LAURA LAURA ALEXANDRA ALEXANDRA SUPPAN SUPPAN
LAURA ALEXANDRA SUPPAN lauraalexandrasuppan.com email@example.com New York | Vienna
ii. PARSONS SCE i. INSTALLATIONS - BUILT ENVIRONMENTS INSTALLATION AT THE WHITE HOUSE reach higher installation ORNAMENTS FOR THE WHITE HOUSE extension to the original installation WANTED DESIGN INSTALLATION exploring veneer SCE STAIRCASE INSTALLATION a critical look at vertical movement AFTERTASTE INSTALLATION theory becomes physical AFTERTASTE INVITATION visual top off
iii. iii. NEW NEW DESIGN DESIGN UNIVERSITY UNIVERSITY FLAGSHIP STORE BA work ST. RUPERT CHURCH addition to an ancient temple SHANGRI-LA HOTEL superior++ hotel suite IPPODO TEA HOUSE a modern approach of traditional crafts RINGTOWER bar & restaurant
MFA THESIS: MINIMAL/MAXIMAL: FROM THEORY TO PRACTICE definition and application ANTHOLOGY FILM ARCHIVE allied studio work ANTHOLOGY FILM ARCHIVE FURNITURE STRATEGY extended studies & detailed proposals THE MANHATTAN HOUSE luxury dwelling THE MANHATTAN HOUSE FURNITURE STRATEGY customized furniture THE LAUNDROMAT PROJECT the poetry of a chore
iv. INTENSIVES THE BEACH STONE induviduality of a container THE NOGUCHI MUSEUM analysis, installations & hand drawings
INSTALLATION AT THE WHITE HOUSE PARSONS 2014
FACULTY ADVISORS: ALLISON MEARS, JONSARA RUTH, HELEN QUINN
A select group of sixteen students from eight disciplines of the School of Constructed Environments at Parsons were invited to design a temporary installation for the Reach Higher Fashion Workshop, an event hosted by Michelle Obama in the historic East Room of The White House in Washington D.C. Using over 200 discarded books and recyled materials, the installation reinforces the idea and concept of sustainability and education. The final production included a backdrop, a central podium, ten head pieces, two-hundred napkin rings, four columns, and eight mantel pieces.
Collaborators: Sofia Burlo, Lauren Parikh, Amanda EvengĂĽrd, Laura Yeh, Nelson DeJesus, Calvin Cheng, Alex Stewart, Mariam Alshamali, Mochi Liu, Julia Grunberg, Junrui Wang, Jordana Goot, James Clotfelter, Stephen Finney, Marina Lodi
FLOTUS Michelle Obama in front of the backdrop
ORNAMENTS FOR THE WHITE HOUSE PARSONS 2014
FACULTY ADVISORS: ALLISON MEARS, JONSARA RUTH, HELEN QUINN
Following the successful installation of the temporary environment in the East Room, we were invited by the White House to create Christmas ornaments for the holiday tree utilizing the same techniques developed for the original pieces.
Collaborators: Sofia Burlo, Amanda EvengÃ¥rd, Nelson DeJesus, Calvin Cheng, Alex Stewart, Julia Grunberg, Stephen Finney
prototyping with bristol
mock-up with bristol and veneer
six steps to create a Pansa-Panzer | abstracted folding techniques
WANTED DESIGN INSTALLATION PARSONS 2015
FACULTY ADVISORS: WILLIAM HASKAS
A group of ten students from four disciplines of the SCE investigated the possibilities of transforming a flat-sheet material into a threedimensional spatial form. Inspired by folding patterns of geometric objects the group created Pansa/Panzer, a self-supporting, mono-material installational piece that created multiple spatial conditions within the exhibition space of Wanted Design NYC. The process connected digital and analog design-techniques, while the overall scope and form of the piece was found and calculated through Rhinoceros and Grasshopper, the details of the units were created through hands-on experimentation with the material. This installation was a collaboration with the italian wood-veneer manufacturer Alpi. Collaborators: Sam Falco, Ariel Gonzalez Milan, Caleb Sillars, Joeseph Spnnato, Semi Park, Liv Marrese, Berna Yilmaz, Manvee Sherma, Giulio Milano
final installation at Wanted Design exhibition
SCE STAIRCASE INSTALLATION PARSONS 2013 - STUDIO 1
FACUTLY ADVISORS: ALLAN WEXLER & JOHN HARTMANN Manipulating the stairway of the School of Constructed Environments, this installation evokes spatial awareness and increased sensitivity to everyday movement. Conceived and constructed in one week, the installation was assembled in less than 15 minutes. The materials used were kept to a minimum of four: Woolthread, Cardboard, Metalwire, Zipties.
Collaborators: Marina Lodi, Connie Kim & Naoko Kato
AMBIGUITY & SENSIBILITY This installation offered a redisovery of familiar territory via the unfamiliar. Caught between shifting layers of desaturation and shadow, color and luminosity became touchstones that anchored the senses. The act of eating was refocused to create revelation within the ordinary.
The installation included circulation, furniture, lighting, graphic design, and food design.
AFTERTASTE INSTALLATION PARSONS 2014
FACULTY ADVISOR: JONSARA RUTH
Aftertaste is an annual symposium critically exploring interior design through a series of lectures and round table discussions with experts of the design field. The opening reception of this two day event is hosted by the first year interior design students through the installation of a temporary environment. Inspired by Lois Weinthal and Graeme Brooker‘s Handbook of Interior Design + Architecture–discussed and launched at the symposium–the constructed environment demonstrates how theory and practice could be tied into one experience. The installation focused on the ability of color and luminosity to alter atmospheres. By employing low-pressure-sodium luminaires, the color of the environment was neutralized save for focused light, rendering moments of color that accentuated the food.
SAVE. THE. DATE!
AFTERTASTE INVITATIONS PARSONS 2014
FACULTY ADVISOR: JONSARA RUTH This work is a play on ambiguity and color for the 2014 Aftertaste lecture series. The visual components provoked the holistic concept of the dinner reception. The setting, photography, and graphic design demonstrated how color and form can manipulate perception using an assemblage of recycled materials to imitate the menu of the event. Collaborator: Marina Lodi
a.taste r FR.O2.28.2O14.O8.OO.PM.25.E.13TH.ST
PARSONS SCE MFA INTERIOR DESIGN 2013 - 2015
FACULTY ADVISORS: ADAM ROLSTON ALEXA GRIFFITH ALLAN WEXLER ANDREW BERNHEIMER CALVIN TSAO DANIEL MICHALIK DAVID LEWIS DEREK PORTER ELIZABETH PARKER GABRIEL BENROTH
HELEN QUINN JOHN HARTMANN JONSARA RUTH KENT HIKIDA LAUREN GRAHAM LUBEN DIMCHEFF MICHAEL LEE PETER WHEELWRIGHT WILLIAM HASKAS YOLANDE DANIELS
MFA THESIS MINIMAL/MAXIMAL: FROM THEORY TO PRACTICE PARSONS 2015
FACULTY ADVISORS: YOLANDE DANIELS PUBLISHED IN METROPOLIS MAGAZINE JUNE 2015 EDITION Minimal is a frequently used term to describe constructed environments. But what are we actually saying when we talk minimal interiors or architecture? What are its confines and what are the implications projected through this term? In the second half of the twentieth century an extensive debate in Art, Literature, and Music has authored several sufficient definitions; theorists and makers have defined the means, methods, and manners of minimalism through the limitation of its capacity. Its opposite, maximalism, continues to be undefined, and therefore absent, in all disciplines. However, finding and defining the antonym is key in the process of rationalizing a term. The definition of minimal in design remains shallow and unsatisfying; the description mostly is a reference to solely formal attributes and diminishes this approach to a merely formalistic one; the theory is riddled with holes and is to be scrutinized. What is minimal in design, besides the absence of attributes? What are the spatial implications, and what is the social response? The economical definition of ‘Minimalprinzip’ and ‘Maximalprinzip’ are useful to reflect on: the limitation of resources and to reach a certain goal. What is really needed to create minimal space? How far can architecture be abstracted to create hierarchies of space through privacy and publicness. How little is needed to nuance an interior? view through the space from the library entrance
min¦im¦al|ism – noun
art: a movement in sculpture and painting characterized by the use of simple, massive forms - formally geometric and
using the smallest amount of resources
reaching the highest possible goal with
to reach a distinct goal 2
distinct resources 3
massive music: an avant-garde movement in music characterized by the repetition of very short phrases which change gradually, producing a hypnotic effect.
While the definition of minimal principle of the minimal limits the resources
and maximal yields no sufficient limitation used during a process, the principle of the towards design, German economics offer maximal looks towards the end-point of a
INTERIOR & DESIGN : A LACK OF DECORATION OR ADORNMENT IN STYLE
an interesting definition that is aplicable process. Here it becomes evident that one towards design: the principle of the minimal, cannot exist without the other. A minimal the Minimalprinzip, and the principal of the process will most likely end in a maximal maximal, the Maximalprinzip. While the result.
curent definitions and alternative proposals
1 http://www.oed.com/?authRejection=true&url=%2Fview%2FEntry%2F234084%3FredirectedFrom%3Dminimalism#eid 2,3 http://www.bpb.de/nachschlagen/lexika/lexikon-der-wirtschaft/20121/minimalprinzip - translated from German by the author
chinatown MINIMUM space we occupy
MAXIMUM density considerations of the four adjacent areas, social engagements, and local site
view through the library entrance
LIBRARY PRIVATE SPACES
view through the civic space from the main entrance on Broadway
program, spatial use, and furniture
view from an open library platform through the civic space
ANTHOLOGY FILM ARCHIVE PARSONS 2014 - ALLIED STUDIO
INSTRUCTORS: ADAM ROLSTON, GABRIEL BENROTH, ANDREW BERNHEIMER, DEREK PORTER
This project proposes a liberation of previously concealed space that is now dedicated to the public by voiding the existing building. The heavy, landmark facade of the original courthouse is a critical architectural component of the East Village vernacular identity. By minimally intervening in the historic façade, the building becomes open to the adjacent streets. The idea of interior and exterior space is inverted through the layering of architectural envelopes within the existing footprint. The available square footage is augmented by relocating the theaters underground, providing space to house classrooms, a library, and offices in addition to a film archive. The new interior design wraps around a core - the archive - allowing light to penetrate throughout the building during the day, while creating a central light source at night. The overall effect is a civic environment that engages the neighborhood while simultaneously maintaining the Archive‘s role of preserving avant-garde film. Collaborators: Monica Llamas, Pam Anantrungroj
view through the civic space into the café
The abstraction of the existing brick faรงade creates a color palette that relates the existing and new architecture. The resulting palette is applied on the floorplans to invert the horizontal and vertical surfaces.
application of color concept on floors throughout the building
The colors and patterns provide a progression from old to new. The duality of light and dark, of private and public space, exists on each component of the building from the floor plan to the furniture design.
floor plans day elevation
PARTI | INTERIOR CONCEPT
interior of the archive
night elevation | glowing archive
view through civic space
The civic exterior space behind the original faรงade creates an inhabitable mini-environment and urban landscape.
interior facade of the archive with view through the library and sequences of old and new faรงades
ANTHOLOGY FILM ARCHIVE FURNITURE STRATEGY PARSONS 2014 - ALLIED STUDIO
INSTRUCTORS: ADAM ROLSTON & GABRIEL BENROTH
As a component of the interior design of the Anthology Film Archive, the furniture strategy enhances the architecural concept by complimenting historic vestiges with new interventions. Comfort is found in the familiar; by maintaining key architectural components existing within the Raimund Abraham renovation – a spiral stair, theatre seats, a projection booth – the sense of intimacy between the building and its inhabitants remained.
P RIVAT E
V P RIVAT E
3 RD F LOO R - L I B R ARY
The new furniture enhances the concept of privacy throughout the building. Its formal language is inspired by the shifts and tapers of the new faรงade. Its structural syncopation and faceted body are calibrated to the louvers on the exterior in order to create a highly tailored relationship between architecture and furniture. The felted body evokes the new movie theaters by creating a similar atmosphere of privacy, intimacy and enclosure.
THE MANHATTAN HOUSE LUXURY DWELLING PARSONS 2014 - STUDIO 2
INSTRUCTORS: CALVIN TSAO & MICHAEL LEE Purchasing a condominium in the iconic Manhattan House is an investment for life; the type of real estate that is passed from one generation to the next. This project considers one such scenario:
The original owners â€“ the grandparents â€“ have retired to Florida. The parents raised the children elsewhere in the city, and are content to merely visit the apartment occasionally. The third generation has come of age to inherit what is by right, theirs. This constant but fluctuating occupation by three generations requires an architecture that reacts to the changing flows of dwelling. What is on one day a guest room may the next need to act as studio. What is a yoga platform in the morning might be a a dinner party in the evening. The fundamentals of the typical apartment must adjust to new forms of living.
view through the extended living room
studio | guestroom
The primary programs are packaged in operable enclosures, leaving the void space for non-specified habitation.
powderroom | guestbathroom masterbathroom
yogaplatform | studio 2 | extended living room
floor heights floorplan
coloR | mateRial
material and color concept
walls | floors
m m m m m
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o o o o o
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m m m m m
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low funCtional Cubes
Trends are cyclical. What was in style during the grandparentâ€˜s era fell out of fashion with the parents, and has made a comeback with the children. The material palette is a manifestation of these revolving stylistic trends.
view from the entrance through the living room; the kitchen is to the left, the yoga platform to the right [curtains]
MANHATTAN HOUSE FURNITURE STRATEGY THE EXTENDED LIVING ROOM
PARSONS 2014 - STUDIO 2
INSTRUCTORS: CALVIN TSAO & DANIEL MICHALIK
The concept of a home for constantly changing living situations requires furniture that is able to react to changing needs. This furniture strategy is a mix of built-in and loose furniture pieces that can morph the apartment from a single houshold to a workhome, to a residential community for two people, an apartment for a couple, or a family.
floorplan | furniture strategy
the extended living room
dining | working chairs
The two secondary enclosures can react to different needs and lends a wide range of possible settings and configurations. The work space/studio can change from an empty room for sports to a playroom for kids or a guestroom/ permanent second bedroom, all without the need of storing additional furniture. view from the yoga platform through the entrance space into the studio space
THE LAUNDROMAT PROJECT
PARSONS 2013 - STUDIO 1
INSTRUCTOR: ALLAN WEXLER & JOHN HARTMANN This project is a retreat for the mind and spirit. It is a place to escape the intensity of the city and find solace to bridge an everyday chore with meditation through quiet repetition and solitude. By incorpating an isolated space within the confines of a destination that is a weekly chore for many, a laundromat, people are invited to find cleaniliness in the tangible, and peace and quiet for themselves.
faรงade rendering | streetview
ANALYZING THE ENVIRONMENT The Lower East Side is a vibrant part of New York City where different cultures and societies collide. The surroundings change from block to block. From Chinatown to the solitude of the Williamsburg Bridge and the East River; from Soho and Nolita to the East Village, there exists a collection of people and styles. The new laundromat faรงade reveals what is held in the interior space: natural light, movement, tranquility, and meditation. The chore becomes a form of retreat.
view from the entrance through the interior space
NEW DESIGN DESIGN UNIVERSITY UNIVERSITY NEW BA INTERIOR ARCHITECTURE AND 3-DIMENSIONAL DESIGN 2007 - 2010
FACULTY ADVISORS: BERRY HEWSON CHRISTIAN PRASSER CHRISTINE SCHWAIGER MARTINA KÜNG-FÜRLINGER NEIL HARKESS PETER STASNY SERGIUS KODERA STEUART HARRISON THOMAS GRONEGGER
rendering of the same perspective as oc | scenario #1
FLAGSHIP STORE NDU 2010 - STUDIO 6 BAC
FACULTY ADVISOR: CHRISTIAN PRASSER The Flagship Store is a high-end retail boutique for rotating fashion displays set in a former religious temple. The 3000sf space is transformed by modest architectural interventions to accentuate the ancient spatial structures. The display windows are expanded to their full length, revealing greater light exposure, airflow, and multiple pedestrian throughways that can be opened to the street. For the structure to recede, allowing the clothing to take precedence, the richly stucco decorated interior surface is rendered white. Two cocoon-like fitting rooms can rotate on the centered columns, providing for a flexible interior setting. Through the unique treatment of their skin the two objects morph the interior space by dispersing light and shadows, further expanding or contrasting the spatial appearance. original condition
rendering of a different perspective | scenario #1
Customized furniture pieces, including display tables, hangers, drawers, partition walls, and seating, define the modular concept, offering a complete toolset to easily morphs the space. This kit-of-parts allows each designer and artist the possibility to completely inhabit and adapt the interior space.
floor plan | rotary cocoons
The layered façade changes in relation to the interior, creating a holistic design that reveals vestiges of former occupants on the exterior.
original façade condition
map of Vienna | 7th district | „Neubau“
ANALYZING THE ENVIRONMENT logo | graphic proposal | visual identity
Famous for its culture, presence of young artists and bohemians, the Flagship Store, located at the intersection of the most frequented commercial avenue of Vienna and several cultural institutions, represents the physical and literal keystone of its environment. It is the link between historical structure and consumer fluidity.
rendering of opened dome
open dome iterations: small, private back aisle; semi-enclosed public space; wide public aisle
rendering of closed dome
closed dome iteration: tripartite configuration; semi-enclosed private space; enclosed private altar
ST. RUPERT CHURCH
NDU 2009 - STUDIO 4
INSTRUCTOR: MARTINA KĂœNG-FĂœRLINGER
The interior of the 300 year old St. Rupert Church near Munich maintains a 5000sf main aisle that overshadows its patronage. This intervention allows the interior to react to its usage by shrinking and expanding the actual perimeters of the interior space. In reference to the existing architectre, two rotating, translucent concrete half-domes are introduced to manipulate the space. When rotated in, they create two semi-private rooms for smaller congregations.
V floor plan | rotating domes
rendering of the ikkebanna facade front elevation
IPPODO TEA HOUSE NDU 2010 - STUDIO 5
INSTRUCTOR: CHRISTINE SCHWAIGER
The Ippodo Tea House borrows techniques of iconic Japanese cultural crafts and retranslates them into a simple modern design emphasized by traditional ikkebanna in form and texture. Above the bar and soaring at the basement ceiling, a plume of white cranes appear to hover as the heat from brewing teas sways the air around them. Directed lights illuminate the origami cranes and heat the air so they appear dancing over the floor, bar, and tables, creating fluid shadows as they catch the light. The walls are painted black with a glossy finish and reflect the interior vaguely creating depth and accentuating the centrally illuminated space. The exterior faรงade and the bar aim folded objects in traditional Japanese ikkebana technique. As the natural light dissipates with the evening, the folds illuminate revealing the full form and sharp angles of each three dimensional shape.
original drawing by Gustav Klimt
V I S UA L I D E N T I T Y The use of Kimts art opens the door for branding opportunities across hotel products, including soaps, shampoos, and similar items, all easily identifiable with the hotelâ€˜s unique design and guest experience.
SHANGRI - LA SUPERIOR HOTEL SUITE NDU 2008 - STUDIO 3
INSTRUCTOR: CHRISTIAN PRASSER & CHRISTINE SCHWAIGER
To reflect the cityâ€˜s cultural heritage within a hotel suite the walls and ceiling of this room merge into a painting of Viennese painter Gustav Kimt. During the day they are mildly visible, and show the room in its plain condition featureing the characteristics of ancient Viennese domestic interiors. As evening sets the lines of the drawing are further revealed and as natural light dissipates the the strokes of the drawing illuminate from inside the walls and expose their full composure. The rotation of the floorplan potentally opens the interior space while keeping the privacy of certain areas. The strong contrasts between dark and light ephazise visual borders to create intangible divisions between the bathroom area and the bedroom, further imposed by respective contrasting light and dark shading.
scale model | floor plan perspective
The interior is exposed with floor to ceiling windows extending views across the entire city and the surrounding hills. The restaurant reflects the post-modernist architecture through the funriture layout while the adjacent lounge is arranged naturally around the central bar and the structural collumns with organically shaped customize furniture pieces. Rings extend from the collumns to the exterior and the roof of the building, drawing attention from the street-level, while from the interior the layered circles augment height, creating spatial hierachies. Additionally, the umbrella like design reflects natural light inwards, maximizing indirect light exposure to the interior.
street view | rendered facade
RINGTURM RESTAURANT & BAR
NDU 2009 - STUDIO 4
INSTRUCTOR: CHRISTINE SCHWAIGER
Once the highest tower in Vienna, the Ringtrum [Ringtower] is set in the city center close to the highly travelled and touristic RingstraĂ&#x;e and the first district. Dispite its architectural relevance the tower is often neglected by the public and the top floor is abandoned since many years. To restore the landmark to its former marvel the historic post-modernist faĂ§ade is maintained while the roofline changes partially to change the visibility to the street. The formal langauge is a juxtaposition of linear and organic forms the multi-circular roofline expands from the interior collumns. Collaborator: Simon Benesch
INTENSIVES INTENSIVES SELCTED SHORT-TIME PORJECTS
FACULTY ADVISORS: ALAN WEXLER LUBEN DIMCHEFF JOHN HARTMANN
axonometric hand drawing
Modes for exploration: axonometrical drawing, decoupage, model building, short movie, daylight studies, artificial light studies, and writing
THE NOGUCHI MUSEUM
PARSONS 2013 - REPRESENTING AND SPATIAL ANALYSIS INSTRUCTOR: LUBEN DIMCHEFF
Space vs. Structure Which is more dominant: the structure or the surface texture in the entrance space of the Noguchi Museum? Which of these two spatial characteristics is defining the room? This project analyzes the spatial coherence and difference of the two by extracting structure from the surfaces and placing them in opposition to each other.
Model 1:50 | concrete
REVEALING THE UNEXPECTED Using only water and peeled layers of thin cardboard to encapsulate the rock, its hard surface is replaced by a soft yet rigid exoskeleton. The observerâ€˜s expectations of weight and mass are deceived when the shell is sliced to reveal the stone within. SHORT-FILM: The form of the mass was molded into a sphere by wrapping thick layers of cardboard around the stone. The film shows how the unexpected is revealed, how the essence of the sphere, the initial point of origin - the beach stone - finds rest in the remains of the discarded sphere itself creating a natural box for the stone to rest.
THE BEACH STONE PROJECT PARSONS 2013 - STUDIO 1
INSTRUCTOR: ALLAN WEXLER & JOHN HARTMANN This three week intensive dealt with strengthening the sensitivity and ability of responding to individuals thorugh form by crafting a container for a beach stone with a 8.5 x 11â€œ sheet of cardboard. I began with the question of what defines container and found scale, minimal material use, and siting can manipulate perception.
reduction of a box
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