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Ee lLi zI a Z bAe Bt hE Tr iHv aRr Id V A R D form + function + joy


+ TABLE OF CONTENTS

2

2017-2018

2016-2017

2015-2016

6

20

32


WALL TYPE LEGEND: TYPE 3 0'-4" GYPSUM WALL

TYPE 3A 0'-4" GYPSUM WALL

1'-0" CMU WALL

120'-10" 52'-10"

18'-11 1/4"

15'-2"

UTILITY ROOM

D3

104 F1

13'-0"

2'-0"

3'-6 1/4"

5'-2"

COURTYARD

D5

3'-9"

3'-9 1/8"

105 F2

3

2'-6"

4'-9"

7'-6"

107 F3

103 F1

7'-6"

D4

5'-2"

ENTRY

7'-6"

9'-2"

3A

101 F1

108 F1

BATH

KITCHEN

3

LIVING ROOM

DARK ROOM 3A

3

D1

2'-0"

10'-0 7/8"

3

7'-1 5/8"

11'-4 3/4"

3

22'-6"

30'-2" 01 A6.0

106 F1

DINING ROOM 101 F1

D2

2014-2015

CDs

Bonus Work

44

50

60

EXTERIOR SIDEWALK

EXTERIOR TILING

3


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+ ABOUT ME Hello there! I am a Minnesota-grown interior designer and graduate of the College of Design at the University of Kentucky. I feel deeply about embracing the inherent beauty of life, and design is one way that I am able to share that beauty with others. Whether it is used as a method for uniting communities or a tool to create purposeful, functional spaces for occupants, design has the power to transform the world in a unique way. I hope to use my curiosity to always explore the possibilities of design, my critical thinking to relentlessly pursue the best solution, and my dedication to always see the job through. During my time at the College of Design, I have been able to grow toward these goals through internships, community participation, academic excellence, and studying abroad in the birthplace of the Renaissance, Florence, Italy. I plan to build on this skillset through further travel, continuing to work in the field, and earning my NCIDQ and LEED certifications. I am excited to share the joy of design with you - let’s get right to work!

952.649.1844 + considering.elizabeth@gmail.com 5


6 Co m m u n i t y + CEDAR-RIVERSIDE COMMUNITY CENTER


Gather Health Staff area

Food Food Shelf

Gym Health Gym Storage

Workplace

Health lobby Offic c Office

O Office

Community Kitchen Exam Room

Second Floor Plan Spring 2018 Thesis Project, Minneapolis

Counsel C ouns ou ns Room Ro oo

Counsel ounsel ou o u Room o oom

Exam Room

Family Office Exam Room

Men’s M

Women’s n He ealt ealt e th t Health Storage

Overview This health-focused community center aims to meet a wide variety of neighborhood needs in Cedar-Riverside, including youth engagement, vaccination, mental health care, immigrant and refugee integration, and under-served community staff, through the use of researched design choices. It is located in a 20,226 square foot building that is currently owned by the city of Minneapolis. 44

Flex Conference/ Education Gym

Social S a S Stair r

General Lobby Work Bar

Phone

Phone Ph ho on ne ne Print/ P t/ St Storage g

Open office

Meeting

Q e Quiet Room o

Director’s D s office

Mother’s

Staff

WoMen’s Locker

Break Room Meeting Room

Flex Conference// Education

First Floor Plan 7


CONCEPT To build a community of trusted, healthy practices, steps will be taken to incorporate cultural cues, provide a dignifying environment, and strengthen staff in providing the best possible setting for support. The resulting technical/visual project will explore physical, cultural, and social contexts of the neighborhood and encouraging the positive attributes of the community. Through the physical manifestation of this concept in the built environment, the Cedar-Riverside community will be supported with accurate and understanding care from a rejuvenated, responsive staff.

General Lobby

measles

demographics 2%

10%

Outbreak Details

20%

23%

90% Renter-Occupied Housing Units

Owner-Occupied Housing Units

Citizen, US Born Not Citizen

55%

In April and May of 2017, a large measles outbreak occurred in Minnesota, infecting 65 people (Figure 1).

Citizen, Naturalized Citizen, Born Abroad

Most of those infected were young children of Somali descent who had not been vaccinated despite Minnesota law requiring the vaccination (Figure 2).

11%

Their parents had been lead to believe that there was a connection between vaccination and autism, and had therefore abstained from vaccinating their children.

31% 51%

49%

69% Speaks English Very Well

Speaks English Less Than Very Well

This incident awakened questions of healthcare, advocacy, immigration, staffing, and poverty, and ultimately became the inspiration for this thesis project.

89% High School or Less (25+)

More Than High School (25+)

With Health Insurance

Without Health Insurance

community Demographics

16

8

Figure 1

D a t a o n M i n n Figure e s o2t a m e a s l e s o u t b r e a k 14


Social Stairs

Community Kitchen

Site lig hting diagram on trace

research The research process for this project began with finding and choosing a building in the Cedar-Riverside Neighborhood that would provide adequate space for a community center. This was a bit difficult as most of the buildings in the area are either homes/apartments or smaller locally owned businesses that did not provide enough space for a community center. There was only one building that was large enough, and the city was able to provide the plans for the space. After this, literature reviews and data provided by the City of Minneapolis and the Census became important to learning more about the history of the neighborhood, culture of the population, and demographics of the neighborhood. Interviews and discussions provided a more personal, small scale look at the issues affecting the population. 9


Mother & Toddler

This set of users includes an immigrant Somali mother and her US citizen child. They come to the community center for clinical services and information about health. // Translators/native language staff are key for this user // A welcoming and non-threatening environment builds a trusted partnership // Additional services (eg. Healthy cooking class) can help the family achieve goals

At-risk teen

This user is a male teen that may feel pressured to belong though a variety of unhealthy ways, from beginning use tobacco to joining a gang. The community center supports them by providing a healthy atmosphere. // Gym space is essential to create teen community // Mental health services and counseling can reduce the stigma of asking for help

Social worker

This user is responsible for keeping the center running smoothly and for providing health advocacy and support to the community members in the neighborhood. // An efficient workspace is crucial to support the important work that is done // The staff office area needs to inspire and nourish the staff // Palettes of place, posture, and presence allow for the best workstyles for each individual

PROCESS Each student picked their own project, found an existing building that would fit the needs of their project, and had a certain amount of freedom to decide what their deliverables would be to tell their design story. Each student had to select three committee members (including one faculty member) to help them achieve their goals and provide insight. The project moved through the four primary phases of design - Reseach, Programming, and Concept Development, Schematic Design, Design Development, and Final Deliverables - and featured reviews at each endpoint (some were within the class, while others where open to the public). Each student was part of a cohort of students with projects related to theirs in some way, and was required to meet with the cohort to provide and recieve input from peers. 10

mood Board options for client


custom component ideation

Blocking diagram on trace

Adjacency Matrix

circulation diagramming Lobby Patron Bathroom Exam Room Education Room Gym Gym Storage Room Locker Room Kitchen Food Shelf Counseling Room Utility Room Storage Room MDF Closet Open Workspace Meeting Room Phone Room Mother’s Room Quiet Room Staff Bathroom Staff Storage Room

Direct Indirect

Break Room

24

Adjacency Matrix

Schematic Design The research and programming informed every step of the schematic design phase, as it provided a clear framework for the design needs moving forward. Rooms were placed based on research (for example, the health area (including the counseling rooms) featured a separate door and waiting area to lower the stigma surrounding mental health). Iteration was essential to the development of this project. Hand sketching provided the perfect way to not get too tied down to one design, but instead move forward with multiple iterations without feeling as though all of the effort was locked into one plan too early. This provided several good options from which to choose, which created a better overall design for the space and user needs. 11


while mobile stools allow staff to quickly collaborate around their desks.

Latitudinal section Latitudinal Section A visit to the Doctor

As the mother and child walk over to the center from their apartment and enter the building through the front door, they are greeted by a greeter at a desk, who can confirm they have a vaccination appointment and directs them to the correct area. When the mother and child arrive in the health pod, they are provide with a translator/ native tongue clinician if necessary. The clinician administers the vaccine and informs the mother about other healthcare options and educational opportunities in the same building. The exam room ensures patient privacy. The clinician has a temporary workspace for the day located near the exam and counseling rooms in the pod.

Longitudinal Section Longitudinal Section

After-School Sports activities

After he returns home from school on a winter day, the teen gets ready to hang out with his friends in the gym in the center. He walks over and says hi to the desk greeter before checking into the gym. Once inside, he finds a futsal or basketball game to join (they are occurring simultaneously on the two sides of the gym) and joins in. Afterwards, he takes a shower in the locker room and heads to a meeting in one of the educational rooms about entering a futsal team in a city-wide tournament. He then hangs out in the lobby community area, half working on some homework, half joking around with his friends, until the building closes.

 

Multitasking service

The social worker arrives to her job bright and  early in the morning, is open to the before the center public, for a mandatory weekly staff meeting. After this, she works on answering emails and returning phone calls from smaller community groups that use the space, the city regarding the implementation of several programs, and a few concerned parents. She next opens the food shelf for its morning period and  monitors the users while helping them  fill their needs and providing alternative options and solutions for some of them. After a relaxing lunch with her coworker, she begins to prepare for an adult  mental health awareness class.

Plan east

Community Room

Welcome Soo dhowow

Community Room

Health center

Food center Gymnasium

Wall Mural

EXAM

1

// Exam Room

F // Open Office

Door Decal

Staff center

Wayfinding Syst

Gather Gather Arou Arou soo soo ururi ururi hareerahadhow hareerahadhow Kitchen Wall Mural

FF&E

Furniture, Material, Exam Room

12

40

General ff&E Options


Open Office Workspace

13


14

H E A L T H C A R E + NEXT CLINIC


DN

WORKSPACE

WORK CAFE

LOBBY

FALL 2017 NEXT CLINIC, SEATTLE

EXAM ROOMS

OBJECTIVE NEXT transparently strives towards a holistic approach that enables each patient to receive care that addresses their body, mind, spirit, and social support system. This medical office building caters to both baby boomers and millennials. Additionally, it aims to engage and nurture not only the patients but the providers and staff as well. By ensuring their wellbeing, the clinic will thrive. 15


CONCEPT Inspired by the Pacific Northwest, this new NEXT clinic in Seattle welcomes patients to a place of deeply formed bonds, transparency, and new innovations. It creates an atmosphere of clarity and wellbeing by invoking the refreshment and depth of the sea. NEXT provides a transparent environment, meaning that fosters clear and straightforward interactions (encouraged by access to natural light, translucent materiality, and easily accessible technology). Both patient and staff spaces incorporate a holistic identity though adjacencies, ease of access, and sustainable materials. Further, NEXT provides an innovative medical facility that relies on all available tools to provide the best care and support possible. Finally, a palette of place encourages clinician and patient engagement.

EXAM ROOM

Baby Boomers Born 1946-1964 75.4 Million Individuals

Overall, Millennials are less satisfied than boomers.

Clinic Slection Factors Healthcare coverage Perceived cleanliness Diagnostics done on-site Clinic Appeal Cleanliness and hygiene 30-minute walk-in Same-day appointments Quiet environment One-hour walk-in View of Smartphone Seen as means of communication only Hesitant about virtual visits Prefer face-to-face meetings

23%

26%

% Of U.S. Population

Born 1982-2000 83 Million Individuals Clinic Selection Healthcare coverage Perceived cleanliness Distance from their homes Clinic Appeal Cleanliness and hygiene Same-day appointments 30-mintue walk-in appointments 24/7 access Online registration

Wait time activities People watching Reading books and magazines Using smartphone

Overall, boomers are more loyal than millennials.

16

Millennials

View of Smartphone Seen as lifeline Virtual visits Access to scheduling and data Wait Time Activities Using smartphone People watching Looking at artwork

Nanda, U., Sekanwagi, S., Nejati, A., Graham, L., & Pati, S. (2015, August 31). Clinic 20XX: Designing for an Ever-Changing Present. Retrieved from https://issuu.com/cadreresearch/docs/clinic_20xx_report

WORK CAFE


Basics

60%

Say they don’t have access to pleasing views

50%

FOcus

Say they have access to natural light

95%

Say they don’t have access to quiet spaces

Respite

Say having access to private places for concentrated work is important

41%

91%

Say they have no space to re-energize within their workplace

Say they need casual spaces to re-energize

51%

On-Stage / Community

on-Stage / Patient

Off-Stage / Work

Palette of Place Palette of Posture Palette of Presence

Off-Stage / Support

Steelcase. (2017, August 29). The Creative Shift. Retrieved September 13, 2017, from https://www.steelcase.com/research/articles/topics/creativity/creative-shift/

SUSTAINABILITY Sustainability is crucial in this space, especially as it is near one of the most polluted waterways in the Washington area. To contribute to this, care should be taken to reduce energy and water consumption through low consumption fixtures (LED lighting, low-flow faucets, durable, sustainably produced materials, and a more comfortable indoor temperature). These practices must be combined with user awareness and education. Additionally, care should be taken to promote a sustainable body through encouragement of exercising (especially though alternative transportation, such as biking and walking) and local, healthful eating.

PHONE ROOM

SKILLS USED Sketching + Research + Data Analysis + Illustrator + Revit + Photoshop 17


Bubble Diagram

B locking Diagram 1 Massage Room

Education Zone

Consult Room

Acupuncture

Consult Room

Reception

Massage Room Exam Rooms

Large Conference

Environmental Space Medium Conference

Wash room

Phone Room

Wash room

CONCEPTUAL LOBBY SKETCH Resource/Medical

Needed Indifferent

Relax Room

Patient/ Clinician/ On-Stage Off-Stage

Not Needed

Workcafe

Phone Room

Visual Privacy

Acoustical Flexibility Future Privacy Flexibility

Spa-like feel

Storage

Reception/Waiting Large Conference Medium Conference

Education Zone

Consult Room Exam Room Acupuncture Room Massage Room

Exam Room

PROCESS The NEXT project guidelines were part of a Steelcase competition located in SODO, Seattle. After completing site/ user analysis, case studies and research summaries on MOBs and branding were compiled. After a class trip to Atlanta to study healthcare design, schematic design diagramming led into space planning, FF&E selections, and the final drawings and renderings. 18

Regard Momentum Foray in Seaport Steelcase Metal in Midnight

V.I.A. Steelcase Systems Plastic in Arctic White

Reception

Beveled Connect Color Selector USAI Graphic High PErformance Wallcovering In Fizzle Carnagie Xorel V.I.A. Integrated WHiteboard Steelcase

Steelcase Metal in Chrome

Folio Steelcase Systems Plastic in Arctic White

Room Wizard Scheduler Steelcase

Steelcase HPL in Bisque Wenge

Steelcase Seating Plastic in Midnight

Buoy

Steelcase Mother/Relax Room

Paper Top

Shared Office

Steelcase Open Office Seating Plastic

in Merle Education C R I T Zone ERIA

MATRIX FOR SPACE PLANNING

Workcafe Resource/Medical Momentum Environmental

Regard

Foray in Space Seaport

Steelcase Unisex Washrooms Metal in Midnight

BIVI Steelcase Crossroads in Caribbean Steelcase Seating Plastic in Midnight

Empath Momentum Silica in Seacoast

Phone/Quiet Room

QTPro Sound Masking System Steelcase

V.I.A. Integrated Monitor S Steelcase

FF&E SELECTION

SCHEMATIC BLOCKING DIAGRAM


RECEPTION AREA

19


20

M I X E D U S E + SHINDIG


SPRING 2017 SHINDIG BAR CAFETERIA, FLORENCE, ITALY GROUP PROJECT WITH JESSICA MOORE OBJECTIVE Shindig is a bar cafeteria that seeks to understand the clientele of the San Giovanni neighborhood of Florence, and create an on-trend, exciting bar cafeteria experience for them. In this case, the bar aims to attract both young locals and visitors to the city to envelop them in a mid-centurymodern, Scandinavian-inspired space. 21


CONCEPT Shindig presents a sophisticated, welcoming atmosphere for young people in Florence, providing them with spaces for different functions and needs. Inspired by Scandinavian contemporary design styles and Art Deco motifs, combines pale wood tones, dark colors, and sleek furniture. The combination of modern and historic design inspirations creates connects to the dual nature of Florence as both a historic and modern city. The spaces of Shindig are differentiated by the arrangement of light, furniture, and color elements to better suit specific function. Creating individual spaces for working, gathering, and sharing information allows clients to identify the purpose of their visit. However, continuity of design language and easy circulation paths connect the spaces and allow for a flow throughout and a customizable experience. PROCESS First, the team completed case studies, before beginning to research the neighborhood and create a brand identity. Next, the floorplan and space planning were created in tandem, while I created the renderings and Jessica created the graphic depictions.

SHARE AREA

22

SKILLS USED Sketching + Illustrator + Revit + Photoshop + Teamwork


23


24

R E S I D E N T I A L + VIA MAGLIABECHI HOME


KITCHEN

SPRING 2017 VIA MAGLIABECHI APARTMENT, FLORENCE, ITALY 6

333333363 3333333660 666666 2 666666

RIIIII

CIDIIDIIR IIIIIII

CONCEPT The sophisticated, understated style is based on a modern interpretation of the color and solid forms of Michaelangelo’s Tondo Donni, which was here in the past

PROCESS After delving in deeply to Italian furniture design and designers, the space was created with minor structural modifications (to preserve the history) and a sleek, modern design for the modern family who would inhabit it. SKILLS USED Site Observation + Sketching + Revit + Illustrator + Photoshop + PowerPoint

IIIIII

IIR.

NIICIII CIIII8IIIIIII

OBJECTIVE As Florence strives to maintain its historic past, intricate, historic buildings must be turned into convenient, modern apartments while maintaining their sense of place and Italian style.

IIII

IIIID IIDRII

IIIIIIII

C

IIDIRID RIDIIIIISI IIRIIII

CIDIIDIIR

IIIIII IIIIIIII

IIIIII IIRIIII

CIINNII CIIIII

25


26

M I X E D U S E + NOMAD


3 A105

FALL 2016 NOMAD COWORKING AND RETAIL SPACE, Ky

Shower

Workshop

Boiler Room

E

G

Storage

E

E

F

G

Individual Nodes

Casual Collaboration

Phone Room

B

B

Co-working

Print and Supply Room

D

Seating Hub

C

A

Private Room

E

E

B

Private Room B A

DW

OBJECTIVE NOMAD, a global collection of artisans that connects people to products in a tangible ways, builds upon ideas of fair trade and ethical production. Each piece the front retail area of NOMAD tells a story and leads the customer on a global journey. The nomadic brand extends to the co-working environment as well. NOMAD office employees often work from other spaces (such as home or a coffee shop) and thus their work week represents a journey through the town, with NOMAD as the watering hole of choice with its opportunity for collaboration and community.

Storage

CONCEPT NOMAD is a global gathering of makers that strives to highlight the journey of life through a lively, multifaceted approach. Handcrafted goods from around the world are sold in the retail portion, emphasizing the story of their origin, while a layered, transitory approach is taken to the creative co-working environment.

A Kitchen and Dining Seating and Product Display

A

A

Maker Room A A

A Lounge

Conference Room B

C B

A

Retail Lounge Retail

A

A

Nomad

A

4

Welcome Area

A105

Bh

gathering + goods

Ghana Ind

A

Lighting Legend

1 2

Level 1 1 1/8" = 1'-0"

A105

Linear Florescent Pendant Lighting

New Zeal

Linear Florescent Trim Lighting

A105

Recessed Can Lighting Ceiling Mounted Pivot Spotlight

2

Level 1 1/16" = 1'-0"

Portugal Cambodia

27

Guy


RETAIL CASEWORK PROTOTYPE MODEL

CLIENT EXPERIENCE STORYBOARDING

COLLABORATION LOUNGE

RETAIL AREA

28

MATERIAL SELECTIONS

PROCESS After completing a collaboration with landscape architecture students exploring the neighborhood and strip mall in which this storefront is located, the interior design project commenced. Utilizing the data and personal stories collected during the previous month, a brand, business concept, and finally, an interior space based upon the previous two were created. This allowed for great freedom in both the layout and environmental branding, so it was important to hone in on specific details to create a cohesive and compelling design. At the review, multidisciplinary professionals and community members shared their thoughts on the practicality and effectiveness of the experiential retail and workplace proposals. SKILLS USED Site Observation + Sketching + Diagramming + Modelmaking + Illustrator + Photoshop + Revit


OPEN OFFICE

29


30

C o m m u n i t y + SWINGING SOUTHLAND


Humanity Restore

the quirky, familiar spirit of Southland Drive.

OSB Sheathing

OSB Sheathing

Wood Stud Frame

Wood Stud Frame

Material Selection and Budget:

The materials selected for this project reflect the unostentatious nature of this pop-up, the support of the community, and the need for existence within a budget. // Swing Hanger: Wood Beam Swing //OSB: Sourced from the Habitat for Hanger with Shackle Pendulum (Swing Humanity Restore when possible for free Set Mall) - $13.95 (x2 = $27.90) or a discounted price OR 1/4 CAT Utility // Swing Chain: 5/16" Safety Swing OSB, Application as 4’x8’ (Lowe’s) (Swing Set Mall) - $195.00 for 30’ $8.28 (x33 = $273.24) The materials selected for this project reflectChain the unostentatious nature of this // Swing Cushion: Sourced from the // Wooden Studs: Sourced from the pop-up, the support of the community, and the need for existence within a Habitat for Humanity Restore when Habitat for Humanity Restore when budget. possible for free or a discounted price OR possible for free or a discounted price OR Sunbrella Melon Outdoor 2-in x 4-inthe x 8-ft Stud (Lowe’s) // Swing Hanger: Wood Bench Beam Cushion Swing //OSB:Common: Sourced from Habitat for (Home Depot) - $132.00 - $2.57 (x50 = $128.50) Hanger with Shackle Pendulum (Swing Humanity Restore when possible for free Swing Cushion Fabric: Only if // Waterproof Finish: BehrUtility 5-gallon Set // Mall) - $13.95 (x2 = $27.90) or a discounted price OR 1/4 CAT sourced5/16" from Safety the Habitat Transparent Waterproofing // cushion Swing isChain: Swingfor OSB, Natural Application as 4’x8’ (Lowe’s) Humanity Solid (Home Depot) - $109.00 Chain (SwingRestore: Set Mall)Sunbrella - $195.00Furn for 30’ $8.28Wood (x33 =Finish $273.24) Canvas Melon $152.97 for 3 yards // Screws: USP 25-Count #14 to 10mm // Swing Cushion: Sourced from the // Wooden Studs: Sourced from the x 1.5-in Coated Restore Hex Socket-Drive // Plants: the community local Habitat for From Humanity Restore and when Habitat for Humanity when greenhouses – roughly $500 Structural Wood Screws (Lowe’s) – possible for free or a discounted price OR possible for free or a discounted price OR // Pots: Sourced from the Habitat for $4.50 for 25 (x40 = $180 for 1000) Sunbrella Melon Outdoor Bench Cushion Common: 2-in x 4-in x 8-ft Stud (Lowe’s) Humanity Restore when possible for free // Metal Connectors: Simpson (Home Depot) - $132.00 - $2.57 (x50 = $128.50) or a discounted price Strong-Tie 18-Gauge 1X Rigid Tie Swing Cushion Fabric: Only if // Waterproof Finish: Behr- 5-gallon Labor and transportation: Connector (Home Depot) $1.58 (x50 = // // is sourced the Habitat Natural Around $1000 from (students will forbe $79) Transparent (different anglesWaterproofing of connectors will cushion Restore: Sunbrella Furn Solid Woodbe Finish (Home and Depot) - $109.00 required may have slightly Humanity fabricating for class credit, not money) Canvas Melon $152.97 for 3 yards // Screws: USP 25-Count #14 to 10mm different prices)

Material Selection and Budget:

x 1.5-in Coated Hex Socket-Drive // Plants: From the community and local TOTALWood BUDGET: $2,776.96 possibility in the budget greenhouses – roughly $500 of several Structural Screws (Lowe’s)There – is the // the Pots: Sourced from the for $4.50pop-ups for 25 (x40in=different $180 for 1000) locations around corridor to draw the Habitat community // Metal Connectors: Simpson Humanity Restore when possible for free around the area. Joint detail SKETCH Swing detail SKETCH or a discounted price Strong-Tie 18-Gauge 1X Rigid Tie // Labor and transportation: Connector (Home Depot) - $1.58 (x50 = $79) (different angles of connectors will Around $1000 (students will be fabricating for class credit, not money) be required and may have slightly

Concept Doo Swinging Southland, an interactive pop-up, Habitat revealsfor the Humanity Wop dynamic heart of Southland Drive through its confident, Restore Shop playful design. Featuring a bench swing, recessed bench seating, and display nooks for greenery and local trivia, Swinging Southland steps boldly toward the revival Doo of Wop design on Southland Drive. Potential Shop Objective Site Swinging Southland leads people to new places and venues along the corridor that they may have previously ignored. Instead of simply dashing from the store to their car, people Potential linger longer and become more immersed in the quirky, Site familiar spirit of Southland Drive. Process After completing extensive site observations and research in collaboration with landscape architecture students, a popup was proposed to energize the neighborhood. The project needed to be completed within a budget and other real-world parameters SKILLS USED Budgeting + Model-making +Adobe Suite + Revit

Bench and shelving Detail Render

31


32

EDUCATION

+ REYNOLDS BUILDING E D U C A T I O N + RE


EYNOLDS BUILDING

33


SPRING 2016 REYNOLDS COLLEGE OF DESIGN REMODEL

B A

OBJECTIVE The Reynolds Building, located on the University of Kentucky campus, began as a tobacco factory, continued as the Fine Arts building, and has currently been vacant for several years. The College of Design hopes to move architecture, interiors, and historic preservation under one roof in this building, and this project begins to explore the design opportunities available in Reynolds. Two floors on one half of the building have been analyzed and redesigned for the future with flexible educational methods utilized throughout the space. The objective is to create two multipurpose, flexible spaces surrounded by secondary, permanent spaces that can be connected or disconnected based upon need.

B A

First Floor 1/32” = 1’

B A

34

B A

1/32” = 1’

Second Floor

SKILLS USED Sketching + Diagramming + Illustrator + Photoshop + Rhino + 3DSMax


FLEXIBLE CLASSROOM

CONCEPT To bring the past into the future, the Reynolds Building will incorporate the historic materials found in the building (original brick walls and hardwood floors, refinished for modern times) with a decidedly modern, dynamic aesthetic. Flexibility will be a main goal, achieve through movable walls and reusable furniture.

LOBBY AND RECEPTION

SLIDING SPATIAL DIVIDER 35


FLEXIBLE STUDY POD

PROCESS After studying the idea of educational flexibility (see next project), it was time to implement it into the existing footprint of the Reynolds Building. While several structural restraints such as a multitude of columns and the shear size of the space proved challenging to overcome, with constant

revision and iteration, a successful floorplan was achieved. Once the basics were complete, it was time to render the newly upgraded building as well as create diagrams that depicted several of the custom furniture and systems in the flexible space.

FLEXIBLE STUDY POD 36


COLLEGE OF DESIGN CAFE

37


STUDIO

GALLERY

38

LECTURE

E D U C A T I O N + FLEXIBLE LEARNING


PROCESS Beginning with physical models made of tissue paper and foam core, the project began int he most conceptual of phases, gradually becoming more grounded as inspiration images and sketches began to come into play. The final deliverables included plans, conceptual renderings, and explanatory diagrams all presented together in a digital presentation. SKILLS USED Sketching + Illustrator + Rhino + Model Making + Iteration OBJECTIVE Three different purposes (studio, lecture, gallery) are brought together in one flexible design. The goal is to create a functioning 25’x25’ room that fully supports each of the three categories, while storing and reusing the objects used in other setups within the four walls of the room. CONCEPT To provide a flexible learning space that smoothly transitions between studio, gallery and lecture. Ceiling rods will be utilized to divide space when necessary, while the desks will transition into shelving and platforms for display.

39


40

M I X E D U S E + ZELLIGE


FALL 2015 ZELLIGE MULTIPLE SCLEROSIS DAY SPA AND APARTMENT, Morocco

CONCEPT The spa will utilize natural lighting and materials to create a sense of tranquility, rejuvenation, and positivity. It will provide a sense of the surrounding cultural and environmental landscape of Morocco through the streamlined use of traditional finishes. The space will adhere to universal design principles to allow those with all stages of multiple sclerosis to utilize and enjoy the entire spa experience without feeling restricted or marginalized by poor design.

41


CONCEPT The spa will utilize natural lighting and materials to create a sense of tranquility, rejuvenation, and positivity. It will provide a modern sense of the surrounding cultural and environmental landscape of Morocco through the streamlined use of traditional finishes. The space will adhere to universal design principles to allow those with all stages of multiple sclerosis to utilize and enjoy the entire spa experience without feeling restricted or marginalized by structural impediments or lackluster design.

LIGHTING MODEL

SPECIFIC SOLUTIONS SCLEROSIS

FOR

MULTIPLE

- Located in the temperately warm climate of Morocco to alleviate relapse due to extreme temperature - Located in a town with relatively wide and straight streets for easier accessibility - Use of local and sustainable materials/building techniques - Centrally located bathrooms for access from all areas - No long, winding hallways ending in dead-ends - 5’ turning radius located in major areas - Grab bars occurring in bathrooms - Uncomplicated sight lines (no optical illusions, murky lighting, or unclear barriers) - Heights accessible from upright and seated positions - Less institutional atmosphere to create a sense of freedom and refreshment 42


THERAPY GYM

PROCESS After researching multiple sclerosis while considering what it means to be sustainable in the design world, the project began to take form. After selecting a location both for its spa qualities and aid to those with MS, preliminary steps in the design process emerged in the shape of diagramming, branding, and eventually, space planning. SKILLS USED Sketching + Research + AutoCAD + Model Making + Photoshop + 3DSMax + Diagramming + Material Selection

ff&e selections

43


Specialty + A

LOUNGE FOCUS POD

44

DINING CENTER


AMTRAK HABITAT

SLEEPING

45


46

OBJECTIVE This new addition to the Coast Starlight Amtrak Route along the West Coast caters to the no-hassle eco-tourist by creating a simple, relaxing, and sustainable environment on the train. This space will continue the legacy of Amtrak by providing connections to the surrounding environments along the train line, while accommodating the customer onboard by creating a welcoming place to eat, sleep, socialize, work, and prepare for the adventures that lay ahead.

PROCESS After the passenger type assignments, work on developing specific passenger profiles that delved into the personality and needs of our clients began. Form there, it was an easy next-step towards space planning which proved to be a bit of a challenge in the long, narrow footprint of the train car. Finally, once a design solution was reached, rendering, fabric and lighting design, and model-making all commenced.


CONCEPT By highlighting the areas of sustainability, relaxation, and durability, Amtrak will serve the eco-tourist. Sustainability will be achieved through the use of environmentally friendly materials, socially-fair labor and items, and renewable energy sources. The passenger will feel relaxed because of the simple, cozy ambiance, the ergonomic furniture, and the possibility of both community and seclusion. Durability will be attained through the use of longlasting materials, sturdy transition areas between the exterior and interior, and the ability to maintain many types of activity inside. SKILLS USED Research + Hand Drafting + Model Making + Hand Rendering

GREENWALL PARTITION

47


48

C O N C E P T U A L + LIBESKIND MODEL


SPRING 2015 DANIEL LIBESKIND ROYAL ONTARIO MUSEUM ABSTRACTION MODEL PROCESS After thoroughly researching the work of architect Daniel Libeskind for the group presentation portion of the design process, I chose his Royal Ontario Museum as the basis for my conceptual model.

After a long iterative process, it was time to transfer sketches to Illustrator to the laser cutter, and the laser cut pieces into a cohesive form, before returning full circle by capturing the final result in a drawing.

SKILLS USED Sketching + Hand Drafting + Illustrator + Rhino + Laser Cutter + Model Making + Iteration

49


CASE STUDY HOUSE #8

203 N. CHAUTAUQUA BLVD. PACIFIC PALISADES, CALIFORNIA PROJECT DESIGNER: CHARLES AND RAY EAMES PREPARED BY: ELIZABETH RIVARD

CONSTRUCTED IN 1949 BY THE ICONIC DESIGN DUO, CHARLES AND RAY EAMES, CASE STUDY HOUSE #8 IS AN ENCAPSULATION OF THEIR DESIGN PHILOSPHY IN BUILDING FORM. THE EAMES DESIGNED THE HOUSE TO BE A WELCOMING, UNSELFCONSCIOUS HOME FOR THIER LIFESTYLE OF HOSPITALITY AND MEETING HUMAN NEEDS. IT IS CONSTRUCTED OF TWO STEEL AND GLASS STRUCTURES (A RESIDENCE AND A STUDIO) THAT FEATURE A GRID OF GLASS, ALUMINUM, STUCCO, AND SPECIALTY PANELS. THESE STRUCTURES ARE NESTLED INTO A HILL AND SURROUNDED BY PLANT LIFE. CASE STUDY HOUSE #8, PART OF A SERIES OF EXPLORATIONS IN EFFICIENT HOUSING BY FAMOUS ARCHITECTS, IS ONE OF THE MOST SUCCESSFUL SINCE IT REMAINED THE LIVNG, BREATHENG HUB OF THE EAMES’ WORK UNTIL THEY DIED.

50

C O N S T R U C T I O N D O C U M E N T + EAMES HOUSE


GENERAL NOTES:

GRAPHIC LEGEND:

1. Scope of Work: The Project Scope shall include Architectural Design Services inclusive of design, permit documentation, construction administration for renovations and combination to the second floor, existing residential space located at 203 N. CHAUTAUQUA BLVD, PACIFIC PALISADES, CA.

SYMBOLS LEGEND:

EARTH

ELEVATION

GRAVEL

ROOM NAME 1 ROOM NAME2 XX XX

CONCRETE

2. All work shall conform to the requirements of the California Building Code, Fire Department Rules and Regulations, utility company requirements, and the best trade practices.

DOOR NUMBER

PRE-CAST CONCRETE

PARTITION TYPE

3

STONE

3. Before commencing work, the contractor shall file all required insurance certificates with the Department of Buildings, obtain all required permits, and pay all fees required by the governing California agencies.

ROOM NAME/NUMBER

BRICK

LIST OF DRAWINGS: ARCHITECTURAL A0.0 A0.1 A1.0 A2.0 A6.0 A6.1 A7.0

COVER SHEET GENERAL NOTES, WALL TYPES, INDEX, & LEGEND GROUND & FIRST FLOOR PLANS GROUND & FIRST FLOOR REFLECTED CEILING PLANS ENLARGED KITCHEN PLANS & ELEVATIONS KITCHEN MILLWORK SECTIONS DOOR & PARTITION SCHEDULE

Project

CASE STUDY HOUSE #8 203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect

CHARLES AND RAY EAMES

WALL SECTION INDICATION

CMU

4. Minor details not usually shown or specified, but required for proper construction of any part of the work shall be included as if they were indicated in the drawings. 5. The contractor shall coordinate all work procedures with the stipulations of local authorities, building management or board of directors.

STEEL, IRON

BUILDING SECTION INDICATION

ALUMINUM

DETAIL NUMBER

WOOD FINISH

6. The contractor shall be responsible for the protection of all conditions and materials within the proposed construction area. The contractor shall design and install adequate shoring and bracing for all structural or removal tasks. The contractor shall have sole responsibility for any damage or injuries caused by or during the execution of the work.

EXTERIOR ELEVATION

WOOD DIMENSIONAL

1

PLYWOOD (LARGE SCALE)

4

2

INTERIOR ELEVATION

3

PLYWOOD (SMALL SCALE)

7. The contractor shall lay out his own work, and shall provide all dimensions required for other trades: plumbing, electricals, etc.

A 2.5

PLASTER, GYPSUM WALLBOARD MTL. STUD WALLS

8. Plumbing work shall be performed by persons licensed in their trades, who shall arrange for and obtain through the Department of Buildings all required permits, inspections and required sign offs.

RIGID INSULATION BATT INSULATION

9. Electrical work shall be performed by persons licensed in their trades, who shall arrange for and obtain through the Bureau of Electrical Control all required permits, inspections and required sign offs.

EXISTING CONSTRUCTION

10. The contractor shall do all cutting, patching, repairing as required to perform all of the work indicated on the drawings, and all other work that may be required to complete the job. 11. All piping and wiring shall be removed to a point of concealment and shall be properly capped or plugged.

SCHEDULE OF WALL TYPES:

13. The General Contractor shall verify all existing dimensions prior to ordering materials or commencing work. The Contractor shall be responsible for all dimensions and conditions which impact the work. The Owner or the Owner's Representative shall make any and all changes to the plan prior to the start of work. Any and all revisions to the plan during construction shall be confirmed with the Owner or the Owner's Representative and the Designer. 14. No representation shall be made that the plans are accurate as to the scale or locations of the existing dimensions. All dimensions and dimensioning are the sole responsibility of the Contractor or whoever is undertaking work at 203 N. CHAUTAUQUA BLVD, PACIFIC PALISADES, CA. 15. Drawing dimensions are to the face of finish, joint centerline or column grid centerline unless otherwise noted. Field dimensions will govern.

MARK

12. Typical details and general notes apply to all parts of the work except where specifically detailed or unless otherwise noted (U.O.N.)

3

PATTERN

THICKNESS

RATING

4"

2 HR.

3A

4"

2 HR.

C

1'-0"

2 HR.

STC

DESCRIPTION TWO LAYERS OF 5/8" G.W.B. EACH SIDE ON 3 5/8" METAL STUDS @ 24" O.C. TWO LAYERS OF 5/8" G.W.B. EACH SIDE ON 3 5/8" METAL STUDS @ 24" O.C. W/ MOISTURE BARRIER

Date

Issued For

12" NOM. CONCRETE MASONRY UNITS W/ ONE SIDE GROUND FACE

No.

Date

Revision

16. Existing conditions, as shown on these plans, are for reference only. The contractor is required to field verify all existing conditions prior to construction. 17. The Contractor shall resolve any conflicts on the drawings or in the specifications with the Owner and/or the Owner's Representative before commencing the work. Issued For:

18. The owner reserves the right to add, delete, change or modify specifications as required to meet budgetary and time constraints. 19. Submit all plan changes to the Owner or the Owner's Representative along with a change order and an estimate for the cost of the work.

ID375 Issue Date:

12/ 25/ 49 Scale:

1'4" = 1'-0" Drawn By:

20. Prepare all shop drawings for review by the Owner or the Owner's Representative and the Designer. Allow 2-5 working for review and resubmit. Submit material samples when required.

ELIZABETH RIVARD Drawing Title

GENERAL NOTES

21. The General Contractor shall provide proof of General Liability Insurance and Workman's Compensation Insurance. Drawing No.

22. Security of the Premises is the sole responsibility of the General Contractor. The Contractor shall protect all work, materials and equipment from damage and shall provide proper storage facilities for materials and equipment during construction.

A0.1

51


Project

BATH

BEDROOM

205 F3

204 F3

201 F1

15'-0"

CASE STUDY HOUSE #8

BATH

7'-6"

7'-8"

15'-2"

22'-8"

5'-8 7/8" 3A

203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA BEDROOM 207 F1

3A

Architect

CHARLES AND RAY EAMES 14'-8 7/8"

D8

3

6'-10"

4'-0"

2'-2"

2'-2"

3

22'-2"

7'-10"

D10

3A

14'-9 7/8"

10"

3

D9

HALL

DRESSING 3

206 F1

5'-5 7/8"

203 F1

5'-2"

6'-2"

5'-5 1/8"

3

7'-6"

6'-4"

7'-6 7/8"

3

D7

BEDROOM 202 F1

7'-6"

TYPICAL

OPEN TO BELOW

OPEN TO BELOW

FIRST FLOOR PLAN SCALE: 3/16" = 1'-0"

WALL TYPE LEGEND:

02

TYPE 3 0'-4" GYPSUM WALL

TYPE 3A 0'-4" GYPSUM WALL

1'-0" CMU WALL

120'-10" 52'-10"

30'-2"

18'-11 1/4"

15'-2"

UTILITY ROOM

3'-6 1/4"

3

STUDIO 109 F1

3'-9 1/8"

3'-9" 3

3'-1" No.

7'-6"

Date

Revision

D4

5'-2"

ENTRY

7'-6"

9'-2"

3

D5 5'-2"

COURTYARD

14'-9 7/8"

3

2'-0"

107 F3

103 F1

105 F2

2'-6"

4'-9"

7'-6"

BATH

KITCHEN

Issued For

108 F1

3A

101 F1

Date

DARK ROOM 3A

3

LIVING ROOM

2'-0"

10'-0 7/8"

13'-0"

3

D1

22'-8"

D3

104 F1 3

37'-10"

01 A6.0

7'-1 5/8"

11'-4 3/4"

3

22'-6"

106 F1

DINING ROOM

D6

101 F1

D2

Issued For:

ID375 Issue Date:

12/ 25/49 Scale:

3 16"

EXTERIOR TILING

= 1'-0"

Drawn By:

ELIZABETH RIVARD

EXTERIOR SIDEWALK

GROUND FLOOR PLAN SCALE: 3/16" = 1'-0"

01

Drawing Title

GROUND AND FIRST FLOOR

Drawing No.

A1.0

52


Project

CASE STUDY HOUSE #8

9'-0" CLG. HT. A.F.F. 9'-0" CLG. HT. A.F.F. BATH BATH 205 C1

203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

WP

WP

204 C1

9'-0" CLG. HT. A.F.F. BEDROOM

9'-0" CLG. HT. A.F.F. BEDROOM

201 C1

Architect

207 C1

S

CHARLES AND RAY EAMES

S S S.D. C.M.

9'-0" CLG. HT. A.F.F. HALL 203 C1

S

COURTYARD 105

S

3

--

206 C1

S.D. C.M.

202 C1

S

9'-0" CLG. HT. A.F.F. DRESSING

9'-0" CLG. HT. A.F.F. BEDROOM

S

S S.D. C.M.

S.D. C.M.

S.D. C.M.

LIGHTING FIXTURE LEGEND:

FIRST FLOOR REFLECTED CEILING PLAN

ELECT. PANEL DUPLEX OUTLET

WP

CLG. MOUNTED LIGHT FIXTURE WALL MOUNTED LIGHT FIXTURE

SCALE: 3/16" = 1'-0"

02

CLG. MOUNTED SMOKE / CARBON MONOXIDE DETECTOR EXHAUST FAN PENDANT

S

9'-0" CLG. HT. A.F.F. UTILITY ROOM 104 C2

WP

9'-0" CLG. HT. A.F.F. DARK ROOM

Date

Issued For

108 C3

S

WP

WP

COURTYARD 105

--

9'-0" CLG. HT. A.F.F. BATH 107 C2

103 C2

S

9'-0" CLG. HT. A.F.F. KITCHEN

19'-0" CLG. HT. A.F.F. STUDIO 109 C1

S

TRACK LIGHT

S.D. C.M.

WATERPROOF OUTLET

SS

WP

S SS

S

3

S

3

3

3 3

SS

101 C1

3

SS

S

19'-0" CLG. HT. A.F.F. LIVING ROOM

S

S

RECESSED FIXTURE

S

S

SWITCH 3-WAY SWITCH

3

9'-0" CLG. HT. A.F.F. DINING 102 C2

No.

Date

Revision

9'-0" CLG. HT. A.F.F. ENTRY 106 C2

Issued For:

ID375 Issue Date:

12/ 25/ 49 Scale:

GROUND FLOOR REFLECTED CEILING PLAN SCALE: 3/16" = 1'-0"

01

3 16"

= 1'-0"

Drawn By:

ELIZABETH RIVARD Drawing Title

REFLECTED CEILING PLAN

Drawing No.

A2.0

53


Project

CASE STUDY HOUSE #8 203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect FOLDING PARTITION

CHARLES AND RAY EAMES

WAVED GLASS

CEILING

CEILING

CEILING

ELEV. +9'-0"

ELEV. +9'-0"

ELEV. +9'-0"

CABINET TOP

CABINET TOP

CABINET TOP

ELEV. +7'-3"

ELEV. +7'-3"

ELEV. +7'-3"

CABINET BASE

CABINET BASE

CABINET BASE

ELEV. +4'-9"

ELEV. +4'-9"

ELEV. +4'-9"

COUNTERTOP

COUNTERTOP

COUNTERTOP

ELEV. +3'-0"

ELEV. +3'-0"

ELEV. +3'-0"

RNG

KITCHEN ELEVATION SCALE: 1/2" = 1'-0"

FINISHED FLOOR

FINISHED FLOOR

FINISHED FLOOR

ELEV. +0'-0"

ELEV. +0'-0"

ELEV. +0'-0"

04

KITCHEN ELEVATION SCALE: 1/2" = 1'-0"

03

KITCHEN ELEVATION SCALE: 1/2" = 1'-0"

02

13'-4"

Issued For

3'-10 5/8"

Date

1'-9"

A 3.0

03

No.

A 3.0

Date

Revision

KITCHEN 3'-5"

3"

04

4"

9'-7 5/8"

02

REF.

103 F1

Issued For:

ID375 Issue Date:

12/ 25/ 49 Scale:

1/2" = 1'-0"

KITCHEN PLAN DETAIL SCALE: 1/2" = 1'-0"

01

Drawn By:

ELIZABETH RIVARD Drawing Title

KITCHEN ELEVATIONS AND DETAIL PLAN

Drawing No.

A6.0

54


Project

CASE STUDY HOUSE #8 203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect

CHARLES AND RAY EAMES

CEILING

CEILING

ELEV. +9'-0"

ELEV. +9'-0"

1 1/4"

1 1/4"

CABINET TOP

1'-0"

3/4" WD. DOOR FRONT - PREMIUM GRADE

5 3/8"

3/4"

1 1/4" PTD REVEAL

3 4" PTD WD ADJUSTABLE SHELVES W/ S.S SHELF STUDS W/ HOLES AT 1-1/2" O.C. - PREMIUM GRADE

2'-8"

3/4"

3/4"

1'-0"

ELEV. +7'-3"

1"

3/4"

1'-0 1/8" 3 4" PTD WD ADJUSTABLE SHELVES W/ S.S SHELF STUDS W/ HOLES AT 1-1/2" O.C. - PREMIUM GRADE

10 7/8"

1'-0"

UNDER-CABINET LIGHT FIXTURE BY PROGRESS LIGHTING (P7535)

FRANKE UNDERMOUNT SINK, 22" KBX110-21 1-1/4" THK. CEASAR STONE 2'-1"

1 1/4"

1 1/4" 3/4"

1'-11 5/8"

4 3/8"

ELEV. +3'-0"

1'-0 1/8"

3/4" WD DOOR FRONTS PREMIUM GRADE W/ 3/8" MAPLE INTERIOR W/ S. S. DWR. GLIDES BY ACCURIDE W/ ROUTED FINGER PULL

1'-10 1/8"

3/4"

1'-9 3/4"

KITCHEN CABINET DETAIL SCALE: 1-1/2" = 1'-0"

FINISHED FLOOR ELEV. +0'-0"

3"

02

KITCHEN CABINET DETAIL

FINISHED FLOOR

No.

Date

Revision

ELEV. +0'-0"

3" 2'-1 1/4"

SCALE: 1-1/2" = 1'-0"

Issued For

2x WD. BLOCKING AS REQ'D. 1X WD. BASE - PTD.

3"

3"

2X WD. BASE - PTD.

Date

3'-0"

1'-10 1/4"

3'-0"

2'-6 1/2"

HAEFELE PULL-OUT DOOR MOUNTED WASTE BIN (CAT. NO. 502.70.522) W/ 3/4" WD. DWR. FRONT - PREMIUM GRADE (AWI SPECS.)

9 1/2"

3/4"

9 1/2"

1 1/4" 3/4"

1'-6 3/8"

COUNTERTOP

5 1/4"

1 1/4"

ELEV. +3'-0"

3/4" WD DOOR FRONT PREMIUM GRADE W/ ROUTED FINGER PULL

ELEV. +4'-9"

1-1/4" THK. CEASAR STONE

1/4"

COUNTERTOP

1'-1 1/8"

2'-0"

CABINET BASE

1'-10"

DORNBRACHT FAUCET, Single Mixer TARA CLASSIC PROFESSIONAL 330 880 8888

01

Issued For:

ID375 Issue Date:

12/ 25/ 49 Scale:

1-1/2" = 1'-0" Drawn By:

ELIZABETH RIVARD Drawing Title

KITCHEN MILLWORK SECTIONS

Drawing No.

A6.1

55


Project

CASE STUDY HOUSE #8 203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect

CHARLES AND RAY EAMES

4"

DOOR SCHEDULE

3'-0 1/2" 6 1/4"

6 3/8"

UNDERSIDE OF STRUCTURE ACOUSTIC SEALANT 3-5/8" METAL RUNNER ANCHORED TO UNDERSIDE OF STRUCTURE ABOVE

DOOR HEIGHT

DOOR THICK.

DESCRIPTION

DOOR MATERIAL / FINISH

FIRE RATING

#

ENTRY

101

SLIDING DOOR

ALUMINUM / GLASS

-

1

D2

ENTRY

102

FLUSH PTD. SWING DOOR

ALUMINUM / GLASS

-

1

A

3'-6"

7'-0"

D3

ENTRY

104

FLUSH PTD. SWING DOOR

ALUMINUM / GLASS

-

1

A

3'-6"

7'-0"

2"

D4

ENTRY

106

FLUSH PTD. SWING DOOR

ALUMINUM / GLASS

-

1

A

3'-6"

7'-0"

2"

FLUSH PTD. SWING DOOR

SOLID CORE WOOD

-

1

B

3'-0"

7'-0"

2"

SLIDING DOOR

ALUMINUM / GLASS

-

1

C

7'-2"

9'-0"

2"

C

7'-2"

9'-0"

2"

2"

12"

CEILING

PLAN

TYPE ELEV.

DOOR WIDTH

ROOM NO.

D1

DOOR NO. NAME

3/8"

D5

BATHROOM

106

(1) LAYER 5/8" GYPSUM BOARD ON BOTH SIDES

D6

ENTRY

107

22 GA. 3-5/8" METAL STUDS @16" O.C. ANCHORED TO FLOOR AND CEILING

D7

BEDROOM

202

FLUSH PTD. SWING DOOR

SOLID CORE WOOD

-

1

B

3'-0"

7'-0"

2"

3 1/2" THERMAFIBER SAFB INSULATION WHERE REQ'D

D8

BEDROOM

201

FLUSH PTD. SWING DOOR

SOLID CORE WOOD

-

1

B

3'-0"

7'-0"

2"

D9

BATHROOM

204

FLUSH PTD. SWING DOOR

SOLID CORE WOOD

-

1

B

3'-0"

7'-0"

2"

D10

MASTER BATHROOM

205

FLUSH PTD. SWING DOOR

-

1

B

3'-0"

7'-0"

2"

12" CMU FILLED WITH CONCRETE

TILE FINISH WHERE SPECIFIED 3/8" MORTAR JOINT

BASE AS SPECIFIED

SOLID CORE WOOD

3-5/8" METAL RUNNER ANCHORED TO SLAB

3/8"

FLOOR

3 3A

ACOUSTIC SEALANT AS PER NOTE 3

NON-RATED PARTITION SCALE:

NTS

PLAN

C

DOOR SCHEDULE MASONRY PARTITION SCALE:

NTS

02

SCALE: NTS

NON-RATED PARTITION WITH WATERPROOF GWB ONE OR BOTH SIDES

Date

Issued For

7'-2"

3'-0"

7'-0"

7'-0"

9'-0"

3'-6"

No.

A

B

Date

Revision

C

Issued For:

DOOR TYPE ELEVATIONS SCALE: 1/4" = 1'-0"

01

ID375 Issue Date:

12/ 25/ 49 Scale:

1 4"

= 1'-0"

Drawn By:

ELIZABETH RIVARD Drawing Title

PARTITION AND DOOR SCHEDULE

Drawing No.

A7.0

56


Project

203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect

CHARLES AND RAY EAMES LOW HEIGHT WALL ELEV. +13'-4"

SECOND FLOOR

16

ELEV. +9'-4" 15 1"

14

12

7"

13

11

11"

9'-4"

7"

10 9 8 7 6 5

2'-10"

4 3 2 1

FINISHED FLOOR ELEV. +0'-0"

13'-4"

02

STAIR SECTION SCALE: 1/2" = 1'-0"

LOW HEIGHT WALL ELEV. +13'-4"

SECOND FLOOR

16

ELEV. +9'-4" 15

Date

Issued For

14 13 12 11 10 9'-4"

9 8

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

1

3'-8"

7 6 5

No.

Date

Revision

03

02 A6.0

DN

A 6.0

4 3 2 1

FINISHED FLOOR

Issued For:

ELEV. +0'-0"

ID375

13'-4"

13'-4"

Issue Date:

04/ 27/ 18 Scale:

STAIR ELEVATION SCALE: 1/2" = 1'-0"

03

STAIR PLAN SCALE: 1/2" = 1'-0"

01

1/2" = 1'-0" Drawn By:

ELIZABETH RIVARD Drawing Title

STAIR PLANS & SECTION Drawing No.

A6.0

C O N S T R U C T I O N D O C U M E N T + STAIRS

57


Project

203 N. CHAUTAUQUA BLVD PACIFIC PALISADES, CA

Architect

CHARLES AND RAY EAMES

DESK TOP ELEV. +2'-6"

FINISHED FLOOR ELEV. +0'-0"

RECEPTION ELEVATION

05

RECEPTION ELEVATION SCALE: 1/2" = 1'-0"

04

03

RECEPTION ELEVATION SCALE: 1/2" = 1'-0"

02

RECEPTION ELEVATION SCALE: 1/2" = 1'-0"

1"

SCALE: 1/2" = 1'-0"

2"

3'-6"

2"-2"

6"

3'-0"

A 3.0

2'-2"

Date

07

02

Issued For

1"

1"

05

6" 4"

6"

1'-4"

No.

04 07

2'-9"

2'-9"

1" 3"

Date

Revision

A 1.0

A1.0

4" 3"

4'-6"

03 A 3.0

A 1.0

5'-0"

A1.0

13'-0"

6"

13'-6"

Issued For:

RECEPTION SECTION SCALE: 1-1/2" = 1'-0"

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RECEPTION SECTION SCALE: 1-1/2" = 1'-0"

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ID375

RECEPTION PLAN DETAIL SCALE: 1/2" = 1'-0"

01

Issue Date:

04/ 19/ 18 Scale:

1/2" = 1'-0" Drawn By:

ELIZABETH RIVARD Drawing Title

RECEPTION DESK PLAN, ELEVATIONS, & SECTIONS Drawing No.

A1.0

58 C O N S T R U C T I O N D O C U M E N T + RECEPTION DESK


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Re�o��ing the Re�o

PHYSICAL COMPOSITION Imagining a Human-Scaled Southland

25mph speed limit Encourage biking

COOL DOWN Surface before: 140.5

Surface after: 87.5

Increase plant life

Community space

SLOWED PACE

GREEN SPACE Green buffer zone

Crosswalks and speed humps every 150 feet to slow traffic

Before: 30% of parking used After: 100% of parking used

HUMAN CENTRIC Central park

Parallel parking Increase walkability

Close to storefronts

Increase tree canopy and ground cover

Rendering by Will Hodges

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C O N C E P T U A L + GRAPHIC PRESENTATIONS


OBJECTIVE Graphics are important because they are a translation from the purely verbal to the visually compelling. They tell a story and build rapport. They can convey a lot of information in a legible, exciting way.

SKILLS USED Illustrator + Photoshop + InDesign + PowerPoint

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Southland NG IVI

PROCESS Graphics begin with an idea, a message that can be interpreted through multiple mediums. Then, a basic graphic language must be applied to create a cohesive, legible design. This includes color, text, and shape as part of the storytelling. Finally, the arrangement of the pieces must compel the reader to continue and grow excited about what she read.

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Inspira�on

Quirky. Familiar. Thriving. These three words describe Southland Drive well. As it has grown and matured over the past half-century, Southland has developed a unique flavor all its own. These images guided me in defining this fun, retro, community-oriented area of Lexington. They illustrate the importance that Southland places on music, food and drink, and nostalgia. The bubbly, warm feeling pictured here is evokative of the flourishging spirit of the Southland neighborhood. The logo attempts to recreate that feeling through its use of cheery, eclectic colors and fun, intriguing type. The circular shape represents the unity and community solidarity of Southland, while the combination of different colors represents its diversity of people and space. The stars add a bit of playful nostalgia while adding modern visual interest.

Graphic Standards

K�en

Drawn from the inspiration board, these colors represent the essential atmosphere of Southland Drive. They are warm and welcoming, vibrant and varied, just like the place they describe. Practically speaking, the neutral brown and gold tones serve as a background and base for the brighter teal, red, and peach hues, which should be used more sparingly. When all the colors are used, red should represent the quirky trait, lighter gold the familiar trait, and teal the thriving trait

The fonts were selected for their modern-vintage feel. The combination of a bold cursive with a slender sans serif revives nistalgia while providing a punchy, youthful vibe. Practically speaking, the Kitten font is to be used as the main font, with the Marbe Sans font as the secondary font. However, if more variety is needed (especially in non-permanent items such as posters, stickers, and merchandise, the two may be switched. Garamond is always to be used only as the body.

abcde��hijklmnop�r�tuv�xyz ��������������������������

Marbre Sans

abcdefghijklmnopqrstuvwxyz

Garamond

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRTUVWXYZ

Examples NG IVI

Southland

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mm

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These address numbers would go onto all of the storefronts. Color variations (from within the color palatte) are encouraged to create a unified diversity of signage, as well as to provide an match easier match to already existing store branding.

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This signage features the logo of Southland in a large, lit storefront or street circular peice. This can be hung on a storefront that has transformed into a community hub for neighbors, shoppers, and co-workers to gather and learn about each other and the Southland area. It can also be utilized in smaller form next to existing business signage to symbolize pride in Southland Drive.

These location pin stickers can be used as bumper stickers, accessory stickers, or window stickers in stores. It helps to emphasize the importance of Southland as a location, even when not physically in the area

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Southland

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Southland

This alternate logo shows reversed primary and secondary fonts. While this would not be used in official or representative signage, it could certainly be used for personal or specialty items.

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Southland

A revamped website could be a crucial part of branding Southland. Below is an example of what a home page could look like, with the logo on top, followed by categories of interest, each with drop down bars specifying the content. The “front page” could emulate the front page of a newspaper - full of the news affecting the area, such as a recent bluegrass concert.

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Southland

Quirky : Familiar : �hriving

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Southland NG IVI

Co

This signage incorporates the existing street signs by adding a bit of flair to them. On top of the regular street signs, a Southland medalion is placed to give definition to the neigborhood as well as to unify the area and remind visitors where they are.

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Southland

CHERRYBARK DR

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Tee shirts allow Southland Drive affectionados to share their love of the area in a stylish, reusable way. Severeal differet shirt options could be available to cater to the tastes of various parties.

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About

Mission

Events

Commercial

Residential

Contact

Blue�ra� Fe��val Fun! Groceries By Elizabeth Rivard 9/19/16 Restaurants AsHealth Bluegrass fans gathered from around the Kentucky region, they were treated to delightful tunes by a certain very famous and talented bluegrass Fitness band. This ensemble featured multiple people, including several men and several women, playing multiple instruments, including a banjo, guitar, Styleprobably a couple of homemade noise makers, and maybe a harmonica, tamborine for fun. Loudspeakers and microphones amplified the folksy noises Services being produced by the musicians. The Gifts music was very reflective of the bluegrass genre, and the audience included both avid bluegrass fans and those who happed to be strolling along

Video lecture Visual summary

enjoying the evening. It was a lovely symbol of the Southland Community.

neighborhood branding package Elizabeth Rivard // ID 321 // Fall 2016

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C O N C E P T U A L + FINE ART


OBJECTIVE The fine arts encourage humans to look closely at the world around them, to truly see the beauty present in the great and little things. They also inspire creativity and a new perspective on life, design, and purpose, and therefore contribute to the development of a holistic person. PROCESS To paint is to take in the world one stroke at a time. It involves diligent preparation, thoughtful layout, and freedom from preconceived notions. SKILLS USED Sketching + Painting + Screen Printing

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S T U D Y A B R O A D + SEMESTER IN FLORENCE, ITALY

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OBJECTIVE Traveling to experience new cultures and landscapes is one of the most exciting and influential ways to expand the horizons of the mind Traveling to a place like Florence, Italy, allowed for daily analysis of historical, architectural, and cultural shifts from the ancient Etruscans through birth of the Renaissance though the modern day. PROCESS After navigating the Visa process and packing for four months in a couple of bags, Italy was a burst of vibrant culture. It served as a beautiful, welcoming home-base for my studies, as well as my traveling to ten other European countries (by train, bus, and plane). SKILLS USED Problem Solving + Cultural Awareness + Historical Analysis

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ELIZABETH RIVARD 952.649.1844 considering.elizabeth@gmail.com

T H E E N D + THANK YOU! 66

Portfolio  

UK CoD School of Interiors

Portfolio  

UK CoD School of Interiors

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