daniela vela | design portfolio

DANIELA VELADESIGN PORTFOLIOUniversity of Texas at AustinSchool of ArchitectureBachelor of Science in Interior Design

DANIELA VELA

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CONTENTS

SUMMER 2011 PT. 1 Bris Soleil [Design I]

Cushicle [Design I] Still Life Drawing [Visual Communications I]

Grid Drawing [VisComm I] Woodworking [VisComm I]

SUMMER 2011 PT. 2 Hornsby Bend [Design II]

Cubes [VisComm II] Faceted Surface [VisComm II]

Line Plane Volume [VisComm II]

FALL 2011 Poetry and Literature Center [Design III]

Digital Media [VisComm III]

SPRING 2012 Prada Retail Store [Design IV]

Innovative Assembly [Construction II]

FALL 2012 T-Shirt Design [Design V]

Material Translation [Design V] Design Charette [Design V]

Reinhabiting the ARCH [Design V] Luminaire [Environmental Controls I]

Daniela [email protected](956) 369-9948

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BRIS SOLEIL: LIGHT AND SHADOW

INSPIRATION

PROPOSED DESIGNDESIGN The shading structure was designed for a yoga room. A rhomboid pattern was inspired by trees and the shadows they cast. It was further developed by experimenting with the depth and size of the openings to provide the appropriate amount of glowing light throughout the day.

GOAL Research light and shadow to design a shading structure that could be placed on a 12’ by 12’ opening and could provide views outside and different types of light throughout the day.

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D e s i g n I S u m m e r 2 0 1 1 L a r r y D o l l

BRIS SOLEILBRIS SOLEIL LIGHT AND SHADOWBRIS SOLEIL: LIGHT AND SHADOW

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YOGA ROOM

Views at different eye levels were also very important to the design since the user would be looking out at a different height in each yoga pose.


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CUSHICLE: MICROPROGRAMS

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GOAL Study and diagram the required, perceived, and visual space needed to perform three microprograms. Use the diagrams to carve out the space of a 12’x12’x12’ mass, resulting in the “Cushicle”. Design the spaces specifically for each action, and let the requirements for the microprograms dictate the shape and light of each space.

DESIGN The following microprograms were used to dictate the design of the spaces carved to form the shape of the “Cushicle”: putting on a backpack, checking a watch, and vacuuming.

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MICROPROGRAMSCUSHICLECUSHICLE

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CUSHICLE: MICROPROGRAMS

SECTION 2 VIEW

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S.2

1ST FLOOR

S.1

S.3

S.4

S.5

S.2 S.1

S.3

S.4

S.5

2ND FLOOR

SECTION 1 SECTION 2

SECTION 5SECTION 4SECTION 3

LEFT PAGE Hand drawn plans and sections show the carved out spaces in the Cushicle. Space for taking off a backpack was designated at the entrance, open space for vacuuming was left on the north side, and the second floor was carved out for looking at a

watch.

RIGHT PAGE The section view shows lighting qualities more in detail. Windows provide side lighting at the stairs for better view when going upstairs. Horizontal window strips were placed at the vacuuming area to direct more light towards

the floor.

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STILL LIFE DRAWING: SHADOW, DEPTH, AND TRANSPARENCYV i s u a l C o m m u n i c a t i o n s I S u m m e r 2 0 1 1 J u d y B i r d s o n g

STILL LIFE DRAWING SHADOW, DEPTH, AND TRANSPARENCY

Understanding shadow, depth, and transparency by drawing three different bell peppers before and after they are cut into several slices and arranging these into different compositions.

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STILL LIFE DRAWING: LIFE CYCLE OF A PEA PODV i s u a l C o m m u n i c a t i o n s I S u m m e r 2 0 1 1 J u d y B i r d s o n g

STILL LIFE DRAWING LIFE CYCLE OF A PEA POD

Using charcoal on newsprint (left page) and pencil on drawing paper (right page), the

changes a single pea pod underwent during its life cycle are depicted to understand its

changing texture and shadows.

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GRID DRAWING: THE DRISKILL HOTELV i s u a l C o m m u n i c a t i o n s I S u m m e r 2 0 1 1 J u d y B i r d s o n g

GRID DRAWING THE DRISKILL HOTELGRID DRAWING

PHOTOGRAPH CLOSE-UP

Dividing a close-up section of an image into a grid to draw it by hand while experimenting with gradients.

PENCIL ON WATERCOLOR PAPER

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V i s u a l C o m m u n i c a t i o n s I S u m m e r 2 0 1 1 J u d y B i r d s o n g

WOODWORKING UNDERSTANDING JOINTS

Made of purpleheart wood, this joint consists of two pieces that slide into each other. The bottom piece has custom fit insertion points that stop the top piece from sliding out, and it also consists of the track for the top piece to slide on. The top piece has parts that fit into the bottom piece’s insertion points and around the track.

WOODWORKING: UNDERSTANDING JOINTS

TOP PIECE

BOTTOM PIECE

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HORNSBY BENDD e s i g n I I S u m m e r 2 0 1 1 D a v i d H e y m a n n

SITE RESEARCH

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HORNSBY BEND: SITE RESEARCH

GOAL Design a bird blind located in Hornsby Bend and the Nature Center that is connected to it with a trail. The bird blind should discretely shelter people while they watch birds in their natural habitat and the center should function for a variety of activities.

Colorado River

Pond 1 West Pond 1 East

Pond 2

Pond 3

Main Entrance

Ecological Research

Area

Ecological Research

Area

Bird Blind

SITE MODELS

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HORNSBY BENDD e s i g n I I S u m m e r 2 0 1 1 D a v i d H e y m a n n

BIRD BLIND AND NATURE CENTER

BIRD BLIND PLAN

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HORNSBY BEND: BIRD BLIND AND NATURE CENTER

NATURE CENTER

DESIGN The trail that connects the bird blind and the nature center consists of two parts that interconnect at a slight angle, where the trail changes direction and elevation. The bird blind itself has a center section that is higher in elevation than the parts around the edge. This is so to achieve different view heights when many users are bird watching.

The Nature Center (right page) has a double height window to provide ample views to the outdoors for bird watching. This window also serves as a backdrop for any events that may take place. The area around the window is higher than the rest of the space to serve as a type of stage. The experience of walking in would be from being in a dark, closed hallway with a low ceiling out into a bright, double height room.

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D e s i g n I I S u m m e r 2 0 1 1 D a v i d H e y m a n n HORNSBY BEND: BIRD BLIND AND NATURE CENTER

The aesthetic design of the bird blind was shaped by the different viewing heights. Some areas have lower viewing areas for watching birds near the water or for people of shorter height, while other areas have higher openings for taller people or to watch birds that are around trees and flying overhead. The wood pieces are placed either vertically to discretely shelter the bird watchers or horizontally to provide openings for views and arm rests.

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CUBESV i s u a l C o m m u n i c a t i o n s I I S u m m e r 2 0 1 1 I g o r S i d d i q u i

PARALINE DRAWING

CUBES: PARALINE DRAWING

Sectional and elevational information was generated by constructing a plan view of a composition of twelve 1”x1”x1” cubes that differed in vertical posi-tion (starting from ground plane to 3/4” above the ground plane). The plan was redrawn with differing line weights depending on the cube’s position. All of the information was then used to construct a plan oblique (architectural vol-ume) and an overlay (composition of orthogonal lines).

PLANSECTIONS

PARALINE CUBES

PARALINE OVERLAY

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FACETED SURFACEV i s u a l C o m m u n i c a t i o n s I I S u m m e r 2 0 1 1 I g o r S i d d i q u i

PERSPECTIVE DRAWING

FACETED SURFACE

FACETED SURFACE: PERSPECTIVE DRAWING

1-POINT PERSPECTIVE 2-POINT PERSPECTIVE

1-POINT PERSPECTIVE

2-POINT PERSPECTIVE

Based on the composition of cubes, the plan oblique view, and the overlay, a faceted surface was constructed in which height differences were not negotiated by stepping, but rather through creasing, folding, and triangulating of surface planes. One-point and two-point perspectives were also constructed, each drawing representing a person’s point-of-view inside a space. The perspective drawings are composed of the space between the stepped surface and the faceted surface.

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LINE PLANE VOLUMEV i s u a l C o m m u n i c a t i o n s I I S u m m e r 2 0 1 1 I g o r S i d d i q u i

FROM DRAWING TO MODELINGLINE PLANE VOLUME

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LINE PLANE VOLUME: FROM DRAWING TO MODELING

A 4”x4” area from the cube plan that best represented a transformation to the original grid was chosen to construct a model using plan, sections, and elevations.

MODEL

PLANSECTIONS

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D e s i g n I I I F a l l 2 0 1 1 T a m i e G l a s s

POETRY AND LITERATURE CENTER INTERIOR SPATIAL STRATEGIES

GOAL Redesign the interior spaces of 900 Congress Ave. to create a place where different poetry events and activities can take place and has housing for the state’s poet laureate.

DESIGN Interaction between the different activities in this building drove the design of the interior spaces. The spatial strategies used were flexibility and open floor plan. These help accommodate the different activities that take place in this building. For easy access, the circulation desk was incorporated into the staircase and placed in the middle of the building under a skylight.

POETRY AND LITERATURE CENTER: INTERIOR SPATIAL STRATEGIES

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CLASSES/ACTIVITIES MODE

POETRY AND LITERATURE CENTER: INTERIOR SPATIAL STRATEGIES

EVENTS MODE

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POETRY AND LITERATURE CENTER STAIRCASE

POETRY AND LITERATURE CENTER: STAIRCASE

METAL ART PIECE THAT CONNECTS STAIRCASE TO SKYLIGHT

METAL RAILING

CLEAR GLASS RAILING

CIRCULATION DESK

STAIRS EXTEND TO FORM SHELVES

SCINTILLA TILE STAIR TREADS

The staircase was designed to be a focal point in the Poetry and Literature Center. To achieve this, the circulation desk was integrated to the design since it is the central point that connects all the other activity spaces. Because the building is long and narrow, it does not receive a lot of natural light. An added skylight above the staircase allows for natural light to penetrate deeper into both the first and second floors. The stair treads were chosen to be of a clear material that also allows more light to travel down from the skylight to the ground floor. To connect all of these elements (the skylight, the staircase, and the circulation desk), the railing travels from the bottom step all the way up to touch the skylight and becomes a type of art piece that encourages circulation between both floors.

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DIGITAL MEDIAV i s u a l C o m m u n i c a t i o n s I I I F a l l 2 0 1 1 I g o r S i d d i q u i & M a r l a S m i t h

FROM NINE TO ONE: UNFOLD/FOLD

Transforming nine orthogonal volumes into a single volume with an increased level of geometric complexity and using the digital information to help produce a physical model of the resultant form.

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DIGITAL MEDIA: FROM NINE TO ONE

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SURFACE ASSEMBLY

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DIGITAL MEDIA

Generating a complex, continuous surface by using sectioning as the generative method, developing the geometry relative to human factors, and considering its thickness and potential methods of constructing it materially.

DIGITAL MEDIA: SURFACE ASSEMBLY

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V i s u a l C o m m u n i c a t i o n s I I I F a l l 2 0 1 1 I g o r S i d d i q u i & M a r l a S m i t h DIGITAL MEDIA: SURFACE ASSEMBLY

The design was developed to be a 256’x256’ surface which was formed by the human factors related to performing activities such as hiking or skiing. Vertical sections were then cut in relation to the thickness of the material the model was constructed with.

SECTION

RENDERINGS

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MODELING SHADING STRUCTURESDIGITAL MEDIA

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DIGITAL MEDIA: MODELING SHADING STRUCTURESPRODUCED BY AN AUTODESK STUDENT PRODUCT

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A shading system was designed and modeled to experiment with modeling shading structures. The ceiling plane was divided into a grid with different sized openings and varying thicknesses. Sections with bigger openings were thinner and sections with smaller openings were thicker. This allows different amounts of light through, depending on what is desired in each specific location.

INTERIOR VIEWCEILING PLAN

SECTION 1

SECTION 2

S.1

S.2

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PRADA RETAIL STORED e s i g n I V S p r i n g 2 0 1 2 C l a y O d o m

RESEARCHPRADA RETAIL STOREPRADA RETAIL STORE: RESEARCH

Design Process

“For Miuccia and me, it’s equally important to make a product that pushes fashion forward as it is to sell it. If we’re not selling, then there’s something wrong. This is our fundamental philosophy,” - Patrizio Bertelli

Research Concept Experiment Refi ne designs

Complete Collection

Fashion Shows

Ad Campaigns Retail Stores

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DESIGN PROCESS

MINIMALIST FLOW

LESS IS MORE

NEUTRAL COLORS

EASILY MATCHABLE

FLUID NATURE

USING COLOR, PATTERN, TEXTURE TO CREATE SIMPLE

YET INTERESTING VARIATIONS

Prada uses minimalism in her designs like a blank background or canvas on which she can use different mixtures of fabrics, textures, patterns, and colors 2

MINIMALIST FLOW

INNOVATIVE CONTRASTS

RE-DEFINING THE “NORM”

SETTING NEW TRENDS

MATERIALS & DESIGNS

PRODUCTION TECHNIQUES

FORERUNNER OF STYLE

SOPHISTICATED INTERPRETER OF ITS TIMES

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INNOVATIVE CONTRASTS

ELEGANCE IN VARIETY 12

DIFFERING WAYS OF ACHIEVING ELEGANCE

BROAD RANGE OF INSPIRATIONS

INTELLECTUAL DESIGNS

UNIQUE CRAFTSMANSHIP IN THE VARIETY OF COLLECTIONS

ELEGANCE IN VARIETY

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PATTERNINGPRADA RETAIL STORE

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PRADA RETAIL STORE: PATTERNING

A pattern system was derived from the Prada logo that later become a screen with solid, cut, and scored pieces (left page).

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POP-UP INSTALLATIONPRADA RETAIL STORE

GOAL Develop a 10’x6’ wall into a fashion pop-up installation (within a 10’x20’x20’ volume) incorporating a transaction space, display of items for sale, and seating for two people.

DESIGN The pop-up store’s shape was inspired in part by the Prada logo. The pattern that was previously developed also became an important part of the installation since it provided an understanding of design going from two to three dimensions. It was also applied to the interior wall to provide limited views from one side of the wall to the other. Display, seating, and transaction also dictated the form of the pop-up store.

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PRADA RETAIL STORE: POP-UP INSTALLATION

1. WALL 3. SEATING

2. DISPLAY 4. TRANSACTION

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A FASHION INTERIORPRADA RETAIL STORE

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PRADA RETAIL STORE: A FASHION INTERIOR

GOAL Develop a flagship store for Prada using patterning programmatic se-quences (scenarios, threshold, spatial arrangement) and specifying qualitative conditions.

DESIGN Creating an interactive experience with the users is the main part of the project. The layout of the space invites people in and creates a circula-tion path that directs people to the different areas of the store. The pattern screen leads people to the mezzanine level and provides a threshold to an interactive space where there is a runway for fashion shows that interactively display the season’s collection.

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D e s i g n I V S p r i n g 2 0 1 2 C l a y O d o m

ENTRANCE

STREET LEVEL

MEZZANINE

1. HANDBAGS

2. RUNWAY

3. SHOES

4. EYEWEAR

5. TRANSACTION

6. READY-TO-WEAR

7. DRESSING ROOMS

8. STORAGE

9. RESTROOMS

10. FITTING ROOMS

UP

DOWN

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2

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S 1

S 2

S 1

S 2

PRADA RETAIL STORE: A FASHION INTERIOR

The design takes advantage of its corner location by having modular displays in the window areas. The etched glass allows for a glimpse into the store from the outside, so that people walking by might be drawn in. The triangulated form of the Prada logo abstractedly shaped the circulation paths, which ultimately lead to either a more intimate shopping zone on the first floor or to an open runway space in the mezzanine level.

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D e s i g n I V S p r i n g 2 0 1 2 C l a y O d o m PRADA RETAIL STORE: A FASHION INTERIOR

STORE FRONT

SHOE DISPLAYCLOTHING RACK

ETCHED GLASS

OUTDOOR MANNEQUIN DISPLAY

RUNWAY PROJECTION

LIGHT UP DISPLAYS

ACCESSORIES DISPLAY

EYEWEAR

TRANSACTION DESK

BACKLIT SCREEN

HANGING CLOTHES RACK

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INNOVATIVE ASSEMBLIESC o n s t r u c t i o n I I S p r i n g 2 0 1 2 T a m i e G l a s s

RECYCLED MATERIALS

6”

6”

18”

12”6”

SINGLE MODULE PLAN/ELEVATION SECTION

24”

2”.25”3.5”

10’

10’

2’

2’

MODULE REPEATED ON 10’X10’ WALL

SINGLE MODULE AXONOMETRIC VIEW

VELCRO

MODULE REPEATED ON 10’X10’ WALL SINGLE MODULE ELEVATION SECTION

SINGLE MODULE AXONOMETRIC VIEW

Working with a classmate, a wall paneling system was designed. Recycled denim and foam were used, and both provide acoustic insulation that could be good for using in a place like a meeting room. An individual 1’x1’ panel was then constructed (image above).

INNOVATIVE ASSEMBLIES: RECYCLED MATERIALS

CONSTRUCTED MODULE

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SHIRT DESIGND e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

ADAPTABILITY

“There is something final, something irreversible about the notion of ‘cutting’... The cutting, the tools, the processes determine the cut, and the cut determines the forms.”

Kerstin Kraft, Cutting Patterns

SHIRT DESIGN

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SHIRT DESIGN: ADAPTABILITY

CHEST

WAIST

NECK/BACK/SHOULDERS

The shirt’s snap system was designed to accommodate a woman’s changing body size. Snap grids can be seen around areas that are most constantly changing in the body. The main goal for the shirt was to have the flexibility of fitting a variety of users.

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D e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

FORMS

MATERIAL TRANSLATION UNCOVERING EXISTING SPATIAL CONDITIONS

GOAL To build upon the system developed for the shirt, uncover existing spatial conditions within its field and re-make the field in another material.

MATERIAL TRANSLATION

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CONNECTIONS

MATERIAL TRANSLATION: UNCOVERING EXISTING SPATIAL CONDITIONS

DESIGN Forms, connections, and geometries found in the field of snaps used for the shirt’s design were used to translate the spatial conditions to chipboard models.

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D e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

MATERIAL TRANSLATION CATALOG

THRESHOLD

EDGE

MATERIAL TRANSLATION

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MATERIAL TRANSLATION: CATALOG

PROXI

MITY

ENVELOPE

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DESIGN CHARETTED e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

FABRICATING INTERIORS OF THE OUTDOORS

FABRICATING INTERIORS OF THE OUTDOORS

M AT E R I A L S

3Form Varia Ecoresin (on glazed wall)

Stained Concrete (floor)

Movie screen wall.

Common area.

Smoking garden.3 .

2 .

1 .

Mat storage pulley system.

Light fixtures/tables.Chairs that can be efficiently stored.

Locker storage space.

M AT E R I A L S



Movie screen wall.

Common area.

Smoking garden.3 .

2 .

1 .




M AT E R I A L S



Movie screen wall.

Common area.

Smoking garden.3 .

2 .

1 .




M AT E R I A L S



Movie screen wall.

Common area.

Smoking garden.3 .

2 .

1 .




500 East 7th Street, Austin, Texas

To present long-term solutions to current functional shortcomings and an improved quality of life for the users by providing increased access to facilities such as restrooms, laundry, and computers. To create a warmer atmosphere throughout the public spaces. To enclose the new space for creating a comfortable climate while maintaining a connection to the outdoors.To provide a sense of community within the space.

ADDRESSING EXISTING PROBLEMS

REDESIGNED FLOORPLAN

Storage- 410 lockers- pulley system to store matsSecurity- gateAir Quality/Rain Water- enclosing space- air conditionerAcoustics- using mats as acoustic panelsExtended facilities- restrooms- laundry room- computer labElectrical OutletsSleeping spaceSense of community

2

1

3SMOKING GARDEN

COMMONAREA

COMPUTER LAB

MOVIE SCREEN

WALLLAUNDRY

A R C H

Daniela Vela, Allison Wells, Kayla Dominguez

D E S I G N I N T E N T

LAUNDRY

COMPUTER LAB

SERVICE

CIRCULATION Low

Medium

High

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

LAUNDRY

COMPUTER LAB

SERVICE

LIGHT

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

COMPUTER LAB

SERVICE

SERVICE

SOCIAL

STORAGE PROGRAMS

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

LAUNDRY

GOAL To redesign an existing homeless shelter in order to improve its functionality by increasing sleeping space and keeping users inside instead of loitering the streets of downtown Austin.DESIGN Working with two others, it was decided to enclose the existing open garage in order to create a comfortable climate and improving air quality while still maintaining some kind of connection to the outdoors. It was also important to maximize the use of the floor space for sleeping mats, so using solutions like flexible chair storage and the mat pulley system this could be achieved. To present long-term solutions to current functional shortcomings and an improved quality of life for the users, increased access to facilities such as restrooms, laundry, and computers was provided.

500 East 7th Street, Austin, Texas

To present long-term solutions to current functional shortcomings and an improved quality of life for the users by providing increased access to facilities such as restrooms, laundry, and computers. To create a warmer atmosphere throughout the public spaces. To enclose the new space for creating a comfortable climate while maintaining a connection to the outdoors.To provide a sense of community within the space.

ADDRESSING EXISTING PROBLEMS

REDESIGNED FLOORPLAN

Storage- 410 lockers- pulley system to store matsSecurity- gateAir Quality/Rain Water- enclosing space- air conditionerAcoustics- using mats as acoustic panelsExtended facilities- restrooms- laundry room- computer labElectrical OutletsSleeping spaceSense of community

2

1

3SMOKING GARDEN

COMMONAREA

COMPUTER LAB

MOVIE SCREEN

WALLLAUNDRY

A R C H

Daniela Vela, Allison Wells, Kayla Dominguez

D E S I G N I N T E N T

LAUNDRY

COMPUTER LAB

SERVICE

CIRCULATION Low

Medium

High

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

LAUNDRY

COMPUTER LAB

SERVICE

LIGHT

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

COMPUTER LAB

SERVICE

SERVICE

SOCIAL

STORAGE PROGRAMS

SMOKING GARDEN

LOCKERS

LAUNDRY

MOVIE

COMMON AREA

LAUNDRY

SMOKING GARDEN COMMON AREA

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DESIGN CHARETTED e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

OBJECT FOR THE OUTDOORS

DESIGN CHARETTE: OBJECT FOR THE OUTDOORS

PLAN

SECTION

48”

48”30”

24”

8”12”

27”

1.5”3.5”

52”

DESIGN CHARETTE

PLAN

SECTION

48”

48”30”

24”

8”12”

27”

1.5”3.5”

52”

PLAN

SECTION

48”

48”30”

24”

8”12”

27”

1.5”3.5”

52”

The shape of an object for the now enclosed areas of the shelter was formed by considering the shirt’s system of flexibility. Since a lot of the people staying at the shelter gathered around electrical outlets, the main goal was to create a table with a lamp fixture that had integrated electrical outlets. The table can extend out on each of its four sides to fit more people, while still maintaining the ability to close up at night to allow more sleeping mats to fit in this area of the shelter.

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REINHABITING THE ARCHD e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s

DIAGRAMMING THE INTERIOR

REINHABITING THE ARCH: DIAGRAMMING THE INTERIOR

OPEN TOBELOW

RESOURCEDESK

HYG IENEDESK

STORAGE

CONFERENCEROOM

CAFETER IA/MULT I - PURPOSE ROOM

OUTDOOR BALCONY

OPEN TOBELOW

BATHROOMS

BATHROOMS

OFF ICES

K I TCHEN AREA

S .2

S .1

RESOURCE DESK

COMMUNITY SEAT ING

AGENC IES

SECUR I TY

INTAKE

INTAKE

INTAKEWAI T ING

COMPUTERLAB

LAUNDRY

SMOKINGGARDEN

COMMON AREA

CL I ENT LOCKERS

LOTTERY/COMMUNITY AREA

MOV IESCREEN

WALL

LOAD ING ZONE

PARK ING

ENTRANCE

EX I T

HEALTH CL IN IC

S .2

S .1

GROUND FLOOR SECOND FLOOR

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D e s i g n V F a l l 2 0 1 2 A l l i s o n G a s k i n s REINHABITING THE ARCH: DIAGRAMMING THE INTERIOR

SECT ION 1 SECT ION 2

SECTION 1 SECTION 2

CAFETERIA VIEW 1 CAFETERIA VIEW 2 RESOURCE DESK VIEW 1 RESOURCE DESK VIEW 2

The existing interior spaces of the homeless shelter were redesigned to promote a sense of community and a safe environment. This was achieved by adding gathering spaces and keeping clear sightlines throughout the building. A warmer atmosphere was also created by using a warm color palette and opening up spaces. This openness also allows for more sleeping space in the shelter.

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LUMINAIREE n v i r o n m e n t a l C o n t r o l s I F a l l 2 0 1 2 K e i t h S i m o n

THE AURORA

GOAL Understanding the principles of electric lighting control and distribution through the design and construction of a custom luminaire.

DESIGN As the Aurora luminaire sits atop a table, it spreads light in four directions. The light reflects inside the shade, producing an indirect glow. The Aurora directs light specifically in four directions for four individuals. Each individual at a four-sided table receives the same amount of lighting.

PLAN

SECTION

S.1

LUMINAIRE

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LUMINAIRE: THE AURORA

daniela vela | design portfolio

Documents

t i o n s i s u

d e s i g n

r r y d o

u n i c

literature center design

hornsby bend design

glowing light

drawing viscomm