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M K

K E LSEY MUIR INTERIOR

DESIGN FALL

2016

PORTFOLIO


I N TROD UCTION Looking back on the semester, one of the biggest takeaways I’ve learned is that every design decision made during a project is deliberate. Every choice of color, material, or spatial component should have logical relation to one’s concept. As the semester progressed, I gained a stronger understanding of how to make these types of decisions and revise aspects of a project that may not necessarily be strongest through diagramming, sketching, constructing models, digital renderings and process notes.

K E LSEY MUIR INTERIOR

DESIGN FALL

2016

PORTFOLIO


SK

SP

AP SP AC ES

HE

S

E A ND CE RE MO NY

ING

ETC

AC

SH

C O N T EN T


SHA PING S P A C E S OBJECTIVE Use golden rectangle proportions to create five distinct spaces within the limits of the rectangular prism; then explore depth, light, and shadow through color in digital renderings of the final model. CONCEPT An open plan with clear circulation allows for overall fluidity of movement and color. FURTHER EXPLANATION The examination of how spaces interact and how those interactions create various experiences for a user is the vital question behind Shaping Spaces. Initial research emphasized the formulation of a space that incorporates both openness and hierarchy. My main design intent for my process models and ultimately my final model was to emphasize openness but still include five distinct spaces, so I maintained visibility into most of the spaces to expose the spaces’ connections and used partial enclosure to define them. This exploration of different degrees of enclosure and considering what exactly defines a space guided me to the concept of fluidity. Inspired by my precedent research on the Barcelona Pavilion, my second intent was to create a clear sense of movement; beginning at either threshold, the arrangement of the planes shapes the circulation path to create a flow through the space. Either path leads to the single, most enclosed area on the second level, establishing a hierarchy of spaces. In order to represent the concept of fluidity, I employed a monochromatic color scheme of muted blue-green tints and shades. By connecting the five spaces through color, the various tones work together to show the interaction between light and shadows, and the receding, cool tones communicate the depths and heights of the generously scaled space.


PRECEDENT RESEARCH BARCELONA PAVILION Ludwig Mies van der Rohe

DISCOVERIES Strong geometries, open plan with clear circulation, various degrees of enclosure.

source: https://commons.wikimedia.org/


DIVISION OF SPACE Analyzing the relationship between interior and exterior spaces. Overlap occurs where areas are not entirely interior or entirely exterior.

CIRCULATION Possible paths through the space, dictacted by the placement of the walls. The primary path of circulation is represented by arrows, whereas the dotted lines represent secondary paths.

ORDERING SYSTEM: UNDERLYING GEOMETRIES The entire site falls on grid system devised for the project. Placement of elements such as walls and partitions are based off of the grid.

PARTI Simplfied to show only the framing elements of the space.


PROCESS MODELS & FINAL MODEL After creating five process models with bristol and tape to explore various degrees of enclosure and to decide what conditions need to exist in order for an area to be considered a distinct space, a final model was constructed with mat board. There are multiple voids to maintain visibility into the space to clearly identify the five spaces, and also to reveal the interaction between light and shadow.

1. USING CUTS IN WALL TO DIVIDE SPACE

2. CORRIDOR-LIKE SPACES

3. HIERARCHY: MOST DEFINED SPACE TO LEAST

FINAL MODEL PROCESS SKETCHES INSPRIED BY PROCESS MODEL 2 4 & 5. UTILIZING CEILING PLANE AS VERTICAL DIVIDE


FIRST LEVEL PERSPECTIVE


FIRST LEVEL FLOOR PLAN NTS

SECTION DRAWINGS, BRISTOL & PENCIL

COLOR STUDY, PHOTOSHOP

ELEVATION DRAWINGS, BRISTOL & PENCIL


SECOND LEVEL PERSPECTIVE


SECOND LEVEL FLOOR PLAN NTS

The window in the final model was modified to stretch the entire height of the second level, allowing as much natural light as possible to penetrate the interior and create stronger shadows.

CROSS SECTION NTS


SP A CE AND C E RE MO NY OBJECTIVE Create a spatial condition for a visitor center that captures the essence of a chosen cultural ritual and that serves as the gateway to a pavilion, which also represents some important aspect of the ritual. CONCEPT An orbital path based off of a central point guides the user through an illuminated, interactive space. THE RITUAL The Chinese Mid-Autumn Moon Festival is a time of reunion for families as they celebrate another year of successful harvest and good fortune. Family members gather to eat, light lanterns to signify wishes for the Sun’s light and warmth after winter, and worship the full moon, which is traditionally known to symbolize prosperity, happiness, and harmony.


EXHIBIT SPACE PERSPECTIVE


PRECEDENT RESEARCH GLASS TEA HOUSE MONDRIAN Hiroshi Sugimoto

DISCOVERIES Hierarchy of spaces, strict circulation path dictated by hierarchy, consistent geometries of squares and rectangles.

source: http://www.uncubemagazine.com


GLASS TEA HOUSE Hiroshi Sugimoto western

setting

healthy

calming

eastern

ritual

spiritual

BACKGROUND Glass Tea House Mondrian presents an eastern ritual (the Japanese tea ceremony) within a western setting (Venice, Italy). The four constituent principles of a tea ceremonyharmony, respect, purity, and serenity- are incorporated into the space through various spatial conditions.

HIERARCHY Within the space, the Glass Tea House itself is the most important component because this is where the ceremony takes place. The seating areas are of next greatest importance, where visitors can observe the experience. The ceremony would not occur without the preparation area, and the reflecting pool partially dictates the circulation.

MATERIALS AND TEXTURES Most materials used in the space possess either a transparent or reflective quality such as glass panels or glass tiles, and others are natural materials such as bamboo or wood. Stones and concrete have similar textural qualities that contrast the more sleek, smooth surfaces like glass and steel.

CIRCULATION The path a person takes through the space depends on their position in the ceremony (observer, participant, or tea master), but all paths are influenced by the methodical placement of components such as the pool. DIAGRAMMATIC MODEL, MAT BOARD


PROCESS

PRELIMINARY SCHEMES EXPLORING DIFFERENT FLOOR PLAN CONFIGURATIONS

FINAL SCHEME FOR SCHEMATIC PHASE

CONCEPT DEVELOPMENT Repetition of circular geometries is consistent throughout the space and pavilion. The concentric diagram reveals the underlying orbital motion produced by the paths of circulation within each area of the space. The most important aspects of the Chinese Moon Festival are the influencing factors of both the concept and the digital interactive stations in the exhibit space.


DESIGN DEVELOPMENT

A culmination of diverse cultures: In proximity to the Park’s iconic Bethesda Terrace and Fountain, the building’s placement in Sheep Meadow allows for optimal foot traffic. The orientation of the building on the site creates a circulation path through the space that mimics the movement of the moon. Visitors walk through the space from east to west, just as the moon rises and sets.

COLORS AND MATERIALS

Pieces with curved or circular forms mimic the orbital path taken through the space and the shape of the full moon.

RECEPTION FURNISHINGS


RENDERINGS

AXON


Inspired by the illumination of a full moon, many of the lighting or wall features appear to glow in the dark space. On the feature wall of the exhibit, various designs used on moon cakes, a traditional delicacy of the festival, contrast the navy blue wall.

PAVILION PERSPECTIVE Utilizing the same materials and colors as the interior, the pavilion aims to evoke a feeling of wonder and appreciation similar to the feelings of happiness and thankfulness that family members share during the festival. The illuminated structure in the center of the contrastingly dark circular area extends through the roof and draws one’s eyes upward into the infinite sky, as if worshiping a full moon. As within the visitor center, the circular geometry of the pavilion forces an orbital movement in order to navigate in and around the space.

The interactive digital exhibits help to better inform visitors of the traditions and rituals of the Moon Festival. Each station explores a significant aspect of the festival: its history and origin, the modern celebration and traditions, and why we worship the full moon.


SK E TCHE S Sketching is an invaluable skill for any type of designer, architect, or artist. It gives one the ability to transfer an idea in his/her mind onto paper to make it more than just a thought. Sketching from memory, a photograph, or a scene in real time allows to one to depict a moment in time with his/her own tools and techniques. The weekly sketching assignments allowed me to experiment with different shading techniques such as hatching, cross-hatching, and smudging. Using various line weights to define certain aspects of a sketch helped improve my ability to show contrast in a composition. Over time, I gained the confidence to practice using only a pen, which has encouraged me to do more quick, gestural-type sketches.

PEOPLE


GARLIC

CLUTTER

MINIATURES

MARK MAKING


INTENTIONAL DOODLING

ALTERED SPACES PLANS AND PERSPECTIVES

ALTERED STATES

THRESHOLDS AND PASSAGEWAYS


OLD MASTERS: RAPHAEL

OLD MASTERS: REMBRANDT

CLUTTER


M K

T HANK YOU KELSEY

VIRGINIA

MUIR

TECH INTERIOR CLASS OF 2019

DESIGN

Fall 2016 Interior Design Portfolio  

Kelsey Muir Virginia Tech Interior Design, Fall 2016

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