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EMILY R. KIRWAN

. | EKIRWAN@LIVE.COM

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CALIFORNIA POLYTECHNIC STATE UNIVERSITY COLLEGE OF ARCHITECTURE AND ENVIRONMENTAL DESIGN BACHELOR OF ARCHITECTURE | SPRING 2012 | PORTFOLIO

A SPECIAL THANK YOU TO KAREN LANGE AND THE FACULTY OF THE ARCHITECTURE DEPT FOR THE ADVICE, MOTIVATION AND DESIGN INSPIRATION FOR ALL OF THE FOLLOWING:


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EVOLO SKYSCRAPER COMPETITION

SANCTUM WINTER 2012 | INDEPENDENT | LONDON EMILY KIRWAN, RACHEL JANZEN, JOSEPH VARHOLICK


EMILY R. KIRWAN

. EVOLO | WINTER 2012 | EKIRWAN@LIVE.COM

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Modernity, Urbanism, along with all implicit expectations and impositions of lifestyle and culture have suppressed modes of human existence which are arguably most essential to our nature and happiness. “Our civilization is, generally-speaking, founded on the suppression of our instincts.” The well-established urban center seems to have its inhabitant’s lives well planed out, predetermined by a regulating infrastructure of steel and concrete. One occupies a ‘generic’ apartment complex, walks down a grid of streets, orthogonal movement only, ‘works’ in a tidy box, a cubicle in an office tower, staring at a screen, knowing what to and what not to do at any moment, knowing what is appropriate, knowing what is right and what is wrong, knowing the rules, knowing their place. Is it not easy to see many individuals afflicted by the increasing nervousness perpetuated by modern civilized life? “The man who in consequence cannot comply with the required suppression of his instincts, becomes a criminal, an outlaw. It was then found that men become neurotic because they cannot tolerate the degree of privation that society imposes upon them in virtue of its cultural ideals.” We wonder why we subject ourselves to an environment that seems to have little intrinsic reward. “Our socalled civilization itself is to blame for a great part of our misery, and we should be much happier if we were to give it up and go back to primitive conditions.” We imagine a time before, what it must have been like before one had to live up to such expectations, when the

world was simply the world, without symbols, without labels, before the greatest illusionist drew a line in the sand, called attention to the area and convinced the greatest fool that it was property. Should we not return to a lifestyle which perpetuates our happiness? Yet our knowledge of to-day disables us. We are fascinated by our technology and infatuated with the convenience it affords us. We see this concept of ours as an anchor preventing our escape, our salvation. However the machine is not in direct conflict with the practice of an essential or naturalistic life, rather its historical utilization is to blame. In fact, we must now rely on the correct application of technology to deliver ourselves from the implications of modernity. We will raise ourselves above the cities. Let it be called an allegorical ‘afterlife.’ Here we rely on technology only as primitive man relied on the earth. This new place is separate and sustainable, nomadic; it feeds on the scraps of society below and grows, evolves opportunistically, according only to the will of its liberated inhabitants. Here communities live in a greater harmony, in closer care and cooperation, analogous to primitive tribes or communes, treating resources as natural commons. This notion can be afforded by limited, isolated populations and in turn implies carrying capacity, a necessary schism, and the opportunity for a multitude of independent infrastructures, each of their own identity. Here we escape the ‘nervousness of modernity.’ Here we find Salvation.


EMILY R. KIRWAN

. EVOLO | WINTER 2012 | EKIRWAN@LIVE.COM

SOLAR ENERGY COLLECTION HYDROGEN FILLED FLOATION/SOLAR SHIELD

OVERALL

VOID

CIRCULATION

STRUCTURE

H2O RETENTION LIGHT DIFFUSION RAINWATER COLLECTION HYDROGEN OXYGEN

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INDIVIDUAL

HELIUM | H2O

CONTACT

ELECTROLYSIS ENERGY STORAGE H2O

HYDROPONIC FARMING

DOCKING PORT/STABILITY

HYDROPONIC FARMING

RAINWATER FILTRATION/RETENTION

LOADING DOCK

SCRAP COLLECTORS FOR FABRICATION STUDIO WIND ENERGY COLLECTION/GENERATION INDIVIDUAL HARVESTER COMMON--INDIVIDUAL CIRCULATION


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EMILY R. KIRWAN

. EVOLO | WINTER 2012 | EKIRWAN@LIVE.COM

300’

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TRANSLUCENT QUALITIES OF MATERIAL, ADJACENT TO A CHAIR MADE BY MY GRANDFATHER


EMILY R. KIRWAN

. VELLUM 8 | FALL 2011 | K. LANGE | EKIRWAN@LIVE.COM

PLANKS OF MATERIAL AFTER BANDSAW

FORMWORK

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FORMWORK

FURNITURE COMPETITION

VELLUM FALL 2011 | STUDIO 400 | SAN LUIS OBISPO


KAOHSIUNG INTERNATIONAL

CRUISE PORT TERMINAL SUMMER 2010 | DOERFLER | RNT + BURO HAPPOLD | TAIWAN

EMILY KIRWAN, KATIE STUART, BEN HAIT-CAMPBELL, CHARLES BOYD, FELIPE PIRIS, MEGAN WALKER, VERA JUUL, STEPHEN NI

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In collaboration with RNT Architects and Buro Happold Consulting Engineers we worked to design an international cruise ship terminal in Kaohsiung, Taiwan. It was a competition open to all design professionals, and so our job as students was to come up with a concept design and 20 page comprehensive submittal in order for RNT and Buro Happold to enter it into the competition. We worked in stages, at first individually, then in pairs, and finally we narrowed the focus down to a single project. This particular group was really fun to work with because, without practically any discussion or direction, everyone figured out what they would be the best at producing/adding to the project. I spent the majority of my time working on the schematic floor plans for the submittal. It was a HUGE program so it took quite a while to get a grasp on the programmatic flow especially for the complex requirements of an international transit hub. It was very time consuming but at the same time it was extremely rewarding to be able to make things work. I also was able to focus on a bunch of the environmental examination requirements. This meant working closely with the consultant from Buro Happold who came to meet us. He explained the best way to make the space airtight, which was a necessity in the extremely humid and tropical climate of the area, as well as how to best use the surrounding water to our advantage when dealing with the cooling and heating as well as focusing on rain water retention, which would be a big factor in the city where rain is so prominent, and where our project focused so much on landscaped park. Our concept ended up revolving around the actual ship itself and trying to create a link to the fabric of the city. The FLUIDITY of the form allowed us to maximize usage of the long narrow waterfront site, while laying low to the land, in an attempt to mimic the proportion of the ships it would be serving, acting as a fluid transition piece from the city to water. Several skin studies, including kinetic systems, were done in order to maximize the solar efficiency of the building as well as to highlight the intention of our project, as a unique landmark and strong addition to the waterfront skyline of this port city.


EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER| EKIRWAN@LIVE.COM

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EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER | EKIRWAN@LIVE.COM

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FORMAL MEDIATION

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The unique scale and discrete form of a passenger ship stands in stark contrast to the diverstiy of the urban fabric. Since the passenger terminal is the gateway between the two, its form serves to mediate between them, reconciling the monumental object-ness of the ship with the interconnectedness of the city. FORMAL MEDIATION The unique scale and discrete form of a passenger ship stands in stark contrast to the diversity of the urban fabric. Since the passenger terminal is the gateway between the two, its form serves to mediate between


EMILY RUTHVEN KIRWAN

auditorium

water filtration

offices

follies

commercial

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cafe

ekirwan@calpoly.edu

PVs

roof deck

terminal

green roof

concourse

LED wall


EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER | EKIRWAN@LIVE.COM

SECTION - LOOKING WEST

SECTION - LOOKING EAST

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LONGITUDINAL SECTION 1

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高雄港

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KAOHSUING HARBOR

高雄港

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KAOHSUING HARBOR

3 1. Concourse

2. International Terminal

Departing Passengers

1. Concourse

Arriving Passengers

2. International Terminal

Departing Passengers

3. Domestic Terminal

4. Offices

5 Office Workers

6. Commercial

LONGITUDINAL SECTION 2

General Public

3. Domestic Terminal

Arriving Passengers

5. Underground Parking

4. Offices

Office Workers

5. Underground Parking General Public

6. Commercial


LEVEL8 8 FLOOR

FLOOR LEVEL7 7

CRUISE SH

VERTICA

ARRIVA FLOOR LEVEL6 6

FLOOR LEVEL5 5

SERVICE

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INTERN

LEVEL44 FLOOR 18

ROOF G

TERMIN FLOOR LEVEL3 3 (DEPARTURE

AND PUBLIC ATRIUM)

LEVEL 8

LEVEL 7

CRUISE SHIP TERMINAL VERTICAL CIRCULATION

VERTICA FLOOR LEVEL2 2

COMME

ARRIVAL

LEVEL 6

LEVEL 5

SERVICE SPACE

PORT A

SECURITY / OFFICE INTERNATIONAL DEPARTURE / GREAT HALL DEPARTURE

LEVEL 4

PORT AU

GROUND LEVEL 1LEVEL (ARRIVALS)

LIVING

ROOF GARDEN TERMINAL PARKING

LEVEL 3 (DEPARTURE AND PUBLIC ATRIUM)

PORT AUTHORITY

PARKING LEVEL -1 PARKING LEVEL B1

VERTICAL CIRCULATION

LEVEL 2 COMMERCIAL PORT AUTHORITY PARKING

LEVEL 1 (ARRIVALS) LIVING ATRUIM

PARKING LEVEL B1

OFFICE

PARKING LEVEL -2 PARKING LEVEL B2

OFFICE


EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER | EKIRWAN@LIVE.COM

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CITY BUS STOP

POST OFFICE / CONVENIENCE STORE BIKE PARK PORT AUTHORITY LOBBY COMMERCIAL LOBBY

Office BIKE PARK

Commercial Vertical CirculationPort Authority Arrival

AR RI VIAL / PICK UP BIKE PARK STORAGE

BAGGAGE HANDLING

RESTAURANT

PARKING

TRAVEL SERVICES

ARRIVAL LOBBY

Service Space Vertical Circulation-Terminal CONNECTION TO WATER RETENTION TANKS

CONNECTION TO WATER RETENTION TANKS

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COMMERCIAL COMMERCIAL LOBBY

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Commercial Vertical CirculationPort Authority Arrival

OFFICES CUSTOMS INTERVIEW

VOID OVER

BAGGAGE CLAIM

ARRIVAL HALL

CUSTOMS

OFFICE TRAVELERS’ SERVICE CENTER

Security

OFFICE

Vertical Circulation-Terminal

VOID OVER

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LEVEL 2

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OUTDOOR PATIO

CAFE

VOID OVER FLOOR 3 LOBBY

Office

COMMERCIAL

COMMERCIAL LOBBY

ANCILLERY / CONFERENCE CENTER

DUTY FREE

Public Atrium Commerical

ATRIUM

MECH.

OFFICE

VOID OVER

Vertical CirculationPort Authority Arrival MECH. DOMESTIC WAITING AREA

Vertical Circulation-Terminal /Mechanical

VOID OVER

MECH.

Security

TICKETING /BAGGAGE CHECK

SECURITY

MECH.

ARRIVAL / DOMESTIC DEPARTURE CONCOURSE

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SCALE 1:1000m 50

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COMMERCIAL MECH. RM

OFFICE

STOR AGE

FLOOR 4 LOBBY

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CAFE

Office

Confrence Center VOID OVER

COMMERCIAL

Office

Living Atrium VOID OVER

Commerical Vertical CirculationPort Authority Arrival

VOID OVER

MECH.

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MULTIFUNCTION

OFFICES DEPARTURE LOBBY

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International Dept.

INTERNATIONAL WAITING

Vertical Circulation-Terminal /Mechanical

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LEVEL 4

SCALE 1:1000m 50


EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER | EKIRWAN@LIVE.COM

COMMERCIAL CENTER

LIVING ATRIUM

COMMERCIAL ATRIUM

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5:30AM 50 12PM 90

JUNE 21ST 6:30PM 50

SEMPTEMBER 21ST

12PM 12PM 43 68

6AM 0

8AM 9

DYNAMIC SHADING SYSTEM PREVENTS DIRECT SOLAR GAIN & PERMITS DIFFUSE LIGHT INTO THE ATRIUM

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6PM 0

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SUMMER

LIMITED SOLAR GAIN FROM LOW ANGLE SUN DUE TO BUILDING FORM, BIPV & SHADING SYSTEMS

BIPV FOR POWER GENERATION

FULL HEIGHT NORTH GLAZING PROVIDES EXCELLENT DAYLIGHTING IN OFFICES AND MEETING ROOMS

REDUCED SOLAR GAIN THROUGH ANGLED GLAZING DIFFUSE LIGHT

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ARTIFICIAL DIMMING PROFILE

80%

SOUTH BIPV PROVIDE SHADE & POWER

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DIFFUSE NORTHERN LIGHT TO COMMERCIAL SPACE

DAYLIGHTING TO BELOW GRADE PARKING

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SOUTH GREEN ROOF RETAINS & FILTERS RAINWATER ROOF RUN-OFF DIRECTED TO RAINWATER STORAGE TANKS ROOFTOP RAINWATER RETENTION TANK

MECHANICAL SYSTEMS ROOM TEMP. AIR TO CHILLED BEAMS CHILLED WATER TO CHILLED BEAMS

GRAVITY FED IRRIGATION WITH RECYCLED RAINWATER

STEP 1

COLLECTION

CHILLED AIR TO CONDITIONED SPACE

RECYCLED RAINWATER LINE FOR NONPOTABLE USE RE-USE FOR BIO WALL IRRIGATION

FAN COIL PROVIDES EFFICIENT COOLING

ROOM TEMPERATURE AIR TO CHILLED BEAMS

STEP 2

TRANSPORT

RECYCLED RAINWATER LINE FOR NON-POTABLE USE

GREEN ROOF PROVIDES ENHANCED INSULATION & THERMAL MASS

INTERNAL GREEN SPACE

TREATED STORM OVERFLOW TO HARBOR

FILTERED WATER STEP 4 RE-USE

RAINWATER STORAGE TANK

STEP 3

RETENTION & INFILTRATION IN ADJACENT PARCELS

STORAGE

FINAL FILTRATION

CHLORINE DOSING & DYE INJECTION

CHILLED BEAM


EMILY R. KIRWAN

. KAOHSIUNG PORT | SUMMER 2010 | DOERFLER | EKIRWAN@LIVE.COM

SKIN SYSTEM

MAIN TERMINAL

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ATRIUM ACTS AS A THERMAL BUFFER & REDUCES HEAT GAIN AND INFILTRATION

DEDICATED OUTDOOR AIR UNIT PROVIDES EFFICIENT HUMIDITY CONTROL

HEAT RISES TO HIGH LEVEL

COOL LOW LEVEL ZONE

OUTDOOR TERMINAL


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EMILY R. KIRWAN

. MERCATO FIRENZE |SPRING 2011 | CSU FIRENZE | EKIRWAN@LIVE.COM

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MERCATO FIRENZE

MIXED-USE MARKET SPRING 2011 | CSU FIRENZE | FLORENCE, ITALY

EMILY KIRWAN, BRITA SPANO, ANDREW LIU

MARKET SOUTH ENTRANCE


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MARKET NORTH ENTRANCE


EMILY R. KIRWAN

. MERCATO FIRENZE |SPRING 2011 | CSU FIRENZE | EKIRWAN@LIVE.COM

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GROUND LEVEL

LEVEL 2

LEVEL 3 AND ABOVE

SECTION PERSPECTIVE


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AUDITORIUM LOBBY


EMILY R. KIRWAN

. MERCATO FIRENZE |SPRING 2011 | CSU FIRENZE | EKIRWAN@LIVE.COM

SCREEN OPERATION sliding panels

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RETAIL ICONS

SCREEN DETAIL steel track and rollers for sliding screens

RETAIL SCREENS day to night


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INSTALLATION ON-SITE


EMILY R. KIRWAN

. SILICONE | FALL 2011 | PONITZ| EKIRWAN@LIVE.COM

CAL POLY DIGITAL FABRICATION

SILI CONE

FALL 2011 | PONITZ | SAN LUIS OBISPO EMILY KIRWAN, ROBERT NEALAN, NINA IDZERDA, DAVID SPITTLER WWW.11ARCH461.WORDPRESS.COM

This project was a part of a trial seminar focusing on digital fabrication and its integration into the realm of architecture. The class was broken down into research teams who would focus on the attributes of various materials and their application in digital fabrication and ultimately a installation system.

MODULE MOLD

My group focused on the use of silicone in order to create an installation within the Cal Poly campus. We focused on the advantages and failings of its application in a module form. By flaunting the ability of silicone to stretch and deform into multiple different forms even by using a uniform mold, we were able to create a undulating form that would act in tension, as rubber is prone to do. We analyzed the points of stress that would need to be reinforced within the module, and used the depth and therefore strength in the point of the module that we chose to take away flexibility in order to vary the deformation of the module, making it less unifrom over the shape of the tensile form. SILICONE CASTING

MODULE DEFORMATION

APERTURE PHASES

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EMILY R. KIRWAN

. SILICONE | FALL 2011 | PONITZ | EKIRWAN@LIVE.COM

Final Connection

Iteration 1 Interation 2 Iteration 3 CLIP CONNECTION GENERATION

ITERATION 1

ITERATION 2

ITERATION 3

FINAL CONNECTION

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1. With one hole the small clip pulls out of the rubber mold

1.With one hole the small clip pulls out of the rubber mold

2. The grip is increased with an added hole

2. The grip is increased with an added holes

3. With four holes the connection is secure but the acrylic is a weak point

3. With four holes the connection is secure but the acrylic is a weak point


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PROCESS


EMILY R. KIRWAN

. CULTURAL CENTER | FALL 2009 | YIN| EKIRWAN@LIVE.COM

ENTRY PERSPECTIVE

ELEVATION

PHYSICAL MODEL

SALINAN INDIAN

CULTURAL MUSEUM FALL 2009 | PROFESSOR MARGARITA YIN | JOLON, CA

I chose to focus on ADAPTATION as my concept, because, as discovered through extensive research, the Salinan tribe was very peaceful, and when the missionaries came to the central coast, there was very little resistance from the tribe when they were forced to adopt missionary life. In fact, to this day the tribe still values the mission community and embraces it as their own. I interpreted this unique quality in a building that melded into the rolling landscape of the site, and in fact, dug down into the earth in a way to enhance the connection the tribe had with the natural environment as well as emulate their cave dwellings. I attempted throughout my project to diminish the separation between horizontal and vertical surfaces, and create a system where wall becomes overhang and ceiling becomes partition. The space was created but less by boxes, and more by the form of the structure. This has become an important design philosophy I have tried to use for all of my projects—to let the conceptual form and skin of the building, actually inform the spaces inside. This allows the visitor to experience the spaces in two ways: outside, they are aware of the spaces and vpotential activity within and inside they are closer to the light and outside environment. It is good to not just create a skin to cover a box but a skin to inform a space.

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EMILY RUTHVEN KIRWAN

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ekirwan@calpoly.edu


EMILY R. KIRWAN

. FLOATING STAGE | SPRING 2011| EKIRWAN@LIVE.COM

DAWNTOWN COMPETITION

FLOATING STAGE SPRING 2011 | CSU FIRENZE | MIAMI, FL EMILY KIRWAN, JOE VARHOLICK, RACHEL JANZEN, LUKE WALLACE

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EMILY R. KIRWAN

. PLASTICITY | FALL 2011 | STUDIO 400 | EKIRWAN@LIVE.COM

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THESIS BOOKSHOW INSTALLATION

PLASTICITY

FALL 2012 | K. LANGE | BERG GALLERY | SAN LUIS OBISPO, CA A TEAM EFFORT BY STUDIO 400


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EMILY R. KIRWAN

. PLASTICITY | FALL 2011 | STUDIO 400 | EKIRWAN@LIVE.COM

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PROCESS


EMILY R. KIRWAN

. PLASTICITY | FALL 2011 | STUDIO 400 | EKIRWAN@LIVE.COM

INTERACTION

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Emily Kirwan