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A Portfolio of Creative Works by

CORALIS MELÉNDEZ ARROYO

Parsons The New School for Design School of Constructed Environments Marter

of

Fine Arts,

Lighting

Design


CORALIS MELÉNDEZ ARROYO EDUCATION

PARSONS THE NEW SCHOOL FOR DESIGN Manhattan, New York School of Constructed Environments MFA Lighting Design [expected May 2012]

Illuminating Engineering Society-IESNYC New York City Section member_ [2010-current] AfterTaste Dinner Event Closing reception for AfterTaste Symposium leaded and organized the lighting design group to design lighting schemes for the space_ [Spring 2011]

UNIVERSITY OF PUERTO RICO

Rio Piedras Campus School of Architecture BA Environmental Architecture GPA 3.66/4.0 [May 2010]

UNAM-Universidad Nacional Autónoma de México Faculty of Architecture Mexico City, Mexico study abroad designed a hostel for foreign students in Mesones Street No.156, DF, Mexico_ [summer 2009] American Institute of Architecture Students-AIAS chapter at the University of Puerto Rico, Rio Piedras member and senior class representative_ [2009-2010] AIAS Vynil Competition Minneapolis, MN Participated in the Bohemian Flats Boathouse competition as an extracurricular design_ [Fall 2009] Who’s Who Among Students in American Universities & Colleges University of Puerto Rico, Rio Piedras elected in recognition of outstanding merit and accomplishment as a student_ [2008]

602 Lincoln Place, Apt. 1 Brooklyn, New York 11216 787.531.6407 coralis.d.melendez@gmail.com WORK EXPERIENCE Enterprise Lighting Sales Manhattan, New York Lighting Applications Intern _currently working in providing photometric calculations and renderings via AGI32 to Architects, Interior Designers and Distributors [summer 2011-current] RSVP Architects- Arq. Francisco J. Rodríguez San Juan, PR _assisted in creating a house model for a competition in Ordos, China [summer 2008] Summer Architecture Workshop School of Architecture, University of Puerto Rico San Juan, PR group leader _worked teaching high school students the meaning of architecture with a series of projects that college students faced during their years of study [summer 2007]

EF EDUCATIONAL TOURS Around Europe -Amsterdam, Germany, Austria, Switzerland, Venice, France and England [May 2007] Italy and Greece [May 2006] Southern Spain [Spring Break 2005] PROFICIENCY Computer aided design Rhinoceros 3D, autoCAD, Sketchup, AGI32, Ecotect Adobe Illustrator, Photoshop, InDesign, Acrobat Other Microsoft Office, Internet Search LANGUAGES Spanish and English written and oral REFERENCES available upon request


Table of Contents

LIGHTING DESIGN

2010-1012

STUDIO Integrated Studio: Arch / Lighting / Interiors

8-15

Academic Center

15

MicroProject

15

Lighting for an Office Space

16-17

Full-Scale Installation

18

Instructors:

Bonnie S. Davis RenĂŠe M. Joosten David C. White Claire Weisz Anupama Kundoo

Instructor: Matthew Tanteri Nelson Jenkins Instructor: Matthew Tanteri ?

Instructors: Craig Bernecker Glenn Shrum Ahmer Maleh Instructors: Craig Bernecker Glenn Shrum Ahmer Maleh

LUMINAIRES Ruptured Desk Lamp

20-21

Decorative Lamp

22-23

Revealing Shadows IESNYC Competition

24

Surface-Mounted Luminaire

25

Recessed Floor Washer

26

Instructor: Jono Pandolfi Instructor: Jono Pandolfi

Instructor: Nelson Jenkins

Instructor: Scott Hershman Instructor: Scott Hershman

EXTRAS Cartoon Polymaths Exhibition

28

AfterTaste Dinner Event

29

Sketches

30

Instructor: Craig Bernecker


Studio

This section shows different projects designed throughout the Master in Fine Arts in Lighting Design. We have had the opportunity to design and create creative ideas about light from designing and constructing on site a full-Scale model to designing with an architect and an interior designer a coomplete project as if we where working in an offce, we have evolved in the thought process of a lighting designer. In the next few pages, you will see this evolution.


Pg. 8 Top Left: Top Right:

Bronx Map, NY shown in red. Urban fabric in grey. Nature fabric in green. Hunt’s Point circled in dashed red. Bottom Left: Blow up of site. Dashed orange lines show the connection between The Point and the site. Pg. 9 Top: Floor Plan Bottom: Light Plan and South Light Section

8

Integrated Studio: Arch / Lighting / Interiors

In our research of The Point and the Hunt’s Point neighborhood, we believe it is important to create an interaction between NATURE and the URBAN fabric of this region. This idea is being incorporated into the CAMPUS plan through a folded organic structure that transforms into the landscape and UNIFIES the buildings within the plan. This structure creates a LINEAR flow that encourages a dialogue between the RIVER and the campus. This idea of linearity and transformation will be further enhanced though gradiation of TEXTURE/MATERIALS and LIGHT that will enhance the users’ overall experience.


Sun Rays

Sun Rays Sun Rays Blue highly reflective material Blue highly reflective material

Blue beam spread Blue beam spread

Blue highly reflective material

This skylight found in the Entrance/Graffitti Gallery area (thirty feet high) incorporates Thisnatural skylight found in thelight. Entrance/Graffitti Gallery area (thirty feet the high) incorporates both and artificial By bouncing direct sun light towards interior space both natural and light. reflective By bouncing sun blue light light towards the interior space with openings that artificial hold a highly bluedirect material, is diffused Sun SunRays Rays and a with openings that is hold a highly reflective bluetomaterial, is diffused and a subtle ambient light created to attract people the site.blue Thelight skylights are aligned subtleeast, ambient light is createdangles to attract people to The skylights facing grabbing morning throughout thethe thesite. entire year and in are the aligned afterfo facing east, grabbing morning angles the the entire year and inThis theskylight afterBlue Highly-Reflective Blue highly reflective ma Sun Rays noon and evening, the bounced light is throughout even more subtle. At night, linear fluorescent Material both natural an noon and evening, the bounced light is even more subtle. At night, linear fluorescent T5 with a blue gel immitate the same effect by bouncing light from the lowerwith lip openings to the T5 with a blue gel immitate sameangles effect vary by bouncing light from the loweroflip the upper lip towards the interior.the These depending onmaterial the location theto Blue highly reflective subtle ambient upper lip towards the interior. These angles vary depending on the location of the facing east, gra fold of the roof to maximize the effect. Likewise, the Boathouse area has the same fold of the to maximize the effect. Likewise, thesouthern Boathouse area except has the same noon and skylights, butroof instead, they are positioned to capture sunrays for theeven T5 with athe blue skylights, but Since instead, are to capture southern except for summer time. thisthey area is positioned used also as a workshop, blue sunrays light is replaced by upper lipby towar summer time. Since this area is used also as a workshop, blue light is replaced cool white fluorescent T5 to be used at nighttime. fold of the roof cool white fluorescent T5 to be used at nighttime. skylights, but in

UNRAVEL summer time. BlueBeam beam spread Blue Spread UNRAVEL cool white fluo CHARDAE ADAMS, LILY HUANG Blue beam spread + CORALIS MELÉNDEZ

CHARDAE ADAMS, LILY HUANG + CORALIS MELÉNDEZ

Blue beam spread

Pg. ? Top Left: Top Right: Bottom Left:

Bronx Map, NY shown in red. Urban fabric in grey. Nature fabric in green. Hunt’s Point circled in dashed red. Blow up of site. Dashed orange lines show the connec tion between The Point and the site.

Pg. ? Top: Floor Plan Bottom: Light Plan and South Light Section


e

Z

Full-Scale Mock up

This skylight found in the Entrance/Graffitti Gallery area (thirty feet high) incorpo both natural and artificial light. By bouncing direct sun light towards the interior s with openings that hold a highly reflective blue material, blue light is diffused and subtle ambient lightpeople is created to attract people to the site. The skylights are alig By the means of light, will be attracted by the BLUE “URBAN” color of the lobby/entrance facing east, grabbing morning angles throughout the the entire year and in the a created by the contrast between the existing high road lights the attractive light blue is even more subtle. At night, linear fluores noonpressure and sodium evening, theandbounced color. Direct sunlight coming through the skylights T5 with a blue gel immitate the same effect by bouncing light from the lower lip t will bounce indirectly by a blue highly-reflective material during the day into the space. The same upper lipwilltowards interior. These effect be created the at nighttime where the blue angles vary depending on the location of th linear roof fluorescent located in them also fold gel of the to maximize thewilleffect. Likewise, the Boathouse area has the sa bounce blue light into the space. During the day, skylights, instead, they arecolor positioned to capture southern sunrays except fo as well asbut in the night, a bluish ambient will be perceived by walking down Lafayette Ave. summer time. Since this area is used also as a workshop, blue light is replaced cool white fluorescent T5 to be used at nighttime.

UNRAVEL

CHARDAE ADAMS, LILY HUANG + CORALIS MELÉ


Site @ 12pm, June 21st

Boathouse @ 12PM, Sept 21st Viewed from the Hudson River. The Bridge to the left. During the summer, fall and spring months, the skylights are designed to block direct sun-rays into the space to prevent cooling loads during hot days and a more comfortable working space to use duirng hot, summer days. The light is bounced off from the roof as well as the back wall adjacent to the recycling center to maximize daylight.

Lobby / Entrance @ 12pm, Jan 21st

Lobby / Entrance @ 12pm, Sept 21st Boathouse @ 12PM, Jan 21st Viewed from the Hudson River. During the winter months, the skylights bounce southern light into the space to help heat the room in cold times. They also let in direct sun light throughout the day.

Lobby / Entrance @ 12pm, June 21st

The Boathouse utilizes the same system of skylights as the Lobby/Entrance, but its difference is that they bounce southern sun rays into the space and they do not contain blue fluorecent lights in the system because it is an area used as a workspace most of the times. It is not preferible to use colored light in places where people are going to be working. In this case, cool fluorescent T5 are used instead. The skylights in the Boathouse almost work inversely as the Lobby/Entrance.


Direct Solar Exposure in Offices: Ecotect

Offices Night Rendering Flood lights uplighting the roof for ambient light and furniture

Manual task lighting integrated in furniture

Jan. 21st

Sept. 21st

June 21st


Offices @ 12PM, Jan 21st Extreme date looking towards the south facade, out to the park. Direct sun light enters the space.

Art Studios @ 12PM, Jan 21st Looking towards the south facade, out to the park.

CafĂŠ @ 12PM, Jan 21st Looking towards the south facade, out to the park.


Direct Solar Exposure in Offices: Ecotect

Event Space @ 12PM, Jan 21st Looking towards the south facade, out to the park.

Jan. 21st

Sept. 21st

June 21st


Elevator Lobby First Floor Lighting Layout - AGI32 Top View

Break Room Area Second Floor Lighting Layout - AGI32 Top View

16

Lighting for an Office Space

Riedel, the wine glass company, was chosen as our client for the design of an office and showroom area. A lighting approach that enhances the interior architecture of ribs to create visual environmental pleasantness, spatial definition and a sense of movement of light and space. RIEDEL “The content determines the shape�.

Reception Desk


Office SpaceSecond Floor

Showroom - First Floor


18

Human Scale Installation

As part of the Human Scale Installation, mylar was applied to the floor in order so that people can experience their own shadows once they are reflected up in the left wall. A reflector to the right was used to delimit the reflected rays under the L-shaped wall.


Luminaires

The luminaire section of my portfolio demonstrates the abilities I have as a lighitng designer but focused more on a product design, artistic and technical aspect.


ED LAMP ED LAMP

RUPTURED LAMP IS USED AS A SCULPTU DESK TABLE LAMP. BOTH THE BASE AND REFLECTOR, ARE MADE OF CERAMIC AN UNIFIED BY A SINGLE WOOD PIECE. RUP LAMP READS AS A SINGLE PIECE THAT H KEN UP IN TWO PIECES. WITH THIS CON WILL BE ACHIEVABLE BY SELECTING THE GLAZING COLOR AND TEXTURE BOTH FO BASE WERE THE RUPTURE IS HAPPENIN THE REFLECTOR, WHICH IS HELD UP BY WOOD.

MODELING TECHNIQUE IS RUPTURED LAMP IS USED ASSUBRACTIVE A SCULPTURAL RUPTURED LAMP USED ASEACH A SCUO HAVE BOTH PIECES IN IS CLAY AND DESK TABLE LAMP. BOTH THE BASE ANDTABLE ITS LAMP DESK LAMP. BOTH THE BASE RUPTURED IS USED AS A SCU ARE IN AAND SINLGE REFLECTOR, ARE MADE OF CERAMIC AREMOLD. REFLECTOR, ARE MADE OFTHE CERAM DESK TABLE LAMP. BOTH BAS UNIFIED BY A SINGLE WOOD PIECE. RUPTURED UNIFIED BY A SINGLE WOOD PIECE. REFLECTOR, ARE MADE OF CERAM LAMP READS AS A SINGLE PIECE THAT HAS BROLAMP READS A SINGLE PIECE TH UNIFIED BY AAS SINGLE WOOD PIECE KEN UP IN TWO PIECES. WITH THIS CONCEPT, ITAS KEN UPREADS IN TWO PIECES. WITH THIS LAMP A SINGLE PIECE T WILL BE ACHIEVABLE BY SELECTING THE WILL BE ACHIEVABLE BY SELECTING KEN UPSAME IN TWO PIECES. WITH THIS GLAZING COLOR AND TEXTURE BOTH FOR THE GLAZING COLOR AND TEXTURE BOT WILL BE ACHIEVABLE BY SELECTIN BASE WERE THE RUPTURE IS HAPPENING AND BASE WERE THE RUPTURE IS HAPP GLAZING COLOR AND TEXTURE BO THE REFLECTOR, WHICH IS HELD THE UP BY THE REFLECTOR, WHICH IS HELD U BASE WERE THE RUPTURE IS HAPP WOOD. WOOD. THE REFLECTOR, WHICH IS HELD U

WOOD. SUBRACTIVE MODELING TECHNIQUE IS USED TO SUBRACTIVE MODELING TECHNIQU HAVE BOTH PIECES IN CLAY AND EACH OF THEM HAVE BOTH PIECES IN CLAY AND EA SUBRACTIVE MODELING TECHNIQU ARE IN A SINLGE MOLD. ARE INBOTH A SINLGE MOLD. HAVE PIECES IN CLAY AND E ARE IN A SINLGE MOLD.

Initial conceptual sketches

20

Ruptured Desk Lamp

Ruptured lamp is used as a sculptural desk table lamp. Both the base and its reflector are made of ceramic and are unified by a single wood piece. Ruptured lamp reads as a single piece that has broken up into two pieces. With this concept, it will be achievable by selecting the same glazing color where the “rupture” is happening both for the base and the reflector, which is held up by the wood. Subtractive modeling technique is used to have both pieces in clay and each of them are in a single mold.

Lamp Details


Desk Lamp with integrated switch ceramic and barnished wood


Two mold process

22

Decorative Lamp

Following the same concept of the single piece that breaks, a decorative lamp is also designed with ceramic. This time, because of the complex shape in the interior of the cube, two mold where created with plaster. To enphasize the concept, light is being applied in between the pieces and the glazing color was kept the same as the Ruptured Desk Lamp, where the two pieces separate. This lamp gives ambient light and it could be used as a bedside table lamp.

Ceramic before being bisqued


Desk Lamp with integrated switch ceramic and barnished wood

Detail


24

Revealing Shadows IESNYC Competition

This 3-dimensional study shows how the interaction of light, shadows, and surfaces can distort or enhance your perception. The challenge of the competition was to interpret and express the theme in the form of an abstract lighting composition, constructed of your choice of materials. This exploration should consider spatial, psychological, physiological, and temporal realms. “Don Juan� is a piece made of toothpicks and transparent acrylic sheets, placed in a random manner and when light is shine upon it, it casts a shadow that defines a face.


Bass Wod 1/16 x 3/32 (Qty. 4)

Velum Viladon BASS WOOD 1/16 X 3/32 (Qty. 4) CFL 18W 4 pin 827 lumens

VELUM VIDALON CFL 18W 4 PIN 827 LUMENS CORRUGATED CARTON WIRES GE ELECTRONIC BALLAST C213UNVBE

Solid - Light Off Rhino Model

POWER PLUG

Socket Corrugated Carton Wires GE Electronic Ballast C213UNVBE

Power Pllug

Articulated - Light On Rhino Model

25

Surface-Mounted Luminaire

The concept behind the “twirl� night lamp is to have a sculptural luminaire at reads differently when it is turned on and off. This easy to assemble luminare was built with simple materials that can be found in ny art store. A textrured basswood was chosen as the exterior wall in order to create a warm ambiance in the space. The velum viladon is a transluscent material that in this case is used as a diffuser to avoid glare between the apertures that are created when the sware figures are rotated. In order to cover the ballast, a piece of corrugated carton was placed on top of it and was placed as well as a base.


BACK BACK

Front Front

26

Recessed Floor Washer

The Recessed Floor Washer exercise focuses on the assembly of all its parts: -Construct “L� shaped metal housing following instructions on metal housing sheet. -Screw GE Electronic Ballast to side of housing -Wire the 18W CFL to the ballast and socket -Cover the socket, ballast and wiring with metal covering by screwing it to the back and front of metal housing in order to avoid socket shadow. -Screw aluminum reflector to the back of metal housing -Attach waterproof membrane-one side to the metal housing and the other to the metal covering -Finally screw outside covering to the gypsum board


Extras

This last section of my extracurricular events in participated as a lighting

portfolio shows which I had design student.


28

Cartoon Polymaths Exhibition

Polymaths is an exhibition of multimedia work by high-profile artists whose work proceeds from a cartoon sensibility. Through a mix of newspaper tearsheets, comics, puppets, posters, zines, wallpaper, toys, animated film clips, interactive media and more, Cartoon Polymaths showcases the broad range of several influential artists, including Winsor McCay, Tony Sarg, Saul Steinberg, Mariscal, Richard McGuire, and the 21st-century art collective Paper Rad. Lighting was fixed and re-arranged to highlight each artist’s work and accentuate bright colors coming from the exhibition.

Photos by Parsons the New School for Design


29

AfterTaste Dinner Event

The MFA Interior Design students developed a special dinner event as part of the symposium called AfterTaste Dinner Event, one that includes the topic of light and ephemera to an unprecedented manner. This is largely an interiors driven event but they have asked for the assistance of 2 lighting students to help develop the lighting for the event. Catherine Chia and myself helped in the lighting design aspect of this activity. Photos by Lee Gibson


Public space-Lobby

Dorm

Exterior environment

Above: Corridor Left: Daylighted Environment


Coralis Meléndez : Lighting Design [Portfolio]  

Creative works by Coralis Meléndez

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