PORTFOLIO JULIA SCHRAY
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Each situation requires a new architecture - Jean Nouvel COVER: Photographed at Badwater Basin, Salt Flats Death Valley National Park, California. 2012 LINES CROSSED
1 - YR of UG ARCH 4 - INSTITUTES of HIGHER EDU 30 - YRS of CROSSING LINES ∞ - INGENUITY as a COLLABORATOR
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INTRODUCTION JULIA SCHRAY 2014 LINES CROSSED represents borders traversed, thinking outside the box, and pushing ourselves beyond our limits >>
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This portfolio demonstrates investigations and experiments in the arts, not limited to academia. My background includes courses and professional employment in (the): entertainment industry - music, radio, film (6 yrs) social science - sociology (4 yrs) law - volunteer and secreterial work (6 yrs) architecture (1 yr)
ABOUT ME I enjoy outdoor activities, reading, DIY, photography, art, and travel. As a youth, I participated in ballet for 9 years and cared for my disabled mother. I developed into a person who is structured, disciplined, and sensitive to the needs of humanity.
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CAREER DISCOVERY. ARCHITECTURE SUMMER//2012
HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN
UNDERGRADUATE 1AB //2012-2013
SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE
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RÉSUMÉ
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transitional contents pages: image: SCI-Arc visual human span and spatial interaction
HANDMADE FURNITURE, CUSTOM/ PROFESSIONAL, OTHER DESIGNS
PROJECTS
DRAWINGS, PAINTINGS, DIGITAL GRAPHICS, SCULPTURE
ART
SCHOOL OF ARCHITECTURE //2014
UNIVERSITY OF HAWAI’I AT MĀNOA ARCHAWAI’I
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RÉSUMÉ LINES CROSSED. PORTFOLIO. JULIA SCHRAY //2014
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PHOTOGRAPH Mt. Fuji, Japan. 2012
HIGHER EDUCATION & ACHEIVEMENTS University of Hawai’i at Mānoa, B.A. In Progress, Sociology, 2013-2015 Harvard University, Physics, Summer 2013 Intensive courses in Principles of Physics S1ab: life science; Includes lab Fulfills the requirements of two semesters of physics for entrance to medical school Southern California Institute of Architecture, B.Arch. Deferred, Architecture, 2012-2013 Partial first-year of an NCARB accredited 5-year undergraduate degree Studio software: Rhinoceros 5.0 and rendering: Flamingo and Maxwell, Autodesk 123DMake, Adobe Photoshop CS6, Adobe InDesign
OTHER PROFESSIONAL EXPERIENCE Barnes and Noble Bookstore Honolulu, HI/Los Angeles, CA - 2013-2014 Part-time (during academic year) Personal Assistant Beverly Hills, CA - 2007-2013 Full-time After-Care Professional Nurses Registry Beverly Hills, CA - 2007 Temporary Office Assistant, Full-time
Sullivan, Struck & Ballog, LLP. Defense Litigation Law Firm - Insurance Harvard University - Graduate School of Santa Ana, CA - 2003-2004 Design, Architecture, 2012 Administrative Assistant, Full time Career Discovery Program 7.5% acceptance rate for applicants Wittwer & Parkin, LLP. Intensive and similar to first-year graduate Law Firm - Environmental Law and Land Use school projects Santa Cruz, CA - 2002 Studio course: Daily lectures and discussions, Office Assistant, Full-time 40+ sketch-models completed in 6-weeks, bi-weekly+ presentations with Harvard and SKILLS MIT administration/graduates, diagrammatic hand-drawings and Adobe Photoshop digital SOFTWARE Photoshop SOFTWARE AdobeAdobe Photoshop designs Illustrator Illustrator InDesign InDesign Design Representation course: Technical Autodesk AutoCAD2013 Autodesk AutoCAD2013 drawing/sketching and computer instruction Revit Revit 2015 2015 Universidad de Viña del Mar, Chile, Study Abroad for Bachelor’s Degree, Spanish, 2006 Dean’s List, Fall Semester 2006 Participant, Studies of the Congreso Nacional, Valparaíso, Chile. October, 10, 2006 University of Hawai’i at Hilo, B.A. In Progress, Sociology, 2004-2006 Dean’s List, Fall Semester 2005 Participant, UHH Dance Team, 2006 Volunteer, Ironman Triathlon, 2004 & 2005 Treasure, Gay and Lesbian Ohana Club, 2004-2005 Participant, UHH Canoe Club, 2004
123D 123D MakeMake MayaMaya SketchUo MakeMake SketchUo RhinoRhino 5.0 5.0 Word Word ExcelExcel PowerPoint PowerPoint Maxwell Render for Rhino Maxwell Render for Rhino ChaosChaos GroupGroup V-RayV-Ray for Rhino for Rhino Google Google McNeel McNeel Microsoft Microsoft
PC and Apple Computer Skills but not limited to: 50+ wpm; Proficient in: Microsoft Word, PowerPoint Familiar with: Microsoft Excel and Outlook, Word Perfect, Star Office, Dreamweaver and Wordpress/Tumblr/Weebly website software
RÉSUMÉ JULIA SCHRAY 2014 linkedin.com/in/juliaschray SchrayArchPortfolio.Weebly.com
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CAREER DISCOVERY. ARCHITECTURE //2012
HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN
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01| EXERCISE #1 (1) 6� Foam Model Pedagogues: Carlos Garciavelez Alfaro, Studio and Jennifer Esposito, Design Representation 2012 Duration: 1 day RIGHT PAGE: Pin-Up/Critiques Model and velum scale drawing LINES CROSSED
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Studio for Architectures at Harvard University Graduate School of Design The design and preservation of individual buildings and understanding the relationship between buildings. A 6-week intensive program based on first-year graduate school projects in studio, with daily lectures, discussions, bi-weekly presentations and desk critiques for Harvard and MIT pedagogues. 2012 projects include concepts titled: Memory + Artifact, Concept + Scale, Movement + Narritive, Interpolation, Sequencing Model + Drawing, and the final: Film, Place and Urban Identity. This included a chosen precedent, Siza’s pools in Portugal. This program also had an art course reviewing diagrmas, sketching/partis and technical drawings. Additionally, computer instruction for Adobe InDesign, Illustrator, and Photoshop.
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02| MEMORY + ARTIFACT Sketcbook Assignment, 01 + 02 Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 Duration: 2 days LEFT PAGE: Sketch Model Representation of obsticles and conflict
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MODELS Sample of 40+ Scale/Sketch Physical Models Foam, Wood, Bristol, Velum, Cardboard, Clay, Cellophane Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 Duration: Length of Program
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DESIGN REPRESENTATION Pedagogue: Jennifer Esposito 2012 TOP IMAGE: Hand-drawing exersize 2-point perspective BOTTOM IMAGE: Hand-drawing exersize 1-point perspective TOP RIGHT IMAGE: 5 minute on-site Conte sketch. Carpenter Center for the Visual Arts, Harvard University, designed by Le Corbusier BOTTOM RIGHT IMAGES: Blind 1” to 1’ scale vine charcoal . St Jerome in his Study, c. 1514 by Albrecht Dürer
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03| CONCEPT + SCALE Wood and Foam, (4) 6” Models Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 LINES CROSSED
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In this project we needed to resolve the pragmatic and poetic functions of a long room and a tall room and their entrance sequence moving from one to the other. The tall room had a “portal” to the exterior. From that, I developed four concept models that tied into the “Artifact and Memory” exercise. That exercise was a set of stairs mirrored from my childhood home that embraced: isolation, acceleration, splitting, obstruction and comfortable vs. uncomfortable. I used those ideas in this project when programming the tall room to be a living room and the long room to be a personal art gallery. Although the moving from both the exterior portal and the portal between the rooms was very
direct, it still showed all of the aspects. There were a few floors that I placed above the portals to iterate these ideas. The floor that was created between the two rooms had a giant crack in it, which was splitting the room diagonally and obstructed the path to the ladder that took one to the other portal. They would have to walk at the rim of the room to not fall to the first floor, making the space very uncomfortable to walk through. The ladder itself was to “accelerate” to the exit, as was the unobstructed first floor. That floor was left empty. So each floor above that, did the same thing in a different form. I included uneven flooring, drop-offs, steep ramps, resting nooks, etc.
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04| MOVEMENT + NARRATIVE Wood and Foam, 12� Model Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 Exploration of dynamic spaces to traverse and navigate. Program unspecified. This model reevaluates functional architecture: planar surfaces, nodes, apertures, light and shadow, and speed of ciruculation.
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05| INTERPOLATION Pedagogue: Carlos Garciavelez Alfaro, Studio. 2012 Duration: 4 days
In this exersize, we were asked to design a shared house for a three-person family (with pet), and a single male. It required developing our own storyline beyond the given information on the clients. Moreover, the spatial relationships, connections, public/private programs developed. I chose from a given list to create a sketch model demonstrating nesting. With several reiterations, the idea formed into continuous surfaces and weaving. These ideas were conveyed through the circulation(s), which would weave both vertical and horizon. This would then separate the shared house while simultaneously creating public spaces within itself. Additionally, the programmed > S C H R AY P O R T F O L I O
> public spaces (like the living room and kitchen) would be contained by the footprint of the building, whereas the private spaces we “pushed� outwards when the circulation itself would widen. In other words, looking at the house, all the protruding rooms would be the private ones. By that, you could identify shared moments and see how the circulation has weaved vertically. > LINES CROSSED
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05| INTERPOLATION Axonometric, 2nd and 3rd Floors in Section Handdrawing, Grahite on 19” x 24” 300 Series Bristol Pedagogue: Garciavelez Alfaro, Studio 2012 LINES CROSSED
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> Placing the staricases in the center of the house proved difficult to visualize this idea. I did, however, create a 3D model that opens at the stairs and roof (IMAGE BELOW). Beyond the idea of continuous surfaces and weaving, I addressed light in the site and materials used for porosity. Conclusively, there were some voyeuristic aspects due to my choices in apertures.
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06| SEQUENCING PRECEDENTS + MOVEMENTS Alvaro Siza Swimming Pools Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 Duration: 1 day
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07| MAP FORGERY 08| SEQUENCING MODEL + DRAWING 09| FILM, PLACE + URBAN IDENTITY Final Project. Pedagogue: Carlos Garciavelez Alfaro, Studio 2012 Duration: 10 days PROGRAM (PLEASE NOTE THAT ALL SF ARE APPROX.) SITE PARAMETERS APP. 22,275 SF OVERALL PARCEL SIZE ZONING RESTRICTIONS FOR THE PURPOSES OF THIS PROJECT, YOU ARE TO ASSUME A MAXIMUM HEIGHT OF 50’-0”
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Outdoor Space Outdoor Theater Outdoor Screen size is to be determined by student Seating to accommodate up to 200 Projection Booth app. 200 SF Public Park Area Outdoor public park area SF up to 60% of overall site footprint (can be hard and/or soft surface(s)) Indoor Space Film Archive Primary Public Spaces Public Lobby 1000 - 1500 SF Indoor Theater (seating up to 500) 7000 SF
Cafe / Lounge (indoor and/or outdoor) 1500 - 3000 SF Film Bookshop and library 2000 - 4000 SF (books, rare films, collections, etc.) Gallery / Exhibition Space(s) 2000 - 5000 SF (can be part of circulation system) Digital Filmmaking Workshops / Seminar 2200 SF / Lecture / Conference Rooms: (4) rooms (app. 550 SF each) Administrative Spaces Film Vault (location for film storage) 2000 SF Conservation Dept / Lab 800 SF (Film restoration - chemical process involved) Administrative Offices (5-6 in total) 600 SF Film Archive Total SF app. 26,500 SF
photo: Wikipedia.com S C H R AY P O R T F O L I O
The Kenmore Square site is very much about playing with the senses, through continuous surfaces, light, sound and nature contrasting artificial. The intention is to take a throughway and turn into a “hub” in which people are intended to linger and is truly considered an effective center for an activity. With the 2010s’ economic situation, it would be most beneficial to make activities affordable and easily accessible. Its location is important due to its adjacency to the Fenway Park, Boston University and the Emerald Necklace. Moreover, the high traffic from the baseball games and students in general, could find themselves in this center instead of crowding the subway and bus line to leave at once. A theatre and cafe/lounge would be ideal for a nighttime activity and the cafe, an addition place for students to study. The interior of the Film Archive and Cinema (FAC) would have an open, multipurpose space to watch movies or hold events. The “screen” itself would be a semitransparent glass to watch movies from the park, cantilever or sidewalks, as well as from the interior. Watching from the exterior, of course would make the image reverse. Those patrons would be able to screen from the park’s in-ground seating, which is tilted back for a lounge feeling and make an ideal line-of-sight to the screen. Additionally, the ramp would block view of cross traffic. This ramp would be one of four exterior access points. The second is from the subway. As one departs the subway, they take the stairs and/or an escalator into the first level of the FAC in which they initially enter the art gallery. The walkway is perforated material that allows the buses’ headlights to brighten the space with indirect light. This floor also includes the lobby, first level of the indoor theatre and cafe/lounge/ bookstore. The cafe/lounge/bookstore is extended past the site’s footprint, over traffic and parallels the restaurants and shops on ground level. The intention is
to make the person feel as though they were connected to Kenmore Square’s buildings and people. This same idea occurs on the second level, with the conference rooms and the hotel. The second level is more private than the first, with programs like the library, vault, administrations, etc. The “front” of the building is the widest and faces the park. If you look at the building in that sense, then towards the “back” or narrower part of the building, it is dimmer and quieter than the rest. It also contains the “least” public amenities. Also taking into consideration light, the library and film vault have the little natural light, due to issues with UV exposure. The library does face Barnes and Noble Bookstore for those reading inside the store to consider going to a public library. Barnes and Noble has a reading area next to large windows on the second floor, too. The library itself doesn’t have windows, like previously stated because of its rare books collection. In regards to windows, this is also true for parts of the gallery as light damages prints. Though there are film prints throughout all floors, the gallery in the back holds the higher value and/or older pieces.
Light and apertures are some of the > main considerations in this building. It is ra intended to be as self-sufficient as pos- bu sible, as the locaation has an abundance of natural and artificial light. Vehicular traffic, general public transportation, stores, hotel rooms, the iconic Citgo sign - this building doesn’t need much of its own electricity. Since the park is also the darkest at night, the theatre was oriented in that direction. In a part of the flooring, as mentioned, glows from the buses. There are two more apertures that light the space. There are three glass columns, with four panes surrounding a 50-100 sq ft shallow pool on the first level. Those walls of glass are two-stories high, or 30 feet, and are left open to the sky and exposed to the elements. From the rooftop, you can look directly down into these columns. These columns serve two purposes: the idea of collection and that of light. Collection just meaning a place in which people tend to congre-
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gate making a hub within a hub. During the day, the sunlight reflects on the pools’ surfaces and lights up the second floor circulation and all of the first floor. These columns are situated (on the Northwest Beacon street side and Mass. 2) and angled so that during the night, the pools catch the beams of the oncoming traffic. This will also help light up the theatre’s exterior stairs, which lead to the rooftop. The apertures are not just for light though. They are intended for the perspectives seen by the driver, as every window or column shows a different room in the building on the first level. The driver cannot necessarily see into the second level, 35 feet off the ground, so this is not the case. The driver is also intended to look at the masses of earth that “lift” the building off the ground level. It is simply packed dirt transferred from the nearby park but by default, changes its appearance by light, season, perspective, etc. These mounds of dirt encase the bus station, and concrete creates the hollow shell inside. >
Lastly, this building embraces continuous surfaces. From the subway, one would arise to a flat plane, with a very open floor plan. Each floor has as much circulation as possible that doesn’t lead you to a wall but rather a window. There is the also the ramp from the park that moves one up onto the cantilever, then to the first floor, up to a second tier of the theatre (both inside the walls of the theatre and outside too) and levels off before a climb again to the rooftop. Another place that the idea of continuous surfaces is demonstrated is by both the rooftop and cantilever as they appear to integrate with the park. Using similar vegetation and materials, one could even feel as though they were in the park while still in the FAC. The city itself is made up of people, not just the buildings. In a square like this one, with so many young people, families, and visitors, its integral to make Kenmore Square a community hub. A place where everyone can congregate without being in the bustling streets, retail shops, or at a restaurant/bar. A place that supported by the community, for the community.
Imitating earth itself in the grandeur scheme by resembling rocks and mountain anges, the “peaks” rising slightly above the first level floor; It is to look as though the uilding is nestled inside the earth.
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09| FILM, PLACE + URBAN IDENTITY Exploded Axonometric Handdrawing, Grahite on 19” x 30” 300 Series Bristol Pedagogue: Jennifer Esposito, Design Representation 2012
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TOP IMAGE Handdrawing, Grahite on 19” x 24” 300 Series Bristol BOTTOM IMAGE Circulation through both public and private spaces Program (labeled) Rhino, Flamingo, Illustrator, Photoshop
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09| FILM, PLACE + URBAN IDENTITY Rhino, Toucan, Photoshop, Google Maps Pedagogues: Carlos Garciavelez Alfaro and Jennifer Esposito 2012 TOP: Four Exterior Views of Film Archive and Cinema (FAC) and adjecent park BOTTOM: Digital render in place of overdrawings Ariel View of Kenmore Square, Boston, Massachusetts TOP LEFT PAGE: Reflection Pool BOTTOM LEFT PAGE: Theatre with semi-opaque screen for double-sided indoor/outdoor viewing
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SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE UNDERGRADUATE 1AB //2012-2013
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TRUNCATED ICOSAHEDRON - JOHNSON/PLATONIC SOLIDS Geometric Contruction (2) 18” 2-Ply Physical Models Studio 1A, Prof. Kassis. 2012
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GEOMETRIC CONTRUCTION - TRANSFORMATION, 2X TRANSFORMATION Truncated Icosahedron - Johnson/Platonic Solids Rhino, Maxwell, Photoshop Studio 1A, Prof. Kassis. 2012 NEXT PAGE: > Scale Models: 1/8” Sticks, (1) 6” and (2) 12” > (9) Plan, Elevation, Iso/Axonometric of Truncated Icosahedron > Tama Software, Pepakura - (3) Unfolds LINES CROSSED
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RIGHT (5) IMAGES: SURFACE TRANSORMATION Swatch from Truncated Icosahedron Exploded Axonometric BELOW: Laser-cut Model Rhino, Adobe Make123D, AutoCAD Studio 1A, Prof. Kassis. 2012
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RIGHT IMAGE: Sample of 25 Preliminary Renders Transition from Platonic Solids to Inhabitable Form Original Process: Venn Diagram-atic Rhino, Toucan Quick Render Studio 1A, Prof. Kassis. 2012 Exploring contours and radial symmetry they create nodes, protrusions, and circulation. > Note: Bilateral symmetry is used for final project.
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1A FINAL Studio 1A, Prof. Kassis. 2012 Duration: 3 weeks Partis in Sketchook, Ink RIGHT IMAGES: Vertical wave facades Rhino, Maxwell, Photoshop
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1A FINAL Rhino, Maxwell, Photoshop Studio 1A, Prof. Kassis. 2012 Duration: 3 weeks Experimentations with transitional spaces and the fluidity of circulation. The development of creating a small occupiable space started with human spacial relations and interior architecture. The facade became a shell and contoured to each node. LEFT IMAGE: Sketch of a multiple-surface floor and preliminary render in Rhino. Person for scale of exterior.
ARTWORK CONCEPT Based on the looking-glass self created by sociologist Charles Cooley: (one) shapes their self-concepts based on their understanding of how others perceive them. The original painting is a women looking into a mirror, therefore, the aperture is still a “reflection�. Rhino, Maxwell, Photoshop Studio 1A, Prof. Kassis. 2012
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FIBONACCI RECTANGLE/LOGARITHMIC SPIRAL Mathematical analysis on the theory of beauty, circulation, transition, and weaving; Both in curvature and modular spirals. Note repetition of Fibonacci Rectangle in aerial and elevation views, equally spaced according to the square root of five. Therefore, causation (not correlation) in differentiating the negotiating sizes of rectangles. Two physical sketch models built from plans. Studio 1A, Prof. Kassis. 2012 Duration: 3 weeks
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EXPLODED AXONOMETRIC Rhino, Maxwell, Illustrator Photoshop Studio 1A, Prof. Kassis. 2012 Highlighted Orange Apetrure: Reverse side of “artwork”
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FINAL RENDER SITE PERSPECTIVE HISTORIC MACARTHUR PARK, LOS ANGELES, CA Building Dimensions: 17.1’ W x 5.94’ D x 12’ H, 162 sq ft footprint Studio 1A, Prof. Kassis. 2012 Duration: 3 weeks This project was to make a very small building/residence that had space for four activities: sitting, standing, working (desk), and sleeping (bed). Addition constraints were its size and percentage of outdoor space within the building’s footprint. Size and Limits: 18’ W x 9’ D x 12’ H, with a min. of 6” thick walls and 8” thick foundation. The stairs must also follow the standard rise/run rules. One was also not allowed to make less than 6’ high story, as that is not realistic. This project does not incorporate materials (ie. glass, wood, drywall), so to speak, so that is not a consideration. It was also suggested for the students to have the site near or in downtown Los Angeles.
Park built 1880s, orginally named Westlake Park Render next to Boathouse - closed 2010, demolished 2014 Photographed 2012 S C H R AY P O R T F O L I O
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PRECEDENT Phillips Exeter Library Studio 1B, Prof. Kassis. 2013 Duration: 2 weeks
Single-level floor plan given to deomonstrate the overall understanding of the building. Applied Fibanacci rectangle to understand the mathematics and design choices in this classical layout. No demensions were given except the exterior.
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RCH
ACA MED IC UNIVERSITY OF HAWAI’I AT MĀNOA ARCHAWAI’I SCHOOL OF ARCHITECTURE //2014
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CNC BLOCK PROJECT Rhino, Toucan Qucik Gather. Wood model. ARCH320 Intro to Arch Systems, 2014 Duration: 1 week
7.45”
17.63”
7.42”
Req: Use pieces no longer than 8” to lift CNC Block 17” or more. Demonstrate tension and compression, lightest and strongest structure. Three iterations of bracing.
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B S C H R AY P O R T F O L I O
Drawings, Paintings, Photography, Graphics
DRAGON HURRICANE CANDLE Greenware Clay 14”H x 8”D, 2001 3 Class-periods PREVIOUS PAGE: Flowers Watercolor on paper 11” x 8.5”, 2014 Mountains Mural, Acrylic 75”W x 42”H , 2014 LINES CROSSED
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UNIVERSITY ART COURSE In-class drawings, 2006 TOP LEFT IMAGE: Laundry Dip pen (inkwell) on 400/Medium Drawing Paper 18” x 24” BOTTOM LEFT IMAGE: Shoe and Boot Charcoal on 400/Medium Drawing Paper 18” x 24”
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DRAW
WINGS
MILK JUG Graphite on Strathmore Gray Toned Sketch Paper 18” x 24”
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MOUTH Sketchbook, Graphite 11” x 8.5”, 2014
RIGHT IMAGE: Sketchbook, Graphite 11” x 8.5”, 2014 LINES CROSSED
DRAW
WINGS
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EYE Sketchbook, Graphite 11” x 8.5”, 2014 Duration: 3 hours RIGHT IMAGE: PORTRAIT Moleskine, Graphite Moleskine, 2013 Pictured: unknown Duration: 1.5 hours LINES CROSSED
L I N E S C R O S S EDRAW D
WINGS
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S C H R AY P O R T F O L
PORTRAIT Moleskine Sketch, Graphite Image: 4” x 5”, 2014 Pictured: Cara Delevigne Duration: 3 hours
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DRAW
WINGS
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DRAW
WINGS
PORTRAIT Sketchbook, Graphite 11” x 8.5”, 2014 Pictured: Nick R. Spooner Duration: 4 hours S C H R AY P O R T F O L I O
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DRAW
WINGS
TATTOO PRECEDENT Sketchbook, Ink 11” x 8.5”, 2014 Duration: 1 hour
S C H R AY P O R T F O L I O
Sketchbook, Graphite 11” x 8.5”, 2014
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DRAW
WINGS
RIGHT BOTTOM IMAGE: Sketchbook, Ink and Watercolors, 11” x 8.5”, 2014
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STEDELIJK MUSEUM, AMSTERDAM Sketchbook, Graphite 11” x 8.5”, 2014 Duration: 3 hours LINES CROSSED
DRAW
WINGS
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RIGHT PAGE: Ode to Mark Ryden’s work Oil on Canvas, Excerpt from 16” x 20”, 2012 Duration: 3 hours
TOP LEFT IMAGE: Portrait Oil on Canvas, 16” x 20”, 2014 Pictured: Autumn Wildflower Duration: 7 days BOTTOM LEFT IMAGE: Edited original photograph LINES CROSSED
PAINT
TINGS
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PAINTINGS + DIG
And Other Lies LOVE AND OTHER LIES Album Cover Art Project, NovoEd Course Creativity: Music to My Ears Stanford University Online, Spring 2014 LEFT IMAGE: DIA DE LOS MUERTOS Facepaint/Makeup, 2013 Pictured: Erik Barrios
GITAL GRAPHICS
S C H R AY P O R T F O L I O
EDISON BULBS Rhino, Toucan Qucik Gather, Photoshop 2014 LINES CROSSED
DIGITAL G
GRAPHICS
CIRCUS TYPOGRAPHY for Snow In Africa Band Rhino, Toucan, Photoshop 2014 S C H R AY P O R T F O L I O
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DIGITAL G
GRAPHICS
R ik Ga hino, Fla Fish ther, min In Pr Photos go ogre hop s Dura tion: s, 2013 2 1 min hours, rend er
Quc
TOP LEFT IMAGE: Random Rhino, Flamingo Qucik Gather, Photoshop 2012 Duration: 2 hours, 1 min render BELOW: Sad Robot Rhino, Flamingo Qucik Gather., Photoshop 2014 Duration: 3 hours, 3 min render
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DIGITAL G
GRAPHICS
PLAY ON A.D.D. HUMOR Physical Project Electroluminscent Wire, 2015 LEFT IMAGE: Digital Art Rhino, Maxwell, Photoshop 2013
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PROJECTS
HANDMADE FURNITURE, CUSTOM/PROFESSIONAL, OTHER DESIGNS
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CRATE SQUIRREL HEADBOARD Headboard realized from Rhino/Photoshop Squirrel project, 2013 Stained crate panels, electroluminescent wire (blue), nylon thread (clear) 64” L x 36” H, 2015 Duration: 4 hours
Recycled crate deconstructed Wood
Alternating boards Wood, wood screws, plywood, EL wire
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HANDMADE
E FURNITURE
Bedding: SNURK Beddengoed duvet + pillow covers (cardboard box): Le-Clochard fitted sheet (sidewalk) : Le-Trottoir Part of proceeds donated to ‘Stichting Zwerfjongeren Nederland’ charity organization “sleep under a cardboard box so a homeless person doesn’t have to accent pillows: Anthropologie throw: Ikea
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WEEKEND STORAGE SHED 10’ W x 92.5” H x 12’ D, 120 sq. ft., 2010 Duration: 16 hours
not to scale
Supplies: (1) 10’ x 12’ Arrow Shed (23) 2’ x 6’ x 12’ “TOP CHOICE” Pressure-treated lumber (6) 2’ x 6’ x 10’ “TOP CHOICE” Pressure-treated lumber (18) Prefabricated Concrete Piers/”Dek-Blocks” (100+) 3” Deck Screws (1) Chalk string (1) Tool Mount Kit (1) Outdoor Pad Lock
This design was made to meet shed regulation code on residental zoned parcels for Santa Cruz County, CA. This did not require a building permit, as it follows the size and material constraints. LINES CROSSED
OTHER P
H.S. GRAPHIC TEE 2000-2001
PROJECTS
H20 POLO TEAM tees, sweatshirts and sweatpants Soph Yr, 2000
KIWANIS EDUCATING YOUTH Key Club Division 43 (12 local High Schools) after-school volunteer program Division 43 Cali-Nev-Ha Tee Competition Winner The Monarches Jr. Yr, 2001 Design: “Breaking Records” divisions’ highest number of volunteers and hours Soph Yr, 2000 S C H R AY P O R T F O L I O
CUSTOM BOXWOOD MANTEL DISPLAY Preserved Plant, Foam, Foam Adhesive, Toothpicks 2012 Duration: 4 hours
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CUSTOM/PRO
OFESSIONAL
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MILLER’S CYLINDRICAL PROJECTION CUSTOM WALL ART Single Panel: 55.4” W x 73” H x 1.5” Moulding/Frame: 1.5” W x 1” H x 0.5 Rabbet 2011 Duration: 3 months William Tipton, owner of Compart Maps was commissioned to make a world map customized into an art piece for a 10,000 sq. ft. home. The owner and cartographer transformed the image on the left, which is sold as is on Maps.com, which is a Americas-centric, Miller’s Cylindrical Projection.
The Weidman Gallery in Los Angeles, CA, did the matting and framing the pieces. A wooden liner covered in black suede sits between the image and the beautiful Fotiou Two-Tone Silver Water Gilded Frame (#2042SI). > The ocean tone is “Icelandic Green” overlayed with a “Parchment” layer filter.
The map was split into three equal parts by the cartographer to be matted, framed and mounted. Maps.com printed on Wallzilla material. (The Wallzilla adhesive backing needed to be stripped first before hot-mounting it on Gator Board.)
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CUSTOM/PRO
OFESSIONAL
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14 Dining Chairs Duration: 3 months Colabrators: LLoyd Coleman, LA Metropolitan Furniture FLORES, LA Construction Susan Sandberg, NY Design/Fabric LEFT PAGE Top: Preliminary sketches Middle: Design process Bottom: Final product LINES CROSSED
CUSTOM/PRO
OFESSIONAL
CUSTOM DINING CHAIRS Beverly Hills, CA Private Home 2009
RIGHT PAGE Top Image: Adobe Illustrator, Dimensions Bottom Image: Rhino 3D Model/Rendering S C H R AY P O R T F O L I O
REUPHOLSTERED WINGBACK CHAIR Leather Blended Upholstery, Batting, Ply Grips, Metal Brad Fastners (500) Nailheads: Spotted Brass High Dome 1000/BX Head Size:7/16” Nail Length:1/2” 29” W x 40.5” H x 32” D, 2010 Duration: 40 days
CHAIR CONSTRUCTION Stripped fabric and batting down to the frame | 01 Refinished legs - Stain and Sealer | 02 Re-enforced frame | 03 Reupholstered (Imitation Leather) and replaced batting | 04 Added decorative tubing | 05 Hammered in 450-500 individual nail heads. (Style#SB912) | 06 Tufted with matching fabric buttons | 07 Felt floor-protectors added to the legs | 09
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HANDMADE
RENEWABLE RESOURCE SCHOOLHOUSE DESK Industrial Antique Aesthetic Pine and Steel, Redwood Stain and Polyuthrethane, 31” H x 36” W x 27” D, 2013
TOP LEFT: Deconstructed weather-damaged wood pallets, sanded TOP RIGHT: Arch-welding collaborative BOTTOM LEFT: Writing Desktop, finished BOTTTOM RIGHT: Hinged-top storage, sleigh feet
FURNITURE
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REFINISHED CARD CATALOG Industrial Antique Aesthetic Maple Plywood and Steel, Primier and Enamel, 15” H x 32.5” W x 18.5” D, 2015 15-Drawers Duration: 12 hours, including stripping and drying time Pulls read:
“ I’ll tell you my sins so you can sharpen your knife
- HOZIER
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HANDMADE
FURNITURE
S C H R AY P O R T F O L I O
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