Page 1

SHANNON

SCHROTH


Boyds Philadelphia Women’s & Men’s Spring Direct Mail Peices


Boyds Philadelphia Billboard


Michigan State University Stor y Boards


Michigan State University Commercial Different Alumni hands from Michigan State University


Rittenhouse Square Main Line Times Insert Booklet


Allan Domb Real Estate Brochure

UNIT 2206-07

One-of-a-kind combined home with panoramic river and Washington Square views. The condominium has three bedrooms and three baths and features an open floor plan perfect for entertaining. There are wood floors in the living spaces and two balconies. 2968 sf | $1,250,000

UNIT 1009 (last page, right)

Sun-soaked two bedroom, two bathroom home with a balcony offering southeast views of the river and city. There are two bedrooms and two bathrooms. The residence has a large custom built wood and granite wet bar and upgraded kitchen and baths.

UNIT 2206-07

2968 square feet 3 bedrooms, 3 bath $1,250,000

1977 sf | $799,000

UNIT 706 (last page, left)

Completely renovated one bedroom, one and a half bathroom condominium with charming, yet modern finishes. There is a country-French inspired chefs kitchen, brand new baths appointed in marble, rich wood built-ins, hardwood floors throughout, and generous closet space. 1118 sf | $479,900

PENTHOUSE 2406-2505 4403 square feet 2 bedrooms, 2.5 baths $2,295,000

Magnificent bi-level penthouse featuring unobstructed river, bridge and city views. The residence has two bedrooms and two and a half baths, two balconies, high ceilings, a chef’s kitchen, lavish master suite and fabulous entertaining space. All finishes, features and appointments are custom.

UNIT 1009

1977 square foot 2 bedrooms, 2 baths $799,000

UNIT 706

118 square foot 1 bedrooms, 1.5 baths $479,900

AllanDombRealEstate 1845 Walnut Street, suite 2200 Philadelphia, PA 19103 215.545.1500 allandomb.com

AllanDombRealEstate Presents Independence Place 233-241 South 6th Street


Keating Group Website design for the merge of Keating Group and Tutor Pernin


http://www.Keating/TutorPernin.com

Keating/Tutor Perini HOME

TUTOR PERINI

/

ABOUT

/

SERVICES

/

PORTFOLIO

/

UPDATES

/

CAREERS

CONTACT / LOG IN

INIMOLLO TE ET EOS UT RE LAUT A VOLORI OMM ID UT VERATIA ECTUR, ULPARUNT UT ESE DUCIA AUT REICIAT

Bor rumquis et eturitios ressimilic torum, quo tem serferro cum expliss ection porest alignimi, aut Ut hicit vendam que volest rerferc hiliquae litam, que moluptam in porruptate vellias dolut alique vendis modigenda sit porero et labo. Ut es exero dolendit prore non ped quam volorecum lis que aut eos alitin commo cuptiunt dolupta siminimus exped quat laboreh endip

http://www.Keating/TutorPernin.com

Keating / Tutor Perini HOME

/

ABOUT

/

SERVICES

/

PORTFOLIO

/

UPDATES

/

CAREERS

CONTACT / LOG IN

CONSTRUCTION DEVELOPMENT MANAGEMENT

TUTOR PERINI

INIMOLLO TE ET EOS UT RE LAUT A VOLORI OMM ID UT VERATIA ECTUR, ULPARUNT UT ESE DUCIA AUT REICIAT

bor rumquis et eturitios ressimilic torum, quo tem serferro cum expliss ection porest alignimi, aut Ut hicit vendam que volest rerferc hiliquae litam, que moluptam in porruptate vellias dolut alique vendis modigenda sit porero et labo. Ut es exero dolendit prore non ped quam volorecum lis que aut eos alitin commo cuptiunt dolupta siminimus exped quat laboreh endip

http://www.Keating/TutorPernin.com

Keating / Tutor Perini HOME

/

ABOUT

/

SERVICES

/

PORTFOLIO / SECTORS WEBCAM CASE STUDIES

UPDATES

/

CAREERS

CONTACT / LOG IN

TUTOR PERINI

HOSPITALITY / GAMING / ENTERTAINMENT

GOVERNMENT/ PUBLIC FACILITIES

HEALTHCARE/ SCIENCE AND TECHNOLOGY

EDUCATION

RESIDENTIAL

TRANSPORTATION

PUBLIC INFRASTRUCTURE

MIX-USE DEVELOPMENT


inSHAPE Mock up network and fitness center


inSHAPE Stationary Includes welcome letter, envelope and business card

inSH PE

network & fitness

get be stay

Jennifer Bernstein 215.292.5431

Sales Associate

JBernstein@inshape.com


inSHAPE OUTSIDE ADVERTISEMENTS


INSHAPE CALENDER The calender shows classes that are available all week at inshape fitness center and our network.


inSHAPE IPHONE APPLICATION IPhone application that offers the same benefits as the calender plus more such as tip of the day and a calorie counter


POSTER IN FITNESS CENTER


inSHAPE Membership card and bag


GET READY! Senior Thesis Project Interviews based around five different perspectives on how the world going to end


GET READY! Full spreads


VACANT

Black swirls of various tones are flowing across the vacant space in my mind. Random white globs begin to drop onto swirls.

Each glob contains a memory, something good, something bad, and something in between. They begin to drip down, falling through the swirls and staining the surface of my mind with grayness, vagueness. I feel this lately, more then ever. A feeling that I am wasting the company’s time, my life is on the clock. Always feel like I should be doing something instead of just laying on the futon, watching colored pixels change before my eyes. Lack of credits have forced me into torment. I am bound to it. Elevator up then another up, wrong floor, its on 8 not 7, gotta hit the button again. Entering the room late all eyes are directed at me. The absurd hero Sisyphus was being discussed again. Lately it seems like this

by Andrew Murray

“A thick fog surrounds me obscuring my vision, every step I take leads to the unknown.”


VACANT Stor y by Andrew Murray

discussion and myself are one, doomed to fail. I’ve become lost, the lecture has blurred from my senses and replaced with nothing, Hell at least I came to class. I could have skipped, didn’t have to come today. Wasting resources, fossil fuels and shit like that. “Break is in five”, I snap back into reality. Looking up at the board I try franticly to scribble the notes before they are erased. Suddenly my place becomes visible as the left side of the board disappears. A single black dot in a sea of endless white space. This class is starting to get to me, mutating me into some giant eight-armed nihilistic monster. Society says I’m here for five years, why fight it, I have no choice in the matter.

Robots destroying a city, almost done, finish horrible drawing and….done. I try to get at least one funny drawing per class so it looks like I’m paying attention. Does it matter if I’m doodling instead of taking notes? I’m coughing up the money to indulge my short attention span. Note time, might need this for the test, ‘Wobble moment—moment of clarity. The rock and you are teetering, on the brink, seems like it could go either way, knowing it will fall roll back down.’ Sisyphus is doomed to push the boulder for eter nity. He knows this though, the absurdity of life. Grayness takes over me once again. A thick fog surrounds me obscuring my vision, every step I take leads to the

unknown. A road with no signs and many tur ns, always moving ahead. I stop, I sit, what if I went backward, took a tur n, would there be a difference? I don’t know and for the first time I don’t care. Maybe this anguish will change, maybe it won’t. These ten tons of earth will always need to be pushed uphill because the gods demand it. I will always need to work, it shouldn’t bother me, consume me.This labor I thought was unique to me, it’s not, it has existed before me and will continue after. No need to fear or hope for change. Instead, acceptance. Like Sisyphus. Class ends. My new perspective begins.


BETRAYED Design a narrative based on a personal experience that presents a mix of different emotions


betrayed betrayed b y

S h a n n o n

it hurts when the crowd is focused on me and my wellHere I am standing in line with the people I love most. My Mom, Aunt Denise, Uncle Pat, cousins Kelli, Andrew, Mom-Mom, Pop-Pop, my boyfriend Russ, and my best S c h r o t h

friend Jess. We left early so we wouldn’t have to wait but when you are going to a funeral, there’s no way to avoid the long line. As we get closer, my heart starts to beat faster. Than I see Georgie, one of my best friends, walking up to the line for the funeral to say his goodbyes to Gregg. George looks at me and only sees emptiness in my eyes and redness on my face from crying. Georgie and I have shared a lot; he’s been there since we were young but this is the first time we shared heartache like this.

Then I start to cry more:

being. The line stretches around the block outside the funeral home. It continues to move even though I’m at a complete stop. I can’t move my feet; they feel like they are stuck in the cement. I cry louder and everyone’s eyes are focused on me. Everyone shows sympathy towards me but it hurts even more to know that people care. It makes me think about how Gregg left me and doesn’t care that I’m sad now because he’s gone. Now I have to start breathing slow again to control myself. I have to get in there soon; I need to get closure, if there is such anything. I continue to walk and now I am even closer to the place I don’t want to be, at the point where they’re handing out the prayer cards. The slow breathing isn’t working. Not crying is too hard. I take the prayer card, and it’s over! There is Gregg with his big smile and big lips that he knew were his best features. It makes me remember the last time we kissed on January 17th. His blue eyes, his butt chin, his gapped tooth that gave him personality, and his curly blond hair he had when we first met two years ago. It was all in front of me like it has been so many times. Most of all I miss that smile: it was his lethal weapon. It could get him out of so much trouble and make me forget why I was mad at him in the first place.

It isn’t I’m at y of the s you ma I do ev a nice do bad me? I s this mu age twe

I can’t stop shaking a


fair. It’s not fair that your funeral because stupid decision ade. Life isn’t fair, verything right, I‘m person; but why d things happen to shouldn’t have uch heartache at enty-two.

and can’t figure out how to breath correctly. I continue to walk

BETRAYED Personal narrative on three page spread

forward into the funeral home, closer to Gregg’s body. A

I miss him so much already. Three days ago he texted

body that isn’t warm anymore, a body with no beating heart. The warm body that I laid with in my bed, the

me. It was four in the morning. I was confused. That

heart I heard beating continuously for two years, has stopped. I wish I could turn around and never come

was the morning it happened, four hours before

back! It’s almost time to see him and say goodbye and see everyone gathering to mourn Gregg and remember him.

he killed himself.

I hide my face in my boyfriend’s chest. I can’t see what waits ahead. I can’t picture him lying there not being able to speak to me. Before I could never get him to shut up and now I have no choice but to hear silence. When I was in Italy two months before Gregg died, we talked on the phone constantly. The time difference didn’t make a difference, he would call me throughout the day and night. Then he finally told me he loved me but I didn’t believe him it was the first time in two years he ever said those words to me sober. I was in Italy, he was home and the boredom started to rise. He started to see his ex girlfriend again and we grew apart. We decided we should become friends again and start to see other people. We continued to talk on the phone when I came home. He made sure to text me and we would talk about the new gossip in our lives.

I shouldn’t be here right now, saying goodbye to the man I once loved.


BETRAYED Alternative design done on pillow to show a different perspective of “Betrayed� narrative


HOW TO BECOME A “GOOD HOUSEWIFE” Interactive project inspired by found family photographs from the 1950’s.

http://GoodHousewife.com

http://GoodHousewife.com

http://GoodHousewife.com

http://GoodHousewife.com


THE LANDSCAPE OF DANCE Typography excersize on article Published by Thames & Hudson.

V T R U E S T O RY / T H E L A N D S C A P E O F D A N C E

THE LANDSCAPE OF DANCE Published by Thames & Hudson

Photography by William A. Ewing

ertical is the new horizontal, the performance stage has been lifted and the dancers are responding to this new reality. She began her collaboration with David Parsons (soon to be joined by Daniel Ezralow) in 1982, soon after Parsons had been chosen by a New York newspaper as one of the best dancers of the year. She was attracted to Parsons’s unique combination of athleticism and lyricism and the floating quality of his body in the air. Ezralow she admires for his ‘kamikaze spirit’. He has likened himself to a ball of clay which is thrown up in the air where it takes shape, then returns to the ground as clay. She wished to capture in photographs the seeming impossibility of their movements. Greenfield was using a square-format camera for the first time. She discovered that the format broke the tyranny of the normal rectangular frame, with its perceptually ‘weighted’ bottom - the square distributed the gravitational pull equally on all four sides. In these pictures the frame is, so to speak, the stage, with exits and entrances off sides, top and bottom. The performance stage has in effect been lifted form the horizontal to the vertical, and the dancers are responding to this new reality. Thus liberated, they rise and float, fly more than jump. The air has buoyancy, sometimes seeming heavier than the bodies themselves. Greenfield is a highly articulate spokeswoman, not only for her art, but for photography in general. She has interviewed and written about a number of the field’s innovators, and not surprisingly we find her sensitive to qualities which define her own vision. She admired Man Ray’s ability ‘to dream and free associate’. his work was inspired by ‘chance and accident. In Lucas Samaras’s little polaroids, she saw an immense expressive scope; In plate 159 we see Parsons, Ezralow and Ashley Roland hurtling through space, each heading in a different direction. It is an expanding universe of twentieth-century cosmology. Yet the force of the image is one of control and wholeness, not separation: the dancers’ bodies lock together in a satisfying shape, albeit. She began her collaboration with David Parsons (soon to be joined by Daniel Ezralow) in 1982,soon after Parsons had been chosen

MOVE MAGAZINE

22


T R U E S T O RY / T H E L A N D S C A P E O F D A N C E

The Landscape of Dance

Published by Thames & Hudson ~ Photography by William A. Ewing

Vertical is the new horizontal, the performance stage has been lifted and the dancers are responding to this new reality. She began her collaboration with David Parsons (soon to be joined by Daniel Ezralow) in 1982, soon after Parsons had been chosen by a New York newspaper as one of the best dancers of the year. She was attracted to Parsons’s unique combination of athleticism and lyricism and the floating quality of his body in the air. Ezralow she admires for his ‘kamikaze spirit’. He has likened himself to a ball of clay which is thrown up in the air where it takes shape, then returns to the ground as clay. She wished to capture in photographs the seeming impossibility of their movements. Greenfield was using a squareformat camera for the first time She discovered that the format broke the tyranny of the normal rectangular frame, with its perceptually ‘ weighted’ bottom - the square distributed the gravitational pull equally on all four sides. In these pictures the frame is, so to speak, the stage, with exits and entrances off sides, top and bottom. The performance stage has in effect been lifted form the horizontal to the vertical, and the dancers are responding to this new reality. Thus liberated, they rise and float, fly more than jump. The air has buoyancy, sometimes seeming heavier than the bodies themselves. Greenfield is a highly articulate spokeswoman, not only for her art, but for photography in general. She has interviewed and written about a number of the field’s innovators, and not surprisingly we find her sensitive to qualities which define her own vision. She admired Man Ray’s ability ‘to dream and free associate’. his work was inspired by ‘chance and accident. In Lucas Samaras’s little polaroids, she saw an immense expressive scope; In plate 159 we see Parsons, Ezralow and Ashley Roland hurtling through space, each heading in a different direction. It is an expanding universe of twentieth-century cosmology. Yet the force of the image is one of control and wholeness, not separation: the dancers’ bodies lock together in a satisfying shape, albeit one that can exist for only a fraction of a second. We feel that behind our ordered everyday image of the world are the violent energies that surge through the dancers, but we can also say that dance and photography have combined to make order out of that chaos. The wit, power and ambiguity of this unforgettable image seem to sum up our times no less than Barbara Morgan’s War Theme did hers. In our time, Lois Greenfield has emerged as one of the most innovative photographers of the dance, and the foremost photographer of postmodern experiment. Greenfield has never been concerned with documentation - the literal transcription of a choreographer’s work into two dimensions which she leaves quite happily to other professionals. Instead,

{ } Vertical is the new horizontal, the performance stage has been lifted and the dancers are responding to this new reality.

MOVE MAGAZINE

22


FEELING GOOD Design Projected using the lyrics by Muse “Feeling Good”


FEELING GOOD Interactive Projected using the lyrics by Muse “Feeling Good”


http://FeelingGood.com

http://FeelingGood.com

http://FeelingGood.com

http://FeelingGood.com

http://FeelingGood.com


PH OTO G R A PH Y E X P LO R AT I O N Flowers are the main subjected used in different composition. Right composition made into advertisement


PH OTO G R A PH Y E X P LO R AT I O N Photographs taken around the city used in different compositions


THE END THANK YOU


SHANNON SCHROTH

Portfolio  

Portfolio of Shannon Schroth

Advertisement