“The life of a designer is a life of fight. Fight against the ugliness. Just like a doctor fights against disease. For us, the visual disease is what we have around, and what we try to do is cure it somehow with design.� - Massimo Vignelli
the designer 42°28’31.73”N, 96°21’26.14”W / +1.712.389.7709 / kelly.fuglsang@gmail.com kelly fuglsang / intern landscape architect bachelor of landscape architecture professional degree program iowa state university / spring 11 graduate / cum laude
the commons 42°01’39.82”N, 93°39’05.45”W / autumn 08 / site planning & design Inspired by the past while maintaining a keen eye towards the future, this vision for Elwood Commons Greenway strives to break from Olmsteadian campus traditions, replacing them with minimalistic design. Juxtaposition illustrating a university’s forward thinking academia.
02
03
04
05
06
07
08
the yards 42°29’02.79”N, 96°23’00.42”W / summer 09 / urban sos competition With a retrospective look into the 127-year cadence of the yards, a variegated and undulating landscape unfolds. Beneath tidal forces of economic blight and opulence, an urban meadow propagates amidst a historic system. What emerges is a wash of social capital.
02
03
04
05
06
07
the bridge 38°45’28.42”N, 09°10’24.12”W / autumn 09 / exd’09 lisboa competition A thread through time. An abstraction of Lisbon’s urban development. The brij as an art installation coalesces, as the city’s eight district patterns are intertwined one-by-one along the structure. They weave into a microcosm of the very urban fabric in which it rests.
02
03
04
05
06
the flats 44°55’57.94”N, 93°05’42.74”W / autumn 09 / urban design studio The anatomy of the West Side Flats will undergo urban acupuncture through which a remedial synthesis between landscape and architecture stimulates regeneration. Much as a body’s systems are interrelated and dependent on one-another, the design intertwines aspects of green space and structure into a coalescent living complex. A medical park within a park.
03
04
02
05
06
07
+ + +++ + + + ++ + + + + ++ + + + + +++ + + ++ + + + ++ ++ + ++ + + + ++ ++
++ +++ + + ++ + ++ + + + ++ + + + + + +++ ++ + +
+ + + + + + ++ + +++ + + + + + + + + + + + + + + + + + + + ++ + + ++ + + + + + + ++ ++ +++ +++ + ++ ++ + ++ + +++ + + + + + ++ + + + ++ + + ++ + + + + + + ++ ++ + + + + + ++ + + + + ++ + + ++ + ++ + + + + + + + ++ + + + + ++ + + ++ + + + + + + ++ + + + + + + + + + ++ ++ + + + + ++ + + + + ++ + + + ++ + + + + + ++ + + + + + + + ++ + + +++ + + + + + + + + + + + + ++ + + + + + ++ +++ + ++ + + + + + + ++ + + + ++ + + ++ + ++ + ++ + + + + ++ + ++ + + + + + + +
+ + +
+
+ + + +++ + ++ + + + + ++ + + + + ++ + + + + + ++ + + + + + ++ + ++ + + + + + + ++ + + ++ + + + + ++ + ++ + + + + ++ + + + ++ + ++ +
+ + + ++ + + + + + +++++ ++ + + + + + + + ++ + + ++ + + + + + + ++ + ++ + + + ++ + ++ + + + + + + + + ++ + ++ + + ++ + + + + ++ + + + + + ++ + + + + +++ ++ ++++ + + + + + ++ + + + ++ + + + + +++ + + + ++ ++ + ++ ++ + + + + + + + + ++ ++ + + + ++ + + ++ + + + + + + ++ + + + + ++ ++ ++ ++ ++ ++ ++++++ + + + + + ++ +++ + ++ + + + + ++ + + + ++ + + + + + + + + + + ++ ++++ +++ +++++ + + ++++ + + ++++ ++ ++ ++
08
09
the identity 42°24’23.32”N, 91°20’39.89”W / autumn 10 / community design studio In conjunction with the Lake Delhi Recover and Rebuild Taskforce, an alternative futures model was used by the community design studio to educate stakeholders after the Hartwick Impoundment blowout and flooding. Months of extensive analysis and stakeholder focus groups resulted in three study scenarios. Alongside this research, a framework was established using consistent language, symbology, colour, and typography.
02
03
04
05
06
07
08
09
10
11
12
the rails 44°54’51.44”N, 93°11’41.29”W / autumn 10 / living city design competition An interrelationship between mechanization and cultivation emerges as a new topology for St. Paul. Re-envisioning the potential of an assembly line concept, interchangeable seasonal yield interlocks with daily sequential movement of the city. What unfolds is a methodical landscape extending beyond the boundaries of site. Process.
02
03
the bathe 25°46’38.30”N, 80°07’45.14”W / spring 11 / hotel studio The installation unfolds across the terrain. On each pad an individual is immersed by a cleansing mist of finely sprayed water molecules, washing against the surface of their skin just as the ocean does the shore. They evaporate or dematerialize, becoming part of the sea breeze. This water dissipates after emission, evaporating back into the water cycle, later resupplied to the Atlantic, and used again later.
02
03
the hotel 25°47’05.39”N, 80°07’40.27”W / spring 11 / hotel studio Just as one wears a particular garment to display individual style and social class, so too, does an individual stay at a specific hotel to make such a statement. Avant is for the wealthy, youthful and independent, each with their own expression of image. It is the runway where progressive fashion and brandscaping meets voyeuristic attitude. A forward thinking lifestyle that states. Luxury is attention.
02
03
04
05
06
07
08
09
10
11
12
13
14
LUXURY IS ATTENTION
15
LIVE FORWARDS
16
17
the vision 41°59’54.01”N, 93°38’04.70”W / summer 11 / iowa living roadways An incongruent, banal, enervate visual vocabulary re-interpreted. Each detail of graphic production meticulously selected and implemented towards a single legitimate and professional end product. Iowa Living Roadways Community Visioning transformed.
1. A new trail system could showcase some of the beautiful views around Monticello, including the Maquoketa River, Kitty Creek, and the forests and farmland that surround them. 2. Proposed landscaping for the east entrance includes maple, crab apple, burning bush and boxwood. 3. The FEMA buyout area by East Oak Street could be used to create a trailhead park. A bioswale could be constructed at the east end Creek.
5
1
4. Raising the level of Monticello’s fountain and surrounding it with a new plaza would increase its prominence. 5. The existing Highway 151 on-ramp is devoid of vegetation. 6. The design team proposed planting different species of trees outside the right-of-way and prairie vegetation in the right-of-way to add interest. 7. In the winter, the prairie grass and trees will act as a living snow fence, reducing the amount of drifting snow on the roadway.
2 6
7 46
3
35
02
03
04 1. Recommended enhancements to the northeast corner of the town square include a circle of pavement intertwined with plantings to create a peaceful sitting area. This pattern would be repeated at the northwest and southeast corners. 2. The middle school is located at the west end of the safe school route, which radiates from the courthouse square to each grade school and north the the city park/pool area.
5
3. A capstone sign for Rockwell City, “the golden buckle of the cornbelt,” was developed to be placed on the directional signage within the community. 4.
1
5. The Rainbow Marsh Bridge is one of the few remaining bridges built by James Barney Marsh. 6. The Rainbow Marsh Bridge design has a circular paved area, similar to the paving at the courthouse square, with an informational kiosk.
6
2
3
7
4
30
05
47
06
07
08
Visual Vocabulary Standards
Iowa State University Extension Community and Economic Development: Community Visioning Program 01 July 2011
09
the spectacle 42°01’17.38”N, 93°38’10.71”W / autumn 09 / modern art history Correlation and dissonance in Le Corbusier’s fine art, architecture, and urban planning is examined through the lens of time. As style and media changed with passing art movements, the {spectacle} of his life and genius remained. A title reflecting the artist’s signature accessory and an exhibition layout that mimics his work; structured disorder.
18871909
19101925
19361945
19261935
19461955
Following the events of World War II, Le Corbusier took up reconstruction in the hope of re-housing families that were left homeless and devastated. Surrealism helped in the formation of abstract expressionism, which was the dominating postwar art movement after receiving worldwide acceptance, and is seen in much of Corbusier’s work after 1945. Two major concepts that he applied within his system of ideas during this time included “synthesis” and “unity”. These concepts were used not only during abstract expressionism, but also in the entire machine age as a whole. The post war era marked a number of very important
19561965
Corbusier. One of his most important series of buildings includes Unite d’habitation, with the
pe sp cctacles
constructed in Marseille, France. Marseille’s Unite if often stated as being the pioneering inspiration of the Brutalist architecture style, which is described as buildings constructed almost entirely of concrete, blocky in appearance and included repetitive geometric angles. Le Corbusier compares the surface of the concrete building to human qualities and faults, observing that the building presents its age and character through its faults. Since completion in 1952, many deemed its social program a failure. Underutilized communal facilities, dim corridors, and its anti-urban location
have all been criticized. Contrary to this criticism, occupants of Unite value its architecture, which is known for allowing total individual privacy. Another of Corbusier’s most important works was the Chapelle Notre-Dame-du-Haut, simply known as Ronchamp and located in Ronchamp, France. Shocking to the architectural world, Ronchamp has been interpreted by many as the most religiously convincing building of the 20th century. However, Ronchamp also received much criticism in its initial time. It is widely interpreted as an irrational building and a retreat from modern movement. It has also been described as a primitive piece of technology built on sludge. One of Corbusier’s most important developments following World War II was the Modulor system. Modulor was Corbusier’s system of proportion. He used the Modulor in the design and construction of many of his later architectural accomplishments. He based this system upon the golden ratio and human measurements. A design of the system by arm raised alongside two units of measurement felt his system was undeniable, all the claims Corbusier made to convince people that the Modulor was accurate have been challenged. Although his architectural work was arguably
le corbusier 111009-121409
4 4
3
19561965
19461955 and materials.” His lack of ornamentation and decoration is what kept Jeanneret working worked on a variety of projects from churches to hotels. Unfortunately, the work for Behrens proved unsuccessful and casued Jeanneret to fall into a deep depression. Despite several letters home stating his misery, he eventually While working with Behrens, Jeanneret continued his passion for his newfound aesthetic of radical functionalism. While working in Behrens trees and buildings and also showed interest for artists such as Edvard Munch, who he began imitating in watercolor. Behrens had suggested that Jeanneret travel eastward, so in 1911 he began his travels with his friend, This six-month Voyage d’Orient took them to Turkey, Greece, Italy and the Balkans. It was building, the Parthenon, which he visited everyday for three weeks. During these three weeks, he produced several sketches and analytical drawings expressing his feeling that it was “a decisive movement in architecture.” It included photographs and montages, which at the time were considered to be a “modern
New spirit of industrial production occurred in line with the later periods of Corbusier’s life. With the booming of technologies post World War II,
Corbusier’s main focus, he also had a number of paintings and sculptures which were put on display in the Musee d’Art Moderne, Paris in 1954. Corbusier stated, “I am known only as an architect, and no one wants to recognize me as a painter, although it was through my painting that I discovered architecture.” Many critics saw his painting as no more than a hobby, but in reality it helped in shaping his future as a designer as well as the shaping of modern architecture.
a time in which there was a need for openness to the changing landscape of the modern world. He constantly was searching for new methods by which he could integrate innovative solutions into his work. He remained open to experimentation and the exchange of ideas creating early experiments with new functional context. The majority of his projects were devoted to designing
space. Norma Everson said, “The proposed city appeared to some an audacious and compelling vision of a brave new world, and to others a frigid megalomaniacally scaled negation of the familiar urban ambient.” In 1925, Le Corbusier showed radical avant-garde nature as a designer. He proposed reconstructing and wiping clean hundreds of acres of Paris into a large scale highway system. He named the plan after an automobile manufacturer, Plan Voisin, to show the importance of the car in the new industrial city. This plan also utilized the six story cruciform skyscrapers, rectilinear grid and open green space. Many called the plan “outrageous” but many have looked back and
people in response to the urban housing crisis. Many similar architectural elements show up in his work during this time. He often would raise much if not all of the structure above the ground supported by reinforced concrete stilts called pilotis. This heightening of the building showcased its dominance over the surrounding landscape, which was usually a large yard. The free façade, other characteristics that were typical of his work. “The house is a machine for living in,” is perhaps Corbusier’s most famous quote and concept carried through the end of his career. To Corbusier design was about placing things back in line where they belong and maintaining
city has been on many cities around the world.
15
a sense of symmetry. While this concept was generally evident through the idea of the machine, he rejected having form be established through a purely mechanical rule of thumb. Not everyone was enthusiastic about the rigidity, simplicity, and monumentality of his work and he end of the 1950s marked the period in which he began to withdraw more and more from urban social life, and started spending more time at his log cabin. The ‘petit cabanon’, as it was referred to, was where Corbusier lived each summer during the last years of his life. Corbusier designed the cabin himself in 1951 using the Modular to provide all of the dimensions creating a highly functional space. From there he did much of his design work from his cabin situated in Roquebrune CapMartin, France, near the Mediterranean coast. murals and continued his ritual of drawing each day. The Mediterranean inspired Corbusier’s creative life. His observations guided design as he accumulated a series of images in his mind, many of which were never transferred to sketches. It was in late 1957 when his wife Yvonne passed away. Over the years he had illustrated hundreds of postcards for her while he was traveling, always signing them with a distinctive crow insignia. He was devastated by her death
and in the time after withdrew even further from urban life and entered partial retirement. The commission for the Carpenter Center for the Visual Arts on the campus of Harvard in Cambridge, Massachusetts brought his design philosophy to culmination in the United States. This came through his connection with the Dean of the Gradate School of Design. The carpenter center represents a synthesis of elements taken
“...the architectural spectacle at once offers itself to the eye”
design. The unconventional form was a radical change from the majestic charm of Harvard University, leading to heated criticism from many. For Corbusier, the Carpenter Center for the creative and innovative ideas. This was the last design to be realized during his lifetime. Corbusier suffered a heart attack while swimming in the Mediterranean Sea against doctor’s orders on August 27, 1965. His legacy as a designer is highly contested, but what is certain is that he will always be a symbol of modernity within the realm of architecture and design.
*muesum informaiton University Museums Iowa State University 290 Scheman Bldg. Ames, Iowa 50011 515.294.3342 Fax: 515.294.3342
Open Hours Tuesday - Friday 11:00am-4:00pm Saturday and Sunday 1:00-4:00pm Closed Mondays and University Holidays.
sponsors
515.294.3342 or ajhall@iastate.edu.
02
16
17
18
21
03
the typeface 42°01’42.95”N, 93°39’11.40”W / autumn 10 - spring 11 / helvetica club Devoted to the Swiss typeface, Helvetica Club was established by two individuals, including myself, to promote and recognize the potential impact of font. Pulling forth the graphic strengths of like-minded users, interdisciplinary collaboration among members will generate type-aganda that initiates dialogue, not only regarding typography, but also contemporary issues in design, such as creativity, sustainability and innovation.
*
helvetica club* monday / november 8 / cod atrium / 17:30
Helvetica Club monday october twenty-fifth 5:30 pm college of design atrium helveticaclub@gmail.com
02
03
+01 +02 +03 +04 +05 +06 +07 +08 +09 +10 +11 +12
02 09 16 23 30
03 10 17 24 31
04 11 18 25 00
05 12 19 26 00
06 13 20 27 00
07 14 21 28 00
01 08 15 22 29 00
06 13 20 27
07 14 21 28
01 02 08 09 15 16 22 23 00 00
03 10 17 24 00
04 11 18 25 00
05 12 19 26 00
06 13 20 27
07 14 21 28
01 02 08 09 15 16 22 23 29 30
03 10 17 24 31
04 11 18 25 01
05 12 19 26 02
00 03 10 17 24
00 04 11 18 25
00 05 12 19 26
00 06 13 20 27
00 07 14 21 28
01 08 15 22 29
02 09 16 23 30
01 08 15 22 29
02 09 16 23 30
03 10 17 24 31
04 11 18 25 00
05 12 19 26 00
06 13 20 27 00
07 14 21 28 00
00 05 12 19 26 00 03 10 17 24 31
00 06 13 20 27 00 04 11 18 25 00
00 07 14 21 28 00 05 12 19 26 00
01 08 15 22 29 00 06 13 20 27 00
02 09 16 23 30 00 07 14 21 28 00
03 10 17 24 00 01 08 15 22 29 00
04 11 18 25 00 02 09 16 23 30 00
00 07 14 21 28
01 08 15 22 29
02 09 16 23 30
03 10 17 24 31
04 11 18 25 00
05 12 19 26 00
06 13 20 27 00
00 04 11 18 25
00 05 12 19 26
00 06 13 20 27
07 14 21 28
01 08 15 22 29
02 09 16 23 30
02 09 16 23 30
03 10 17 24 31
04 11 18 25 00
05 12 19 26 00
06 13 20 27 00
07 14 21 28 00
03 10 17 24 00 01 08 15 22 29 00
06 13 20 27
07 14 21 28
01 02 08 09 15 16 22 23 29 30
03 10 17 24 00
04 11 18 25 00
05 12 19 26 00
00 04 11 18 25
00 05 12 19 26
00 06 13 20 27
01 08 15 22 29
02 09 16 23 30
03 10 17 24 31
00 07 14 21 28
l i the.international.typeface
h e l v e t i c a . c l u b college.of.design.attrium t u e s d a y . 1 7 : 3 0
04
05
06
the index the commons
the yards
the bridge
ames, iowa 42°01’39.82”N, 93°39’05.45”W .4 km autumn 08 site planning & design four weeks colby, rettenberger, sorensen
sioux city, iowa 42°29’02.79”N, 96°23’00.42”W 1.2 km summer 09 urban sos competition four weeks priest
lisbon, portugal 38°45’28.42”N, 09°10’24.12”W 800 m autumn 09 exd’09 lisboa competition two weeks individual
01 > pine grid canopy 02 > university greenway plan 03 > elwood commons circulation 04 - 08 > site model
01 > waterfront re-envisioning 02 - 03 > initial conceptual vignettes 04 > stockyard site plan 05 > undulating poppy field horizon 06 > context map 07 > conceptual section cuts
01 > view within the bridge structure 02 - 04 > initial design sketches 05 > construction detail diagram 06 > section cut series
the flats
the identity
the rails
st. paul, minnesota 44°55’57.94”N, 93°05’42.74”W .3 km autumn 09 urban design studio twelve weeks individual
lake delhi, iowa 42°24’23.32”N, 91°20’39.89”W 8.8 km autumn 10 community design studio fifteen weeks landscape architecture 401 studio
st. paul, minnesota 44°54’51.93”N, 93°11’41.29”W 1.1 km autumn 10 living city design competition one week priest
01 > west side flats urbanity 02 > conceptual diagram relating acupuncture to site plan 03 - 06 > existing land use diagrams at site & regional scales 07 > schematic site plan 08 - 09 > programmatic section cuts
01 > lakefront revival proposal 02 > project presentation title board 03 > lakefront revival proposal 04 > example title bars 05 - 09 > select analysis boards {socio-cultural, watershed} 10 > presentation legend 11 > contents legend 12 > implemented colour palette
01 > assembly plant farmers market 02 > site plan 03 > crop harvesting adjacent to lightrail station
the bathe
the hotel
miami, florida 25°46’38.30”N, 80°07’45.14”W 4m spring 11 hotel studio one week individual
miami, florida 25°47’05.39”N, 80°07’40.27”W 11,500 m spring 11 hotel studio twelve weeks dillman, riha, schilling
01 > waterfront view of installation 02 > bathe in plan 03 > installation site plan
01 > entrance lobby 14 > hotel webpage 02 > hotel site plan 15 -16 > avant advertising 03 - 07 > site model 17 > avant logo 08 > pool deck 09 > sartorial nightclub 10 > entrance lobby 11 > king suite closet display window 12 > king suite 13 > panorama view from beach {left - right: satai / avant / w}
the vision
the spectacle
the typeface
ames, iowa 42°59’54.01”N, 93°38’04.70”W 145,743 km summer 11 iowa living roadways fifteen weeks iowa state university extension
ames, iowa 42°01’17.38”N, 93°38’10.71”W 800 m autumn 09 modern art history four weeks murra, priest
ames, iowa 42°01’42.95”N, 93°39’11.40”W A4 autumn 10 - spring 11 helvetica club sixteen weeks priest
01 > annual report cover 02 - 07 > select report pages 08 > implemented colour palette 09 > community visioning visual vocabulary standards cover
01 > le corbusier illustration 02 > exhibition floor plan 03 > select pages from brochure
01 - 04 > helvetica club meeting announcements 05 - 06 > propaganda flyers
“Question everything generally thought to be obvious.” - Dieter Rams