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DESIGN PORTFOLIO • LAURA BRANSTAD


• 0 1 ONS IT E S K E TC H IN G • 0 2 DA NI S H E AT E RY • 0 3 P E RCI E VIN G GEOM ET RY • 0 4 M ETAL SC R EEN • 0 5 AR C H IT EC T U R AL H AN D DRAWING • 06 VINE


Wat e r co l o r a t C omo Zoo.

I n k a n d P e n c il o f Ch u r c h o f ou r Sa vi o r.

Wa te r co l o r u si n g th e h a r b o u r w a te r i n C o p e n h a g e n , D e n mark.


ONSITE SKETCHING “WHAT YOU HEAR YOU FORGET. WHAT YOU SEE YOU REMEMBER. WHAT YOU DRAW YOU UNDERSTAND.”

Onsite sketching is an experience that elevates the understanding of the real world through the use of all of the senses. It allows for the artist to interpret how they see the world through sketching.

S ketch i n g in C openhagen, D enm a r k d u r in g S u m m e r 2 0 1 6 S t u d y A b r o a d .


R evit clo u d renderi ngs of the D a n is h e a t e r y in t e r io r.


DANISH EATERY Study Abroad - Summer 2016 Amager Fælled Parken, Copenhagen, Denmark

Danish eateries are traditional structures that are typically only used in the summer in Denmark to provide a space for locals to enjoy food and socialize. The structures are much smaller than a restaurant and provide basic areas such as seating, a kitchen, and bathrooms. This particular design was inspired by the views of the river that are framed by the large windows. The wooden walls or “screens” provide privacy as well as a natural look. The roof is pitched to provide maximum natural lighting into the eatery and the wallpaper is a traditional Danish crossstich pattern.

Danish e a te r y i ns pi red by l i ght , la n d s c a p e , a n d v ie ws o f t h e c it y.


Top: N o r th & S outh el ev ati ons . B o t t o m : We s t & E a s t e le v a t io n s .

R e vi t e xp l o d e d a xo n .


1: 50 p h ysi ca l s c al e model .


G eom e tr y.

L ig h t .

Pe r ce p ti o n .


PERCIEVING GEOMETRY Spring 2015 Partners: Shahryar Beyzavi and Keaton Nemes The relationship between the perception of light and space was thoroughly explored through the creation of a subterranean space. Through cardboard models, paper models, and virtual model studies, light was discovered to have a determining factor on how a space is percieved. The structure was a combination of previous project models and from there, the spaces were modified so they would allow for interesting light qualities.


E xplo r i n g th e rel ati ons hi p betw e e n in t e r io r s p a c e a n d n a t u r a l lig h t in g .


Ligh t h a s th e abi l i ty to c hange t h e wa y a s p a c e is p e r c ie v e d b y t h e h u m a n e ye .


W irefr a m e m o del .

To p : Su n h i tti n g th e m o d e l a t n o o n . Bo tto m : Su n h i tti ng the model at sunrise.


Mode l se ctions .

Exte r i o r h yb r i d r e n d e r o f th e su b te r r a n e a n stu d y m o d e l .


12 g a g e ste el prototy pe c reated b y we ld in g , a n g le g r in d in g , a n d p lasm a cu tti n g .


METAL SCREEN Spring 2016 Metropolitan Mask

Screens have belonged to the language of architecture across time and throughout the world. Screens have the ability to conceal, reveal, partition, protect, shade, filter, etc. The screen was designed for the Metropolitan Design Center and fabricated using a plasma cutting machine, welder, and an angle grinder.

S it e: M e tr o p ol i tan D es i gn C ent e r


Explo r i n g va lue draw i ng through in t e r io r a n d e x t e r io r s p a c e s .


ARCHITECTURAL HAND DRAWINGS Fall 2014-2015 Creation happens when the ideas from the brain are translated through the hand onto the sketchbook. Architectural ways of visual thinking were gained by extensive drawing. The combination of seeing and drawing in the way that is specific to the discipline and profession of architecture was practiced through free hand sketching, value drawing, and hard lined drafting.

O rt ha g o n a l a nd v al ue draw i ngs o f Ra p s o n Ha ll s t a ir c a s e .


W hite p e n ci l on bl ac k paper v alu e d r a win g s .


Constr u ctin g the P aper Model th r o u g h u n f o ld in g .


VINE Spring 2015 Design Fundamentals Two. Ideas of organic architecture, such as Frank Lloyd Wright’s Fallingwaters, became the inspiration for the organically shaped wire model. The freestanding and randomly twisting form of the wire resonated well with the qualities of a vine. Moving forward, a branching form emgered from the vine. The new form was fabricated into a physical paper model using only two pieces of paper. The relationship of the paper model and forms found in nature were found to have astonishingly similiar qualities.

E vo lu ti o n o f the w i reframe mod e l in t o t h e p a p e r m o d e l.


L AURA BRANS TAD • 5 0 7 - 3 5 8 - 5 5 1 9 • E- ma il: B ra n s 0 9 5 @ u mn .e d u


Laura Branstad's Portfolio