VIRGINIA TECH INTERIOR DESIGN
THE EDIT
PROGRAM NEWSLETTER
SPRING - ‘20
CHANGING COURSE
ON THE COVER “Order”
Bauhaus, Dessau, Germany Delaney Leach (‘20)
Visit https://archdesign.caus.vt.edu/itds/ for more information.
C o n n e c t i n g t h e p a s t , p re s e n t , a n d f u t u re o f Vi rg i n i a Te c h I n t e r i o r D e s i g n .
VIRGINIA TECH INTERIOR DESIGN
ISSUE - 03
Over the course of our personal and professional lives,
SPRING - ‘20
we will at some point (or perhaps already have) be faced with experiences that can be identified as pivotal moments. Whether positive or negatively perceived at the time, these moments have the potential to offer new perspectives and opportunities that in turn, can alter our ways of thinking and impact our paths in life. This issue celebrates adaptation during times of transition, deliberate or otherwise. It explores how designers react to change, how to overcome unexpected obstacles, or simply how to remain inspired and optimistic during times of uncertainty. Whether it be a bold career change or a step away from the ‘traditional’ education path, we hope this issue of The Edit encourages you to embrace those pivotal moments and find what motivates you to continue creating.
PROGRAM NEWSLETTER
CHANGING COURSE
12
14
A Message from the Program Chair
Meet the Virginia Tech Advisory Board
2020 Calendar of Events
18
28
92
Meet the Graduates Class of 2020
Senior Thesis Showcase
Bauhaus Open Studio: Design Intensive
I II . ALUMNI
116
120
124
Changing Course: Back to School
Enjoying the Ride: Staying in School
Alumni in the Spotlight
IV. C RED ITS
130
131
Acknowledgements and Contributors
How to Get Involved
II. STUDENTS
I. INTRO
11
100 Awards and Recognition
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PROGRAM NEWSLETTER
VIRGINIA TECH INTERIOR DESIGN
I. - INTRO 11
12
14
A Message from the Program Chair
Meet the Virginia Tech Advisory Board
2020 Calendar of Events
10
ISSUE - 03
PROGRAM CHAIR’S MESSAGE
This semester has brought unprecedented changes for all of us. During Spring Break, while all the students were scattered across the world, Virginia Tech made the decisions to go to 100% online classes and to extend Spring Break by a week. I am thankful for the willing and engaged faculty in the interior design program who made this transition without complaint. I am also thankful to the students who have adjusted seamlessly to this drastic and sudden change to their social and educational lives. My heart goes out to the seniors who were in the middle of their final thesis projects and interviewing for jobs when all of this happened. This year, for the first time, we had to cancel our annual “Meet the Graduates” event. I think it is safe to say everyone has been directly impacted by COVID19. In spite of that, Virginia Tech students, faculty and staff have maintained the rigorous academic standards and a positive attitude. I am proud of everyone and wish everyone health and happiness. We will come out of this on the other side stronger than before. Lisa
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11
MEET THE VIRGINIA TECH A D V I S O RY B O A R D
L IS A T U C KE R Professor and Program Chair, Virginia Tech Interior Design ltucker@vt.edu
C A ROLI NE ALEXAND E R Board Chair
L I SA B R O CK MA N Membership Chair
CCA LLC, Lexington, VA
Bialek, Washington, D.C.
Virginia Tech Interior Design ‘90
A M Y G R OOM E Alumni Network Chair
H E AT H ER ROBIN S ON Sponsorship Chair
IA, San Francisco, CA
Within Interior Design, Norfolk, VA
Virginia Tech Interior Design ‘17
Virginia Tech Interior Design ‘98
caroline.alexander403@gmail.com
lbrockman@bialek.com
a.groome@interiorarchitects.com
HRobinson@withindesigns.com
LI NDSEY KI TE Secretary, Alumni Network
PE TE R B R O W N Membership Commitee
C H RIS T Y G A RRIT Y Sponsorship Committee
FA RRA H G OA L Alumni Network Committee
INTEC Group Inc., Fairfax, VA
AECOM, Roanoke, VA
OTJ, Washington, D.C.
Gensler, Washington, D.C.
Virginia Tech Interior Design ‘11
Virginia Tech Interior Design ‘95
Virginia Tech Interior Design ‘XX
Virginia Tech Interior Design
lkite@intecgroup.net
peter.brown@aecom.com
christyg514918@icloud.com
farrah_goal@gensler.com
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ISSUE - 03
FI ONA GRA N D O W SK I Sponsorship Committee
SCO TT M OON EY Sponsorship Committee
M A RIE M OU T S OS Membership Committee
KE L S EY MUI R Alumni Network Committee
Collins Cooper Carusi, Atlanta, GA
Muse Architects, Bethesda, MD
FOX Architects, Washington, D.C.
Virginia Tech Architecture ‘91
Virginia Tech Interior Design ‘95
FGrandowski@collinscoopercarusi.com
smooney@musearchitects.com
mmoutsos@fox-architects.com
kelseymuir@vt.edu
KRI STEN PFI STE R Alumni Network Committee
J U STI N S M IT H Sponsorship Committee
M A R C Y T R E P KE Alumni Network Committee
S Y D N EY MI LLER Student Liason, Sponsorship
New York, NY Virginia Tech Interior Design ‘19
Steelcase, Denver, CO
FM Studios, Sterling, VA
Gensler, Washington, D.C.
Virginia Tech Interior Design ‘07
Virginia Tech Interior Design ‘00
Virginia Tech Interior Design ‘95
Virginia Tech Interior Design ‘20
kpfister@steelcase.com
jsmith@fmstudios.com
mtrepke@outlook.com
sydnem1@vt.edu
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13
CALENDAR OF EVENTS 2020 Key Dates
01
02
03
01/21/20
02/05/20 + 02/07/20
25% SENIOR THESIS PIN UP ( Blacksburg)
03/07/20 03/15/20
02/08/20 02/16/20
DESSAU/BERLIN STUDY ABROAD
02/26/20 + 02/28/20
50% SENIOR THESIS PIN UP ( Blacksburg)
JAN
SPRING 2020 SEMESTER BEGINS
FEB
SPRING BREAK
04
05
06
APR
M AY
JUNE
05/06/20
14
MAR
SPRING 2020 SEMESTER ENDS
ISSUE - 03
07
J U LY
08 AUG 08/24/20
09
SEPT
FA L L 2 0 2 0 SEMESTER BEGINS
10
11
12
OCT
NOV
DEC 12/09/20
SPRING - ‘20
FA L L 2 0 2 0 SEMESTER ENDS
15
SPRING - ‘20
PROGRAM NEWSLETTER
VIRGINIA TECH INTERIOR DESIGN
II. - STUDENT NEWS 18
28
92
Meet the Graduates Class of 2020
Senior Thesis Showcase
Bauhaus Open Studio: Design Intensive
100 Awards and Recognition
M E E T T H E G R A D U AT E S Virginia Tech Interior Design Class of 2020
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ISSUE - 03
SPRING - ‘20
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“ W H E R E D O Y O U L O O K F O R I N S P I R AT I O N ?
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H O W D O Y O U S TAY I N S P I R E D ? ”
ISSUE - 03
DILLON BAT E M AN Ashburn, Virginia
O L I V I A B ED N A SH Montville, New Jersey
“I look toward nature and biophilia for inspiration, and I
“Nature, greenery, plants. It always keeps me motivated
stay inspired by showing my work to those outside the
and you can find so much inspiration within it.”
design field and hearing their input to better my work.”
M ADI S ON BOLANDE R Newark, Delaware
SYD N EY D EL B R I D G E Wilkesboro, North Carolina
“I find the most inspiration when I am just hanging
“Traveling to new places, not that that has to be
out and talking with my friends, I think when my brain
somewhere “exotic” or out of the country but rather
is relaxed it gives it time to wander and helps me to
somewhere out of my comfort zone.”
appreciate the beauty around me.”
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21
KATELYNN D I I OI A Christiansburg, Virginia
SA R A H ED WA R D S Bellingham, Massachussetts
“Nature has been the place where my family and I
“I try to look for inspiration everywhere; when you look
explore and reconnect, so it has always impacted my
at the world the right way, anything can spark your
life. Now as a designer, it serves as an opportunity for
creativity.
endless inspiration for me.”
me remain resilient.”
CLAIRE GRAB LE Houston, Texas
B O N N EE G R EN N O N Forest, Virginia
“I always look to the site of my projects for inspiration.
“I try to stay inspired by my surroundings, when I feel
Staying inspired is something that can be hard for me,
uninspired I go somewhere else and continue until
but I can always find inspiration in nature and the built
something sparks my interest.
Surrounding myself with loved ones helps
environment.”
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ISSUE - 03
KYLIE HE ALD Charlottesville, Virginia
MA D ELYN H O L L I D AY Lancaster, Pennsylvania
“Inspiration is found in peeling back the layers of an
“A project’s surrounding community and nature.”
experience or thing. Often, approaching something mundane with a sense of discovery and enthusiasm will reveal the extraordinary.”
ZIWE I J I Xi’an + China
R A C H EL KI M Centreville, Virginia
“Most of the time, my inspiration comes from the
“I find that I always look to nature for inspiration. I’m
research of the project. Reflection after each project
always surrounded by and it’s always changing so it’s
helps me to stay inspired and to try different design
easy to stay inspired.”
approaches in the next project.”
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23
BECKY KUFR O Williamsburg, Virginia
D EL A N EY L EA C H Mechanicsville, Virginia
“I look to nature for inspiration.”
“I stay inspired by remaining present and curious throughout my day - always searching for how things work and how people interact with them.”
SAVANNAH L E I G H H. Salisbury, North Carolina
SYD N EY MI L L ER Burke, Virginia
“No one is ever inspired all the time, and inspiration
“My many many role models.”
doesn’t always come when you need it. So when I find inspiring places - inside, outside, greenhouses, falling down farmhouses, pristine gardens, anywhere - I take pictures that I feel capture the essence of that place.”
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ISSUE - 03
DEVO N PE RE NI C Bristow, Virginia
TAYL O R R EN A U D Lakeville, Massachusetts
“When I see my final projects come together - I see
“I look to nature for my inspiration whether it’s physically
how talented I can be...That feeling of accomplishment
incorporating it into the project or using it to guide my
is what keeps me inspired.”
decisions. I stay inspired by talking to people about my project, it reminds me of the idea that excited me in the first place.”
KELS E Y RYAN Montville, New Jersey
KAYT SH A FFER Blacksburg, Virginia
“I follow many designers on Instagram in all avenues
“I find most of my inspiration from discussion and
of interior design, both commercial and residential, and
interaction with my peers.”
even in other types of design. I look to all avenues of art for inspiration!”
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25
JIAYI SHEN Hangzhou, Zhejiang Province, China
L A N G SU B L ET T Winchester, Virginia
“Seeing other people’s work.”
“By making sure to spot good design while traveling, wherever it may be.”
LAUREN WALW E R Colonial Heights, Virginia
MER RYN WI L L I A MS Lexington, Virginia
“ASID newsletters, Interior Design magazine, design
“I’m a very sentimental person, so I pull inspiration
Instagram accounts, and professionals that I’ve
from a sensations I’ve had in the past while visiting
networked with.”l
places or traveling, and work on how to bring those feelings to life in a project.”
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ISSUE - 03
EM M A W OODWARD Vero Beach, Florida
J ESSI C A ZA PATA Manassas, Virginia
“I seek out what other fields are doing creatively, from
“I’m inspired by stories. I find inspiration in discovering
fashion and music to business. Reading about others’
ways of conveying a story through means of art and
creativity helps to keep things fresh for me.”
design.”
YANT I NG Z HU Guangzhou, China “I draw inspiration from many things like art, music, and fashion design. One particular thing that I love to watch that inspires me is set design.”
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SENIOR THESIS SHOWCASE Virginia Tech Interior Design Class of 2020 The 4th-Year studio provides a final opportunity
Concluding this year-long study and execution
for students to explore a project type of their
of one of the following five thesis prompts, we’d
research,
like to recognize and celebrate the hard work of
consisting of project/site selection, preliminary
this year’s senior class by highlighting each of
site and building analysis, programming, and
their individual projects. Considering much of the
more. Spring semester combines research with
final content was developed during isolation, the
design, addressing all of the design phases to
following spreads are truly a testament to their
bring a unique concept to life.
resiliency and dediction to their work.
choice.
Fall
semester
focuses
on
Congratulations and best of luck to the Class of 2020!
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ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
29
30
ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
31
ZIWEI JI
Project Statement T his hyp o t he t ical m issio n is t o d e sig n t he int e rio r o f t he m o d ule s f o r a Mars Hab it at in 1 8 0 d ays t o t al d urat io n. T he m issio n includ e s 4 cre w m e m b e rs o n t he Mars surf ace . T he cre w will sp e nd t he ir t im e in t hre e hab it at m o d ule s. T he
HABITATION
M A R S
d im e nsio n o f e ach m o d ule is 5. 0 995 m x 4 . 2 m x 4 . 2 m . T he m ain g o al is t o
32
p ro vid e a se nse o f co nt ro l and im p ro ve s b o t h p sycho lo g ical and p hysio lo g ical he alt h t hro ug h t he int e g rat io n o f fl e x ib le d e sig n and t e chno lo g ie s.
Concept Statement T he insp irat io n is wat e r. Wat e r chang e s p hase s f ro m so lid , liq uid t o g as. Im p le m e nt ing t his id e a t hro ug h t he d e sig n o f d e nsit y and f unct io n o f e ach sp ace . Liq uid wat e r as t he circulat io n t o carry cre w f ro m o ne sp ace t o ano t he r. C re at ing a se nse o f fl o w b ase o n ast ro naut s’ d aily ro ut ine . It he lp s t he m t o re lie ve t he se nse o f co nfi ne m e nt and re d uce s t he st re ss f ro m a re p e t it ive ro ut ine .
AXON
MODULE C c r ew a c c om m oda t ions
S ec ond F l oor S l eeping P od 1 & 2 P er s ona l S t or a ges Toil et St o rag e s T o ile t Hyg ie ne St o rag e s
F ir s t F l oor S l eeping P od 3 & 4 P er s ona l S t or a ges Toil et S hower St o rag e s T o ile t Hyg ie ne St o rag e s
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SYDNEY MILLER
LUNAR GATEWAY
This is a proposed design for two Lunar Gateway Modules located in orbit 238,900 miles from Earth. It will be orbiting the moon as a base station for research and deep space travel. Four crew members are to complete a 14 day cis-lunar mission in micro gravity. Designing for human wellness by utilizing certain forms, lighting, and delineation elements can improve the physical and mental states of astronauts. The module design is based on orbital motion. The Lunar Gateway will be on a constant cyclical path around the moon. In order for orbit to occur, a large body that creates a gravitational pull must be present for small objects to constantly fall towards it. A central form acts as this unifying body in the module. It defines the pathway and creates a gathering point. The cyclical routine of astronauts also fits the concept in the flow of activity in modules.
ORBIT AROUND LARGER BODY
PARTI:
PLAN ANNOTATIONS:
INTERNAL MODULE ORBITS
1. SLEEPING POD
8. WORK SURFACE
2. EXERCISE AREA
9. COLD STOWAGE
3. LOUNGE AREA
10. WORKSTATIONS
4. GALLEY
11. ROBOTIC ARM
5. FIRST AID
12. SAMPLE STORAGE
6. GALLEY GARDEN
13. WC A*
7. TEST GARDEN
14. WC B**
*Enclosed area with mirror for light clean up and washing.
** Enclosed restroom for both solid and liquid waste
MAIN CONNECTING ORBIT
34
ORBIT OF A DAILY ROUTINE
connection hatches indicated with arrow
LAB MODULE
LIVING MODULE
Cooler color temperature defines in the lab module helps delineate “work” from “home
Circadian Rhythm lighting and horizontal surfaces remind astronauts of home.
10.
11.
9.
8.
12.
5.
7.
2.
3.
6.
1.
14.
13. 4.
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J I AY I S H E N
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ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
39
D I L L O N B AT E M A N
THE
THREE
LINTELS Richland Center, WI is the birthplace to Frank Lloyd Wright and the location of Wright’s only warehouse he designed, the A.D. German Warehouse. The warehouse is on the National Register of Historic places and was originally designed using Mayan Revival design elements. The current adaptive reuse design proposes a restaurant, yoga studio, and affordable apartments. Inspired by the Mayan Temple of the Three Lintels, the concept emphasizes the interconnection between nature and people. Using traditional Mayan patterns, materials, and recipes, the restaurant is a cultural hub for the community to gather.
First Floor Plan, NTS
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Parti Diagram
Restaurant Bar View
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SYDNEY DELBRIDGE
C U LT I VAT E FOOD HALL + AFFORDABLE APARTMENTS
Crop field mapping is determining the most efficient and effective method for farm layouts. Farmer’s must consider adjacencies of crops so that they can maximize soil building practices, which then maximizes their property and crop growth. This approach allows for flexibility and crop rotation. Farmland is prominent surrounding the site in Richland Center, WI. Similar to the systematic approach farmers take when laying out their farms, efficient and effective adjacencies are fundamental when considering the layout of various food booths within the food hall on levels 1 and 2. Individual food booths allow for flexibility and seasonal rotation. The apartments on levels 3 and 4 also carry out similar layout, with a central opening providing a clear circulation path.
PARTI DIAGRAM A central lane provides easy access to all fields and provides maximum flexibility for change in operations and keeps field travel to a minimum. Location of the farmstead near a corner crossroads has the advantage of access to two roads and more than one entrance to the farmstead. The food booths and apartments will line the perimeter while an opening is centrally located, creating the main circulation path.
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FOOD BOOTH 1
FOOD BOOTH 2
FOOD BOOTH 3
STORAGE DISH RETURN OPEN TO BELOW
OFFICE SPACE
SUSHI BAR
MEN’S WC
WOMEN’S WC
LEVEL 2 SCALE : 1/16” = 1’-0’
FOOD BOOTH ELEVATION - LEVEL 2 NTS
Individual food booths line the perimeter, while an opening is located centrally creating the main circulation path.
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K AT E LY N N D I I O I A
ALBERT D GERMAN WAREHOUSE A DA P T I V E R E U S E P R O J E C T This project consists of a 16,000 sq. ft. coliving facility with a yoga studio and café for the public located in the A.D. German Warehouse in Richland Center, Wisconsin. The Warehouse, designed by Frank Lloyd Wright, was built in 1921 and is listed on the National Register of Historic Places in Wisconsin. The current owner wants to create month to month tenancy housing, designed with sustainable materials and practices, to reduce the environmental impact, as well as inspire residents to live sustainably. The design pays homage to Wright, as the A.D. German Warehouse is the only building he designed in his home town. The design is inspired by the Froebel blocks Wright played with as a child, which inspired his love of architecture. The concept is the repetition of a solitary shape, a cube, to create an interesting variety of spaces. The programming uses the existing column grid, which divides the space into a grid of cubes. This was translated into the parti diagram. The parti organizes space based on specific parameters (example shown) to decide spatial layouts and adjacencies.
GENERAL PROGRAM USAGE
RESIDENTIAL COLIVING SPACES COMMERCIAL PARTI DIAGRAM
The form of a cube also inform furniture and finishes, all of which incorporate sharp angles or lines in form, as well as in materiality.
YOGA ROOMS YOGA STORAGE
CAFE SEATING
VIEW
CAFE BAR
RESTROOMS
COMMUNITY ROOM
LIFT STORAGE ENTRANCE FIRST FLOOR PLAN SCALE 1/16” = 1’ 0”
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COMMUNITY LOUNGE
SUSTAINABILITY ASPECTS
5
1 2 SECOND FLOOR
6 FOURTH FLOOR
3 4 7 FIRST FLOOR 1 HERB GARDEN TO GROWN FOOD IN HOUSE 2
GRAYWATER RECYCLING, EFFICIENT APPLIANCES, + WASTE WATER HEAT HARNESSING
3 HEALTHY HABITS - YOGA, CLEAN EATING, ETC.
THIRD FLOOR 4 SUSTAINABLE MATERIALITY
5 DAYLIGHTING THROUGH ATRIUM 6 INSULATION
7 MODULAR APARTMENTS
VIEW OF CAFE BAR FIRST FLOOR
45
LANG SUBLETT
A.D. GERMAN WAREHOUSE ADAPTIVE REUSE Designed by Frank Lloyd Wright, the 16,000 square foot Albert D. German Warehouse is located in Richland Center, Wisconsin. The building will be adapted to be a food hall/local marketplace and residential apartments for local residents, visitors of Wright’s hometown, and for visitors of Taliesin, just 25 miles away.
CONCEPT STATEMENT Known to locals as “The Driftless,” this region lacks boulders, sediment, and other materials left by glaciers melting and retreating, known as glacial drift. This unglaciated area stands as a patch of luscious paradise in the middle of flat prairie lands of the Midwest. The topography depicts an undulating canvas of rolling hills. Mountains in the region consist of large masses of rock towering over weaker, yet supportive materials. Parti inspiration is taken from the irregular tiering of the mountain’s construction, with the strongest component in the center. Aesthetically, the food hall and apartments will represent Wright’s wide range of styles, from Prairie to Usonian, as he created and altered of the A.D. German Warehouse over a span of many years.
Site: 300 S Church St, Richland Center, WI
46
Parti Diagram: Mass surrounded by weaker, supporting material
View of upper level living area in 1 Bedroom Apartment
N
LEVEL 4 FLOOR PLAN NTS
47
E M M A W O O D WA R D
A.D. GERMAN WAREHOUSE
DINING AREA
LIFT
thesis statement Display, showroom programming - including dining - and method WC
of transaction will influence shoppers to frequent a brick-and-
DINING AREA
DINING KITCHEN AREA
mortar store as opposed to shopping online. LOUNGE
LOUNGE
concept Mayan Revival architecture was popular only for a short time during Wright’s career, during which he designed the A.D.
FLOOR 1 BLOCK DIAGRAM
German building. Maya development changed the landscape of Central America, and the civilizations built structures across their environments. When structures were outgrow they were not demolished, but instead new additions and structures were built
PLAN ANNOTATIONS 1. ENTRY 2. HOST + INFORMATION 3. LOUNGE SEATING
8. FREIGHT ELEVATOR 9. COMMUNITY TABLE 10. BOOTH SEATING
A.D. German Warehouse by way of density. The core of the
4. LIFT
11. LOUNGE SEATING
building, under an added atrium, being the most open and light
5. STAFF LOUNGE
12. ATRIUM STAIRS
filled area. Radiating out in concentric disks, the density increases.
6. STAFF OFFICE
13. KITCHEN
around the smaller buildings. This method of growth is called superimposition. Superimposition in design is translated to the
7.
REST ROOM
14. GUEST ELEVATOR
parti
ENTRY + ATRIUM STAIRS
MOST DENSE 48
LEAST DENSE
The entry and atrium stairs, shown right, are the first view visitors will encounter upon entering the building. They are welcomed by lounge seating which flank the steps to the main level. The atrium brings light to into the center of the building and the stairs allow guests to experience the added openness of the building as they circulate between levels. The restaurant dining room surrounds the atrium stairs, which transport guests to the second floor where the showroom beings.
11.
10. 8.
14. 9. 13.
7.
12.
6.
5.
4. 3.
3. 2.
1.
FLOOR 1 | RESTAURANT 1/16” = 1’0”
ENTRY + ATRIUM STAIRS
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50
ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
51
MADISON BOLANDER
POST-FLOOD HOUSING Nainital, Uttarakhand, India Problem Statement:
Exterior Axon:
India has long been the most affected country by natural disasters, and has felt the effects of some of the most damaging floods. However, for just as long, the country’s disaster relief support has been lacking in many areas, especially in providing disaster housing designed to support the users’ mental health and wellbeing. The National Disaster Management Authority, run by the
Recycled Metal Roofing
Government of India, wants to create disaster relief housing that will better support the victims’ recovery. This project, located in Nainital, Uttarakhand, India consists of roughly 500 sf units and is meant to be used transitionally. This shelter design uses cradle-to-cradle materials and focuses on providing an adaptive environment to support all residents mental health and wellbeing.
Thesis Statement:
Straw Bale Insulation
Perspectives:
Providing a supportive, safe, and adaptive environment for victims of natural disasters will ease their transition into as well as out of disaster relief housing units.
Concept Statement: The traditional Indian household includes three generations living under the same roof with communal spaces for living and cooking. This includes the paternal
Kitchen
grandparents, the parents, and children. Family members outside of this immediate family unit live in adjacent homes. Drawing inspiration from the family structure of the Indian household, this design emphasizes interdependence and cohesion while supporting nuclear independence for extended family and nonfamilial neighbors. The modular design of the shelter allows for seamless additions to each unit, supporting the connection expected in an Indian household while also supporting individual family needs. 52
Bedroom
SENIOR THESIS Madison Bolander Partis:
Key: Husband’s Blood Line
Wife’s Blood Line
Lineage Line
Family Members
Structural Walls
Sleeping Modules
Support Module
Floor Plan: Annotations:
1.
4.
1. Traditional separate shower and laundry allowing multiple uses simultaneously
2.
2. Traditional Indian style “bucket” shower, including a wall faucet and center drain 3. 3. Turkish squat toilet, as is customary in India 4. Traditional almirah trunks
5.
5. Dual purpose, collapsible kitchen island + dining table 7.
Plan 1/8” = 1’ - 0”
6. 7.
4.
6. Teak flooring from local FSC certified forests
7. Sleeper lounge chairs, convert into twin beds for the children
53
BONNEE GRENNON
Canine Kennel Interior Axon
Parti Diagram 54
The parti diagram drives inspiration from the tongue and groove joints used for the floor, wall and ceiling panels. This simple geometric configuration was translated into an interior that reflects along a single axis with rectilinear modules.
Storage
Storage
Indoor Kennel
Outdoor Kennel
Outdoor Kennel
Indoor Kennel
Outdoor Kennel
Indoor Kennel
Indoor Kennel
Outdoor Kennel
Outdoor Kennel
Indoor Kennel
Indoor Kennel
Outdoor Kennel
Outdoor Kennel
Indoor Kennel
Indoor Kennel
Outdoor Kennel
Storage
Storage
Canine Kennel Plan
This design consists of several structures that will help animal shelters accommodate the influx of dogs and cats during emergency situations. This particular design is best suited to exist adjacent to an existing shelter, so that animals can be treated and housed within the same property. By taking inspiration from a collapsible dog crate, a product that forms space by combining rectangular geometry with looped connections, the concept of components interactive with one another to create a versatile unified form was developed. This idea informs the construction of the exterior, where pre-fabricated panels connect to one another using simple joint geometry will be used to create the main structure. These panels help to establish how the interior will function, whether it be used for various kennels, cages or both. The interior kennels are attached via a pin joint system and can be arranged in several different configurations.
55
KYLIE HEALD
FiNdiNg
To reach a state of inner peace or harmony, esp. by meditation; to engage in quiet reflection or contemplation.
A point from which something proceeds, emanates, originates, or develops; a nucleus, a source.
PATH OF
This accessory dwelling unit studies the potential a sustainable built environment to enhance human awareness and conscious behavior in order to holistically improve the occupant’s quality of life and daily wellbeing. The design concept developed following a conversation on the topic of Quakerism. I was provoked by the idea of “centering” or achieving the highest level of mental balance in order to engage with people, space, and the natural environment in a more intentional manner. This fascination prompted me to explore the many definitions of the word “center” and the impact of physical space Containers
on physiological balance. 56 SHIPPING CONTAINERS 3 6
20’ high cubes 40’ high cube
480 sf 1,280 sf
9
total
1,760 sf
CENTER CENTERS
A point towards which things move or tend; a focus of concentration or attraction.
The middle point or part of anything; the innermost portion, the midst; the zone or region which is equidistant or remote from all sides, ends, or surfaces.
A point, pivot, or axis about which something turns or revolves.
With reference to an immaterial or abstract thing; the most essential part; the heart, the core.
The most significant place with regard to a particular activity, industry, etc.; a place or point around which things are situated or gathered.
The innermost point of the earth.
F TRAVEL
RS S (INFORMED BY AXIS)
CRITICAL VIEWS
Axial Centers
PATH OF TRAVEL
Critical Views
Path of Travel 57
DELANEY LEACH
AZRAQ REFUGEE CAMP A zraq, Jordan | 31.907 2° N, 36.57 7 6° E
PROBLEM STATEMENT T h e p r o j e c t c o n s i s t s o f m a n y 2 9 0 s q. ft . r e f u g e e she l ter s lo c ate d in the A zraq Camp in Jordan. The Uni te d Nations Hig h C ommis sioner for R e f uge e s want s to imp ro ve the 8,9 52 she l ter s in the A zra q Camp by redesigning the shelters and adjacent communit y buildings to suppor t self empowerment and re silienc e while remaining ne t zero. The ne w c ommuni t y will pro vide Sy rian re fuge e s who se ek as y l u m a s afe and heal thy p lac e to c a ll home. THESIS STATEMENT When the design of a space fulf ills the basic needs of an individual, the y are able to move towards se l f ac tuali z ation and c ommuni t y impro vement . CONCEP T STATEMENT
Syrian Courtyard Home
The design of the A zraq refugee villages + shelters are inspired by Syrian vernacular architec ture and u rb an p lanning. Many Sy rian re f ug e e s may ne ver return home so using designs familiar to them aims to pro mote c omfor t and c ommuni t y.
Following vernacular architecture helps mitigate the extreme temperature and weather conditions that are customary to the desert. 100% of the materials used for the existing UNHCR shelters are re-purposed and reused for the new courtyard configuration. The remaining materials are constructed of Finite concrete - a concrete made of desert sand.
1. Existing UNHCR Shelter
3. Side Wall Removal
2. Roof Extension + additional structure
58
4. Reuse Walls +additional structure
3
1
2
2
4
5
6 7
Twin Bunk Unit * denoted by dashed box in floor plan
4 1
3
2
2
Floor Plan: 1/4” = 1’-0” 1. Vestibule/Entry
4. Living Area
2. Twin Bunk Room
5. Kitchen
3. Full Bed Room
6. Bath/Laundry
7. Courtyard
59
J E S S I C A Z A PATA
RENEW SHELTER A Disaster Relief Shelter for displaced people in the Philippines.
Designing engaging spaces to impact human behavior, and rehabilitation of people affected by disaster. People and families who occupy shelters are not there on their own accord. Rather they have experienced trauma and must now readjust their lives in order to survive. The design concept encourages reconstruction of social connections, economic accessibility, and the home in order to hasten recovery time within a shelter. Additionally, after having lived in the shelter community, people and families will leave with the resources to reconstruct their local communities for the better.
Early sketches of form based on venacular Nipa Hut
PARTI DIAGRAM
WHAT WILL BE RECONSTRUCTED? Shelters
are able to be assembled & disassembled by hand
Microenterprise
to reconstruct a small economy & building skills
1. Wrap-around Terrace Ba 2. Kitchen
3. Convertible Dining/Livin Recuperative Indoor & Outdoor spaces that encourage social
interaction
60
4. Bedroom 5. Bathroom 6. Loft
1.
2.
5.
3.
4.
6.
ase UP
ng Area
FLOOR PLAN NTS
LOFT NTS 61
62
ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
63
M A D E LY N H O L L I D AY
B E H AV I O R A L H E A L T H C A R E “Journey to rejoining the community.”
M E L B O U R N E P SYC H I AT R I C C E N T R E
This project consists of a 50,000 square foot behavioral healthcare facility located in East Melbourne, Australia. It is estimated that 45% of Australian adults will experience a mental disorder in their life. According to Australians for Mental Health, “Australia’s mental health services are fragmented, underfunded, hard to access, and of poor quality.” A specialized behavioral healthcare facility will help mitigate the scarcity of psychiatric clinicians in the area, normalize behavioral health treatment, and increase patient comfort.
TH E S IS S TAT E ME NT :
F O CUS:
Implementation of a circadian rhythm lighting system will decrease the length of stay and improve patient outcomes in behavioral healthcare patients. Additionally, it will improve overall wellbeing in healthcare employees who experience shiftwork by preventing circadian misalignment.
Supporting Circadian Rhythm CORTISOL MELATONIN
ALERTNESS
6
12
18
24
6
12
18
24
6 TIME
CON C E P T STATE ME NT : The Yarra River flows through the heart of Melbourne, Federation Square. This hub is a large community center full of galleries and parks, making it a destination to find art, nature, and socialization. At the Haven Psychiatric Centre, patients will find treatment and restoration to regain independence and control over their minds and bodies to one day rejoin their community. Within this Healthcare facility, there is a central atrium inspired by the flowing shape of the Yarra River. The shape of this void draws patients, caretakers, and staff together, naturally, to spark socialization so patients can enhance their treatment and journey back to living life independently.
View of main atrium.
64
PA RTI DIAGRAMS:
F LO O R P L A NS :
Flowing lines inspired by the Yarra River intersect the main part of the existing building.
Flowing lines create an atrium void for community gathering area.
Third Level Plan
Shape of the void determines the layering of the second and third floor plates.
Second Level Plan OVERAL L AXON:
First Level Plan 65
BECKY KUFRO
Durban Child Advocacy Center, South Africa Becky Kufro
Problem Statement
This child advocacy center is located in Durban, South Africa, a city sited on the Natal Bay of the Indian Ocean, because of the alarming rate of crimes against children here compared to other countries around the world. This center will be created to provide a safe, comfortable environment for children who are victims of crimes, neglect, and physical, sexual, and mental abuse.
Concept: Attachment and Social Support
The concept for this design is attachment and social support because of how vital they are to physical and psychological healing. Social support is an essential factor in relation to trauma and PTSD. Patients who experience trauma or abuse recover faster through proper social bonding.
Inspiration: African Zulu Beads
This concept was inspired by the triangular motifs of Africa Zulu beads, which provide a means of visual communication between men and women in the Zulu culture. These beads use the shape of a triangle to communicate gender identity and marital status. A single triangle represents an unmarried man or woman, while two attached triangles represent a married man or woman. In other words, multiple triangles represent being socially supported by another, which is the interpretation that is implemented in this design.
Implementation
Using the triangle motifs from this inspiration and the geometry of the building, the goal of the parti diagram is to attach these three sections of the building to encourage connection and prevent isolation from one side of the building to the other.
66
2 4 5
1
3
6
UP
8
7
9
UP
9
9
10 15 11
13
13
14
14
1
12
FIRST FLOOR SCALE: 1/32” = 1’-0”
1. RESTROOMS
9. ADVOCATE OFFICES
2. CONSULTATION OFFICE
10. ADVOCATE CONFERENCE
3. PLAY AREA
11. REFLECTION ROOMS
4. WAITING AREA
12. SNACK/SEATING AREA
5. PRIVATE WAITING AREA
13. CRISIS INTERVENTION
6. ENTRANCE
14. COURTROOM PREPARATION
7. RECEPTION
15. TEEN LOUNGE
8. ELECTRICAL
67
68
ISSUE - 03
N A S A S PA C E H A B I TAT
Mars, Lunar or CIS Lunar collaboration with NASA
F R A N K L L O Y D W R I G H T ’ S A D G E R M A N WA R E H O U S E ADAPTIVE REUSE Program varies by designer
M I C R O - H O U S I N G / S U S TA I N A B L E D I S A S T E R R E L I E F HOUSING International site varies by designer
H E A LT H C A R E FA C I L I T Y International site varies by designer
B O U T I Q U E H O T E L / H O S P I TA L I T Y International site varies by designer
SPRING - ‘20
69
OLIVIA BEDNASH
This 24,473.31 square foot boutique hotel is located in Melbourne, Australia, right outside the city’s center on the south side of the Yarra river. The goal is to connect the guests in both the hotel and restaurant to nature in order to create a healthy and positive atmosphere through biophilic design. Inspiration came from the Evan Walker Bridge located on the Yarra River, a couple blocks away from the hotel’s site. The man-made vs natural aspects of the bridge have shaped the design through forms, fixtures, materials, etc.
1. Entrance 2. Lounge 3. Administrative Office 4. Reception
5. Back of House 6. Luggage Room 7. Back of House Kitchen 8. Atrium
7 3 5
6 8
3
4
10 10 2
Level 01 Floorplan 70
1
9
9. Restaurant 10. Restroom
Lobby/Reception
Kitchen
Level 01 Parti
Restau
urant
Amenities
Guest Rooms
Level 02-04 Parti
Atrium Section
Atrium 71
S A R A H E D WA R D S
|
La Bella Addormentata
Boutique Hotel Florence, Italy
CONCEPT AND INSPIRATION
The inspiration for my project is Isola Bella, a small island off of the coast of Sicily. The concept for this design is using the classical design principles of symmetry and balance to create order within an irregular building shell. This will make users feel comfortable and allow for easy navigation through the interior. The use of hierarchy in the space will increase the intuitiveness of the plan. THESIS STATEMENT Creating a hotel that goes above and beyond your average hospitality establishment and caters towards exceptional guest experience will increase client base, guest satisfaction, and overall revenues. This design will incorporate unique cultural experiences, include entertainment opportunities, and offer amenities that address health and wellness. These amenities will attract the young adult demographic, while the convenience of group settings for 6-10 people and unique group accommodations will also garner interest from this target audience.
1. Employee Break Room 2. Restrooms 3. Elevator 4. Kitchen
3
1
5
2 2
5. Dance Club
4
6
6. Hotel Store 7. Administration Office 8. Check-In 9. Restaurant 10. ADA Lift Entrance 11. Secondary Entrance Hostess 12. Business Center
11
8
7
10 12
13
9
14
13. Refreshment and Information Center 14. Lobby Lounge
ENTRY LEVEL FLOOR PLAN NTS 72
73
CLAIRE GRABLE
The Loop is a boutique hotel located in the small beach side town of St. Kilda outside of Melbourne, Australia.
The inspiration behind this project is Luna Park, located a few blocks away from the hotel’s site in St. Kilda. This park, the oldest amusement park in Australia, has an unusual boomerang shape that defines the layout of the park. In a typical amusement park, landmarks (the rides) act as a source of wayfinding through the area. Similar to this, three main corners in the space define a path that guides the user through the hotel. These corners will be defined by structure and materiality to really define parts of the space and create an easily navigable way through it. Another aspect that is abstracted is the idea of a ferris wheel and the vertical circulation that it creates. As a central component of an amusement park, the ferris wheel allows 360 views of an area from all different heights. An atrium is proposed as a way to have guests see the space from various levels, just as they would on a typical ferris wheel. This atrium goes all the way through the building to bring light into the space, act as a central component to circulate around, and offer a shift in scale on the first level when guests first enter the hotel.
E D C
B F
A
74
A. SINGLE ROOM
D. LINENS
B. DOUBLE ROOM
E. BUNK ROOM
C. ACCESSIBLE ROOM
F. LOUNGE
LEVEL 1 : LOBBY The lobby is meant to be a grand open space, drawing guests to the center with the large atrium that brings light from the top floor. This is supposed to offer a sense of differing scale and enclosure, as guests go from the lower ceiling upon entrance to the grand height of the atrium as they make their way to the elevators. It acts as a focal point in the space for guests to circulate around, bringing them to all the amenities of the hotel.
75
S AVA N N A H L E I G H H E N L E Y
View of the Front Desk
View for the Lounge and Bar
76
Designer: Savannah Leigh Henley Project: Boutique Hotel + Lounge Location: Prague, Czech Republic The Geode is a boutique hotel plus lounge and arts gallery. Located in Prague, the capital of the Czech Republic, the concept focuses on drawing the localized architectural movement of the 1900s, Czech Cubism, into the modern era. Independant research showed that when people travel for longer than a week at a time in a foreign country, individuals suffer from a lack of socialization and personal interaction. To help combat this, the main floor of the hotel has three different zones to create interaction: the Lounge which features a Beer Bar, an Interactive Arts Gallery featuring images and works of art from the Cubist Era. Finally there is a Seating Area with five different seating choices to allow people to find an area that is the most comfortable to them. The front desk is adorned with a faceted panneling drawn from the renowned Crystal Box by Czech Cubist Architect Pavel Janรกk. The jewelry box, pictured left, is one of the most recognized pieces of Czech Cubist decor in the world.
U
NTS
77
RACHEL KIM
IL SENTIERO
The site for this boutique hotel is Florence, Italy. The concept for this design is reflection and was inspired by the Ponte Vecchio bridge. The Ponte Vecchio provides a path of travel through which you experience public and commercial spaces on both sides of the path. These public spaces are reflected across the axis of travel. Similarly, reflection will be used to inform space planning within this design. There will be a central path of travel that divides the boutique hotel into two main spaces with the more private and exclusive spaces sitting at the point right before the opening to this central path. This concept of a central divide will resonate through all floors of the design as a means of dividing the space with subtle differences in the purpose of these spaces to cater towards the different programming required of each floor: the ground floor will have commercial and public spaces reflected across the central path while the remaining floors will have rooms and more residential spaces reflected across the central path.
FLOORS 2-4: GU SCALE: 3/32� =
SINGLE BED ROOM 78
UEST ROOMS 1’0”
79
TAY L O R R E N A U D
The Connection Taylor Renaud
View of the atrium and reception desk from the cafe Problem Statement This project is a 30,000 sq. ft. boutique hotel located in the Friedrichshain-Kreuzberg neighborhood of Berlin, Germany on the Spree River with a beach area. The neighborhood is young, diverse, and “artsy” with many sites and walkable areas. The target travelers are young couples, groups, and business people.
Concept The concept is parts
to whole and was inspired by The Molecule man sculpture located on the Spree River near
my site. The sculpture was designed by Jonathan Borofsky and represents unity, connection, and modernity. The holes represent “molecules of human beings coming together to create an existence.” The ideas of
unity, connection,
and parts to whole will be applied to the design. At the largest scale, the 4 floors will be unified by the atrium. Then on each floor there are separate rooms with a space to gather and where color will come together as well. Within each area, there are clear, separate furniture arrangements.
Parti Diagram
80
Molecule Man
Thesis Statement The interior finishes, such as materials and colors, are associated with your emotions and mood. Each area type has accents of a color associated with the mood of those spaces. The areas open to the public have yellow, associated with joy and openness. The lobby, main paths of travel, and general wayfinding are red, an urgent and bold color. The guest-only amenities and rooms are blue, a calming color. The neutral backgrounds with pops of color are inspired by the graffiti with pops of color on the concrete Berlin wall.
1st Floor Scale: 1/16”=1’-0”
81
K E L S E Y RYA N
CONCEPT Pariska street provides luxury shopping on the pedestrian level with housing above. Encompassing an important part of Pariska Street, concept captures the essence of window display; lighting, color and material to support attraction. Inward attraction toward the building is encourage on the street level through desired outward amenities, while attraction to views and daylight happens on the guest levels.
LIGHTING
+ COLOR
+
MATERIAL
ATTRACTION
THESIS STATEMENT With increasing knowledge of the effects of space on the environment and wellbeing of humans, this thesis will focus on WELL and LEED standards throughout the entirety of the design process to ultimately support a healthier experience for the duration of the stay, while promoting long term wellness for all users who visit.
82
12
8
8 7 9
11 5
6
4
10 3
1
2
1 2 3 4
LEVEL 1
5 6
SCALE 1/16
AMENITIES
(LIMITED DAYLIGHT)
GUEST ROOMS
ENTRY DRINK BAR LOBBY RECEPTION LUGGAGE ADMIN
7 8 9 10 11 12
COWORKING STORAGE RESTROOMS RESTAURANT BAR KITCHEN N.I.C.
OUTWARD ATTRACTION
INWARD ATTRACTION
PEDESTRIAN LEVEL
83
K AY T S H A F F E R
Zenith hotel
Located in the heart of Prague, capital of the Czech Republic, Zenith Hotel aims to promote the sustainable behavior of its guests and staff through the integration of technology. The design of the hotel was inspired by the Prague Signal Festival which combines art, city space, and technology for an immersive experience of light and color. This, along with the natural lighting constraints of the building, led to the concept of levels of illumination. Areas of strong illumination are located along the two sides of the building with windows. The large quantities of natural light entering the space give the opportunity for experimentation with more dramatic uses of light and color. The back half of the building defines the areas of soft illumination with a focus on the creation of atmosphere. To tie these two areas together is an atrium type space. This void follows the angle of the sun through the building at the zenith of its path through the sky, and creates a carved out space within the building. Bright colors inspired by the festival create a fun
STRONG ILLUMINATION
SOFT ILLUMINATION
and joyous atmosphere within the hotel.
5
KITCHEN
2.a
NIC
4 1. Restaurant 2. Bar + Lounge
OPEN TO ABOVE
2
a. Bar Stockroom + Washroom
1
3. Reception Office 4. Laundry + Storage 5. Staff Locker Room 3
FIRST FLOOR PLAN 1/16” = 1’ - 0”
84
VIEW OF LOBBY
85
L A U R E N WA LW E R
HOTEL HARWOOD A Boutique Hotel in Melbourne
A few miles out of the city of Melbourne, along the coast of the Yarra River and Port Phillip Bay, the Hotel Harwood in Williamstown overlooks the city skyline from across the bay. What was once a neglected industrialized hub has evolved into a fashionable maritime town that is home to museums, local businesses, and preserved Victorian architecture. A popular means of transportation between Melbourne and Williamstown are ferries that ride down the Yarra River into Gem Pier in Williamstown. The Hotel Harwood is placed just along the coast, near Gem Pier, facing the travelers as they inspiration image
approach. Due to its waterside location, the Hotel Harwood dedicates itself to water conservation by promoting guests and staff to participate in conservative practices.
The conceptual approach is to capture the way people experience water. The rush of a wave under a surfer’s board as they ride along the coast. The spray of mist from the void indicates axis
tide as beach-goers stroll along the shore. The sea breeze flowing through a passenger’s hair on the ferry, watching the town of Williamstown draw closer as they approach the pier. The design of the hotel is inspired by the perspective of the traveler. The space focuses on focal points within the space, such as the first sight upon arrival, key points along the main spaces, and smaller intimate spaces to create the organic paths that can be taken when traveling on water.
parti diagram
86
3 2 1 4
custom bar
LEVEL 1 PROGRAM 1
EMPLOYEE OFFICES
2
PUBLIC RESTROOMS
3
LAUNDRY
4
KITCHEN
5
LOBBY
6
FRONT DESK
7
LOUNGE
8
BAR
8
5
6 7
the bar, with a view of the custom banquette
87
M E R RY N W I L L I A M S
indaffarato FLORENCE
The inspiration drawn from the piazzas can be seen in both materiality and how visitors will interact with the spaces. The core parti diagram provides the border for activity (the external walls), as well as a feature at the center of an otherwise open space (the grand feature stair). This influences the natural path of circulation to move around a center point, allowing for ease of exploration and way-finding. Unique and locally sourced materials, as well as furniture and fixtures by local creators fill the hotel with touches of Italian culture, and stay true to the vernacular design of the region. The word “indaffarato” in Italian means busy. As portrayed in the pace of the piazzas in Florence, the buzz of life can be felt all over Italy. Their energy is part of who they are, and part of what visitors should take away from their stay.
SECOND FLOOR PLAN VIEW | GUEST SUITES & ESSENTIALS SHOP 1/16” = 1’
88
ITALIAN WALNUT
CALCATTA MARBLE
VIEW OF A LUXURY BATHROOM on the second floor. The same material and finish palette is applied to every guest bathroom regardless of size or guest capacity. This is done is an effort to streamline ordering and specking of materials, so that extra care can be made in selecting each and every detail.
CUSTOM DESIGNED TEXTILES are featured in guest rooms and provide a baseline for scheme. Each is inspired by a detail found in the streets of florence that contribute to the dynamic layering of texture.
CLAY TILES
BIRDS EYE VIEW OF FLORENCE ROOFTOPS
COBBLE STONE STREETS
89
YA N T I N G Z H U 90
Juxta. This hotel is located in Old Town, Prague. The goal for this project is to create a boutique hotel that attract both city explorer and business travelers through unique cultural experience. The concept of this project is harmony of the old and the new inspired by the street view of old town, where many architectural styles could be seen layering and interacting with each other. The main idea is to have the interior wall juxtapose with the existing shell. According to research, business travelers are noting exactly looking for full amenities in the chain hotels. Instead, they are looking for unique cultural and lifestyle experiences. So a beer bar, an art gallery, a merch area are specifically included in this hotel.
91
BAUHAUS OPEN STUDIO: DESIGN INTENSIVE Senior Interior Design students travel to Germany to experience historic art school
This past February, Lisa led thirteen seniors on
Below is a glimspe into the workshop itinerary the
a week-long trip to visit the Bauhaus in Dessau,
students participated in:
Germany. The Open Studio: Design Intensive at the Bauhaus was in collaboration with twenty-four students and faculty from Northumbria University in Newcastle, England. For three days, US + UK students stayed in the student residences at the Bauhaus and participated in various workshops. The workshops- including material mapping, thesis project round tables and even filmmakingaimed to incorporate the Bauhaus methodology and ideology for the students to experience.
D AY 1 - F E B R U A RY 1 1 , 2 0 2 0 D AY 1 - F E B R U A RY 1 1 , 2 0 2 0 CONTOURING HABIT “Contouring Habitat”
- Introduction to the Open Studio - Workshop introduction & icebreakers - Workshop 01 (see photo A) “Signs, Signals and Symbols of Habitat: Treehouse Habitations” Students
from
the
US
+
UK
collaborated in teams of two to build spaghetti structures to hold a red house token, about the size of a dime. The house that was placed the highest won. Teams also created an accompanying collage. - Keynote Lecture, Dr. Rod Adams “Spatial Cultures” - Workshop 02 (see photos B + C) Surface Mapping Students set off into different corners of
the
Bauhaus
campus
to
do
rubbings of surfaces and sketches of the building. - Presenations of Workshops 01 & 02
Group photo courtesy of Lisa Tucker
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ISSUE - 03
A
C B
Photos courtesy of Lisa Tucker and Sydney Delbridge (‘20)
SPRING - ‘20
93
D
D AY 2 - F E B R U A RY 1 2 , 2 0 2 0 D AY 1 - F E B R U A RY 1 1 , 2 0 2 0 D E S I G N F E S T I VA L “Contouring Habitat”
- Keynote Lecture, Dr. Lisa Tucker “Extreme Habits: Designing for Space LIfe” - The Bauhaus Tour (see photo D) - Master’s House Tour These buildings are located in town and
were
Kandinsky,
once
home
Ludwig
to
Mies
Wassily van
der
Rohe, Josef Albers and many others. - Bauhaus Museum Tour (see photo E) - Major Project Sprint Review Students
engaged
in
roundtable
discussions about respective thesis projects. (see photo F)
94
ISSUE - 03
E
F
Photos courtesy of Lisa Tucker, Delaney Leach (‘20) and Sydney Miller (‘20)
SPRING - ‘20
95
“Several times a day I felt a sense of place come
I
over me. Many of the Bauhaus designers were here at a similar age, in a different era, pushing design in a new direction. I kept thinking, ‘the people who did this before us changed design.’ It really was a hallowed experience.”
E M M A W O O D WA R D ( ‘ 2 0 )
H
G
96
ISSUE - 03
J
D AY 3 - F E B R U A RY 1 3 , 2 0 2 0 D AY 1 - F E B R U A RY 1 1 , 2 0 2 0 BAUHAUS WORKSHOP “Contouring Habitat”
- Reflection on Day 2, intro to Day 3 - The Bauhaus Tour - Workshop 03 “The Enclosed (or not) Habitat” In groups of five to eight, students reimagined the plan of a Master’s house to shift levels of enclosure. Plans
were
created
to
scale
with
masking tape on the floor of the studio. (see photos G, H, I) - Keynote Lecture, Dr. Julie Trueman “Intangible Boundaries” - Workshop 03 “The Enclosed (or not) Habitat” Using
the
Bauhaus
campus
as
a
backdrop, students worked in teams of three to four to create a threeminute
film
addressing
perceived
boundaries. (see photo J) - Final Showcase
Before and following The Open Studio: Design Intensive, the students the opportunity to explore Berlin. Emma Woodward, one of the students on the trip, recounted her travels and some of the sites the group experienced outside of the Bauhaus workshops.
Story continues on following spread... Photos courtesy of Lisa Tucker, Sydney Miller (‘20) and Emma Woodward (‘20)
SPRING - ‘20
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BERLIN
Emma Woodward “ Upon arriving in Berlin, we had a free evening and morning before taking the train to Dessau (where the Bauhaus is located). While there, some of us set out to visit landmarks, including the Berlin Wall Memorial. I didn’t know what to expect from the memorial as we walked there - but as we arrived, we stood there trying to conceptualize how a physical wall could divide a city, a country and culture not so many years ago. It was sobering but certainly worthwhile. Once again in Berlin before flying back to the States, we were able to visit some museums and sites. In one day, we visited the Neues and
Pergamon
museums
on
Museum
Island,
the Brandenburg Gate, Checkpoint Charlie, The Jewish Museum, the Memorial to the Murdered Jews of Europe and the Topography of Terror Museum … all on foot. We walked over ten miles that day, which was a terrific way to see the city. Berlin is a wonderful mix of old and new architecture, and several of the museums we visited on this day showcased that. Enjoy these photos of some of the places we visited! ”
Top Left: Berlin Cathedral Bottom Left: Memorial to the Murdered Jews of Europe Top Right: Group photo in downtown Berlin Bottom Right: Brandenburg Gate
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Photos courtesy of Claire Grable (‘20) and Emma Woodward (‘20)
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AWA R D S & R E C O G N I T I O N
AMERICAN SOCIETY OF INTERIOR DESIGNERS STUDENT CHAPTER OF THE YEAR Virginia Tech IDEAS recognized as ASID Student Chapter of the Year at SCALE 2020
Interior Designers for Education and Sustainability
has a full calendar each semester. In addition
(IDEAS),
design
to weekly lectures, IDEAS officers organize trips
organization at Virginia Tech, was recognized
the
student-run
to visit firms in cities like Washington DC and
as Student Chapter of the Year at SCALE 2020.
New York City, and historical landmarks like the
SCALE, the annual ASID National Student Summit,
Biltmore
was hosted by the American Society of Interior
service opportunities for members to give back,
Designers
and fundraising events to benefit the Interior
(ASID)
from
interior
February
21-23rd
in
Seattle, Washington.
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Estate.
On
campus,
IDEAS
provides
Design program.
IDEAS provides skill building opportunities by
IDEAS officers submitted a presentation to ASID
cultivating
among
outlining specific criteria to be considered for
students and professionals to assist with the
Student Chapter of the Year. The submission
transition to the workforce and promote success
included the organization’s mission statement,
and growth in the Interior Design program. During
explanation of the club and its events, officer
the
goals and objectives and more. President Sydney
school
relationships
year,
IDEAS
between
invites
and
professionals
from the design field to Blacksburg to give a
Miller
weekly lunch-and-learn lecture to the students.
traveled to Seattle to attend SCALE and receive
and
Speaker
Chair
Madelyn
Holliday
Presentations range from advice on entering the
the award on behalf of the club. Congratulations,
workforce to vendor presentations, and the club
IDEAS!
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Speaker Chair Madelyn Holliday (‘20) and Chapter President Sydney Miller (‘20) with ASID CEO, Randy Fiser
IDEAS Officers (2019-2020)
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A FEW THINGS IDEAS HAS BEEN UP TO THIS YEAR...
WELLNESS WEEK Blacksburg, VA After being inspired by learning about the WELL Building Standard in class, the IDEAS team piloted a Wellness Week program in November. Snacks were donated from a Kind Bar ambassador, a Tropical Smoothie delivery to our studio, and other activities like a group fitness class and dog therapy.
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B I LT M O R E E S TAT E TRIP Asheville, NC This year IDEAS planned a trip to the Biltmore Estate in Asheville, NC at the beginning of November. The weekend trip included a tour of the historic estate and grounds as
well
as
time
to
explore
Asheville’s River Arts District and a group brunch.
Photos courtesy of IDEAS
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AWA R D S & R E C O G N I T I O N
THE LINE IDEC STUDENT DESIGN COMPETITION Julia King, Hannah Olsson & Alessandra Shorten win 2nd Place for basic needs shelter design
Juniors Julia King, Hannah Olsson & Alessandra
Precedent research included visiting an existing
Shorten received 2nd Place in the 2020 Student
shelter in Roanoke, where the team identified key
Design Competition for their project, The Line,
elements that needed to be reflected in their own
a universally designed basic needs center in
design. The team noted that while the shelter they
Roanoke, VA.
visited was friendly, visits were not meant to be
The Line aims to address the fundamental needs
of
the
homeless
community,
such
as
restrooms, shower areas and laundry facilities. The space takes inspiration from the railroad
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long-term. They also recognized the importance of the space being legible, having various levels of privacy and that overall, users should not feel impoverished.
tracks that run through Roanoke, Virginia, as they
On IDEC’s website, the competition is described
are symbolic of moving forward and the ever-
as “a wonderful opportunity to create an awareness
changing destinations of life. The concept looks
of human, economic, environmental, and ethical
to the railroad tracks of Roanoke to not only
concerns for future interior designers.” The trio
organize the space, but also to emphasize a
was nationally recognized among 96 entrants
sense of movement and guidance throughout a
from 38 universities, with faculty sponsors Elif
time of transition from one direction to another.
Tural and John Dorlini.
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Photos courtesy of project team
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AWA R D S & R E C O G N I T I O N
NEXT HUB STEELCASE NEXT COMPETITON Two students receive Honorable Mention in annual Steelcase-sponsored competition
Madelyn Holliday (‘20) and Delaney Leach (‘20) both received Honorable Mention out of 1,042 total entries and 76 design programs nationwide during this year ’s NEXT Competition. First, we talked to Madelyn about her inspiration, process and lessons learned when designing her project, the NEXT Hub. 01 - What was your inspiration for the concept?
I
used
Steelcase’s
research
resources
about
different learning environments. A lot of my space was open, so I specifically looked at how different students learn in different environments. I also researched faculty and student interactions in a higher education setting, like proximity of spaces to classrooms to foster out-of-classroom interaction between them.
The concept was based on the District Wharf and
04 - What were some of the challenges or
how that is a buzzing hub for social activity. It
surprises you faced?
was a location I found myself visiting often when I lived in DC last summer, so I knew I wanted to do a project around it. 02 - How did you implement the concept into your project? Given you have been the the wharf, did that influence or change the project in any way? I pulled from the District Wharf geometries, which divides enclosed spaces and more open, social spaces. When considering materiality, I wanted to pull a bunch of bright and neon colors that I saw in the nighttime views of the wharf. I really understood the overall atmospheric feel of the wharf - I knew it was a buzzing environment. I would watch people circulate on the promenade, see people running into each other... I could see this type of environment working well in an education facility - accidentally collaborating, helping each other with their work, translating the ‘buzz’ into the classroom spaces.
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03 - Where did your research take you?
It was difficult to know when and where to be bold with color and materiality, since I tend to use more muted tones. Referring to images of the wharf’s neons at night helped inform how to work with color and find balance between bold and neutral. If this space was actually built, I would want to see acoustic control and see if the open layout really works. I’d also be curious to see if the students would really utilize each type of seating and what they would gravitate towards. 05 - What did you learn during this project? Any key takeaways? I felt like this was my most successful project in my student career because of the concept and the research. When I didn’t know what to do, I could refer back to my concept or I could do some research to back up my design decisions. In retrospect, I know how much that can help make the project super successful.
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Photos courtesy of Madelyn Holliday (‘20)
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AWA R D S & R E C O G N I T I O N
NEXT HUB STEELCASE NEXT COMPETITON Two students receive Honorable Mention in annual Steelcase-sponsored competition
Madelyn Holliday (‘20) and Delaney Leach (‘20) both received Honorable Mention out of 1,042 total entries and 76 design programs nationwide during this year ’s NEXT Competition. Next, we talked to Delaney about the inspiration behind her concept, design decisions and key takeaways
02 - Where did research take you? I researched urban planning and the different elements
of
what
makes
up
a
civic
space.
I learned that in order for people to gather, it needed to be accessible and legible. Lynch’s elements of legibility guided the rules I set for
for her project.
myself while planning. Multiple access points and
01 - How did you decide on the concept?
elements.
The concept is inspired by civic spaces because
03 - How did you implement the concept?
of how they’re open forums for people to gather. They are also respite for people in a busy city. I chose to follow the civic space design because of the impact they have on social behavior. The NEXT mission included many age groups and backgrounds, so I wanted to use the civic design in an interior to provide a common social gathering area in a busy environment.
the central landmark of the stairs were essential
In addition to Lynch’s elements, I researched a specific site in DC which was the Lincoln memorial and how its planning guided those rules I set for myself. I also used the Lincoln Memorial to guide the finish selection and design language of the space. Tapered stairs and illuminated ceiling elements drew from the Memorial. 04 - What is your favorite part of the design? The colors - sometimes we don’t experiment with bold colors, so I like the way two bold colors read in space. I was pleased at how well I was able to incorporate the university’s branding colors. My favorite space is the Learning Commons, the civic space with the stairs (see bottom right). I think this would be a popular space, where people would feel most comfortable and connected. 05 - What did you learn during this project? It’s important to pick a functional concept in the beginning and not overcomplicate it. Find a clear concept and don’t force anything.
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Photos courtesy of Delaney Leach (‘20)
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AWA R D S & R E C O G N I T I O N
THE DEPOT R E T H I N K I N G T H E F U T U R E AWA R D S Seniors Claire Grable and Kylie Heald honored by Rethinking The Future
Claire Grable and Kylie Heald were recently
One of the key elements is the Book Track
recognized as honorees in the Rethinking the
system for organizing and distributing books. This
Future Education Student’s Awards for The Depot,
feature (see top right) incorporates technology
a project that redesigned the Blacksburg branch
and innovation into the space, while improving
of the Montgomery-Floyd Regional Library. The
efficiency
Depot focuses on the building that originally sat
engagement. The movement of the track emulates
on the site of the library - the Blacksburg train
the way a train switches tracks, relating back to
depot. The team’s design concept relates back to
the site.
and
opening
space
for
community
the historical significance of the site, while also addressing the current needs of the Blacksburg
Rethinking The Future is an annual award
Library and the generations of people who utilize
program that recognizes both professionals and
it.
students around the world for their work. The A main project objective was to find a way
to incorporate the idea of a library into today’s technology driven world while still offering the joy and experience of picking out a book. The Depot links technology and the needs of the library by balancing innovation and tradition, making for a united and comfortable space for all.
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Student’s awards is an initiative to acknowledge the
innovative
design
ideas
conceptualized
by students for their under and post graduate projects. For more information, please visit h t t p s : / / a w a rd s . re - t h i n k i n g t h e f u t u re . c o m / r t f education-awards/.
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Photos courtesy of Claire Grable (‘20) and Kylie Heald (‘20)
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AWA R D S & R E C O G N I T I O N
Two seniors recognized in School of Architecture + Design Annual A+D Awards
MA RY EL L I S C O MP T O N O U T STA N D I N G I N T ER I O R D ESI G N SEN I O R Madelyn Holliday
Blacksburg Collective Public Library
HAVEN Melbourne Psychiatric Centre
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C O L L EG E O F A R C H I T EC TU R E O U T STA N D I N G SEN I O R Sydney Miller
Terra Commons
NEXT Hub
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PROGRAM NEWSLETTER
VIRGINIA TECH INTERIOR DESIGN
III. - ALUMNI 116
120
124
Changing Course: Back to School
Enjoying the Ride: Staying in School
Alumni in the Spotlight
CHANGING COURSE: BACK TO SCHOOL A Path to Landscape Architecture
Reem Bukhamseen (‘18) shares her experience
It fascinated me how one can design with a living
after
Landscape
material, how landscapes can be designed to
Architecture at Harvard GSD, and the impact of
rejuvenate suffering habitats and ecosystems, and
two
semesters
studying
this pivot in her design career.
it’s potential to bring people together at
[both]
01 - What prompted your decision to pause
02 - What has most surprised you about
your early career and pursue a graduate degree?
graduate school?
an intimate and urban scale.
Why Landscape Architecture?
Quite a bit has surprised me. What struck me the
I knew the longer I waited to pursue a graduate
most was how hands-on the first and second
degree after graduating, it would only get harder
semesters have been so far. Professors have
to motivate myself to leave my work routine
multiple
teaching
and go back to being a student. I have always
provide
students
wanted to pursue a masters degree in something
program they are introducing that week, and
other than my undergraduate profession, but in
overall really try to ease students into anything
a discipline that would cross over with Interior
new whether it be a new software, representation
Design.
technique, fabrication tool, and so forth. Definitely
Landscapes play a huge role in our lives, from the places we grew up in, to the routes we take everyday for work, to the places we choose to spend our vacations in. We are constantly moving through them, admiring them, judging
assistants with
for
tutorials
each on
any
class, new
something I am grateful to have available to me as a graduate student entering a new discipline. 03 - Have you noticed a lot of overlaps between Interiors and Landscape? Where are there major
them, utilizing them, and embracing them. We
differences?
experience
Absolutely. One big similarity is that code plays
them
at
different
scales
and
at
different stages, but they impact our lives heavily. Just like how we spend the majority of our time indoors, we also try to spend as much time as we can enjoying the outdoors. It was during my thesis year I decided to blur
a huge role in both disciplines. Accessibility is key no matter the outcome. Scale plays a huge factor in both fields as well, the small designed moments are just as important as the big moves in the overall concept.
the line between interior and exterior, designing
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a pediatric ophthalmology hospital in Kuwait that
In contrast, interiors are meant to be designed
focused on the benefit of integrating interior
predominantly
gardenscapes within a medical facility.
can be designed with different user groups in
for
people,
while
landscapes
ISSUE - 03
mind that don’t fall under the “people” category.
while also taking into consideration the park’s
Whether it be habitat rehabilitation, stormwater
history
water
community.
management,
cleansing
urban
air,
landscapes instead play a bigger role in nature’s chain cycle. I think the biggest difference is the fact that interiors can be considered more static in relation to landscapes, that constantly evolve around time, temperature, habitat, and usage. Though interiors can work with natural elements or extract key concepts from the natural world, landscapes depend on them.
far? would
connection
to
its
surrounding
The project was also a site we were able to visit throughout the semester, experience for ourselves and see how the community was engaging with the existing site. The most intriguing part of the project was the fact that the park was right on the Charles River, and our prompt was to really design for a future where the Charles could engage more with the park, potentially becoming
04 - What has been your favorite project thus
I
and
a “swimmable” river or one that could be more integrated
into
the
landscape
creating
new
microhabitats within the park’s vegetation. say
my
favorite
project
has
been
redesigning Herter Park in Boston (see above). The project was the first large scale project we
05 - Are you interested in design research? Study abroad? Are you doing either of these
were introduced to that involved regrading an
things while at GSD?
entire site, working with the existing vegetation,
I am definitely interested in design research. I
Photos courtesy of Reem Bukhamseen (‘18)
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think design and research go hand in hand, and not being able to utilize information available from different fields outside the design realm, can really limit the potential of a design’s final outcome. Although I haven’t had a chance to work
on
a
project
proposal
outside
of
my
semesterly projects yet, I’ve made sure research has played a key role throughout my time here integrating
it
through:
concept
development,
project precedents, site and climate analysis, vegetation studies, and so forth. In regards to studying abroad, the GSD is actually quite great when it comes to making up for the fact that study abroads during the fall and spring semester are nearly impossible if one plans on graduating on time. In your final year (in my case, it would be my 3rd year) students are allowed to take either two option studios or one option studio and one semester of thesis. The option studios available to the graduate students don’t have to fall under the department of landscape architecture but can fall under the department of architecture or urban planning and design. Many of the option studios focus on projects relating to different parts of the world, and the professors leading these studios usually include a one week trip to that country, as a class, as part of the curriculum. 06 - Did you get more hours of sleep while working full time or as a full time student? How does the work life balance compare? As one would expect, I got a lot more hours of sleep while working full time as opposed to being
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a full time student. While working, my weekends
design iterations, models or new drawings. But of
were almost always free and I usually left work
course, I also understand I may not be the most
before 8pm on weekdays. But as a student,
time efficient student out there, as it all comes
there is no set time to clock in and clock out,
down to one’s time management and whether
so whenever I have spare time I feel the need
they work better in the morning or later at night. I
to spend it in the studio working on research,
for one, have always been a night owl!
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Photos courtesy of Reem Bukhamseen (‘18)
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E N J O Y I N G T H E R I D E : S TAY I N G I N S C H O O L Furthering studies to a Masters degree at Virginia Tech
Meagan Kelley recently started at Gresham Smith in Nashville, TN after working for ASD|SKY in San Francisco. She graduated in 2015 with a Bachelors of Science in Interior Design and 2016 with a Masters of Science in Architecture.
01 - What were the advantages to going directly
[working as] a teaching assistant was very eye-
into the master’s degree? Do you believe there
opening. I enjoyed challenging my students to
were drawbacks?
think outside of their comfort zone and push the
For me, I was worried it would be hard for me to go back to school after leaving, so I felt it was best for me to go ahead and do the masters right away and because it was only a year and half, it wasn’t too daunting. I think the only drawback is that your undergrad classmates feel ahead of you in the “real world” once you do start working full time. This is something I try not to compare because even though I was in school longer, I was still gaining important experience with more research based/realistic design, with leadership through
being
a
TA
and
through
additional
internships during grad school. 02 - How have those additional years in school impacted your career in Interior Design? For me personally, those additional years allowed me to gain a lot more confidence in myself as a designer, and as a leader [through] mentoring younger designers. 03 - How did your experience as a Teacher’s Assistant impact your design approach?
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limits and I think I began to further challenge myself on my own projects as well. I learned a lot about planning for a project from a professors side as well as how difficult grading design projects can be. It was also a good managerial lesson in terms of tapping into someone [else’s] skills to help them be successful. Everyone’s strengths differ and it’s a challenge to uncover those strengths and help guide someone to success. This is also important in the real world when working with a team. 04 - What was your favorite project while studying as a masters student? To be honest, all of the projects I designed in Graduate School are at the top of my favorite projects list due to more in depth research and design concepts and therefore longer timelines. My
very
favorite
is
a
hybrid
hostel-hotel
I
designed in an old car manufacturing building in Nashville, Tennessee (see right). The concept for the space was to create a space by interpreting elements and principles of music theory as they
Because I was pursuing my masters in order
relate to design and the built environment. Many
to have the opportunity to teach in the future,
of the elements of design we learn in school are
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Photos courtesy of Meagan Kelley (‘15)
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also elements of music theory, and designing a
06 - Did the additional time at school open up
space to reflect this was an awesome challenge.
opportunities for additional study abroad or taking
I studied
courses you otherwise didn’t have time for?
a lot of diagrams of music as well as
patterns of song structure.
Yes, both actually. I was very lucky to have the
Another project I enjoyed was a restaurant in the
opportunity to be the TA on the interior design
same hotel described above (see above). The
study abroad trip to Florence, Italy (see right
design for the restaurant space used the “part
spread). It was a great experience to get to
to whole” concept of design as it also related to
further explore a city I had visited only for a short
music and it’s building and layering of sounds
time before, as well as get to know and work
within a song to create a dynamic space from the
with the students on the trip. As far as courses, I
concept of fusion.
was able to take Brad Whitney’s marker rendering class that I hadn’t had time for during undergrad and it was great to gain the skills for additional types of presentation materials.
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Photos courtesy of Meagan Kelley (‘15)
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ALUMNI IN THE SPOTLIGHT Virginia Tech Interior Design graduates going the extra mile in their careers!
N A D I A C O L Q U I ET T ( ‘ 1 6 ) Designer at ASD|SKY, San Francisco, CA NCIDQ
B R I D A ZI O ( ‘ 1 8 ) Designer at KSS Architects, New Jersey WELL AP
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T R I SH A FA L C I G N O ( ‘ 1 7 ) Interior Designer at Stantec, Washington D.C. NCIDQ
A MY G R O O ME ( ‘ 1 7 ) Designer at IA Interior Architects, San Francisco, CA IAct ‘Rising Star’ Award
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ALUMNI IN THE SPOTLIGHT Virginia Tech Interior Design graduates going the extra mile in their careers!
R A C H EL H A L L ( ‘ 1 7 ) Interior Designer, Wilmot Sanz, Bethesda, MD NCIDQ
L I N D SAY J O N ES ( ‘ 1 5 ) Interior Designer, The H. Chambers Company, Washington D.C. ASID 2020 ‘Ones to Watch’ Award Winner + NCIDQ
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A L I MI L L ER ( ‘ 1 7 ) Workplace Designer, Gensler, Washington D.C. NCIDQ
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PROGRAM NEWSLETTER
VIRGINIA TECH INTERIOR DESIGN
I V. - C R E D I T S 130
131
Acknowledgements and Contributors
How to Get Involved
SPECIAL THANKS Contributors and Authors
EM M A WOODWARD Student Liaison Newsletter Content
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A MY G R O O ME Alumni Liaison Newsletter Content
LI S A TUCKER Newsletter content and program updates
M EA G A N KE L L E Y Story content
REEM BUKHAMSE E N Story content
J U L IA KIN G Story content
SYDNEY DELB R I D G E Photography
D EL A N E Y L E A C H Photography / Story content
CLAI RE GRABL E Photography / Story content
S Y D N EY M IL L E R Photography / Story content
KYLI E HEALD Story content
H A N N A H OL S S ON Story content
MADELYN HOL L I D AY Story content
A L ES S A N D R A S H OR T E N Story content
KEL SEY MU I R Newsletter Layout Graphics
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CONNECT WITH US ONLINE
@VT_IDEAS /GROUPS/VIRGINIATECHITDS
INTERESTED IN GETTING I N V O LV E D I N O U R FA L L NEWSLETTER?
Please reach out to Alumni Networking Chair, Amy Groome, to connect with alumni in your city or to have your story featured in our Fall 2020 issue.
A MY G R O O ME amygroome1220@gmail.com
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THANK YOU Visit https://archdesign.caus.vt.edu/itds/ for more information.
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