Design Portfolio 2014

XUAN-AN THAI

PORTFOLIO

1 Commercial Design: Half Moon Bay Library Remodel

2 Retail Design: High Tide Cosmetic Store Competition

3

4

5

6

7

8

Technique Renders

Architecture: Development

Halladie Plaza Cable Car Museum Proposal

Furniture Design: Noether Chair

Lighting Design: Geometry

Production Design: Three Minutes

1 commercial design

HALF MOON BAY LIBRARY REMODEL The Library Manager at the Half Moon Bay Library, Annie Malley,

approached our Commercial Studio class to help them remodel their library. After meeting with the client, I identified the major struggles as space, flexibility, and defined organized space. The chevron “yellow brick road” aspect aids wayfinding. I designed with a simple black, white and wood color palette creating a blank canvas for uninterrupted educational inspiration. The main design feature is the Origami-inspired exterior shape and custom mullion windows adding visual intrigue through variant shadows. All of the furniture has wheels to accommodate a variety of flexible arrangements. The building is equipped with study areas, a stage, a theater, an open computer lab, a demonstration kitchen, free wifi and much more. This reflects the needs of a technologically advanced audience and built as a mixed-use community center.

CLIENT Annie Malley, Library Manager LOCATION 620 Correas St. Half Moon Bay, CA 94109 SQUARE FEET 150’ x 50’ per floor (7,500 sq. ft.)

Total (3 floors): 22,500 sq. ft.

Exterior Form Study

Front Entrance

Exterior Render

Origami Concept Sketches and Ideation

MODEL

Second Floor

First Floor

<N Basement

Entrance: Circulation Desk

Study Lounges

Custom Kidâ&#x20AC;&#x2122;s Bookshelf

Glass Staircase

Demonstration Kitchen

Young Adult Area + Stage

2 retail design

HIGH TIDE COSMETIC STORE COMPETITION I participated in a Beauty Co. INC. competition to design a small retail store.

The program included an empty floor plan and basic client necessities. I chose to name my store High Tide and used that idea as the concept for design. High Tide is when a body of water is at its highest level. Water experiences high and low tides like the ebbs and flows of life. At High Tide we are at our peak. I wanted to incorporate different levels of this nautical concept. I focused on how it is fresh, confident, laid-back, and environmentally aware. The concept will allow me to integrate sustainable features like reclaimed wood sculpture, flooring and furniture. The focal point of the design will be a custom coffered geometric ceiling. The ceiling serves as an abstract â&#x20AC;&#x2DC;waveâ&#x20AC;&#x2122; that will converge at the back wall into a custom bookshelf with a similar design. The top three critical factors for a successful business are to understand where people walk and look, to influence behavior by slowing down a shopper while creating a clear path, and to know the target audience and their comfort zones and behavior. This design addresses these issues in a few different ways. For instance, the floor plan has a very clear and generous path of travel. The visual interest of the sculptural element will slow the shopper down. There is a secondary seating area to accommodate non-shoppers. The customer service is integrated into the path of travel, and there are varying levels of commitment for a variety of users. The organic expression of the wave adds a natural sustainable element paired with the main materials of reclaimed timber and distressed wood flooring. I chose the Omotesando Shopping District as the location because I felt the concept would seamlessly integrate into a popular asian shopping destination through the minimal design and water inspired element.

CLIENT Beauty Co., INC. LOCATION Omotesando Shopping District Tokyo, Japan SQUARE FEET 1200 sq. ft. Single Floor

Logo Design

A great deal of research was involved in this design. I made several preliminary target boards,

mood boards, competitor boards and visited cosmetic and other retail stores to observe customer behavior. After reading â&#x20AC;&#x2DC;Why We Buy,â&#x20AC;&#x2122; by Paco Underhill, I developed a clear picture of the relationship between consumers and products on display. These select images reflect that understanding and design process.

3 technique renders

r e n d e r s These renders donâ&#x20AC;&#x2122;t have any specific project attached to them but

were still planned out through a floor plan. I designed them to experiment with different rendering software and techniques. Two were rendered using 3DS Max, and the other is hand rendered with water colors and colored pencils.

4 architecture

D E V E L O P M E N T

HALLADIE PLAZA CABLE CAR MUSEUM PROPOSAL This project is split up into a few parts. The first was an

A.

This design, inspired by the cable car technology, frames the beautiful sites of downtown San Francisco.

Halladie Plaza is a site with a constant flow of congested traffic. My main concern was circulation and functionality. The initial design concept was to create an escape from the madness, but to still address the two conflicting factors. By investigating interlocking spaces and frames within the model of the 9-square grid, I examined maze forms that would be continuously accessible. Should a subject choose to view the exhibition space, they have the option of departing at their leisure. Similarly, the design is open to the walkway, so a bystander can choose to participate at any time. The frames are rotated at different angles to create the illusion of movement through the space. The different sizes of the square frames start larger at the beginning and progressively shrink to enhance that movement. The experience of being directed around the space up and down stairs is symbolic of passing through the corridor of a San Francisco Cable Car. The large frames above the participant cast playful shadows suggesting similar patterns from the Cable Car interior. The space is wheelchair-accessible and has a 4â&#x20AC;&#x2122;-0â&#x20AC;? rail facing the drop into the BART station.

extensive site study. The class built an in-scale large portion of the existing downtown San Francisco. Individuals were given a small block to build and study. I started by visiting the location at 7th and Market and started sketching my observations. I drew up plans from my research and created a scale model of the block I was given. The second part was creating a much larger scale model of Halladie Plaza (also downtown). We were given smaller pieces of downtown to build. The ultimate goal was to propose and create a Cable Car Museum for Halladie Plaza. The model of the site was to see how our proposal would fit in with the surrounding buildings. I started my proposal with circulation diagrams and research on the demographic and surrounding architecture. I then began loosely building possible structures for the Cable Car Museum. After choosing a proposal to work on, I created diagrams showcasing different principles of organization and highlighting design features. I also created the required hand-drawn construction documents and the final scale model of my Cable Car Museum Design.

B.

As Participants:

As Spectators:

The multi-dimensional frames are asymmetrically aligned to evoke spectator curiosity and pulls them into the space. The large scale of the abstract structure develops that concept. Whether the spectator is viewing

5

the form from Market Street or any other angle, the positive and negative space is carefully composed to frame the view. Continuing the theme of escape, staircases wrap around the main platform of the exhibition space. The elongated stair design creates available resting places to take a seat or explore the exhibition. The open design allows a flaneur to view participants travelling in and out of different spaces at any vantage point.

C.

Spaces Necessary to Operate the Pavilion:

a. Entry b.

Exhibit Area c.

Seating Areas d.

Circulation/Walking Areas A spectator may enter almost everywhere in the structure through the wrapped staircases and open squares that lead into the main walkway. The space is wheelchair accessible. These staircases also function as sitting and resting areas and are comfortably spread very wide. The exhibit area is all throughout the space, but ends with a model of a cable car for kids and adults to play inside. The floor tiles are designed with interesting cable car facts, old photos of cable car history, and important artifacts. The circulation spaces are extra wide to compensate for traffic in both directions.

6 furniture design

NOETHER CHAIR The Noether Chair is named after one of the most

historically influential female mathematicians: Emmy Noether.

She was instrumental in assisting Einstein’s Special Theory of Relativity. At the beginning of this design, I set out to create a space-effective storage unit necessary in the tight living quarters of San Francisco dwelling. Then I realized the opportunity to create my signature chair that embodies my quintessential mark as a designer. In my first experience with wood joinery, I created a sculptural chair with a simple geometric form meeting the function of human comfort.The concept is the intersection between nature and geometry.This chair was designed as a reading lounge chair after careful ergonomic consideration.

The whole chair was created from about 5 board feet of walnut. The walnut plank was personally chosen and joined and planed for stock. I used a series of carefully calculated angled lap joints and half-blind mortise and tenon joints for the supports. I then reinforced the frame with custom-sanded red oak dowels. The frame was delicately hand-sanded and stained with ‘the good stuff’ wood finish. I upholstered the chair with black pleather for a cruelty-free elegant finish. The design went through a rigorous process from word play, sketch, ergonomic research, modelling, full-size plywood modelling, to test for walnut’s reaction to the different power tools and finishes. The form is inspired by suspension bridges, architecture, and translated transparency. This chair is a collective representation of my personal design style.

7 lighting installation

GEOMETRIC PROGRESSION I designed, built and welded this 5 piece Interior Lighting Design Installation. The first piece is a diamond-plated box frame console with modern clean lines. Next is a gold terrarium. The featured pieces are 3 dark geometric hanging light fixtures with edison bulbs. This gives the installation an Industrial look. It is a culmination of what I learned through lighting and Sacred Geometry and Industrial Design. As a hands-on learner, Iâ&#x20AC;&#x2122;ve found the most enjoyment in building and creating solid objects. This was my first time working with metal; I thoroughly enjoy the media and will continue welding throughout my career. This design was exhibited in the 2014 Academy of Art University Spring Show.

2014 Academy of Art Spring Show Installation

8 production design

THREE MINUTES After I graduated, I was chosen to head Production De-

sign on a short film in Los Angeles called â&#x20AC;&#x153;3 Minutesâ&#x20AC;?.The storyline follows a young woman who takes a pregnancy test and deals with the reaction from her best friend, mother, and lover. I aided in securing locations, made a lookbook for the scenes and collaborated with the visions of the director + crew. I focused on the personalities of five characters for the feel of each scene and helped wardrobe to fit each color scheme. I was given a budget by the director and created an itemized list for set design and props that went under budget.

After aquiring all necessary items for the production, I was in charge of the set design of each scene. There were 4 separate locations and about 7 different set-ups. My education in interior design and affinity for hands-on building made this project an important experience in budget control, framing, time management, collaboration, color, and so much more.

We start in a bathroom.The colors are muted representing

reality and the somber nature of the scene. The main character Lily takes a pregnancy exam and anxiously awaits results.

Cluttered bottles on the sink reflect Lily’s young and disorganized nature alluding to the fact that she isn’t ready for a baby.

We flashback to a intimate moment between her and her lover Joe in his very bare college-boy bedroom. His poster has lost a tack and is starting to curl up. We flash forward to a scene in Lily’s living room that she shares with her best friend and roommate Margaret. The living room is a mixture of colored textiles and texture. This is the girls’ first apartment who both got so excited by flea market deals and the idea of designing their own space. Handcrafted succulent planters line the window sill from the girls’ crafting during pajama parties.

The next scene takes place in Lily’s mother’s kitchen as they’re preparing fried rice. The kitchen is completely spotless, uncluttered and elegant. Lavender flowers complement the recently baked lemon merengue cupcakes in preparation for Lily’s visit. This reflects the mother’s anal-retentive nature in contrast with her daughter’s chaotic situation.

In a wedding scene, the couple is in a highly colorful garden in front of a trellis getting hitched. The colors are noticably starting to become more and more saturated. The color sceme for the wedding is royal blue, burlap, and bright brick. They’ve obviously decorated on a budget seeing that the succulent planters from the girl’s living room are the main decorations for the arch.

We jump forward to a lovely photo from Joe and Lily’s wedding next to a very dead cactus. These objects are part of a now messy bedroom shared by the couple. Their baby cries as Lily moves around a clothing and toy cluttered room and sings a lullaby. Accent pillows and art from Lily’s living room peek out from under the mess. We skip forward to a park where Lily and Joe experience a romantic and clumsy encounter as Lily realizes her life is unexpectedly idyllic. The stroller is designed to face the couple as they are the focus of the scene. This also masks the inanimate baby.

XUA N-AN

THAI

interior + furniture design xuanan.thai@gmail.com 4 1 5 . 9 4 8 . 5 2 5 0

RESUME PHOTO

NAME

PERMANENT RESIDENCE

Xuan-An Ngo Thai

5115 Floyd St. Houston, TX 77007

DESIGN TITLE

DATE OF BIRTH

Interior + Furniture + Architecture

16 April 1988

CONTACT

CURRENT ADDRESS

Mobile 415 948 5250 E-mail xuanan.thai@gmail.com

4719 Geary Blvd. #309 San Francisco, CA 77007

EDUCATION

WORK EXPERIENCE

SOFTWARE + SKILLS

ACADEMY OF ART UNIVERSITY Interior Architecture and Design GRADUATE 2014

GREENPEACE FRONTLINE TEAM LEAD AND SEAFOOD RESEARCH ASSISTANT 2010-2011

79 New Montgomery St San Francisco, CA 94105 415 618 3527

I canvassed on the frontline for Greenpeace and shortly after became a team lead. I led a fundraising team and regularly made the Greenpeace news letter for high donations and consistent numbers. I also assissted the seafood research campaign in the main SF office. I left to focus on my education.

Adobe Photoshop Adobe InDesign Adobe Illustrator Revit Architecture 3DS MAX AutoCAD Microsoft Office

BIO I’ve lived and travelled all over the world (examples: Hong Kong, Cuba, Brazil, Vietnam, Ecuador, etc.). I am a certified Vinyasa Yoga instructor and enjoy cross-country, marathon running, and the outdoors. I volunteer at the San Francisco Food Bank and Habitat for Humanity. Other than in-home care, I tutor Geometry and teach a few private kids (ages 3-7) yoga classes. My experience with children has taught me critical thinking, under pressure problem solving and to always be on your toes. I am committed to personal and professional authenticity and greatly admire philanthropic goals. I am a kinesthetic learner with a great deal of energy and passion. I am fascinated by the Sustainable Revolution and hope to contribute through Design.

CURRENT EMPLOYMENT FAMILY CHILD CARE PROVIDER 2011-NOW I supervise child safety, nutrition, and activity. I have occasionally provided overnight in-home care including transportation, health, hygiene, an culinary services.

Supervisor: Denise Wells 3223 Broderick St. San Francisco, CA 415 205 0110

Supervisor: Henia Belalia 75 Arkansas St. San Francisco, CA 415 255 9221 PRODUCTION DESIGN FOR SHORT FILM September 2014 As the Production Designer for the short film ‘3 Minutes’, I was in charge of set design for four different locations and 7 scenes. I collaborated with the director and crew and created a lookbook for each scene. I stayed under budget and aided in wardrobe and securing locations.

Director: Vivi Thai Los Angeles, CA 404 599 2214

Skills include Woodworking Welding Model Making Furniture Design Graphic Design Material Boards Presentation Skills Critical Thinking Positivity LANGUAGES Fluent in English and Spanish REFERENCES JENNIFER DANA Adobe Production Visual Manager 415 845 6808 MOLLY KISH Bay Area Marketing Manager 415 595 5869 OTHER Selected works portfolio available upon request

THANK YOU

IMAGE CREDIT: JENNIFER J. DANA