2018 portfolio_Kailin Wang by Kailin Wang

01 The Laputa Tower Artists Community Along the Highline

02 The Thames Womb An Urban Development on the River

03 elixier An Urban Distillery

04 The Boat Bath Spa in the Nature

05 The Fin Tower An Urban Office Tower

06 Woven Mitosis A Crochet Full-Scale Pavilion

07 Furniture Design

08 Professional Experience

09 Other Experience

01 The Laputa Tower Artists Community Along the Highline PennDesign Core Studio: Multi-family Housing Critic: Jonas Coersmeier Fall 2016

The Laputa Tower is an art community that extends vertically from the urban context, with art galleries and artist studios programmed into the residential building. While being located in a neighborhood with rising land value, the Laputa Tower is trying to integrate affordable living and working space, and luxury condominiums into the same building. The goal is to create opportunities for the two different user groups to interact surrounding the topics of art and lifestyle. A total of four unit types are designed to be included in the Laputa Tower: two types of compact studio for artists, with direct connection to the shared creative space and art gallery; two types of spacious luxury units, including one triplex and one penthouse, each have three bedrooms and 3.5 bathrooms. The vision of the Laputa Tower is to create a living and working atmosphere thatâ&#x20AC;&#x2122;s both relaxing and inspiring. It is a showcase of the art-surrounded lifestyle.

EXTERIOR RENDERING

MASSING GENERATION FROM SCANNING ELECTRONIC MICROSCOPIC IMAGES

MASSING DEVELOPMENT WITH PAPER MODEL

LUXURY UNIT TYPE A

LUXURY UNIT TYPE B

COMPACT UNIT x2

LUXURY UNIT TYPE B

CLUSTER HOUSING COMPONENT

UP DN

UP DN UP

DN UP

DN DN

DN UP

DN DN

DN UP DN UP

DN UP

DN ART CORRIDOR

UP DN

ART CORRIDOR TYPICAL FLOOR PLAN - RESIDENCIAL LEVEL WITH COMMON GALLERY SCALE 1’-0” = 1/32”

UP DN

UP DN UP

UP DN

DN UP UP DN DN

DN DN

TYPICAL FLOOR PLAN - RESIDENCIAL LEVEL SCALE 1’-0” = 1/32” UP

DN START OF ART CORRIDOR UPWARD

DN HIGHLINE TO MEZZANINE LEVEL

HIGHLINE TO MEZZANINE LEVEL

START OF ART CORRIDOR UPWARD

DN START OF ART CORRIDOR UPWARD

DN UP

DN HIGHLINE TO MEZZANINE LEVEL DN

TYPICAL FLOOR PLAN - GROUND LEVEL SCALE 1’-0” = 1/32”

RENDERING OF LOOKING DOWN INTO THE ART ATRIUM

ART LEVEL

CLUSTER SECTION // SCALE 1’-0”=1/16”

The tower is formed with an aggregation of housing clusters. Each cluster contains one “art level” programmed with production studios and exhibition space. Each art level is connected with an “art atrium” which allows the residents from levels above to view the artworks from their units, extending the art experience to a new terrain.

WEST-EAST SECTION // SCALE SCALE 1’-0”=1/32” WEST-EAST SECTION // 1’-0”=1/32”

RENDERING OF THE GALLERY SPACE

UNIT INTERIOR RENDERING

02 The Thames Womb An Urban Development on the River PennDesign Core Studio: Urban Mixed-Use, Group Project Travel Studio at Architectural Association School of Architecture in London

Critic: Homa Fajardi, Pierandrea Angius Fall 2017

This research studio analyzed Rem Koolhaas’ work “Delirious New York” and explored the spirit of Manhattan as presented in the book, respecting the context of London where the traveling studio took place. The research and design of the project was guided by the concept of Paranoid Critical Method (PCM), which according to Salvador Dali, is “a spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena“. This process of defining and generating associations among space and programs was achieved by another major concept Rem Koolhaas raised, the “architectural cannibalism“ which to him is indeed the model of Manhattan’s urbanism. These theoretical studies informed the project from siting strategy, massing configuration to program organization and interior space making, given birth to a massive urban development project that could be described as follows:

A city within a city, that is strange yet familiar; floating yet grounded; independent yet integrated; urban yet rural; rational yet delirious.

EXTERIOR RENDERING - STANDING ON THE ELEVATED URBAN DATUM

SITE STRATEGY - Urban Cannibalism Site Analysis - The change of water-land ratio over time

1796

1827

1889

1945

2016

1.47%

12.25%

21.11%

17.93%

9.38%

Siting Strategy - The revival of docklands along the Thames River

Original Land

Water Engulf Land

Land Engulf Water

Water Engulf Land

Land Engulf Water

Water Engulf Land

_docklands revival

_urban development

_open up river level

on water

HISTORY

_natural landscape in the air

PROPOSAL Co-existence of land-type urban density and water-type life style

MASSING STRATEGY - Reverse 1916 Zoning Law Manhattan 1916 Zoning Manhattan 1916 ZoningLaw Law

MassingTower Development Process Reversed Manhattan

Step 1

airdayand air and light

Direct extrusion from building footprint

day light

setback for air and day light

yield space for more access to water

Step 3 The massing is flipped to form the lower portion of the massing

Reversed ManhattanTower Tower Reversed Manhattan

MASSING STRATEGY // keywords / pcm, 1916 zoning law

Step 2

setback setback forfor and day light air andairday light

yield space for yield space for more access to waterto water more access

Applying 1916 Zoning Law to the massing extrusion

EXTERIOR RENDERING FACADE SYSTEM DIAGRAM

The massing and facade design is inspired by Salvador Dali’s Paranoid Critical Method expressions in his works. The smaller volumes in the middle of the massings, “the Crystals”, generate associations between the top and bottom sections of the buildings, unify the forest of skyscrappers, create an “urban datum” in the air. The building facade exhibitis a gradual change from the middle to the two ends. This changing degree of opening corresponds to the program shift inside the skyscrappers, at the same time, further blurs the edges between the buildings and the context.

Type 1 - Residential Angled fins Half-enclosed balconies

Type 2 - Crystals and Public Less structural density, no fin Maximized daylight

Type 3 - Office Denser fins, closer to the facade Indirect lighting

TYPICAL FLOOR PLAN SECTIONAL PERSPECTIVE

The interior spatial quality follows the concept of “Architectural Cannibalism”, where the regular programs, office and housing, integrates with the special “delirious” programs, such as indoor farming, urban distillery, etc. Different types of programs engulf each other, forming a diverse and dynamic urban hub. The programs are no longer separable both spatially and functionally. The skyscrappers become architectural wombs on the Thames River, carrying “multi-pregnancy” of urbanism in the new context.

Office / Residential Space

Atrium that entends into other programs

Urban Distillery

Indoor farming and garden

03 elixier An Urban Distillery PennDesign Core Studio: Distillery, Group Project Critic: Nathan Hume Spring 2017

“elixier” is a choreography of misaligned elements to achieve playfulness and anticipation. The overlapping of 2D patterns and 3D volumes provide opportunities to blur the boundary between each massing, and the project from the neighborhood. Yet, the tectonics of the massing flicker from alike curvalinearity to distinct volumetric composition. The specific siting of the massing enables confrontation of opposing curved surfaces or having a curved surface running into a monolithic flat surface. This spatial tension further enhances visitors’ experience on site. While the layers of pipes at times disguise or accentuate the geometry of the massing, the delineation of interior space and the exterior space is also obscured as pipes penetrate the envelope and occupying atrium spaces to create a fluid transition of space. ELEVATION OBLIQUE

CONCRETE FLOOR SLAB CAST CONCRETE INTERIOR FINISH

STEEL I-BEAM STEEL STUD PLYWOOD SHEATHING 1” VAPOR BARRIER EXTERIOR FOAM CLADDING 8” CLEAR EXTERIOR PIPE FINISH 16” DIAMETER

DETAIL WALL SECTION

OPAQUE EXTERIOR PIPE FINISH 8” DIAMETER

GROUND FLOOR PLAN UPPER FLOOR PLAN

MODEL PHOTOS

CUT AWAY PERSPECTIVE DRAWING

04 The Boat Bath Spa in the Nature LIXIL Architecture Competition Entry, Group Project January - February 2017

Inspired by the fabrication technique and form of traditional wooden boats, this project extracts the “curve“ from the boats and strategizes to use it to work with water in its three phases: liquid as bath water, gas as the hot steam, and snow in the winter. The resulting massing consists of three large curved surfaces, functioning as bath pool, roof and enclosure wall respectively. At the same time, the curvature introduces entrance into the building, and forms a semi-enclosed courtyard which brings nature into the bathing setting.

EXTRACT THE CURVE FROM TRADITIONAL HANDCRAFT BOAT

A CURVE TO WORK WITH WATER IN 3 PHASES

WATER

MODEL PHOTO 1 PROJECT SITE DIAGRAM

ORIENTATION ON THE SITE

MODEL PHOTO 2

OPEN FOR VIEW

ENCLOSED FOR PRIVACY

FORM DEVELOPMENT

EXTRACT THE CURVE FROM TRADITIONAL HANDCRAFT BOAT AND RETHINK THE WAY TO UTILIZE IT

TO CONTAIN WATER

TO FORM SHELTER

A CURVE TO WORK WITH WATER IN 3 PHASES

tion

ventila

WATER

STEAM (AND CONDENSATION)

SNOW

ORIENTATION ON THE SITE

SQUARE FOOTPRINT

L-SHAPE FOOTPRINT

NO INTERACTION WITH NATURE

EMBRACE NATURE INTO THE FORM

BUILDING FORM DEVELOPMENT

1st Curve to form the bath and fit the sloped topography

2nd Curve to form the roof

3rd Curve to form enclosure

1 5

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath 7 garden

PLAN AT SCALE 1:100

3.70

3.00

0.20 ±0.00 - 0.30

ELEVATION AT SCALE 1:100 SECTION AT SCALE 1:100

3.70 3.20

2.20

±0.00 - 0.30

STUCTURE & CONSTRUCTION DETAIL STUCTURE & CONSTRUCTION DETAIL

STRUCTURE COMPONENTS

Secondary Structure

primary structure Main Structure Secondary Structure secondary structure

Detail A-A Detail A-AA-A” Detail

Main Structure

primary structure Main Structure secondary structure Secondary Structure Secondary Structure

A primary structure Main Structure Secondary Structure secondary structure

Main Structure

Secondary Structure

Detail A-A

1 reception 2 locker 3 shower 4 bathroom CONSTRUCTION DETAIL A-A’ 5 interior bath 6 exterior bath 7 garden

Main Structure

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath 7 garden

Wood Veneer Cladding 15mm Approx.

Detail A-A Nail for Fixing

Wood Veneer Cladding Wood Veneer Cladding 15mm Approx.

Membrane Insulation

Ground Level Nail for Nail forFixing Fixing Wooden Floor EPS 100 3*100 MM Compacted 18 - 35 stone, blinded with 50mm 6mm grit

Membrane Insulation Membrane Insulation

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath 7 garden

DETAIL SECTION

Ground Level Ground Wooden Floor Wooden Floor Finish EPS 100 3*100 MM EPS100 3*100mm

Compacted stone, Compacted 18 - 18-35 35 stone, blinded with 50mm 6mm grit grit blinded with 6mm

DETAIL SECTION

PHYSICAL MODEL PHOTOS (below) TO FORM SHELTER

PLAN 1:50

STUCTURE & CONSTR

TO FORM SHELTER

K THE WAY TO UTILIZE THE CURVE

TO FORM SHELTER

TO FORM SHELTER TO FORM SHELTER

TO CONTAIN WATER

TO FORM SHELTER

SNOW

tion

ventila

SNOW

EAM (AND CONDENSATION)

SNOW

STUCTURE & CONSTRUCTION DETAIL PROJECT RENDERING (above) 2

L-SHAPE FOOTPRINT

EMBRACE NATURE INTO THE FORM

Main Structure Secondary Structure

QUARE FOOTPRINT

Secondary Structure

5 7

A 6

L-SHAPE FOOTPRINT

TERACTION WITH NATURE

EMBRACE NATURE INTO THE FORM

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath 7 garden

L-SHAPE FOOTPRINT EMBRACE NATURE INTO THE FORM

Detail A-A

L-SHAPE FOOTPRINT

EMBRACE NATURE INTO THE FORM L-SHAPE FOOTPRINT EMBRACE NATURE INTO THE FORM

Main Structure

EMBRACE NATURE INTO THE FORM 3

3.20

Main Structure

2.20

3rd Curve to form enclosure

Curve to form the roof

3rd Curve to form enclosure

ELEVATION 1:50

Secondary Structure Secondary Structure

3.70

5 7

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath 7 garden

3rd Curve to form enclosure

5 3

3.70

Secondary Structure

2nd Curve to form the roof

A 6

3.00

3rd Curve to form enclosure Detail A-A

3rd Curve to form enclosure

1 reception 2 locker 3 shower 4 bathroom 5 interior bath 6 exterior bath

Wood Veneer Cladding 15mm Approx.

DETAIL SECTION

The Fin Tower An Urban Office Tower PennDesign Construction Course: Revit Workshop Spring 2016

A201

A202

4A301

1 20'

25'

20'

16'

115'

15'

A 25'

20'

B 2 A201 2

C F

A302

2 20'

A202

20'

C 2

TYPICAL OFFICE FLOOR PLAN 6

A202

A201

A201 A202

Roof 120'

Level 9 108'

Level 8 96'

Level 7 84'

A302

Level 5 1/16" = 1'-0"

Level 6 72'

Level 5 60'

Level 4 48'

Level 3 36'

Level 2 24'

Mezzanine 12'

Level 1 0'

B1 -12'

B2 -24'

B3 -36'

ARCH Philadelp Buil Building

BUILDING SECTIONS 1

Building Section North/South (Looking East) 3/32" = 1'-0"

Building Section East/West (Looking South) 3/32" = 1'-0"

Date Drawn By

A2 Scale

1 A202

Level 7 84'

Level 6 72'

8 X 14 CONCRETE RECTANGULAR BEAM

6" CONCRETE SLAB

Level 5 60'

1 A501 CUSTOM CURTAIN WALL PANEL W/ LOW-E GLAZING VERTICAL SOLAR SHADE

Level 4 48' 14" CONCRETE ROUND COLUMN

Level 3 36'

Detailed Building Section 1_5 Story 1/4" = 1'-0"

WALL SECTION DETAIL

Detailed Building Section 3_5 Story 1/4" = 1'-0"

Woven Mitosis A Crochet Full-Scale Pavilion PennDesign Core Studio: Pavilion, Group Project Critic: Ezio Blasetti Fall 2015

Crochet allows for the meticulous assemblage of a continuous hyperbolic surface that assumes the exponentially additive structural properties of living tissue. This pavilion, the fabric for which is produced using this centuries-old method of interlocking simple loops of thread, unfurls itself in a self-replicating pattern that renders a form with a distinct directional magnitude defined by the method of stitching. The design of the pavilion avails itself of these characteristics, uniquely intrinsic to the process of Crochet, and yields an undulating surface that is illustrative of its innate hyperbolic geometry. Derived from an Enneper Surface, the spatial arrangement of the pavilion is comprised of an undulating form, appearing initially to be haphazardly seeking inward intersection, however, within its fabric a rigorously symmetrical geometric arrangement prevails. Furthermore, the most elemental components of the pavilion, the loops in the fabric itself, multiply exponentially and replicate themselves in the same additive manner as cellular mitosis, illustrating the kinship between this additive design process and tissue growth in the natural world.

lifting lifting

dripping

tilting tilting

trimming trimming

mirroring

final massing final massing

MASSING DEVELOPMENT

WOVEN MITOSIS exploded isometric of pavilion

ROWRow 1717

785

ROWRow 1616

591

ROWRow 1515

443

ROWRow 1414

332

ROWRow 1313

249

ROWRow 1212

187

ROWRow 1111

140

ROWRow 1010

105

ROWRow99

ROWRow88

ROWRow77

ROWRow66

ROW Row 5 5

ROW Row 4 4

Row 3 3 ROW

Row 2

ROW 2

ROW 1 Row 1

fabrication method double crochet double crochet double to becrochet used on ROW [2N] AND [2N+1] be used on ROW [2N] AND [2N+1] toto be used on ROW [2N] AND [2N+1]

ROW 7: [same to ROW 4] double crochet, 3 stitches in the same knot, conneting every 3 knots in the previous row / counts 48 ROW 6: [same to ROW 3] double crochet, adding 1 stitch every other one / counts 48 ROW 5: [same to ROW 3] double crochet, adding 1 stitch every other one / counts 24 ROW 4: double crochet, 3 stitches in the same knot, conneting every 3 knots in the previous row / counts 12

3 2

ROW 3: double crochet, adding 1 stitch every other one / counts 12

4 7

5 9

ROW 2: double crochet / counts 6 ROW 1: chain / counts 6

row 7:7:[same row 4] crochet,3 3stitches stitches the same ROW [same to to ROW 4]double double crochet, inin the same knot, know, connecting every 3 knots in the previous row / counts 48 conneting every 3 knots in the previous row / counts 48 row 6: row 3] crochet,adding adding 1 stitch every ROW 6:[same [same to to ROW 3]double double crochet, 1 stitch every other one / counts 48 other one / counts 48 row 5: row 3] crochet,adding adding 1 stitch every ROW 5:[same [same to to ROW 3]double double crochet, 1 stitch every other one / counts 24 other one / counts 24 row 4: double crochet, 3 stitches in the same know, ROW 4: double crochet, 3 stitches in the same knot, conneting connecting every 3 knots in the previous row / counts 12 every 3 knots in the previous row / counts 12 row 3: double crochet, adding 1 stitch every other one / counts ROW 3: 12 double crochet, adding 1 stitch every other one / counts 12 row 2:2:double crochet/ counts / counts ROW double crochet 6 6

double crochet, 3 stitches in the same knot, conneting every 3 knots in the previous row

row 1:1:chain counts66 ROW chain // counts

to be used on ROW [3N +1]

double crochet, 3 stitches in3the same knot,in conneting every 3 knots in theconnecting previous row double crochet, stiches the same knot, every 3 to be used on ROW [3N +1] knots in the previous row to be used on ROW [3N+1]

Graham Nelson / Jasmine Gao / Kailin Wang / Morgynn Wiley

chain

double crochet single crochet to connect two rows

chain chain

PENNDesign | Fall 2015 | ARCH 501Design Studio| Ezio Blassetti double crochet double crochet single crochet to single crochet to conect two rows connect two rows

SECTION OF PAVILION PLAN OF PAVILION

PHOTOS OF FABRICATION PROCESS PHOTOS OF COMPLETED PAVILION

07 Furniture Design The Ghostling Chair Critic: Katrin Muller Spring 2017

The form of the Ghostling Chair is derived from a series of folding experiment with the material, felt. The creases and pinches are not only the form generating elements of the chair, but also carry structural function, providing rigidity to the soft fabric. A flat pattern of the chair is made after several prototypes enabling the chair to be manufactured from a single sheet of felt (continuous or patched), with the intention to maximize efficiency in mass production. The edges of the drapes are designed giving the chair a floating ghosting look.

39 1/4 24 1/2

24 37 1/2

FRONT PERSPECTIVE

TOP VIEW

BACK PERSPECTIVE

39 1/4 27 1/4 16 3/4 49 3/4

0°

20 3/4

21 1/2 26 1/2

37 1/2

FRONT ELEVATION

23 1/2

SIDE ELEVATION

SECTION

70.12”

108.62”

60.65”

93.24”

Folding Ridge

15 3/4

17 3/4

6.81°

34 1/4

32 1/4

.7 115

Folding Valley Stitches to Strengthen the Edge Holes for Hardware

77.13”

FABRIC CUTTING AND FOLDING TEMPLATE

CHAIR FORM FINDING PROCESS

The LEGO Furniture Kit Spring 2017

The goal of this project is to create a DIY furniture design-build kit that allows people to use the a simple set of joints and standard members to generate furniture for different needs. The joint is based on the Japanese traditional carpentry joint, the “kawai tsugite”, which is modified for more orientations that increase the potential of the kit.

6 1/4”

x44

1/4” 1”

1/8” 1” 1/8” 1/8” 1” 1/8”

1”

9 1/4”

6 1/4”

The Library Study Pod Spring 2017

A field study of the university library revealed a problem of the fluctuating demands of individual and group work space during the course of a semester. This Study Pod is designed allowing use by individuals, at the same time has the potential to be assembled into group work space. The trapezoid shape brings possibilities of more configuations under different arrangements.

Acoustic Foam (White Board on Back Side) Wood Storage Shelf Lighting Strip Power Outlet Foldable Tabletop Plywood Panels Perforated for Openings Arrangement 1

Arrangement 2

Arrangement 3

08 Professional Experience Internship at Atelier Bow-Wow, Tokyo, Japan June - August 2017

TRAIN STATION BENCH DESIGN AND DETAILING A design that allows flexible arrangement of the benches.

LIST OF PROJECTS: JR Onomichi Station, Onomichi City Hiroshima Prefecture, Railway Station

00 °

125.00 125.00°

Kurimoto Firewood Supply Station No.1 (1K) Katori City, Chiba Prefecture, Factory and Retail Miyakawasuji’s Machiya Kyoto City, AirBnb Rental House and Cafe

° 00

125

.00 °

Graples Gable Yamanashi Prefecture, Single Family Residence

座面に勾配を設ける: 一人が座る場所をあらわし、寝そべりを防止する目的

座面部分断面図(A中央部を例に) s=1:5

BENCH PLAN

50 70

座面部分断面図(A中央部を例に) s=1:5

38.

50 5

座面に勾配を設ける: 一人が座る場所をあらわし、寝そべりを防止する目的

622 142

68 38.

JOINT DETAIL PLAN

357

360

320

50 5

320

365 70

357

JOINT DETAIL PLAN

365

ﾍﾞﾝﾁ脚: st-pipe 38.5×38.5 溶融亜鉛ﾒｯｷの上焼き付け塗装

横つなぎ材: st-pipe 38.5×38.5 溶融亜鉛ﾒｯｷの上焼き付け塗装

365 5

ﾍﾞﾝﾁ脚: ﾍﾞﾝﾁ脚 st-pipe 38.5×38.5さや管: st-pipe 溶融亜鉛ﾒｯｷの上焼き付け塗装製作

341

2 30

360

341

360

400

横つなぎ材: 420 st-pipe 38.5×38.5 溶融亜鉛ﾒｯｷの上焼き付け塗装

780 400

座面/背もたれ: ﾅﾗ無垢材継加工防腐処理の上塗装

設置GL=1FL

365

780

420

2 30

360

座面/背もたれ: ﾅﾗ無垢材継加工防腐処理の上塗装

ﾍﾞﾝﾁ脚

さや管: st-pipe 製作

405

設置GL=1FL

さや管を床にﾎﾞﾙﾄで固定し、将来的な移動に対応できるようにする

491

1740

622 142

22 18

1067

2450

断面図(A～F共通) s=1:5

405 491

JOINT DETAIL ELEVATION

さや管を床にﾎﾞﾙﾄで固定し、将来的な移動に対応できるようにする

断面図(A～F共通) s=1:5

JOINT DETAIL ELEVATION

TRAIN STATION CHANDELIER DESIGN Inspired by the kinetic sculpture, the mobile, this chandelier is consist of parts that constantly rotate around their own axis, but still form a balanced yet dynamic whole. The length of the rods and the starting angles of each rotating component has been carefully calculated and simulated, ensuring smooth and balanced movement of the chandelier.

30° 30°

Overall Diamension: L 4.58 m x W 1.97 m x H 1.68 m Number of Lamps: 12 (Diameter 260mm, Height 260mm)

30 °

30°

TOP VIEW

20mm diameter round rod

2.5X

15mm diameter round rod 20mm x 20mm square rod X X

3.5X 5X

X ≈ 350mm

2X X X

MIRRORED TWO SIDES FOR EASE OF PRODUCTION

MOBILE FRAME LOGIC

PERSPECTIVE VIEW

PHYSICAL MODEL MAKING _Onomichi JR Station / Model Scale 1:50

_Grapes Gable / Model Scale 1:20

Volunteer at Real Architecture Workshop (RAW), Arusha, Tanzania July 2016 Designed, drafted and constructed the UCare Family Home, an local orphanage facility of the Neema Village in Arusha, Tanzania.

09 Other Experience Fashion Garment Design for Wharton Charity Fashion Show 2018 January - March 2018

Inital Conceptual Sketch Developed Conceptual Sketch

Material Experiments - Heat Formed Acrylic

Garment Flat Patterns for Vinyl Laser Cutting Photos of the Completed Garment

Analog Photography