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