SHANNON TURNER DESIGN PORTFOLIO
the medical workspace of the future
a study on diagramming
the boathouse on the potomac river
a writing sample
the rehearsal studio for musicians
NEXTâ€™s Medical Workspace
In the human body, the spinal cord, protected by the vertebrae, provides humans with the distinct upright posture. The strength of these bones is incomparable, but inevitable deterioration occurs without strong muscles surrounding the spine to assist in supporting the frame. In NEXTâ€™s medical workspace of the future, the architecture of the spinal cord dictates the layout of the spaces. Both patients and doctors interact with the backlit quartz datum wall, whether passing underneath the massive thickness or resting in one of the secluded seating areas. These threshholds shift away from the axis of the corridor, emphasizing the unconscious interaction with the spine wall.
NEXT’s Medical Workspace In exam rooms, shelves and cabinets carve into the wall, fusing the spine and vertebrae. These “vertebrae” separate patient function into meaningful sections, allowing for easy wayfinding and simple circulation. The workcafe, open office, and lifestyle areas surround the spine and vertebrae, becoming the muscles that provide strength and support to the patient areas. Cool, bone-like finishes in the exam and consultation rooms establish the calmness and control needed in these rooms while reflecting the association with the vertebrae. Warmer colors penetrate the open office, providing staff with an inspiring and collaborative space to change lives. Together, these areas fuse to become one body, one entity.
open office plan
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Diagramming DC Architecture
An exploration of DC architecture consisted of drawing buildings of a neighborhood I had never visited before. Llocated along the south eastern path of the Potomac, the Navy Yard neighborhood is brimming with a unique combination of old and new buildings. This breakdown of complex shapes into the pure forms from which the design basis of these buildings proves the true simplicity that architecture can posses. Scrutinizing other works at such a basic level has given me better eyes to understand more complicated architecture around me.
Thompson Boat Center on the Potomac Thompson Boat Center lies on a critically important site in Washington D.C.â€™s history. This building pinpoints the exact location that divides Lâ€™Enfantâ€™s original street plans for the district and Old Georgetown. This boat house provides a home to both public and private schools, high school and college, all over D.C. Competing rowing teams spend their early mornings and afternoons practicing, while visitors come to rent kayaks and canoes to meander down the Potomac River. Since the beginning of boat-making, overlapping planks have provided the key to combining beauty and function. Utilizing the technique of overlapping while designing this boathouse allows for multi-functional spaces. Separating the public and private into individual floors and areas presents an opportunity for controlled interactions, merging the two when ideal. The public visitors receive their own entrance into an immense, double-height lobby, choosing to either go upstairs and enjoy a refreshing drink from the juice bar and experience the rooftop garden, or walk straight out into the water and paddle down the river in a kayak. The regular crew athletes have a private building, fit with a locker room and workout area for the rainy days. This significant location on the waterfront becomes a place for all types of people coming through the Georgetown area to enjoy.
first floor plan
ground floor plan
Thompson Boat Center on the Potomac
outdoor public terrace
custom-designed outdoor seating
public entrance and reception
6 Looking at the interior of the poem, the narrator’s use of the imperative mood in these two lines paves the way to non-physical audience participation, one of the cornerstones of the Fluxus movement. However, in this particular instance, the use of the imperative mood creates an ambiguity since it is unknown who the speaker is, and who the speaker is addressing. “Ask me anything”. The narrator could be the one to voice these lines, or he could have switched the perspective over to Kahlo. The speaker could also be the man referenced in the section before, who laid in the bed with the narrator of that particular section.
5 Poetry is different than any other form of written art because of the amount of intent and thought put into the structure of the words. Especially looking at contemporary poetry, the shapes the words make as a whole can mean a lot more to a trained eye. Corral organizes this poem into twelve separate sections, representative of the twelve vertebrae in the thoracic spine (Frida Kahlo sustained damages to her spine in a car accident during her youth). Kahlo’s painting reflects the pain of her broken spine, held together with the structure of the brace she was forced to wear for years afterwards. One of the more notable, outside aspects of this modern poem is the physical act of turning the book so the pages flip vertically. The length of the poem, which extends to multiple pages, forcibly reiterates this action. (If you’re going to make a statement in art, why not repeat the point as many times as possible? Repetition strengths an argument.) Corral, as the artist, creates an unspoken dialogue between the physical pages, the poem, and the reader.
4 My focus: “Ask me anything./I want to find the perfect shade of red. Say that”. I want to discuss the interaction between the exterior and the interior (these specific lines) of the poem and how the two combined create a work that is simultaneously art and anti-art.
3 Eduardo Corral, in “Poem After Frida Kahlo’s Painting The Broken Column”, utilizes the literary tool ekphrasis to push the interpretation of Kahlo’s painting, giving the work more backstory and elevate the meaning. He uses her painting to inspire his own art. I have written this paper using ekphrasis to reflect being outside of Corral’s poem and expand on three specific sentences inside the poem itself. The physicality of a poem can drastically change the effect of the words. In one section of this particular poem, the narrator quotes Joseph Beuys, one of the most experimental artists of the Fluxus art movement. Artists who identify as being a part of this group reject all ideas of highbrow, elitist art. They want to create for the masses, to inspire the public, and involve those willing to participate.
2 How does each sentence relate to the overall message of the thesis? Think about that.
1 Read this paper with intent. Speak the words aloud when you read.
12 If I could write a thesis about the poem as a whole, I would. Maybe one day I will. Instead, I must conclude. All of my prior points argue the fact that this poem by Eduardo Corral reflects many anti-art ideas in this poem. However, anti-art is still art in and of itself. Art is not highbrow. Art is not elitist. Art is not anti-art. Art is not for the masses. Art is not original. And yet, art is all of these things at once. It simply is.
11 In this poem, the exterior and the interior are two very distinct parts. Separately, they are almost incomplete pieces. But working together in a synergistic fashion, the art they form transcends all prior expectations of contemporary poetry. Having the reader turn the book vertically and separating the poem into numbered sections forces the work to be read in a very specific way. This may seem counterproductive to induce audience participation during the interpretation of the interior poem, but it actually opens up the reader’s mind to new ideas by initially giving them a unique experience of reading. Involving the reader in a poem brings both onto the same playing field. People can misunderstand artists as being elitist because those who create more also tend to talk about a higher level of thinking – meta thinking. The uncertainty of the commands in sections three and four, both in who the speaker is and if the reader is actually being spoken to, gives the audience more room to interpret the poem to their own desire.
10 I conducted an experiment. I asked people who they thought the speaker was. Some people said they did not know, and did not seem to care. One person thought the speaker was Frida Kahlo. When I tried to play devil’s advocate, they stood firm in their idea but could not give any reason why. Not a single person thought the speaker could be the man from the previous section.
9 The second command, “Say that”, is a much more external involvement. One could not truly adhere to the speaker’s command without saying the phrase aloud. This action creates sound waves, which could affect the entire world around the reader. “Ask me anything…Say that.” The commands given in this poem create a sense of immortality; regardless of whether or not the speaker is actually addressing the reader, someone will always say “I want to find the perfect shade of red” out loud. Whether it happens in their room, on the train, to someone else, or even in their thoughts, this poem becomes eternal.
8 Ask Whom anything? What would be an appropriate question to ask?
7 In terms of the addressee, is it arrogant of us to think we are being spoken to, as the reader? The man before could be asking his partner to ask him anything, while they lay together. It would show his openness and willingness to love the narrator. Frida Kahlo could be talking to higher entity, meditating and opening herself up to contemplation. However, both of these arguments fall short. If the reader were not the understood “you”, this poem would grasp far fewer people. “Ask me anything” instigates a deeper, internal connection to the poem.
Soundroom in Madrid
Soundroom in Madrid Caesura...an intentional pause written in music to allow musicians the chance to breathe. Total silence, lasting for just a moment or for an entire measure. All the music written before this break builds up tension between the musicians and the audience. And then the silence of a caesura hits, the tension is release, and the notes escape above, into the air. The entrance to Soundroom creates tension through the black, sandblasted concrete and low ceiling that is not released until the common area, with a double height ceiling. A natural spotlight comes from the skylight that cuts across the whole common area.The visitor is once more compressed into darkness when walking up the stairs to the second floor, only being relieved when passing the threshold into a studio space. This rehearsal studio in Madrid becomes a place for all different types of musicians to gather, interact, and jam with one another.
entrance showing tension
moment right before release
collaborative space release
VIP studio room
second floor plan
first floor plan
2 1 4 - 5 1 7- 1 3 1 6 email@example.com 2950 Van Ness St Apt. 910 Washington D.C. 20008
Comprised of studio work from George Washington University.