Page 1

LORENA PEREZ

INTERIOR ARCHITECTURE PORTFOLIO


TABLE OF CONTENTS 1-2

NEUTRALIZATION

3-4

TESSELLATION

5-6

MATERIALS BOARD

7-8

FORM AND SPACE

9-24

2D 2 3D

25-34

DOG ADOPTION CENTER

35-37

MOON VIEWING SPACE

38-44

THE PLEATING LABYRINTH

45-60

LABYRINTH

61-68

STUDENT HOUSING POD 


EAMES HOUSE REMODEL

81-92

DESIGN CENTER REMODEL

93-100

HEALTH CARE CENTER

101-114

THE VIRGIN ORBIT CAPSULE: MOBILE EXPERIENCE

114-136

THE VIRGIN ORBIT PORTAL: EXPERIENCE CENTER

+

69-80


NEUTRALIZATIONS THE NEUTRALIZATION OF THE COMPLEMENTARY COLORS RED AND GREEN IS DONE THROUGH 12 INCREMENTAL, EQUALS STEPS. THE DIAMOND PATTERN ALLOWS SHARP EDGES TO HIGHLIGHT THE CONTRAST IN COLORS.

1#


2


C H R O M A, M A T E R I A L, CONVEX TESSELLATION THE VALUE OF THE COLOR YELLOW IS DISPLAYED THROUGH THE USE OF A UNIQUE SELECTION OF MATERIALS. THE VARIETY IN MATERIALS, RANGING IN DIFFERENT TEXUTRES AND SHAPES PROVIDE A MEANS FOR THE TESSELLATION TO GRADUALLY SHOW THE CHANGE IN VALUE ON A SCALE FROM HIGHEST TO LOWEST AND VICE VERSA.

3


4


I N D U S T R I AL I Z E D E L E G A N C E

THIS MARKETING SURVEY BOARD WAS DESIGNED TO CREATE A FEEL FOR EACH SPACE PRESENTED. COMPARING EACH LOCATION PRIMARILY BASED ON THEIR MATERIAL SELECTION ALLOWED FOR A MORE FOCUSED EMPHASIS ON MATERIAL TEXTURE, COLOR, AND SIZE. ONCE THE MATERIAL IS ANALYZED, STUDYING WHERE IT IS THAT IT IS PLACED ADDS A NEW LEVEL OF INFORMATION TO IT, ALLOWING THE VIEWER TO UNDERSTAND ITS CONTEXT.. .

5


6


FORM AND SPACE THE TWO DIFFERENT SHAPE COMBINATIONS CONSIST OF TRIANGLES AND SQUARES (1) AND TRIANGLES AND CIRCLES (2). EACH COMBINATION CREATES FORM, MASS, VOID AND SPACE ALL WITHIN ITS OWN GEOMETRIC CONFIGURATION. THE DIFFERENT PROPORTIONS AMONG THE DIFFERENT AMOUNTS OF MASS AND VOID ALLOW THE TWO COMBINATIONS TO DIFFERENCIATE FROM EACH OTHER AND CREATE CONTRASTING SPACES.

7 #


8


2D 2 3D THROUGH THE USE OF DESIGN COMMUNICATIONS, AN IMAGE THAT WAS ONCE 2D TRANSFORMS INTO A 3D OJECT ALL WHILE STILL MAINTAINING THE ORIGINAL IMAGE AS ONE OF ITS FACES. THE PROCESS WAS DONE BY TRACING THE IMAGE ONLY BY USING LINES AND SHAPES. IT WAS THEN TRANSFORMED TO ONLY HAVE THE NECESSARY LINES TO MAKE UP THE ORIGINAL IMAGE. FOLLOWING THAT, IT WAS BROUGHT INTO A 3D CUBE AND THE LINES WERE MOVED ALL WITHIN A 10” X 10” X 10” CUBE. THE LINES EXTRUDED, GOT THICKNESSES AND BECAUSE 3D OBJECTS. WITH THESE 3D OJBECTS, I MADE A 3D PHYSICAL MODEL AND RENDERED THE DIGITAL 3D MODELS.

9


ORIGINAL IMAGE

10


ANNOTATION DRAWING

X3

X4 X4 X5

X4 X4 X5

C2 X6

X1

X5

X2 X2

X6 V3 C2 V3

X2

X2 X2

X3

V3

C2

V3

C2

X1

C3 C4 C3

V4 V4 C2

V1

V1

V1

X1

X1

C2

X2

I2

X2

X2 X3 X6

X5 X5

X6

X3

X3

X2X2

X4 V1 V1 X7 X7

I1

I1 I1

I1

I1 I1

I1

I1

I1

I1

I1

I1

I1

I1

D3 D4

D2

D1 D1

D5

D1

I1

I1


PERSPECTIVE 2D DRAWING

12


3D OUTLINE

3D SHADED OUTLINE

13


3D EXTRUDED

14


EXTERIOR RENDERS

15


INTERIOR RENDER

16


3D OUTLINE

3D SHADED OUTLINE

17


3D EXTRUDED

18


EXTERIOR RENDERS

19


INTERIOR RENDER

20


3D PHYSICAL MODEL

21


EXTERIOR RENDER

INTERIOR RENDER

22


3D PHYSICAL MODEL

23


EXTERIOR RENDER

INTERIOR RENDER

24


MOON VIEWING SPACE THE OVERALL OUTCOME OF THIS PROJECT CONSISTED OF A MOON VIEWING SPACE. THROUGHOUT THE PROCESS, FOUR (4) GRAY 6” X 6” STRAIGHT + FLAT SURFACES CUBIC MODELS, FOUR (4) WHITE 6” X 6” RADIAL LINES + RULED SURFACES CUBIC MODELS, 1 CUBIC MODEL CONSISTING OF A COMBINATION OF THE STRAIGHT + CURVED MODELS, AND A HALF (1/2) OF THE MOON VIEWING MODEL WERE PRODUCED. WHILE DESIGNING THE 4 GRAY AND WHITE CUBIC MODELS, THE EXPRESSION OF THE RELATIONSHIP BETWEEN MASS, VOID AND SITE HAD TO BE CONSIDERED. THE COMBINATION MODEL FOCUSED ON APETURE, ENTRY/ EXIT AND VERTICALITY, ALL WHILE KEEPING IN MIND THAT THE SPACE WILL EVENTUALLY HOLD INTERIOR HABITATION. THE FINAL PROJECT FOCUSED ON BECOMING A MOON VIEWING SPACE BY BRINGING ABOUT SEVERAL MOON VIEWING PLATFORMS, ALL HIGHLIGHTED THROUGH THE USE OF COLOR. THE USERS WERE ABLE TO EXPERIENCE THE DIFFERENT PROPORTIONS OF MASS AND VOID THORUGHOUT THE MODEL BY PHYSICALLY GOING THROUGH THE SPACES IN ORDER TO REACH THE MOON VIEWING PLATFORMS.

25


6” X 6” STRAIGHT + FLAT SURFACES CUBIC MODELS

6” X 6” WHITE RADIAL LINES + RULED SURFACES CUBIC MODELS

26


6” X 6” STRAIGHT + FLAT SURFACES CUBIC MODELS

6” X 6” WHITE RADIAL LINES + RULED SURFACES CUBIC MODELS

27


COMBINATION OF GRAY FLAT + WHITE RULED SURFACED MODELS 28


3D ELS

DIAGRAM SELECTED

REPRESENTING THE TO BE COMBINED

IN

2 6” ORDER

X TO

6” WHITE CREATE THE

AND GRAY COMBINATION

MODMODEL. 29


PHYSICAL MODEL IMAGES

HALF OF THE PHYSICAL MODEL OF THE MOON VIEWING SPACE SHOWING THE HIGHLIGHTED MOON VIEWING PLATFORMS COLORED IN BURGANDY AND STAIRS THROUGHOUT THE INTERIOR SPACES FORMED THROUGH MASS AND VOID. 30


HALF OF THE PHYSICAL MODEL OF THE MOON VIEWING SPACE SHOWING THE ENTRY AND EXIT TO THE SPACE. THE MOON VIEWING PLATFORMS COLORED IN BURGANDY ARE ALSO DISPLAYED. 31


FLOOR PLANS

A

A

B

B

FIRST FLOOR

SECOND FLOOR

FIRST AND SECOND FLOOR PLANS OF THE MOON VIEWING SPACE SHOWING THE CIRCULATION THROUGHOUT THE SPACE WHILE HIGHLIGHTING THE MOON VIEWING PLATFORMS IN BURGANDY. 32


SECTIONS OF MOON VIEWING SPACE

33


AXONOMETRIC OF MOON VIEWING SPACE

34


DOG ADOPTION CENTER THIS DOG ADOPTION CENTER WAS DESIGNED BASED ON THE IDEA OF BLENDING THE EDGES TO CREATE ONE CONTINUOUS EXTERIOR SKIN. BLENDING THE INDOOR AND OUTDOOR SPACE ALLOWED FOR THE INDIVUDALS AND PETS TO FEEL ONE WITH NATURE, YET ALLOWING THE PETS TO BE SECURE AT ALL TIMES.

35


PHYSICAL MODEL OF DOG ADOPTION CENTER 36


37


THE PLEATING LABYRINTH THE PLEATING LABYRINTH CONSISTS OF A SPACE IN WHICH THE INDIVIDUAL EXPERIENCING THE SPACE HAS NO CONCEPT OF SCALE. AS THEY NAVIGATE THROUGH THE DARK ROOM WITH HANGING PLEATED TULLE AND LIMITED LIGHT, THEY BEGIN TO FIND THEIR WAY THROUGH THE SPACE BY USING THE ONE GUIDING FACTOR... ULTIMATELY, LEADING THEM TO THE MIRROR ROOM IN WHICH THEY COME TO REALIZE THAT THE ONLY WAY OUT IS BY FOLLOWING THE SAME PATH THEY CAME IN. .

38


PRECEDENT STUDY-BAND BY RICHARD SERRA

MATERIALS STEEL

CONCRETE

SITE ANALYSIS DIAGRAM

PLAN

OBJECT CATALOG

SECTION LOS ANGELES COUNTY MUSEUM OF ART COMMERCIAL RESIDENTIAL

SITE MAP SECTION

BROAD CONTEMPORARY ART MUSEUM

39


STRUCTURE DIAGRAM

CIRCULATION

SOUND DIAGRAM

LIGHTING DIAGRAM

HIGH AMPLITUDE LOW AMPLITUDE

THIS PRECENDENT STUDY FOCUSED ON BAND BY RICHARD SERRA. BAND IS LOCATED AT THE LOS ANGELES COUNTY MUSEUM OF ART. HIGHLIGHTING SPECIFIC ELEMENTS OF THE INSTALLATION SUCH AS ITS LARGE SCALE, FORM , SHAPE AND CURVED STEEL PLATES HELP EMPHASIZE HOW THEY WORK TOGETHER TO FORM A RIBBON -LIKE STEEL STRUCTURE. DUE TO THE LOCATION OF WHERE BAND IS INSTALLED, LIGHTING, SOUND, AND CIRUCLATION PLAY A ROLE IN THE EXPERIENCE INDVIDUALS RECEIVE WHILE VISITING THE STRUCTURE. 40


MATERIALS STUDY ISOMETRIC

PLAN

12” X 12” X 12” C U B E

CORAL TULLE

THROUGH THE EXPERIMENTATION OF DIFFERENT MATERIALS WITHIN A 12” X 12” X 12” CUBE, THE IDEA OF USING TULLE CAME ABOUT WHEN CONSIDERING ITS CHARACTERISTICS WHEN PLEATED TOGETHER. THE PLEAT METHOD USED IS ACCORDION PLEATS LAYERED ABOVE ONE ANOTHER. BY FOLLOWING THIS METHOD, AS THE AMOUNT OF PLEATS INCREASE, THE LESS TRANSPARENT THE TULLE GETS. 41


COLLAGES

` l i i ^d b

` l i i ^d b

` l` il i ^d b b

WHEN CONSIDERING A SPACE IN WHICH HOLD TRANSPARENT, TRANSLUCENT AND OPAQUE OBJECTS, THE IDEA OF A LABYRINTH CAME ABOUT. WITH HAVING THE USERS TRYING TO FIND THEIR WAY THROUGH THE SPACE BASED OFF OF THE AMOUNTS OF PLEATS THE TULLE HAS, IT CREATES AN EXPERIENCE FOR THE USER. THEY MUST FIND THERE WAY TO ULTIMATE DESTINATION BASED OFF OF THE PATH GIVEN TO THEM.

42


PROCESS TECHNIQUE DIAGRAM

MATERIAL- TULLE

TECHNIQUE- PLEAT

AFTER EXPLORING WITH THE PLEATING METHOD AND IT BEING APPLIED ONTO THE TULLE, THE IDEA OF CREATING A LABYRINTH CAME ABOUT GOUT THE MAZE BY WALKING THORUGH THE AREAS THAT HAVE LESS AMOUNTS OF PLEATS, DUE TO THE FACT THAT THEY ARE MOST TRAN AND IN CONCLUSION CANNOT WALK THROUGH THERE. THE PATH IS ALREADY SET FOR THE USER, BUT IT IS UP TO THE USER TO NAVIGATE THR POSSIBLE. ALSO, THE CURVES FOLLOW THE SAME IDEA BAND DOES. THE CURVES CREATE A RIBBON LIKE PATH ALLOWING FOR THE CIRCULAT IT IS OFTEN COMPARED TO ONE GOING ON THAT TRIP IN ORDER TO FIND THEMSELEVES AT THEND. FOLLOWING THAT SAME IDEA, THE MIRROR R OUT IS TO GO BACK IN THE SAME DIRECTION ONE CAME IN. THEREFORE, THE USERS EXPERIENCE THE NAVIAGATION PROCESS TWICE. WHILE TION DUE TO THE FACT THAT ALTHOUGH SOME MAY REACT IN FEAR, OTHERS COULD REACT IN CURIOSITY. SIMILAR TO THE EXPERIENCE THE U 43


FLOOR PLAN

CIRCULATION DIAGRAM

T DUE TO ITS TRANSPARENT AND TRANSLUCENT CHARACTERISTICS. THE OVERALL IDEA CONSISTS OF HAVING TO FIND YOUR WAY THROUNSPARENT. TULLE WITH HIGHER AMOUNTS OF PLEATS ARE ALMOST OPAQUE, THEREFORE THE USER IS NOT ABLE TO SEE IN THAT DIRECTION ROUGH THE SPACE. THE CIRCULATION OF THE SPACE FOLLOWS SHARP CURVES ALL THROUGHOUT IN ORDER TO MAKE USE OF ALL THE SPACE TION TO BE MORE CLEAR. THE FINAL DESTINATION TO THIS PATH IS A MIRROR ROOM. WHEN ONE EXPERIENCES GOING THROUGH A LABYRINTH, ROOM ALLOWS INDIVIDUALS TO LITERALLY FIND THEMSELVES IN THE REFLECTION OF THE MIRROR. ONCE THAT IS ACHIEVED, THE ONLY WAY MANUEVERING THROUGH THE SPACE, THE USERS HAVE NO IDEA OF THE SCALE AND THE LIGHTING IS LIMITED. THIS EVOKES HUMAN EMOUSERS OF BAND RECIEVE, THOSE IN THIS LABYRINTH ARE TAKEN AWAY BY THE SCALE, CURVES, AND MATERIALITY OF THE INSTALLATION. 44


L

A

B

Y

R

I

N

T

H

THE LABYRINTH TAKES ITS VISITORS THROUGH SPIRAL WALKWAYS FORMED BY WAVE AND ACCORDION PLEATS, IN ORDER TO FIND ITS FINAL DESTINATION OF A MIRROR ROOM. AS ONE WALKS THROUGH THE NARROW WALKWAYS AND CIRCULAR SKYLIGHT ROOMS, THEY EXPERIENCE THREE EMOTIONS; COMFORT, CONFINMENT AND RELIEF. THE DIFFERENT TYPES OF PLEATS AND SIZES CREATES A SENSE OF FEELING AS IF ONE IS IN A LARGER AND SMALLER SPACES, DEPENDING NOT ONLY ON THE PLEATS, BUT ON THE TRACKS AS WELL. THE TRACKS, TYPES OF PLEATS AND SIZES OF THE PLEATS ALL WORK TOGETHER IN ORDER TO CREATE A PATHWAY FOR THE VISITORS TO GET TO THE ULIMATE GOAL OF FINDING THEMSELVES AT THE END OF THE LABYRINTH..

45


SITE ANALYSIS

LAUSD SCHOOLS

A & D MUSEUM EAST LOCAL DISTRICT CENTRAL LOCAL DISTRICT WEST LOCAL DISTRICT SCHOOLS

SITE MAP ABOVE IS A MAP HIGHLGHTING THE EDUCATION BASED OFF OF THE LOS ANGELES UNIFED SCHOOL DISTRIC IN THE ARE SURROUNDING THE MUSEUM.

FREEWAYS MUSEUMS RIVER NATURAL PARKS BARS/ RESTAURANTS/ CAFES IN ARTS DISTRICT ART+ CULTURE IN ARTS DISTRICT

THE SITE OF THIS INSTALLATION WAS THE A + D MUSEUM LOCATED IN THE ARTS DISTRICT IN LOS ANGELES. KEEPING THE CONTEXT OF THE INSTALLATION IN MIND, WHEN DESIGNING THE SPACE ONE HAD TO KEEP IN MIND THAT THIS SPACE WOULD OFTEN BE USED BY INDIVIDUALS INTO DESIGN, MATERIALS, COLOR AND ART. 46


19'-1 1/4"

11'-9 1/2" 19'-5 7/16"

62.7% MALES

79'-4"

SECTIONS

60 57

37.3% FEMALES

MARITAL STATUS 60% NEVER MARRIED

PLANS

60 57

10.4% DIVORCED

AVERAGE ADJUSTED GROSS

$57

20% MARRIED

,099 I LOS N ANG ELE S

RACE 28.5% WHITE

0.6% OTHER 9% BLACK

5.1% WIDOWED

11.6% ASIAN 4.5% SEPERATED

6 ,72 2 $7 IN IA RN O F LI CA

2.2% MIXED

48.2% HISPANIC

47


STORYBOARD THIS STORY BOARD CONSISTS OF 4 MAIN VISUALS. THE FIRST CONSISTSO OF A VIEW THE INDIVIDUAL GETS WHEN STARING STRAIGHT INTO A WALL IN WHICH VARIES IN COLORS FROM DARK TO LIGHT. AFTER TAKING A STEP TOWARDS THIS WALL, THEY NOTICE A PATH LEADIN G THEM IN A SPECIFIC LOCATION. THIS LOCATION ENDS UP BEING A LABYRINTH WITH HANGING , PLEATED FABRIC EVERYWHERE. THE SPACE IS FULL OF CURVES, AND SO CONFUSES THE USER EVEN MORE. ONCE THE FINAL DESTINATION IS REACHED, THE INDIVIDUAL SEES THEMSELVES IN THEIR REFLECTION SEEN THROUGH MULTIPLE MIRRORS. THEY ARE THEN ABLE TO LEAVE THROUGH THE GIFT SHOP.

48


COLLAGES

THESE COLLAGES COMPARE STRAIGTH EDGE SPACES TO CURVED SPACES. BOTH SPACES SEEM HAVE A DIFFERENT IMPACT ON THE USER EXPERIENCE WHEN ENTERING A SPACE WITH EITHER OPTIONS. A SPACE WITH CURVES SEEMS MORE INVITING, AND THEREFORE EVOKES MORE POSITIVE EMOTIONS TOWARDS THE SPACE, RATHER THAN THAT OF A STRAIGHT EDGE SPACE. 49


PLEATS DIAGRAM

MATERIALS BLACK COTTON FABRIC

8” RADIUS

TISSUE LAME FABRIC

4” RADIUS

3”RADIUS

WAVE PLEATS

ACCORDION PLEATS

2”RADIUS

1”RADIUS

THE INSTALLATION CONSISTS OF BOTH ACCORDION AND WAVE PLEATS. WAVE PLEATS CREATE MORE OF A CURVED SPACE WHILE ACCORDION PLEATS CREATE A STRAIGHT EDGE SPACE. BOTH TYPES OF PLEATS ARE USED IN THIS INSTALLATION IN ORDER TO PURPOSELY CONTROL THE EMOTIONS OF THE USERS AND EVOKE SPECIFIC EMOTIONS. THE PLEATS ARE PLACED ON CURVED TRACKS, RANGING IN SIZES FROM 16”. 8”. 6”, 4”AND 2”. 50


LONG SECTION RELIEF

THE THREE MAIN EMOTIONS ARE MEANT TO BE EXPERIENCED THROUGHOUT THE SPACE BY THE USERS ARE COMFORT, CONSTRAINMENT AND ALLOWS THE INDIVIDUAL TO FEEL AS IF THE YARE BEING WELCOMED INTO AN INVITING SETTING. . AFTER CONTINUING THE PATH THAT IS ALRA AND ACCORDION PLEATS. WHILE IN THE TIGHTER SPACES, THE USER FEELS CONTRAINMENT BECAUSE OF HOW NARROW THE SPACE IS COMPA WHAT THEY ARE WALKING THROUGH IS APATH IN WHICH LEADS THEM TO A SPECIFIC DESTINATION. AS THEY GET CLOSER TO THE END, THEY AND THE MATERIALS BECAUSE THEY PHYSICALLY MUST TOUCH THE MATERIAL. THE MATERIAL USED IS A BLACK FABRIC, THEREFORE IT IS S OF A LABYRINTH SIGNIFIES THE INDIVIDUAL WHOM WENT THROUG H THE LABYRINTH FINDING THEMSELVES. THEREFORE, ONCE THEY AVE REAC TO EXIT THROUGH THE GIFT SHOP. THIS OVERALL EXPERIENCE COMBINES EMOTIONS IN ORDER TO CREATE AN EXPERIENCE IN WHICH PROVO 51


CONSTRAINMENT

COMFORT

RELIEF.A AS THE INDIVIDUAL FIRST STEPS IN THE MUSUEM, THEY ARE WELCOMED BY LARGE, WAVE PLEATS. THE LARGE, CURVED, SETTING ADY SET FOR THE USERS, THE INDIVIDUAL NOTICES THAT SOME SPACES ARE TIGHTER THAN OTHERS, AND THERE IS A MIX OF WAVE PLEATS ARED TO WHAT THEY WERE WELCOMED WITH. AS THE USER CONTINUES TO MAKE THEIR WAY THORUGH THE LABYRINTH, THEY NOTICE THAT Y NOTICE THAT SOME PLEATS MUST ACTUALLY BE PHYSICALLY MOVED IN ORDER TO GE BY. THIS CREATE A CONNECTION BETWEEN THE USER SOFT. AS THEY CONTINUE TO MOVE THE MATERIAL OUT OF THEIR WAY, THE FINALLY COME TO THE END WHICH IS THE MIRROR ROOM. THE END CHED THE MIRROR ROOM ,THEY SEE THEMSELVES ATIN THE REFLECTIONS. ONCE THEY ARE DONE WITH THEIR REFLECTION, THEY ARE ALLOWED OKES MORE THAN ONE EMOTION. THE CURVED VS STRAIGHT SPACES AIDS CREATING GEOMETRIC SETTINGS FOR THE USERS TO EXPERIENCE. 52


PLAN

53


SECTION

54


CIRCULATION

55


EXPLODED AXONOMETRIC

56


NTERIOR VIGNETTES

INTERIORVIGNETTES HIGHLIGHTING THE ARES IN WHICH THE USER MUST PHYSICALLY MOVE THE FABRIC OUT OF THEIR WAY IN ORDER TO CONTINUE THROUGHOUT THE MAZE. AREAS WITH YELLOW LIGHTS INDICATE THE MATERIAL MUST BE MOVED. THE DIFFERENCE IN PLEATS, WAVE VS ACCORDION PLEATS IS PRESENT AS WELL TO ALLOW FOR COMPARISION. 57


PHYSICAL MODEL IMAGES

58


59


60


STUDENT HOUSING POD

THE STUDENT HOUSING POD WAS A PROJECT DESIGNED TO FIT WITHIN 120 SQ FT. WITH THE STUDENT HOUSING CRISIS INCREASING, STUDENT HOUSING PODS ARE AT A HIGH DEMAND. MEETING THE NEEDS OF STUDENTS GOING TO COLLEGE, ADA, SQUARE FOOTAGES, AND OUTDOOR SPACE HAD TO BE CONSIDERED. CREATING 3 LEVELS WITHIN THE THE HOUSING POD ALLOWED FOR A MORE SPACIOUS ENVIRONMENT, ALL WHILE FOLLOWING THE CODES , BEING ADA COMPLIANT AND CREATING AN OUTDOOR SETTING FOR THE STUDENT.

61


FIRST LEVEL FLOOR PLAN

-

6' - 5"

5' - 0"

---

3' - 5"

3' - 0"

3' - 4"

UP

62


SECOND LEVEL FLOOR PLAN

---

UP

63


THIRD LEVEL FLOOR PLAN

---

DN

64


SECTION A

Level 3 6' - 6"

Level 2 0' - 0" Level 1 -1' - 3"

65


SECTION B

-

---

Level 4 12' - 0"

Level 3 6' - 6"

Level 2 0' - 0" Level 1 -1' - 3"

66


SECTION C Level 4 12' - 0"

Level 3 6' - 6"

Level 2 0' - 0" Level 1 -1' - 3"

67


ELEVATIONS

Level 4 12' - 0"

Level 3 6' - 6"

Level 2 0' - 0" Level 1 -1' - 3"

Level 4 12' - 0"

Level 3 6' - 6"

Level 2 0' - 0" Level 1 -1' - 3"

68


EAMES STUDIO REMODEL THE EAMES HOUSE IS A FAMOUSLY KNOWN CASE STUDY HOUSE (#8) LOCATED IN PACIFIC PALISADES, CALIFORNIA. WITH ITS VIEW TO THE OCEAN AND NUMEROUS AMOUNTS OF EUCALYPTUS TREES SURROUNDING ITS LANDSCAPE, THE EAMES HOUSE LANDSCAPE IS ONE THAT SHOULD BE APPRECIATED BY ALL. WHEN WORKING ON THE REMODEL OF THE EAMES STUDIO, IT WAS IMORTANT TO CONSIDER THE SITE OF THE PROJECT. DUE TO ITS LOCATION BEING SET IN SOUTHERN CALIFORNIA, ONE MUST CONSIDER THE ADVANTAGE OF GREAT WEATHER THAT ALLOWS FOR THE USE OF THE OUTDOORS. THE REMODEL CONSISTED OF CONVERTING THE FIRST FLOOR INTO AN ART EXHIBIT DISPLAYING PAINTING S OF EUCALYPTUS TREES DONE BY ERIN HANSON. THE SECOND FLOOR HOLDS A PAINTING STUDIO IN WHICH INDIVIDUALS COULD THEMSELVES PAINT THE EUCALYPTUS TREES LOCATED OUTSIDE WHILE BEING TAUGHT BY THE ARTIST ERIN HANSON. THE REASON FOR PAINTING FROM THE INSIDE VS THE OUTSIDE IS TO GET A BETTER VIEW OF THE EUCALYPTUS TREES SINCE THE USERS ARE ON THE SECOND FLOOR. ELEMENTS TO BE HIGHLIGHTED IN THE REMODEL INCLUDE THE STAIRCASE AND FLOORING. .THE STARICASE BECOMES AN ELEMENT OF IMPORTANCE BY MAKING IT FUILLY VISIBLE FROM THE OUTDOORS, DESIGING A SKY LIGHT OVER IT AND PLACING A GARDEN WITHIN THE SPIRAL STAIRCASE. THE FLOORS ARE TO BE IMPORTANT AS WELL BECAUSE THEY DICTATE AND DIFFERENCIATE THE DIFFERENT SPACES AMONG THE STUDIO.

69


PHYSICAL MODEL OF STAIR EXPLORATION

THROUGH THE EXPLORATION OF THE DIFFERENT TYPES OF STAIRS, ONE IS ABLE TO DESIGN STAIRCASES NOT JUST AS A MEANS OF TRANSPORTATION FROM ONE FLOOR TO ANOTHER, BUT AS AN ELEMENT OF DESIGN AS WELL. EXPERIMENTING WITH THE DIFFERENT TYPES OF STAIRCASES ALLOWS ONE TO DETERMINE THE CODES, AMOUNT OF SPACE REQUIRED, AND HOW IT COULD POTENTIALLY BE MULTI-PURPOSEFUL.

70


PHYSICAL MODEL OF PROGRESS OF EAMES STUDIO REMODEL

THE SECOND FLOOR OF THE PROGRES MODEL OF THE EAMES STUDIO REMODEL CONSISTED OF DESKS FOR PAINTING, A SINK, PAINTINGS AND TRANSPARENT WINDOWS ALL THORUGHOUT THE SPACE. THE FLOOR OF THE SECOND FLOOR WAS ASLO TRANSPARENT, BUT COULD ONLY BE USED AS A MEANS OF LOOKING DOWN, AND NOT LOOKING UP FROM THE FIRST FLOOR. THE FIRST FLOOR HELD THE ART EXHIBIT WITH THE SPIRAL STAIRCASE LOCATED IN THE CENTER. THE FLOORING OF THE FIRST FLOOR CONSISTED OF A CLEAR GLASS, WITH A LAYER UNDER OF DIRT. THE SPIRAL STAIRCASE REPRESENTED A TREE WHILE THE DIRT UNDER THE GLASS FLOOR REPSENTED THE ROOTS. THIS WAS DONE TO SYMBOLIZE THE FIRST FLOOR AND THE AREA OF PRODUCTION WHILE THE SECOND FLOOR WAS WHERE THE PAINTINGS BLOOMED. 71


B

SECOND LEVEL FLOOR PLAN OF FINAL EAMES STUDIO REMODEL

C

A

A

B

C

B

FIRST LEVEL FLOOR PLAN OF FINAL EAMES STUDIO REMODEL

C

C UP

THE FINAL EAMES STUDIO REMODEL CONSISTED OF MOVING THE STAIR TO ONE SIDE OF THE STUDIO SPACE, INSTEAD OF THE CENTER FOR CIRCULATION PURPOSES. ALSO, THIS ALLOWED THE SECOND FLOOR TO HAVE MORE SPACE FOR THE DESKS TO FACE IN THE DIRECTION OF THE EUCAYLPTUS TREES, AND NOT A DIFFERENT VIEW. THE STAIRCASE IS STILL A HIGHLIGHTED ARCHITECTURAL ELEMENT WITHIN THE SPACE . IT IS HIGHLIGHTED BY MAKING IT VISIBLE FROM OUTDOORS, DESIGING A SKYLIGHT ABOVE IT AND BY CREATING A GARDEN IN THE CENTER OF IT. THE FLOORS ARE STILL HIGHLIGHTED AS WELL BY SERVING AS SPACE DIVIDERS WHEN LOOKING AT THE SECOND FLOOR PAINTING STUDIO, AND ART EXHIBIT ON THE FIRST FLOOR. OUTDOOR SPACE IS PROVIDED IN ORDER TO ENJOY THE LANDSCAPE OF THE EAMES HOUSE PROPERTY AND ITS SURROUNDINGS.

A

B

A

72


SECTION A

SECTION HIGHLIGHTING THE ART EXHIBIT, PAINTING STUDIO AND STAIR CASE.

73


SECTION B

74


SECTION C

75


B

ROOF PLAN

C

A

A

B

C

ROOF PLAN HIGHLIGHTING THE TWO SKYLIGHTS.

76


INTERIOR RENDERS

PAINTING STUDIO RENDER

STAIRCASE RENDER

77


ART EXHIBIT RENDER

78


PHYSICAL MODEL

ENTRY/ EXIT

79


TOP VIEW OF PAINTING STUDIO

FRONT VIEW

80


DESIGN CENTER REMODEL THE PURPOSE OF THE DESIGN CENTER REMODEL WAS TO BETTER THE STUDIO CULTURE FOR THE INTERIOR ARCHITECTURE STUDENTS AT WOODBURY UNIVERSITY. THROUGH THE INTEGRATION OF SPACES THAT ENCOURAGE GROUP WORK, SOCIAL SPACE, AND ALLOWING THE OUTDOOR AREA TO BECOME PART OF THE PROGRAM, THE DESIGN CENTER WILL BECOME A BUILDING IN WHICH PUSHES FOR INTERACTION AMONGST STUDENTS OF DIFFERENT YEARS AND MAJORS. THIS IS DONE BY ADDING MEETING ROOMS, DESIGNING A SOCIAL SPACE LOCATED OUTSIDE THE BUILDING, AND INCREASING THE USE OF LARGER WORK SPACES. ALLOWING A VARIETY OF WORK SPACES ENCOURAGES STUDENTS TO WORK HOW THEY PERFORM BEST, AND CREATES AN OPEN PLAN TO ALLOW FOR THE INTERACTION AMONGST STUDENTS. CREATING SPACES OUTSIDE, SUCH AS A CAFE, LETS STUDENTS TAKE A BREAK FROM THEIR WORK AND ATTRACTS STUDENTS

81


TITLE SHEET CONCEPT STATEMENT BUILDING PLAN FIRST FLOOR BUILDING PLAN SECOND FLOOR FIRST FLOOR PLAN SECOND FLOOR PLAN SECOND FLOOR PLAN 2 FRAMING PLAN REFLECTED CEILING PLAN REFLECTED CEILING PLAN 2 STAIR SECTION ELEVATIONS RESTROOM PLAN FURNITURE PLAN FURNITURE PLAN 2 MATERIALS

VICINITY MAP

WOODBURY UNIVERSITY DESIGN CENTER BUILDING

SITE MAP

PROJECT INFORMATION APPLICABLE CODES: ADA COMPLIANT, OCCUPANCY TYPE, SPRINKLERED SYSTEM, MEANS OF EGRESS SCOPE OF WORK: DESIGN CENTER REMODEL LOCATED AT WOODBURY UNIVERSITY CONSTRUCTION TYPE: OCCUPANCY TYPE: BUSINESS GROUP OCCUPANCY LOAD: 1ST FLOOR- 141 OCCUPANTS 2ND FLOOR- 76 OCCUPANTS TOTAL: 217 TOTAL OCCUPANTS EXITING REQUIREMENTS: MINIMUM 2 EXITS FROM 2ND FLOOR MORE THAN 1 EXIT ON FIRST FLOOR

ESIGN CENTER REMODEL WOODBURY UNIVERSITY

A-1 A-2 A-3 A-4 A-5 A-6 A-7 A-8 A-9 A-10 A-11 A-12 A-13 A-14 A-15 A-16

REVISIONS BY

TITLE SHEETD

SHEET INDEX

DATE SCALE DRAWN

LORENA PEREZ

JOB SHEET

A- 1

82


BUILDING PLAN HIGHLIGHTING AREA OF REMODEL AREA OF WORK PATH OF TRAVEL TO EXIT

FIRST FLOOR

SECOND FLOOR

THE BUILDING PLAN SHOWS THE EXISTING FLOOR PLANS AND HIGHLIGHTS THE AREA OF REMODEL AND THE PATH OF TRAVEL TO EXIT.

83


FIRST LEVEL FLOOR PLAN

WHILE FOCUSING ON GENERATING MORE SOCIAL SPACES THROUGHOUT THE BUILDING, ADDING A CAFE WOULD CREATE A SOCIAL SPACE TO TAKE A BREAK FROM THE WORK BEING DONE INSIDE OF STUDIO. ALSO, ALLOWING FOR A SPACE TO DISCUSS GROUP PROJECTS. 84


SECOND LEVEL FLOOR PLAN

SECOND FLOOR PLAN SHOWING THE OUTDOOR WORKING AREA. THIS SPACE IS DESIGNED FOR STUDENTS TO HAVE AN OUTDOOR WORKING ENVIRONMENT. HERE THERE ARE A VARIETY OF OPTINS FOR SEATING AND WORKING STATIONS. THIS SPACE COULD BE USED FOR LECTURES, DESK CRITS, WORKING TABLES, SOCIAL HANG OUTS, LOUNGE AREAS AND MORE. THE PURPOSE OF THIS SPACE IS TO ENCOURAGE SOCIAL INTERACTION NOT ONLY AMONGST THE STUDENTS IN INTERIOR ARCHITECTURE, BUT TO ALLOW FOR A CONNECTION TO THE STUDENTS OF OTHER MAJORS AS WELL. 85


SECOND LEVEL FLOOR PLAN

SECOND FLOOR PLAN SHOWING THE INTERIOR ARCHICTECUTRE STUDIOS, A MEETING ROOM AND A PHOTOGRAPHY ROOM. THE INTERIOR ARCHITECTURE STUDIOS HAVE INDIVIDUAL WORK STATIONS, WHILE ALSO AN AREA FOR GROUP WORK. THE MEETING ROOM IS A MULTI PURPOSE SPACE IN WHICH STUDENTS COULD WORK ON PROJECTS, AND WORK WITH PROFESSORS ONE ON ONE. THE PHOTOGRAPHY ROOM IS USED FOR TAKING PHOTOGRAPHS OF THE PHYSICAL MODELS THE STUDENTS PRODUCE. 86


LEVEL TWO REFLECTED CEILING PLAN

-

-

87


FRAMING PLAN 1

2

3

4

5

6

7

8

E

D

C

B

A

88


RESTROOM REMODEL

THE RESTROOM LOCATIONS WERE MOVED TO ALL BE LOCATED ON ONE SIDE OF THE BUILDING. THIS PREVENTS THEM FROM BEING AT THE ENTRANCE OF THE BUILDING, ALLOWING FOR BETTER CIRCULATION. 89


ELEVATIONS

ELEVATION HIGHLIGHTING THE CAFE

ELEVATION HIGHLIGHTING THE OUTDOOR SOCIAL SPACE

90


FIRST LEVEL FURNITURE PLAN

91


SECOND LEVEL FURNITURE PLAN

92


A HARMONIOUS AMBIANCE THE AMBULATORY SURGERY CENTER’S PURPOSE IS TO ALIGN THE MIND AND BODY OF THE PATIENTS, GUESTS, AND WORKERS IN ORDER TO SUCCESSFULLY IMPROVE THE PATIENTS HEALTH. EACH SPACE WITHIN THE CENTER WILL BE DESIGNED TO DESTRESS AND DRAW OUT THE NEGATIVE CONNOTATIONS ASSOCIATED WITH STAYING IN AHEALTH CARE CENTER. APPLYING THE ELEMENTS OF NATURE THROUGH OUR MATERIAL SELECTION WILL ALLOW THE INDIVIDUALS TO EXPERIENCE A SENSE OF TRANQUILITY.

93


SQ FOOTAGE

PLUMBING

PRIVACY

PUBLIC ACCESS

DAYLIGHT

DIAGRAMS

EXAM ROOM

168

N

Y

N

N

PATIENT AREA

96

N

YY

228

N

Y

BATHROOM

84

Y

YY

EVWR

174

N

N

Y

Y

245

N

Y

N

N

1,568 N

N

Y

Y

Criteria Matrix

BREAK ROOM

LOCKER ROOM PACU BILLING OFFICE SVWR

PUBLIC

Y N

N ALONE

TOGETHER

N

104

N

N

Y

N

MUST BE

954

N

N

Y

Y

SHOULD BE PRIVATE

UNIMPORTANT

AREAS

BILLING OFFICE STAFF LOUNGE STAFF LOCKERS PACU EXAM ROOM EXAM VESTIBULE, WAITING, RECEPTION SURGERY VESTIBULE, WAITING, RECEPTION

SQUARE FOOTAGE

SVWR VWR

954 5

Billing B n Off Office ce

11044

PUBLIC - PRIVATE

15 min - 1 hr wait

2 - 8 hr wait

EVWR

1 568 1,568

P PACU Loc er Room Locker Bathroom Bat room Break room Brea EVWR

24 245 228 11744 1 168

Pat ent Spac Patient Space

96

S

illi g

PACU

EXAM ROOM

844

xam Room m Exam TOTAL

STAFF LOUNGE

BILLING

9 4

2,667 sf.

i

0

SVWR

LOCKER ROOMS

94


FLOOR PLAN

CH1

T1

C1

O1

CH6 CH2

K1 F1

R3

CTN1

T3

CH4 B1

L1

C3

K2

C4

R2

POURED CONCRETE F2 INTIMATE WHITE W1

CH5

RAINWASHED W3

TEAL TERRAZZO FLOORING F1

PLAN

PEACH TERRAZZO FLOORING F3

COOL DECEMBER W5

C2

T2

GORGEOUS WHITE W4

S5 CH3

B2

IBIS WHITE W6

95


SECTIONS

96


SECTIONS

97


SURGERY WAITING ROOM

98


EXAM ROOM WAITING ROOM

PACU

99


STAFF LOCKERS

STAFF LOUNGE

100


THE VIRGIN ORBIT CAPSULE THE VIRGIN ORBIT CAPSULE IS DEISGNED TO BE THE VIRGIN ORBIT MOBILE EXPERIENCE CENTER. WHILE ONLY HAVING A SHIPPING CONTAINER TO WORK WITH, ONE MUST CONSIDER THAT IT IS GOING TO BE BOTH MOBILE AND STATIONED. WHAT THE VIRGIN ORBIT CAPSULE IS TRANSPORTING IS THE PAYLOAD FAIRING, AND THE EXPERIENCE CENTER AS A WHOLE. WITH FOLLOWING THE DESIGN THAT THE VIRGIN BRAND PORTRAYS, THE VIRGIN ORBIT CAPSULE IS PRESENTED AS A SLEEK, MODERN MOBILE EXPERIENCE CENTER , HIDING AWAY THE SHARP EDGES OF THE SHIPPING CONAINTER. KEEPING IN MIND THAT THE CAPSULE IS TRANSPORTING THE PAYLOAD FAIRING, WHICH HOLDS THE SATELLITES SENT OUT TO SPACE, ONE MUST CONSIDER HOW IMPORTANT IT IS TO TAKE CARE OF THE NOT ONLY THE MOBILE EXPERIENCE CENTER, BUT THE PAYLOAD FAIRING AS WELL. THE VIRGIN ORBIT NOT ONLY PRIORITIZES THE CUSTOMERS NEEDS, BUT TRANSPORTS THEM TO OTHER WORLDS AS WELL.

101


WHO IS VIRGIN ORBIT? VIRGIN ORBIT IS A PART OF THE VIRGIN BRAND. VIRGIN ORBIT IS ON A MISSION TO OPEN SPACE FOR EVERYONE. IN ORDER TO DO THAT, THEY SPECIALIZE IN TRANSPORTING SMALL SATELLITES OUT TO SPACE. WHAT MAKES THEM UNIQUE HOW THEY ARE DOING IT. THEIR LAUNCH CONSISTS OF THE USE OF COSMIC GIRL, AN AIRCRAFT IN WHICH HAS LAUNCHER ONE, A ROCKET, ATTACHED TO IT. LAUNCHER ONE THEN TAKES OFF FROM COSMIC GIRL AND OUT TO SPACE, THEREFORE A LAUNCH SITE IS NOT NEEDED.

102


TALISMAN FIRST INTERPRETATION OF THE VIRGIN ORBIT BRAND - SMALL MASON JAR TO REPRESENT SMALL SATELLITES - CLEAR BECAUSE VIRGIN ORBIT IS TRANSPARENT WITH THEIR CUSTOMERS - BLACK AND RED MATERIAL REPRESENT BRAND COLORS - WITHOUT CAP ON BECAUSE THEY LIKE TO THINK OUTSIDE OF THE BOX

103


BRAND BIBLE IN DEPTH REPRESENTATION OF THE VIRGIN ORBIT BRAND -SQUOVAL SHAPE TO REPRESENT BRANDS CLEAN, SLEEK, DESIGN -TRANSPARENT CASE TO SHOW EMPHASIS ON PACKAGING IMPORTANT OBJECTS ~PAYLOAD FAIRING PACKAGES SATELLITE

104


TRANSFORMATION DIAGRAM

AIRLOCK EXIT

BRAND TRANSLUCENT FAIRING

CUT OUTS FOR TELEVISION SCREENS TELEVISION SCREENS

THE TRANSFORMATION DIAGRAM SHOWS THE TRANSFORMATION THE SHIPPING CONTAINER UNDERGOES TO BEOTHER WORLDS COME THE VIRGIN ORBIT MOBILE EXPERIENCE CENTER. A BRAND TRANSCLUCENT FAIRING WAS ADDED AS A SKIN TO CREATE A SLEEK, MODERN LOOK TO THE SHIPPING CONTAINER. AN AIR LOCK EXIT IS CUT OUT OF THE SHIPPING CONTAINER DOORS. THE SHIPPING CONTAINER WALL IS CUT OUT TO HOLD THE SQUOVAL SHAPED TELEVISION SCREENS. 105


NARRATIVE DIAGRAM

T H E L A U N C H P R O C E S S

PAYLOAD PROCESSING

5 4

3

54

1

2 1

NARRATIVE WALL

PAYLOAD FAIRING COUCH

THE NARRATIVE DIAGRAM TELLS THE VIRGIN ORBIT STORY. IN THE VIRGIN ORBIT CAPSULE, THERE IS A MEDIA WALL INFORMING THE VISITORS WHAT VIRGIN ORBIT IS ALL ABOUT. THE INFORMATION ITSELF IS TRANSPARENT, AND IS PRESENTED ON A MEDIA WALL. ON THE MEDIA WALL ARE TELEVISION SCREENS AND OTHER LIGHTS SURROUNDING IT TO DISPLAY THE UNIVERSE AS A BACKGROUND. THE PAYLOAD FAIRING COUCH ALLOWS VISITORS TO SIT WHILE LEARNING ABOUT THE VIRGIN ORBIT BRAND. 106


BRAND DIAGRAM BRAND

THE VIRGIN BRAND LOGO

INDOOR PAYLOAD FAIRING COUCH

4 3 BRAND TRANSLUCENT FAIRING

2 PAYLOAD FAIRING

1 5 6 OUTDOOR PAYLOAD FAIRING COUCH 5 4 3 2 1

PAYLOAD FAIRING AIRLOCK EXIT INDOOR PAYLOAD FAIRING COUCH NARRATIVE WALL ENTRANCE

OUTDOOR PAYLOAD FAIRING COUCH

6

OUTDOOR PRESENTATION SPACE

THE BRAND DIAGRAM SHOWS HOW THE VIRGIN BRAND AS A WHOLE IS REPRESENTED IN THE VIRGIN ORBIT CAPSULE. 107


FLOOR PLANS

ON THE GO

STATIONED

THE STATIONED FLOOR PLAN DISPLAYS THE VIRGIN ORBIT CAPSULE WHEN IT IS STATIONED. THE PAYLOAD FAIRING AND THE OTHER HALF OF THE PAYLOAD FACILITY COUCH IS TAKEN OUT TO BE A PART OF THE PRESENTATION. THE ON THE GO FLOOR PLAN DISPLAYS THE VIRGIN ORBIT CAPSULE WHEN IT IS BEING TRANSPORTED FROM ONE LOCATION TO ONTHER. THE PAYLOAD FAIRING SITS INSIDE THE PAYLOAD FAIRING COUCH/ PACKAGE TO SECURE IT WHEN IT IS ON THE GO.

108


ELEVATION

SECTIONS

PAYLOAD FAIRING CASE PAYLOAD FAIRING

STATIONED

ON THE GO

109


PAYLOAD FAIRING COUCH/ PACKAGE

FRONT VIEW

BACK VIEW

THE PAYLOAD FAIRING COUCH/ PACKAGE COULD BE USED AS EITHER A COUCH WHEN IT IS STATIONED, OR AS A PACKAGE WHEN IT IS ON THE GO. THIS DETAILED PIECE IS CUSTOM MADE TO FIT THE PAYLOAD FAIRING AND TO BE ABLE TO BE USED BY THE VISITORS. IT ALSO FOLLOWS THE VIRGIN BRAND DESIGN. 110


EXTERIOR RENDERS

111


INTERIOR MODEL IMAGES

BRAND TRANSLUCENT FAIRING BRAND TRANSLUCENT FAIRING SHIPPING CONTAINER STEEL SHIPPING CONTAINER PAYLOAD FAIRING PACKAGE

PAYLOAD FAIRING PACKAGING

PAYLOAD FAIRING PAYLOAD FAIRING SATELLITE SATELLITE

112


EXTERIOR MODEL IMAGES

ON THE GO

113


STATIONED

114


LOBBY & CEPTION

LENTICULAR ENTRANCE PORTAL DIAGRAM INTERIOR VIEW OF LENTICULAR ENTRANCE

PAYLOAD CESSING FACILITY TO LOBBY & CEPTION

PORTAL

THE VIRGIN ORBIT PORTAL

LOBBY & RECEPTION TO PAYLOAD PROCESSING FACILITY

THE VIRGIN ORBIT PORTAL NOT ONLY TRANSPORTS YOU TO OTHER WORLDS, BUT ALLOWS YOU EXPERIENCE THEM AS WELL. AS SOON AS YOU STEP IN, YOU ARE TAKEN AWAY BY THE ENTRANCE PORTAL WHICH LEADS YOU STRAIGHT TO THE PRIMARY SPACE, THE PAYLOAD PROCESSING FACILITY. HIGHLIGHING THE IMPORTANCE INTERIOR VIEW OF FACILITY LENTICULAR ENTRANCE PORTAL OF THE PAYLOAD PROCESSING IS DONE BY CREATING A LENTICULAR MEDIA ENTRANCE PORTAL AND ALLOWING THE PAYLOAD PROCESSING FACILITY TO BE VIEWED BY ALL. FOLLOWING THE VIRGIN WAY, THIS IS DONE BY THE USE OF BRANDING, GRAPHICS, VISUALS, COLORS AND MOST IMPORTANTLY FUN.

115


NASA PAVILLION

THE NASA PAVILLION IS AN OUTDOOR INSTALLATION LOCATED AT THE HUNTINGTON LIBRARY AND BOTANICAL GARDENS IN PASADENA, CALIFORNIA. ONCE INSIDE THE PAVILLION, THE USER HEARS NOISES IN WHICH REPRESENT THE INTERNATIONAL SPACE STATION AND 19 EARTH SCIENCE SATELLITES ORBITING EARTH. THE 5 DIFFERENT TYPES OF NOISES REPRESENT THE DIFFERENT SATELLITES’S MISSIONS, THEREFORE THE USER HEARS DIFFERENT NOISES AT THE SAME TIME.

116


SITE SITE INFORMATION VIRGIN ORBIT EXPERIENCE CENTER

ADDRESS3880 MCGOWEN ST., LONG BEACH, CA SIZE2.34 ACRES ~101930 SQ FT

SITE PLAN

3D VIEW LONG BEACH AIRPORT VIRGIN ORBIT HEADQUARTERS

VICINITY MAP

VIRGIN ORBIT EXPERIENCE CENTER

THE SITE OF THE VIRGIN ORBIT EXPERIENCE CENTER IS IN LONG BEACH, CALIFORNIA. IT IS AT A CLOSE DISTANCE FROM THE VIRGIN ORBIT LABATORY AND THE LONG BEACH AIRPORT. 117


SATELLITE SOUND DIAGRAMS SEQUENCE

FREQUENCY

VARIATION

VOLUME

AFTER VISITING THE NASA PAVILLION I DESIGNED SOUND DIAGRAMS BASED OFF OF THE SOUNDS I HEARD. EACH DIAGRAM REPRESENTS A DIFFERENT CATEGORY: SEQUENCE, VARIATION, FREQUENCE AND VOLUME. 118


ORGANIZATIONAL STRATEGY DIAGRAMS VARIATION

SEQUENCE PAYLOAD PROCESSING FACILITY

VIRGIN ORBIT GALLERY

LOBBY & RECEPTION

U UP

ENTRANCE PORTAL

PAYLOAD PROCESSING FACILITY

CUSTOMER LOUNGE

LAUNCH CONTROL CENTER

FREQUENCY

CUSTOMER LOUNGE

LOBBY & RECEPTION

VIRGIN ORBIT GALLERY

UP

LAUNCH CONTROL CENTER

ENTRANCE PORTAL

VOLUME PAYLOAD PROCESSING FACILITY

VIRGIN ENTRANCE ORBIT PORTAL GALLERY

LAUNCH CONTROL CENTER

LAUNCH CONTROL CENTER

LOBBY & RECEPTION

CUSTOMER LOUNGE

UP

PAYLOAD PROCESSING FACILITY

ENTRANCE PORTAL

CUSTOMER LOUNGE

LOBBY & RECEPTION

UP

VIRGIN ORBIT GALLERY

AFTER REVIEWING THE FLOOR PLAN OFTHE SITE AND THE SQUARE FOOTAGES OF EACH REQUIRED SPACE FOR THE PROGRAM, I OVERLAYED EACH SOUND DIAGRAM ON THE FLOOR PLAN. I THEN PLACED THE SQUARE FOOTAGE BUBBLES ONTO EACH SPACE TO REPRESENT HOW MUCH SPACE EACH AREA WOULD REQUIRE.

119


3D ORGANIZATIONAL STRATEGY DIAGRAMS: VOLUME

LAUNCH CONTROL CENTER

PAYLOAD PROCESSING FACILITY

ENTRANCE PORTAL

CUSTOMER LOUNGE

ENTRANCE PORTAL

UP

VIRGIN ORBIT GALLERY

LAUNCH CONTROL CENTER

PAYLOAD PROCESSING FACILITY

LAUNCH CONTROL CENTER

VIRGIN ORBIT GALLERY

ENTRANCE PORTAL

VIRGIN ORBIT GALLERY

PAYLOAD PROCESSING FACILITY

CUSTOMER LOUNGE

ORGANIZATIONAL STRATEGY DIAGRAM: VOLUME

LOBBY & RECEPTION

LOBBY & RECEPTION

LOBBY & RECEPTION

CUSTOMER LOUNGE

3D ORGANIZATIONAL STRATEGY DIAGRAM

VOLUME + SEQUENCE DIAGRAM

AFTER REVIEWING THE FOUR POSSIBLE SPACE PLANNING LAYOUTS, I CHOSE THE ONE I THOUGHT FIT THE PROGRAM BEST. I CHOSE THE VOLUME DIAGRAM BECAUSE IT BEST REPRESENTED THE IDEA THAT THE MOST IMPORTANT SPACE IN THE BUILDING IS THE PAYLOAD PROCESSING FACILITY. THE VOLUME DIAGRAM ALLOWED ME TO DESIGN AN ENTRANCE PORTAL IN WHICH GOES STRAIGHT FROM ENTRANCE, TO THE PAYLOAD PROCESSING FACILITY.THIS HELPED EMPHASIZE THE MAIN FOCUS, ALL WHILE STILL CONSIDERING EACH SPACE OF THE PROGRAM. THE NEXT STEP INCLUDED MOVING THE LINES INTO THE SPACE IN INCRIMENTS OF 4’, AND EXTRUDING THEM TO CREATE WALLS, FLOORS, LIGHTING FIXTURES, FURNITURE AND MORE ALL THROUGHOUT THE FIRST AND SECOND FLOOR. 120


VOLUME + SEQUENCE DIAGRAM LOBBY & RECEPTION

LAUNCH CONTROL CENTER

ENTRANCE PORTAL

VIRGIN ORBIT GALLERY

PAYLOAD PROCESSING FACILITY

CUSTOMER LOUNGE

THE VOLUME AND SEQUENCE DIAGRAM ILLUSTRATES THE LAYOUT FOR THE SPACES REQUIRED, AND HIGHLIGHTS THE CIRCULATION OF THE OVERALL SPACE. 121


FLOOR PLANS

ARRIVAL PORTAL LAUNCH CONTROL CENTER

ENTRANCE PORTAL

PAYLOAD PROCESSING FACILITY

VIRGIN ORBIT GALLERY

CUSTOMER LOUNGE

SECOND FLOOR LAUNCH CONTROL CENTER

ENTRANCE PORTAL

ARRIVAL PORTAL

LOBBY & RECEPTION

PAYLOAD PROCESSING FACILITY

VIRGIN ORBIT GALLERY

CUSTOMER LOUNGE

FIRST FLOOR 122


SECTIONS

LAUNCH CONTROL CENTER

PAYLOAD PROCESSING FACILITY

ENTRANCE PORTAL

CUSTOMER LOUNGE

VIRGIN ORBIT GALLERY

FACILITY ARRIVAL

LOBBY RECEPTION

123


SECTIONS

THE SECTION ON THE LEFT ILLUSTRATES THE VIEW FROM THE PAYLOAD PROCESSING FACILITY OUT INTO THE REST PEREZ/WOODBURY UNIVERSITY/LORENA.ETHIER16@GMAIL.COM OFLORENA THE BUILDING. THIS INCLUDES THE ARRIVAL, LOBBY, ENTRANCE PORTAL, LOUNGE AND GALLERY. THE SECTION ON THE RIGHT ILLUSTRATES THE VIEW FROM THE ENTRANCE ONTO THE ENTRANCE PORTAL, PAYLOAD PROCESSING FACILITY AND LOUNGE.

124


ELEVATIONS

125


BRAND DIAGRAM

1 BRANDED ARRIVAL PORTAL

5

ENTRANCE PORTAL

BRANDED MEDIA LENTICULAR ENTRANCE PORTAL

6 7

PAYLOAD PROCESSING FACILITY

BRANDED ENTRANCE LOGO

OUTDOOR ENTRANCE PORTAL THE VIRGIN ORBIT PORTAL TRANSPORTING YOU TO OTHER WORLDS

2

LOBBY AND RECEPTION

3

PAYLOAD FAIRING COUCH

GALLERY

4

CUSTOMER LOUNGE

HEATHROW LOUNGE INSPIRED BRIDGE

LAUNCH CONTROL CENTER

TRANSPARENT WALLS ALLOW ACCESSIBILITY FOR ALL

7

LAUNCH CONTROL CENTER

6

PAYLOAD PROCESSING FACILITY

5 4 3 2 1

ENTRANCE PORTAL CUSTOMER LOUNGE GALLERY LOBBY AND RECEPTION OUTDOOR ENTRANCE PORTAL

THE BRAND DIAGRAM ILLUSTRATES HOW THE VIRGIN BRAND IS PORTRAYED IN THE VIRGIN ORBIT EXPERIENCE CENTER. THE ARRIVAL PORTAL IS BRANDED IN VIRGIN ORBIT, AND DISPLAYS WELCOME SIGNS TO THE COMPANIES COMING TO THE CENTER. THE ENTRANCE PORTAL IS BRANDED OUT WITH A LENTICULAR MEDIA WALL, AND A LENTICULAR INSTALLATION, ALLOWING FOR ANTICIPATION WHEN WALKING THROUGH THE PORTAL AND INTO THE PAYLOAD PROCESSING FACILITY. THE HEATHROW LOUNGE INSPIRED BRIDGE ON THE SECOND FLOOR CONNECTS THE GALLERY SPACE TO THE LAUNCH CONTROL CENTER. FROM THE FIRST FLOOR LOOKING UP, THE VISITORS WILL VIEW A BRIDGE IN WHICH WAS DESIGNED TO REPRESENT THE HEATHROW LOUNGE CEILINGS. 126


LENTICULAR ENTRANCE PORTAL DIAGRAM LOBBY & RECEPTION TO PAYLOAD PROCESSING FACILITY

PAYLOAD PROCESSING FACILITY TO LOBBY & RECEPTION

INTERIOR VIEW OF LENTICULAR ENTRANCE PORTAL

THE ENTRANCE PORTAL IS THE MOST IMPORANT BRANDED OUT SPACE OF THE VIRGIN ORBIT EXPERIENCE CENTER. IT SERV THE VISITORS ENTER THE SPACE, THE FIRST THING THEY SEE IS THE ENTRANCE PORTAL, WHICH LEADS THEM STRAGIHT AWAY WITH ANTICIPATION BY THE VIEWS THEY HAVE TO THE LEFT AND RIGHT. ONTO THE RIGHT IS A LENTICULAR WALL. SATELLITE OUT INTO SPACE. ON THE LEFT IS A LENTICULAR INSTALLATION, WHICH HANGS FROM THE SECOND FLOOR TO T LENTICULAR PANELS HANGING FROM THE SECOND FLOOR FOLLOW THE SAME PATTERN AS THE LENTICULAR WALL AND S PORTAL, DUE TO IT BEING A MORE ENCLOSED SPACE. THE ENTRANCE PORTAL IS ACCESSIBLE FROM THE LOBBY, GALLERY


LENTICULAR INSTALLATION ENTRANCE PORTAL DIAGRAM

TOP VIEW

PAYLOAD PROCESSING FACILITY TO LOBBY SIDE VIEW LOBBY TO PAYLOAD PROCESSING FACILITY SIDE VIEW

FRONT VIEW

VES AS THE PORTAL IN WHICH TRANSPORTS YOU FROM THE REGULAR WORLD INTO THE VIRGIN ORBIT WORLD. AS SOON AS INTO THE PAYLOAD PROCESSING FACILITY. ON THEIR WAY TO THE PAYLOAD PROCESSING FACILITY, THEY ARE CARRIED . THIS LENTICULAR WALL DISPLAYS A ROCKET LAUNCHING INTO THE SPACE ON ONE SIDE, WHILE ON THE OTHER SHOWS A THE FIRST, AND THERFORE IS ABOVE AND TO THE LEFT OF THE VISITORS AS THEY WALK THROUGH THE PORTAL. THESE SERVE AS AN INSTALLATION TO FURTHER ENCLOSETHE SPACE. THIS ALLOWS FOR THE SPACE TO FEEL AS AN ENTRANCE Y, CUSTOMER LOUNGE AND PAYLOAD PROCESSING FACILITY. 128


MOOD BOARD

BLACK WOOD

RED VELVET

RED WOOD

MARBLE COUNTERTOP

GLASS

ENTRANCE PORTAL LOUNGE

PAYLOAD PROCESSING FACILITY, BRIDGE

ENTRANCE PORTAL ENTRANCE PORTAL LOUNGE

HONEYCOMB FINISH

L ENTRANCE PORTAL

M

E

D

I

A

E W

N A

T L

I L

C

U

BLACK LEATHER

L

A

GRAY WALL

R METAL

LOUNGE UNIVERSE FLOORING

GALLERY, LOUNGE, LAUNCH CONTROL CENTER, LOBBY LOUNGE ENTRANCE PORTAL

GRAY WOOD

RED LEATHER

PAYLOAD FAIRING COUCH

GALLERY, LOUNGE LOUNGE, GALLERY, LAUNCH CONTROL CENTER

LOUNGE, LAUNCH CONGROL CENTER

LOUNGE, GALLERY, LOBBY

THE MOOD BOARD DISPLAYS THE MATERIALS AND FURNITURE USED THROUGHOUT THE VIRGIN ORBIT EXPERIENCE CENTER.

129


EXTERIOR RENDER: PAYLOAD PROCESSING FACILITY

PAYLOAD PROCESSING FACILITY LAUNCH CONTROL CENTER: OUTDOOR SCREEN

130


INTERIOR RENDER: ENTRANCE PORTAL

131


INTERIOR RENDER: CUSTOMER LOUNGE PAYLOAD PROCESSING FACILITY

ENTRANCE PORTAL

132


INTERIOR RENDER:GALLERY ENTRANCE PORTAL

PAYLOAD PROCESSING FACILITY

HEATHROW LOUNGE INSPIRED BRIDGE

GALLERY

133

Profile for Lorena Perez

LorenaPerez_PortfolioSubmission_SP19  

LorenaPerez_PortfolioSubmission_SP19  

Profile for perezl
Advertisement