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ART DRAWINGS ARCHITECTURE GRAPHIC DESIGN

ARIEL ANDAL AURELLANO


contact

Ariel Andal Aurellano

PORTFOLIO

2008 - 2011 arielaurellano@gmail.com 1417 Malone Court Indianapolis, Indiana 46217 (317) 529 1839

1 RESUME

education COLLEGE Ball State Univeristy College of Architecture & Planning ‘11 Bachelor of Science Major: Architecture GPA: 3.62

experience PROFESSIONAL Ball State Institute of Digital Media dFAB [Digital Fabrication] Browning Day Mullins Dierdorf Architecture Firm Intern

LEADERSHIP Emerging Green Builders Graphic Designer Latino Student Union Historian

2008-2010

August 2009

2010-2011 2009-2010


awards ARCHITECTURE 2010 Cripe Competition 2010 Gresham Smith Competition 2009 Indiana Concrete and Masonry Association Competition

pg 14 self portrait Award of Excellence Award of Excellence Second Place

Dean’s List Ball State University College of Architecture and Planning

pg 23 INtransit


pg 5 Kanye West Portrait

3 TABLE OF CONTENTS

pg 21

Unfold


5

DRAWING COLOR PENCIL PORTRAITS Portraits Kanye West Derrick Rose Scott Mescudi [Kid Cudi] Jason Mraz

15 pg 33 Graphics

architecture

BALL STATE UNIVERSITY - College of Architecture and Planning Reach Elementary School + Community Center South Lake Union, Washington Unfold Relaxation Center + Institute Indianapolis, Indiana inTransit Transit Stop Indianapolis, Indiana Eco Environmental Center Muncie, Indiana Fabrication + Physical Modeling

33 GRAPHIC DESIGN Graphics Various Graphics Logo + Identity Personal Logo Ball State Cardinals Various Logos


5 DRAWING


KW

a close up detail (lips)

20” 32”

b close up detail (eye)

c work in progress

KANYE WEST - COLOR PENCIL - SPRING 2011

This portrait of Kanye West features the largest scale of the subject’s face in any of my drawings. With this being true, I was forced into examining the details of the face much more than in past pieces. The subtle details became magnified, and I felt the obligation to depict the subject’s features more than my reference photo had provided. This dilemma applied some added difficulty and demanded that I study more into the face’s surface. The subtleties like pores, small hairs, and blemishes became important aspects into supporting my goal of hyperrealism.

DRAWING Kanye West Derrick Rose Jason Mraz Kid Cudi Other Works ARCHITECTURE GRAPHIC DESIGN


7 DRAWING


32” 40”

DR

a close up detail

b work in progress

DERRICK ROSE - COLOR PENCIL - SUMMER 2010

This drawing became a project during the summer of 2010 where I wanted to delve into a larger scale and focus on more than a face. This subject’s hurdles were the subtle effects of the varying textures that tested my capabilities and pushed me into newer techniques. The jersey’s satin-like fabric posed a tough challenge in capturing the appropriate colors and reflections to properly emulate the material. The glisten that the sweat caused on the skin also offered another opportunity to show off my ability to render the level of realism I wanted to execute.

DRAWING Kanye West Derrick Rose Jason Mraz Kid Cudi Other Works ARCHITECTURE GRAPHIC DESIGN


9 DRAWING


18” 24”

JM

a finished product

a close up detail of hands

JASON MRAZ - COLOR PENCIL - FALL 2010

As a birthday present for my sister, I drew a portrait of one of her favorite singers, Jason Mraz. One of the challenging aspects of this piece was the sun light’s effect on color. Mainly seen on his arm as well as the shirt, various tints of purple and blue began to alter my mindset on actual tones. When coloring a hand purple, there is a sense of displeasure and feeling like coloring may be off, but just being aware that lighting has the potential to have those effects is essential. This was also the first time I started to use acrylic paint to color the background. Using green paint, I was able to thoroughly cover the background cleanly.

DRAWING Kanye West Derrick Rose Jason Mraz Kid Cudi Other Works ARCHITECTURE GRAPHIC DESIGN


11 DRAWING


18” 24”

KC

a Kid Cudi holding my artwork

b early stage

c work in progress

KID CUDI - COLOR PENCIL - SPRING 2010 This portrait of Scott “Kid Cudi” Mescudi utilized only five color pencils including white, black, and varying values of grey. One key feature of this piece was using the paper’s color in substitute of just white color pencil. Following one of Cudi’s concerts, I was able to meet him in hopes to receive a signature. Instead, he requested the art which I obliged to, and in return, he provided myself with exposure via his website. He featured my drawing in his blog with the headline, “Ariel Aurellano is extremely talented.” The image to the right shows Kid Cudi holding my portrait.

DRAWING Kanye West Derrick Rose Jason Mraz Kid Cudi Other Works ARCHITECTURE GRAPHIC DESIGN


a Mos Def

b Peyton Manning

c John Legend

Portraits depict one of the most fascinating and interesting image, the human face. The ability to render the numerous textures and details that comprise the face tests your patience and meticulousness. The satisfaction of reproducing the likeness of a person through paper and pencils provides this motivation to only delve further. To look deeper than just a mouth, nose, and two eyes, but to examine the pores, wrinkles, and subtleties that bring the drawing to life. The introduction of indirect effects such as lighting, shadows, and reflections only add to the complexity but make projects like these intriguing.

13 GRAPHIC DESIGN


d Arlene

e Common

f Self Portrait

DRAWING Kanye West Derrick Rose Jason Mraz Kid Cudi Other Works ARCHITECTURE GRAPHIC DESIGN


Cripe

AWARD OF EXCELLENCE

South Lake Union, Washington

15 ARCHITECTURE


reach S c h o o l

+

C o m m u n i t y

C e n t e r

2010 Fall 2010 Cripe Competition Rhinoceros 4 Vray Plugin Adobe Illustrator CS5 Adobe Photoshop CS5

a Design Gestures With the lack of a public school present, South Lake Union needed an educational structure that provided for the area’s growing community. The notion of not just being a school but also a center for interaction among locals, children, and visitors became a staple in the design approach. The idea of transparency becomes a key aspect in the concept of the ground level. By programming more public spaces on lower levels, community integration develops into being a strong motif. For the students, education can become a layered experience. Breaking away from the city block’s limits allows the structure to start reaching and connecting into its immediate context. From bridging over the street into the lake and park to puncturing the clouds through an observation tower, the design broadens the students’ classrooms and gives them a break from the desks and blackboards. In addition to this concept, it allows the expansion of the curriculum to integrate the land’s current resources (lake, park, urban context). Through passive systems and contemporary tectonics, the building’s design suits Seattle’s more modern approach and mild climates.

W

W

W

W

E

W S

E

W

S

E

S

W S W S

1 Transparency W Becomes easily accessible and welcoming from the ground level S 2 Funneling Encourages northern movement towards the lake and park DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN

3 Reaching Allows a direct connection to important aspects of the community and opportunities to expanding the curriculum


b “The Village” c section cut

d site plan

The “Village” is a sunken space for social and interactive programming. Here, children are encouraged to mingle and interact with fellow community members whom are welcome to inhabit the space for their own purposes and advertisement. The grand staircase that includes a ramp cutting diagonally through it, provides the user with a expansive view of the space below and gives them a better sense of the social activity. Other programming included are spill-out dining from the cafeteria, the administration spaces, and gathering spaces to allow the overlapping of activity and diversity in its users.

The current context of the site includes businesses and commercial area. Residential condos will be located on the northern blocks adjacent to the school.

17 ARCHITECTURE


e classroom section cut

G

[CLASSROOM WALL-SECTION CUT] I

*

F C

*

A E H

B

*

D

J

Classrooms are approached with an open layout mindset. The ability to see other classes at work and for teachers to communicate among one another emphasizes the whole ‘community’ within the school. Colorful partitions were brought into the classes to separate the program of formal learning (learning at your desk and teacher lecturing) from the more unrestrained, individual learning such as reading or computer use. This separation helps define the class’ structure and provides different levels of intimacy and privacy. The partition also acts as a buffer from glare be being offset and becoming another physical barrier for light to puncture.

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


Gresham Smith AWARD OF EXCELLENCE

Indianapolis, Indiana A perforated metal screen was applied to the major facades directly exposed to the sun. The application of the screen will allow sufficient lighting within the interior spaces as well as manage the heat and diffuse a portion of the direct heat. The skin was also chosen to lessen the attention on the interiors and emphasize the paneling system. Through a simple facade that does not overpower the panel’s complexity, attention is given to the appropriate area.

19 ARCHITECTURE


unfold R e l a x a t i o n

C e n t e r

+

I n s t i t u t e

2010 Spring 2010 Gresham Smith Compeition (Steel Competition) Rhinoceros 4 Vray Plugin Adobe Illustrator CS5 Adobe Photoshop CS5

a panel pattern The urban context of downtown Indianapolis provides an ambience generally undesirable when reconnecting to the body and mind. More specifically, Massachusetts Avenue can generate energy through the attractions and shops that are located along the diagonal strip. A place for relaxation and meditation became a challenge in the hustle and bustle of city life but also posed an opportunity to take advantage of these resources. The idea is to capture this energy and manage it towards the reconnection of their selves, others, and nature, rather than through unecessary consumption found nearby. To do so, the intention is to dominate the intersection and capture the attention of the big crossroads. Once acquired, the idea of the pattern and construction should lead them through a journey that consists of experiencing essential aspects of life that will ultimately reconnect people to their authentic selves. The materiality helped create a metaphorical path towards total reconnection. Steel began to interact not only as a structural medium but also as a guide that alters in functionality and accompanies one through the architecture’s program.

Steel paneling in this formation contrasts the standard uses of steel within construction. The punctured and unfolding flow of the steel gives it more of a light, airy, characteristic that contradicts the very structural and heavy system that supports buildings. This system shows off steel’s capabilities to satisfy multiple senses: aperture, paver, and shelter. DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


b site plan

c meditation

a

am

St

Vermo n

t St

ab

Al

Ne wY ork

St

The tower is a reaction to the contextual heights of two nearby structures. By creating another vertical piece to the context, the intersection is emphasized through the towers triangulation. The Re-Ligare Tower was designed to overpower the fellow towers to create ownership of the intersection.

21 ARCHITECTURE

The meditation space is designed to be the end of the journey and where the satisfaction of reconnection is accomplished. Through the experiences and connection of the essential aspects of life [nature, art, work, body, mind] that is represented through the spaces below, the journey up to the meditation space is a literal as well as a figurative idea that helps one reflect. Once in the space, the view of skies and the end of the paneling system provides encouragement towards reconnection.


5

d section cuts

4

3 5

2

1

4

3

2

1

5 Mind + Reflection Meditation Yoga

4 Body Dancing Weightlifting Spinning

3 Work + Research Re-Ligare Institute Library Classroom(s)

2 Art Performance Hall Music Room

1 Nature Garden(s)

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


Indianapolis, Indiana

23 ARCHITECTURE


INtransit I N D Y

T r a n s i t

S t o p

2010 Summer Colored Pencil 32” x 40”

a canopy system Located within the Indianapolis area, this transit stop was designed to alleviate the lack of accessibility connecting Indy to neighboring areas. Particularly, this project dealt with a conceptual community within the major city that included much industrial outlets minus this one vast green area that broke that up. Here, this design resided and was influenced by the industrial persona through its structural steel. The materiality became one of the main aesthetic appeals to the architecture and contradicted yet complimented the greenery. By not enforcing extreme changes within the elevation of the design, the gradation of the structure can start to depict the fluidity of many natural phenomenons. Also, the curvature provides this organic flow to add to the natural correlation. Pedestrian accessibility became an important aspect in the design process and influenced much of the decisions. Giving the pedestrians the feeling of having “right of way” provides freedom that automobiles tend to prevent on streets. Through material changes on the street, curving roads, and trees that border the street edges, oncoming cars will feel forced to slow down and provide attention to pedestrian traffic

The pattern of the shaders provide a gradual enclosure of the bays allowing different scales and levels of public and more private spaces. Shading also influenced the denser canopy, which also correlated to the program. The central bays are allocated for waiting spaces and informational kiosks where shading would be more desired. DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


b south elevation

c overhead view of the site

The winding form of the site plan was to accommodate the emphasis of the pedestrian. By simply turns of the street, automotive traffic slows down and creates attention to the pedestrian.

25 ARCHITECTURE


d pedestrian corridor

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


Muncie, Indiana

27 ARCHITECTURE


Co-op C o o p e r S k i n n e r E n v i r o n m e n t a l C e n t e r 2009 Fall Rhinoceros 4 Vray Plugin Autodesk 3DS Max Adobe Illustrator CS4 Adobe Photoshop CS4

a structural diagram b water collection system + bioswales Currently, through the existing eco-center, the Cooper Skinner Field demonstrates energy efficiency, employing passive and active building systems. This was the opportunity to add to the progress towards better sustainable features. The new facility we were assigned was to continue this motif by adding to the program, providing research laboratories as well as living quarters. The approach was strongly influenced with the idea of cooperation. This means the cooperation and utiilization of the current settings as well as providing as much back to the environment as the design will consume. Certain design elements accommodate sustainable demonstrations. From sloping roofs, berms, and bioswales, the constant mentality to react to the environment’s resources continues the desire to provide a truly efficient infrastructure. Through green roofs, water collection, and bioswales, the design is able to efficiently reuse the rainfall and control the excess. Cisterns contain the majority of the precipitation where in case of overflow, the water will drain into a bioswale, where it filters and maximizes the time span of it reaching the sewer system.

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


c strawbale wall

Strawbale construction is implemented within certain walls to provide that high insulation factor as well as continue the idea of reusability.

29 ARCHITECTURE

d interior render

This environmental center furnishes research space and laboratories to allow direct accessibility to the plant life on site.


e section cut

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


c veneer construction

31 ARCHITECTURE

b “INtransit” physical model


d “Reach” physical model

c product design - phone stand

DRAWING ARCHITECTURE Reach Unfold INtransit Co-op Fabrication + Modeling GRAPHIC DESIGN


33 GRAPHIC DESIGN


GFX

a “Unfold” presentation Board

b sports graphic

DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


rise

c product design presentation

d music artist graphic

SAMSUNG VIBRANT STAND Problem Currently, my phone is used for multiple purposes, one mainly being an alarm clock. An issue that occurs every morning is the the lack of a consistent spot for my phone + alarm clock to be located. I wanted this product to create a static spot and mount to provide reliability in its use.

Potentially for other phones With the ability to easily add or subtract layers, this phone mount can easily be interchangeable with other phone models.

*

24

*

2

NEXT ITERATION NO GLUE ASSEMBLY the next iteration will explore the possibility of using dowel rods to hold the pieces together. 2 dowel rods could span the assembly and hold it together due to friction

INSERT MATERIALS 1/8� Acrylic 3/16� Balsa Wood Dowel Rod*

35 GRAPHIC DESIGN

MBLY

ASSE


e sports graphic

DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


f “Reach” presentation board design concept

N

GESTURES

1

Elementary School for Seattle, Washington A Design Competition Sponsored and Funded by Cripe Architects + Engineers

CRIPE

SEATTLE

B Center Green Space

2 Gesture 2 displays the idea of

F Stack Effect *

facilitating and funneling. By creating this courtyard feel on the southern end, itencourages northern movement towards the lake and park. This also reiterates the whole idea of transparency and the openness of the public spaces on the first level.

SOUTH LAKE UNION

A Raised Perforated Shader

The first gesture suggests the idea of transparency. Through the sense of an open, transparent lower level, the building becomes easily accessible and welcoming from the ground level.

3

The last gesture advocates the idea of reaching and connecting. By breaking away from the city block and puncturing through to neighboring context, it allows a direct connection to important aspects of the community. This accommodates the expansion of the classrooms' curriculum and creates opportunities for hands-on learning.

C Classroom(s) D Outdoor Lab / Learning Garden E Main Staircase G “The Village” H Classroom(s) I

Staircase / Ramp

J R o o ft o p G a r d e n K Bridge L [Leading to] Lake Pavilion Classroom A

*

LAKE UNION SOUTH LAKE UNION PARK COMMERCIAL

FOURTH + THIRD

SECOND + FIRST

1 bridge 2 roof garden 3 observation tower 4 classroom(s) 5 classrooms(s) 6 staircase 7 classroom(s) 8 bathroom(s) 9 computer lab

south lake union school + community center

The current setting of South Lake Union presents hints of the past as well as the future. With its recent push to rejuvenate the district, businesses and condos have been erecting southward and are bound to continue towards the north to the Lake Union Park. In light of these current conditions, it is essential to continue the activity and connect the north’s anchors, the lake and park, to the south’s continual development. With the lack of a public school present, South Lake Union needed an educational structure that provided for the area’s families that did not find the private school appropriate to their situation. With this need, it generated the opportunity to create another mainstay to the various types of activities travelling from one end of the district to another. The notion of not just being a school but also a center for interaction among locals, children, and visitors became a staple in the design approach. By providing a space where not only students are welcome into the space creates the overlapping of the children, the future of the infrastructure, and community. Encouraging the importance of being active members within the community is inevitable through the constant mingling between student and residents. To respond to this desire, a lobby-type area was created to provide that threshold for the students prior to populating the classrooms. Within this same space, locals will be welcome to inhabit the space and provide the liveliness that will be matched by the children’s enthusiasm. Community events, opportunities, and news can potentially be posted within the area to keep the public notified but also produce a sense of involvement and acknowledgement for the children that share the space. The idea of a transparency becomes a key aspect in the concept of the ground level. By programming more public spaces on lower levels, community integration develops into being a strong motif. For the students, education can become a layered experience. What is meant is the idea of exposing the students to various environments that not only help them academically but also promote becoming acquainted to their community and being a part of its future. Breaking away from the city block’s limits allows the structure to start reaching and connecting into its immediate context. From bridging over the street into the lake and park to puncturing the clouds through an observation tower, the design broadens the students’ classrooms and gives them a break from the desks and blackboards. In addition to this concept, it allows the expansion of the curriculum to integrate the land’s current resources (lake, park, urban context). With all this in mind, the next direction was to provide these criteria through elegant and appropriate architecture. Through passive systems and contemporary tectonics, the building’s design suits Seattle’s more modern approach and mild climates. In hopes of harmonizing the areas demographics through the facilitation of its community’s young and old, this South Lake Union school will provide momentum into a stronger future within this Seattle district.

37 GRAPHIC DESIGN

1 main entrance 2 exterior dining 3 reception area 4 staircase / ramp 5 administration space 6 cafeteria 7 "village" space 8 security desk 9 outdoor lab / garden

1

FOURTH FLOOR

1

LOWER LEVEL 1 main entrance 2 exterior dining 3 reception area 4 staircase / ramp 5 administration 6 cafeteria 7 "village" space 8 security desk 9 kitchen

10 gym storage (2nd) 11 stage 12 basketball court 13 lounge (2nd) 14 music room (2nd) 15 library (1st) 16 art room (1st)

THIRD FLOOR

10 mechanical 11 bathroom(s) 12 outdoor lab / garden 13 freight elevator

SECOND / GROUND FLOOR

LOWER FLOOR

1

1 2

2

3

3

4

4

3

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5 6

5

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8 9

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SC 1

7

6 7

7 8

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12

COMMERCIAL

3

2

2 4

4

FUTURE RESIDENTIAL

GROUND FLOOR

12

10

N

CONTEXT The current context of the site includes businesses and commercial area. Residential condos will be located on the northern blocks adjacent to the school.

11 13

10 15 13

14

16

SC 2

SPACE NEEDLE


PERFORATION

PATTERN

To play off of the maritime culture of the lake as well as the community, the perforations can start to be manipulated through varying hole sizes to emulate a wave pattern throughout the mesh. On the left shows a potential product of changing aperture sizes that may also play into the classrooms' daylighting.

G

(B)

(A)

tectonics

PERFORATED SCREENS A system of perforated screens are implemented to provide daylighting relief for the classrooms. These planes are comprised of varying aperture sizes that are represented in the pattern (A) on the left. The idea behind the variation in apertures is the opportunity to manipulate size and location to control the amount of light diffusion that punctures the classroom. The pattern can also start depicting a sense of waves (B) that plays off of the maritime aspect of the district’s culture.

[CLASSROOM WALL-SECTION CUT] SC1

passive

I

*

SYSTEMS F C

A Perforated Screen B Light Shelf C Screen / Shelf Bracing D Steel Structure

COMPONENTS

*

E Reading Area F Room Divider G Overhead Perforated Screen

A

H R a d i a n t H e a ti n g T u b e s I F

C

*

H

*

*

N CTIO G SE LDIN [BUI

E

B I

H

CLASSROOM DESIGN

B

Classrooms are approached with an open layout mindset. The ability to see other classes at work and for teachers to communicate among one another emphasizes the whole ‘community’ within the school. Colorful partitions were brought into the classes to separate the program of formal learning (learning at your desk and teacher lecturing) from the more unrestrained, indivual learning such as reading or computer use. This separation helps define the class’ structure and provides different levels of intimacy and privacy. The partition also acts as a buffer from glare be being offset and becoming another physical barrier for light to puncture.

J

SC2 CUT]

E

High Interior Glazing to allow for Stack Effect

J Hallway overlooking Main Staircase + Lobby

L

K

(b)

RADIANT HEATING

The massing displays the notion of reaching and puncturing to provide different environment and settings. Exaggerated to emphasize the idea, all three of these “reaches” will give students new experiences in their classrooms.

Radiant heating systems embedded in the floor slabs provides thinner slabs to allow a sleeker look. It also appropriate for Seattle's mild winters and provide sufficient heating.

STACK EFFECT

Seattle's climate allows for the absence of air conditioning systems and provides the opportunities to take advantage of passive cooling. In this case, the stack effect was chosen to provide sufficient ventilation for classrooms as well as the lobby area. By connecting each space and allowing the air to flow from one space to another until it reached the tower, the principle of heat rising utilizes the towers clerestory windows to ventilate out.

G

* *

D

J

* *

D

SKY The tower provides bird’s eye view to the Lake Union district and opportunity to reach new heights in learning. At this observation spot, students can learn or just enjoy the context, sky, lake, etc.

The massing displays the notion of reaching and puncturing to provide different environment and settings. Exaggerated to emphaLAKE size the idea, all three of these The rendered image provides a conceptual idea for a “reaches” will give students new potential pavillion or “classroom” that caninaccommodate and experiences their classrooms. expanded curriculum. Workshops in fishing, lake observation, and plant life can be possible activities in this space.

(c) (a)

classrooms

classrooms

classrooms

classrooms

(b) street cafeteria

(a)

lobby

**

KAWNEER IMPLEMENTATION 1600 Wall System® 1

Modified to accommodate the support of the sun shader and light shelves

1040 Sliding Mall Front

To allow for ventilating of exterior air through the spaces and into the tower that returns it back outside To accommodate Stack Effect

tower

the village (c)

The “Village” is a sunken space for social and interactive programming. Here, children are encouraged to mingle and interact with fellow community members whom are welcome to inhabit the space for their own purposes and advertisement. The grand staircase that includes a ramp cutting diagonally through it, provides the user with a expansive view of the space below and gives them a better sense of the social activity. Other programming included are spill-out dining from the cafeteria, the administration spaces, and gathering spaces to allow the overlapping of activity and diversity in its users.

TM

AA®900 ISOWEB® Window

This sliding door was implemented for its versatility in opening and enclosing spaces. The threshold between the cafeteria and "Village" space will utilize this product to allow for dining furniture to spill out between spaces and promote program overlap between spaces

SOCIAL SPACE

L

Clearwall™ Curtain Wall

To provide a seamless and sleek finish, the Clearwall product spearheads the desired look

*

*

FUNNEL This rendering displays the idea of “funneling” that was mentioned in (Gesture 2). This shows the potential stimulant of attracting southern users to go north-bound and potentially through this structure to reach the lake or park.

DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


39 GRAPHIC DESIGN


AAA

a Inverse Colors

b “a”

c “3”

ARIEL ANDAL AURELLANO

For my personal logo, I wanted a symbol that was simple yet potentially subliminal. The logo showcases folding shapes that depict a lower case “a”. Having a name with the initials “AAA”, it seemed appropriate to advertise using the respective letter. Comprising the basic form of the letter using simple shapes and contrasting values allowed the logo to gain a sense of three dimensionality. It also created the opportunity to push and pull certain shapes and drive the attention towards another formation. In this case, a “3” becomes evident by simply suppressing the value of the back panel and contrast the rest of the form. These techniques demonstrate the ability to creatively be simple and still provide an amount of depth to my work.

These shape diagrams highlight the different messages the logo is meant to display. The lower case “a” is evident when looking at the whole shape. The “3” can be seen when ignoring the lighter shaded section. DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


Primary Logo

41 GRAPHIC DESIGN


BSU

a Cardinal Head Logo

b Script

c Alternate #1

d Alternate #2

BALL STATE UNIVERSITY CARDINALS

The summer after my freshman year at Ball State University, I had the urge to start a project to update their logo set. Flat and outdated, the current set features one logo introduced in the 1980’s. The main approach to this concept was to provide a modern look as well as apply depth to the cardinal that the current does not possess. Another aspect that was desired was to add some emotion to the mascot. Being an athletic logo for the school, intimidation seemed to be an important role. To portray this emotion, experimentation with the eyes and certain angles in the face were done. One of the hurdles was the ability to standout with the numerous “cardinals” currently being used. How do you create a unique look to a common moniker? My answer was to utilize the bird’s features differently like adding wings to the lettering or emphasizing the talons.

The notion of wings is implemented into the script to provide a unique look to the lettering. This allows the lettering to stand alone without the primary or head logo and continue the cardinal image. The talons also help connect the main logo to the lettering and also add another dimension to the flat script.

DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


a Emerging Green Builders

b Indiana Robotics Invitational

E B This Emerging Green Builders logo incorporates a screw that makes up the “G” of EGB. The screw represents “building” and casts a shadow of a tree to signify that for everything we build, we must be environmentally conscious.

43 GRAPHIC DESIGN

With the participants having other competitions throughout the whole country, the approach was to emphasize this specific competition and the state’s significance. Through the implementation of the Indiana shape and features of their flag, the competition’s logo will continue to represent the hosting state.


c CAP Pong

This was a simple logo for a table tennis tournament held at the College of Architecture and Planning (CAP). The paddle and ball help represent not only the sport but also the “P” of “CAP”.

DRAWING ARCHITECTURE GRAPHIC DESIGN Various Graphics Personal Logo Ball State Concept Various Logos


Ariel Aurellano Portfolio  

Art Architecture Graphic Design

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