laubenthal portfolio
DESCRIPTION
ÂTRANSCRIPT
julia laubenthal [email protected]
2013
2
education:work experience:2013 spring; 2012 summer FRCH Design Worldwide Cincinnati, OH Internship: Hospitality Studio Responsibilities: Design Visualization: Renderings and Digital Models; Interior Design Work
julia laubenthal INTERIOR DESIGN STUDENT: UC CLASS OF 2014
skills: contact:
2011 autumn; 2011 spring EDG Interior Architecture and Design San Rafael, CA Internship Responsibilities:WritingSpecifications; Selecting Finishes and Furnishings; Materials Library; Presentation Aids
2009- present: University of Cincinnati, Cincinnati, Ohio College of Design Architecture Art and Planning Major: Interior Design Class: 2014 Dean’s List: 7/9 academic terms GPA: 3.59/4.0
2010 summer: Lakeland Community College, Kirtland, Ohio Transient Student: Transferred Credits to UC Completed two business courses
2005-2009: Chardon High School, Chardon, Ohio GPA: 3.96/4.0 Honor Roll: 4 years National Honors Society: 2 years Secretary of French Club: 1 year
frequent use: photoshop; sketch-up; v-ray for sketch-up; in-design; illustrator past experience: spexx; revit; autocad; hand rendering; hand drafting; rhino
e-mail: [email protected] phone: 440-655-0635 current address: 2365 Madison Rd. #504 Cincinnati OH, 45208 permanent address: 9177 Cambridge Rd. Chardon OH, 44024
SKETCHING
FRCH
DAAP
PERSONAL
4-7 RENDERING 8-9 DESIGN WORK
10-13 DIVERSITY: EUROPE STUDIO 14-17 VISUAL IMPAIRMENT: AGING IN PLACE 18-19 NAKED JUICE: OFFICE DESIGN20-23 ROKA: HOSPITALITY STUDIO 24-25 LITERARY CENTER: IMMERSION STUDIO
26-27 SKETCHING
28-29 PERSONAL ART PROJECTS
3
FRCH: RENDERING
2012-2013
4
MEDIA: PHOTOSHOP; COLORED PENCILS; SKETCH-UP
RENDERING WORK: PROJECT TYPES: PUBLIC HOTEL SPACES; HOTEL GUEST ROOMS; SMALL SCALE RETAIL CONCERNS: ACCURACY; CLARITY; COMPOSITION; EVOCATION OF ATMOSPHERE AND/OR USE; CONSISTENCY; LIGHTING; ETC. TIME FRAME: THE TIME NEEDED TO PRODUCE RENDERINGS IS OFTEN GREATLY INFLUENCED BY WORKFLOW, COORDINATION AND PROJECT-SPECIFIC NEEDS. THE FOLLOWING ARE ESTIMATES ASSUMING NEEDED MODELS, MATERIAL FILES AND AUTOCAD-WORK ARE WELL-DEVELOPED. FLOOR PLANS AND ELEVATIONS: 1-5 HOURS EACH APPROX. REQUIRES FINISHED AUTO-CAD WORK. “SKETCHY”-PERSPECTIVES: 8-20 HOURS EACH APPROX. REQUIRES A FINISHED 3-D MODEL. TIMES VARY DEPENDENT UPON ENTOURAGE NEEDS; SPACE COMPLEXITY; AND OTHER PROJECT NEEDS. V-RAY: V-RAY RENDERINGS ARE HEAVILY INFLUENCED BY AVAILABLE TECHNOLOGY. WITH ACCESS TO AN IN OFFICE “RENDERING FARM” THE RENDERING PROCESS MAY TAKE 4-6 HOURS. WITH A LESS ADEPT COMPUTER AND FREQUENT TECHNICAL DIFFICULTIES, THE RENDERING PROCESS MAY TAKE ANYWHERE FROM 4-16 HOURS. PROCESS REQUIRES A WELL-DEVELOPED MODEL (NOT YET PUT THROUGH V-RAY).
5
FRCH: RENDERING
2012-2013
6
MEDIA: PHOTOSHOP; SKETCH-UP; V-RAY FOR SKETCH-UP
V-RAY AND PHOTOSHOP
7
FRCH: DESIGN WORK
2012-2013
8
3B3A
1 2
MEDIA: SKETCH-UP; PEN AND PAPER; PHOTOSHOP
DESIGN WORK: PROJECT TYPE: HOTEL GUEST ROOMS. DESIGN CONCERNS: ACCOMMODATING FLEXIBLE WORKSPACE SOLUTIONS. DESCRIPTION: THE DESIGN SHOWN ON THIS PAGE FEATURES A DESK WHICH MOVES ALONG A CENTER PIVOT. THE PAGE TO THE LEFT SHOWS THE DEVELOPMENT OF A “LAP DESK” HOLDING CASEGOOD; AS WELL AS A DESK WHICH ACCOMMODATES CHARGING ELECTRONICS WITHOUT UTILIZING WORKSPACE. PROCESS: JOURNALING; SKETCHING; SKETCH-UP MODELING; REFINEMENT THROUGH MODELING AND MEETINGS
VIEW B: DESK AT LOVESEATVIEW A: DESK AT WALL
9
ROUGH CONCEPT AND DIMENSION EXPLORATION: VIA
SKETCH-UP MODEL
DIVERSITY: EUROPE STUDIO
UC: DAAP: 2012 WINTER SEMESTER
SECTION THROUGH LIGHTWELLS: NON-LINEAR: SEE RED-LINE ON PLAN SHOWN ABOVE
10
PROJECT BRIEF: PROJECT TYPE: APARTMENT HOUSING AND GROUND FLOOR RETAIL PASSAGE. LOCATION: CHICAGO, ILLINOIS: SURROUNDING THE TRIBUNE TOWER. SPACE TYPES: 8 LIGHT WELLS- 2 PRIVATE AND 6 PUBLIC; RETAIL AND RESTAURANT SPACES W/ VARYING FOOTPRINT SIZES; ROOF-TOP WALKWAYS; 7+ APARTMENT TYPES; 2 MAIL ROOMS; 1 OFFICE; ETC DESIGN CONCEPT: CREATE A UNIQUE “SURFACE TEXTURE” DEPENDENT UPON INTERIOR FUNCTION. DIFFERENT APARTMENT TYPES EACH PRODUCE A UNIQUE ELEVATION DEPENDENT UPON INTERIOR LAYOUT. THE APARTMENT MODULES ARE ASSEMBLED WITHIN A SERIES OF PENTAGON FOOTPRINTS MADE TO SURROUND LIGHTWELLS. A LAYER OF COLOR THEN ADDS TO THIS DIVERSITY. ADDITIONAL CONCERNS: BRINGING LIGHT INTO INTERIOR SPACES; PROVIDING RESIDENTS WITH A SENSE OF IDENTITY; EXTERIOR MASS CRESCENDOS TO TRIBUNE; MODULARITY; RESPECTING INTERIOR NEEDS.
MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP
11
LIGHTWELL: LOOKING UP
LIGHTWELL PATH
DIVERSITY: EUROPE STUDIO
UC: DAAP: 2012 WINTER SEMESTER
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
FURTHER DETAIL: INTERIOR TO EXTERIOR: THE MODEL TO THE UPPER RIGHT SHOWS A VERY DIRECT CORRELATION BETWEEN INTERIOR SPACE AND EXTERIOR EXPRESSION. I.E. THE KITCHEN EQUIPMENT DEFINES THE WINDOW SIZES AND SHAPE. AS DESCRIBED PREVIOUSLY: EACH APARTMENT MODULE HAS A UNIQUE CONFIGURATION WHICH RESULTS IN A UNIQUE ELEVATION. THESE MICRO-ELEVATIONS ARE THEN EXPLOITED TO CREATE A DIVERSE MACRO-ELEVATION.
12DIAGRAM: PLAN
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
13
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
DOUBLE 2CND FLOOR (2/2) DOUBLE 1ST FLOOR (1/2)
STUDIO A 1/1 LEVEL 5’ 10’ 20’
STUDIO A - ELEVATION A STUDIO A - ELEVATION A: BY INNER FACES
STUDIO B - ELEVATION: BY INNER FACES
STUDIO A - ELEVATION B STUDIO A - ELEVATION B: BY INNER FACES
AFFLUENT 1ST LEVEL (1/2)
AFFLUENT 2CND LEVEL (2/2)
STUDIO B 1/1 LEVEL 5’ 10’ 20’
STUDIO C 1/1 LEVEL 5’ 10’ 20’
STUDIO C - ELEVATION
SINGLE BED A - ELEVATION : BY INNER FACES
SINGLE BED A - ELEVATION
ELEVATION A: BY INNER FACES
ELEVATION
DOUBLE ELEVATION: BY INNER FACES
DOUBLE ELEVATION
ADA - ELEVATION
ADA - ELEVATION: BY INNER FACES
SINGLE 1ST FLOOR (1/2) 5’ 10’ 20’
SINGLE 2CND FLOOR (2/2) 5’ 10’ 20’
STUDIO B - ELEVATION
ADA
MODULAR MANIPULATION DIAGRAMS: “PLAN”
INTERIOR LIGHTWELL ELEVATION “UNFOLDED” SHOWING POSSIBLE APARTMENT SCHEME
VISUAL IMPAIRMENT: AGING IN PLACE
UC: DAAP: SUMMER 2012
PROJECT BRIEF: PROJECT TYPE: RESIDENTIAL KITCHEN: DESIGNED TO ACCOMMODATE VISUAL IMPAIRMENTS ASSOCIATED WITH AGING; AS WELL AS GENERAL AGING CONCERNS. DESIGN STRATEGIES: 1. USE OF YELLOW AS A CAUTIONARY COLOR: THE EYE IS MOST SENSITIVE TO GREENS AND YELLOWS. MOVABLE COMPONENTS HAVE BEEN MARKED IN YELLOW. 2. USE OF MATERIALS WITH HIGH CONTRAST TO VISUALLY DEFINE INTERIOR “PARTS”: BLACK HANDLES AGAINST LIGHT-TONED CABINET DOORS; BLACK APPLIANCES AGAINST A LIGHTER SPACE; ETC. 3. USE PRIMARILY LIGHTLY-COLORED MATERIALS WHICH WILL REFLECT LIGHT THROUGHOUT THE SPACE AND ONTO SURROUNDING OBJECTS. 4. ELEVATE APPLIANCES TO HEIGHTS WHICH ARE EASIER TO VIEW AND EASIER TO ACCESS IN ELDERLY ERGONOMICS. 5. PROVIDE MULTIPLE DAYLIGHT SOURCES; PROVIDE AMPLE ELECTRIC LIGHT SOURCES FOCUSED OVER TASK AREAS. 6. USE MATTE-MATERIALS WHENEVER POSSIBLE TO ELIMINATE GLARE. 7. AVOID TEXTURED MATERIALS (DIRT COLLECTION). 8. WHEEL-CHAIR CLEARANCES.
14
ZONE 1 ZONE 2
ZONE 3
ISLAND’S “INLAY-MAP” DIAGRAM
PROJECT BRIEF:
DESIGN FEATURES: 1. THE FLOOR-TILE CHANGES IN COLOR, SIZE, AND THERMAL PROPERTIES BETWEEN THE MAIN WORK SPACE AND THE “HOT-APPLIANCE” SPACE. LINING UP DIRECTLY WITH THE STOVETOP. 2. COUNTER-TOPS FEATURE METAL IN-LAYS WHICH CAN BE USED AS A TACTILE MAP WHEN WORKING OR COMPOSING A PLACE-SETTING: THE IN-LAYS ARE THIN SINGLE AND DOUBLE STRIPS OF STAINLESS STEEL WHICH “BREAK” TO FORM NOTCHES AT STRATEGIC POINTS. 3. A BUILT IN MAGNIFYING GLASS AND BOOKSHELF CAN BE USED TO HELP READ COOKBOOKS WHILE ONE IS WORKING. THE LOCATION IS AT EYE LEVEL ABOVE THE MAIN WORKSPACE. 4. MOVABLE LIGHT FIXTURES CAN BE FOUND BENEATH UPPER-CABINETRY AND ABOVE THE ISLAND. THESE ARE THE TWO MAIN WORK SPACES. 5. MODIFIED UTILITIES INCLUDE LARGER NUMERALS AND TEXT IN CONTRASTING COLORS. SLIDES ARE USED RATHER THAN AMBIGUOUS ROUND DIALS. BUTTONS ARE ENLARGED AND GIVEN CONTRASTING COLOR. AT THE STOVE, CONTROLS CORRESPOND TO LOCATION OF BURNERS AND BURNERS CHANGE TO TWO DIFFERENT COLORS WHEN HEATED.
MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP
15
VISUAL IMPAIRMENT: AGING IN PLACE
UC: DAAP: SUMMER 2012
16
MOVABLE LIGHT FIXTURES
MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
120°
60°
30°
2-5° sharp detail
good detail
primary field 40°-60°
vertical limit
120-130°
60°
30-40°
2-5°
180-220°
blind spot
blind spot
color and non-distorted cone of vision 60°
text 5-10°
shapes and “intense focus area” 30-40°
both eyes peripheral2D distorted 120-130°
one eye peripheral 180-220°
STERADIAN (conical view) AT LENGTH “a” STERADIAN (conical view) AT LENGTH “a”
45°
120°
.268 x a = radius
.017 x a = radius
[shown at a 30° intense focus area]
15°
30°
0°
15°
30°
0°
zone 1: out of reachrequires bending at the hip and bending at the knees
zone 2: mild discomfortvisual needs require bending
taller individuals bend at the hip
zone 3: work rangeno bending of the hipor the knees
*functions involving lifting heavierobjects should occur at a lower height within this range; and may even venture into “zone 2”
zone 4: mild discomfortmay require strain or strengthmay be too high for shorter individuals
zone 5: out of reachrequires strain and strengthpossibly stools and ladders
RADIAL REACH RADIAL REACH w/ TYPICAL SITE ANGLE
TYPICAL ANGLE OF SITE: 15° towards the ground
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
15°
30°
0°
RADIAL REACH w/ TYPICAL SITE ANGLE
FREEZERREFRIGERATOR
DISHWASHER
MICRO WAVE
OVEN COUNTER
CABINETS
~67”
UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
120°
60°
30°
2-5° sharp detail
good detail
primary field 40°-60°
vertical limit
120-130°
60°
30-40°
2-5°
180-220°
blind spot
blind spot
color and non-distorted cone of vision 60°
text 5-10°
shapes and “intense focus area” 30-40°
both eyes peripheral2D distorted 120-130°
one eye peripheral 180-220°
STERADIAN (conical view) AT LENGTH “a” STERADIAN (conical view) AT LENGTH “a”
45°
120°
.268 x a = radius
.017 x a = radius
[shown at a 30° intense focus area]
15°
30°
0°
15°
30°
0°
zone 1: out of reachrequires bending at the hip and bending at the knees
zone 2: mild discomfortvisual needs require bending
taller individuals bend at the hip
zone 3: work rangeno bending of the hipor the knees
*functions involving lifting heavierobjects should occur at a lower height within this range; and may even venture into “zone 2”
zone 4: mild discomfortmay require strain or strengthmay be too high for shorter individuals
zone 5: out of reachrequires strain and strengthpossibly stools and ladders
RADIAL REACH RADIAL REACH w/ TYPICAL SITE ANGLE
TYPICAL ANGLE OF SITE: 15° towards the ground
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
15°
30°
0°
RADIAL REACH w/ TYPICAL SITE ANGLE
FREEZERREFRIGERATOR
DISHWASHER
MICRO WAVE
OVEN COUNTER
CABINETS
~67”
UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
120°
60°
30°
2-5° sharp detail
good detail
primary field 40°-60°
vertical limit
120-130°
60°
30-40°
2-5°
180-220°
blind spot
blind spot
color and non-distorted cone of vision 60°
text 5-10°
shapes and “intense focus area” 30-40°
both eyes peripheral2D distorted 120-130°
one eye peripheral 180-220°
STERADIAN (conical view) AT LENGTH “a” STERADIAN (conical view) AT LENGTH “a”
45°
120°
.268 x a = radius
.017 x a = radius
[shown at a 30° intense focus area]
15°
30°
0°
15°
30°
0°
zone 1: out of reachrequires bending at the hip and bending at the knees
zone 2: mild discomfortvisual needs require bending
taller individuals bend at the hip
zone 3: work rangeno bending of the hipor the knees
*functions involving lifting heavierobjects should occur at a lower height within this range; and may even venture into “zone 2”
zone 4: mild discomfortmay require strain or strengthmay be too high for shorter individuals
zone 5: out of reachrequires strain and strengthpossibly stools and ladders
RADIAL REACH RADIAL REACH w/ TYPICAL SITE ANGLE
TYPICAL ANGLE OF SITE: 15° towards the ground
~36”
~67”
image property of julia laubenthal
64.5”- 70” avg 67.25
15°
30°
0°
RADIAL REACH w/ TYPICAL SITE ANGLE
FREEZERREFRIGERATOR
DISHWASHER
MICRO WAVE
OVEN COUNTER
CABINETS
~67”
UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN UTILITY PLACEMENT: THE OVEN
17
MOVABLE MAGNIFYING GLASS AND BOOKSHELF
NAKED JUICE: OFFICE DESIGN
UC: DAAP: SUMMER 2011
PROJECT BRIEF: PROJECT TYPE: OFFICE SPACE: FOR THE COMPANY NAKED JUICE. NAKED JUICE PRODUCES FRUIT JUICE WITH NO ADDED PRESERVATIVES OR SUGAR. LOCATION: 102 BULL ST. SAVANNAH, GEORGIA. 2 FLOORS IN A PRE-EXISTING BUILDING SHELL. LOGISTICS: 80 EMPLOYEES IN TEAMS OF 8 AND 4; 9 PRIVATE OFFICES; 7 MEETING ROOMS IN 3 DIFFERENT SIZES; RECEPTION AREA; AND DINING/EVENT SPACE.
DESIGN CONCEPT: CELEBRATING THE BASIC UNIT AND SIMPLE ELEMENTS THAT CREATE A WHOLE (METAPHOR TO PURE FRUIT OR THE SINGLE EMPLOYEE). EACH BASIC DESK, ROOM, WALL PANEL, ETC. HAS BEEN ACCENTED. I.E. A MEETING ROOM IS SHOWN IN GREEN; WHILE EACH PANEL IS SHOWN IN A DIFFERENT SHADE OF GREEN. DESIGN CONCERNS: ENCOURAGE COLLABORATION; INTEGRATE COLOR WITHOUT OVERWHELMING USERS; OPEN GUEST CIRCULATION; “NAKEDNESS” OR OPENNESS; “POD” LAYOUT; SUSTAINABILITY: USING WALL PANEL SYSTEMS AS OPPOSED TO DRYWALL (PRODUCT USED: D.I.R.T.).
FIRST FLOOR MEETING ROOM
S SECTION CLOSE
FIRST FLOOR MEETING ROOM
S SECTION FAR
FIRST FLOOR OFFICE SECTION
PROG
RAM: O
ffice space. Pre-existing, tw
o-level building shell and structure. 80 em
ployees in teams
of 8 and 4. 9 private offices. 7 m
eeting rooms of varying sizes.
Reception area and Dining Space.
Naked Juice Logo Courtesy: w
ww.nakedjuice.com
Reception Area
North Facing Section Cut: First Floor’s Main W
ork Space
CLIENT: Naked Juice:
manufactures juice w
ithout preservatives or added sugar.
Color Palette
COLOR PALATE
SOUTH-WEST VIEW: SECOND LEVEL’S MAIN WORK SPACE
SOUTH FACING INTERIOR ELEVATION: FIRST FLOOR’S MAIN WORKSPACE
18
NAKED JUICE LOGO IMAGE COURTESY: WWW.NAKEDJUICE.COM
MEDIA: REVIT; ILLUSTRATOR; PHOTOSHOP
NORTH VIEW: FIRST LEVEL:RECEPTION AREA
NORTH FACING INTERIOR ELEVATION: FIRST FLOOR’S MAIN WORKSPACE
19
NAKED JUICE LOGO IMAGE COURTESY: WWW.NAKEDJUICE.COM
ROKA: HOSPITALITY STUDIO
UC: DAAP: WINTER 2012
GUEST ROOM MODULE: 1-2 PEOPLE: SOUTH WEST CORNER
GUEST ROOM MODULE: 1-2 PEOPLE
20
RECEPTION BUILDING: NORTHERN CORNER
RECEPTION BUILDING
MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP
RECEPTION BUILDING
1/16” = 1’
25’
PROJECT BRIEF: PROJECT TYPE: HIKER’S LODGE MADE UP OF MULTIPLE SERVICE BUILDINGS. LOCATION: LEH, INDIA: A CITY NESTLED WITHIN THE HIMALAYAN MOUNTAINS. REQUIRED SPACES: 8 SMALL GUEST ROOMS (1-2 GUESTS); 4 LARGE GUEST ROOMS (2-4 GUESTS); RECEPTION BUILDING W/ BAR, LOUNGE AND ROOF DINING; 6 SHOWERS AND 2 REST ROOMS; MOUNTAIN PATH W/ LOOKOUTS.
21
SECTION LINE
SECTION LINE
SITE MAP: DEVELOPED FOR A PREZI-PRESENTATION INVOLVING “ZOOMING” IN AND OUT.
ROKA: HOSPITALITY STUDIO
UC: DAAP: WINTER 2012
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PROJECT BRIEF: CONCEPT: EVOKING A FEELING OF “IMMERSION” THROUGH FORM, TEXTURE AND SPACIAL PROGRESSION. IMMERSION: THE CONNECTIVITY ONE FEELS WITH THEIR ENVIRONMENT: ENVIRONMENT IS NOT LIMITED TO THAT WHICH IS DIRECTLY SEEN AND PERCEIVED. DESIGN CONCERNS: QUESTIONING ROUTINE TO ENRICH EXPERIENCE OF PLACE; USING PRIMARILY LOCAL MATERIALS- GRANITE, MUD, FABRIC, LIMITED WOOD; PRIMARY USE OF DAYLIGHT AND CANDLELIGHT. ACCOMMODATING BACKPACKS. CLIENT: YOUNG BACKPACKERS (25-40 YEARS OF AGE) WITH THE DESIRE TO EXPERIENCE ALL OF THE WORLD THAT THEY CAN. THE DEDICATED WANDERERS, DRAWN TO A PLACE SO THAT THEY MAY “TAKE IT ALL IN”. HIKING IS NOT ABOUT CONQUERING THE MOUNTAIN: IT IS ABOUT BEING IN THE MOUNTAINS.
RECEPTION BUILDING: UPON ENTRY
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MEDIA: PHOTOSHOP; ILLUSTRATOR; SKETCH-UP; PEN
SINGLE SHOWER: SECTION CUTSECTION DIAGRAM: WATER HEATING; FILTRATION; COLLECTION; CIRCULATION
SINGLE SHOWER UNIT: PLAN
Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
CLIFTON LITERARY CENTER
Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
These images are all associated with a quarter long project in which we were asked to design a building that would be used as a literary center. These images depict the final design as well as a few iterations and diagrams. An idea of overlapping volumes and “ offsetting” drove the design. A great deal of focus was given to the circulation through the spaces and how they influenced the idea of discovery and acceptance.
storage
meeting
cafe
storage
meeting
cafe
storage
meeting
cafe
Reading books and study
rest rooms
kitchen
Administrative space
storagem
eetingcafe
Reading books and study
rest rooms
kitchen
Administrative space
Illustrator, Revit, chip board, photoshop
MEDIA
LITERARY CENTER: IMMERSION STUDIO
UC: DAAP: IMMERSION STUDIO 2010
SECOND FLOOR: PLAN DIAGRAMS: MASSINGFIRST FLOOR: PLAN
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Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
Balance... color of bottom right=weight... size upper left = weight... verticallity upper right and lower left.v
PROJECT BRIEF: PROJECT TYPE: LITERARY CENTER: A LIBRARY FOCUSED ON PROMOTING LOCAL AUTHORS AND COMMUNITY ENGAGEMENT. LOCATION: CINCINNATI, OHIO: NEAR UC CAMPUS. REQUIRED SPACES: 1 LECTURE HALL; 1 CAFÉ; 1 PEDESTRIAN PATH THROUGH SITE; 1 DISPLAY SPACE; 1 BEDROOM W/ STUDIO (FOR VISITING AUTHOR); STACKS; 1 OFFICE; STORAGE; ETC. DESIGN CONCERNS: COMPLEMENTING THE SURROUNDING SITE; CREATING A SPACIAL SEQUENCE THAT COMPLEMENTS DISCOVERY; RELATIONSHIPS BETWEEN ZONES AND MASSES.
MEDIA: REVIT; PHOTOSHOP; ILLUSTRATOR; CHIPBOARD
DIAGRAMS: BALANCE AND MOVEMENT SOUTH FACADE
SITE MODEL: SOUTH FACADE
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SKETCHING
FRANCE; LONDON; AMSTERDAM: UC CAMPUS: 2009-2012
FIELD SKETCHING
RENDERINGFIELD SKETCHINGMICRON, PENTEL, AND PENCIL
DOCUMENTATION LAB
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MEDIA: PRISMACOLOR; GRAPHITE; MARKER
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PERSONAL
2006-2008; 2013
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MEDIA: ACRYLIC PAINT; GRAPHITE; CHARCOAL; PHOTOSHOP
DESCRIPTION: STILL LIFE: ACRYLIC PAINT WATCH STUDY: GRAPHITE SELF-PORTRAIT 2007: CHARCOAL
AMSTERDAM: PHOTOSHOP UTILIZING A PHOTOGRAPH AS BASE.
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[email protected] julia laubenthal
440-655-0635
thank you