kendra locklear ordia

Kendra Locklear Ordia RID, I IDA, IDEC, LEED AP BD+C

DESIGNER / PLANT NERD / FASHION LOVER

Professional Work2006 to Current

GENSLERFREELANCE

RTKL ASSOCIATES

COMMERCIAL OFFICE INTERIORSAUSTIN, TEXASINTERIOR DESIGNER / GENSLER, 201401

The interior design for the international construction management company, Balfour Beatty Construction, began with concept development for the lease space in the Texas hill country west of Austin. The space was detailed through construction drawings to reflect the local Austin construction and vernacular building materials and to highlight the connection details of the built interior environment. Balfour built their own space and was charged with determining many of the construction details.

Furniture and finish selection became an important feature for creating an environment that was not stuffy or overly corporate, but still durable enough for the mostly-male employees to put their boots up on the table. A mix of custom and contract pieces combine to create industrial and masculine spaces. The addition of the old bar salvaged from the historic Driskill Hotel in downtown Austin creates a center piece for daily casual meetings and larger office functions.

Size / 11,000 SFCompletion / Winter 2014

Balfour B

eatty C

onstruction

MAIN ENTRY SIGNAGE AND MATERIALITY

MAIN ENTRY PERSPECTIVE TRAINING ROOM PERSPECTIVE PROJECT MEETING ROOMS

STEEL HUDDLE ROOM TIMBER HUDDLE ROOM CORTEN HUDDLE ROOM

RECEPTION AREA WORKSTATIONS

STEEL HUDDLE ROOM

TRAINING ROOM AND BREAK AREA

MEETING ROOMS

TRAINING ROOM AND BREAK AREA


A quick, 2-week long conceptualization exercise to reinvision the headquarters for Whole Foods Market in Austin resulted in an energetic and eclectic approach to spatial arrangements and finish selections.

Cohesiveness and increased connectivity of spaces was a primary client goal and the floorplans were simplified with focus on community or activity zones to break up the workstations. Branding was crucial for reinforcing the overall concept and way-finding as well as creating a cohesive aesthetic with the flagship store rooted at the ground level.

Increased access to day-lighting, natural and living materials, and creating community around concepts of food are carried through from the initial touch point of the reception to the internal stairs spilling out into the herb-lined conversation pits on each floor. Personalization and internal branding were also key concepts brought into the eclectic style of the workstation finishes.

Project Proposal / Not Awarded

Whole Foods

Market H

dqts

EMPLOYEE KITCHEN PERSPECTIVE

DEMONSTRATION KITCHEN PERSPECTIVE

RECEPTION PERSPECTIVE

VENDOR DEMONSTRATION / PANTRY PERSPECTIVEGRAPHIC STACKING CONCEPT

FINISH PALETTE

WORKSTATION CORRIDOR ELEVATION

TYPICAL WORKSTATION NEIGHBORHOOD PERSPECTIVE

TYPICAL LARGE CONFERENCE ROOM PERSPECTIVE

CONVERSATION PIT PERSPECTIVE


“Innovation Handcrafted in Austin” became the concept for a project design challenge for a confidential tech client to be relocated to a premiere new office tower in downtown. Access to multi-level space, terraces, and full height glazing became the backdrop for a kinetic and active work environment centered around the journey from space to space. Materiality and artwork reflects the creative culture of the city while reaching the client’s sustainability goals.

Project Proposal / Not Awarded

ProjectG

ates

THE “TRAIL” PERSPECTIVE

RECEPTION AND LOUNGE PERSPECTIVE

EXISTING LOBBY SPACE

HOSPITALITY INTERIORSAUSTIN, TEXASINTERIOR DESIGNER / GENSLER, 201404

Renovation of the basement level of a historic warehouse on the corner of 4th and Colorado. The PS Bar is a private lounge venue for 2 successful Austin businessmen who work in a nearby office tower. The finishes reflect their love for modern, clean lines while pulling in elements from their Indian culture. Three dimensional screens finished in a white lacquer serve as a canvas for the space and are grazed with color-changing LEDs allowing the user to transform the physical texture of the space. PS Bar will primarily operate as a lounge, but has the capabilities of expanding to a larger venue for live music by collapsing a full-height glass partition. An extensive personal wine collection will be displayed in the private dining room which will be serviced by the Capital Grill located directly above PS Bar. Local artisans are being commissioned for the back-lit perforated steel panel, the custom chrome DJ booth, and the 17 foot pecan wood slab dining table. Working as lead designer, I am not only responsible for conceptualization, but also documentation, construction administration, and coordination of design for all custom pieces.

Size / 6900 SFCompletion / on-going

PS

Bar

MAIN VESTIBULE- BACK-LIT GANESH

MAIN ENTRY

BAR SEATING

CUSTOM DJ BOOTH PRIVATE LOUNGE FINISH PALETTE

ACCESSIBLE ENTRY AND PRIVATE DINING BELOW BATHROOM PODS

ACCESSIBLE ENTRY AND PRIVATE DINING

PRIVATE DINING

A test fit for The Office of Milton Verret in the W Hotel office suites in downtown Austin, Texas. The interior concepts are reflective of the laid-back, organic Austin culture and the client’s desire for an informal office space to entertain clients and collaborate with employees all while supporting the entrepreneurial and philanthropic ventures undertaken by his company.

Size: 1100 SFTest-fit concepts

05

The O

ffice of M

ilton Verret

BOUTIQUE OFFICE INTERIORSAUSTIN, TEXASINTERIOR DESIGNER / GENSLER, 2013

MAIN ENTRY

TEST FIT - SCHEME ONE

TEST FIT - SCHEME TWO

This is a positive impact, white box design challenge for the Austin Design Community hosted by IIDA Austin Chapter. Each rEvolution reDesgin team selected a fabric from their assigned fabric underwriter to re-upholster a sofa; from there a professional upholsterer took over by completing the piece.

Each team rounded out their room designs by creating a coffee table out of recyclable items found on their own. Along with the table, the design team will also be tasked with creating an accessory item (lamp, pillow, art) and will provide a paint suggestion to complete the look. Lastly, the team will select carpet tiles or a rug from their carpet underwriter.

After the rEvolution reDesgin event, the “rooms” will be donated to Social Design Alliance (SDA), which is an Austin based organization that helps provide design services and furniture to organizations/families in need in the Austin area. SDA will distribute the rooms to families in need. The accessory items will be auctioned off during the event for monetary Donations to SDA.

*Design solutions presented in this spread were proposed for consideration for a team of 5 Gensler employees. All graphics were completed and conceptualized by Kendra Ordia.

06

East-side

VIGNETTE / STYLINGAUSTIN IIDA REVOLUTION REDESIGNGENSLER, 2013 / AWARDED “BEST IN SHOW”

SOFA AND FRAME

BRANDING AND INSPIRATION

VIGNETTE FLOORPLAN

COFFEE TABLE CONCEPT

SIDE CHAIR AND TABLE

MOBILE SCREEN2013 AUSTIN CITY CENTER IIDA BEST IN SHOW AWARD

INSTALLED VIGNETTE

A LIVING CURTAIN

Mas moss seeks to unify natural systems and materials through structured formalism producing a living curtain, dynamic in performance and evolving in verdant organization.

The merger of interior and landscape at the point of architecture creates a visual pattern, editing views to the exterior with growing densities of Tillandsia recurvata. The epiphytic bromeliads stimulate haptic biofiltration while reducing and eliminating VOCs and toxins commonly found in indoor air.

The transformative character of mas moss embodies the beauty of the natural through the use of materials, colors, spatial structures, patterns, and textures. It is activated by light, air, movement, and openings that filter the interior environment into the exterior landscape.

Igor Siddiqui, RAAssistant ProfessorSchool of ArchitectureThe University of Texas at Austin1 University Station B7500Austin, Texas 78712-0222T: 646.704.3140E: [email protected]

Tamie Glass, RIDAssistant ProfessorSchool of ArchitectureThe University of Texas at Austin1 University Station B7500Austin, Texas 78712-0222T: 512.529.9351E: [email protected]

CONTRIBUTORS

Kendra Locklear Ordia, RIDAssistant ProfessorThe College of Architecture, Planning & DesignKansas State University203C Seaton HallManhattan, Kansas 66506-2902T: 402.770.3894E: [email protected]

07

Mas

Moss

EXHIBIT DESIGN / INSTALLATIONTHE CENTER FOR AMERICAN ARCHITECTURE & DESIGNCURTAINS EXHIBIT / IDEC / NEXT NEST / 2013-2014

“…open the window and the garden comes in, the curtain comes out.”

--- Petra Blaisse, Inside Outside

1. TYPICAL METHODS : NEW SYSTEM

Conventional interior plantscaping attempts to increase one’s connection to nature by installing and maintaining common household plants in standard potting medium, while more recent plantscaping trends have shifted potted plant material to vertical green-wall installations as part of larger hydroponic living wall solutions. Both are ultimately restricted by the container housing the roots, soil, or solution sustaining its growth. Green-walls and potted plants can serve to shape an interior environment, but they cannot be shaped by the interior environment.

Mas moss offers an architectural and spatial solution for introduction of plant material into an interior environment – one that is ultimately shaped by the ebb and flow of light and air, shifting shadows and intensities of color, variations of patterns and textures, and the contrast of prospect and refuge. Unrestrained by the structural system of the synthetic, the organization of Tillandsia recurvatas’ natural propagation patterns within and around the curtain formalize, over time, the serendipitous beauty of the seemingly ordinary epiphytes.

concept

2. INDOOR PLANT MATERIALS AND BIOFILTRATION

Reports show that humans spend around eighty percent of their time indoors where exposure to pollutants, chemicals, and microorganism in the air can result in poor indoor air quality (IAQ) leading to discomfort and serious health risks such as sick building syndrome, asthma, and multiple chemical sensitivities.5,9 Plants are often included in interior environments for their aesthetic value or to provide access to elements from nature, but a growing number of studies support the use of plants as natural filters in indoor environments.2,6,7,8,9,10 Research shows absorption rates of many common house plants produce remarkably lower levels of benzene, trichloroethylene (TCE), and formaldehyde during various phases of photosynthesis and metabolic activity as part of “a true biological response…[suggesting] different relationships between the plant and the microorganisms associated with the root systems…producing a symbiotic microcosm of activity.”8

In this way, mas moss organizes this synergistic microcosm by hosting exposed-root Tillandsia recurvata at varying densities transforming the curtain into a macrocosm biofiltration structure.

3. PERFORMANCE

Because of allergic reactions, immune-sensitivities, and infection control concerns that naturally arise from introducing plants, soil, flowers, water, and accompanying microorganisms into interior environments, Tillandsia recurvata is being proposed for mas moss primarily for its epiphytic characteristics and the lack of soil needed to sustain growth.

The exposed root systems serve as an anchoring device and the scale-like trichomes of the leaves allow moisture to be pulled from the air and trace minerals to be gained from dust, all while reflecting solar radiation “reducing heat loads and photo damage.”4

Crassulacean acid metabolism (CAM) allows for the plant to tolerate large amounts of water loss with minimal amounts being required for germination.1 Installation of mas moss allows for Tillandsia recurvata to be simultaneously light-seeking and shade-providing as propagation occurs within the organization of the host material.

“The human body is... able to detect changes in the indoor air quality far below the guideline concentrations...”2

4. PROPAGATION

Tillandsia recurvata has a wide temperature range where fast germination is able to occur resulting in the mass distribution of this species. Regardless of habitat, it needs moisture, light, and good air circulation for survival. After periods of partial hydration and contact with liquid water (as opposed to vapor) to initiate imbibition, the plant sends out shoots containing seed capsules. After reaching full germination, the capsules split open and the hair-like structures of the developed seeds allow it to be dispersed by wind transferring the seed to colonize the material of the next microsite containing little to no soil and limited nutrients and water. The seedlings may grow very slowly for the first several years, but growth rates speed up dramatically when the plant reaches approximately an inch in height.

The net-like structure and connectors of mas moss allow for propagation to take place within and around the voids created as part of the three dimensional form of the curtain creating an evolution of natural texture and pattern as Tillandsia recurvata grows to slowly take over the biodegradable cables and connectors.

installSITE

The Norman Hackerman Building at the University of Texas at Austin provides space for interdisciplinary education, research and development for the College of Natural Sciences making it the ideal site for mas moss.

The architectural design by CO Architects (architect of record) and Taniguchi Architects (associate architect) incorporates sustainable strategies, including a large rooftop solar array, a condensate recovery system, and a high-performance building envelope allowing expanses of daylight to sustain the living curtain.

Mas moss further promotes the building’s sustainability goals by increasing indoor air quality performance through regional plant material and by providing a functional research tool integrating design and science.

From Glass and Dangel website: “A new construction residence in west Texas is the future home of two professionals with young children. The owners’ clean and contemporary aesthetic is demonstrated throughout the project with restrained finishes and European furnishings and fixtures.” Size: 5,500 sfExpected Completion: 2013Interior Design: Glass and DangelArchitect: Mark Oberholzer of Rhode PartnersGeneral Contractor: Alex Long of Longhouse

Contract interior design services with Glass and Dangel involved the completion of renderings and assisting with interior development. Documentation and detail development was completed under the direction of Mark Oberholzer while contracted with Rhode Partners.

08

San Saba D

rive

RESIDENTIAL INTERIORSODESSA, TEXASCONTRACT DESIGNER / 2012

MASTER BATH

POWDER ROOMSTAIRS AND FEATURE WALL

LIVING ROOM AND BULTHAUP KITCHEN

The University of California San Diego Sulpizio Family Cardiovascular Center is located in La Jolla on the Thornton Hospital campus. It is a new, state-of-the-art specialty hospital that opened in the spring of 2011 and received a LEED Gold certification. The program includes outpatient and non-Invasive cardio clinics, a new replacement emergency department and entrance, a surgical expansion including Cath Labs and daybeds, and the top 2 floors of approximately 50,000 SF of ICU and Cardio Patient Rooms.

The architecture and environmental graphics were completed and designed by RTKL Associates Inc. Los Angeles office. I stepped in as lead interior designer in early 2009 and lead an intensive redesign effort with the client and the LA office. Through a new, reissued interior design construction document set, site visits, and continual coordination with the contractor, DPR, we were able to reestablish the client’s vision for the project. I also lead the furniture selection and specification process and continued to work with the dealer while in graduate school to ensure a cohesive project.

HEALTHCARE INTERIORSLA JOLLA, CALIFORNIAINTERIOR DESIGNER / RTKL, 2009-201109

UC

SD Sulpizio

Cardio C

enter

ENTRY COURTYARD

MAIN LOBBY

DONOR WALL

LEED GOLD CERTIFIED BUILDING

MAIN LOBBY EMERGENCY DEPARTMENT WAITING

LEVEL ONE FLOORING DESIGN PLAN

NURSE STATION AND DAYBEDS

NURSE STATION CONCEPTUAL DESIGN

PATIENT ROOM

CARDIO OR

ENVIRONMENTAL GRAPHICS AND SIGNAGE

Acting as the junior designer for Children’s Medical Center Dallas Tower IIIB from 2006 through completion in 2009 was a rewarding experience. I joined the project at the beginning of schematic design and was given an extreme amount of freedom in developing and proposing design solutions for the project. I also played the primary role in project documentation and issuance, as well as coordination with the Architects of Record, FKP Architects. Children’s has an establish finish palette that we tried to refresh while still maintaining some of their key branding elements. I assisted in new finish selections, was involved in the selection and specification writing for the furniture, and worked with the lead designer and a local mosaic artist on a commissioned installation in the main lobby. Extensive construction administration experience was also achieved with the convenience of a local project.

The Activity Wall was one of the first elements I designed while at RTKL. The client requested an interactive feature that the children could utilize without climbing, etc. Through the use of LED light panels, motion sensors in the ceiling, and a corresponding flooring design in the terrazzo, mirrored LED panels were set into motion as the color shifted when tripped by the motion detectors. It is gratifying to see children (and adults) walk up to the wall for the first time to experience and use the feature in the way that it was intended.

HEALTHCARE INTERIORSDALLAS, TEXASINTERIOR DESIGNER / RTKL, 2006-200910

Children’s

Med C

entre

INTERACTIVE ACTIVITY WALL

LEVEL ONE FLOORING DESIGN PLAN RECEPTION DESK

COMMISSIONED ARTWORK LOWER LEVEL LOBBY

NICU BAYLEVEL SEVEN NICU FLOORING DESIGN PLAN

FAMILY LOUNGE NICU NURSE STATION AND CORRIDOR

NICU NURSE STATION AND CORRIDOR CONCEPT

Graduate Work2010 to 2012

UNIVERSITY OF TEXAS

SCHOOL OF ARCHITECTURE

The studio examined challenges architects and designers face in rehabilitating existing structures for renovations, adaptive reuse and preservation. The program focused on adapting a mid-century modern structure for a new use, while the original architectural integrity of the building. This hypothetical study utilized the 1960’s Physical Plant building at St. Edwards University in Austin, Texas. Students had the choice of two different scenarios: 1) adaptation for a student center or 2) adaptation for a non-sectarian campus chapel. In both cases the programs will require an addition to the existing structure. The studio began with an analysis and documentation of the existing Physical Plant building to set the framework for the design exploration. A parallel goal was to foster a better understanding of the particular nature of buildings from the post-war years into the 1970’s, when advancements in technology combined with a new reading of spatial relations produced buildings that were both highly systematic and original. During the semester we took a field trip to Houston to view a variety of modern buildings including the 1951 de Menil house designed by Philip Johnson, Mies Van der Rohe’s additions to the Museum of Fine Arts and various buildings on the St. Thomas and Rice University campuses. As a corollary to the design problem we selected a group of significant modern buildings, both regional and national, for study and analysis. The interdisciplinary studio was instructed by visiting professionals William Stern and David Bucek of Stern Bucek Architects in Houston.

STERN + BUCEK ADVANCED STUDIOFALL 2011REVIT / HAND / PHOTOSHOP11

Mod

Recycling

EXISTING SITE EXISTING FACADE

GROUND LEVEL

LEVEL ONE

CHAPEL ENTRANCE

CHAPEL INTERIOR SITE MODEL

CONFERENCE CENTER

ENTRY PLAZA

Austin, Texas has been labeled one of the fastest growing cities in the nation. Committed to sustainable, dense growth, how can Austin incorporate successful housing strategies of the Compact City model to improve the quality of life for residents?

Madrid, like Austin, is a capital city. Both cities occupy approximately the same amount of land, but Madrid is almost 5 times denser making it a successful example of the Compact City model. It has vibrant street life, efficient and accessible public transportation, and great architecture. Madrid can serve as an ideal place to explore the mechanism behind a successful compact city.

After quantitative and qualitative analysis of Austin housing, as well as identification and study of an underutilized urban site in Austin, we spent 2 weeks in Madrid, learning about its history, its planning strategy, its people, its vibe. We interviewed architects, academics, and administrators. We visited recent major infrastructure projects, new housing developments, and high profile architectural projects. We visited peoples’ apartments to see how they lived.

Applying the ensuing evidence, a master plan focusing on development of attached housing was proposed for the Austin site providing increased density, immediate access to green space, and affordability for middle-income families.

12

Austin/

Madrid

JUAN MIRO ADVANCED STUDIOSPRING 2011REVIT / HAND / PHOTOSHOP

AUSTIN SOUTH RIVER MASTERPLAN - COLLABORATIVE DESIGN WITH 2 MASTER OF ARCHITECTURE STUDENTS AND ONE MASTER OF URBAN DESIGN STUDENT

AUSTIN SOUTH RIVER HOUSING - INDIVIDUAL DEVELOPMENT

In 2008, the derelict Dallas Statler Hotel was identified by the National Trust for Historic Preservation as one of the eleven most endangered historic places in the country; it continues to generate interest because of its distinctive Mid-Century Modern façade and glamorous history. This project proposal focuses on upholding the era of original Modern design by renovating the upper floors back to their hotel function. In furthering the unique character of the building through purposeful restoration, the interior spaces capitalize on a palette that mediates and elevates the energy and spirit of the post-war era of the 1950’s and the glamorous ideal of downtown Dallas, all while possessing a style that is uniquely Texan. Materials and products were chosen for aesthetic elements that align with the desired character of the interior space and emulate the use of materials during the 1950’s. Wood, metal, glass, and stone were integral to Mid-Century Modern projects. Colors were selected to complement the existing exterior pallet as well as maintain a timeless appeal. Wood-look tile covers the floor and is accented with metallic tile insets. Vein-cut tile wraps full height dividers in the guest rooms, while onyx and copper slate provide shimmering backdrops in the lobby. Mosaic glass tiles bring in pops of color at the pool and as accent walls in public spaces. These selections incorporate hallmarks of the era and compliment the contemporary regional accents to create an atmosphere that is truly original.

13

StatlerH

ilton

CARL MATTHEWS ADVANCED STUDIOFALL 2010REVIT / HAND / PHOTOSHOP

SKY LOBBY AND LOUNGE

JACKSON STREET DRIVE JACKSON STREET LOBBY

SKY LOBBY CHECK-IN

GUEST ROOM BATH GUEST ROOM

GUEST ROOM CORRIDOR

Teaching/Student Work2012 to Current

TENURE-TRACK ASSISTANT

PROFESSOR

DEPARTMENT OF INTERIOR

ARCHITECTURE AND PRODUCT

DESIGN

COLLEGE OF ARCHITECTURE, PLANNING, AND

DESIGN

KANSAS STATE UNIVERSITY

An exploration in contemporary techniques and tools for digital representation joining traditional hand drawing with mixed media and digital techniques. Drawing types will include conceptual/expressive sketching, analytical/ diagrammatic drawing, 2D/3D drawing, and visual perception/communication. Mixed media, photography, and Adobe Creative Suite (primarily Photoshop) will be used to enhance design ideas, drawings, and presentations.

Explore the artistic, conceptual, poetic, creative, dynamic and experiential side of the visual communication process as a way of triggering the imagination to develop innovative design ideas. Emphasis is placed on design as a quick, creative, conceptually-driven interactive process. Expression of ideas are explored through observation, analysis, transformation, and synthesis in 2d and 3d graphic forms in all phases from concepts to final presentation.

• Understand the role of analytical and diagrammatic drawings

• Recognize the importance of quick-sketching in a fast-paced world

• Develop hybrid methods to communicate design ideas • Develop new methods of observation • Understand how to communicate verbal or written design

concepts graphically• Learn to draw with speed, effectiveness, and character• Learn how to digitally edit and enhance drawings and

computer-generated graphics or renderings

14

Digital

Hybrid

IAPD 406 DIGITAL HYBRID DRAWING TECHNIQUESDEVELOPED ELECTIVEFALL 2012, 2014

DARCY MCDONOUGH, 5TH YEAR IAPD

MOOD BOARD SELF PORTRAITA mood board is often compiled before commencing concept generation in many design fields. It is a visualization method for representing characteristics and building a visual vocabulary based on those characteristics. It is an alternative to a written narrative strategy and it “translates” verbal strategy into a visual brief.

Since we are working digitally this semester, you will create a mood board defining yourself telling/showing me anything you want me to know about you. Let this be a chance to start exercising your creativity – keep in mind the board will be submitted digitally, but it does not have to take a digital form. You may make a collage of Instagram images, objects, sketches, words, etc. that all describe you and then photograph the composition. It can be taken into Photoshop and layered – or maybe you take a photo, print it, paint on it, then scan it back in. This is about YOU so make it a fun project. In light of our book, How To Be An Explorer…”, you may consider creating an area in your room or studio where you pin or display stuff that defines you or inspires you and add to it throughout the semester.

AARON BISCH, 5TH YEAR IAPD

PATTERN LANGUAGEThe use of analogies and metaphors is considered to be an important form of the recall process and should be voiced as key tools for enhancing creative design and innovation. Therefore, understanding the cognitive process involved in the formation of metaphors and analogies is important for improving and understanding the process of design. The process of comparison fosters the creation of new interpretations by mapping the knowledge from the source domain to the target design problem.

Patterns in nature offer opportunities to discover and analyze models to learn about systems, materials, processes, structures, performance, and aesthetics. The discipline of biomimicry derives its name from the Greek words ‘bios,’ meaning life and ‘mimesis’ meaning to imitate. As the name suggests, biomimicry involves the study of nature’s design.

For this assignment, you will create an abstract pattern inspired by nature. You will map out the systems inherent to a selected item and analyze the unity, order, relationships, ordering principles, proportions, contrast, movement, etc. You can focus on a single component or the whole of the system.

ISAC HUMAITA MATTOS, 3RD YEAR ARCH / BRAZILIAN EXCHANGE

PROJECT DIAGRAMImagine you were not able to verbally explain your project to your instructor, client, or the public. Without excessive text, how would you represent the information that you typically talk through in a presentation? A diagram is seen as a tool to deliver an idea, and it is an element of design in itself. Although there are various ways to express ideas, such as physical model, sketch, cartoon, computer model, or photography, a diagram takes the initial step to become a design tool by its ability to deliver the idea very clearly and precisely in minimal form. And like the final design product, the architect’s unique style of creativity is an important factor in the diagram as well

Keep graphic language in mind as you add arrows, text, symbols, etc. Incorporate supporting graphics, colors, sketches, images/photos, etc. as appropriate to reinforce information being presented


THUMBNAILSThe purpose of thumbnail sketches is to get lots of ideas on paper in a very short amount of time. They are some of the easiest drawings to create. Due to their postcard-like size, detail must be kept to a minimum. They should have a simple, singular message and are often used to quickly tell a story. Linework should be completed in black-and-white tones only (avoid grey) and color should be simple. Time spent on each drawing should be minimal (try for 15 minutes), and each drawing should have a consistent size and drawing style.

AUDREY GEORGE, 5TH YEAR IAPD IN-CLASS IDEATION EXERCISES

DRAWDELOur experience of space is shaped by our perceptions, our experiences (past, present. future), and knowledge/understanding. Our earliest observations of space involve sensory perception. As our spatial experiences continue, we may notice sensory element less, but memories of our favorite space/place typically have strong sensory associations and sensations. The goal of this project is to abstract the mental image and sensory perception of a favorite space/place. The model should explore abstraction and expression without recreation of the form of the space.

“The abstraction of shape actually involves a complete reconstruction of physical space, made on the basis of the subject’s own actions and to that extent, based originally upon a sensori-motor, and ultimately on a mental, representational space determined by the coordination of these actions.” Jean Piaget, The Child’s Conception of Space

“…perception in the broader sense must include mental imagery and its reflection to direct sensory observation.” Rudolf Arnheim, Visual Thinking

CAITLIN MOLENAAR, 5TH YEAR IAPD

INFOGRAPHIC/NARRATIVEThese narrative tools can quickly express a concept and some of the supporting research – method that can successfully support your design idea through graphically visualization that doesn’t require extensive reading.

Infographics are visual representations of information that attempt to provide an instant explanation of a process (how-to), offer a comparison (versus), express data, or explain a topic. A consistent graphic language, color scheme, etc. is typically used throughout. Text is kept to a minimum and becomes part of the overall graphic composition.

ISAC HUMAITA MATTOS, 3RD YEAR ARCH / BRAZILIAN EXCHANGE CAITLIN MOLENAAR, 5TH YEAR IAPD

JOURNAL ENTRIESTake advantage of the field trip week - wherever you may be - and complete 3 of the 59 exploration activities in Keri Smith’s How to be an Explorer of the World .


VERENA BOEHNLEIN, 3RD YEAR INTERIORS / GERMAN EXCHANGE

LAYOUTYour final submission will be documented in a digital portfolio document which should graphically support various projects throughout the semester. Your final PDF book should be able to be digitally uploaded to Issuu. Consider creating the layout in InDesign or using a Blurb template. The layout due for this assignment creates a MOCK-UP of the layout you will use for your final submission.

BRANDING - IDENTITY SYSTEMSPersonal branding tries to answer questions about your identity such as Who are you? Who needs to know? How will they find out? Why should they care? In competitive markets, it is important to make yourself and your work stand out. An identity system that expresses a cohesive design across your email signature, resume, business card, and portfolio becomes important in expressing your own personal brand.

For this assignment, you are to develop your own identity system that expresses who you are and what you are about through graphics and materials. As a designer dealing with products, architecture, interiors, and furniture, you are encouraged to explore different paper products (ex. Vellum, Chipboard, etc…) and processes (ex. Laser-cutting, etc.).


MARIA SCHNEIDER, 3RD YEAR INTERIORS / GERMAN EXCHANGE

TRACE OVERLAYSA series of trace overlays and color and pattern application using a Revit-generated background, marker, and photoshop


PHOTO + PHOTOSHOPUsing a combination of photography and Photoshop effects, create a new environment (interior or exterior) for a space of your choice.

Consider using a photo from an existing condition of a Studio project OR a space on campus/Manhattan that needs to be redesigned



POST SCRIPT + EGDUsing one of your previous Photoshop projects and incorporating what you learned about Environmental Graphic Design, incorporate ONE of the following into your view:• Branding and signage• Donor wall• Installation piece to reinforce spatial design


ENVIRONMENTAL GRAPHIC DESIGN Environmental Graphic Design (EGD) embraces many design disciplines including graphic, architectural, interior, landscape, and industrial design, all concerned with the visual aspects of way-finding, communicating identity and information, and shaping the idea of place. As a component of EGD, donor recognition programs are an effort to recognize or honor names of persons or companies that have contributed to an institution and to serve as an incentive for potential donors. You will create a donor recognition program for the entry lobby of the Beach Museum of Art on Kansas State’s campus. As one of the first touch-points in the built environment, you are encouraged to create a multi-layered, intimate connection between the museum’s brand and the outside world. Some important factors to consider:

-How will overall form enhance and compliment the space?-How will the pieces be fabricated? Are they modular?-How will different ranges or types of donations be organized or recognized?-How will names be represented in the chosen material?-How will new names or pieces be added?-How will the piece be viewed? -Is there an interactive component?-How is lighting integrated?-What are the attachment details?


During the 3-week intersession, integrated project teams took an intensive look at many aspects pertaining to entrepreneurship, product design, engineering, and planning to develop a proposal for a real client. Our class engaged in discussions of business feasibility, financing options, land use and planning, product ergonomics, product design modifications, and manufacturability developing a comprehensive report for the client. We challenged each other’s creativity and design thinking in an effort to produce a successful business model to demonstrate the understanding of the course concepts and real-world processes. In addition the students learned how to work in interdisciplinary project teams while being guided by faculty from different colleges, guest lecturers who are experts in their field, and an international client who desires to expand to the US market.

International client with a successful urban electric bicycle rental business (developed for and currently operating in multiple Asian urban markets) seeks to analyze/develop similar model for Kansas State University campus and Manhattan, Kansas with the potential of future growth to other regional college campuses.

Collaboration for this project involved faculty and students at Kansas State University with background knowledge in City and Campus Planning, Industrial Product Design, Architecture and Landscape Architecture, Finance and Economic Feasibility, and Governmental Relations and Industrial Development.

15

ElectricB

ike Share

IAPD 406 / IMSE 602/ MNGT 440 INNOVATION BOOTCAMPCOTAUGHT INTERDISCIPLINARY INTERSESSIONSUMMER 2013

KRISTIN HENRY, AUDREY GEORGE, GRAZE LIN, DARCY MCDONOUGH, 5TH YEAR IAPD

PROBLEM STATEMENT: The last few decades have posed major environmental concerns such as global warming and the rapid deterioration of finite resources. This hardship on the environment has stirred up quite the army of environmentalists taking proactive precautions. Of millions of ways to show concern or take action, one of the simplest forms is to recycle used items to be reused in some fashion or another. Major environmental guru or not, this choice is encouraged to all within the United States - facilitated from home or nearby recycling centers. However, simple household receptacle options are sorely limited, expensive and unattractive, making them less likely used. The encouragement is shy, and the initiative is unfortunately missed.

With the steady need for desirable recycling options, the goal of this project is to design a new household center that is attractive, multifunctional, customizable and manufactured using eco-friendly materials while alsoassuming affordability for the average household income.

The center will only provide for low key recycling, of which would likely be taken to the curb by the owners or physically brought to the larger recycling facility within the area. The more simplistic the use yet multifunctional the parts, the easier the product is to become an integrated, positive impact on the home.

AUDREY GEORGE, 5TH YEAR IAPD

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MASTER’S PRODUCT DESIGN THESISTHESIS ADVISORSPRING 2013

Project Type: Digital Media CompanyProject Location: 515 Congress Ave, Austin, TexasProject Scope: Extends over 3 floors - full floorplate and 2 partial floor plates. Internal circulation required. Additional options include roof access and façade modification.

Project Context: The workplace is experiencing an increase in the recognition of collaboration among workers, creating an environment where innovation thrives, and complicated by the inclusion of multiple generations in the workplace. It seems that a paradigm shift is required in the learning environment for design that promotes learner centered teaching approach and fosters collaboration and innovation. An evaluation of current and future workplace model can serve as an inspiration for the development of new studio learning environments.

Studio-based learning environments need to be re-thought in a contemporary (and future) context to address the changing learning styles of new generations of students; new communication and interaction technologies; virtual/distance learning scenarios; digital visualization and prototyping technologies; while enhancing personal interactions for collaboration. Re-visioning the learning environments for design will also benefit knowledge for design of current and future multi-disciplinary team-based work collaborative work environments.

Project Goal: As part of a Herman Miller Grant and joint research effort, students will understand the history and theories behind various work and learning styles, present and future technologies that can enhance collaboration, innovation, and learning; use research gathered in programming and from Research Methods course to develop future learning workspace prototypes that foster collaborative, innovative, and user-centered environments; and use research to develop spatial differentiators and elements to populate designed project spaces.

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IAPD 801 WORKPLACE STUDIOSPONSORED GRADUATE STUDIOFALL 2012

COMMUNITY

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Office art installation

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swing

CafeteriaBar

festival partyspot

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CITATIONS

1. Benzing DH, Luther H, Bennet B. “Reproductive and Life History.” In: Benzing (ed) Bromeliaceae: Profile of an Adaptive Radiation. Cambridge University Press: Cambridge, 2000. 2. Fjeld, Tove and Charite Bonnevie. “The Effect of Plants and Artificial Day-light and Health of Office Workers, School Children and Health Care Personnel.” Paper presented at the Floriade 2002 World Horticulture Expo Plants for People Conference, The Netherlands, 2002. 3. Kaplan, Jeffery Lee. No-Toxic Composition for the Control of Epiphytic Weed. US 2004/0121026 A1, June 24, 2004. 4. Lüttge U, Klauke B, Griffiths H, Smith JAC, Stimmel KH. “Comparative Ecophysiology of CAM and C3 Bromeliads. V. Gas Exchange and Leaf Structure of the C3 Bromeliad Pitcairnia integrifolia. Plant Cell Environ 9 (1986) :411–419. 5. Park, Seong-Hyun. “Randomized Clinical Trials Evaluating Therapeutic Influences of Ornamental Indoor Plants in Hospital Rooms on Health Outcomes of Patients Recovering From Surgery.” PhD diss., Kansas State University, 2006.6. Raza, S. H., G. Shylaja, M.S.R. Murthy, and O. Bhagyalakshmi. “The Contribution of Plants for CO2 Removal from Indoor Air.” Environmental International, Vol. 17 (1991): 343-347. 7. Shareef, Reginald. “Cleaning the Air: Horticulture as a Quality-of-Life Intervention.” The Role of Horticulture in Human Well-Being and Social Development: A National Symposium, Arlington Virginia, April 19-21, 1990. Portland, Oregon: Timberland Press, 1992. 110-112. 8. Wood, R.A., M.D. Burchett, R.A. Orwell, J. Tarran, and F.Torpy. “Potted-planted/growth Media Interactions and Capacities for Removal of Volatiles from Indoor Air.” In Proceedings of Healthy Buildings 2003, 7th International Healthy Buildings Conference. National University of Singapore, 2003. 9. Wood, Ronald A. and Margaret D. Burchett. “Monitoring Indoor Plant Responses to Air Pollution – A Tool for Improving Air Quality.” In The Healing Dimensions of People-Plant Relations: Proceedings of a Research Symposium. University of California at Davis, March 24-27, 1994. 10. Wood, Ronald. A. “Using Pot Plants to Clean Indoor Air.” Nursery Paper Issue no. 9 (October 2004).

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