Architecture + Interiors Portfolio 2022 | Caitlin Turner

portfolio 2022 | vol. 03

caitlin turner

caitlin turner M. Architecture Candidate ‘23, UTK B.S. Interior Architecture ‘21, UTK cturne47@vols.utk.edu 256.529.1884

architecture + interior studios

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impulsive comforts * An Analysis on Impulsive Behaviors in the Retail Environment

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maggie’s center Community Support for Cancer Patients, Family, & Friends

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hoops, hops, and hope New Orleans Community - Play, Convenience, and Distribution

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the nook ** A Tea Shop that Nurtures and Funds Community Development

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experiential connectivity ** Designing Connections in the Workplace

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sunset + moonrise One Week Design Charrette

furniture + representation design

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seating surrealism Furniture Design | Based on a Salvador Dali Painting

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illuminating senses Lighting Design | Hearing, Touch, Smell

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hatch, tint, shade Group Design, Research, and Analysis

study abroad photography

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capturing the human experience Architecture & Landscape Photography | Greece

* award recipient project

With a background in interior architecture, I have an affinity towards the human experience of space and the physiological role design holds at various scales. Design plays a critical role in the future of how we either contribute to or take away from the environment, how we acknowledge the diversity of accessibility and culture, and how we create equitable and empathetic spaces. Design is only as strong as the community it is founded on. I will always strive to be a leader that is able to encourage, influence, and create opportunities for fellow designers to continue pushing themselves and the field of design to question what we could be doing better. I am continuously striving to remain passionate, reliable, and driven. Success is about more than a good design. It is about the ability of that design to further a conversation and ignite curiosity in future designers. Therefore, I want my legacy to be about the community and conversations I was able to inspire and the designs that grew from that foundation.

Design’s influence on culture, society, and the environment is undeniable, and I am motivated by the opportunity we as designers have been given to create a better future for our world. Various experiences during my undergraduate and graduate career have shaped the way I view the possibilities of design and the many responsibilities we hold as designers. During my first year in architecture school, I often found myself frustrated with the inability to have all the right answers and sometimes still find myself in this place.

However, I now recognize the freedom and research opportunities that can be found in those unknowns. Design is a continuous cycle that will move society forward if we enable it to do so.

architecture + interiorstudios studios

9 Course • Fall 2020 Studio / Professor Tim Dolan Location • S. Gay Street, Knoxville, TN Award • Metropolis Future 100 Winner

impulsive comforts An Analysis on Impulsive Behaviors in the Retail Environment In comparing e-commerce and in-person shopping experiences, one of the most profitable benefits to in-person retail is the ability to facilitate impulse purchases. Impulse purchasing is difficult to fully capitalize on in e-commerce because it is easier for consumers to leave a website, delete an email, or walk away from the screen. While e-commerce engagement is equally as important to the success of future retailers, the in-person experience is crucial to provide a positive brand experience and multi-faceted accessibility to the

brand for customers. Therefore, retailers must reevaluate how they are encouraging impulsive behaviors in their retail stores.

Dopamine levels rise with the availability of positive and pleasurable experiences, and it affects how our brain remembers and desires to repeat positive experiences. Through various immersive experiences, the project aims to create a space that increases dopamine levels in consumers’ and facilitate impulsive shopping behaviors.

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Dopamine’s Affect The gold color illustrates how dopamine affects pleasure and reward seeking behaviors, emotion, addiction, and perception.

The blue illustrates how dopamine affects cognition, memory, attention, emotional behavior, and learning. Therefore, positive experiences are remembered as dopamine affects human memory.

The green illustrates how dopamine affects movement and sensory stimuli. Therefore, positive sensory experiences are crucial.

Circulation

Sound Acoustical ceiling and softer materials in lowered areas.

Dark materials and low lighting to enhance focus on sounds.

Scent Faceted ceiling circulates scents throughout the scent goods retail space.

Ceiling also provides acoustical dampening to emphasize focus on the scents.

Open Air Fresh air creates a natural rise in dopamine levels which can result in impulsive behavior.

Visual Metallic materials and lighting are used throughout the common areas to draw consumers to each impulse instigator.

Touch The displays in the pillow, linen, and cashmere retail are placed for people to easily touch or brush against.

The ground floor has experiential areas for consumers to immerse themselves in some of the pillow and comfort products.

Impulse Instigators

Lighting Analysis

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OPEN O PEN TTO O BE BEL BELOW LOW _

DN

BAR LOUNGE

RENTABLE SPACE CONT.

_

_

Lounge Mezzanine DN

OPEN OPE EN TO TO BE BEL BELOW LOW

_

_

_

OPEN N TTO O BE BELOW DN

Providing a more intimate space while maintaining a connection to the rest of the bar.

N

SIXTH FLOOR

UP

RESTROOM

OPEN OP PEN TTO O BE BEL BELOW LOW

RESTROOM

KITCHEN

D

RESTROOM

BAR AND LOUNGE UP

RENTABLE SPACE

DN

UP

Bar & Lounge Levels of private to more intimate spaces develop as a customer moves from the elevator to the west end.

N

FIFTH FLOOR

UP

RESTROOM

Scent Goods & Open Air

DN

OPEN N TO O BE BELOW W DN

By placing the scent goods retail on the same level as the open air cafe seating, customers can immerse themselves in two dopamine stimulating and relaxing experiences.

SCENT GOODS RETAIL

OPEN AIR CAFE SEATING

UP P

DN

N

FOURTH FLOOR

Site Analysis

61% of males and 48% of females Married: 24% of males and 36% of females +

To better understand how sightlines could be utilized to increase impulse purchasing, the site was analyzed to understand the sightlines from the exterior to the interior.

ve nA

Unio

+

SG

ve hA

The south facade of the building has more foot traffic in the daytime.

Whereas, the north facade of the building has more foot traffic in the afternoon and evening. This analysis informed the programming of where the daytime cafe and the evening bar would be located.

ay

hurc

eet Str

WC

+

S

+

Sightline Average Frequency of Foottraffic

M

T

S

M

W Afternoon

Morning

T

W

T

F

S

F

S

Evening

T

4th Floor Scent Goods Retail

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UP

RESTROOM

OPEN TO BELOW

DN D N

RESTROOM

RESTROOM

Main Cafe

DN D N

UP

RENTABLE SPACE

MAIN CAFE

UP

OPEN TO BELOW DN

The third floor serves as a connection between the scent goods and tactile goods. The third floor cafe is also visible from the street level.

N

THIRD FLOOR

UP

O

OPEN TTO O BELOW

CASHMERE AND SILK RETAIL

UP

PILLOW AND LINEN RETAIL

Tactile Goods Retail

RESTROOM

DN D N

DRESSING ROOMS

UP

OPEN OPE EN TO TO BELOW BBEELOW

DN DN

The second floor focuses on the human’s sense of sight and touch.

The central stair creates a blurred sensory experience with the scent of coffee seeping down from above.

N

SECOND FLOOR

UP

Lobby and Pillow Lounge

RESTROOM STR

DN UP

UP

RESTROOM

RESTROOM

PILLOW EXPERIENTIAL LOUNGE

LOBBY ADMIN UP

UP

FRONT DESK DN

N

GROUND FLOOR

Merging the role of hospitality and retail, the ground floor serves as a middle ground from the street to the retail experience. People are drawn to the center of the space where they can see up the central stair.

Sensory Occupancy This diagrammatic analysis assisted in visualized how different senses can be easily stimulated. Where the site analysis studies how sightlines impact the entire building, this analysis seeks to illustrate how the human scale has optimal sightlines.

In areas where touch is the dominant sense, surfaces are placed at a scale that provides ease of touch and sight. Whereas, products are placed higher in areas where the scent is the dominant impulse instigator.

2nd Floor Retail | Looking into Central Stair

17 Course • M. Arch. Fall 2021 Studio / Professor Mark DeKay Location • Thompson Cancer Center, Fort Sanders, Knoxville, TN

maggie’s center Community Support for Cancer Patients, Family, & Friends The intention of this project is to inspire peace and security while reconnecting people with themselves and nature. Maggie’s centers are spaces predominantly in Europe that create community support programming for those who have been diagnosed with, recovering from, or related to someone diagnosed with cancer. This Maggie’s Center is located next to the Thompson Cancer Center in Knoxville, Tennessee. Along with creating serene escapes from the sterile hospital environment, the Maggie’s center also aims to create garden spaces and connect with the surrounding community. This

project explores various levels of privacy in order to accommodate various individual needs. The program arrangement stems out from the central courtyard and circulation core into more private zones in the upper and lower levels. The roof system also works with the rainy climate of Knoxville to strategically move water in a way that creates dynamic spaces and features inside the Maggie’s courtyard and throughout the public garden spaces. Connecting with the natural conditions of the site is crucial to provide a serene and secure space for the occupants away from the treatments and sterile healthcare.

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Main Level

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Level 03

Level 01

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23 Course • Spring 2021 Studio / Professor Scott Wall Location • New Orleans, LA

hoops, hops, & hope New Orleans Community A place for the community of New Orleans: a convenience store, play areas, and a distribution center. This specific site also addresses the ghost of a recently removed confederate statue. How does architecture create a variety of programs to serve the community, connect with the surrounding neighborhood, and recognize the past while re-imagining the future? This project addresses a variety of issues, but the underlying goal is to create a unified community driven future in a space that previously represented division. One of the main design choices to address the previous statue site is with an amphitheater space and oculus to create a beacon of light for a hopeful future. The form aims to create a connected path across the length of the site.

Following Hurricane Katrina, New Orleans experienced a lot of pain and change. Communities were torn apart, but they were also brought together.

People had to start over, which meant something different for everyone and everywhere. For the church adjacent to this site, change was not faced without opposition, but it did grow into something beautiful. First United Methodist church, a historically white church, and Grace United Methodist, a historically black church, became two cultures merged into one. This church representing unity is located across the street from a confederate monument that would finally be torn down about a decade later. A monument that stood for segregation and oppression, but First Grace UMC founded a community that celebrates all people.

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Program + Form The overall form and programming stems from the ideals of unity and community. The architecture builds up from the ground to create more opportunity for necessary programming such as a convenience store and distribution center, while maintaining space for play – a play area on one end for children and families, a bar and outdoor space for adults on the other end and a basketball court in the middle.

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27 Course • Spring 2020 Studio / Professor Cheryl Baxter Location • N. Central Street, Knoxville, TN Award • Crossville Tile Inc. Competition Winner Award + Publication • Metropolis Future 100

the nook A Tea Shop that Nurtures and Funds Community Development The mission of the Nook is to provide a recreational community space for children with Autism Spectrum Disorder that is supported by a tea, pottery, and garden retail space.

Through gardening and similar activities, the children can explore their senses in a fun and engaging way, while their parents have the opportunity to create a supportive community within the comfort of the relaxing retail space.

The upstairs community space for the children was developed in the construction documents phase by Allie Bierman, so the portion featured here is the retail space. The retail space helps to fund the children’s community center upstairs.

The purpose of the retail space at the Nook is to provide a space for community. Through research in the

Knoxville area, it became evident that parents who’s children have Autism Spectrum Disorder are wanting a space to develop a community amongst the parents. Therefore, this retail space serves as an opportunity to develop that community while also allowing other community members to support the children’s center. By creating various layers of privacy, this retail space becomes a community center of its own as it aims to support a variety of needs.

[Programming and Schematic Design for the Community Center and Retail was completed in collaboration with Allie Bierman] [Design Development and Construction Documents for the Retail Space were completed by Caitlin Turner. All graphics shown here are by Caitlin Turner]

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Sectional Development FLEXIBLE / OPEN / CIRCULATORY

To connect with the upstairs community space, the retail space was developed similarly. Different formal qualities were developed based on flexible/open space, stationary but active space, and private/enclosed space.

STATIONARY / ACTIVITY AREA

PRIVATE / ENCLOSURE / ESCAPE

Partition Development The partition system was developed based on the visual gradient shown in the exploded axon. Different partitions are used to create different levels of visual privacy.

These partitions can be customized in different ways to create different layers of privacy and can change with the needs of the community and the tea shop.

RETAIL

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Visibility Levels Auditory Levels

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Service Counter Elevation, RCP, and Details

F

ETT E

1 A-300 A -30 33000

_________________________________ _ __ ________________________________

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DTT D

U

DS D S

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CTT C

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1' - 0"

1' - 0"

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ALUMINUM ANGLE ADHERED TO GLASS EDGE, FINISH TO MATCH TRELLIS

SCHEDULED LED STRIP LIGHT. COORDINATE INSTALL W/ ADJACENT CABINETRY TO BE COMPLETELY CONCEALED.

4 A-550

_________________________________

11 3/4"

3/8" TEMPERED LOW-IRON GLASS, TYP.

STRUCTURAL SILICONE JOINT

ALUMINUM SLIDING GLASS ASSEMBLY PER SPECIFICATIONS. TYP. CABINET PULL SOFT CLOSE CONCEALED HINGES

FINISH CABINETS REFER TO ELEV.

HOLE & GROMMET SPACED 3" O.C. ADJ. SHELVES, TYP.

ALUMINUM GLAZING CHANNEL SECURED TO CABINETRY BELOW. BLOCKING AS REQ'D

Shelf Lighting + Material Detail

Millwork Section

Reflected Ceiling Plan with Plan Underlay

Front Elevation

1' - 2"

3' - 5 3/4"

2' - 4 1/2"

3' - 8"

3" TYP.

1/2" REVEAL

1/2" REVEAL

ALUM RONDEC SCHLUTER STRIP, AS SCHEDULED

1' - 0" TYP.

3' - 0"

PLANTER LINER B.O.

MARINE GRADE PLYWOOD, PTD BLACK AT INTERIOR OF PLANTER BOXES

FRAMING AND BLOCKING AS REQ'D

4" TYP.

MOSAIC TILE OVER 5/8" GREENBOARD GWB.

ALUM STRAIGHT EDGE SCHLUTER STRIP 3" TYP.

Retail Displays Finishes, Section Details, and Axons

33 FABRIC PANEL INSERT PER ELEVATIONS.

1" OD CUSTOM EXTRUDED ALUMINUM TRELLIS. TWO SLOTS EITHER SIDE FOR FABRIC SLOTS.

Enlarged Floor Plan FOAM BACKER ROD WRAPPED IN FABRIC, INSERTED INTO FABRIC SLOT UNTIL TAUT.

Trellis + Fabric Connection Detail

3"

1"

TUFTED REMOVABLE UPHOLSTERED SEAT BACK SEQURED W/ VELCRO AS REQ'D. (HIGH DENSITY FOAM, PROVIDE SAMPLE FOR APPROVAL PRIOR TO FAB) PAINT EXPOSED PLYWOOD WHITE

4" TUFTED REMOVABLE UPHOLSTERED SEAT SECURED TO BASE W/ VELCRO AS REQ'D. (HIGH DENSITY FOAM, PROVIDE SAMPLE FOR APPROVAL PRIOR TO FAB)

1/2"

1' - 0"

4"

4"

2' - 4"

6"

9

TRELLIS PARTITION AT BENCH 1 1/2" = 1'-0"

Custom Seating | Section Detail

BLOCKING AS REQ'D. TYP. EXPOSED SECTION AT BASE TO BE PAINTED BLACK

Trellis Nook Structure Plan, RCP, and Details

35 Course • Fall 2019 Studio / Professor Hochung Kim Location • UTK Aquatic Center, Knoxville, TN Award • Metropolis Future 100 Award • Gensler Brinkmann Scholarship Finalist

experiential connectivity Designing Connections in the Workplace This form aims to connect occupants with each other as well as with the form, natural environment, and programming. The curves define these connections and allow for programming to be translated throughout the form. The inherent desire for connections in the workplace, made evident by initial research on the Apple Campus in Cupertino, CA, is translated into this space to provide a connective environment for

Systran’s employees. As Systran aims to connect companies with differing backgrounds, this form aims to connect occupants with each other, harness health and well-being through biophilia, and create a continuous flow of ideas throughout the space. There are four main levels of connectivity in the space: programmatic, spatial, topographical, and sensory.

Programmatic Connectivity Systran values connections as it aims to connect companies across the world with the use of their top rated and continually developing translation technology. The connected spaces throughout illustrate the goals of Systran and allow for a programmatic flow. To provide optimal connection, the lines between the workspaces and the more communal spaces are blurred. By redefining the separation of program, the various programs begin to blend and encourage occupants to interact with others.

Concept/Form Development

Spatial Programming

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Third Floor Plan

Spatial Connectivity The atrium space allows for connections within the atrium as well as across the building. This spatial connection implements a sense of movement throughout the space that is continuous and enthralling. The semi-private and private spaces are still able to maintain a connection with the rest of the building through the contours continued throughout the spaces defining connection from one space to the next.

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First Floor Plan

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Sensory Connectivity The connective tactility of the space is implemented with the monolithic cross laminated timber throughout the form as well as the circulation of air throughout the voids. The visual movement of daylight and artificial light throughout the space creates a sense of continuity and movement.

The sound reverberation, especially in the atrium, also furthers a sense of connection to the space. An auditory sensory connection differs from the others senses in the way sound adapts based on the occupants and activities. Therefore, these sounds connect occupants with the present experience in the space and allows occupants to be fully engaged with the space.

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Reflected Ceiling Plan

43 Course • M. Arch. Fall 2021 Studio / Professor Mark DeKay Location • Knoxville, TN

sunset + moonrise One Week Design Charrette – Caitlin Turner + Elizabeth Elrod

< Drawing by: Caitlin Turner

This space is designed as an outdoor and semi-outdoor (unconditioned) space for appreciating two regularly occurring events: the sunset and the moonrise when it is full. During this five day charrette, I worked alongside Elizabeth Elrod to analyze the climate in Knoxville, movement of the sun, and how architecture can react to those circumstances. The site is along the Tennessee River to utilize

the reflective properties of the water for optimal enjoyment of the sunset and moonrise. The entry is positioned where the sunset will reflect on the outer wall. There are also moments throughout the architecture to slowly connect occupants with nature as they proceed through the spaces. This project also challenged our ability to draw, model, and test our solutions within the week.

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^ Drawings by: Caitlin Turner

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^ Drawing by: Elizabeth Elrod

^ Drawing by: Elizabeth Elrod

furniture + representationdesign design

22”

40”

18” 36”

18” 19”

14”

49 Course • Fall 2020 Furniture Design Professor Justin Couch

seating surrealism Furniture Design | Based on a Salvador Dali Painting The more prominent forms in The Persistence of Memory by Salvador Dali have a melted and organic quality to them. These forms are juxtaposed against a rocky landscape and other harsh edges. The style of this painting is surrealism. The goal of surrealism is to create unconventional and confusing images that often represent the subconscious.

The initial form was developed through sketching different ways in which a form could melt over a solid, rigid structure to create seating. The

surface points of this form were manipulated to create an organic form accommodating the human body.

The materials chosen are representative of the surrealism style Dali uses in his painting. The soft organic form is made with a concrete material with a linen texture stamped into it. The more rigid form is a flexible wood panel material. This material is created with two layers of laser-cut wood on either side of an elastic layer.

hearing | ability to perceive sound through the interpretation of vibrations

touch | ability to perceive external objects through contact with the body

smell | ability to perceive scents and odors through the olfactory nerves

51 Course • Fall 2020 Furniture Design Professor Justin Couch

illuminating senses Lighting Design | Hearing, Touch, Smell The first light fixture, related to the sense of hearing, reacts to sounds within the interior environment.

When there is more noise in a space, more layers of the light will turn on.

If the space is quieter fewer layers will turn on for a more ambient setting. The form was developed by considering the different frequencies and volume levels sound can be perceived.

The second light fixture, related to the sense of touch, aims to encourage people to brush up against it. It

also mimics a sense of movement with the light and sheer textile material. As a floor lamp, this fixture mimics the human scale to further emphasize the body’s ability to perceive objects through contact with the body.

The third light fixture, related to the sense of smell, is designed to emit perfumes into an interior space and visually exhibit the process. The scent fixture is designed as a pendant to align with the human nose.

ANIMATED HATCH As seen throughout this pamphlet, the hatch can be used to accomplish a variety of tasks. It has been examined how a hatch can flatten an image; whereas, this section analyzes how a hatch can animate an image or an animation can create a hatch.

Architecture and design often brings to question how humans perceive form and space. The reality of human experience is that people perceive space in motion. The air is moving, shadows are moving, and people are moving. Therefore, the use of hatch is a powerful tool since two-dimensional drawings cannot move.

This study also brings to question the power of movement as a parameter for form finding. While hatching can be used to illustrate movement, outside forces can also be used to persuade the hatch. Conversations in architecture are beginning to take on a similar topic. How can the atmosphere corrode materials? How can wind move panels on a building facade? How do natural resources redefine the form of a building? Furthermore, representation tools should develop along with these architectural developments.

Architectural form and space can respond to outside natural forces, circulation paths, programmatic shifts, and more. Developing hatch from movement is a step in producing this response as a visual tactic. Line work helps to visualize simple movements of compression and expansion as well as formal depth or lack thereof. In conclusion, hatching, tinting, and shading can serve as a visual response rather than a visual command. As design begins to shift to more of a responsive method, the architects visual tactics should do so too.

BAGEL + SMEARED SPACE Layers of various animated hatching to create form and space while illustrating a sense of movement.

CAITLIN 07 ANIMATED HATCH

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53 Course • M. Arch. Fall 2021 Design Tactics / Professor Julie Kress Primary Software • Autodesk Maya and Adobe After Effects

hatch, tint, shade Group Design, Research, and Analysis Prior to starting research, our group defined hatching as a way to show dimension through the art of illusion.

Hatching can give dimension within the analog realm, and has the ability to take it away in the digital realm.

While hatches utilize a pattern or color, shading adds black to a color and tinting adds white. All of these methods have the ability to both add tangibility to an object and take it away. All of our collective research examines how hatching, tinting, and shading affects the legibility of the subject and its material make up in both the physical and digital realms.

The hatch can be utilized to illustrate form and texture, but it is also used to manifest movement in a still image. My portion of the book begins to explore hatch as movement and movement

as a hatch. If hatching, tinting, and shading can be utilized in art to animate an image, how can animation be used initially to create hatching, form, and space? My experiments began by exploring animation in Maya. These animation were then followed by applying various layers of echo effects in After Effects. Hatching: How can an object move along a line or lines to create form? How can a hatch recede in space to visualize perspective?

Tinting + Shading: How can the layering of an animated hatch emphasize certain moments of motion? Can various densities of hatching be layered to emphasize certain moments in an image?

[Group Members: Caitlin Turner, Danielle Lanier, Elizabeth Elrod, Megan Lange, and Kay Kriegal]

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Animated Hatch

CONCLUSION

TITLE

LIMINAL LINES

LAST NAME, FIRST NAME

Combined research initiatives woven together to create hatched space. The varying tactics used are showcased on each side of the frame. From the analog to digital realm, shading and tinting are used to bring dimension and tangibility to the space. Hatching allows for the form of the subject to be taken on without the use of hard, delineated boundaries. Caitlin brought motion to the image, using hatching as a way to connect the audience to what they experience in every day life. Megan investigated how hatching is projected onto a subject and the layers that it produces visually. Kay brought a more historical perspective to the table and translated it to a modern subject. Danielle utilized hatching, tinting and shading as a way to diagrammatically analyze the collective image. Elrod combined the digital and physical realms to understand the intersection between traditional analog hatch-making and modern technology.

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Image by Kay Kriegel, Danielle Lanier, Megan Lange, Elizabeth Elrod, and Caitlin Turner

CONCLUSION 08

As seen throughout this pamphlet, the hatch can be used to accomplish a variety of tasks. It has been examined how a hatch can flatten an image; whereas, this section analyzes how a hatch can animate an image or an animation can create a hatch. Architecture and design often brings to question how humans perceive form and space. The reality of human experience is that people perceive space in motion. The air is moving, shadows are moving, and people are moving.

Therefore, the use of hatch is a powerful tool since two-dimensional drawings cannot move.

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This study also brings to question the power of movement as a parameter for form finding. While hatching can be used to illustrate movement, outside forces can also be used to persuade the hatch.

Conversations in architecture are beginning to take on a similar topic. How can the atmosphere corrode materials? How can wind move panels on a building facade? How do natural resources redefine the form of a building? Furthermore, representation tools should develop along with these architectural developments.

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CONCLUSION

CAITLIN 07 ANIMATED HATCH

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Architectural form and space can respond to outside natural forces, circulation paths, programmatic shifts, and more. Developing hatch from movement is a step in producing this response as a visual tactic. Line work helps to visualize simple movements of compression and expansion as well as formal depth or lack thereof. In conclusion, hatching, tinting, and shading can serve as a visual response rather than a visual command. As design begins to shift to more of a responsive method, the architects visual tactics should do so too.

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study abroadphotography

Stavros Niarchos Foundation Cultural Center Architect: Renzo Piano Athens, Greece

61 Course • Capturing the Human Experience in Place: Architectural and Landscape Photography Exhibit • Gallery 103A, UTK Art and Architecture Building Publications • We Inspire Vol. 48, Camerapixo Press Magazine; Dodho Magazine; Archisearch.gr

capturing the human experience Greece | Athens, Santorini, Crete, and the Peloponnese This three-week experience abroad consisted of travel to Athens, Santorini, Crete, and various cities in the Peloponnese. The goal of this class was to capture the human experience in place through architectural and landscape photography.

While learning how to frame photos,

manually adjust camera settings, and post-process photos, I gained a newfound appreciation for how we experience and interact with space.

Our goal was not to simply photograph architecture and landscapes but to photograph our experience in those places.

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Emporio, Santorini, Greece

Temple of Athena Nike, The Acropolis, Athens, Greece

[Top] Oia, Santorini, Greece, [Bottom] Santorini, Greece

[Top] Kamari, Santorini, Greece, [Bottom] Monemvasia, Greece

thankyou thank you