IV.

IV. CONCEPT

CONCEPT

S

Florence Knoll w to further understand be without photograp ple social norms dow by her admirers, I tur and interwoven to wo their audience as an i them, to create a uniq chose to draw on in t exploration & establi school has the ability opportunity for a diff an identity as a design curiosity in the middl nalists of the era, and ing people move and best way to learn how are restless, in the ab a pen in her hand.� W We are designing wh investigative and inve not work without eac Design without peopl

Shu plays with five k

open the doors of the ture and identificatio

SHU.

was an advocate for the Avant Garde, and spent most of her life using multiple disciplines d her mediums. “Where would fashion be without literature? Where would interior space phy?” She was a pioneer in the realm of gender studies in architecture, and struck multiwn with her inventive nature. Going from the basis of studying Florence Knoll, called Shu rned towards the study of the Avant Garde and how the design disciplines are structured ork within each other. In one of the first forms of Avant Garde, the theater would utilize important role of the performance. Drawing in the audience and turning it around on que spectacle preserved for a one time experience. The Audience Effect, is something I this project because I believe that O’More’s three biggest needs right now are: exposure, shment, while swaying the boundary between inside and outside, public & private. Design y to turn your childhood upside down and open all of your doors. This freedom and new ferent type of thought, fosters avant garde designers. There is difficulty in communicating ner via traditional means, and avant garde sets the line. O’more allows for an epidemic of le of a southern private Christian institution littered with columns. Designers are the jourd by being taught to question, we are also being taught explore forbidden territory. Watchd how they not only interact with their spatial surroundings, but also with eachother is the w to structure an atmosphere, by attempting to further understand the human. Designers bsolute best ways. Florence was known as “always having a camera around her neck, and We pick up mediums and create limbs with them. We interweave them into our beings. hat the world will be, while studying what we all are now. This is a conceptual study of the entive nature of the design school, where a house divided cannot stand. The mediums canch other. Because-where would fashion be without literature? Interiors without fashion? le?

key focuses: Context, Convention, Catharsis, Collection + Gender, In an attempt to swing e design school, and let the public understand and appreciate its pulse. A study of strucns. A study of life.

CONCEPT

PROCESS WORK

PROCESS WORK

PROCESS WORK

EXTERIOR

EXTERIOR THREE

EXTERIOR

LIBRARY PLAN

RECEPTION

RECEPTION

RECEPTION

RECEPTION ZOOM

MISMATCH CHAIRS 1

MISMATCH CHAIR COLLECTION

MISMATCH CHAIRS 2

MISMATCH CHAIR COLLECTION

STAIRS

FIFTH FLOOR PLAN

FIFTH FLOOR LOBBY

LOBBY

VAULTS FROM

ACCREDITATION COLLECTION VAULTS

ACCREDITATION COLLECTION VAULTS

VAULT WINDOW ZOOM

LECTURE HALL

LECTURE HALL

PODCAST ROOM

NEWSROOM

OBSERVATION DECK

LECTURE HALL

ROOF PLAN

ENTRANCE TO PROJECTION THEATE LECTURE HALL

ROOFTOP SCULPTURE REFLECTION POOLS

ER

PROJECTION THEATER LECTURE HALL

PROJECTION THEATER

GALLERY PLAN

SECTION

GALLERY SECTION

GALLERY SECTION

GALLERY SECTION

GALLERY SECTION

MATERIAL

SELECTIONS

LIGHTING

FURNITURE