p la y i n g t h e i n t e re s t i ng f a c t g a me w i t h u s a t 1 a m . Gin a Leo n a rd a n d Sh i b a Pa t e l fo r t h e i r extrem e ly t h o ro u gh la yo u t su gge st i o ns . La uren Ma r i o n fo r h e r i n p u t o n o r ga ni z at i on a n d her sa ss. Ma r g a ret Ne lso n a n d Ta y lo r Te r r i ll fo r t h ei r hel p w i t h o u r gr a n t p ro p o sa l.

Farmerâ&#x20AC;&#x2122;s Market E s s ay and p h ot os by Aus t i n L edz i an Des i gner Sh owcas e Words by Ch ri s t i ne Yen / p h ot os by Aus tin L edz i an Ch ri s Pri t ch et t Int er v i e w conduct ed by Becca Good / p hotos by Lui s a L acs amana and Aus t i n L edz i an Cent er for Th e Ar t s Int er v i e ws conduced by Jenni fer Dang / photo by Aus t i n L edz i an PlayL ab Int er v i e w conduct ed by Lui s a L acs amana, Aus t i n L edz i an, Kev i n Garci a, and St ep he n Good / words by St ep h en Good / p h ot os by PlayL ab and Lui s a L acs amana L ookbook Organi zed by Ch ri s t i ne Yen / p h ot os by Lu isa L acs amana and Aus t i n L edz i an Form: L i ne, Plane, Soli d ex h i bi t i on Int er v i e ws conduct ed by Aus t i n L edz i an, Kev i n Garci a, and Lui s a L acs amana / p hotos by Mat t h e w Cox and Aus t i n L edz i an

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