AUSTEN WHIPPLE PORTFOLIO
My name is
Austen Whipple.
I am a budding Interior Designer and a free-lance Graphic Designer. My path to a career in design is rooted in my love of art, my passion to create, and my desire to contribute to imaginative designs that benefit businesses, individuals, and society. I have cultivated my design experience and abilities over the last six years by earning a Bachelor of Science degree and a Master of Fine Arts degree from the Department of Interior Architecture and Design at Florida State University. In addition to completing the comprehensive degree requirements, I have further explored and developed my skills through a combination of research, foreign study, unique design work, national design competitions, teaching design tool use and design course material, and obtaining a Graduate Certificate in Project Management. When not working on a project or design, I can usually be found roller skating as a member of my local Roller Derby team or searching for the best local cup of coffee. There is much about the world and the future we don’t know, including the course of evolutionary change, the emergence of enabling technologies, and the potential for unforeseen events, all of which can drive needs for new design solutions. Informed, creative design is key to meeting these evolving needs. Creative individuals working together in collaborative team efforts that combine their knowledge, insights, talents, and experiences can provide design solutions to satisfy countless needs as they arise. As a designer I’ve found that a design perspective can help inform how we see the world, cultures, people, and environment around us by enhancing our powers of observation, promoting our curiosity, and inspiring us to explore beneficial changes. I believe design can be a tool to help bring people together through solutions that blend their cultural values, perceptions, and experiences to promote individual mental, social, and physical well-being in addition to meeting the collective need driving the design. I bring this perspective to my approach for designing solutions that meet user needs and enhance user outcomes.
graduate RESEARCH AND DESIGN IDEC RESEARCH POSTER
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GRAPHIC REBRANDING
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TA L L A H A S S E E Z O O & G A R D E N S | D E F E N S E P R E S E N TAT I O N
GRAPHIC DESIGN P R O J E C T P R E S E N TAT I O N D E V E L O P M E N T
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TA L L A H A S S E E R O L L E R G I R L S P R |
MIAMI ROLLER DERBY LOGO
PRODUCT DESIGN H A W O R T H I A M O D U L A R TA B L E
COMPETITion pieces U S I T T T H E AT E R R E N O VAT I O N
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W A L T D I S N E Y ’ S I M A G I N E E R I N G I M A G I N AT I O N S C O M P E T I T I O N
undergraduate capstone projects R AY M I H O T E L
DESIGN CONTENT
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GIORDANA DENVER
IDEC RESEARCH POSTER
graduate RESEARCH AND DESIGN
GRAPHIC BRANDING TA L L A H A S S E E Z O O & G A R D E N S D E F E N S E P R E S E N TAT I O N
[SPRING 2018 - SPRING 2019] [SPRING 2019 - FALL 2019] [SUMMER 2019 - FALL 2019] [ FALL 2019]
Creating Authentic Experiences in Zoos
Method of Research
Interior EXHIBITs
Research Framework
Exhibit Description
Design Considerations
Interior exhibits, such as most herpetariums (exhibitions spaces for reptiles and amphibians), insectariums, and aquarium facilities within zoos are typically areas where animals are not only housed indoors but visitors experience these species inside a contained, enclosure.
Interior exhibit areas often have certain design implications, including but not limited to, a fixed area of space, defined lighting types, temperatures, and brightness, controlled air temperature and humidity which can contribute to the animals' welfare and visitor comfort, acoustic considerations, and clear entrances, exits and wayfinding.
Design Considerations Framework A: Maslow's Hierarchy of Needs Adapted by Hanuliakova (2016)
Exploring How Design Enhances Visitor Experience and Animal Welfare
Types of Exhibits
Physiological Needs
Authenticity Interior
Care and Safety
History of Zoos
Types of Zoos
Throughout history, zoos have provided humans with the ability to collect, maintain, and learn about local and exotic animals. Zoos play an integral role in conserving species, educating a broad population of people, and preserving critically endangered species (Hone, 2017). Modern zoos have continually sought to improve various aspects of the environment by balancing the care and welfare of captive animals and the experience and education of visitors. This effort comes from the desire to promote ideals of research, conservation, education, and entertainment while also establishing a level of value for maintaining animals and their habitats more authentically. "Zoo and aquarium design should not be simply about creating novel ways to house and view animals; it has to serve a greater purpose, one that engages our visitors in our conservation and animal welfare missions" (Chin, 2016, p.1). This study explores interior, semi-interior, and exterior exhibits in Florida zoos to understand the spaces in which visitors interact with animals and to identify further opportunities. The goal of this research is to develop new ways of integrating the aspects of the visitor experience into unique and diverse settings aimed to satisfy the care and welfare needs of animals. Data will be collected through interviews and behavioral mapping in interior, semi-interior, and exterior exhibits within urban and suburban-classified zoos in the state of Florida. The points of interaction within each of these spaces will be assessed for authenticity by recording behaviors and activities relating to both animal welfare and visitor experience. The results of this study will be used to develop a unique design program which considers participation, benefit, and opportunity for animals and people within interaction points in zoo exhibits. The future of zoo design has the capacity to include a growing number of opportunities in which people can engage animals in more authentic circumstances. By studying and employing opportunities within interior, semi-interior, and exterior exhibits, designers can effectively create spaces which satisfy and enhance the visitor experience while simultaneously supporting the needs of the animals. This will create a zoo experience that gives visitors and animals increased variety in their ability to authentically engage one another (Kemper, 2016).
Zoos have played an integral part in the human exploration of the world and relationship with other animal species for thousands of years. The physical design of zoos over time has adapted over time as a direct reflection of our society's values and understanding of science and technology (On zoo design eras, 2008). The modern era of zoos is considered to begin somewhere between the mid-18th and mid-19th centuries and can be divided into three eras of design: mid 19th to late 19th century - "jail" exhibitions, early to mid-20th century - the Modernist Movement, and the mid-20th century through present day - the age of conservation.
There are several different types of zoos which range in size and function and allow for varying types of engagement between animals and visitors/staff and lifestyles of the animals; factors of size, function, historic precedence, structure, and naturalistic ideals play a role in the physical development of these different types of zoos. The most commonly recognized type of zoo is the urban or suburban zoo. These tend to resemble smaller zoos that were popular in the past and often are situated in the middle of cities which creates size constraints. The nature of the built environment of these, particularly given that many of this type are historic and cannot be redesigned or taken down, have posed issues within the ability for zoos to update their facilities with new findings or adapt their current space to meet the ever-changing needs and desires of both the animals and the visitors of the zoo (National Geographic Society, 2012).
Animal Welfare
Many zoos around the world have continually sought to improve various aspects of their exhibits to better include authentic environments and experiences for both the animals and visitors. This effort comes from the desire to further promote ideals of research, conservation, education, and entertainment and to establish a level of value for maintaining animals and their habitats more authentically on a larger and long-term scale. History and research show that humans benefit from interactions with animals in natural and authentic settings (Fiby, 2008). While many ethical implications have posed potential threats to the acceptance of zoos, the role of these facilities in informing and promoting long-term wellbeing for animals to a variety of populations is imperative to garnering support and awareness of wildlife around the world (Hone, 2012). The points of interaction between animals and visitors in zoos take place in three types of settings; interior, semi-interior, and exterior exhibits. By exploring the characteristics and constraints of these settings and the types of interactions, zoos can develop new ways of integrating the aspects of the visitor experience into authentic settings that satisfy the care and welfare needs of the animals. Creating a more authentic and engaging experience will allow zoos to further improve the way visitors and animals interact with this environment. This can be established by developing a zoo design that more seamlessly blends human-centric facilities and activities into a more immersive and thoughtfully designed garden of healthy and supportive animal-centric habitats.
Choice External Stimuli Welfare
Exploration
Social Opportunities
Aesthetics
Exploration
Brevard Zoo
Regions in Florida 1. 2. 3. 4. 5. 6. 7. 8.
Northwest North Central Northeast West Central Central East Central Southwest Southeast
Zoo Accredited by the AZA
Research Questions These questions were developed to explore authentic and engaging design features in zoo exhibits from two perspectives; animal welfare and visitor experience. The intent is to understand what features within the space contribute to creating the points of interaction, to measure how successfully they do so and to identify how these interactions can be improved in future development. The design questions for this research are: - What are shared design features in zoos that mutually enhance visitor experience and support animal welfare in interior exhibits? - What are shared design features in zoos that mutually enhance visitor experience and support animal welfare in semi-interior exhibits? - What are shared design features in zoos that mutually enhance visitor experience and support animal welfare in exterior exhibits?
Goals
One of the biggest concerns regarding modern zoos, is whether or not their purpose and intentions are ethical. This is not necessarily referring to the care of their animals, but rather that they maintain animals in captivity without the opportunity for reintroduction or rather than leaving them in the wild. While this idea is not the main focus of this study it's important to consider, given that they are common reactions to the presence of zoos. When considering the zoo environment, it is important to consider that these facilities are made to entertain and educate visitors, but this is not the only role they play; zoos are critical in the maintenance of animal species, both in captivity and in the wild. Zoos are widely responsible for maintaining species that are at risk of disappearing from the wild such as the Northern White Rhino, whose last remaining wild male died in early 2018; they help respond to emergency by developing specialized centers, breeding programs, and raising funds for conservation efforts. Design plays an important role in not only providing care and affording ideals of welfare to captive animals, but also allowing for authentic experiences on behalf of these animals. In this sense, zoos have the opportunity to create authentic natural settings, or rather enclosures that are natural, engaging, and beneficial to the animals mentally, physically, and socially. As people continue to study animals and their various biological, physiological, and welfare needs, design becomes a tool in which zoos can accommodate those needs and afford possibilities for future care, offspring, and in some cases even adaptation to wild or natural environments.
FIELD RESEARCH / POSTER DESIGN
5. Old Florida (Historic Structures/Museums) 6. Trail Breakers (Concessions and Picnic Zone)
Phase 1: Observation
7. Florida and Beyond (Education Zone)
Climbing
Zoo Miami
8. Entrance to the Museum
Taking Pictures
The initial exploration of the zoo, will allow the researcher to become familiar with the layout of existing zoo exhibits. This phase will also the provide an initial look into to the zoos' facilities as well as the design of spaces and an introductory impression of potential points of interaction between visitors and animals. The intent of this phase is to give the researcher opportunity for strategical selection of interior, semi-interior, and exterior exhibit areas for further observation in later research phases. These exhibits will be selected based on perceived high-traffic and use by visitors, as well as an apparent level of popularity and proximity to both visitor experiences and areas of engagement with animals.
Jacksonville Zoo
Brevard Zoo
9. Natural Florida (Nature Trail and Tree Conservation)
Zoo Miami
PROPOSED ZONING MAP
Children Adults Phones
Tablets
Cameras
1. Ticketing and Welcome Center
Maps
2. Main Retail & Concessions Zone 3. Event Space (Plan Out of Scope)
Recreation
Engagement
Authentic & Immersive
Wayfinding
Prospect and Refuge
Sensory Stimuli
4. Veterinary and Education Center & Florida Zoo Exhibits
Semi-Interior EXHIBITs
6. Exhibit 2: Asia Loop - Will include Big Cat Exhibits (Exterior Exhibit Design)
Exhibit Description
Design Considerations
Semi-Interior exhibits such as aviaries, bat houses, some larger herpetariums, and primate houses, are exhibits in which the animal is housed in an enclosure that has defined boundaries and some form of a structural barrier including a ceiling, but is still largely open to the outdoors. These types of exhibits provide different experiences to visitors depending on the species it houses in some cases the visitor is likely to have the ability to view and experience the animals in a close but detatched manner, others can be more of an interactive experience.
Semi-interior exhibits are spaces in which animals are kept in a habitat which maintains some similarities and constraints of an interior exhibit, such defined spacing, wayfinding, and occasionally acoustic barriers, but given the exterior nature of the exhibit, do not have controlled lighting, temperature, or refuge from the elements
Technology Usage Per Zoo
Visitor | Animal Behaviors Per Exhibit
Jacksonville Zoo
Attendance Per Exhibit Type
The Five Components of Visitor Experience by Marwa Gewaily adapted
5. Exhibit 1: Africa Loop - Will include Reptile House (Interior Exhibit Design)
7. Exhibit 3: Australia Loop - Will include Aviary (Semi-Interior Exhibit Design)
Ticketing and Welcoming
Retail
This zone is the first impression of the zoo and is typically situated to help not only admit visitors to the park, but to help prepare them for their visit and orient them to their surroundings.
The retail zones provide visitors with two specific expereinces; the first is a way to take part of their trip home with them, through trinkets and photos that allow them to memorialize their day and the second is refuge from the natural conditions and elements such as weather and temperature.
Talking Walking Walking Eating
Our ability to know something as being derived from our experiences which shapes influences our future such as how we live, act, and think. Zoos offer transformative experiences especially when considering offering insight to atypical species, places, and conditions. There are many techniques zoos use to engage their visitors, specifically types of habitat design which have developed in recent modern designs such as immersion design, cultural resonance design, themes and storytelling, and more (Coe, 2004).
Pointing Flying Brevard Zoo
Taking Pictures Vocalizing Running Defacating
Amenities Comparison
MAJOR SPACES MAJOR SPACES MINOR SPACES
Feeding Birds Grooming
MINOR PATHS MINOR SPACES
MINOR PATHS
Climbing Sleeping Zoo Miami
Research Locations
MAPPING
Jacksonville Zoo
BREVARD Zoo
Northeast Region
CONDITIONS
Brevard Zoo
Location: 12400 SW 152nd St, Miami, FL 33177 Region: South Year Opened: 1948, relocated in 1980 Size: 324 Number of Exhibits: 6 Number of Animals: 3,000 Accreditation: AZA
SITE PHOTOS
East Central Region
CONDITIONS
Building Nests
Zoo Miami
Children Adults
Zoo MIAMI
Location: 8225 N Wickham Rd, Melbourne, FL 32940 Region: Central Year Open: 1994 Size: 50 acres Number of Exhibits: 6 Number of Animals: 900 Accreditation: AZA
SITE PHOTOS
Sitting Swimming Screaming Mating
Jacksonville Zoo and Gardens Location: 370 Zoo Parkway, Jacksonville, FL 32218 Year Opened: 1914 Size: 110 acres Number of Exhibits: 12 Number of Animals: 2,400 Accreditation: AZA, WAZA
This study explores interior, semi-interior, and exterior exhibits in Florida zoos, to understand ways in which visitors interact with animals and to further identify the constraints of these spaces. The goal is to develop new ways of integrating the aspects of the visitor experience into unique and diverse settings aimed to satisfy all of the care and welfare needs of the animals, creating a more authentic experience and allowing the zoo to further integrate their goals throughout the facilities and exhibits. The research includes data collected through interviews and behavioral mapping in interior, semi-interior, and exterior exhibits within urban and suburbanclassified zoos in the state of Florida. Area selection is crucial in the ability to record behaviors and activities relating to both animal welfare and visitor experience in the different types of exhibits as well as the constraints and considerations related to the type of space. The results of this study, still pending, will be used to develop a unique design program and a design which allows for equal participation, benefit, and opportunity for animals and people within zoos. This research is novel in exploring the future of zoo design and the implementation of authenticity into designs that can afford more possibilities to both animals and visitors.
Ethics
4. Lake Edge/Trails
Screaming Swimming
Charts
Like humans, animals have a basic set of needs which define their ability to survive such as clean water, food, shelter, sanctuary from predators, ability to produce and raise young, and a level of maintained sanitation in their environment; these are referred to as the physiological needs. When designing for these physiological needs, it's important to recognize that when they are not all met, animals will naturally adapt to the provided subset.
3.Turpentine Commissary
Walking Climbing Sitting Hiding
Physiological Needs
Maslow's Hierarchy of Needs adapted for Animals by Julia Hanuliakova adapted
2. Big Bend Farm (Historic Structures and Petting Zoo)
Tapping on Glass Laying
Interview Questions
Design Considerations from Literature
Education
1. Wildlife Florida (Current Zoological Zone)
Pointing Sleeping
Veterinary Care Safety Needs
[SPRING 2018 - SPRING 2019]
Education
Talking Eating
SCHEMATIC RESEARCH
Visitor Experience
Care
Florida is home to over 200 zoo facilities among the nine different types of zoos. Of these zoos, 20 are accredited by the AZA.
IDEC RESEARCH POSTER
Exterior
EXISTING ZONES
Jacksonville Zoo
Attendance Per Exhibit Type
The mapping process will be used to physically express how visitors and animals engage with their environment and each other as well as what factors in the environment might contribute to these behaviors. The intent of this process is to help the researcher to identify authentic physical factors in the exhibits and enclosures, the types of engagement occurring between animals, visitors, and the environment, and the potential successes in challenges present in each of the interior, semi-interior, and exterior exhibits chosen. The maps from the different exhibit types will allow for a comparison between interior, semi-interior, and exterior exhibit design to see how certain design factors hinder or promote certain behaviors and contribute to the sense of authenticity within each space.
Authenticity
Florida Accredited Zoos and the Zoo Desert
The Zoos selected for study are located in different regions of Florida, north, central, and south, as designated by Florida's Parks Map of Regions. The zoos selected are the Jacksonville Zoo and Gardens, the Brevard Zoo, and Zoo Miami, which given their location in diverse regions and hightraffic cities, maintain large local and visitor populations as well as a variety of different design-impacting considerations, such as climate and weather.
External Stimuli
Visitor | Animal Behaviors Per Exhibit
The new design for the Tallahassee Zoo and Gardens will use the existing Tallahassee Museum site, which boasts 52 acres of developed and natual grounds. The facility has undergone several updates and expansions since its opening in 1957 as the Tallahassee Junior Museum. While it has always fostered the concept of educating the public in areas of art, science, history, and world cultre, in recent years the Tallahassee museum has grown to feature animal exhibits and other nature activities.
Phase 2: Mapping
Visitor Experience
Problem
Selection Process
Recreation
Choice
Abstract
Despite the large number and spread of these facilities across the state, the Northwest and North Central regions of Florida are lacking in accredited zoo facilites, creating what is essentially, a "zoo desert."
Semi-Interior
Technology Usage Per Zoo
Charts
Aesthetics
Social Opportunities
LitErATURE Review
Introduction
Framework B: The Five Componenets of Visitor Experience by Gewaily (2010)
Scope of DESIGN
Phones
Tablets
Cameras
Southeast Region
Educational Center
In zoos, the concessions area acts not only as a place to sit and replenish, but also as a landing spot for guests to regroup between major exhibit spaces. A more central location is ideal for this type of setting as it is meant to be easily accessed and connected to a variety of other park settings.
These settings are becoming increasingly more popular and important as they give the visitors more of an opportunity to engage the missions and causes of the zoo. They range in set-up from lab facilities, to interactive learning classrooms, museum-style exhibits, and even behind the scenes care facilities - such as veterinary services, raising new babies, and training.
Maps
EXterior EXHIBITs SITE PHOTOS
Concessions
MAJOR SPACES
MINOR SPACES
Exhibit Description
Design Considerations
Exterior exhibits are the most common in current zoo design; they house many of the popular exotic species and large local species. Rather than being defined by species, these exhibits are often gathered into thematic sections and groupings, relative to the native continent or other geographical consideration of the animals within the habitats.
The shape and size are the main controlled aspects of these areas; however, other controlled aspects can include foliage and the building materials and aesthetic consideration given to region entrances, visitor shelters, and exhibit facades. Arguably, these exhibits tend to have more opportunity to create cultural, thematic, immersive and environmental experiences to visitors (Coe, 1992).
MINOR PATHS
WORKS CITED
MAJOR SPACES
MAJOR PATHS
MINOR SPACES
MINOR PATHS
[Abbreviated]
Coe, J. (2004). Trends in exhibition. Retrieved March 05, 2018, from http://www.joncoedesign.com/trends/exhibit_trends.htm#cultural
Charts
Visitor | Animal Behaviors Per Exhibit
Technology Usage Per Zoo Jacksonville Zoo
Attendance Per Exhibit Type
Collection Point 1: AVIARY
Collection Point 1: AVIARY
Talking Walking
Collection Point 1: AVIARY
Walking Climbing Taking Pictures Laying
Zoo Map
Pointing Vocalizing
Brevard Zoo
Zoo Map
Zoo Map
Sitting Playing Climbing Grooming
Collection Point 2: REPTILE HOUSE
Collection Point 2: REPTILE HOUSE
Collection Point 2: REPTILE HOUSE
Coe, J. C. (2005, May 13). Design and perception: Making the zoo experience real. Retrieved from https://onlinelibrary.wiley.com/doi/ abs/10.1002/zoo.1430040211 Cristea, N (2016). Designing Visitor Experiences. AllofUs. Retrieved from https://www.linkedin.com/pulse/designing-visitor-experiencesnick-cristea Fiby, M. (2008, November). Trends in zoo design - changing needs in keeping wild animals for a visting audience. Topos The International Review of Landscape Architecture and Urban Design, 62. Retrieved from http://www.zoolex.org/publication/fiby/ zootrends08/fiby_topos62.html Gewaily, M (2010). VISITOR EXPERIENCE IN ZOO DESIGN: DESIGN GUIDELINES FOR GIZA ZOO. Retrieved from https://getd.libs. uga.edu/pdfs/gewaily_marwa_201005_mla.pdf Hanuliakova, J. (2016). Wellness-inspired design for elephants. Waza Magazine, 17, 28-31. Hone, D. (2012, April 17). Why zoos are good [Web log post]. Retrieved March 03, 2018, from https://archosaurmusings.wordpress. com/2012/04/17/why-zoos-are-good/ Wheeler, H. Y. (2016). Historical time periods. Retrieved March 03, 2018, from http://www.totallytimelines.com/historical-time-periods/
Running Sleeping Tapping on Glass Swimming
Zoo Miami
'Roaring'
Jacksonville Zoo
Collection Point 3: BIG CAT ENCLOSURE
Collection Point 3: BIG CAT ENCLOSURE
Collection Point 3: BIG CAT ENCLOSURE
Brevard Zoo Children Adults
RESEARCH BY:
Zoo Miami
AUSTEN WHIPPLE
SUPERVISING PROFESSOR: DR. MARLO RANSDELL Phones
Tablets
Cameras
Maps
FLORIDA STATE UNIVERSITY | DEPARTMENT OF INTERIOR ARCHITECTURE AND DESIGN FOCUS: Zoo Design | LOCATION: Tallahassee, FL | PROJECT YEAR: 2018-2019
This study explores interior, semi-interior, and exterior exhibits in Florida zoos to understand the spaces in which visitors interact with animals and to identify further opportunities. The goal of this research is to develop new ways of integrating the aspects of the visitor experience into unique and diverse settings aimed to satisfy the care and welfare needs of animals.
With its deep connection to both the informative exploration of the visitor experience and animal welfare, as well as inspiration drawn from the local context of Tallahassee, this project considers several themes pertaining to a sense of balance and juxtaposition. For this reason, the conceptual inspiration of the Tallahassee Museum and Gardens is brick and canopy
Thematically, the visual relationship of brick and canopy is intended to emote the balance between built and human-centric ideals and influences and the organic flow and growth of nature and the wild.
GRAPHIC BRANDING
[SPRING 2019 - FALL 2019]
TALLAHASSEE ZOO AND GARDENS [SUMMER 2019 - FALL 2019]
S C H E M AT I C R E D E S I G N
This project explored a theoretical design solution for a new zoo facility in Tallahassee, Florida. It considers the outcomes of both the information and the local context as explored through original research, review of existing procedures, and outcomes from programatic analysis.
The Ticketing and Welcoming Center, which includes the main gate, ticketing booth, visitor center (which includes the first aid, human resources, and welcome center lounge), exit retail gift shop, and park exit.
TICKETS AND WELCOMING
ZONE R1
The Education Center, which includes the main entrance classroom and lab building, an outdoor interactive lab, the garden plaza, an interactive museum and rotating small animal enclosure, and an educational veterinary facility.
EDUCATION CENTER
ZONE R2
The main Concessions and Retail Plaza, which includes an indoor garden cafĂŠ, the main retail and gift shop space, and picnic green zone and outdoor play space.
RETAIL AND CONCESSIONS
ZONE R3
Zoological Zone 1: the Africa Loop. This exhibit loop is demonstrated through the exploration of the interior exhibit design, a reptile house which has been designed to feature an educational patio. This patio space is meant to merge concepts established in the educational center established in Zone R2, under conditions identified for emphasis by interior exhibit research.
INTERIOR EXHIBIT
ZONE G1: AFRICA LOOP - REPTILE HOUSE
Zoological Zone 2: the Asia Loop. This exhibit loop is demonstrated through the exterior exhibit design, an Indochinese leopard exhibit, featuring interior and exterior exhibit viewing opportunities, multiple enclosure and training areas, garden-style pathways, and a big cat cafĂŠ. This cafĂŠ incorporates themes and considerations established in the concessions space in Zone R3.
SEMI-INTERIOR EXHIBIT
Z O N E G 2 : A S I A L O O P - B I G C AT E N C L O S U R E & C A F E
Zoological Zone 3: the Australia Loop. This exhibit loop is demonstrated through the semi-interior exhibit design, an aviary, which features a walkthrough enclosure space and incorporates a retail space into the entrance viewing zone. This retail enclosure is informed by research and considerations established by research and designs in Zone R3.
EXTERIOR EXHIBIT
Z O N E G 3 : A U S T R A I L I A L O O P - AV I A R Y
a. Education Center Entrance
a. Gift Shop Space
a. Main Entrance & Queuing Start
R1: Tickets and WELCOMING
DEFENSE PRESENTATION [FALL 2019]
R1 Strucuture and Path Map
Proposed Zone Map: R1 Call-Out
NOTE Existing structures to be adapted are highlighted in yellow
a
PLANNING AND MAPPING
Additionally, the map has been rotated for ease of viewing
d
and immErsion:
and
and
a. Main Exhibit Hall
a. Exhibit Entrance and Retail Counters
G3: AVIARY
G2: BIG CAT EXHIBIT PLANNING AND MAPPING
Proposed Zone Map: G1 Call-Out
NOTE: There are no existing structures
G2 Strucuture and Path Map
PLANNING AND MAPPING
Proposed Zone Map: G2 Call-Out
PLANNING AND MAPPING
Proposed Zone Map: G3 Call-Out
G3 Strucuture and Path Map
NOTE: There are no existing structures
NOTE: There are no existing structures
Additionally, the map has been rotated for ease of viewing
Additionally, the map has been rotated for ease of viewing
Planning Diagram Planning Diagram
Planning Diagram
c
- EngagEmEnt: signage and labeling and participation and interaction - authEnticity
G1 Strucuture and Path Map
a DESIGN GOALS FROM RESEARCH & PROGRAMMING
- Wayfinding
R3 Strucuture and Path Map
NOTE: Existing structures to be adapted are highlighted in yellow
DESIGN GOALS FROM RESEARCH & PROGRAMMING
- prospEct
Proposed Zone Map: R3 Call-Out
NOTE: Existing structures to be adapted are highlighted in yellow
b
Planning Diagram
G1: REPTILE HOUSE
PLANNING AND MAPPING
Proposed Zone Map: R2 Call-Out
R2 Strucuture and Path Map
PLANNING AND MAPPING
a. Educational Patio
R3: RETAIL & CONCESSIONS
R2: EDUCATION CENTER
- authEnticity - Wayfinding
Landscape and Environment
and immErsion:
and
DESIGN OUTCOMES FROM ORIGINAL RESEARCH
Landscape and Environment
- authEnticity - Wayfinding
and immErsion:
and
- The animal welfare themes most related to (animal) behavior in exhibits were physiological needs and choice: specifically for activities of walking (indicating frequent movement), climbing, and laying (sedentary behavior)
- The visitor experience concepts most related to (visitor) behavior in exhibits were recreation and authenticity: specifically for actions of talking, pointing, and tapping on the glass (physically interacting with barriers).
- EngagEmEnt: Participation and Interaction
- sEnsory stimuli: Lighting and Olfactory
DESIGN OUTCOMES FROM ORIGINAL RESEARCH
- The animal welfare theme most related to (animal) behavior in exhibits was physiological needs: specifically for activities of eating, sleeping and laying (sedentary behavior)
DESIGN GOALS FROM RESEARCH & PROGRAMMING
Exploration: Visitor Exploration
- prospEct & rEfugE: Sightlines, Flow and Dwell, and Opportunities to Linger
Exploration: Physical Context
rEfugE: Sightlines
- sEnsory stimuli: Lighting
Planning Diagram
Zone Map & View Key
Planning Diagram
- EngagEmEnt: Education and Participation and Interaction
Visitor Perception
- The visitor experience concepts most related to (visitor) behavior in exhibits were recreation, exploration and aesthetics: specifically for actions of talking, walking (indicating frequent movement), and taking pictures
a
Exploration: Visitor Exploration
DESIGN OUTCOMES FROM ORIGINAL RESEARCH - The animal welfare themes most related to (animal) behavior in exhibits were physiological needs and choice: specifically for activities of walking (indicating frequent movement), eating, and flying
b
- The visitor experience concepts most related to (visitor) behavior in exhibits were recreation, exploration, and authenticity: specifically for actions of talking, walking (indicating frequent movement), and pointing.
- prospEct & rEfugE: Sightlines and Flow and Dwell - sEnsory stimuli: Lighting
b DESIGN CONSIDERATIONS FROM LITERATURE
c
- Encourage participation and interaction between the visitor and space but providing a variety of different spaces which promote different types of educational experiences, such as labs and classrooms which offer controlled explorative experiences which are encourage participation of stakeholders, students, researchers and more.
- integrate engagement opportunities through updated signage features as exemplified in the main gate. Additionally, establishment of participation through the redesign of the ticketing center as an incorporated element of the new front gate feature, as well as through establishing an exit retail space as the last attraction to give visitors the opportunity to take a piece of their experiences and the messages of the zoo home with them as they leave.
- Consider the role of landscape and environment in shaping the types of activities that can be used and enjoyed by visitors of all ages and abilities to foster a connection to zoos, their messages/goals, and more largely the world as a whole.
- instill a sense of authenticity and immerse visitors into the local context of the space by using both custom millwork in the design of the gate and in color and finish selections used throughout the space.
d
- improve opportunities for exploration and to simplify wayfinding by integrating garden paths which reinforce the visual and physical connection and access points between the buildings. - maintain sightlines in and out of buildings by implementing more window views and utilizing paths and furniture to support the visitor's opportunity to see through, into, and out of space. - explore opportunities to integrate lighting, both natural and artificial, into each of the buildings to create a sense of cohesion and comfort.
Zone Map & View Key
Zone Map & View Key
DESIGN GOALS FROM RESEARCH & PROGRAMMING
DESIGN CONSIDERATIONS FROM LITERATURE
- Develop a unique flow and layout of spaces to encourage visitors to wander and explore as they please, rather than being restricted to a specific path or storyline. - Maintain open sightlines in more populated and densely crowded spaces to ensure a sense of security as well as to give ample viewing opportunities to provide maximized space for people of varying heights, ages, and other considerations to move through and use the space. Also allow visitors the chance to take a slower pace or even pause and fully engage with what they are learning and experiencing. - Integrate natural lighting into the series of interior spaces to maintain a consistency in visual experience through spaces and emphasize experiences which appeal to all other senses for a bright and well-rounded experience.
DESIGN GOALS FROM RESEARCH & PROGRAMMING
- EngagEmEnt: Participation and Interaction - authEnticity - Wayfinding
DESIGN CONSIDERATIONS FROM LITERATURE
- prospEct
- Provide a comfortable place to pause, rest, and eat, as well as maintain opportunities to wander, play, and shop. - Reinforce a connection to the natural surroundings but maintaining a sense of comfort by providing sufficient shade and space to spread within sheltered zones but incorporating wide views and access to natural lighting.
- EngagEmEnt: Participation and Interaction
Landscape and Environment
a
Exploration: Visitor Exploration
rEfugE: Sightlines and Opportunities to Linger
- authEnticity - Wayfinding - prospEct
and immErsion:
and
and
Landscape and Environment
Exploration: Visitor Exploration
rEfugE: Sightlines and Opportunities to Linger
- sEnsory stimuli: Lighting
b
b c
DESIGN CONSIDERATIONS FROM Literature
DESIGN CONSIDERATIONS FROM Literature
- Visitors are surrounded on different sides and levels by interactive zones and exhibits. Visitors can approach exhibits from a variety of angles and several opportunities are provided from guests to stop and linger.
b
- Visitors are immersed into the aesthetic setting of the zoo however, the design of these interior exhibits challenge the typical style of interior enclosures by incorporating more aspects similar to nature enclosures.
Zone Map & View Key
aa
DESIGN GOALS FROM RESEARCH & PROGRAMMING - EngagEmEnt: Participation and Interaction - authEnticity - Wayfinding - prospEct
and immErsion:
and
and
Landscape and Environment
Exploration: Visitor Exploration
rEfugE: Sightlines and Opportunities to Linger
a
- sEnsory stimuli: Lighting
cc
- Perpetuate themes of nature and goals of natural preservation by incorporating gardenesque features, greenery, and views of the landscape into these spaces which typically are removed from this context. - Encourage visitors to explore the different spaces in the zone by creating clear paths and sightlines of other amenities in the space
and immErsion:
and
and
- sEnsory stimuli: Lighting
- Entice visitors of all ages to interact with the spaces by creating a variety of interactive experience, such as a children's' play wall in the gift shop and a park and playground outside, a gardenesque/greenhouse style cafĂŠ dining room to give visitors a sense of safety and whimsy, and a picnic lawn with both ample shelter and open space.
- There is a wide variety of indoor and outdoor exhibits and activities that provie different types of lighting and tactile experiences.
- Guests are encouraged to pause and linger and seating has been provided to allow guests opportunity to pause and still see a wide spanse of their environment. - Guests would have a variety of vantage points to engage the animals from. - Paths that loop around and take guests on different levels encourage exploration and give them opportunities to see exhibits from a variety of angles.
DESIGN CONSIDERATIONS FROM Literature - Guests would be encouraged to directly engage with the plants and animals.
Zone Map & View Key
- By immersing visitors into a more organic setting their typically less engaged senses, more specifically the use of hearing, smell, and touch will more likely to be activated more consistently. - Paths that loop around and take guests on different levels encourage exploration and give them opportunities to see exhibits from a variety of angles.
Zone Map & View Key
b. Ticketing Windows
c. Visitor Lounge
b. Perimeter Enclosure
b. Garden Plaza
d. Retail Space
c. Outdoor Lab
c. Rotating Exhibit Space
b. Garden Dining Plaza
c. "the GARDEN" Bar
c. Main Exhibit Space
b. Big Cat Cafe
b. Free Fly Enclosure
The organization of these posters allowed for an in depth presentation of each of the zones. The style of the posters was intended to emulate a travel map or brochure which afforded the researcher the opportunity to orient and walk attendees through the zoo as they might as a visitor of the space.
P R O J E C T P R E S E N TAT I O N D E V E L O P M E N T
GRAPHIC DESIGN
TA L L A H A S S E E R O L L E R G I R L S P R
[FALL 2017 - SPRING 2019]
[SPRING 2019 - SPRING 2020]
M I A M I R O L L E R D E R B Y L O G O [ F A L L 2 0 1 8 - S P R I N G 2 0 2 0 ]
project presentation development
COMMUNICATING IDEAS Courses and projects throughout graduate school offered the opportunity to explore a variety of different topics and ideas. This exploration not only afforded me the chance to learn about and understand topics outside of my thesis study, but also gave me the ability to explore the graphic presentation of ideas. By manipulating formatting, color, texture and more I could effectively communicate information and ideas to my peers and express my experiences and understanding of the topic.
LUCKY THIRTEEN
SEASON OPENER
2019 PR POSTERS & ADVERTISEMENTS
2020 PR POSTERS
TALLAHASSEE TALLAHASSEE ROLLERGIRLS ROLLERGIRLS
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TALLAHASSEE INDOOR SPORTS | 130 FOUR POINTS WAY
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COUNTy
SINATORS SWAN CITY
SATURDAY, MAY 11, 2019
S
TH
DO N O GA OR PE M S @ NE E @ 6:3 R 7: 0 00
TALLAHASSEE INDOOR SPORTS | 130 FOUR POINTS WAY
@ MUSCOGEE
SEASON 13 GAME 4
SEPTEMBER 12 JAILBREAK BETTIES
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AS O
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TATTOO GRAPHICS BY MATT MANNING | PHOTO BY ELI HELMS PHOTOGRAPHY
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GAME 1 & SEASON SCHEDULE
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GAME POSTER DESIGN
DESIGN process
MIAMI ROLLER DERBY 2021 LOGO PROJECT
PROJECT ONGOING
PRODUCT DESIGN
H A W O R T H I A M O D U L A R TA B L E
[FALL 2018]
PHASE 2a: CAD Drawing
After the final profiles for the legs were selected, they were drawn digitally using AutoCAD software. This phase of the design process mainly focused on scale and development of the piece within the defined 24 x 48 area, then again in two separate 24 x 24 squares.
PHASE 2b: Maket Model Testing
The second part of this phase involved testing the stablity of the furniture piece by cutting minature models at 1/6th scale. The original design for the table was a two-tiered, loveseat-length (approx. 6x) sofa table. After some testing the design was altered to become two identical, two-tiered planter/side tables. After some further consideration of scale and proportion, the final design of three tables at corresponding "layered" heights with variations in the table tops to be open or not was created. This design embodied the goal for the piece to be modular in both height and length with minimal proportional changes and no structural integrity being lost.
PHASE 2c: Joinery Testing
CONCEPT The Haworthia Table is named for the subfamily species of succulents which may vary in shape, size, color, and texture, are typically known for their elongated and pointed appearance. The Haworthia Fasciata, or the zebra plant, in particular, is known not only for it's unique, striped legs but also for it's natural durability. The form of the curves, the overlapping pattern of the leaves, and the robustness of the plant informed the two profile base and layered tops of the table. The versatility of the Haworthia species has also inspired modularity in the design. Overall, the Haworthia Table is designed to be adaptable and elegant while maintaining a sense of strength and simplicity.
DESIGN PROCESS TIMELINE PHASE 1: Concept Development and Sketching
During this phase, the initial concept was developed and primary sketches for leg design and joinery were created. The design for the table went through a few variations before the final convex and concave profiles were selected for development. This particular profile design was created based on a linesketch of a Hawthoria Succulent which was the guiding concept for the project.
Once the scale of the profiles had been decided on, the next step was testing the structural integrity of the joinery at full-scale. In this phase, the joinery, or the areas where the pieces of the table come together, were cut at the intended full-scale. This included the connection between the leg profiles, the piece where the two table tops would sit on the convex profile and the same area where the two table tops would connect with the concave profile. This helped to test the strength and fit of the pieces together before they were cut at a full-scale for the final production.
PHASE 3: Full-Scale Cutting, Sanding, and Construction
After all of the nuances with the various profiles had been developed and corrected, the piece was cut at full scale from two 24x24 plywood sheets. Then each profile was sanded and the conceptual line drawing was etched into the solid table top. After the sanding and etching the pieces were fit together for the final installation in the gallery space.
PHASE 4: Gallery Development
For the gallery, the tables were filled with a variety of Haworthia Succulents to showcase the original use as planter boxes. However with the variations in length and top types, these tables can be used as side tables, coffee table supplements, sofa tables, planter boxes, shadow-box tables, and more.
18"
40"
.
TALL
50"
.
60"
.
.
C
CLOSED TOP ( C ) O
.
MEDIUM
.
.
O
MODULARITY This guide shows the variations of the Haworthia Table design. This table can be created in four different lengths and with three different base heights. The table table tops come in open and closed designs; the open tops can be cut into the long tops or as a short toptier over a closed, solid bottom tier top of any of the lengths. In short, this table can be produced in over 40 different combinations, fully embracing the goal of versatility.
.
C
.
SHORT
.
.
.
C
O
U
L
U
L
U
L
( U ) UPPER TABLE TOP SURFACE | (L) LOWER TABLE TOP SURFACE
U
L
OPEN TOP ( O )
U S I T T T H E AT E R R E N O VAT I O N
COMPETITION PIECES
[FALL 2018 - SPRING 2019]
WALT DISNEY’S IMAGINEERING
I M A G I N AT I O N S C O M P E T I T I O N
[SPRING 2017]
USITT THEATER RENOVATION COMPETITION CO-SPONSORED BY THE ASTC
TEAM ENTRY YEAR: 2019
2ND PLACE DIRECTOR’S AWARD RECIPI E NTS
F L O R I D A S TAT E U N I V E R S I T Y R I C H A R D G . F A L L O N T H E AT E R L O B B Y R E D E S I G N
existing conditions
• Low Seating Capacity(Only 11 Solid Stone Benches) • Lower than standard seating heights • Finishes are dark, dated, damaged and create an atmosphere which does not encourage patrons to linger • Small and understated ticket booth • No space consideration for concessions or retail
PROPOSED CHANGES
proposed space plan
• Color palette has been updated to establish a more bright and inviting atmosphere while still reflecting the branding and aesthetic changes occuring across the university as a whole • Increased ceiling heights with updated lighting allow for a more open and sleek space • The ticketing booth has been updated for increased appeal and function • A concessions stand and updated seating opportunities encourage patrons to linger • A fountain with etched glass front has been added to allow the department to honor students as they progress into their professional careers. This feature also establishes white noise within the space to mitigate lobby noise reverberation. • The display screens have been replaced with a sliding panel and LED screen system for more visible and engaging advertising.
The updates to the ceiling heights allowed the team to take advantage of the existing architecture within the space. Eliminating the dropped ceilings not only allowed for improved lighting and updated plumbing, air, and electric, but enlarges the space and improves sightlines within the space. Updates to the floor also helped to improve the emphasis of the ticketing booth and establish flow which is ambiguous under current conditions.
UPDATED CONDITIONS
Seating has also been improved to not only allow for more use of the space, but to create a brighter and softer feel within the lobby. Wood paneling and decorative lighting boxes were added to the columns to establish “pockets� around the seating.
FOUNTAIN FEATURE WITH ETCHED GLASS A fountain feature has been added to the space, to establish a natural and unique focal point to the lobby, and to add a noise barrier to reduce sound pollution in this part of the building, which is surrounded by theater space, gallery and museum space, and classrooms. The etched glass facade prevents splashing while giving the department a unique canvas to honor their students.
ADDITIONAL FEATURES
FOUNTAIN FEATURE WITH ETCHED GLASS A sliding wood and LED screen panel wall gives the students and production team a more unique and cusomizable canvas for advertising upcoming events.
CONCESSION & RETAIL SPACE This bar-like space harkens to the local vibe of the city while also providing the unviersity an open and upscale space to sell food, drinks, and merchandise for their shows. It also can be used for hosting events and receptions.
2017 WALT DISNEY IMAGINEERING’S
IMAGINATIONS DESIGN COMPETITION
TEAM ENTRY YEAR: 2017
SEMI-FINALIST PROJECT
ULKE
DESIGN INTENT "You stayed up all night writing a paper. Your eyelids are heavy and you feel like you never want to see the inside of the library again. After uploading the PDF and clicking "Submit", you pick up your bag and walk outside. A soft glow emanates from the peak of the thatched roof, and you breathe in the fresh morning air as you walk eagerly towards Effaga, alongside your peers, professors, and tour groups."
INTRODUCTION
ULKE
Ulke [Al-Kee], meaning "tribe" in the SeminoleCreek language, draws the diverse people of the college campus in Northern Florida into a unique community. Students, faculty, and visitors alike will be able to enjoy the spaces from the inside out, while learning the Seminole Creation Story.
The project was conceived by the Florida State University Team and created for the 2017 Walt Disney Imagineering's Imaginations Design Competition.
CONCEPT
The competition is a way for students and recent graduates to showcase their talents and for Walt Disney Imagineering to identify new talent.
The tribe-like feel will come from the similarity of the chickees to Effaga, both incorporating story walls, fire features, natural materials, and opening roof. Welcoming visitors, students, professors, and faculty alike, all can take part in Ulke. Scattered throughout campus, each pavilion provides users with differing experiences, incorporating meanings of important totem animals to the Seminole Tribe. Join in around the fire and become part of our Ulke.
This project is the sole property of Walt Disney Imagineering and all rights to use these ideas are exclusive to Walt Disney Imagineering.
SPECIAL FEATURE DETAIL Structural Tree-like Branch beams LED programmable micro-lights Exterior water tube with floating Aluminum flecks Fog mechanism and fan insert Stone facade barrier Digital Flame Display
1� plexiglass barrier Aluminum flecks (used to reflect light in the water)
SPACE PLANNING
The main structure, Effaga [ef-fah-gah], contains seating that encourages conversation, poles for hammocks, and areas to relax with a view from the first and second floor.
In order to connect the university tribe across campuses and colleges, eight chickee like structures will be placed throughout the university. Chickees were a common Seminole housing structure that could quickly be built and taken down. These eight chickees will be inspired by the meaning of each totem animal, through feel and use of the space. For example, the bird floor plan shows conversational seating, as birds sing to each other and the flooring takes the shape of a wing. The Snake floor plan has a serpentine curve flooring with seating arranged in a singular line and more private seating options, as snakes are more introverted spirits.
LED micro-lights (resembling embers) Fog (used to create a physical smoke aesthetic)
The project was conceived by the Florida State University Team and created for the 2017 Walt Disney Imagineering’s Imaginations Design Competition. The competition is a way for students and recent graduates to showcase their talents and for Walt Disney Imagineering to identify new talent. This project is the sole property of Walt Disney Imagineering and all rights to use these ideas are exclusive to Walt Disney Imagineering.
2017 Walt Disney Imagineering’s Imaginations Design Competition Semifinalists
Contributions made by all members of TEAM 22DA54: Hae Jeong Hwang, Anna Muhlberger, Coral Nolan, and Austen Whipple Person al contributions made by Austen Whipple include: spatial planning, digital creation of models as seen in rendered images, floor plan rendering, logo development, and branding development.
UNDERGRADUATE CAPSTONE PROJECTs
R AY M I H O T E L
[SPRING 2017]
G I O R D A N A D E N V E R
[SPRING 2016]
S E N I O R H O S P I TA L I T Y P R O J E C T
JUNIOR COMMERCIAL PROJECT
H O S P I TA L I T Y D E S I G N
THE RAYMI HOTEL SENIOR CAPSTONE PROJECT SPRING 2017
LOBBY VIEW
THE RAYMI HOTEL : CUSCO, PERU
THE RAYMI HOTEL LOCATION The city of Cusco boasts a lively culture with both modern and historic roots and rituals which allow for a blend of ideals, eras, and styles. Eclecticism is welcomed, especially among the younger generations. The Architecture within Cusco displays combinations of bright festive colors and natural tones, textures, and materials which capture the cultural and historic essence of the city. A fun, lively, festive atmosphere is important but a focus on environmentalism is equally valued both socially and aesthetically.
GOALS In the Raymi Hotel, we strive to create a lively, bright, yet relaxing, carefree experience for visitors and celebrate the cultural and natural aspects and aesthetics of Cusco and the regular festivals. Our goal is to create a social atmosphere comfortable for guests and locals and uphold social and Environmental Sustainability in the hotel design, operation, and mission. We are getting back to the basics in the most luxurious way, by balancing the essentials with what is lavish. We intend to follow the historic architectural aesthetics of Cusco, Peru while also implementing new and exciting, beautiful design. By doing so we aim to facilitate a well-rounded, cultural, and truly unforgettable experience for guests.
CONCEPT The aesthetic of the Raymi Hotel draws inspiration from the rich historic and cultural aspects of festivals in Cusco, Peru. Subtle, natural materials and textures define the prominent architectural and structural aspects of the space, while bright colors embellish the softer, detail features such as textiles and furnishings, to bring to life the notion of life and celebration. A rhythm of organic lines throughout both styles within each space provides serene balance and continuity among the elements while a mixture of natural and lively, artificial lights breathe joy and excitement throughout the entire hotel. Materials are chosen for their ability to provoke the senses while still providing a luxurious, culturally aware experience of Cusco
DESIGN SOLUTION As a place and a culture, Peru boasts a zeal for life. Through the many festivals, which focus on every aspect of the people of Peru, we also see a desire to stay connected to history and to nature, all while moving forward towards a future with blended cultures, religions and ideals. For this reason, the design for the Raymi hotel in Cuzco, Peru finds a balance between what is natural and traditional, and the joyous and optimistic sentiment of celebrating each day and each step towards the future. A colorful connection to agriculture through the hotel’s bar, restaurant, and spa reinforce the goal of sustainability and cultural responsibility. This hotel will hopefully serve as a social, economic, and ethical liaison to all who visit it. Without a hesitation this hotel wraps each guest in a multitude of experiences and festivities. LOBBY & RECEPTION SEATING
THE INTI SPA EXPERIENCE
1
Reception Desk Long Side Section 1 : 25 23
107
15
107
9
MAIN TRANSACTION ZONE/ADA WHEELCHAIR ACCESSIBLE COUNTER SPACE
FRONT DESK
WALNUT DESK TOP
5 15 5
20
UPPER MARBLE TRANSACTION COUNTER
WALNUT DESK STRUCTURE
LEVEL 1: RECEPTION
71
LEG SPACE
76
Reception Desk Full Section 30 1 : 25
UPPER MARBLE TRANSACTION COUNTER WALNUT DESK TOP
5 15 5
2
LOWER ADA MARBLE TRANSACTION COUNTER
LEVEL 1
FIELDSTONE DESK FRONT FEATURE
76
71
71
76
WALNUT CARVED DESK FRONT
MILLWORK SECTION
5 10
RECEPTION AND LOBBY DETAILS
Reception Desk Long Side Section 1 1 : 25 23
FRONT DESK AMIN STAIRCASE
107
15
107
9
MAIN TRANSACTION ZONE/ADA WHEELCHAIR ACCESSIBLE COUNTER SPACE WALNUT DESK TOP
5 15 5
20
UPPER MARBLE TRANSACTION COUNTER
WALNUT DESK STRUCTURE
71
LEG SPACE
2
Reception Desk Full Section 1 : 25
DESK ELEVATION
Level 1 100
CARVED/CAST STONE "WALL" SIDING 2
CUT AWAY HAND RAIL
----
RECESSED DETAILS CARVED/CAST STONE "WALL" SIDING
SCONCE LIGHTING
2
main staircase
CUT AWAY HAND RAIL
----
STONE STAIR TREAD
RECESSED DETAILS SCONCE LIGHTING
LEVEL 1: LOBBY
METAL HAND RAIL
3
STONE STAIR TREAD
GLASS PANEL
----
METAL BALUSTER METAL HAND RAIL 91
3
GLASS PANEL
----
109
18
91 18
METAL BALUSTER
109
STAIR SECTION Grand Stair Case Elevation 1 1 : 50 1
Grand Stair Case Elevation 1 : 50
METAL HAND RAIL
CARVED/CAST STONE "WALL" SIDING
GLASS PANEL
CUT AWAY HAND RAIL
METAL HAND RAIL
CARVED/CAST STONE "WALL" SIDING
METAL BALUSTER
49
40
49
40
RECESSED DETAILS
CUT AWAY HAND RAIL
GLASS PANEL
RECESSED DETAILS
METAL BALUSTER
2
12 1214 14
Grand Stair Rail Type 1 Section 1 : 25 Grand Stair Rail Type 1 Section 2 1 : 25 2
2
5
5
Grand Stair Rail Type 2 Section 3 1 : 25 Grand Stair Rail Type 2 Section 3 1 : 25
STEP DETAIL
cuisine and culture
LEVEL 2: DINING EXPERIENCE
LA VENDIMIA BAR & LOUNGE
La Vendimia is largely attributed to various countries in South America. In Peru, this festival is another example of how food, or in this case wine, can truly bring us together. While this festival celebrates the harvest and the fruits of Peru, it definitely boasts a more social, “adult” atmosphere.
LA VENDIMIA
CITY VIEW BALCONY
FESTIVALE MISTURA RESTAURANT
Festival Mistura is an exciting festival that’s all to do with food. Chefs from all over the world journey to Peru to participate and partake in what is considered one of the largest culinary celebrations in South America. This festival was important to the design of the restaurant in the Raymi hotel, not simply for it’s connection to cuisine, but also for it’s abundant celebration of cultures coming together.
LEVEL 5 BATHROOM
LEVEL 7 BEDROOM
CARNAVAL KING SUITE SERIES While the festival itself takes place over specific days, the spirit of the Carnevales last throughout the month of February. This festival is known for its costumes, colors, parades, and constant action, and while celebrated differently around the world, still brings people an overwhelming sense of whimsy and fun
LEVEL 3 KITCHEN & LIVING ROOM
COMMERCIAL OFFICE DESIGN
GIORDANA DENVER JUNIOR CAPSTONE PROJECT SPRING 2016
THE “LIVING ROOM” MEETING SPACE
INTRODUCTION It takes a unique group of cyclists to design the best in cycling gear and an important factor in this designing is the place that it happens. Giordana Cycling apparel focuses on the specialized needs for speed, power,and comfort in its design process- a set of needs rooted deep in the traditions of the company.
CONCEPT
This design for the new Research and Development Office facility of Giordana Cycling was informed by the notion of the path less traveled. A concept that embodies the drive of a company ready to tackle a new frontier and a new product line opportunity
DESIGN INTENT
COFFEE BAR & BREAK LOUNGE
One of the biggest initiatives to come to Colorado is the opportunity to expand the company's product opportunities. Mountain biking is a large part of Colorado such that the Rocky Mountains host thousands of tourists and professional riders each year. While Giordana does focus a lot on highintensity and diversity within its products mountain bicycling gear is not currently a part of the company's inventory. Looking forward to the future of this office is one of the main goals of the design, and creating an exceptional, individual space will take the company down a new, less traveled road to success and to making the ride even more exhilarating.
ENTRANCE & RECEPTION SPACE
PROPOSED FLOOR PLAN
REFLECTED LIGHTING PLAN 18'-0" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
LEVEL 2
Level 3 Mezzanine 3/32" = 1'-0"
1
LEVEL 2
COOPER: 6" RECESSED DOWNLIGHT CAN: ALL FIXTURES AT 8'-3" A.F.F UNLESS SPECIFIED
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
COOPER: RECESSED DOWNLIGHT FLUORESCENT 8'-2" A.F.F.
EUREKA: SUSPENDED LINEAR FLUORESCENT: ALL FIXTURES AT 18'-0" A.F.F. UNLESS SPECIFIED 8'-2" A.F.F.
8'-2" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-2" A.F.F.
8'-2" A.F.F.
8'-6" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
18'-0" A.F.F.
8'-2" A.F.F.
9'-0" A.F.F.
8'-2" A.F.F.
EUREKA: SUSPENDED DECORATIVE PENDANT CYCLE-ANTE: AT 6'-3" A.F.F 18'-0" A.F.F. 9'-0" A.F.F.
8'-2" A.F.F.
9'-0" A.F.F. 7'-8" A.F.F.
9'-0" A.F.F.
8'-6" A.F.F.
9'-0" A.F.F.
EUREKA: SUSPENDED DECORATIVE PENDANT 3-SWITCH:AT 6'-3" A.F.F 9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
8'-6" A.F.F.
7'-8" A.F.F.
7'-8" A.F.F.
8'-6" A.F.F. 8'-2" A.F.F.
7'-8" A.F.F.
8'-2" A.F.F.
7'-8" A.F.F.
8'-6" A.F.F. 7'-9" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F.
EUREKA: SUSPENDED DECORATIVE PENDANT RIM:AT 6'-3" A.F.F
7'-8" A.F.F.
7'-8" A.F.F.
7'-9" A.F.F.
9'-0" A.F.F.
9'-0" A.F.F. 7'-8" A.F.F.
COOPER: LINEAR WALL SPOT FIXTURE
LEVEL 1
CEILING TECH: SUSPENDED DECORATIVE PENDANT HUDSON: AT 6'-9": A.F.F
Lighting Legend 1/4" = 1'-0"
1
Level 3 3/32" = 1'-0"
COOPER: 6" RECESSED DOWNLIGHT CAN: ALL FIXTURES AT 8'-3" A.F.F UNLESS SPECIFIED
COOPER: RECESSED DOWNLIGHT FLUORESCENT
EUREKA: SUSPENDED LINEAR FLUORESCENT: ALL FIXTURES AT 18'-0" A.F.F. UNLESS SPECIFIED
EUREKA: SUSPENDED DECORATIVE PENDANT CYCLE-ANTE: AT 6'-3" A.F.F
section perspective
EUREKA: SUSPENDED DECORATIVE PENDANT 3-SWITCH:AT 6'-3" A.F.F
EUREKA: SUSPENDED DECORATIVE PENDANT RIM:AT 6'-3" A.F.F
COOPER: LINEAR WALL SPOT FIXTURE
CEILING TECH: SUSPENDED DECORATIVE PENDANT HUDSON: AT 6'-9": A.F.F
Lighting Legend 1/4" = 1'-0"
LEVEL 1
The Giordana Company prides itself on its connection to both its history and roots as well as its dedication to cyclists by producing quality gear. For this reason the design solution successfully focuses on a balance between rustic, traditional textures such as wood, brick, and stone and sleek, modern materials such as metal, glass, and iridescent fabrics. Views to the outdoors as well as architectural features suggesting mountains and trails define the connectivity to the mission of the new office to develop a new line of mountain cycling gear and to the outdoors.
COFFEE BAR AND BREAK LOUNGE The cafe break lounge is a unique feature within the Giordana office. The location is set such that visitors must take an unusual path, under the stairs, in order to enter the space where they will be greeted by the cafe/bar staff and a sweeping view through the windows. Dark, grounded furniture and materials help to offset and balance the open to above ceiling and give a traditional vibe which contrasts to the fun patterns and the unique location
FEATURE ELEVATIONS
O F F I C E S A N D M O U N TA I N S The office “pods” are segmented evenly into three work spaces , an administrative office, and a collaboration pod. While in these spaces the workers should feel secure and comfortable in privacy. However, the center area is open to the ceiling where the towering “mountain” feature surrounds the more social areas- making for light conversation if nothing else. The mountain features function as architecture, decor, and lighting- the night scene here better depicts how these peaks light up and create a somewhat whimsical view
LIGHTING & HVAC FEATURE
CANVAS MOUNTAIN RANGE MEZZANINE VIEW
The view of the mountain feature is most prominant in two areas; down in the “living room� collaboration area, and from the Mezzanine, back balcony. The peaks are made from curved and bent metal frames with fabric stretched across. These features are meant to create visual interest in the office, enhance the focus of mountain-based cycling gear, and functionally, to cover the topsides of the dropped ceiling systems, aleviating the need for frequent cleaning or maintenance.
“ Tell me, what is it you plan to do with your one wild and precious life ”? - MARY OLIVER
PROFESSIONAL experience Teaching Assistant
Aug. 2017 - Aug. 2019
Florida State University Tallahassee, Florida
Showroom Associate & Interior Design Intern July 2018 - Apr. 2019
MultiStone Inc.
• Design Studios: Studio II, III, & IV • Computer-Aided Design: CAD II • Lectures: Business Practices, Sustainability Design, Social Psychology of Interior Design, Principles of Lighting Design, & Design Survey • Resources: Resource Room Committee
• Project Coordinating • Product Management and Organization • Product & Cost Estimating
Tallahassee, Florida
Interior & Exhibit Design Intern
Feb. 2016 - Apr. 2017
Wilderness Graphics Inc.
• • • •
Spatial Planning Digital Model Design and Creation Construction Documents Perspective Rendering
Tallahassee, Florida
FSU Campus Manager Sales Representative Oct. 2014 - Jan. 2016
University Tees
• Project Procurement & Sales • PR with Campus Student Organizations • Licensing Team
Cleveland, Ohio
education Master of Fine Arts - Interior Design (Dec. 2019) Florida State University CIDA Accredited Program
Graduate Certificate - Project Management (Dec. 2019) Florida State University
Bachelor of Science - Interior Design (Aug. 2017) Florida State University CIDA Accredited Program
Minor in Environmental Studies
CONTACT ME AUSTEN WHIPPLE
719.331.9442 whippleae@gmail.com AustenWhippleDesign.com