Portfolio of 1st Year Program

d.ONE

2021-2022 Portfolio

College of Architecture University of Nebraska - Lincoln Lindsey Sawyer

DESIGN 120

Plan to Perspective

Room Design Plan Sketch

Fall 2021

DESIGN 120

Other Projects

Fall 2021

Room Design Perspective Sketch

One-Point Perspective of Architecture Hall

Plan to Perspective Process Plan to Perspective Room Design - Terminal Project

Plan to Perspective: In this project, I learned how to create an interior plan and then translate it into a one-point perspective drawing. To create accurate proportions and alignment, I used the rules of one-point perspective in conjunction with a grid system. I used line variation and tonal variation to create depth in the space. This project allowed us to draw something of our own design. I took inspiration from many sources to create a room I would enjoy inhabiting. The room includes a living area, a desk and storage space, and a dining area.

The design is minimal with lots of natural light and tall ceilings. I enjoyed seeing my ideas come to life in this drawing.

Re-imagined Site Final Design

Re-imagined Site Final Design: For this drawing, I utilized the measured perspective method to design my a building. I called my building the Halcyon. It consists of three connected structures. I used triangles to create a pattern of material on parts of the exterior.

The shaded triangles are black metal and the unshaded triangles are glass. I imagined this being an apartment building or hotel, with rooftop decks.

First Sketch

One-Point Perspective: This project taught me how to draw a one-point perspective of an interior room. I learned how to capture accurate proportion and alignment. I learned how to use line and tonal variation to create spatial depth. This project taught me the importance of observing all the details of a space.

Second Sketch

Sculpture and Landscape: I drew the sculpture Breach and the surrounding landscape. I learned how to represent the textures of the landscape with shading, stippling, hatching, and other technique. I created depth by using line and tonal variation and decreasing details as the landscape receded.

I used highlights and shadows to capture the reflective steel material.

Sculpture and Landscape Final

First Sketch

First Draft

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Air Conditioning

Car Collectors

S

Materials are separated

Pollution

Less stress/pressure

TI

ON

Trucks

BU

RI

ST

Size

Car delivery

FACADE

Trends

Lifestyle

Used vs new

Technology

Reliability

Capabilities

50+

AGE

LIFESTYLE

Used Cars

Senses Stimulus

Everyday

Changing with culture

Better user experience

Higher percieved value

ON TI BU RI ST DI

NG SI HA RC

Public Transit over Cars

Family

People value quality materials

Rely on emotions, desires, and needs

HIGHER INCOMES

RACE

Single

People value appearance

Adaptation

Families Need Different Types/ Multiple Vehicles

LOWER INCOMES

16-24

New Cars

“Faces” of cars create personality

MARKETING

Design

Early to trend = $$$

CO2 emissions

Collectable

Efficiency

Appearance gives personality

More options/invetory

Private Dealerships Online dealerships sellers

Work use

RC

Trains

Buy/sell

Consumer use

Rental use

Entertainment/ racing use

NG

SI

HA

Transportation

DI

Landfills

Online

CE

Incineration

Recycling

Salvage usable parts

Boats

Architecture

Performance

PU

CE

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AL

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MA

FABRICATION

Shape

Body type

Customization

EC FA ON CT OM OR IC S

Personality

Options

In Person

Pressure of salesman

ARAN

Toxic fumes

Vehicles are dissassembled

Color

Specs

Test Driving

Limited inventory

APPE

Smelting Oil extraction

US E

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New vs. Used

Visual experience

Automated robotics

S OR CT FA

Process

ON

Refining

SUBURBS

ON

Weight

Properties

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1] Stamp 2] Bend 3] Fasten 4] Paint 5] Assemble / mount 6] Finish integration

Strength

Selected materials

Raw material extraction

Sap Pulling

Affected by lifestyle needs

URBAN AREAS

URBAN SPRAWL: Increase of people moving to the city

Cost

Expresses self identity

CONSUMER

Durability

Economy

Carpooling

RURAL AREAS

TI CA

IMPORTANT FACTORS

Ride Share/ Taxis

LO

Buy Cars Used

Luxury Vehicles

GENDER

Retired

Buy Cars Used Buy New Cars

Luxury Vehicles

GENDER

Women vs. Men

New vs. Used Visual experience

S

CE

UR

SO

In Person

ON

TI

CH AS IN G PU R

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Reliability Capabilities

Appearance gives personality

E

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ANC

FACADE

“Faces” of cars create personality

MARKETING

Senses Stimulus People value appearance

Design Early to trend = $$$

16

EAR

Technology

APP

TE

ON

Collectable

Trends Lifestyle

Efficiency

Personal Eidetic of Intervention

Car delivery

More options/invetory

Size

Architecture

Performance

Online

Less stress/pressure

Shape

Body type

Customization

Options

TI

AL

Color

Personality

Test Driving

UC

racing use

15

Affected by lifestyle needs

Specs

Pressure of salesman

MA

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Expresses self identity

Limited inventory

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Facade System Map

status and would also interfere and the consumers in a positive with the increase in public way. Making cars more affordable Durability Plastic Economy transportation within rural areas, would also affect the social factors Steel 1] Stamp Rubber providing an alternate option for within our InteractionStrength lens. The 2] Bend Glass Weight 3] Fasten Aluminum between gender, age, and those without access to a personal disparity 4] Paint Copper 5] Assemble / mount Lithium vehicle and reducing the need for race relate back to economic status Properties 6] Finish integration Rare earth Process Selected materials example, consumer’s car ownership overall. The effort to as well. metals For reduce the cost of cars would begin between Raw the material ages of 16 and 24 Automated robotics Depleting finite resources extraction with reimagining the design and generally have lower incomes and manufacturing of vehicles, which therefore are almost forced to Sap Pulling in turn, would affectRefining different own used cars. Women also tend Boats aspects of our Fabrication lens.

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Everyday separated PR

Data

We wish to intervene with the economic factors consumers face when buying and using a vehicle.

Economic factors include the consumer’s economic status. As seen in our interaction lens, those with a lower economic status are less likely to buy new cars, and have less available funds to buy and maintain a car. The economic status of consumers also affects their social status through specific demographics such as age, income, location of living, and lifestyle.

Our intervention would attempt to lower the cost of owning and operating a vehicle, to make them more accessible for those with low-income status. This would affect the design, manufacturing, and marketing of vehicles. Our intervention focuses on economic

People value quality materials

Higher percieved value

Public Transportation Longer Commutes

Lack of Public Transportation

EVERYDAY USE

Women vs. Men

Adaptation Changing with culture

Better user experience

Walking Distance from Home to Stores

Farming/ Ranching Vehicles

OWN >1 IN LIFETIME

COMMUTE TO WORK/ 5-7 HOURS/WEEK SCHOOL

Buy New Cars

Retired

Everyday

Unpaved Roads

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Get from Point A - B

Senses Stimulus

14 14

LEISURE USE/TRAVEL

Music System

Public Transit over Cars

HIGHER INCOMES

RACE

Single

PU

RI TE MA Trade In Can’t Afford Repairs

Appearance gives personality

People value appearance Early to trend = $$$

Collectable

MARKETING

Design

Parking Availability

Scap Yard

Heating

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NS

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UM

TI

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LIFESTYLE

Family

Technology

Combined Systems Map

LOWER INCOMES

Used Cars

Used vs new CO2 emissions

13

Families Need Different Types/ Multiple Vehicles

URBAN SPRAWL: Increase of people moving to the city

16-24

Lifestyle

Consumer use

Entertainment/ racing use

FACADE

Adaptation Changing with culture

Better user experience Higher percieved value

Reliability Capabilities

“Faces” of cars create personality

Trends

PU PE BLI OP C LE TR MO ANS VE IT AR TO LA EA C S SUB KIN UR G, BA N

E

US

LO

AGE

New Cars

Private Dealerships Online dealerships sellers

Work use

SUBURBS

INTERACTION

Cost

50+

Car delivery

More options/invetory

Rental use

Pollution

Materials are separated

Less stress/pressure

Buy/sell

Efficiency

E

Salvage usable parts

Trains Trucks

Size

Architecture

Performance

Online

ANC

Vehicles are dissassembled

In Person

Pressure of salesman

Shape

Body type

Customization

EAR

COMMUTE TO WORK/ 5-7 HOURS/WEEK SCHOOL

Transportation

Landfills

In this project, my group chose a place within our system where we could intervene. We chose economic factors, which focuses on how income can INTERACTION affect a consumer’s choices when owning a car. My idea was to tailor cars to specific incomes by allowing consumers to customize their car. People with lower incomes could design a car with less technological features to save money. I represented this idea in an eidetic image. It shows a website screen where you CONSUMER can customize your car to fit your budget. Each person on the right has a different budget and a different car heading towards them. Manufacturers would need to change their business model to be sensitive to all FABRICATION consumers needs.

Place of Intervention Get from Point A - B

Personality

APP

Taken to facility

Ride Share/ Taxis

URBAN AREAS

ON

EVERYDAY USE

Incineration Recycling

Limited inventory

Boats

FABRICATION

Smelting Oil extraction

Toxic fumes

Carpooling

RURAL AREAS

Color

Options

TI

Mining

Affected by lifestyle needs

Specs

Test Driving

UC

LEISURE USE/TRAVEL

New vs. Used Visual experience

Automated robotics

OD

Refining

Public Transportation Longer Commutes

Lack of Public Transportation

Raw material extraction

RELIABLITY

Unpaved Roads

OWN >1 IN LIFETIME

Process

Expresses self identity

CONSUMER

1] Stamp 2] Bend 3] Fasten 4] Paint 5] Assemble / mount 6] Finish integration

Weight

Properties

Selected materials

Sap Pulling

Walking Distance from Home to Stores

Farming/ Ranching Vehicles

Can’t Afford Repairs

Car Collectors

TI

02

Air Conditioning

UC

01

Trade In

Heating

IMPORTANT FACTORS

: Ma

terial Page - Speci ic 1

Luxury Vehicles

Durability

Economy Strength

PR

Depleting finite resources

Parking Availability

Scap Yard

RELIABLITY

Music System

A million bottles a minuite: world’s plastic binging ‘as dangerous as clinmate,’ Page 3

Plastic

P4: Wicked Responses

Taken to facility

ON TI CA LO

Plastic Steel Rubber Glass Aluminum Copper Lithium Rare earth metals

Intervention

R ME SU ON E -C ST ST WA

Journey Map with Summary

lead to direct damage to the nervous system, causing brain damage and development issues.

The eroding batteries are also toxic to the environment, both directly through air pollution and indirectly through polluting the soil and water.

Extracting the raw materials and manufacturing the batteries also harms the environment in many of the same ways.

It pollutes air and drinking water, along with destroying wildlife and the habitats they live in.

Mining causes irreversible damage to nature and its environment.

Buy Cars Used Buy New Cars

Retired

Lorem ipsum

PO

where the map splits. The batteries must be taken to a collection facility that recycles them.

If the batteries are not taken to a collection facility they end up in various landfills worldwide, which is where the majority of problems arise. As the batteries erode in landfills they leach toxic metals (lithium, lead, etc.) into the soil and eventually into the groundwater. This could be consumed by humans in many different ways including drinking water, use of soil for farming usages, children’s consumption on playgrounds, and more. The exposure to these chemicals can

HIGHER INCOMES

RACE

Single

Women vs. Men

OD

This journey map follows the life of rechargeable lithium-ion batteries. The journey starts with the extraction of raw materials such as lithium, nickel, cobalt, and lead. Those materials are transported to the manufacturers where they are then processed into lithium batteries. The batteries then go to the consumer, where they are used in various products such as smartphones, computers, and electric vehicles. The life span of these products differentiate between 4 to 6 years. When the batteries are no longer usable, they are discarded. This is

S OR CT FA

Interaction System Map

Mining

Public Transit over Cars

LOWER INCOMES LIFESTYLE

Family

Depleting finite resources

Families Need Different Types/ Multiple Vehicles

GENDER

PR

Problem/ Explaination

SUBURBS

16-24

New Cars

Plastic Steel Rubber Glass Aluminum Copper Lithium Rare earth metals

URBAN AREAS

URBAN SPRAWL: Increase of people moving to the city

INTERACTION

Cost

Used Cars

Problem/ Explaination

Fabrication System Map

RURAL AREAS

EVERYDAY USE

COMMUTE TO WORK/ 5-7 HOURS/WEEK SCHOOL

AGE

Ride Share/ Taxis

Carpooling

IMPORTANT FACTORS

50+

Longer Commutes

Lack of Public Transportation

LEISURE USE/TRAVEL

Get from Point A - B

“In addition to fashion trends, the design of the vehicle is influenced by global consumer trends, advances in technology, and changes in lifestyle and culture. (Tracing the Evolution, 2021)”

Public Transportation

OWN >1 IN LIFETIME

Car Collectors

Music System

“There are currently 800 million vehicles in service” (Paul, 2009).

Unpaved Roads

PU PE BLI OP C LE TR MO ANS VE IT AR TO LA EA C S SUB KIN UR G, BA N

Air Conditioning

Walking Distance from Home to Stores

Farming/ Ranching Vehicles

Can’t Afford Repairs

R

Produced by: Gabrielle Zaferis, Lindsey Sawyer, Kelsie Konen, Lucas Fleming

Trade In

Heating

ME SU ON E -C ST ST WA

Journey Map: Electrical Waste

Parking Availability

Scap Yard

RELIABLITY

PO

Journey Map - Gabrielle Zaferis, Kelsie Konen, Lucas Fleming, Lindsey Sawyer

Fall 2021

Combined Systems Map

Wicked Problems Continued: Next, we combined the three systems map into one interconnected systems map (right image). To show how the lenses connect, we drew dashed lines between related ideas. In the center of the map we placed the word Consumer and connected all the maps to that word. We noticed that within every systems map the consumer is the most important component. I contributed to the research, ideation, and technical work of creating the systems maps.

Maisch, “Lithium Ion Batt. Recycling Rates”

Project 2: Journey Map: Waste

by Coca-Cola in I worked with Produced Gabrielle Zaferis, Plastic Bottles Kelsie Konen, andIsaiah Lucas Produced by: Sarah Spilinek, Shae Hendrikse, Langston Fleming on For this project.

We analyzed into the same system, as Coour journey map we in their products, according to ca-Cola has begun to use more started off picking the theme Greenpeace. Moving on it gets recycled plastic bottles in their of plastic bottles, then went flow shippedof to businesses, stores, the waste rechargeable through the lifecycle of a single and homes before being bought production in recent years.

Our group chose to display a bottle, centralizing our theme by the consumer. Coca-Cola lithium batteries.

We found timeline that with a red line as a around Coca-Cola. A plastic Enterprises owns over 430 dissymbol towards the Coca-Cola Coca-Cola bottle begins its life tribution centers which ship to brand as well as to contrast and from production to disposal, in a bottling factory, where it more than 2.4 million final retail invoke more emotion and uris created. A plastic Coca-Cola outlets. Once the bottle gets to gency. Along with the color, we bottle begins its life batteries in a botthe consumer and they drink lithium create a large tling factory, where it is created the beverage, they are left with also changed the line weights in order to show how much gets using melted plastic pellets an empty bottle. At this point, amount of waste and distributed along different paths and molds. Coca-Cola produces the consumer has a choice: pollution. such as landfills vs being recymore than 100bn throwaway they can throw the bottle away cled. Alongthe with lines to display plastic bottles journey every year, or (whether that be in a trash can Our map shows this information we used a few 3,400 a second, according to or littering), or they can recycle text boxes in order to add to the analysis carried out by Greenthe bottle. Although, recycling life span of lithium batteries. story. In theseAt texts we included peace after the company redoes not always actually get fused to publicly disclose its recycled, and some simply ends information such as how much gets recycled back into bottles, global plastic usage.

The top up in a landfilluse anyway if the each stage we images to how much gets distributed, and six drinks companies in the recycling company deems the world use a combined average plastic ‘contaminated’. Recycled how much gets thrown into the how it affects either the planet, landfill. of just 6.6% of recycled PET bottles can find their way back humans, or both. We used the yellow to guide the viewers eye along the journey, and to add emphasis to the images. I contributed by doing research, finding and editing images, and sharing design ideas.

P3: Wicked Problems

AL CI SO

Environ. Sci Technology Vol 47 5498-5499

I worked with Kelsie Konen, Shae Hendriske, Elijah Rush, Gabrielle Zaferis, Isaiah Langston, Lucas Fleming, and Sarah Spilinek on this project. We researched cars through three lenses. The Fabrication lens shows how cars are manufactured and sold. The Facade lenses focuses on the role of aesthetics in producing cars.

The Interaction lens examines how cars are used by the consumer. Researching cars through these lenses helped us see that cars are integral to our society.

We learned that there are many wicked problems connected to cars, such as pollution, waste, and inequality. We created visual systems maps to illustrate our research on each lens.

DESIGN 110

RI

Resources, Conservation & Recycling Pg. 266

P3: Wicked Problems

ST

P2: Waste Flows

DI

DESIGN 110

People value quality materials Rely on emotions, desires, and needs

Rely on emotions, desires, and needs

DESIGN 111 P4: Cube Project

Spring 2022

When designing my cube, I focused on creating unity, variety, and hierarchy. I wanted the slots, dots, and holes to align with one another to form a cohesive composition. I used the planes to create spatial hierarchy between the upper and lower level. To reinforce this hierarchy, I placed larger holes on the upper level and used a coral color on the plane. The coral plane extends out at the front, pulling your eye to the upper level and through the large holes. I placed an opening at the back of my cube that would frame a specific view of my landscape from the previous project. I imagined the roof as a garden space.

DESIGN 111

P5: Site Analysis

Spring 2022

Group Work: I worked with Grace Helmuth and Tahjae Jenkinsharris. Through our analysis of Art Alley, we observed several important factors in how the space functioned. We focused our ideas on how movement, lighting, and the existing art. We began by making diagrams of each of those ideas. Then we created eidetic images that illustrated how each factor affected the experience of Art Alley. I contributed to the group by sharing my analysis and ideas, doing research on the site, and doing technical work in Photoshop/Illustrator.

6x6 Cube West Elevation

6”x6” Cube - 1/4” - 1’

Model Cube with Scaled Figure

6x6 Cube Top View

In my personal eidetic (above), I wanted to focus on Art Alley being a social media hot spot. The alley has a large presence on social media. This is an important part of how people use and interact with the space. My eidetic focuses on the mural wall. In the windows of the buildings, I placed several images from social media that were taken in Art Alley. These images become part of the existing art and experience. A skyline of Lincoln is integrated into the background to show that Art Alley has become a part of the community.

Diagram of Existing Art

Eidetic of Art and Community

Eidetic of Movement and Nodes

Diagram of Movement/Nodes

Section 1 - Sheet B - 1/4”-1’

Model Cube - 1/8”-1’

Cruciform Drawing - Sheet A - 3/32”-1’

Section 2 - Sheet C - 1/4”-1’

Eidetic of Lighting

Diagram of Lighting

DESIGN 111

P6: Threshold Development

Spring 2022

DESIGN 111

P6: Threshold Development

Spring 2022

Section 1

Programmatic Diagram Rendered Perspective of Seating Area

Rendered Perspective From South Entrance

I wanted to bring new life to the existing Art Alley. I used color, texture, light, shadow, and form to create an organic vine structure that weaves through the alley. I named it the Urban Vine. I wanted my structure to be interactive, vibrant, and fluid. I wanted to compliment the existing art and encourage movement through the threshold. My structure has multiple means of interaction. People would be able to touch, see, and feel all the different materials on my structure (see Materials Diagram). They could see themselves in a distortion mirror or feel the moss growing. The structure morphs into informal seating to allow for temporary resting spots (see Render above).

Section 2

Plan Drawing 1/32”- 1’

Section 2 1/64”- 1’

Section 1 1/64”- 1’

Front Elevation 1/64”- 1’

Axonometric

Materials Diagram

Physical Model

Back Elevation 1/64”- 1’

DESIGN 123

P2: Crash House

This project taught me many technical skills in Rhino and Adobe Illustrator. I learned how to create a threedimensional structure in Rhino. I learned the importance of using several types of drawings from all angles and levels to represent a structure. I learned how to use proper line weights, poches, and dimensions in technical drawings. This project helped me understand all the components of technical drawings.

Fall 2021

DESIGN 123 For this project, I made a digital model of the Portsoken Pavilion in London, England. This project tested my skills in comprehending technical drawings.

I learned how to translate 2D drawings into a 3D structure. This helped me understand the process of drawing and then building, instead of building then drawing, as we did in the previous project. This project helped me develop many technical skills needed for design.

P3: Pavilion Project

Front Elevation 1/16” - 1’

Rendered Section Perspective Back Elevation 1/16” - 1’

Front Elevation 1/32”

Rendered Perspective

Section Perspective Section A 1/16” - 1’

Axonometric

Back Elevation 1/32”

Floor Plan 1/32” -1’

Rendered Perspective

Steel Panel Ribs Welded in Place

Section B 1/16” - 1’

Section A 1/32” - 1’

Welded Steel Panels

Section B 1/32” - 1’

1st Floor Plan 1/16” - 1’

2nd Floor Plan 1/16” - 1’

3rd Floor Plan 1/16”

Detailed Drawing

Exploded Isometric

Portsoken Pavilion - London, England

Fall 2021