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RACHEL SMITH

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RACHEL SMITH INTERIOR ARCHITECTURE


RACHEL SMITH I grew up in Knoxville, TN with my twin sister and my little brother. For as long as I can remember, I have had a strong passion for art, creativity, and a connection to making things. This led me to pursue and earn an Interior Architecture Degree from the University of Tennessee, Knoxville. During my architectural education, I have developed a passion for research-based design and the infusion of architecture with developing technology.


CONTENTS SELECTEDWORKS 01 02 03 04 05

AVIARY NO. 11: PARAMETRIC MUTATION - FALL 2018 .................... 6 EXOSKELETAL PRISM - SPRING 2018 ............................................ 18 SWARM - SPRING 2019 ................................................................. 24 SABOR DEL SUR - FALL 2017......................................................... 28 SPECTACLE - SPRING 2018 ........................................................... 34

REPRESENTATION 06 LIGHTS - SPRING 2017................................................................... 44 07 SNES - SPRING 2017...................................................................... 46

MAKER 08 PORTAL - FALL 2018 ....................................................................... 52 09 MIXED MEDIA ................................................................................. 54 10 PHOTOGRAPHY .............................................................................. 58


AVIARY N0.11: PARAMETRIC MUTATION

01 AVIARY [11]: is a proposal to reinvent the Sunsphere as an ecological research facility. The unique facility provides researchers the opportunity to investigate the surrounding peri-urban ecosystems using birds to scan the surrounding landscape, building on turn of the century techniques that used cameras strapped to birds as a method to see the world from above. These methods offer us the unique quality of animal movements and behaviors embedded in the i magery. Unlike traditional aviaries that are commonly enclosed, this facility will employ freerange flying. Primarily for pigeons, it will utilize their inherent navigational abilities as a tool to survey the terrain. The design’s complexity lies in creating inhabitable spaces for two species while establishing an integral interior topography that links the programmatic interior spaces to the exterior context of the city, wilderness, and the resultant peri-urban zones, allowing the external site properties to shape the interior strategies and vice versa. The interior design concepts employed in this proposal sought to initiate and reinforce an exterior/interior overlap. They advanced this relation through employing innovative internal strategies adapted from natural phenomena, postulating that the innovative spatial application of the systematic functions and design sensibilities afforded by models in nature do increase the 6efficiency and aesthetics of interior space.


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INTERIOR TOPOGRAPHIES:

TOWARDS A NEW ETHOLOGY OF SPATIAL OCCUPANCY

In Aviary No. 11: Parametric Mutation, an initial study was conducted on Obsidian, a volcanic rock formed by the reaction of magma and water. From the study, formal qualities of curvature and parametric sequencing were taken from the rock’s texture and translated into the space in two ways: a simple curvature that transforms into a layered spatial arrangement and a “skin” created from the parametric modeling, where perforations allow for applications with the birds, such as entry sequences into an open aviary space. An in-depth study was conducted on both the pigeons and the site- the pigeon analysis explored how pigeons navigate, and one theory of this is through visual data mapping by infra-sound (below the human hearing threshold). The infra-sound readability is effected by atmospheric conditions, which include altitude, temperature, and wind. These are the factors which determine where the mesh is located to create the greatest infra-sound readability.

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DESIGN IMPLICATIONS The mesh is located on the Northeast side with the perforations pointed Northeast to work in coordination with the wind direction (Northeast during the winter and fall months). These perforations are used to direct the sound inbetween interior and exterior, attracting the birds and allowing them to enter through the top area. This pours into an open aviary, surrounded by open and closed spaces. These spaces include: a mechanical room on the first level, a gallery on the second, the lecture/collaborative area on the third, laboratory on the fourth, observatory on the fifth, and break room on the sixth.

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EXOSKELETAL PRISM This exploration seeks to consider both place and space in tandem through the lens of a new typology. Land costs continue to climb while square footage construction at minimum keeps pace. Urban Design primers have long-supported the city renewal and development of living cities. Space, however, always becomes the limited resource. The constant dynamic in city development is its planning based upon the car, even in cities with strong public transportation systems. A common denominator in cities worldwide is the necessity to store vehicles when not in use, namely parking lots.

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DESIGN IMPLICATIONS Located at 395 Broome St. in lower Manhattan, this tiny home the size of a parking space embodies the concept of section while simultaneously adhering to the needs of the client. This includes blending into the artistic surroundings of Broome St. with a jagged facade made of glass and brick, as well as classic fire escape stairs encased in glass. Its interior includes features that adhere to the individual clientele personality- such as a library and reading nook, and a secret, solitary roof​ garden.

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CHASE MODE

PEEK 24


8”

48”

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ELEVATION

SCALE: 1” = 1’

PLAN SCALE: 1” = 1’

12”

SWARM

48”

“Swarm” is an experience where children peek through parametricly sequenced wood + plastic vessels of varying transparencies containing LED lights, which create the illusion of a night sky filled with synchronous fireflies. The vessels are controlled via bluetooth, with various modes such as “Chase,” “Synchronize,” and “Play.” Synchronize + Chase modes simulate firefly movement over a set amount of time, while play is activated/manipulated through touch, allowing for interaction between the vessels, children, and each other.

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additonal bluetooth central processing unit

48” 5.5”

LED remote control

48”

3.7”

5.5”

8”

48”

battery/remote operated LED

48”

1/16” acrylic

8”

3.7”

3/4” oak veneer

3/16” touchscreen underlay

ELEVATION ELEVATIONSCALE: 1” = 1’

PLAN

SCALE: 1” = 1’

SCALE: 1” = 1’

PLAN SCALE: 1” = 1’

12” 12” dowel joint

48” 48”

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48�

peek touch walk manipulate



  



8�

48�

3.7�

 5.5�

  

 

  

ELEVATION

SCALE: 1� = 1’

PLAN SCALE: 1� = 1’

   12�

SWARM

48�

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VIEW OF RUNWAY

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CLIENT/CONCEPT STATEMENT Alexander McQueen was a ground-breaking fashion designer responsible for theatrical creations which explored fantasy and rebellion. As an artist, he was known for the dark nature and presentation of his creations. He believed in pushing the boundaries of what is possible and emphasized the presentation of his work, rather than the work itself. The work “spectacle” is defined as a visually striking performance or display- and McQueen’s work served as an example of both. The concept of Spectacle manifests in McQueen’s commercial space through an organic runway that wraps itself around a central dressing room made of a polycarbonate glass to give an unsual front-row presentation of shadows and light amongst the clothing. In his residential space, the Spectacle manifests through a glass table in the dining area that transcends into the first floor with a frosted finish to evoke questions of who is on display. The contorted walls in this space are defined by a cork flooring in the same shape of the runway below to facilitate wayfinding and circulation throughout the home.

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SABOR DEL SUR Sabor Del Sur was designed for Universal Connections: both the tangible and abstract. Its extruding facade was designed to attract and interest people of all ages. Made of concrete and glass, it embodies the idea of solid vs. void. The concept of connections is integrated into Sabor Del Sur’s interior through the manifestation of forms native to the matrix model that inhabit the seating features: a bar and booth-seating area both differ in elevation but relate to each other in form as brother + sister pieces. Because this space was small, the booth-seating piece is composed of repetitive, horizontal ornament encased with walls of mirror material on each end to create the illusion of a continuing space. The concept of connections is experienced in this piece through the screens between each booth, which are composed of mirror material with small, scarce holes to provide intimate visual glimpses as well as minimal auditory connections. This form manifests in the literal space as a projection into the city, while its connection to the Peruvian culture resides in the idea that a motion of projection serves as a kind of beacon within the city for the community, where the culture is abstractly manifesting, and how this element is connected physically to the interior vs. abstractly to the exterior.

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ANALYZATION From the original analysis of a Peruvian textile, notions of jagged sequences and asymmetrical shapes were taken and translated into the matrix model’s connecting forms and the idea of solid vs. void, which introduced the concept of Universal Connections.

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REPRESENTATION

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LIGHTS

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SNES A physical and digital dissection of the original 1991 SNES controller. After being taken apart by hand, each piece was analyzed in terms of function and placement. These elements were first visually manipulated a variety of ways, then replicated through digital modeling software. The parts were then dissected digitally and exploded, with each piece translating to its function in the software.

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MAKER Explorations in creations of various mediums, including sketching, painting, pastels, 3D sculpture, + luminaire design, most of which are inspired by pop culture.

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PREVIOUS EXPLORATIONS In previous explorations, an interest in color and spatial layering was taken into the next phase. These ideas were then explored in a model which dealt with different colors and therefore, moods. The result of these experimentations is a luminaire fixture that can be used in different spatial contexts, giving users the ability to change hue as desired, as well as creating a space within a space that is adaptable in many applications.

RAPID PROTOTYPING ITERATIONS

P O R T A L

Luminaire Design CONCEPT STATEMENT Light has the power to change perception. Portal aims to do just that. Using spatial layering and color, this luminaire creates the illusion of a portal to an unknown place, taking the viewer on a journey outside of their original destination. The luminaire uses repetition to create depth perception and a cool blue light to give a dream-like look that will entrance viewers and perhaps spark imagination. In commercial settings, this luminaire could serve as an interesting accent that would grab the attention of many. deptpla

PREVIOUS EXPLORATIONS In previous explorations, an interest in color and spatial layering was taken into the next phase. These ideas were then explored in a model which dealt with different colors and therefore, moods. The result of these experimentations is a luminaire fixture that can be used in different spatial contexts, giving users the ability to change hue as desired, as well as creating a space within a space that is adaptable in many applications.

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RAPID PROTOTYPING ITERATIONS


P O R T A L

P O R T A L CONCEPT STATEMENT

Light has the power to change perception. Portal aims to do just that. Using spatial layering and color, this luminaire creates the illusion of a portal to an unknown place, has the power to change perception. viewer on a journey outside of aims to do just that. taking Using the spatial their original g and color, this luminaire creates destination. The luminaire uses repetition to create depth perception usion of a portal to an unknown place, and outside a cool of blue light to give a dream-like the viewer on a journey look that will entrance viewers and perhaps original destination. The luminaire eption. spark imagination. In commercial settings, epetition to create depth perception thisa luminaire could serve as an interesting cool blue light to give dream-like patial accent would grab the attention of hat will entrance viewers and that perhaps eates many. settings, imagination. In commercial

T STATEMENT

minaire could serve as an interesting wn place, that would grab the attention of de of PREVIOUS EXPLORATIONS ire In previous explorations, an interest in color and spatial eption layering was taken into the next phase. These ideas PREVIOUS EXPLORATIONS were then explored in a model which dealt with differam-like colorsin and moods. The result of these In previous explorations, an ent interest colortherefore, and spatial perhaps is ideas a luminaire fixture that can be layering was taken into the experimentations next phase. These used in different spatial contexts, giving users the were then explored in a model which dealt with differttings, ability The to change hue as desired, as well as creating a ent colors and therefore, moods. result of these eresting space within a space that is adaptable in many experimentations is a luminaire fixture that can be applications. used giving users the of in different spatial contexts, deptpla

RAPID PROTOTYPING ITERATIONS RAPID PROTOTYPING ITERATIONS

ability to change hue as desired, as well as creating a space within a space that is adaptable in many applications.

terest in color and spatial xt phase. These ideas l which dealt with differds. The result of these e fixture that can be xts, giving users the ed, as well as creating a adaptable in many

RAPID PROTOTYPING ITERATIONS

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PHOTOGRAPHY

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“Everything you can imagine is real.” -Pablo Picasso

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RACHEL SMITH wbc642@vols.utk.edu 865.382.4052 http://bit.ly/RSinteriorarch

1253 Woodsboro Rd Knoxville, TN 37922

Profile for Rachel Smith

Portfolio 2019  

Portfolio 2019  

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