MIAH FERRACUTI: DS 220 FINAL PORTFOLIO

SPRING 2022

DESIGN FUNDAMENTALS II PORTFOLIO

DESIGNED BY MIAH CAROLYN FERRACUTI THE UNIVERSITY OF WISCONSIN-MADISON FERRACUTI@WISC.EDU

MEET THE DESIGNER MIAH FERRACUTI

Miah Ferracuti is a first-year student at UW–Madison. She is currently in the Pre-Interior Architecture Program and has applied phase two of the program to hopefully obtain a B.S. in Interior Architecture. Miah has always had an eye for design, specifically interiors and landscape. She also has plans to graduate with a certificate in Design Strategies or Business.

MODULE ONE

FOUNDATIONS

MODULE ONE

PROBLEM ONE: RECTILINEAR

1. RECTILINEAR 3D SKETCHES Images of the six, oasis foam rectilinear 3D sketches

2. RECTILINEAR 2D SKETCHES 2D pencil sketches of the six 3D rectilinear sketches along with my thoughts and recommendations.

3. REFINED RECTILINEAR COMPOSITION Images from multiple perspectives of the refined rectilinear composition.

GOAL: To gain an understanding of rectilinear form and how to make a visually interesting composition with basic shapes

RECTILINEAR 3D SKETCHES

I began this first problem by cutting out rectilinear shapes all with different types of volumes. For each prototype, there was to be three different forms, dominant, subdominant and subordinate. It was difficult in many ways to create different volumes of rectangles with different forms. I focused on trying create a prototype with all x, y and x axes as well as create a visually interesting structure with balance.

RECTILINEAR 2D SKETCHES

I sketched each 3D oasis foam prototype twice, with two different angles. I was able to distinguish which prototypes were strong and which ones were weak by focusing on each of the small details while pencil sketching them in. While sketching, I was also able to gain a better understanding on rectilinear forms and how to create better proportions.

REFINED COMPOSITION

Initially, I decided to refine my first sketch. As I finished the final rectilinear composition of sketch one, I decided that it did not have each an x, y and z axis. I went back to the first step to rethink my design. I decided to keep the same shapes from sketch one, and re-form the composition so each axes is visible. I learned how to create a visually appealing composition with basic shapes and I now have an understanding of rectilinear forms and how the different shapes need to have different volumes and axes to produce a balanced composition.

MODULE ONE

PROBLEM TWO: PLANAR

1. PLANAR 3D SKETCHES Images of six Bristol board planar composition prototypes.

2. PLANAR 2D SKETCHES 2D pencil sketches of the three most interesting planar prototypes.

3. REFINED PLANAR COMPOSITION Images of the refined planar composition from different perspectives.

GOAL: To gain an understanding the characteristics of planes and how they relate to each other in space.

PLANAR 3D SKETCHES

I began this module by cutting out various shapes and sizes. This included many rectangles and trapezoids. I performed many trial and error experiments with these shapes. I used three planes for each prototype and eventually finished with six interesting planar compositions. I used a combination of bent, curved and slightly spiraled planes. My goal for these 3D sketches was to combine three planes into one structure that displayed movement and balance as well as created alluring negative space along with the positive space.

PLANAR 2D SKETCHES

Creating 2D sketches allowed for more exploration of the different perspectives and space. I chose the three most visually interesting prototypes to sketch. Each of these displayed a clear theme along with balance and gesture. Sketch one reminded me of a "Spider" and its unique form and direction. Sketch two reminded me of "Love and connection" because of its intertwined planes.

Sketch three reminded me of "Lightning" because of its intense gestures and erratic form.

REFINED COMPOSITION

"Struck" The final composition is based off of sketch three. I chose this composition to refine because I felt attracted to the intense movement and balance produced by the variation in proportion of the planes and the three sharp stability points. "Struck" is the feeling and energy intended for the viewer. This composition combines bent and slightly curved planes to create balance and motion. The bent trapezoidal planes produce sharp points that distribute shock in every direction. This project furthered my understanding of proportion, balance and movement within a stable three dimensional form.

MODULE ONE

PROBLEM THREE: CONVEX/CONCAVE

1. PLANAR 3D SKETCHES Images of three convex and three concave three-dimensional clay models.

2. PLANAR 2D SKETCHES 2D pencil sketches of two convex and two concave clay models that were the most interesting.

3. REFINED PLANAR COMPOSITION Images of one refined convex and one refined concave three-dimensional clay models from different perspectives.

GOAL: To create two interesting three-dimensional organic forms through the concepts of convexity and concavity.

CONVEX/CONCAVE 3D SKETCHES CONVEXITY

CONCAVITY

I began problem two by forming clay into interesting figures. I created six convex and six concave designs. I attempted to create strong movement in each of the models. I also attempted to form powerful dominant, subdominant and subordinate sections of each model to produce visual balance and unity. I was also able to explore different relationships and create flow between the positive and negative space

CONVEX/CONCAVE 2D SKETCHES

These two-dimensional pencil sketches allowed for exploration of four different perspectives of each model. My goal was to accentuate the movement, determine if there was a strong axis, and exaggerate the dominant, subdominant, and subordinate sections. I was also able to see the positive and negative space that was created. By studying these sketches, I was able to determine which prototypes I would refine.

REFINED COMPOSITIONS CONVEXITY

CONCAVITY

I chose the two most visually interesting models to refine. My goals were to make the refined forms smoother and the curves more precise. Specifically, I refined the convex model to emphasize movement and create more visual interest. The task of refining was a challenge. I was able to refine my convex design into a larger scale but when refining my concave model, it was very difficult to remake such a unique form as well as double it in size. I made the decision that the original concave model was suitable to be the finalized composition.

MODULE ONE ANALYSIS

Module one was a wonderful introduction into three-dimensional design. We began with the basics in problem one by gaining an understanding of rectilinear forms and how to make an interesting structure with basic shapes. Then, in problem two we began to work with planes and how they can be straight, bent, curved, broken, or twisted to create relationships between each other within space.

Lastly, in problem three, we started to work with less inorganic and more organic forms. We used clay to experiment with pushing positive volumes into negative space to create convexity as well as pushing negative space into positive volumes to create concavity. The processes of sketching and refining were beneficial in the exploration of each concept, it was an effective way to see the different perspectives of each model. Module one created a sense of security within my own designs. It was interesting to see the work of other students. We all created beautiful designs with the same concept, but with our own style. I hope to take this new knowledge with me as we continue to expand our design skills.

MODULE TWO

SPACE AND FORM

MODULE TWO

PROBLEM ONE: TILES

1. THREE-DIMENSIONAL CLAY TILES Images of six 4x4 tiles with different contrasts.

2. TILE SKETCHES Pencil sketches of each tile.

GOAL: To gain an understanding of three-dimensional contrasts through designing a series of 4x4 tiles.

THREE-DIMENSIONAL TILES

SMOOTH TO ROUGH The roughness of the tangled stringlike clay strips contrasts with the smooth wave that slightly folds over.

GEOMETRIC TO ORGANIC The geometric strips formed into trapezoids flow into a mix of organic, folded pieces creating a geometric to organic contrast.

ECONOMY TO INTRICACY The smooth spiral form curls out and slithers into a tangled yet intricate formation to create an economy to intricacy contrast.

RHYTHM TO VARIATION The rhythm of the checkered squares and the flow of variating rectilinear strips creates a rhythm to varition contrast.

SMALL TO LARGE As the spheres spiral outwards, they begin to get larger and larger creating a small to large contrast.

TENSION TO RELAXATION The chain-like composition creates tension until eventually, the chain breaks into many pieces causing a. tension to relaxation contrast.

By creating these six tiles, I was able to explore each of the different three-dimensional contrasts. I began with choosing which contrast I was going to replicate, and then worked with different forms to design each tile. I paid special attention to shadows as well as my craftsmanship. I enjoyed utilizing my own creativity when designing each of these tiles so my own "style" could reveal itself.

TILE SKETCHES

After designing and creating six clay tiles, I pencil sketched each tile showcasing a specific contrast. It was interesting to explore each of these tiles in two-dimensional form and to see how each contrast would exhibit itself in sketch-form. I was able to express shadow, movement and space throughout these sketches. The sketching process enhanced my understanding of three-dimensional contrast and I was able to see each design in a coherent way.

MODULE TWO

PROBLEM TWO: MASKS

1. MASK SKETCHES Images of four masks with different contrasts, inspired by the three-dimensional tiles.

2. REFINED MASK COMPOSITIONS Two refined clay masks. One small to large contrast mask and one economy to intricacy contrast mask.

GOAL: To gain an understanding of three-dimensional contrast through designing two clay masks.

MASK SKETCHES RHYTHM TO VARIATION

ECONOMY TO INTRICACY

SMOOTH TO ROUGH

SMALL TO LARGE

I began problem two by sketching masks inspired by my threedimensional tile designs. I decided to sketch four different masks, each with a different contrast. I tried to accentuate each contrast and push the design out side of the boundaries to create a dramatic effect. After sketching, I decided to refine the economy to intricacy contrast design and the small to large contrast design. I chose these designs as they both added appealing and surprising elements as well as expressed a very strong contrast.

REFINED MASKS SMALL TO LARGE

This mask was inspired by the small to large contrast tile in the first section of module two. My goal was to create similarity and differences between the tile and the mask. The large spheres begin in the top left corner of the mask and begin to curl down to the chin while getting smaller and smaller. The contrast is very strong throughout this mask and it encourages the viewer to have smooth and slow eye movement.

ECONOMY TO INTRICACY

This mask was inspired by the economy to intricacy tile in the first section of the module. This design was one of the last that I had sketched, but my interest grew as I saw how captivating the contrast would look as a mask.

While the tile of this contrast includes one coil representing economy and one tangle representing intricacy, this mask has an array of different sized coils that unravel into a large area of intricate tangles which creates a dramatic effect.

MODULE TWO PROBLEM THREE: PAVILION

1. PAVILION SKETCHES Images of four pavilion designs, two for each contrast.

1. REFINED PAVILION One refined abstract architectural pavilion inspired by the previous economy to intricacy tile and mask designs.

GOAL: To gain an understanding of three-dimensional contrasts through designing an abstract architectural pavilion.

PAVILION SKETCHES

SMALL TO LARGE INSPIRATION These pavilion sketches were inspired by the small to large tile and mask designs in the previous projects. I wanted to emphasize the spheres throughout both pavilions as well as create the small to large contrast with the spheres differing in size. In the first sketch, the spheres come together to form an open concept pavilion that flows from a large open area to a small opening towards the back end. In the second sketch, the spheres form a tunnel-like pavilion that begins to decrease in size as one walks through it. The pavilion also includes openings for light to pass through to create an interactive experience

ECONOMY TO INTRICACY INSPIRATION These pavilion sketches were inspired by the economy to intricacy tile and mask designs in the previous projects. I love how elegant this contrast is and the unique forms it can be arranged into. In the first sketch, small coils are arranged to create a platform. The main structure is a thick and intricate composition to where a person could walk through and around the structure in an engaging manner. In the second sketch, there is a large, elevated platform. The platform caves in, revealing a large coil to be used as an interesting seating area. This area is surrounded by an intricate tangle that winds around and over the depressed coil.

REFINED PAVILION

ECONOMY TO INTRICACY PAVILION I chose to refine the second sketch of the economy to intricacy inspired design. I found this sketch to be the most elegant and fascinating design out of the four. The way that the coil base shifts into the walls and ceiling creates a wonderful economy to intricacy contrast. I constructed this pavilion by using cardboard as a base. I elevated the cardboard by cutting slits at the corners to flip the sides down. I then created a hole for the coil to cave into. The process of creating the perfect sized coil to fit into the hole was a challenge, but eventually I was able to create a fitting coil for the seating area. Then, I rolled out clay to create the intricate, tangle structure that winds around and over the base. Once I placed the human figures into the pavilion, it came to life. This pavilion would look beautiful in a park or a zoo. It is very playful, yet peaceful, and it has very natural elements which are perfect for an outdoor setting.

MODULE TWO ANALYSIS Module Two was very engaging and expressive. I enjoyed exploring space and form throughout each of the three projects. I had no prior knowledge about threedimensional contrasts. Now, I have a substantial understanding of these contrasts and the importance that they have within design. In problem one, we began to familiarize ourselves with each three-dimensional contrast by creating six tiles. Then, we expanded from that and designed masks inspired by two of our tile contrasts. I focused on the small to large contrast and economy to intricacy contrast in my mask designs. It was exciting to create our own styles with these contrasts to showcase our individual interests and skills. Lastly, in problem three, we were to construct a pavilion based on one of our chosen contrasts. I chose the economy to intricacy contrast for my design. I felt that the pavilion had a perfect contrast and a very elegant finish. It was amazing to look back to each project within this module to see the development of each contrast as well as my own understanding. It was also inspiring to see the work done by other students as we all had much different, but intriguing designs. I plan to take my newfound knowledge of space and form with me as I design in the future.

MODULE THREE

FORM AND FUNCTION

MODULE THREE PROBLEM ONE: RESEARCH 1. TEXTILE RESEARCH Research on a 1968 drapery fragment and sketches of the textile.

2. HISTORICAL RESEARCH Research about the late 1960s fashion and influential historical events.

3. INSPIRATION Images of six inspirational pieces of furniture inspired by the textile and the historical period.

4. CONCEPT SKETCHES Six sketches of interesting chair concepts inspired by the 1968 textile.

GOAL: To gain an understanding of the chosen textile and historical period.

To explore and sketch six interesting chair concepts.

TEXTILE RESEARCH 1968 DRAPERY FRAGMENT I selected a 1968 floral drapery textile from the Helen Louise Allen Textile Collection. This is a cotton, plane weave textile from the state of New York. A drapery can be defined as a cloth or curtain, specifically one that hangs. I can envision this textile in a home, hotel, or shop window in the late 1960s.

I chose this textile because I was immediately drawn to the bright palette and use of organic shapes. When doing my textile research, I had the exciting, 1960s-1970s historical period in mind. In my chair design, I hope to emulate the compelling style of this time period.

TEXTILE SKETCH In this sketch, I aimed to accentuate the shapes and forms within the textile, without the color. There are many natural elements such as flower petals, vines, and leaves that form to create a unique composition with interesting movement. I also sketched the individual elements that I saw within the textile to gain a better understanding of each component by itself. In doing this, I hope to incorporate these elements both separately, and together into my chair concepts.

THE 1960S-70S FASHION IN THE LATE 60S "THE HIPPIE SUBCULTURE" There is no doubt that the late 1960s is one of the most remembered periods in all of fashion and design history. There were countless different styles introduced during this exhilarating period, but one of the most popular styles are the clothing worn by the "hippies" and by those who wanted to express themselves. This period was filled with short skirts, floral patterns, vibrant colors, bell bottom jeans, bandanas, frayed clothing, and tie-dye. Interior design color palettes shifted into vibrant shades and interior spaces became extravagant and over-the-top. Furniture during this era had minimalistic features and futuristic shapes. It was created with functionality in mind. It is to no surprise that in our current era, these trends are beginning to make a return.

Women's Liberation Movement

1964-Civil Rights Act

1967-Summer of Love

1969-Man on the Moon

SOCIETAL AND POLITICAL INFLUENCES There were many influential events throughout this period of time. They were seeing a shift in the civil rights movement, they experienced the Space Race, Summer of Love, Women's Liberation Movement, American involvement in the Vietnam war, and much more. These events were just a few at the time that influenced the culture we saw during the 1960s and 1970s. The American society left restrictions and norms in the past and they opened the door into a culture of innovation, diversity and equality.

INSPIRATION

Wooden and Rattan Flower Shaped Chair- Current Era

Very Rare Organic 8810 Flower Chair-1973

Morning Dew Fabric Armchair- Current Era

Vitra Panton Classic Chair- 1967

Windsor Flower Chair- Current Era

Mid Century Folding Beach or Camp Chair Wood Frame- 1960's

I wanted to incorporate the natural, organic elements from the textile, while also including elements of furniture from the 1960s-70s. Above are a few of the chair examples that inspired my own designs. Some examples are those from the 1960s and 1970s, and some are from more current periods of time.

CONCEPT SKETCHES

I sketched out six different chair design concepts and drew inspiration from the 1968 floral textile, furniture from the same historical period, as well as current chair designs with similar elements. I tried to emphasize the natural components of the textile within each of these chair sketches. I incorporated materials and forms used in furniture from the late 1960s as well as more current trends. My main goals for these sketches were to create functional pieces of furniture that display organic features and interesting movement.

RESOURCES Reddy , K. (2019, July 23). Tag: 1960-1969. Fashion History Timeline. Retrieved March 30, 2022, from https://fashionhistory.fitnyc.edu/1960-1969/ Dudbridge, S. (n.d.). History of fashion 1960's - 1970's. Catwalk Yourself. Retrieved March 30, 2022, from http://www.catwalkyourself.com/fashion-history/1960s-1970s/ The Fashion Folks. (2020, December 11). 20th Century fashion history: 1960-1970. The Fashion Folks. Retrieved March 30, 2022, from https://www.thefashionfolks.com/blog/20th-centuryfashion-history-1960-1970/ Kala, K. (2018, November 19). Fashion history- the look of the 1960's. Medium. Retrieved March 30, 2022, from https://medium.com/@kalyanii8927/fashion-history-the-look-of-the-1960s292958b78951 Shmoop Editorial Team. (2008, November 11). The 1960s timeline - what happened in the 1960s? Shmoop.

Retrieved March 30, 2022, from https://www.shmoop.com/study-guides/history/1960s/timeline Singh, N. (2017, November 24). Fashion history : 1960's. Medium. Retrieved March 30, 2022, from https://medium.com/@namanpalsingh/fashion-history-1960sbdd87361c505#:~:text=It%20was%20heavily%20influenced%20by,shapes%20and%20a%20plastic%20texture.

Rothman, L. (2017, November 21). How 1960s fashion trends reflected the decade's history. Time. Retrieved March 30, 2022, from https://time.com/4978502/mod-fashion-1960s/ The fashion that was: The sixties and how it influenced the Fashion World. Buffalo Rising. (2011, October 21).

Retrieved March 30, 2022, from https://www.buffalorising.com/2011/10/the-fashion-that-was-the-sixties-andhow-it-influenced-the-fashion-world/ Bulovska, K. (2020, October 16). 1960s home décor: Groovy, colorful and dynamic, influenced by the hippie movement and the space age. Walls with Stories. Retrieved March 30, 2022, from https://www.wallswithstories.com/interior/1960s-home-decor-groovy-colorful-and-dynamic-influenced-by-thehippie-movement-and-the-spaceage.html#:~:text=Characteristic%20for%20the%201960s%20are,the%20hippie%20movement%20and%20psychedelia. &text=The%20bedroom%20drapes%20would%20be,as%20bedspreads%20and%20wall%20hangings.

Hippie movement timeline. Timetoast timelines. (1965, March 17). Retrieved March 30, 2022, from https://www.timetoast.com/timelines/99636 Gerald, C. (2020, November 6). The 1960s Interior Design Comeback. Sorrento Furniture.

Retrieved March 30, 2022, from https://sorrentofurniture.com.au/the-1960s-interiordesign-comeback/

MODULE THREE PROBLEM TWO: PROTOTYPES

1. REFINED SKETCHES Refined sketches for three of the six chair concepts.

2. PROTOTYPES AND ELEVATIONS Two chair prototypes and elevation sketches. of one of the prototypes.

GOAL: To produce detailed sketches of three chair concepts, two chair prototypes, and elevation sketches for one prototype.

REFINED SKETCHES "Free Spirit Seat" In this chair, I attempted to express organic elements and movement, inspired by the textile. The seat can be used to lay or to sit. I was also inspired by the leaf-like elements in the textile to create an overhang that spreads across the seat. This seat also features a storage area in the bottom section or an additional area for one to lay down.

"Flow Chair" I was inspired by the vine-like elements within the textile. I focused on creating this chair with continuous movement, so there are no sharp corners or edges on the base. This chair flows organically like a vine and the leaf-like elements offer unique support to the user as they sit.

"Flower Power Chair" I drew inspiration from the flower-like features of the textile. This chair includes a cushion with a semisphere petal structure surrounding the back side.

The bottom section of the chair takes on a similar form to the top and can be used for storage or seating for a small child.

PROTOTYPES

Free Spirit Seat

Flower Power Chair

I chose to create a prototype for the Free Spirit Seat because of its strong visual appeal and elegancy. To construct this chair, I cut multiple foam core pieces into the shape of the chair and then glued them together. For the leaf overhang, I cut out pieces of paper and attached them to the edge of the seat. Initially, this was going to be a wooden seat if constructed, but after further contemplation, I decided this chair would look best by using plexiglass to make the structure look injection molded which was a popular furniture trend in during the 1960s-70s. The prototyping process was very beneficial for my understanding of this design, and led to my decision to further construct the Free Spirit Seat. I chose to create a prototype for the Flower Power Chair because of its interesting organic forms and natural movement inspired by the textile. I also wanted to see how well this chair would translate into a three-dimensional form as it was difficult to only tell by the sketch. I used foam clay to form the entire structure and later, I experimented with planes to see if the form would still translate well without clay. While I was fond of the concept of the Flower Power Chair, I felt that the Free Spirit Seat would be the best chair to construct. It is a well functioning concept and greatly reflects the beauty of the textile.

ELEVATIONS I decided to move forward with the "Free Spirit Seat" because of how closely it reflects the 1968 textile as well as its beauty and functionality.

The human scale of this chair if built would be about 5' tall, 5'6 feet wide and the seat would rest at about 2'6. In the miniature model, the chair will be 5" tall, 5 1/2" inches wide and the seat will rest at 2 1/2". I plan to laser cut pink and orange plexiglass to create the majority of the seating structure.

Each piece will be 1/8" thick and there will be approximately 16 pieces glued together. For the overhang, I plan to draw and cut out pieces of bristol board and then attach them to the structure. Since the textile is full of vibrant colors, I plan to add a similar pallet of colors to the leaves.

MODULE THREE PROBLEM THREE: FINAL CHAIR MODEL 1. BUILDING PROCESS Refined elevation sketches and photos of the construction process.

2. CONSTRUCTED FREE SPIRIT SEAT Photos and a description of the fully constructed Free Spirit Seat model.

GOAL: To construct a model size chair and create a small four page pamphlet introducing the chair and the designer.

BUILDING PROCESS

After analyzing my chair design and completing the final outlines, I created refined elevation sketches to neatly show the scaled dimensions and form of the Free Spirit Seat.

1. I drew out the form of the chair structure (16 identical) on Adobe Illustrator.

4. I used cement glue to attach all 16 pieces of plexiglass to form the main sturcture/base of the chair

2. I sent my illustrator file to the laser cutter machine and then laser cut 16 identical pieces of plexiglass.

5. I used water color on mixed media paper to create the design for the leaf overhang, then I cut out five leaf pieces.

3. After laser cutting the plexiglass, I scrubbed off any remaining burn marks to create sleek and clean pieces.

6. Lastly, I glued each leaf onto the edge of the chair and let it dry.

THE FREE SPIRIT SEAT The Free Spirit seat represents the idea of being unique, free, and eccentric. The seat is a free spirit and it encourages is users to be the same. I created this model with laser-cut acrylic pieces and watercolored mixed media paper. It was useful to learn about how the laser cutter works for future projects. I created this chair with similar organic shapes and vibrant tones of the 1968 textile. This project was a great learning experience. It was an exciting process to first, gain inspiration from an item or time period, sketch concepts, and then build a final product. It is amazing to see how well things can go together when effort goes into developing an idea or a concept. I have gained a lot of insight from this project and hope to take these new skills and knowledge with me into the future.

MODULE THREE ANALYSIS Module three involved gaining inspiration, conducting research and constructing a final design. I began by choosing a 1968 floral drapery textile and then researched the time period in which it was created to gain inspiration. Then, I began to sketch different design concepts. I felt that it was a challenge to create designs that were artistically beautiful but also functional, but I was able to create a design that I truly loved. Then, I refined my chosen chair design sketch and began to plan the construction process. Before this module, I had never used the laser cutter. It was a great learning experience to figure out how to create a design within illustrator and then cut it. It made the construction process much easier and allowed for a sleeker look and finish to the final chair. I also incorporated water color paints into the final chair model. I did not have much prior experience with water color painting so it was fun to experiment with a new medium. After adding the final touches to my refined chair and pamphlet, it was satisfying to reflect on the process as a whole. It introduced the concept developing process and allowed for an exceptional amount of creativity and personal style.

MODULE FOUR

SPATIAL ORGANIZATION

MODULE FOUR PROBLEM ONE: RESEARCH

1. PRECEDENT STUDY Research on a well known architect, their work, and possible influences.

2. BUILDING PLAN SKETCHES Sketches of building plans for three different structures done by the architect.

GOAL: To gain inspiration from a well known architect through research and to sketch the plans of three of their designs.

PRECEDENT STUDY Architect Inspiration Tatiana Bilbao Tatiana Bilbao (1972-) is a Mexican architect. She came from a family of architects so she always had an interest in the field ever since she was a young child. Bilbao attended the Universidad Iberoamericana in Mexico City. She obtained a degree in architecture and urbanism. After college, Bilbao worked for the Ministry of Development and Housing of the Government of the Federal District of Mexico City.

She was part of the advisory council for the urban development of the city.

In 2004, Bilbao opened ESTUDIO, an architecture studio based in Mexico City. Tatiana's work focuses on connecting geometry and nature. This can be seen in many of her finished projects and proposals such as the research center of the Sea of Cortez and the Culiacán Botanical Garden. Bilbao is currently practicing, so much of her work reflects the current needs of the world and specific areas she designs for. Our world is always changing and adapting to the needs of humans and the environment. She creates designs conscious of the needs to save our environment while also creating places for the best human experience possible.

I chose Tatiana Bilbao for my inspiration because I was drawn to her style of architecture and her motifs for how architecture should be used within the world. As I was looking through her website, I noticed that there was a focus on hand drawn renderings and artistic vision boards. I read that she actually banned renderings from her design process. In Bilbao's interview with Dezeen, she mentioned how creating collages helps her to create more exiting buildings. I love this approach and is something I would considering doing in my own designs in the future.

École Maternelle: An expanded installation for Liceo Franco Mexicano elementry school. The concept of this was to create very flexible spaces.

They created a direct connection with the outside environment. It allows the children to have an array of connected spaces to explore and learn. Color, texture and landscape were also incorporated into this expansion to engage the children with nature.

Botanical Garden This is the botanical garden located in Culiacán, a city in northwestern Mexico. According to Tatiana Bilbao's website, this botanical garden has been known for its collection of tropical flora containing over 750 species. Bilbao's ESTUDIO was hired to the project to create a plan that would bring landscape and art together. The intention of the expansion of this garden was to improve the quality of life within the city and offer the citizens a place to learn through art and nature.

Project Categories Education Density Social Landscape Culture Domesticity Affordability

Estoa – UDEM This was a project done at The University of Monterrey. It was created with the university's goal to have a 100% pedestrian campus and to create better experiences for for all who visit. It is a place to make students feel comfortable and welcome. This structure was also designed to connect the beautiful landscape with the heart of the campus.

BUILDING SKETCHES This is Tatiana Bilbao's "Casa Ventura." I was drawn to the geometric forms of this house and the blending of the landscape with the architecture. While the back end of the home is constructed down the side of the mountain, the front entrance takes on a much flatter form. The the recessed entrance adds an element of shelter while still feeling connected to the natural environment. While sketching, I was able to get a strong sense of how to connect geometric forms as well as understand the flow of spaces in a structure at this scale.

Tatiana Bilbao designed this project plan for the Research Center at the Sea of Cortez. The design of this structure amazes me. Once again, Bilbao combines architecture and nature into one beautiful place. This structure takes on somewhat of an oblique approach. The wall planes portraying out offer an element of exploration of what is around the corner.

This was a very interesting design to sketch. I enjoyed replicating the colliding wall planes and understanding the flow of the structure while sketching one of the section plans.

This is Tatiana Bilbao's Ajijic House. This home was produced with geometric forms to create a sense of simplicity. In the floor plan, you can clearly see the separate cubes which offer individual spaces. This home was also designed with large windows to connect the family with the view of the landscape. The openings also serve as a protection from cold winds. Like other works of Tatiana Bilbao, this home has more of a recessed entrance and an oblique approach. I gained a great deal of inspiration while sketching this structure. It was also interesting to see the cubical organization and separation of the spaces while sketching the floor plan.

RESOURCES Encyclopædia Britannica, inc. (n.d.). Tatiana Bilbao. Encyclopædia Britannica.

Retrieved April 16, 2022, from https://www.britannica.com/topic/Tatiana-Bilbao Tatiana Bilbao Estudio: About. Tatiana Bilbao Estudio | About. (n.d.). Retrieved April 16, 2022, from https://tatianabilbao.com/about Frearson, A. (2019, December 10). "we banned renders" from the design process says Tatiana Bilbao. Dezeen. Retrieved April 16, 2022, from https://www.dezeen.com/2019/12/04/tatiana-bilbao-banned-renderingsarchitecture-interview/ Ouroussoff, N. (2013, May 8). Diamond in the rough. The New York Times. Retrieved April 16, 2022, from https://www.nytimes.com/2013/05/08/t-magazine/architecttatiana-bilbao.html

MODULE FOUR PART TWO AND THREE: DESIGN CONCEPTS AND MUSEUM MODEL

1. CONCEPT SKETCHES Three museum design concepts with floor plans and sketches from multiple views of the building.

2. REFINED FLOOR PLAN AND ELEVATIONS Refined floor plan of the chosen design and elevations from each side of the building.

3. FINAL MUSEUM MODEL Final constructed and scaled museum model.

GOAL: To develop three museum design concepts and then refine and construct a scaled architectural model museum .

CONCEPT SKETCHES This design was created with adjacent hexagonal shapes to create a centralized formation. This design features a recessed entrance and frontal approach. The center of the building that holds the main gallery features a 25' ceiling height with the surrounding areas at a steady 14' ceiling height. One will experience this museum as if they are exploring their own bee hive. The outdoor sculpture garden reflects the buildings geometric floor plan. The hexagons create a fascinating pathway and experience around the sculptures. I am intrigued with the interesting ways that hexagons can be connected. They create natural spatial relationships between areas of this museum. I was inspired

by Tatiana Bilbao's use of geometry and connection with nature. I envision this museum in a place with an abundance of botany and honey bees.

This design was created with a U-shaped layout with the addition of the rectangular lobby area. It offers a continuous flow throughout the museum. It also creates spatial relationships between each gallery and has the visitors wondering with every step they take. This concept also creates a functional transition between the interior spaces and exterior garden. The sculpture garden serves as a place of refuge. It features overhead beams to offer interesting reflections of light and provides a feeling of shelter. This design was created with a recessed entrance and frontal approach. The clerestory windows along the top of the whole building offer natural light to seep into the galleries. This design was inspired by Tatiana Bilbao's use of natural elements, environmental friendly tactics and her ideas for human discovery.

This design concept was formed by using interlocking and adjacent cubes/rectangular prisms. This is a highly functional design featuring elements inspired by Tatiana Bilbao. It features a recessed entryway and frontal approach with the fenced in sculpture garden as a guide and experience to the entry. Each section is at a different ceiling height to emphasize each geometric form and to offer variability throughout the experience. This design also includes clerestory windows to offer as much natural lighting as possible. Tatiana Bilbao's work is generally created for functionality and human enjoyment. This design was inspired by those those ideas. The floor plan shows the intended flow of traffic through this museum. One would enter into the lobby and move throughout each gallery then into the sculpture garden and eventually they would exit through an opening to the spot where they began the experience.

FLOOR PLAN & ELEVATIONS

Elevation A

Elevation B

small exhibits: 3,079 sq. ft

2,306 sq. ft.

Elevation C

1,920 sq. ft.

total: 7,304 sq. ft

Elevation D

Floor Plan

These are the refined elevations and floor plan of The Honey Museum of Art. I chose to refine this design because of its unique hexagon features and connection to nature. This design includes a frontal approach and recessed entrance. The ceiling height is 14' and 25' in the main gallery. The hexagons connect adjacently to form a continuous flow and a unique use of space. The 25' ceiling height area also includes clerestory windows on all six sides of the hexagon. Two large picture windows are placed within the seating area of the lobby to allow for natural light. The approximate square footage of the entire museum is 7,304 sq ft and it will be scaled down to 1/8"= 1'-0".

THE HONEY MUSEUM OF ART

Welcome to The Honey Museum of Art. Visitors will experience this museum as if they are exploring their own honeycomb. The Honey Museum of Art is intended to be built in a vibrant, botanical environment, home to many honey bees. The greenery surrounding the museum offers an integration into nature.

This museum was constructed with geometric hexagon planes. The hexagonal formation allows for natural adjacent spatial relationships between separate galleries of the museum. The interior features an open seating area in the lobby with large picture windows for visitors to connect with the outdoor landscape. The main gallery features a 25' ceiling with clerestory windows to allow for natural light to settle in. As the visitors move to the back of the museum, they are greeted with an outdoor sculpture garden. The garden consists of an overhead pavilion and three large sculptures placed on top of the adjacent hexagons.

The Honey Museum of Art was inspired by the work of architect, Tatiana Bilbao. She uses geometric forms and connects them with the natural surroundings and also aims to create spaces for human use and enjoyment. The design of The Honey Museum of Art uses the perplexing geometric qualities of bees and their honeycombs. It invites visitors to become one with the space and offers the opportunity for exploration of a geometric phenomenon within our natural environment.

MODULE FOUR ANALYSIS Module Four combined each of the elements and concepts covered in the previous modules.

While this module was originally daunting, it provided opportunities for learning and adapting to challenges. I began by conducting research on the architect, Tatiana Bilbao. I was intrigued with her work as well as her design development process. After sketching three of her buildings, I was able to gain inspiration to create my own designs for my museum. I aimed to create a building with geometric shapes with a connection to nature, similar to Bilbao. After finalizing my plans, I began the construction process. I decided to use the laser cutter to cut out each piece of the museum. It was a challenge to fit each piece together perfectly, but I carefully taped and glued each piece in the best possible way and then painted the base to create a sleek finish. I added green foliage around the roof to incorporate natural elements within the design as well as secure the roof onto the base of the museum. I also included small pieces of my own art throughout each gallery. I finalized the museum by adding landscaping around the front and back areas of the museum. While this module was the most challenging, it was also the most rewarding to see the project as a whole come together. I was able to learn how to create a design concept, gain knowledge of architectural methods and apply them, as well as uniquely express my own styles as a designer.

DESIGNED BY MIAH CAROLYN FERRACUTI THE UNIVERSITY OF WISCONSIN-MADISON FERRACUTI@WISC.EDU