2013 DESIGN PORTFOLIO

A R C H I T E C T U R A L L I G H T I N G I N T E R I O R A R C H I T E C T U R E A R T W O R K S A M P L E

PA L O M AS H E R M A N

A R C H I T E C T U R A L L I G H T I N G

2013PARSONSFALL

SPECULARITY IN CURVES

MATERIALIZING LIGHT PLANES

LUMINOUS TALKS

RIEDEL : OFFICE AND RECEPTION SPACES BEAUX ARTS BALL SKETCHES CERAMIC LIGHTING

ARCHITECTURAL L IGHT ING

A R C H I T E C T U R A L L I G H T I N G

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F I N A L I N T E R I O R C O N S T R U C T I O N

3 5 W M R 1 6

Focused spot d i rect l y on specu la r cur ved sur face w i th a sma l l ho le fo r a

t i gh te r beam spread.

FALL 2013 : ARCH ITECTURAL L IGHT ING specularity in curves

S P E C U L A R I T Y I N C U R V E Scl ass lighting studio ipro fesso rs craig Bernecker, Jason neches, amer maleh

pro J ect du r at i o n four weeks

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Curved Board

Side Section Cut of Final Box

Front Section Cut of Final Box

INITIAL TESTING FOR CONCEPT

F I N A L B O X C O N S T R U C T I O N

The f ina l concept uses the ref l ect i ve p roper t i es of my la r fo rmed in a tesse lat ion to create an i l l us ion of l i gh t t rave l ing th roughout the box.

Curved Mylar

Lamp

AN EXPLORATION OF THE VISUAL EFFECTS OF LIGHT.THE INTENT OF THIS PROJECT WAS TO FIND A LIGHT EFFECT AND TRANSFERTHIS CHOSEN CONCEPTUAL IMAGE OF A LIGHT EFFECT INTO A 15 BY 15 INCH BOX.

reflections

alarm...coffee...a pot on the stove. one point five cups of water, one-quarter cup of oats, salt, a cutting Board, an apple, a knife. twenty-five minutes. spoon in the pot, dishes in the sink, soap, water. shower...

sink, reaching for one of the three toothBrushes.

reflections. of the metal faucet on the wall.of the metal faucet on the Bowl.of the drain on the Bowl.of the sink on the soap dispenser.of the sink on the faucet.of the mirror on the sink.

relationships to surrounding oBJects are magnified through reflections repeating their existence.

shadows are cast in sharp detail of these mundane oBJects. toothBrushes in the glass.sink faucet on the wall. sink faucet on the Bowl.the Bowl on the wall.

rings of light are transferred through the toothBrush holder glass.

the mundane is turned from ordinary to extra-ordinary in these small glimpses and details.

reminiscent of its earlier uses, reflections from the single canister light cast watery patterns on the sink Bowl.

pinpoints of the lamp’s direct image are repeated over and over again throughout the reflections in Bright spots of Brilliance.

toothpaste goes on the toothBrush.a mixture of saliva and toothpaste interrupts the watery reflection of light. toothBrush Back in the cup.lights out...clothes on...out the door...

reflections : fall 2013 : prose for specularity in curves

FALL 2013 : ARCH ITECTURAL L IGHT ING specularity in curves

FALL 2013 : ARCH ITECTURAL L IGHT ING specularity in curvesFALL 2013 : ARCH ITECTURAL L IGHT ING specularity in curves B O X I N T E R I O R

2 5 E A S T 1 3 T H S T . 3 R D F L O O R : N E W Y O R K , N E W Y O R K

D O N G H I A G A L L E R Y

G R O U P R E N D E R E D F L O O R P L A N

G R O U P P H O T O M E T R I C F L O O R P L A N

DONGHIA GALLERY WAS MEANT TO BE A RELAXED BAR AREA WITHIN A GLASS ENCLOSED ROOM CENTRALLY LOCATED IN THE SPACE.PLANAR ELEMENTS OF LIGHT WERE RE-MATERIALIZE IT INTO A FUNCTIONAL ELEMENT IN THE SPACE.HIGH BAR TOPS WERE CREATED TO PROVIDE THE ILLUSION OF THE PLANES OF LIGHT BECOMING A SOLID ELEMENT, FUNCTIONING IN THE SPACE AS BOTH AN ELEMENT OF INTEREST AS WELL AS PROVIDING FURNISHING FOR THE EVENT.

THIS DESIGN IS THE PRODUCT OF A TEAM OF TWO WORKING WITHIN A LARGER GROUP OF 10 PEOPLE TO DESIGN A RECEPTION FOR A LIGHTING EVENT THEMED NATURE AND MAN-MADE. AN OVERALL CONCEPT WAS DECIDED ON THE INTERSECTION OF NATURAL LIGHT WITH THE MAN-MADE ENVIRONMENT. MORE SPECIFICALLY LOOKING AT THE PLANES OF LIGHT CREATED IN THE EVENT OF THIS INTERSECTION.

C O N C E P T U A L I M A G E

M AT E R I A L I Z I N G L I G H T P L A N E Sclass lighting studio iprofessors craig Bernecker, Jason neches, amer maleh

proJect duration six weeks

donghia collaBorators r. paloma sherman + silvia mazzarri

group collaBorators silvia mazzarri, r. paloma sherman, linda lilJeBack, Jordana maise-goot, venna v. ressureccion, zhoufei ren, James clotfelter, sophia mitchell, veronica Barrantes, paula tocomal

D O N G H I A G A L L E R Y

C O N C E P T

FALL 2013 : ARCH ITECTURAL L IGHT ING materializing light planes

I N I T I A L L A M P P O S I T I O N I N G

M O C K - U P P R O C E S S

W I R I N G P R O C E S S

structure

fabric

coves

false wall

P R O C E S S


F I N A L M O C K U P

F I N A L M O C K U P D E S I G N


L U M I N O U S TA L K Scl ass lighting studio ipro fesso rs craig Bernecker, Jason neches, amer maleh

pro J ect du r at i o n two weeks

event co ll aBo r ato rs parsons lighting program, class of 2015fo o d des i gn + co - o r d i nat i o n r. paloma sherman, ashton keefe

sco n c e des i gn + co - o r d i nat i o n r. paloma sherman, ashley main, aBraham chandler

P H I L I P S E V E N T F L O O R P L A N

EVENT DESIGN:VARIOUS PROJECTS WERE PICKED, SIMPLIFIED, THEN DISPLAYED AT THE PHILIPS LUMINOUS TALKS RECEPTION. THESE PROJECTS WERE DESIGNED, CONSTRUCTED, WIRED, AND DISPLAYED BY THE GRADUATE LIGHTING STUDENTS. THE EVENT ITSELF WAS ALSO STUDENT-RUN BY THE CLASS OF 2015.

FOOD DISPLAY, CO-ORDINATION AND LAYOUT WAS DONE ACCORDING TO THEME, THE MAN-MADE FOOD IN THE EXTERIOR GALLERY SPACE, AND THE “NATURAL” IN THE ICE CAVE.

FALL 2013 : ARCH ITECTURAL L IGHT ING luminous talks

I C E C A V E P R O C E S S

S T R I N G S

S T R I N G B A R

S C O N C E D E S I G N



c l a s s lighting studio ip r o f e s s o r s craig Bernecker, Jason neches, amer maleh

p r o J e c t d u r a t i o n five weeks

c o l l a B o r a t o r s r. paloma sherman + kiersten hill

SPACE PLANNING, PROGRAM AND LIGHTING PROGRAM WERE DETERMINED IN THIS FIVE-WEEK PROJECT FROM A GIVEN CLIENT BRIEFING. THE CLIENT BRIEFING DETERMINED THAT RIEDEL, THE WINE COMPANY, NEEDED SPACE FOR AN UPSTAIRS OFFICE OF 27 EMPLOYEES. LIGHTING WAS DESIGNED FOR OFFICE ACTIVITIES OF COMPUTER USE, GROUP ACTIVITIES AND MEETING SPACES AS WELL AS MEETING LPD REQUIREMENTS. LIGHTING LEVELS OF 30 FC WERE PROVIDED FOR ALL TASK AREAS, LEVELS OF 10 FC WERE PROVIDED IN ALL CIRCULATION SPACES.

R I E D E L : O F F I C E A N D R E C E P T I O N

FIRST FLOOR PUBLIC SPACESECOND FLOOR OFFICE SPACE

FALL 2013 : ARCH ITECTURAL L IGHT ING riedel : office space

WASH PROGR AM Ph i l i p s c o l o r k i n e t i c e f l e x L ED ’s a r e u s e d t o f o rm a wave o f l i g h t s u s p e nd ed f r om t h e c e i l i n g , t h e s e p r o g r ammab l e l i g h t s g r ow b r i g h t e r t h e n s l ow l y f ad e b ac k t o n o rma l o u t p u t i n d i f f e r e n t a r e a s a t d i f f e r e n t t ime s o f t h e d ay a nd a r e t h e s t a r t o f a c yc l e t h a t “ WASHES ” t h r o u g hou t t h e s p ace . T h e b a r t a b l e b e l ow t h e b r i g h t L ED ’s b e comes i l l um i n a t e d a s t h e e f l e x l i g h t s f ad e b ac k t o n o rma l . Fo l l ow i n g t h i s , t h e g l a s s e d u c a t i o n a l d i s p l ay wa l l s l ow l y g r ows b r i g h t e r f r om b o t t om t o t o p , e s s e n t i a l l y wa sh i n g u p t o t h e o f f i c e s p ace s a nd c o nne c t i n g t h e t wo f l o o r s .

R IEDEL NEW OFFICE SPACE: WAREHOUSE DISTRICT, NEW YORK, NY

R E C E P T I O N S P A C E

E D U C AT I O N A L D I S P L AY W A L L B A R TA B L E S

O F F I C E S P A C E

C O V E S A N D D O M E S

EVEN LEVELS OF ILLUMINATION ARE CARRIED THROUGHOUT THE OFFICE SPACE. TASK LIGHTING IS PROVIDED IN VARIOUS FORMS ON THE INDIVIDUAL WORKSPACES.

INDIRECT TO DIRECT. CIRCULAR UPLIGHTS ARE POSITIONED WITHIN DOMES THAT ARE DESIGNED TO DIRECT THE LIGHT ONTO THE DESKS BELOW.

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C O N F E R E N C E R O O M

CEILING COVES MEANDER ABOUT THE OFFICE SPACE ILLUMINATING THE CIRCULATION SPACE, RIPPLES IDENTIFY MOMENTS OF TRANSITION, SERVING AS A WAY FINDER FOR ENTRY’S AND EXITS AND BECOME INTEGRAL IN PROVIDING OVERALL LUMINANCE OF THE POOL OVER THE CONFERENCE CENTER AND THE ELEVATOR HALLWAY.

RIPPLING CEILING COVES TURN ON THEIR SIDES AND ARE REPEATED LATERALLY ON THE WALLS OF THE CEO’S OFFICE.

C E O ’ S O F F I C E


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THE HIGH LEVEL OF LUMINANCE OF THE STAIRS, CREATED BY ACRYLIC ENCAPSULATED T8 FLUORESCENTS STEPS SERVES AS THE INCIDENT POINT FOR THE WAVE FORMED BY THE LEDS.

50 FC REQUIRED ILLUMINANCE FOR A MOSS COVERED WALL

TO FLOURISH.

THOUSANDS OF TINY LED DIODES IN THE CIELING GRID ARE REPEATED IN THE HIGHLY SPECULAR SURFACES OF THE WINE GLASSES SUSPENDED FROM THE CIELING, THE BLACK GLASS CLAD COLUMNS AND THE EXTERIOR WINDOW.


R E C E P T I O N S PA C E

THE LOWER LEVEL WAS PLANNED AS AN ENTERTAINMENT/INTERACTIVE WINE BAR AREA. THIS STREET LEVEL BAR DRAWS THE ATTENTION OF PASSERS-BY WITH A WAVE OF LOW OUTPUT LEDS SUSPENDED ON A WIRE GRID. A COMFORTABLE SPACE TO ENTERTAIN AND WOW SPECIAL GUESTS WAS CREATED IN A SMALLER SIDE ROOM TO BE USED FOR SMALL BUSINESS EVENTS.

FALL 2013 : ARCH ITECTURAL L IGHT ING riedel : office spaceP R I V AT E W I N E R O O M

c l a s s lighting studio iip r o f e s s o r s glenn schrum, davidson norris

p r o J e c t d u r a t i o n two weeks

c o l l a B o r a t o r s sophia mitchell + mint thumrongluck

O R B I S : S T U D Y C A R R E L L

SUN DIAGRAM (New York)

JAN

FEB

MAR

MAY

JUN

JUL

AUG

SEP

OCT

NOV

DEC

APR

Shaded: Times Sunlight May be admitted:

Strong Sun ( >75 F):Times Sunlight Should Be Prevented from entering the building

SUN DIAGRAM (New York)

JAN

FEB

MAR

MAY

JUN

JUL

AUG

SEP

OCT

NOV

DEC

APR

Shaded: Times Sunlight May be admitted:

Strong Sun ( >75 F):Times Sunlight Should Be Prevented from entering the building

SPRING 2014 : ARCH ITECTURAL L IGHT ING orBis : study carrell

11T H S T . A N D A V E N U E DAN IMAGE FROM THOMPKINS SQUARE PARK WAS THE INSPIRATION FOR THIS TIMEPIECE BASED BUILDING LOCATED IN THE EAST VILLAGE. THE VIEW INTO THE EXTERIOR IS ANGLEDAT 110 DEGREES TO CATCH THE MORNING LIGHT ON THE DARKEST AND GLOOMIEST DAYS OF THE YEAR. THE CURVATURE OF THE CIRCLE IS DESIGNED TO REFLECT DECEMBER LIGHT AT 8AM BRINGING AN ELEMENT OF INTEREST AND INSPIRATION BACK INTO THE COLD WINTER MONTHS.

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40’

20’

2’

20’

18’7

”

4’3/

16”

3’4”

S U N M A P P I N G

R C P L o w e r L e v e l

R C P M e z z a n i n e

concrete shell

meeting space

study carrell

reading room

wood shell

P R O G R A M

K E Y S U N A N G L E S

S e c t i o n BS e c t i o n A

CB

A

S e c t i o n C

S U R R O U N D I N G O V E R S H A D O W I N G

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r o o f

e n t r y

1 2 . 2 1 . 8 A M

R E F L E C T I V I T Y O F S U R F A C E

1 2 . 2 1 . 8 A M 3 . 2 1 . 8 A M 6 . 2 1 . 8 A M 6 . 2 1 . 2 P M

KEY DOOR ANGLE T IMES 3 .21

6 P M 4 P M 2 P M

K E Y S U N A N G L E S

AMBIENT GLOW ON THE CEILING AND THE ENTRY WAY EMANATES FROM THE REFLECTED DIRECT SUN LIGHT OFF OF THE PAINTED ROOF OF THE BUILDING AND AN ANGLED ENTRY WAY, EMPHASIZING THE WARMTH OF THE WOOD INTERIOR SHELL.


4” 4”

5”

AN INSET WALL BENEATH THE STAIR CAPTURES AND REFLECTS THE LIGHT BACK INTO THE STUDY CARELL, BOTH EMPHASIZING THE STEPS AND PROVIDING A PLACE FOR RECESSED ELECTRIC LIGHTING.

C AT C H A N D T H R O W


THE ELECTRIC LIGHTING SCHEME FOCUSED ATTENTION ON THE VOLUMES OF THE STRUCTURE ITSELF WITH EMBEDDED WALL WASHING TECHNIQUES, ORBITAL PENDANT FOCUSES THE INNER MEETING AREA’S LIGHTING BACK UPON THE ORB SHAPE OF THE EXTERIOR CUT OUT AND CARRIES MORE LUMINANCE TO THE LOWER LEVEL. LUMINANCE LEVELS ARE KEPT INTENTIONALLY LOW EXCEPT FOR IN THE STUDY CARRELL WHERE TASK LIGHTING IS FOCUSED DIRECTLY UPON THE HORIZONTAL PLANE.

FURTHER EMPHASIS ON WARM VS. COOL FROM THE ELECTRIC LIGHT EMPHASIZES THE WARMTH OF THE WOOD WITH 3500K AND THE CONCRETE WITH 4000K TEMPERATURES.

N I G H T V I E W

E L E C T R I C L I G H T I N G


B E A U X A R T S B A L L 2 0 1 3 : - i s m : LEXINGTON AVENUE ARMORYclass volunteer opportunity

proJect duration two days

collaBorators situ studio, renfro design group, processional arts workshop, nathan halpern

RENFRO DESIGN GROUP DESIGNED THE LIGHTING FOR THE ARCHITECTURAL LEAGUE OF NEW YORK CITY’S ANNUAL FUNDRAISING BALL. FRAMING PROJECTORS WERE USED TO EMPHASIZE SITU STUDIO’S SCULPTURAL “DADA-ESQUE” FLOATING ENTITIES, AND PHILIPS COLOR REACHES HIGHLIGHTED THE CEILINGS STRUTS FROM THE UPPER MEZZANINE LEVEL. BAR TABLES WERE ILLUMINATED BY T5 FLUORESCENT STRIPS, WHILE COCKTAIL TABLES WERE LIT FROM THE INTERIOR WITH TEMPORARY LED LAMPS. A VOLUNTEER POSITION WITH RENFRO DESIGN GROUP OFFERED AN OPPORTUNITY TO HELP POSITION AND OPERATE LUMINAIRES AND DETERMINE BEAM ANGLES FOR THE EVENT.

R E N F R O D E S I G N G R O U P L I G H T I N G S C H E D U L E

FALL 2013 : ARCH ITECTURAL L IGHT ING Beaux arts Ball ...40

E V E N T P H O T O S

FALL 2013 : ARCH ITECTURAL L IGHT ING Beaux arts Ball

FALL 2013 : ARCH ITECTURAL L IGHT ING Beaux arts Ball

S K E T C H I N G L I G H T

FALL 2013 : ARCH ITECTURAL L IGHT ING sketches

FALL 2013 : ARCH ITECTURAL L IGHT ING sketches

C E R A M I C L I G H T I N G

class ceramic lighting studio iprofessors Jonothan pandolfi

proJect duration sixteen weeks

HIPSTER SCONCE IS MEANT TO PROVIDE INDIRECT LIGHT-ING IN A SPACE, IT CAN BE GROUPED OR SINGULAR IN IT’S PLACEMENT ON A WALL.

USING A CFL LAMP WITH AN OUTPUT OF 900 LUMENS THE LAMP IS SHIELDED FROM DI-RECT VIEW, THE PORCELAIN HAT IS SUSPENDED AWAY FROM THE WALL CASTING A HALO OF INDIRECT AROUND THE BRIM OF THE LUMINAIRE ITSELF. THE ELECTRICAL CORD IS USED AS AN ACCENT IN THE FIXTURE AS IT WRAPS AROUND THE BASE OF THE BRIM MIMICKING A HAT CORD.

FOUR WISE MEN USING A COMBI-NATION INDIRECT LIGHT AND DI-RECT LIGHT THIS PIECE IS MEANT TO BE A DISPLAY PIECE FOR MOOD LIGHTING.

E X P E R I M E N TAT I O N W I T H I N D I R E C T A N D D I R E C T L I G H T I N G

FALL 2013 : PRODUCT DESIGN ceramic lighting

F O U R W I S E M E N

FALL 2013 : PRODUCT DESIGN ceramic lighting

2013PARSONSSPRING

ARTIST’S LOFT

TOY SYSTEM

AFTERTASTE

2012PARSONSFALL

INVERSIONS AND JUXTAPOSITIONS

SOUNDS OF THE SUBWAY

THE GAMBLE HOUSE: A CASE STUDY

C O N T E N T S

I N T E R I O R A R C H I T E C T U R E

INTER IOR ARCH ITECTURE

I N T E R I O R A R C H I T E C T U R E

A R T I S T ’ S L O F Tclass interior design studio iiprofessor memduh tayar

proJect duration seven weeks

DESIGN FOR A 300 SQUARE FOOT APARTMENT IN CENTRAL MANHATTAN.

A R T I S T L O F T

GIVEN CLIENT PROFILE:PROFESSION: ARTIST/EDUCATOR WITH A PART TIME POSITION AT JUDD FOUNDATION2011 REPORTED INCOME $21,000.-EDUCATION: SUNY COLLEGE AT PURCHASE, BFA IN FINE ARTS MASON GROSS SCHOOL OF THE ARTS, RUTGERS UNIVERSITY, MFA IN VISUAL ARTSACTIVITIES: SWIMS AT THE YMCA IN THE WINTER AND DURING THE SUMMER AT THE CITY POOL, LIKES JAPANESE NOODLES AND EATS AT GRAND SICHUAN & JULIUS’S, MEMBER OF PARK SLOPE FOOD COOP.READS BERTOLT BRECHTPARTICIPATED IN “OCCUPY WALL STREET”EXHIBITED WORK AT TIBOR DE NAGY GALLERY, DEVEN GOLDEN FINE ART AND THE MIX FESTIVAL.LIKES SCIENCE FICTION MOVIES: METROPOLIS, BLADE RUNNER.

F L O O R P L A N

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R E F L E C T E D L I G H T I N G P L A N

PHILLIPS Ledalite recessed

EUROFASE Kobi Electric 14 Watt Dimmable LED

BIRCHWOOD Jake recessed linear

Designed for Flexiblity of Space, this 300sq ft. apartment makes use of the newest building application. The shell constructed of Laywood Filament, a 3D printable wood material, is an environmentally and economically friendly material composed of wood flour and bio-resin. Cherry wood accents inspire a warm, clean, comfortable environment in a small space. Inspired by the client’s love of japanese food, the space is influenced by the Japanese way of home living with no shoes indoors and allows for folding compartments in the floors exposing an alternate living space.

SPRING 2013 : INTER IOR ARCH ITECTURE artist loft

I N I T I A L C O N C E P T U A L I M A G E

P R O G R A M V I D E O

C L I E N T S C H E D U L E


F L O O R P L A N

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A partial enclosure of the porch creates a sheltered area for a sunlit artist studio, with the proper ventilation for toxic art mediums.Folding panels allow for flexible space.

A custom built dresser serves as a partition between the living/bedroom area and the kitchen. Partial visibility into the space on the other side creates a feeling of privacy while maximizing the field of vision in the apartment to minimize claustrophobia.

3D printing technology allows for easy production of curved shapes which created the possibility of this intriguing custom bathroom shelving. Frosted grey glass allows for exterior light entry without visual trespass. The shower stall and sink created from the extruded wood are inherently waterproof and the solid extrusions make for easy cleaning.

WATER TEST3:32

3:42

F-F’ SECTION THROUGH BATH AND KITCHEN

faucet by GROHEsink by KOHLER

toilet by ROCA

toilet by ROCAcustom sink

F-F’ SECTION THROUGH BATH AND KITCHEN

faucet by GROHEsink by KOHLER

toilet by ROCA

toilet by ROCAcustom sink

C-C’ SECTION THROUGH BEDROOM AND STUDIO

custom bed unitcustom floor storagecustom painting cabinet

D-D’ 3/16” SCALESECTION THROUGH PORCH AND HALLWAY

custom closet unitcustom built-in deskcustom planters

B-B’ SECTION THROUGH BATH AND LIVING SPACE3/16” SCALE

showerhead and mixer by ROCAcustom shelving


K I T C H E N A N D P O R C H

M AT E R I A L S


S T U D I O


FOLDAWAY FLOOR/BED NEEDED TO BE STRONG ENOUGH TO HOLD WEIGHT AND MOVEMENT BUT LIGHT ENOUGH TO EASILY PUT AWAY. THE STRUCTURE CREATED FOR THIS PURPOSE HAD CUSTOM ALUMINIUM JOINTS SPANNING ACROSS THE STRUCTURE TO HOLD WEIGHT, HANDLES FOR EASY MANEUVERING, AND WAS FLUSH WITH THE FLOOR.

FELT HIDDEN UNDER THE LAST PANEL SERVES AS A COVER FOR THE HEADBOARD. SECTION OF FOLDING BED PANEL (FOLDED UP)

SECTION FOLDED DOWN


T O Y S Y S T E Mclass interior design studio iiprofessors memduh tayar

proJect duration four weeks

A CHILD USES OBJECTS TO MIMIC WHAT THEY SEE ADULTS DO. BECAUSE THE AMERICAN NORM NO LONGER REQUIRES THE CHILD TO PITCH IN, THEY USE TOYS AS A FORM OF PARTICIPATION THROUGH IMAGINATION, CREATING STORY-LINES AND SCENARIOS MIMICKING THE ADULT WORLD. A LOG, FOR EXAMPLE, BECOMES A CAR, AND AN ACORN CAP, A TINY CUP. THIS TOY IS INTENDED FOR CHILDREN AND ADULTS TO SHARE IN THE MAKING AND USING OF SOMETHING THEY CAN BUILD TOGETHER, CREATING A SENSE OF PARTICIPATION AND ACCOMPLISHMENT.

TAKING BUILDING BLOCKS AS A POINT OF DEPARTURE EACH STUDENT WILL DEVELOP A SMALL SCALE BUILDING SYSTEM CONSISTING OF A BASIC UNIT AND THE MEANS TO ATTACH IT TO OTHER UNITS.A SYSTEM IS DEFINED AS A SET OF INTERACTING INTERDEPENDENT COMPONENTS FORMING AN INTEGRATED WHOLE.

K E Y T E R M S :

W O R K A S P L AY

N AT U R A L S U R R O U N D I N G S

S I M P L I C I T Y

C O L L A B O R AT I O N

F U N C T I O N

F O U N D O B J E C T S

SPRING 2013 : INTER IOR ARCH ITECTURE toy system

SPRING 2013 : INTER IOR ARCH ITECTURE toy system

T O Y I N S T R U C T I O N S

1. GATHER METAL CLIPS.2. COLLECT STICKS WITH A 3/8” DIAMETER AND A FORK AT ONE END.3. BREAK ENDS TO MATCH SO THE LENGTH IS EQUAL TO ONE FOOT.4. BUILD

FULL SCALE MODEL OF COMPONENTS

12”

1”

FULL SCALE MODEL OF COMPONENTS WITH COLLECTED STICKS

SPRING 2013 : INTER IOR ARCH ITECTURE aftertaste symposium reception

DESIGN INTERRUPTIONS SHIFT PERCEPTIONS OF COMMON OBJECTS. WE SEEK TO TINKER WITH ASSOCIATIONS OF THE MUNDANE AND TRANSFORM THEM TO A CELEBRATION OF THE ORDINARY. THE RESULTING SENSATIONS OFFER A RENEWED APPRECIATION AND UNDERSTANDING OF THE INFLUENCE OBJECTS HAVE ON OUR DAILY LIVES.

Objects shed by the dinner guests gradually contributed to a wall installation of coats on coat hooks installed on the gallery walls.

A F T E R TA S T E S Y M P O S I U M R E C E P T I O Nclass mfa interior design program

proJect duration two weeks

DESIGN FOR A RECEPTION FOLLOWING THE AFTERTASTE SYMPOSIUM: THE ATMOSPHERE OF OBJECTS

Coat hooks were fabricated from found objects. Red tape was used as a reflective material for a subtle red light effect.

A floorplan was determined to draw people away from the door toward the food in the back of the space and back to the table and/or provided seating areas.

Coat Installation Wall

A communal table was manipulated so guests would have an unpredicted sensorial experience in their interaction with a seemingly ordinary communal table. The framed table was filled with a combination of sand and birdseed determined to provide an moving surface that would interact with the objects set on it.

Attention was brought to the mundane by red wiring weaving a network between the lightbulbs and drawing connections between the spaces above to the spaces the guests interacted with.

Interactive Communal Dining Table

Bar areas

Wiring

Circulation

Chef Prep Area

Coat Installation Wall

Testing for Materiality in the Interactive Table

Food Tables

Seating



I N V E R S I O N S A N D J U X TA P O S I T I O N S class interior design studio iprofessors alan wexler

proJect duration three weeks

FALL 2012 : INTER IOR ARCH ITECTURE inversions and Juxtapositions

The juxtaposition of the stone with it’s box is ex-plored through a paper thin shell that is holding the stone, yet could be crushed by it if placed in the wrong way.

PAPER COVERS ROCK

A balancing act elevates the stone, again fetishizing it, while the rectilinear shape of the pedistal shows the juxtaposition of the stone with the manmade structure.

BALANCING ACT

This box fetishizes the simple beachstone through a box that fits only this stone.

BEACH STONE FETISH

USING CHIPBOARD AND GLUE, CREATE A BOX FOR A BEACHSTONE. AFTER THOROUGH EXPLORATION WITH THE BEACHSTONE, CREATE AN ENVIRONMENT FOR AN EIGHT FOOT WHITE ACRYLIC CUBE AND A LARGE ROCK (USING THE SAME STONE AT 1/8 INCH SCALE).

THOROUGH EXPLORATION WITH THE BEACHSTONE REVEALED A VARIETY OF OPTIONS FOR ENCLOSURE, ELEVATION AND FETISHISM.

WITH THE ADDITION OF A WHITE ACRYLIC CUBE, A JUXTAPOSITION BETWEEN MAN-MADE AND EARTH MADE WAS EMPHASIZED. A LANDSCAPE INTERIOR WAS CREATED FOR THE BEACHSTONE BY CREATING A SERIES OF CIRCULAR STAIRS, RADIATING FROM IT’S EXTERIOR. STAIRS START AT THE GROUND PLANE AND RECEDE BACK INTO THE EARTH EMPHASIZING THE STONE’S NATURAL CONNECTIONS. AS A JUXTAPOSED FORCE, THE WHITE ACRYLIC CUBE EXTENDS INTO THE SKY THROUGH A SERIES OF STEPS THAT RADIATE ITS CUBIC FORM, REFLECTIONS OF THE SKY ARE CAST ON THE CUBE RENDERING IT ALMOST INVISIBLE TO THE VIEWER AND EMPHASIZING THE EPHEMERALITY OF MAN AND THE OBJECTS THAT WE CREATE.

FALL 2012 : INTER IOR ARCH ITECTURE inversions and Juxtapositions

S O U N D S O F T H E S U B W AYclass interior design studio iprofessors alan wexler

proJect duration eight weeks

MTA HAS A TRADITION OF SUPPORTING ART INSTALLATIONS AND MUSIC IN THE SUBWAY SYSTEM. VIA COMPOSITIONAL INSTALLATION, THIS SUBWAY INSTALLATION CONTINUES THE LINE OF INDEPENDENT THOUGHT AND EFFORT TO IMPROVE THE NYC SUBWAY SYSTEM, VIA BOTH PRACTICAL CHANGES AND ENTERTAINMENT VALUE.

IN AN EFFORT TO CHANGE THE MUNDANE PRACTICE OF RIDING THE SUBWAY, SOUNDS OF THE SUBWAY IS AN INSTALLATION BRINGING THE ATTENTION TO THE MOVEMENTS OF THE NYC SUBWAY PLATFORM, ELEVATING THEM TO A NEW LEVEL OF FOCUS AND BEAUTY.

THE RHYTHM AND ANOMALIES OF SOUNDS FROM INTERACTION WITH THE SUBWAY SYSTEM WERE CAPTURED WITH ELEMENTS TO EMPHASIZE THESE MOVEMENTS. SEVEN MICROPHONES PLACED IN SPECIFIC AREAS (FOR EXAMPLE: A TILE, A HANDRAIL, A BENCH, A STAIR) PICK UP THESE SUBTLE MOVEMENTS AND ARE TRANSLATED INTO A LIVE FEED CREATING A SYMPHONY OF THESE SOUNDS IN “SOUND SHOWERS”. FOUR OF THESE SOUND SHOWERS ARE LOCATED THROUGHOUT THE SPACE AND CONCENTRATE LOW LEVELS OF CONTINUOUS COMPOSITION CREATED BY THE MOVEMENT OF THE SUBWAYS OCCUPANTS DIRECTLY BELOW, CREATING A MOMENTARY DISRUPTION FOR THE PERSON PASSING BENEATH.

STRUCTURAL AND MATERIAL CHANGES IN THE CURRENT SUBWAY DESIGN LEAD TO A REDUCTION OF THE SOUNDS OF THE TRAINS ARRIVALS AND DEPARTURES. MAKING IT MORE PLEASANT FOR OCCUPANTS AND REDUCING LONG TERM HEARING COSTS.

GIVEN THE PLANS FROM MTA FOR THE NEW 2ND AVE. SUBWAY LINE, DESIGN AN INTERIOR SPACE OF INTRIGUE, AND EXCEPTION FOR THE PEOPLE OF NYC.

DIAGRAM OF MICROPHONE PLACEMENT AND SOUND FEED RED: TRIGGERPURPLE: FEED

BENCH MIC HANDRAIL MIC STAIR MIC TILE MIC

2ND AVE. SUBWAY AXONOMETRIC

Ground Level

Mezzanine Level

Platform Level

FALL 2012 : INTER IOR ARCH ITECTURE sounds of the suBway

DIAGRAMMMING AND SKETCHING OUT IDEAS: PLANS AND SECTIONS OF THE 2ND AVE. SUBWAY SYSTEM


MANIPULATIONS IN FLOORING HELP TO CREATE THIS COMPOSITION THAT IS HEARD BY SUBWAY OCCUPANTS. A COMBINATION OF MTA APPROVED FLOORING (WOOD, RUBBER, CONCRETE) IS BOTH A LOCATING ELEMENT, AND A COMPOSITIONAL ONE.

VIDEO: LISTENING AND LOOKING AT FLOORING MATERIALS

FLOORING LAYOUT

Concrete on the East side of the platform and Wood on the West side serve as an aural locational element, while rubber running down the center serves as a more comfortable surface to wait on.


MICROPHONE LAYOUT

SOUND DOMES

SOUND DOMES

Construction of a sound dome was inset in the ceiling to increase the momentary disorientation when encountering the symphony underneath as well as for long term wear and tear purposes.The dome shape was used to focus the sound directly below the speaker.

Seven points of incident lead to each of the four sound feeds on the platform, the triggers in each sound feed contain a variety of combinations of microphones from: stairsteps, wall tiles, handrails, and benches.


SOUND DOME MOCKUP

The current design structure and materiality allows for and encourages sound reflection off of surfaces and bounces uncomfortable sound waves from the train’s arrival

ORIGINAL CONFIGURATION MODIFICATIONS TO ORIGINAL STRUCTURE

Modifications to the structure reflect the sound of the rails back into the tracks and away from the platform. Roughcut limestone tile with a variety of different sized preforations helps to absorb the variety of soundwaves created by the train while the insulated layer behind it further increases the wall’s abilities to absorb the sound waves.



PLASTER MODEL FOR TESTING IMPACTS OF SOUND WITHIN SUBWAY’S CONCRETE STRUCTURE

PLASTER MODEL FOR TESTING IMPACTS OF SOUND WITHIN SUBWAY’S CONCRETE STRUCTURE


T H E G A M B L E H O U S E class representation and analysis

professors erica, paolo, luBen dimencoff

proJect duration 3 months

GIVEN THE PRECEDENT: THE GAMBLE HOUSE BY GREENE AND GREENE, VISUALLY REPRESENT IT INANY WAY FOUND APPROPRIATE AFTER AN IN DEPTH RESEARCH PROCESS.

EMPHASIS TO THE CALIFORNIA ENVIRONMENT WAS PUT ON THIS HOUSE THROUGH CONNECTIONS TO THE OUTSIDE AND MATERIALITY. LARGE PORCHES ON THE UPPER LEVEL AND AN ENTRY WAY ON THE LOWER LEVEL THAT CREATES A THOROUGHFARE TO THE BACKYARD WERE A LARGE FOCUS ON THE HOUSE’S CREATION. CALIFORNIA CRAFTSMAN STYLE BUILDING IS APPARENT IN THE CAREFUL CONSTRUCTION OF THE EXPOSED BEAMS ON THE EXTERIOR, AND THE STAIR JOINERY.

SECTION CUT OF THE PASSAGEWAYS CUTTING TO THE EXTERIOR: THE ATTIC, ENTRY, AND BEDROOM PORCHES

Final drawings were done on linen to emphasize this craftsman-style house, which had plans that were originally done in 1908 on linen paper by Greene and Greene.

EXTERIOR ELEVATION OF THE INTERIOR TO EXTERIOR BOUNDARIES

FALL 2012 : INTER IOR ARCH ITECTURE the gamBle house

FALL 2012 : INTER IOR ARCH ITECTURE the gamBle house

THE CRAFTSMAN STYLE MAIN STAIRCASE

FALL 2012 : INTER IOR ARCH ITECTURE the gamBle house EXTERIOR AXONOMETRIC OF THE INTERIOR TO EXTERIOR BOUNDARIES, MATERIALITY AND PRIVATE/PUBLIC ACCESS

C O N T E N T S

2012INDEPENDENT

SUCCUBUS SERIES

FURNITURE

OIL

A R T W O R K S A M P L E

D E S K : MAPLE, PURPLE HEART, FOUND DRIFTWOOD: 2008

2008 : ARTWORK furniture


L U Z : MAPLE, HANDMADE PAPYRUS PAPER, CFL: 2008



C O L O N Y : HIGH-FIRE PORCELAIN: 2012

2012 : ARTWORK succuBus series


S P U T N I K : HIGH-FIRE WITH ROCK CACTUS: 2012



D E F I C I T S : OIL, MICA: 2012

2011 : ARTWORK oil

Documents

2013 DESIGN PORTFOLIO