........portfolio

thinking harder

2009-10-28T11:02:00.000-07:00

In a manner of speaking I imagine the space designed in a way that would reflect the construction of coral. Form a microscopic level to the largest scale of the entire life of a reef; coral is a measure of one thing developing on another and codependence.

I took the idea of hoe the coral is many organic living forms attached to a skeletal structure. I visualize the hatchery being laid out with organic spaces around a geometric hall (path, way finding), incased in a geometric space.

Along with that the materials to create the space must be easily changeable, whether that mean being multifunctional of interchangeable.

research: furniture program

2009-10-21T14:40:00.000-07:00

the pieces chosen or designed should be multi functional and/or portable(easily moved or replaced)

................examples ...........

Chair Design Guidelines

1. The occupant should be able to sit in and get up from the chair without difficulty. The feet should rest flat on the floor without the knees projecting above the upper leg. A seat height of 16 to 18 inches fits the bill for most adults. Armrests should support the forearms without raising the shoulders (7" to 9" above seat). Half armrests enable the chair to be drawn up close to a table.
2. The depth of the seat should allow clearance from the front edge of the seat to the back of the occupant's leg. A seat that is too deep will press against the back of the legs forcing the occupant to slouch forward. A seat that is too shallow may be unstable and feel precarious. A seat depth of 15 to 18 inches is recommended for most adults.
3. The width of the seat often tapers by 2" to 3" from the front to the rear to allow clearance for legs and clothes in front while allowing elbow room in back. Many chairs have seats that are about 15" wide in the rear and 18" wide in the front.
4. For relaxed seating, the seat should slant slightly toward the back (about 5° to 8°) to keep the occupant from slipping out of the chair. However, an office desk or typist's chair often has a flat seat to facilitate leaning forward.
5. The back of the chair is often slanted backwards for comfort - up to 5° for a dining chair and 10° to 15° for a more casual chair. As the chair back angle increases, the seat should be tilted further backward to prevent forward sliding and lowered to prevent the front edge of the seat from pressing against the back of the legs.
6. The seat back should support the lumbar region without being so high as to interfere with the shoulder blades. A back height of about 12" to 16" above the seat is ideal for most adults. Note that this guideline is often ignored for formal "high-backed" dining chairs.
7. The lower portion of the seat back (first 4"-8") should curve out or be left open to allow room for the buttocks.

Chair Dimensions For Average-Sized Adults
The following dimensions apply to chairs designed for average-sized adults sitting in an upright or alert posture.

Seat width 16"-20"
Seat depth 15"-18"
Seat height from floor 16"-18"
Slope of seat front to rear 5° to 8° (3/4" to 1" drop)
Armrest height above seat 7"-9"
Armrest length (full armrest) 8" minimum
Armrest width 2" average
Set back of armrest from front 2"-3"
Seat back height 12"-16" above seat
Seat back recline angle 0°-5° (formal); 10°-15° (casual)

Desk Design Guidelines

1. A 28 to 30 inch high work surface is optimal for writing and general purpose desk use (same as a dining table). A 24 to 28 inch high work surface is recommended if the desk will be used for typing.
2. A standing desk (versus a lap desk) is normally 30 to 60 inches wide and 20 to 30 inches deep. A conventional office desk is often about 60 inches wide and 30 inches deep.
3. The knee space under the desk should be 20 to 26 inches high, no less than 20 to 24 inches wide, and 12 to 15 inches deep.
4. Drawers installed below the work surface are generally larger than those above it. Upper drawers are typically used to store small items such as pens, paper clips, stamps, and personal effects. Lower drawers are used for larger items such as paper and are usually as long as the desk is deep. Lower drawers should be at least 12" wide in order to hold a standard piece of paper (letter size) lengthwise.
5. A drawer over the knee space can usually be no more than 4 inches deep because of limiting space between the work surface and the person's knees. Drawers behind the knee space or to the side of it are commonly 4 to 10 inches deep.
6. For aesthetics, deeper drawers should be placed toward the bottom of the desk and shallower drawers toward the top.
7. File drawers should be 10 inches deep. The width should be 12 inches for letter files and 15 inches for legal files (add 1/2" to width if hanger frames to be used).

Computer Furniture

1. The key design criteria in computer furniture is flexibility since it must provide for the proper placement of the various computer components (cpu, keyboard, monitor, disk drives, printer, etc.) in relation to each other and to the computer operator. Provide for adjustability and modularity in the design. A workstation may be just a single, flat table although a more functional design provides three separate levels: one for the monitor, one for the keyboard, and one for a regular writing surface.
2. The line of sight angle from the keyboard to the top of the monitor should not exceed 60 degrees with the top of the monitor at or below eye level. For those accustomed to using a typewriter, the monitor should be placed closer to the keyboard.
3. With fingers resting on the keyboard, the angle between the upper arm and forearm should be 70 to 135 degrees. Most people find that 90 to 100 degrees is most comfortable. In general, the closer the keyboard is to the lap, the more comfortable typing will be. The keyboard height should be adjustable from 24 to 28 inches. Provide a flat area next to the keyboard and at the same height to accommodate a computer mouse.

4. The work surface should be between 20 and 30 inches deep and at least 24 inches wide. For maximum flexibility, the height should be that of a conventional writing desk, about 28 to 30 inches, with the keyboard resting on an adjustable shelf.
5. Seat height should be adjustable from 16 to 20 inches.
6. Many people prefer a printer stand that is lower than the work surface, about 18 to 24 inches, to enable easy access to the printer controls and paper.
7. Provide ample access holes for wires and heat dissipation.

Standard Dimensions of Desks
Desk Type Height Width Depth
Children's desk 20"-22" 24"-30" 18"-20"
Computer desk 24"-28" 24"-60" 20"-30"
Lap desk 4"- 6" 20"-24" 12"-18"
Pedestal desk 28"-30" 48"-72" 24"-30"
Rolltop desk 28"-30" 48"-72" 24"-30"
Secretary 28"-30" 36"-42" 18"-24"
Slant-front desk 28"-30" 36"-42" 18"-24"
Table desk 28"-30" 30"-48" 20"-30"
Typing table 24"-28" 36"-42" 16"-24"
Writing table 28"-30" 36"-40" 20"-24"

Shelf Design Guidelines

1. For ease of shelf access, bookcases are generally no higher than 84 inches. Small bookcases are usually 30 to 42 inches high. The highest shelf in a bookcase should be as high as an average-sized person can comfortably reach - about 72 to 78 inches. If the shelves will be accessed from a sitting position, the highest shelf should be no more than 60 inches above the floor. The lowest shelf should be 3 to 4 inches from the floor level.
2. Shelf width or span is determined both by aesthetics and sag considerations. A fully loaded bookshelf carries a load of 20 to 25 pounds per running foot. The eye will notice a deflection of 1/32 inch per running foot so that a fully loaded (70-80 pounds) bookshelf that is 3 feet wide, should sag no more than 3/32 inches. For most shelves made from 3/4 inch stock, a practical span is 30 to 36 inches.
3. Shelf depth is determined by the size of the items to be stored, generally within the range of 6 to 24 inches. Shelf depth for a general purpose bookshelf is usually 10 to 12 inches.
4. Shelf spacing will generally range from 7 to 15 inches with 8 to 12 inches being common for bookshelves. To prevent the case from looking and being top-heavy, use a smaller shelf spacing near the top and a larger one near the bottom.
5. A well built shelf unit will exhibit minimal side-to-side racking. One of the most effective means of preventing racking is to add a 1/4 inch plywood back that is rabbeted and tacked to the shelves. Other methods include a diagonal back brace, corner blocks, and support cleats on the top and bottom of the unit.
6. In choosing a shelving material, factor in each material's stiffness and susceptibility to creep. Solid wood is stiffer than plywood which is stiffer than particleboard. Particleboard will creep more than other materials so that an unsightly sag could develop if an excessive shelf span is used.

Table Design Guidelines

1. In choosing between a round or rectangular (including square) table, keep in mind that round tables blend in easier with other furniture and also allow easy movement around them.
2. Most tables designed for writing or dining should be 28" to 30" high (29" is common) with chair seats 11" to 13" lower. The higher the tabletop, the more uncomfortable and formal the table feels. Provide about 24" of leg room below the table (height from floor to bottom of table rail) and at least 12" for knee clearance (projection of table top beyond table leg). In figuring seating capacity, allow at least 24" of elbow room width per person and 12" to 15" depth from the edge of the table.
3. Bedside tables should not be more than six inches above the height of the bed.
4. Coffee tables are generally 1/2 to 2/3 the length of the sofa and about the same height as the sofa seat.
5. End tables should be the same height or a few inches shorter than the armrest of the sofa. Also, if a lamp is to be placed on the end table, the bottom of the lampshade should be at eye level when seated.
6. Sofa tables are designed to conceal the back side of a sofa that is not against a wall. They are usually 2/3 the length of the sofa and about the same height as the back of the sofa.
7. Additional guidelines exist for desks and tables designed for use as computer workstations.

Standard Dimensions of Tables
Type of Table Height Length Width/Depth
Card 26"-30" 30"-36" 30"-36"
Coffee, round 15"-17" 36"-42" diam 36"-42" diam
Coffee, rectangular 15"-17" 36"-60" 18"-24"
Console 28" 48"-54" 16"-18"
Dining, rectangular 28"-30" 60"-80" 36"-42"
Dining, round 28"-30" 40" min diam 40" min diam
Drafting 32"-44" 31"-72" 23"-44"
Drum 30" 36" dia 36" dia
End 18"-24" 24"-28" 18"-20"
Hallway/entry 34"-36" 36"-72" 16"-20"
Library 28"-30" 60"-84" 24"-36"
Night 16"-25" 18"-28" 16"-22"
Sewing 26" any 17" min
Sofa 26"-27" 60" 14"-17"
Workbench 32" any 26"
Writing 28"-30" 36"-40" 20"-24"

Table Seating Specifications

Here are the minimum dimensions for rectangular, square, and round tables needed to accommodate the number of people listed in the first column.

No. of (Rectangular) (Square) (Round)
People Width Length Width Diameter
No. of (Rectangular) (Square) (Round)
People Width Length Width Diameter
2 22"-28" 28"-32" 24"-30" 22"-28"
4 28"-36" 44"-52" 32"-42" 32"-42"
6 34"-42" 60"-72" 44"-52" 46"-54"
8 34"-42" 72"-90" 48"-54" 56"-72"
10 42"-48" 96"-108" 56"-62" 72"-84"

Determining Table Size

For square or rectangular dining tables, allow 24" of elbow room width per person. For round tables, allow 26" width per person for a table seating 3 to 6 people and 24" for a table seating 6 or more people. Add 2" to all of the above figures if armchairs will be used. Subtract 2" for snug seating.

The circumference of a round table equals the width per person times the total number of seating spaces and the diameter equals the circumference divided by 3.14. For example, in designing a table to comfortably seat 8 people using chairs without arm supports, the circumference equals 8 times 24 inches width per person (192 inches) and the diameter equals 192/3.14 or 61 inches. If 22" of width was allocated per person, the resultant table diameter would be about 56" (see table above).

bubble

2009-10-19T09:36:00.001-07:00

re fab

2009-10-14T10:31:00.000-07:00

befor

after

windows

2009-09-23T08:09:00.001-07:00

mixing up fashion

The idea it that the manikin would have on a simple article of clothing and on ether side would be options for a more fashionable outfit…. Creating the best look with the best ingredients…

my inspiration

2009-09-21T07:56:00.000-07:00

This weekend I did many things as I would any other time, but the one thing I did that brought the most inspiration was cooking. I normally cook only for myself but this weekend I was able to cook for my family and close friends. I love cooking for others; it is so much more fun having others enjoy something you worked hard to make. This felling is the place I drew my inspiration. Like a found recopy, take all the ingredients and some of your own and pick and choose the ones that will taste the best, I want to recreate items to be used in the raffle for Salvation Army Select. Each piece carefully chosen, striped down, and put back together with my own personal touches, all coming together to make a wonderful piece others can enjoy just as much as I did making it. Just like the care and time put into a good meal.

hands on

2009-09-14T03:17:00.000-07:00

filling time
as time passes the void space fills with a separate color crating a shift form blue to orange back to blue... as the day passes the wave affect moves slowly through time.....

blocked timing
time is counted out by blocks of color. the horizontal piece holds the hours, each block is one hour. the vertical piece holds the minuets...the top right being the first number read (counting double digests 0 to 5), the bottom left being smaller read the second number (single digest 0 to 9). the blocks slide in counting down the minuets as time passes, creating a new image withing the space.

progressive crack
during the model making process for "time broken" this idea was born. a grove in a wall holding the color pallet reviled through the day. as the day moves on the colored crack grows larger.

extra side note.......
time broken
the idea is to make a wall in witch time stands still. demolition frozen in time. emphasizing quiet storm.

Instamatic Schematic

2009-09-04T13:08:00.000-07:00

On a Rainy Day
Hats and Bags
Quiet Storm (subdued disruption)

Inspiration:
An abstraction of an eye of a storm drew inspiration for the color and material choices. The mix of wild forms and complementary colors evokes a sense of excitement and disruption. The image, showing the effects after an earthquake to a street, inspired the choices made in determining lighting and display pieces. The main concept behind choosing the materials is Quiet Storm. After some research behind the meaning of each word the focus in this project is Subdued Disturbance, small moments of a change in arrangement or balance.

Color and materials:
A. A soft cool and worm gray for the walls
B. Noraplan environcare Winterbark rubber flooring
C. Vetrazzo’s Palladian Gray recycled glass counter
D. And dark and light, blue and orange accent colors for the cupboards and walls.

Lighting and Display Pieces:

Torn Lights - Crevice, Dog Ear, and Hangnail by. Billy May
The lighting elements create a focal on specific products, as well as strengthen the idea behind the concept by giving the effect of a rip or tare in the wall surface.

Bert van der Aa Kast 01 Cupboard
The display pieces represent a strong pattern that can be broken in an instant.

Products:
RetroActif: rain hats, totes, messengers and more…
“RetroActif utilizes an innovative eco-friendly concept which transforms Computer/Business discarded PVC Art banners and other non-biodegradable promotional materials into classic, fun and fashionable handbags and accessories.”

Vy&Elle: Totes, messengers, handbags and more…
“Vinyl billboards are used nationwide as temporary banner advertisements and are usually discarded into landfills where they create toxic pollution. Instead, the strength of PVC vinyl makes it an ideal material for reuse.”
“In addition the products also include fabric for lining and trim made from certified PET (recycled plastic bottles).”

Material Investigation

2009-08-31T09:39:00.000-07:00

Francesca's

Accessories & More ...

Loco for Coco gourmet chocolates

Palm Avenue a lilly pulitzer via shop

ReFab exchange Boutique

Dress Code style consultant

gallary

2008-10-13T08:32:00.000-07:00

A glass show case on a pedestal, containing sixteen German made porcelain figures from the 18th century that represent Italian comedians from the theater, is arranged in a gallery dedicated to displaying artifacts from Germany in the late half of the 18th century. Each of the original fingers was modeled with fluid lines that create a sense of movement. The in the case the fingers are arranged on different levels, the positioning of each figure to the next is meant to emulate the sense of motion and a fluid line. Within the gallery the artifacts and the display cases are arranged in a way that creates pathways from each piece to the next reinforcing the idea of flow and movement. The gallery is vibrant and lively with colors and forms only when there are artifacts with such characteristics being displayed. As to be expected in a historical art museum setting the gallery is plain when it is empty. The walls are flat white and the floors are a light cream laminate, the only sense of color in the room washes from the artifacts. The separation walls and pedestals are geometric and blend in to the floors and walls. The room allows the artifacts to speak for themselves. With overhead spotlights that illuminate the room at night and natural light washing over the room in the day the artifacts are displayed with a sense of importance. I a gallery setting one cannot help but to focus on the items being displayed without distraction.

sustainability

2008-08-29T07:56:00.000-07:00

this year good and bad

2008-05-09T11:04:00.001-07:00

cnnc finale

2008-05-09T07:44:00.001-07:00

cnnc deatails

2008-05-09T06:54:00.000-07:00

Center for New North Carolinians

The concept for our CNNC design is the idea of “subtle approach to surprise”. Throughout the entire CNNC space there are a number of subtle moments that appear everywhere from the small specialized foliage in offices to the grand cultural gallery of artwork applied to the rooftops of first floor rooms. We focused on thr
ee

main goals to apply to our design, they include:
*Strong expression in small scale
*Balance and
*Connection

To implement these goals we:
*Used vibrant colors and materials in small amounts
*Create balance by contrasting colors, textures, and special arrangements and
*Create connections to nature, cultures, and spaces by utilizing natural light, shrubbery and artwork.

process cnnc ditale

2008-05-09T06:00:00.000-07:00

SKETCHUP......... :(

2008-04-08T12:12:00.000-07:00

Msh scetch up animation

2008-04-01T11:47:00.000-07:00

Msh scetch up

2008-03-25T10:02:00.000-07:00

cnnc press

2008-03-18T21:09:00.000-07:00

the opportunity for open mating areas is the main focus of this design, it allows visitors and guests to communicate in a less formal way.

vote!

2008-03-02T09:56:00.001-08:00

cnnc process sceam con.. scechup

2008-02-27T11:49:00.000-08:00

cnnc process sceam con..

2008-02-27T09:29:00.000-08:00

cnnc process sceam

2008-02-27T09:24:00.000-08:00

interviwe

2008-02-26T10:10:00.001-08:00

was up, repost...

cnnc program process

2008-02-21T09:38:00.001-08:00

design types

2008-02-21T09:24:00.000-08:00

BAUHAUS
the color is flat and the use of geometry is aperent.

POP ART
the colors are vivid and bright, duplicates the same image. vibration.

RETRO MODERN
old feel in a new perspective, flat colors and a lot of movment.

NOSTALGIC REMIX
im not sure what is going on.

subway

2008-02-13T17:48:00.000-08:00

first try

next

Peculiar Parallelism

2008-02-10T12:20:00.001-08:00

ADDs

2008-01-31T09:16:00.001-08:00

moods a many

2008-01-28T22:30:00.000-08:00

what i think it wold look like when i feel....( love )

Patern Perception

2008-01-23T16:59:00.000-08:00

Welcome Mat (IAR 202)

2008-01-23T11:24:00.001-08:00

pre. build

2007-11-16T11:56:00.001-08:00

Lynnet Sprague
IAR 222
December 16, 2007
Then and Now Right Here
(“Close to Home” analysis)

With out knowing the purpose or concept of the exhibit, viewing the forms and presentation of “Close to Home”, I can tell that every aspect right down to the fasteners was carefully planed and thought out, every detail intentional. The materials used in the exhibit correspond well with the forms they crate as well as the media thy hold and the building they inhabit. The materials create an environment that interacts with natural and artificial light. The structures absorb light and reflect the concept. Walking through the space the installment creates a “building with in a building,” this gives the viewers a chance of ceiling plains. The effect of closed and open spaces gives focus and light control to certain parts of what the designers are displaying.

Once the concept is discovered the materials and forms become more understudy to the intent of placement and use. The materials work with the displayed materials and the message given through them. After going through the exhibit I translated the concept to inform the viewer of the growth of an excretion of modernistic ideas through an area, specifically Greensboro N.C., that is influenced by on person, Loewenstein. He worked with many people who became influenced by his work and went on and used his influence to design modern structures. The media being presented is not the only aspect of the exhibit that represents the idea of modernism, the structures, which are holding the images, text and projections; represent the concept of the exhibit. The images and text provide info about Loenstien and his works and works related to his. These things show a connection between what is being done in design today and what inspired that design.

The materials and forms that make up the installment are composed of an organized use of stained wood and metal in flat sheets of rods. Loewenstein and others shown in the exhibit, this crates a stronger expression of the purpose of “Close to Home”, see these materials and the forms they crate in a modern design. The flow of the media from one side of the room to the other is coherent and constant. The exhibit as all together works very nicely in informing and presenting the viewer the influence of modernism in the area.

color study(group)

2007-10-26T10:27:00.001-07:00

color study (me)

2007-10-26T10:20:00.000-07:00

intent

2007-10-08T11:23:00.000-07:00

statement: the combination of geometric and organic shapes flowing through the space gives a sense of embracing and comfort.

me: using an understanding of light, materials, and forms as well as staying within and going past limits of the given area to create a space with a specific purpose and felling. this feeling will be conducive to the function and comfort required for pregnant teens and teen mothers. in that also understanding and respecting the rules of building and the intentional space.

good bad ugly

2007-10-05T10:03:00.001-07:00

Dragon Fire October 5, 2007

Our goal for my sister’s house is to allow the design to provide a welcoming, calming, and safe atmosphere while encouraging a positive outlook on life.

Today is my first day visiting the shelter where I’ll be staying for a while.
I’m excited and nervous at the same time.
Okay, I’m here and the place looks really nice from the outside.
It’s a uniquely constructed building, unlike the other plain shelters I’ve seen.
It’s time to see what the inside is like.
I walk into the lounge area and am overwhelmed with the sensation of being at home.
The room is suited perfectly for my son and me.
He points out how cool the recycled blue jean couches and curtains are.
He wants to take the pair he has on and make something with them.
I ask him if we could wait until he grows out of them, that shouldn’t take long.
I appreciate how resourceful they are by reusing the jeans; maybe they could let me in on a few tricks.
As we stroll into the kitchen my eyes are drawn to some very attractive cabinets.
I’ve never seen cabinets like these before.
They look like glass but feel more like plastic and they seem to have been dyed in a ray of beautiful colors.
This room is already one of my favorites,
it instantly raised my spirits.
There’s also fencing hanging horizontally from the ceiling used to hang pots and pans,
another resourceful idea.
Next we go into an office area,
another one of my favorites.
The room is sectioned off into private areas by using these dividers that look and feel a lot like the cabinets in the kitchen.
The dividers open and close by simply pulling them one way or the other.
This room will be perfect for when I need to do my schoolwork.
I’m about to be starting high school so I’m sure I’ll have a lot.
Finally I make my way over to our room.
It’s very nice and already has a few decorations.
There are several lamps hanging that are made from that same plastic-glass material I saw earlier in the kitchen and office.
They’re so cute and look like they came straight out of the 50s.
This place is amazing and I’m so blessed to finally have a place for me and my son to call home.

2007-10-01T10:46:00.001-07:00

light study 8am

2007-09-21T10:07:00.001-07:00

light study 5pm

2007-09-20T14:03:00.000-07:00

good lighting an long shadows.

light study 1pm

2007-09-20T13:55:00.000-07:00

over all it was cloudy at this time and the lighting was minimal.