REBECCA ERDEWashington University in St. Louis | 2015

REBECCA ERDEWashington University in St. Louis | 2015

INTRODUCTION TO DESIGN PROCESSES ICharles Brown - 2011

DRAWING I & DRAWING IIJamie Adams 2011 Mary Judge 2012

CERAMICSRon Fondaw and Michele Owens - 2011

INTRODUCTION TO DESIGN PROCESSES IIAndrew Colopy - 2012

INTRODUCTION TO DESIGN PROCESSES IIICatty Dan Zhang - 2012

INTRODUCTION TO DESIGN PROCESSES IVElisa Kim - 2013

CYCLESLindsey Stouffer - 2013 - Group Project with

Cristina Clow and Kim Gagnon

CYCLESIn this studio, the goal was to learn the mechanisms of bicycles and design a new machine inspired by the movement of insects. My groups original insect inpisration was a centipede. I learned how to work with metal and recycled bikes, welding, brazing, soldering, and plasma cutting. Through the design process, we changed our direction to create a forward reccumbant modern penny farthing. About fifteen different people rode our bike on the day of the test ride. It was equipped with functioning breaks and gear system.

The CentipedeCycles 2013

Cristina ClowKim GagnonRebecca Erde

Side Elevation

The CentipedeCycles 2013

Cristina ClowKim GagnonRebecca Erde

Front Elevation Plan View

GREEN HOUSEOur program was a four story green house. Our site was a triangular plot of grass located at South 9th St and Park Ave in the Northern tip of Soulard next to Interstate 55 in St. Louis, MO. Our surrounding site was an unconventional mix of buildings. On one side, there is a church and an abandoned printing press. On the other side, there are residential homes. Then, there is the highway and an industrial area. I created a concept model with string attempting to knot the site context together.

1st floor plan 1/8” = 1’4th floor plan 1/8” = 1’ 2nd floor plan 1/8” = 1’

3rd floor plan 1/8” = 1’section 1/4” = 1’ 4th floor plan 1/8” = 1’

First Floor Plan 1/64”= 1’ Second Floor Plan 1/64”= 1’

Third Floor Plan 1/64”= 1’ Fourth Floor Plan 1/64”= 1’

elevation 1/8” = 1’

4th floor plan 1/8” = 1’

section 1/4” = 1’

Section 1/16”= 1’

1st floor plan 1/8” = 1’ site plan 1/32” = 1’

Site Plan 1/64”= 1’

elevation 1/8” = 1’

4th floor plan 1/8” = 1’

Elevation 1/32”= 1’

URBAN PLAYGROUNDI created modules inspired by leaves and the shadows that they create when light shines through them. I added ribs and trace paper to mimic the structure and trasnparency of leaves. I attached modules to create an aggregation to experiment with different ways of connection. I created a site model of the DeMun playground based upon the canopy of leaves formed by the trees. Then, I adjusted my modules to form an aggregation that grew out of the ground and joined the canopy. The program consisted of two bathrooms and an office space.

SHADOW

PLAN, SECTIONSAND ELEVATIONSof modules and aggregation

URBAN PLAYGROUND1/4”=1’ scale model

PLAN1/8”=1’ Plan

HALF SCALE MODELI built a 1/2”=1’ model of one

of the bathrooms to better understand the details of the

space.

IMMERSION POOL I chose to study the texture of

acorns I found at the Concordia Seminary. I created a container for the tree buds I collected at the site based upon the pattern of the acorn. Then,

I translated the unjulations from my container into a biased topography. I

made changes from my original biased topography by stretchng or tightening the underlying matrix and by adjusting the sections. The final product was an

underground cave-like immersion pool created from pulling up the surface of

the biased topography

TEXTUREAcorn

OBJECTTree Buds

PATTERNof the Texture

CONTAINERPlan, section and axonometric

Plan

Section

BIASED TOPOGRAPHY

Axonometric

Plan

AxonometricCEMENT MOUNDThis is my cement cast with a bristol skin representing the immersion pool.

a b c

d e f

Plan and Sections g

a b c d e f

g

Axonometric View

Section in Perspective

Site Plan

Site Section

View from sidewalk

View from inside looking up

POTTING SHED I created a wire model based

upon my studies of corn from micro to macro. I translated my

study of corn from wire into basswood to create a potting shed. During the

making of this model, I found a certain beauty in the skeleton. In my mind, what lies beneath the

scaley surface is equally as important as the outcome, which is why I left half the model exposed. As I

applied the scales, I found that it created a beautiful biomimicry effect.

PLAN,SECTIONS,AND ELEVATIONof Potting Shed

SKELETON SCALES

DINNERWARE SETClay, black slip, clear glaze

JEWEL BOX PROJECTTransferred ink, graphite

JEWEL BOX PROJECTTransferred ink, graphite

FANTASY WORLDGraphite

CARTE DE VISITEWater color, pen, collage

IN(FIGURE)TERIORCharcoal, blue pastel

(right)FIGURE DRAWINGSCharcoal and sumi ink

REBECCA ERDEWashington University in St. Louis | 2015