Wednesday, December 24, 2008


May not be the most lavish present, but hey, I'm a student and therefore broke. My friends get portraits this year





Friday, December 19, 2008

One Is the Loneliest Number That You'll Ever Do!

I know there will be more to come, but right now that lone present looks like it needs some friends...

Tuesday, December 16, 2008

Oh, to be sick...

Sunday, December 14, 2008

I can only imagine what she is thinking...

My Dog- 'It's the time when my Humans think it is appropriate to embarrass me with demeaning attire in hopes of turning me into a festive Christmas Dog.....never going to happen'

Wednesday, December 10, 2008

Final 211 Renderings

Weekly Assignment 13

Self Portrait: Marker and Colored Pencils


  1. Alarm Clocks- I have a fixation with retro clocks and hence the reason why I have so many. They display the perseverance of technological demand, and in turn have far more character.
  2. Music- Specifically movie scores, music is essential in my design process. It allows me to cancel the surrounding noise, and concentrate. Also, ideas complemented with music produce organic, whimsical designs.
  3. The real first art class I toke was a high school ceramics class. It taught me rudimentary design skills, and allowed me to interprate my design in tangible forms.
  4. Aspen, Colorado- Colorado is another world. Its clarity and openness is conducive to design free of unnecessary elements. 
  5. Childhood Backyard- My mom encouraged my sister and I to use outdoors as a playful pastime.
  6. Elise- my sister is a large part of my inspiration. I’ve always looked up to her for her artwork; she is very talented.
  7. Gamble House- The intricacy of the Arts and Crafts Movement is fascinating. The high craft and attention to detail inspires me to push for high-quality technique.
  8. Merchandise Mart- It was seeing this building in Chicago that sparked my interest in sustainable preservation. Merchandise Mart is the largest and oldest Green Building In the United States. It shows that sustainable design does not have to be new design.
  9. Baltimore Aquarium- this building is one of the most memorable buildings I’ve been to. Flowing from one room to the next, way finding goes hand in hand with the exhibit tanks.
  10. Windmill- The Windmill Inn in Wraysbury, England was the first inn I stayed in while outside of the country, lucky for me; it was a converted windmill. England opened my eyes to a different world of design; everything about it was a new experience, starting with the very space I stayed in.  

Monday, December 1, 2008

Systematic Response

Systematic Response: A Call and Response Structure that provides aid to disaster victims, by means of education, collaboration, and materials for society rebuilding. 

It takes mere seconds for a hurricane to destroy a community. In the aftermath of such a situation, outreach forces, strangers alike, are responsible for uniting over humanity. This Shelter: Bus, along with the subsequent relief workers, respond both physically and literally to the grief stricken community. In a systematic approach, the victims and relief workers unite to rebuild their environment, as well as alter their view of humanity. 
The Structure is so much more than a Bus, rather it is a communal bond, an initiator of good design.  When disaster strikes, the bus provides a new beginning and a better future. It literally gives back to the community. The outer shell is comprised of lumber, material which the community will use as temporary disaster homes. The victims will be educated by the relief workers on how to effectively build said temporary sites. As time passes and the permanent homes are under construction, the temporary sites will be dismantled, and the material will be incorporated into the permanent houses. This would include the bolts and fasteners, as well as the lumber for framework and floorboards. In the end, the shelter: bus would forever be a part of the built community it revived. 

In the beginning of the project, I knew that I wanted my shelter: bus to be more than a temporary relief vehicle; something that aided the disaster site, and then left. I saw my project being a part of something more substantial and permanent. Also, it would reinforce the idea that design can unify; it can create positive change. It can also come from the most unlikeliest of sources, even something seemingly simple as a bus. 

While researching, I was drawn to the design of the human body. It is both intricate and very easy to relate to. The appeal of unification brought me to the nervous system. Essentially, it is a central call and response network. Feelings, ideas, sense, all depend on the nervous system. It is comprised of small components that branch out from a central station. The interior of the bus consists of systematic design. The space is open, divided only by a system of glass panels. The panels designate appropriate space for the relief workers and their needs; there is enough privacy without creating separation. There is nothing in the space that is not composed of smaller entities. Each scale is taken into consideration from the most detailed, to the most broad. For example, the color choice is based on layers and mixing; a system is used when processing secondary colors for they are a combination of primary. The wood in the structure embraces the grain and blemishes, displaying the systems and beauty found in nature. On a larger level, each portion of the bus is connected by, not only a datum line, but a series of glass encasings. The glass unites the structure, all the while highlighting the separation of spaces. There is not one piece in the composition of the bus that does not contribute to the greater whole.  

. After the bus responds to the community, the remaining core would be a statement in itself. It is the brain of the operation; the workers reside there, as well as respond from there. Though obscured by the outer shell, it was present throughout, simply more so after the process concludes. Essentially, the core, or brain of the bus would remain, and the shell, or nerves of the bus would forever be dispersed throughout the community.


Section A: 
Displays that the spaces would be divided only by glass panels. The opacity of the glass would vary according to the need for privacy.
Section B
Everything in the Bus has a system. The bus is broken into three areas; public, semi-private, and private. This space is the eating and living area, a public space. 
Section C

End Result

Sunday, November 30, 2008

Sandwich Massachusetts is nothing if not a town rich of history. Known as the oldest town on the Cape Cod, Sandwich was founded in the mid 1600s. The small town, originally a timber exporting community, would not see a drastic change until 1825 when Deming Jarves moved to the coast.

Relocated from Boston and the New England Glass Company, Jarves selected Sandwich for the potential sea trade and shipments. The location was also opportune due to the small size and promise of growth. Not only did Jarves begin to recruit employment locally, but he also enlisted the help of glassblowers from his previous company, as well as men from England and Ireland.

In no time, the Boston and Sandwich Glass Company prospered, producing beautifully crafted pieces. The Triple Overlay was by far one of the most interesting pieces. Symbolic of the rich history and luminous potential, this lamp guided and aided the growth. As the Company flourished, so did the adjoining community. A thriving community depended on the outcome of its factory, for it was the dominating employment in the area. The Company, in its most successful stage, employed hundreds of workers. Times were good for Sandwich. Once a small, agricultural community, now the town had something to be proud of, something that influenced not only them, but far beyond. This was the case, until the company’s closure in 1888.

 Glass Making literally shaped the environment around it. When The Company closed, there was nothing for the community of Sandwich. It forced the town into an economic depression, workers were forced to find other jobs or worse, leave Sandwich. Countless companies attempted to fill the place of the Boston and Sandwich Glass Company, but none would suffice; the use of the overlay method would never be as lucrative as when developed by the originally factory.  Years passed, and no sign of hope came for the glass industry. By 1944 every last factory had been removed, leaving very little of the company that meant so much to the town.

Though Sandwich no longer produces glass, the history of its foundation resides everywhere. The glass museum pays homage to company, and houses an array of beautifully crafted pieces. Residents cherish the glass products as well, collecting them in tribute. Now, the glass products from Sandwich are a rare commodity due to their craft and history.

Sandwich and Boston Massachusetts share a fondness for glass making. Both produced some of nation’s finest glass of the time. They were innovative, curiously experimenting with new ideas. Business wise, Boston and Sandwich were almost a pair, but community-wise, they were very different. Unlike Boston, Sandwich and its glass company were one in the same; they were dependent on each other. Where Boston flourished prior to the Glass Industry, Sandwich prospered because of it. 

Sandwich Glass Museum

Tuesday, November 25, 2008

Weekly Assignments 8-12

Week 8: Lamp: Marker
Week 10: Louis XIV Bed: Graphite
Week 11: Faucet: Colored Pencil
Week 12: Barcelona Chair: Marker 

Sunday, November 9, 2008

Saturday, November 8, 2008

Front View of House
Section Of Entryway and Library

It had been 50 years since Deming Jarves strolled into Sandwich in pursuit of opening the infamous Glass Company. Once a very small town, Sandwich now thrives with a close community, united by ties to the production of high crafted glass works. In this town, glass fabrication is not a job; it is an art form, a way of life.

Though mostly a town comprised of modest homes, Sandwich has embarked on building a number of ornate and expensive homes reflecting the colorful, elaborate nature of the period’s glass production. The company currently fabricates a line of finely blown, delicate glass; a glass highly alluring to the upscale patrons. No other house in Sandwich could possibly capture the essence of the glass creations, so much as the new gothic revival off of Main Street.

            The American Gothic Revival is a style highly influenced by its past. Contrasting to the European Gothic Revival, the American is far more an exploration of materials and new inventions. Exceptionally demanded, it calls for speedy construction, as well as high crafted carpentry. The beauty is in the details, and it should accommodate pieces that will highlight said entities. It is no wonder then, that the new Triple Overlay Lamp will reside in such a dwelling.

            Tucked away in the home’s library, the Overlay Lamp stands as a symbol of exploration and persistence. It can also be seen as an aid in viewing the beauty of its surroundings. The glow highlights the hard work, the attention to construction, and the impact of both the lamp itself, as well as the building encompassing it.  The supplementary furniture in the room remains simple, paying homage to the lamps impacting statement. Soft fabrics and rich wood only appear more alluring in the soft glow of the space. Sure the other rooms in this particular house have Glass Lamps and other works from the factory down the street, but this lamp in the library, is extraordinary. It illuminates the hopes for a prosperous, highly knowledgeable future.

                 Situated in nearby Boston, the Nicholas House shares the same ideas as that of the Sandwich Home. Crafted in a beautiful manner, they are both commodities alone, but when furbished with ornate essentials, they are highly impacting. They both allude to a time of exploration and prosper. The Nicholas House is, however, a museum and therefore does not reflect the Sandwich home’s ties to its beloved and notable, Cape Cod Town. 

Works Cited:

The Sandwich Glass Museum:

Gothic Revival 1830- 1875 The Pointed Style:

Saturday, October 25, 2008

west Side story

quotes courtesy of William Shakespeare's Romeo and Juliet

History impacts anything and everything. It is the foundation and inspiration of the future. Known as one of the purest love stories, Romeo and Juliet has, substantially impacted the fate of subsequent tales. West Side Story uses Shakespeare’s play as a mentor, adapting it to suit the appropriate issues of the time period.  Names change, locations alter, but the core-the very essence of the story- remains the same. 

Thursday, October 23, 2008

Sunday, October 19, 2008

Club Bus: Shelter

Concept:  Vernacular Innovation 

Although the term sustainability has become increasingly prevalent in everyday vocabulary, it has yet to infiltrate the built environment in a similar way. Many people may still think of sustainability as an expensive, distant, idealistic value, meant for design magazines and wealthy environmentalists, but in fact, green design can take the form of something as simple and common as a bus shelter. A familiar, understated structure can make a powerful statement. The detail in the simplicity of the structure demonstrates that, even using recognizable materials such as glass, aluminum and stainless steel, a vernacular structure can still be sustainable.

Change often happens slowly and subtly, step by step, so by introducing a green roof system to a familiar form, this shelter can begin to inspire change not only in the bus system, but in society as a whole. Each of the different materials incorporated into the structure is sustainable, demonstrating the way in which sustainability can and should permeate all levels of society. The green roof of the bus shelter does not impact the function of the structure per se, but it does stand as an icon for the way in which the bus system itself can be an eco-friendly transportation option. Furthermore, the use of glass, which in this case creates the ability to see through the entire structure, as well as the use of clean lines and corrugated aluminum roofing are in keeping with the contemporary architecture of the North Carolina A & T campus nearby, testifying to the fact that green design can be integrated into a variety of aesthetics.

Night View: lights line the perimeter of the structure

Side View: Shelter sits back from the side walk 

Bus Shelter during Rainy Weather

Final Model

Tuesday, October 14, 2008

Weekly Exercise Week 7

Stool: Multimedia

Triple Overlay Lamp in Context

Plan View

Detail Perspective

Designed with, not only aesthetic, but also technological advancement in mind, the monumental triple overlay lamp is a commodity in itself. Seldom manufactured anymore, this lamp sparked an otherwise foreign movement in lamp making. Ornate and fragile, the overlay lamp belongs in a space rich with history, and conducive to knowledge attain. In other words, a revival Gothic library would be highly suitable for housing the lamp.

Produced around the period of American Gothic Revival, the lamp is an example of the process that is community building. Manufactured in Sandwich, Massachusetts, by the Boston and Sandwich Glass Company, this late 19th century piece, as well as other lamps was the source of employment for numerous workers. As the company expanded, so did the occupational needs, and thus the town as well. The lamp was a beacon of knowledge and innovation; it is only proper that the space should evoke such similarities. The library would pay homage to the advancements of the lamp, as well as the history in its wake.

It was after the introduction of Kerosene lamps, that the Boston and Sandwich Glass Company embarked on creating a lamp composed of layered glass. The ornate design, as well as the rich, luminous quality suggests that the lamp stands as a spatial focal point. Though situated in the corner of the room, the lamp causes the viewer to locate the source of contrast in the space, the colorful and bright lamp. Due to this concept, it is appropriate that the neighboring decor should contribute to the hierarchy of objects, rather than distract the attention. Via neutral colors and solid wood, the rest of the room remains subdued in order to please the complexity of the lamp. On the other hand, the lamp illuminates and highlights the features of the surrounding space. Also, the layers of the glass are reflected in the layers of wood trim and heavy drapery. The two work together to form a cohesive environment.

Though a reflection of the past, lamps such as the Monumental Triple Overlay provide insight and direction into the future of design. The individual lamp may no longer be produced, but the notion of designing for advancement and aesthetics lives on.

Perhaps most similar in concept, to the Overlay lamp, is the Candelabrum.Though an earlier light source, the candelabrum and the lamp possess ornate qualities. They are more focal points, rather than strong means of illumination. It is also important to note the progression of each piece; they were both technological advancements of the time and further shaped the lighting world.

 Though both evoke a sense of the past, the Overlay lamp and the Tiki lamp are rather different. The later of the two is theme oriented and much more assessable than the rare Overlay Lamp. Also, the Overlay lamp was considered an advancement in both aesthetics and technology, something that would be questioned in the case of the Tiki Lamp. 


-Cape Cod Travel.  Incredibly Rare Sandwich Glass:

-Virginia Museum of Fine Arts:

Saturday, October 11, 2008

Bus : Shelter

System of Growth


Association and cohesion are the basis of an ideal, functioning community. In attempt to obtain said community, each sub-category is required to work with, as well as benefit from one another. In other words, small parts work together with the holistic end in mind. The concept of this project is to provide the basis of a community, piece by piece, starting with the individual approaches. Plainly stated, the project provides a system of growth. The bus shelter uses core aspects of communal design to create an area for active riders of public transit to unite.

The site location, situated in front of Saint John’s Lodge on North Carolina A&T’s Campus, pays tribute to a system of growth, purposefully having progressive and proportional elements as the dominating features. Symbolic for a system’s foundation, the shelter initiates as an individual space. The design allows the occupants to experience the open nature of the shelter, as well as an intimate perspective, due to the expanding shape, and seating arrangement. Just as the growth of community system enlarges, so does the atmosphere of the shelter. Via proportion to signify growth and area, the shelter progresses into a broader structure, allowing for more people to inhibit.

The site and position of the shelter directly relate to the concept of systematic growth.  Simply designed, the structure’s materials and assembly further investigate said notion. The metal of the frame, roof, and seats, represents the goal of growth and awareness. The window panels, on the other hand, represent the clear path in which a goal can be obtained. The simplicity of the design is meant, not to distract the viewer from the surrounding location, but rather guide the attention to the greater community.

Every structural component of the shelter is displayed, allowing the community to understand the concept of small mechanisms working together to benefit the whole. The end result of this systematic growth potentially could and should expand far beyond comprehension, successfully reaching a communal goal. 



Tuesday, October 7, 2008

Drawing Exercise Weeks 4-6

Week 6
Coffee Table: Charcoal 

Week 5
Desk: Colored Pencil

Week 4
Beach House: felt tip pen

Friday, October 3, 2008

Revolving Lines

Shelter: BUS


Devastation and turmoil are amongst the various terminologies used to describe the aftermath of a natural disaster.  Fearsome to behold, these forces have the ability to snap the backbone of a community in mere seconds. Just as natural disasters follow a path of wreckage, the relief thereafter should pursue in its wake. The concept of this project is to provide said path of aid, by means of four volunteers, to revive a community in need. In other words, it institutes a revolving line of action to use. The shelter vehicle borrows core aspects of building and growth seeking, to provide shelter for volunteer relief workers.

Revolving and movement shape the interior of the vehicle; the focal point of the space being the datum line that runs the length of the bus. Symbolic of a pathway towards a goal, the datum hallway branches to the targets, or areas of the bus. Using proportion, as well as level progression, the hierarchy of space extends. Private and public rooms appear as the flow perpetuates. Since the only barriers between transitions are the pull-down screens in the thresholds, the atmosphere further develops the concept of flow and advancement. As not to complicate the environment, the color palate is natural and subdued.

This particular shelter bus aims to progress and revive a disaster stricken community. Working closely between the bus volunteers and the community would support the idea of support and growth in time of need, thus understanding aspects of beneficial, public design. 

Process to find Concept(a portion of it)

Working on a large sheet of trash paper, I tried to write anything and everything that pertained to my concept. It was helpful to have a large piece of process which showed going from  broad information to a more detailed approach. 

Initial Bubble Diagram:



Flow Diagram
Public Private Plan

4 Cross Sections
Detail Drawing: Pull down screens for privacy

Longitude 1

Longitude 2