Montre'ale Jones | 2021 Portfolio by uky72

P O R T F O L I O M O N T R E ’A L E

L .

J O N E S

CONTENTS 01

PIXELS

GLITCH HOUSE

BOTANICAL VISITOR CENTER

HOME FOOD HUB AND MARKET

KY MODERN HOUSES PUBLICATION

THE VINE ON NICHOLASVILLE ROAD

FURNITURE DESIGN WORKSHOP

ASSEMBLAGE CHAIR

THE RIVER ROCK PROJECT

The

River Rock

Project

PERSONAL PROJECTS

P I X E L AT E D SITE AND BUILD Fall 2017 | Regina Summers ARC 151 | Design Studio I

Pixelization enables a distortion of original information, creating a new read of data that alters translation of interpretation to drive newer design. Through a iterative process a study of the pixel and its nature of distortion was explored by means of material and digital illustrations. From the study the themes of directionality, gradience, depth, and hue variation were elements shared between studies in directing the final design for architecture and site. As part of the rigorous pixel study a part-to-whole study was pursued first to learn how independent elements join in construction to create a cohesive and unified model. White, brown, and gold card stock were materials used in constructing twelve models of various objectives, which were then combined according to same color and or seamlessness. Afterwards, the large part-to-whole model was spray painted white to emphasize its unity of part models. Additional card stock material was added to make the

model less busy and chaotic in plan. This intial study furthered the final design. Pixelization is applied to the site and a read of the pixel pattern determines the constraints of the site in height and in depth. Lighter hued pixels are raised, and darker hued pixels are lowered resulting in the site condition. The pixel pattern of the site reads of linear elements determined from patterns of the same pixel gradience, and from those pixels read the design of the build is influenced. Linear elements that influence the reading of a build on the map are oriented to span in the x and y axis, and the hued region upon which they were raised determine their height or depth from the ground plane. The advantage of camouflaging associated with pixelization was utilized in applying it to the east and west faces is applied to intentional aspects of the interior to create unity and order in its chaos.

PROCESS MODEL | GRADIENCE

PROCESS MODEL | FACETED

PROCESS MODEL | DEPTH AND COLOR

PROCESS MODEL | DIRECTIONALITY

IMAGE TRANSLATION

TOPOOGRAPHY INFLUENCED BY HUES OF PIXELIZATION

TOPOOGRAPHY RAISED AND LOWERED

CAMOUFLAGING THE BUILD WITH THE SITE WITH AUGMENTED VIEWS AND HIGHLIGHTING SPACES OF MOVEMENT WITH WHITE

SITE PERSPECTIVE

SITE PLAN

NORTH | SOUTH SECTION

EAST | WEST SECTION

GLITCH HOUSE RESIDENCE Spring 2018 | Marty Summers ARC 252 | Design Studio II

Disruptive continuity, an exercise focusing on form making, and the process in which form is understood within a complex set of interactions where the shape of matter and the ability to control its construction lead to new spatial possibilities and embedded intelligence from iterative operations between site, vector, and object. From the exercise, a model design driven by paradigms of coherence, erosion, and interrelations lend to the development of its constituted typologies. The ability to rapidly evaluate and analyze solutions, as well as alter and adapt the design within a fluid process of making and discovering were imperative and necessary in assigning order in the macro and micro scale of the disruptive continuity project and model. Furthermore,

design strategies, combinatory operations, and complex systems were methods from the disruptive exercise that were translated into a methodology that would influence the function, form, and aesthetics of the Glitch House project that followed. Elevated and positioned to be a cliffside residence to maximize views and residential experience is Glitch House. Inhabitants and visitors of the residence arrive along an extended driveway with hindered views of the landscape and are greeted by an overhead waterfall that cascades over the house as one pulls into the garage. The Glitch House prides itself of its views to the landscape by designing most spaces with glass encased walls that allow each space its own grand view.

PERSPECTIVE OF GLITCH HOUSE

SECOND FLOOR PLAN 1) Garage 2) Master Bedroom 3) Lavatory 4) Kitchen and Dining Room 5) Living Room 6) Foyer 7) Lounge 8) Guest Bedroom 9) Guest Lavatory

FIRST FLOOR PLAN 1) Kitchen and Dining Room 2) Lounge 3) Leaning Hall 4) Guest Bedroom 5) Guest Lavatory

CAPTIONDISRUPTIVE CONTINUITY FINISHED MODEL

The fluid geometries of disruptive continuity are strategically joined to not only create a cohesive roofing condition in plan, but to also designate and control what takes place beneath. The activity and liveliness of the geometry in the interior space suggest to occupants the level of communication and connectiveness to take place in that space. Areas with ceiling and wall conditions that contain more fluid geometries in its architecture are suggested to be areas of gathering and dialogue, and spaces that

DISRUPTIVE CONTINUITY SECTION DRAWINGS

possess less fluid geometry and more linear walls suggest spaces of seclusion and intimacy. The complex program and supporting spaces of Glitch House were architectural decisions independently defined, as prescribed by the formal intent and abstract site condition. In continuation, the pixelized mapping onto the site is interpreted to connect the outside with the interior spaces of the house; therefore, the mapping is applied to intentional aspects of the interior to create unity and order in its chaos.

LOUNGE SPACE

BRIDGE ROOM

PORCH

LIVING SPACE AND KITCHEN

NORTH | SOUTH SECTION

WEST | EAST SECTION

B O TA N I C A L T O W N B R A N C H PA R K V I S I T O R C E N T E R VISITOR CENTER Fall 2018 | Jill Leckner ARC 253 | Design Studio III

The Botanical Visitor Center is nestled in the landscape of the planned Town Branch Park in Lexington, KY as a multi-colored crystal-like beacon with geometry inspired by the natural form of Limestone, which is a native stone to the Kentucky environment and Lexington. The orientation of the form derives from the aesthetic of the historical rock walls common in central Kentucky, which rely not on mortar for joinery but friction and gravity. The high-rise crystalline configuration encases a controlled bio-diverse tropical garden space, where the outdoors is brought inside, ultimately to allow for year-round recreational activity. As the day progresses, from dawn to dusk, and activity in the park dwindles, the indoor garden becomes a bioluminescent space of wonderment, providing a distinctively different experience than in the

day. The visitor center becomes a lantern that balances with the light illuminated from the downtown Lexington skyline. The form of the center is supported by a ball joint steel system, and the customized glass panels that fit the structure is (tempered glass) to withstand and protect against the elements. Near the base of the glass encasing, where the crystal form is most fragmented, the glass is opaque to hinder views of the busy Oliver Lewis Way Street nearby. Larger overhead panels are translucent glass panels, which upon electronic charge transition to opaque sheets to control the nature of the greenhouse ambience, and control the excessive heat and energy emitted into the space from the sun to regulate temperatures in addition to controled a ecosystem environment.

iNTERIOR RENDER, ILLUMINATED GARDEN AT DUSK

BASSWOOD MODEL FRONT

BASSWOOD MODEL PERSPECTIVE

SCAPE LANDSCAPE ARCHITECTURE TOWN BRANCH PARK PARK DESIGN PLAN

FLOOR PLAN 1 GIFT SHOP OFFICE BOARD ROOM GARDEN ZONE GARDEN ZONE GARDEN ZONE GARDEN ZONE

1 | WATERFALL CASCADE 2 3 4

FLOOR PLAN 2 CAFE AND TROPICAL LOUNGE TERRACE SOCIAL BOX EXTERIOR TERRACE TIMBER (TROPICAL PULL) ELEVATOR

HOME FOOD MARKET AND HUB COMMUNITY FOOD MARKET Spring 2019 | Brent Sturlaugson ARC 254 | Design Studio IV

Home is where the people are. As part of a grand scheme to revitalize and transform an abandoned tobacco warehouse in Berea, Kentucky and provide a centralized location for accessing heathier foods with the benefit of community gathering, the Home Food Market and Hub seeks to celebrate the gathering of people, knowledge, and food in its effort to live out its mission to serve as a home away from home. The rising food disparity concern and accessibility to a central hub for selling and purchasing goods calls for the need of a food hub and market. The food hub program space of 1,000 sq. feet is aggregated by the “home” unit. The home unit combines versatility derivative from attributes of combining the pyramid and cube. Along the façade of the Home Food Market and Hub are the home units organized in a rhythmic pattern by diverting the unit between the up

and down orientation. The rhythm of the units turned upside down imply partition, and units turned downside up imply entrance. This system is complemented and reinforced with the use of color and augmentation. Materiality and color are used as psychological drivers for creating an essence on the exterior and interior of the Home Food Market and Hub. The warm material palette of the colors on the units radiates a warm and inviting gesture to onlookers and visitors, while the wood paneling enforces an essence of nature and freshness. The existing warehouse is ordered by a gridded column and beam structural system to support the open floor plan. The sizing and organization of the home unit is systematically situated around the columns, to conceal the columns at ground level and harmonize with the gridded format.

The Home Food Market and Hub home unit undergone several iterations before concluding with its current design. The unit is a cube with its four corners tapered. Ideally, the versatility and simplicity are derived from the cube and pyramid shapes. The multi-flat faces of the cube were adopted in the unit to attain its ability to connect and serve as a base, and the angular faces of the pyramid were adopted in further exploring unit joining and enclosure.

PHOTOGRAPHS OF ABANDONED TOBACCO WAREHOUSE

SCHEMATIC DIAGRAM 1

SCHEMATIC DIAGRAM 3

SCHEMATIC MODEL | WOODEN UNITS CAST IN RESIN MOLD

SCHEMATIC DIAGRAM 2

MEZZANINE AND GROUND LEVEL ENGAGEMENT

HOME UNIT SCALE VARIATION

MARKET BOOTH COLLAPSE

WHAT DEFINES NEIGHBORHOOD? Neighborhoods are defined by aggregating and clustering like home units. Each neighborhood’s units are unified by shared soft color palette roofing. The units too often shoulder each other and create a framework for a public space amidst their clustering.

COLORFUL WAYFINDING SYSTEM Traveling between market neighborhoods is possible by colorful, systematic, and uniform halls that connect the entire complex. Halls are distinguished by colors: blue, green, peach, red-orange, and yellow.

NEIGHBORHOOD SCHEME With the vastness of the existing space, it was then segmented into smaller more intimate and organized spaces. The spaces are divided to create an atrium with 6 market regions and an upper-level mezzanine with views of the markets below. The markets are identified through colors: magenta, red-orange, cyan, lime green, sunshine yellow, and peach. These colored zones organize areas upon which what is sold, and it helps when declaring location in the market.

SECOND AND FIRST FLOOR PLAN AND NORTH / SOUTH SECTION

AXON OF HOME PROGRAM AND EXISTING COLUMN GRID

K E N T U C K Y M O D E R N H O U S E S P U B L I C AT I O N PUBLICATION Fall 2019 | Gregory Luhan ARC 355 | Design Studio VI

Architect’s contributions to the built environment are highlighted in the publication Kentucky Modern Houses. Unbeknown to many, Kentucky entails many significant architectural builds, and the publication seeks to highlight these architectural works to credit the architectural significance that Kentucky possesses. The publication includes a total of 25 modern residences, my contribution to the project are dynamic representations of the Rice and Schubert residences.

Representations included plans, sections, elevations, site plan, and concept drawings for each house. Information researched and incorporated into the publication became the driver for how the residences are illustrated to produce authentic representations. Early illustrative drawings and methods were explored prior to the Kentucky Modern House publication drawings as represented to explore perspective and perception with 2D imagery.

BEBOP WORKSHOP REPRESENTATION

SCHUBERT RESIDENCE

1412 and 1413 Hampshire Place, Lexington, KY 40502 Architect | Paul Richard Schubert

SCHUBERT RESIDENCE | SOUTH ELEVATION

The Schubert Residence and the “sister house” on the next adjacent site sits off of Chinoe Road in the Hampshire Place cul-de-sac. The dynamic nature of this suburban context enables the front façade to serve as a mask to the rural context on the rear portion of the house. The materiality for the Schubert Residence façade is white painted brick. The organization of the exterior walls creates a sense of depth that oscillates between its reading as simultaneously foreground and background. The positioning of the walls creates enclosed, intimate spaces that connect to outdoor gathering spaces. The interior partition walls contain windows arranged to emphasize scripted views to the landscape beyond. These windows have precise locations along axial alignments to accentuate both interior spaces within the house and exterior spaces that extend beyond the house. The interior walls of the Schubert Residence shift between narrow and open spaces. Notably, the narrower spaces defined as ways of passage that lead to spaces that open in the plan. The Schubert Residence also features a pool southwest to the house, and it also features a water element at the rear of the home.

SCHUBERT RESIDENCE | NORTH ELEVATION

RICE RESIDENCE

Buggy Lane, Lexington, KY 405016 Architect | Scott Guyon

RICE RESIDENCE | SOUTH ELEVATION

RICE RESIDENCE | NORTH ELEVATION

The Rice Residence is a distinctive three-bedroom, 2-1/2 bath, single-family modern house located in the rural landscapes of Lexington, Kentucky. The Rice Residence is meant to take the concept of the rural Kentucky barn and reconfigure it to reimagine it as modern architecture conceptually. Similar to the barn and silo, which are two familiar entities found along the Kentucky countryside, the Rice Residence adopts these concepts and transforms the vernacular references into a modern house. The Rice Residence’s interior spaces and exterior facades have frames with materials including wood panels and concrete. Notably, the house entails a long spine comprised of concrete that also serves as an armature, from which all other spaces of the house connect. The concrete spine, which includes the bathrooms and laundry area programs, also directs the flow of movement from the kitchen to the living room to master bedroom along its length spanning from one side of the house to the other. Also, the modest 2,500 square foot house allows for the intimacy of the room sizes to expand through clustered windows and glass doors that orient towards the wooded wetland landscape beyond, ultimately connecting the indoors with the outdoors.

THE VINE ON NICHOLASVILLE ROAD URBAN DESIGN PEDIASTRIAN BRIDGE Fall 2020 | Liz Swanson ARC 658 | Design Studio VII

The Vine is an extension of us, just as we are an extension of it. Like a vine, the life of it growing, tangling, and interwining throughout the corridor and in neighboring spaces can not thrive nor exist without the need of something to support it. Without the bridge the existing conditions of the corridor persist, but with The Vine Pediastrian Bridge we redefine the space into an enjoyable pediastrian paradise. Just as much as the bridge is phyiscal, and its presence in each sense celebrates innovation and the collective. The Vine is very

much so alive, and its life is intended so that we, the pediastrians, may live too. Along Nicholasville Road in Lexington, KY considered to be the busiest roadway in the city it posesses many problems that many cities like it face the same problem. The Vine Bridge is a postive internvention along the congested and chaotic corridor that aims to bestow power back to the pediastrians, create connections between districts along the roadway, bring greenery and sustainable back to the now concrete jungle-like place, and prepare for a dense tiered city.

RESIDENCE HALL WITH CORRIDOR PLAN

EXISTING CORRIDOR

A PEDIASTRIAN PARADISE Paradise, what is it? A harmonious place of peace, contentment, and idealism. In defiance to the demands of society and the ongoing itineraries that consume the hours of our day, paradise becomes necessary. The existence of paradise is limitless; paradise can mean the beach, the great rocky plains, the countryside, and or even home. Paradise’s definition changes with the definer. The pediastrian paradise is an experience like no other, offering an experience as wondorous as a hike through the woods and or as exhilirating as a skip through the botanical gardens. The pediastrian paradise, essentially limits the power help by vehicles, which as owned the corridor since the birth of the autonomous age in the early nineteenth-century, and it is bestowing those powers to pediastrians who had been neglected in the grander scheme of urban planning and design along corridors. Lexington, Kentucky, like other major cities across the United States, is posed with challenge of a highly congested 6-mile corridor with economical and developmental properties along its aisle. Vehicles congest the roadway, the wait time to get anywhere along the road is unbelievable, the bus stops are indistinguishable and non-celebratory, the sidewalk walking experience is daunting, and the vast parking lots dominate much of the area similar to desert lands. The Vine Pediastrian Bridge proposed for Nicholasville Road acknowledges, adopts, and solves these challenges in creating a reimagined Nicholasville roadway complete with the ultimate pediastrian paradise experience for residents and visitors of Lexington, Kentucky.

PLAN DRAWING OF NICHOLASVILLE ROAD (PURPLE)

Power to Pediastrians

District Connectedness

Sustainable and Green

Tiered Density

WIND | PEDIASTRIAN FLOW

The nature of wind is often slight like a breeze, sometimes brisk, active, and quick to alter in direction; wind too may be gusty and forceful. Wind is essentially unpredictable, instaneous, and inconsistent. Wind is a lot like like events and experiences, and undoubtedly the flow of people and transit in urban environments. Don’t be a wall that fights the wind, be a mill that the wind works with. Plan cities to flourish by acting as the mill.

ANTS | VEHICLE

Ants are orderly and communicate while in transit. Corridors will change in the future, and cars will have to do the same as cities are being reinvented.

VINE | BRIDGE

Vines interwine and bridge nature together, in the same manner bridges do the same in connecting the urban fabric and enabling travel to and from.

Seeds are planted considering three values: where pediastrians life while in mode of traveling is at greatest risk, where travel by corridor is severaly disrupted for pediastrian travel, where materials live concrete and space like parking lots dominate.

The matriculation of people and activity in these places will water the seeds. Increases in pediastrianism along the bridge, by establishments bring economic advantage for investors and developers who may garner intrest next to enter and exits.

It intends to connect both sides of the corridor and transform the connectiveness between pediastrians and vehicles with access to residential and commercial areas. Creating independence not relied on modes of vehicular transportation.

VINE COIL OFF BOARD AND BUSINESS GAIN

The Vine bridge engages with the city and begins to interwine with the existing conditions of the city. Among these concepts is the bridge connecting with builds to create green roofops and provide tax credit incentive for participants.

Green is brought to the corridor by three means: gardens created underneath bridge, trees and vegitation growing on bridge aisle, and pocket parks hovering over the city to create a space free from the ground level and conveniently above.

Overtime as the corridor becomes an equitable space for the pediastrian, vehicle, and public transit - and as it densifies in populated residents and businesses - the Vine Bridge evolves to create a tiered city. A series of layered bridges to access dense city.

ELEVATED POCKET PARK ABOVE CORRIDOR

7 The bridge presents the opportunity of the vine the chance to rid of all sidewalks along the corridor and bestow that space for the bus transit system. This is a great way to talk and illustrate how that space gets redefined.

COILED UP At key locations along Nicholasville Road are the coiled entrances that can be idenntified at street corners at the intersection, and in some moments the coil appears far from the roadway, such as in the parking lot or field.

SWOOP There are a number of opportunities along Nicholasville Road for a graceful on and off bridge experience. This design concept is particularly idealized for areas that pose as opportunities for activity and recreation, as well as areas that has axis where it would be best for people to cross.

TENDRIL SIDEWALKS Similar to the nature of a vine’s tendrils that coil around objects for growth and support the sidewalks of the bridge design emerge from ground level and meet the elevated bridge. The corridor consist of no sidewalks alongside the roadway, so these platforms become key in allowing people to cross the street, as well as onboard in various

LEAFY STOP The bus stops currently on the Nicholasville corridor are non-celebratory and lack an architcture that contrast from the existing environment. The new bus stop distinguishes itself from the landscape and transports those whether on bridge or ground access to bus or bridge above.

FURNITURE DESIGN WORKSHOP FURNITURE DESIGN Fall 2020 | Jill Leckner ARC 599 | Furniture Design Workshop

The furniture design workshop was an exploratory classroom and space wherein precedent and inventive methods, and means were furthered for research and fabrication. The art and structural science of traditional Japanese joinery, specifically the Stub Tenon Joint and the Rabbeted Oblique Scarf Joint, were created. Also, CNC joints like Hammer Tenon and Tenon with star mortise were also crafted in ambition of studying their properties and structural strength. In continuation of these studies and in furthering the findings from each of the projects the Bonsai Tabletop Waterfall and Flowdenza Credenza were designed and fabricated. The Bonsai Tabletop Water Fountain and Flowdenza, while both meant to communicate in narrative and purposes,

they expel on the concept of the natural element of water. Bonsai Tabletop Waterfall cascades water onto its floating platforms, continuously trinkling water throughout, and essentially creating a sense of tranquility and relaxation in any space. Flowdenza is an extension to this concept by representing the motion and nature of water as a moment frozen in time through the materiality of plywood that has undergone fabrication methods by the CNC machine. The wave façade of the credenza visually allures the eyes to its motionless movement, and this sensory of seeing like moving water with the sensory experience of listening to the pleasing cascade of the tabletop waterfall transforms and activates any space.

TABLE WATERFALL ON TOP OF FLOWDENZA PIECE STUDIO IMAGE

BONSAI TABLE TOP WATER FOUNTAIN

ANOTHER PERSPECTIVE OF FOUNTAIN

REFERENCE BONSAI TREE IMAGE

BONSAI TABLE TOP FOUNTAIN | BONSAI TREE

CLOSE-UP OF WATER POURING

For centuries, the bonsai tree has symbolized harmony, peace, order of thoughts, and balance. Bonsai uses the medium of symbolism to communicate ideas and emotions. Meticulously, the craft of bonsai tree sculpting relies on asymmetrical triangles, it is the presence of balance. The isosceles have unequal sides and this creates asymmetry. In various Eastern art forms like flower arranging, paintings and bonsai making, asymmetry creates “sabi” or deliberate imperfection. Asymmetrical triangles like an isosceles triangle create a sense of moment which symbolizes the continuation of life. This natural occurrence is very significant in Japanese culture. It represents movement, freedom, and continuity.

FABRICATION AND MECHANICS The Bonsai inspired tabletop waterfall in its construction features a centered spine that curves in an undulating motion as it soars upwards. This spine is cut with four 0.5” x 0.5” wedges along its sides, which enable the four platforms to nestle on and connect to the side wedges. The four platforms are imprinted with CNC toolpath design that mimics the same pattern along the face around the base of the fountain. This pattern engraving in the cascade platforms is to regulate how much and the

directionality of flow of water as it cascades from one platform and onto the other. The platforms are intentionally and strategically oriented where water falls gracefully back and forth between platforms, eventually reaching the pool in the base and cycled back up again, this gesture in design emphasizes the bonsai trees principle of balance and reliance. A water pump is encapsulated in the base of the fountain, and it is connected to a pump that travels up the undulating spine that recycles the water.

1. Top Platform

2. Second Platform

3. Third Platform

4. Bottom Platform

FLOWDENZA FLOW + CREDENZA

Like the yielding, shape-less, and fluid nature of water Flowdenza is the furniture credenza piece that is always moving without ever doing so. The shape of water is malleable only to the extent of the container or force acting upon it. Flowdenza rids water of its container and box and becomes it instead. On all four faces of the credenza the

undulating wave carve CNC facade creates an allure that reinforces "water is constantly purifying and flowing in on itself." Gracefully, this flow is a preserved moment of movement, yet while still it is in a sense active to stimulate any living or commercial space. This birch plywood credenza brings life as does its inspired element water.

CONCEPTUAL DESIGN The 360-degree conceptual flow of water as a wood facade is intruded beginning mid-height by its funcationality and purpose to be a credenza furniture piece. Be it that the flow is still an obscured box, its legs contributes to its narrative and aesthetic by making seem as though it floats. Like hands to a camera or cranes to a container, the black edgy legs frame the flowing box as the centerpiece to be marveled. The legs chic design contrast to the box's theme of flowing and water, and it introduces a new design language for the supports of the piece different from the language established for the cabintary. This is empahsized through color and style.

INLAND STREAM

THE NATURE OF WATER FACADE In continuation and collaboration with the completion of the Bonsai Table Top Fountain, that focuses on the flow of actual water and the concept of balance and dependency, Flowdenza focuses on the idea of expressing the same senations that of flowing water in the state

TSUNAMI

HURRICANE

of being solid wooded materials as a credenza. Many water typopgraphies were analysed to determine what rhythm of wave would convey subtlness and steadiness. Vector patterns of water in various conditions ranging from circumstances like tsnuami storms to still days led to the pick of inland stream currents as the inspiration that would contribute to the final CNC facade design.

INLAND STREAM

BEACH

WATERFALL

CONCEPTUAL DESIGN The joinery and mechanics of Flowdenza incorporates several systems. From prior Japanese joinery fabrication exercises, the concept of fastening elements by dowels was applied in connecting the frame legs with the body of the furniture piece. The drawers of the credenza are aligned with pegs whose diameter was cut in half to create a support condition, this method was done to enable a removable platform in the piece to allot more space for tall and large items between the three draws. Four Samsonite Lateral Hinges of the LIN-X450 model are the hinge systems for the outer doors of the credenza.

FLOWDENZA A credenza with a gestural facade that enacases all four faces of the piece. The gesutral and formulative facades are interuppted in moments by the functionalities of it being a sidebaord credenza piece.

LIST A. B. C. D. E. F. G. H. I. J. K.

A. Legs B. Legs C. Front and Back Facades D. Side Facades E. Bottom and Top Platforms F. Middle Division Piece G. Shelves H. Top Drawer I. Middle Drawer J. Bottom Drawer K. Dowels (2 kinds) Big Ones and Small Cut customized ones

ASSEMBLAGE CHAIR STUDENT COMPETITION Fall 2017 Independent Project, FORMICA Laminate Products

Assemblage is meant to adapt. In response to FORMICA’s Student Innovation Competition call to design “something to sit upon, lay upon, lean upon, or play upon,” Assemblage incorporates all four gestures. Fabricated by FORMICA laminate products of grasscloth, lime, white writeable surface, and maple, the Assemblage piece offers the adaptability to become furniture that serves and performs. The laminates add to the intersection of design and function. In vertical orientation the Assemblage piece becomes a chair, with a 110-degree angled recline. In horizontal orientation the Assemblage piece becomes

a multi-surfaced table considerate of all heights. The design of the Assemblage furniture piece creates a near endless use and set of orientations. The advantage of the white writeable surface explores an avenue of play, learning, and engagement. The writeable surface encourages drawing and writing to occur. Youth, and interested users alike, can tirelessly illustrate and erase on the furniture rather than on the walls. Parents also can use the writeable surface as a means for teaching or conversation. The versatility of the Assemblage, in design and intent, makes this piece of furniture user and family friendly.

GRASSCLOTH

LIME

WHITE WRITEABLE SURFANCE

MAPLE

The

THE RIVER ROCK PROJECT COMMUNITY SERVICE PROJECT Spring 2018 Independent Project in Association with 4-H Organization

River rocks are rounded and smoothed by the motion of moving water and based on that same concept the River Rock Project was created to combine design and philanthropic efforts to provide underserved students of the local Hopkinsville, Kentucky community scholarships to enable them to take part in opportunities, like their peers, that contribute to their personal and professional success. The project adds to the existing community as being long-lasting, significant, and participatory. Scholarships provided to students are the result of proceeds from river rocks sold to community people, who have the benefit of buying a rock with their name engraved onto it, along with having their rock embedded into the project site circling the native Appalachian Redbud tree. The annual addition of new river rocks to the project site

sparks enthusiasm to partake, and it generates an annual revenue to be made into scholarships for students to participate in the opportunities and experiences offered by the local 4-H Cooperative Extension Office. The project site on Pardue Lane was acquired by Hopkinsville City Government, who granted the project’s location on city property after an admired proposal. As annual contributions to the project’s mission continues, the engraved river rocks develop into four walkways sprouting from the original ring of rocks around the tree. These four pathways are intended to continuously extend every year and become an added feature of the local park, meanwhile, creating an embedded treasure that the community and donors feel part of always.

MONTREALE'S PERSONAL PROJECTS FAVORITES OF PERSONAL PROJECTS Collections of 2015 - 2020 Independent Projects

As an individual of many interests, talents, and skills I have several concurrent endeavors that I fascinate in exploring. Projects and pursuits range from acrylic portraits, sculpture crafting, digital art, graphic design, videography, storytelling, world-building, fabrication, and relationship exploring between design and men’s fashion. Of the projects chosen to feature in the portfolio, first is a sculpture completed in 2015 titled “Colorless Coral,” it is intended to mimic the mysterious and vibrant sea plant life along the ocean floor. Its obscurity and abstractness were formed to create a full perspectival experience as onlookers observe the piece from various all angles. The construction of the sculpture is crafted of an elastic fabric that was pulled and draped over the wire frame and foam base. The piece was painted white to emphasize its formal qualities, and cracks were an after effect that

added texture and a grain like pattern. As for the second project a series of digital vector portraits were created in 2020 by means of outlining the light and shadows of original images in Rhino, then the vector work was imported in Adobe Illustrator and colored in based on color matching by eye – a technique from previous experiences hand painting. The project phase illustration is showcasing the process undergone to create the vector portrait of Montreale Jones in red trench coat, as well as all vector project phases, and the other vector portrait is of a friend dedicating homage to the late NBA Lakers player Kobe Bryant. Added art include a vector portrait of Oliver, and an acrylic portrait of the hit ABC television series character Regina the Evil Queen from Once Upon A Time. The piece is titled, “Just One Bite.”

OLIVER. DIGITAL VECTOR PORTRAIT

JUST ONE BITE, ACRYLIC PAINTING

Thank you, for your consideration.

Montre'ale Jones | 2021 Portfolio

Articles inside

FURNITURE DESIGN WORKSHOP

THE VINE ON NICHOLASVILLE ROAD

GLITCH HOUSE