DESIGN PORTFOLIO

un ive r s i t y o f wash ington - - m. a rchke l l y ann peop les

Table of ContentsVilla in a Box ........................................................ 4

Edgewater Park .................................................. 14

To Go*................................................................. 20

The Bearded Lady*.............................................. 26

Mixed Media........................................................ 36

Photography ........................................................ 42

Group Project Explanations ................................. 49

*Group project.

Villa in a BoxOregon Coast

INSTRUCTOR Kimberly Hill COURSE ARC 401

A successful couple nearing retirement will utilize a 2 by 3 acre site for entertainment

and relaxation that takes into account various views and multiple types of spaces at a

variety of scales. Additionally, there is a strong emphasis upon an architecture and garden

connection: one that is ideally seamless.

The hypothetical site has no topography or vertical restrictions. The garden spaces must

be designed within this highly constrained project envelope.

The archetype of the villa is characterized by an emphasis on the pleasure factor. Its form

has shifted in order to reassert modernity and meet the defining issues of a twenty-first

century culture.

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The wall disintegrates once it meets the main circulation path. The path remains

unbroken, but the collision alters its direction. Man may affect the state of the

earth, but nature will long outlast man.

The convergence of the axes will resonate with the site occupants: as they

emerge through the site’s nucleus, the coastline’s full scenery is finally revealed.

Coastline at Dawn8

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A patch of large, coniferous species, such as Lawson’s Cypress and Jeffrey Pine. Continues beyond site extents.

Intended to function as a natural water garden and a barrier between more dense tree growth and the boardwalk.

Grouping of common trees which reach moderate heights. Pacific Dogwood, Oregon Myrtle, and Pacific Madrone.

Function as intermediate divider between the creek bed and the visual “wall” of quaking aspen trees.

Grants a pristine view panoramic view of coastline. Is reached by climbing several stairs. Is fragrant backdrop to adjacent teahouse.

May serve a variety of purposes: open space for social gatherings, small performances, or a number of outdoor activities.

Grove functions as a meditative garden and borders the sloping, open lawn.

Situated near near the teahouse itself, which may serve as a temporary storage and / or preparation area for the hardy greens.

Implemented to function as visual “walls” within the design. Their foliage will shift to a rich, golden hue during the fall.

Directs occupants to the coast in the distance, and entices them to walk toward the hub, revealing the lighthouse and the scenery.

Emphasizes the journey within the site: beginning at the entry, it extends toward the coast, parallel to the boardwalk.

Acts as a counter to the axial entry into the site. Divides the teahouse area into public and private zones.

Much shorter in height than the primary. Acts as partial divider between boardwalk and the areas directly adjacent to the teahouse.

A bisected glass volume. Wooden louvers modulate its transparency. A butterfly roof collects water that is stored for the gardens.

Act as a visual ceiling spanning the open lawn. Functions as a simple sundial.

Unique design features two lanes. Access is granted by a ladder from the teahouse deck, which cantilevers over the pool itself.

Boardwalk12

View of Lap Pool

Framed Perspective View Flower Garden 13

Edgewater ParkCleveland, Ohio

INSTRUCTOR Kimberly Hill COURSE ARC 401

In the early twentieth century, Cleveland’s parks were popular destinations: large,

neoclassical bathhouses lined the waterfront, and hundreds of beach goers enjoyed the lakeside together. Edgewater park, located west of downtown, was no exception. Yet

today, it has fallen largely to neglect.

How might an anchored design emerge from a site that has been heavily infilled over the

last half century? The study of Cleveland itself represents a point of departure for form,

pattern, and texture. Hardy species of coastal plants native to the region act as focii for a new Edgewater Park. The various densities, heights, colors, and scents delineate its form. As time progresses, it is expected that these

plants will begin to spread and define their own boundaries, just as Clevelanders will

contnue to continue to change and evolve themselves.

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Original postcards from the early twentieth century reveal an Edgewater Park that was a popular Cleveland destination. Also evident: the site’s original sloped hillsides, which are mitigated by heavily infilled land today.

Extended site proposal16

to the left:A zonal diagram of Cleveland itself is the departure

point for several two dimensional, graphic studies and expansions which ultimately coalesce into a pattern for

wildflower distribution density.

below:Current photographs of Edgewater Park reveal a

largely flat, infilled site. Although it is used frequently by Clevelanders, it is no longer the destination that it

once was. It is also home to an extremely harsh climate, thereby requiring new landscape design plans utilize

native, hardy species.

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A grid comprised of birch trees provides gathering spaces ideal for interaction, picnics, or quiet contemplation. They also act as a buffer from the site’s southern border: a freeway. A raised observation deck with concealed parking beneath it shields the site from this variable, while recalling the form of the piers and quays. The city of Cleveland was conceived as a port city, after all.

The southwestern corner of the site features sloping hills and masses. These forms are in reference to the shore’s natural, unaltered topography, which is so clearly depicted in postcards from years past. A formal green occupies the northenmost portion of the site, suitable for a variety of uses throughout the extreme climate. Popular activities such as fishing and swimming will continue to thrive within a more natural, at once edcuational site for Clevelanders and visitors alike.

Featured wildflowers include Blazing Stars, Purple Asters, Bluebells, and Goldenrods.

Concept diagram: the site is broken into specific zones.

Site section, looking west18

Project site in relation to downtown Cleveland. The birch tree grid features openings meant for picnic areas and contemplation.

The northernmost portion of the site receives the harshest weather and functions as an open green.

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To Go*Restaurant Concept

INSTRUCTOR Mary Ben Bonham COURSE ARC 402C

To-Go: Making the restaurant “to go,” rather than the food.

Imagine a dining experience in which all the meats, vegetables, grains, spices and fruits are

guaranteed fresh. Consider a menu that is in constant flux in accordance to the season. Learn new ways to prepare food staples that

are constants in your kitchen. Ensure that the entreé on your plate is never from a source

hundreds of miles away.

Reconfigured shipping containers provide the framework for a new dining concept:

the traveling kitchen. The restaurant targets various regions based on the most

advantageous time to harvest. Partnerships are established with local farmers and

butchers: their goods are purchased as the kitchen’s supply throughout its stay. Sites are preferably tied to the local farmer’s markets,

allowing locals to investigate and explore.

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Through the use of shipping containers, To Go conveys an experience in which patrons can appreciate the reuse and redesign of existing materials and ideas. Customers can enjoy an innovative dining experience in which the destination travels to the consumer.

Menus are conceived by location and consistently rehash the traditional foods of the region so as to re-educate locals that have long since adopted them into their homes.

Elevation of Fruit Wall and main outdoor dining area.

Elevations: Kitchen container (foreground), Retail container (background)

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Perspective of the Kitchen container (foreground) and the Retail container (background). Branding Appliations 23

The site is easily assembled within a half day’s time and can be on the road as soon as interest or food supplies have waned.

10 AMMenu is posted and printed. Tables are set. Food preparation continues.

9AMShoppers return with food purchases and organize food in kitchen. Menus are determined based on available ingredients.

12-9 PMTo Go is open to the public for lunch and dinner.

9 PMWaste is disposed of and kitchen is cleaned and sanitized. Booths and freestanding furniture are repackaged.

10 PM Containers are reassembled and secured. If they are departing, cranes lift them onto trucks in anticipation of their next region.

Section perspective and site timeline diagram.24

Raised outdoor dining area.Concept sketch for booth designs.

Booth perspective.

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The Bearded Lady*Cincinnati, Ohio

INSTRUCTOR Mary Ben Bonham COURSE ARC 402 C

Cincinnati natives have long since recognized the unique characteristics of the city’s gaslight district, Clifton. It is home to a great range of ethnic groups and many young working class

professionals that pride themselves upon their large variety of independent businesses

and shops. Clifton acts as a gateway into several important Cincinnati areas,

including the University of Cincinnati and its burgeoning college populace.

A former automotive repair garage, built in 1927 and located at Clifton’s principal

intersection, is to be revisited as a microbrewery and restaurant. The Bearded Lady was founded upon a satirical premise: to delight and rejoice in the unobtrusively

awkward. This is to be a most appropriate destination for fiercely proud locals, as Clifton itself is an odd homage to times-gone-by and

many eccentric characters.

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The site, Ludlow Garage, is rife with inspiration. The surrounding streetfront is diverse and eclectic, even including an old movie theatre which seems to have emerged straight from the fifties glory days.

The target market is young, working professionals. There are many recent graduates living in the area, and the University of Cincinnati is located nearby.

Various imagery helped inspire the Bearded Lady’s satirical concept: celebrating the unobtrusively awkward.

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Other patrons share the main storefront. Ramped entry grants access into an all-encompassing form that houses both circulation and the brew

process. The gesture is clad in wood to highlight directionality and flow. It anchors the varying levels of the design’s intensity: light and natural at the top, where grains are stored; greater saturation at ground level, in which most dining needs are met and brewing occurs; and dark and lush at the

basement level, home to fermentation and “The Underbelly” bar.

The all-encompassing form not only separates the levels by varying degrees of intensity, but it also enables the brewprocess to flow in a more natural direction: downward. Much of the piping is concealed from within.

light,earthy

bright,saturated

lush,dark

Project Branding 29

Identity Map30

Floor Plans 31

The eastern row of fermentation tanks border the site’s loading dock and grant easier access to facilitate the bottling process. Much of this occurs offsite in order to conserve overall space.

Fermentation tanks border the path to the Underbelly. The natural sequencing of brewing has been aligned with an overall progression from light to heavy intensity. The tanks border the main circulation path, dividing it from the kitchen while allowing glimpses within.

The wort sequence represents customers’ first peek at the sequence, as it borders the entry waiting area. The lauter tun is located directly benath the second floor’s mash tun, thereby connecting the two floor zones together in a downward flowing process.

The tasting room houses various grains, the grinder, and the mash tun. Imagine sipping a sampling of cold, fresh brews as you learn about the very grains that give our beers their distinct flavors.

Waiting AreaBooth Concept Diagram

Brewing Diagram

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The beers have all been derived from various “taboo” origin: Broken

Mirror, Crytal Ball, Lucky Penny, Red Headed Siren, and Ashes to

Ashes. Their very personalities are translated into dining concepts:

each beer has its own unique booth, capable of suiting large or

small parties. The beer colors are illuminated by way of a unique

lighting system, which casts the glow of each individual room outward

onto an adjacent alley.

Not only do the booths illuminate this secondary entry route which connects the rear parking to the restaurant, but they also receive greater daylighting. The exterior

glass is frosted to allow for a degree of privacy for dining patrons. Nonetheless, the bright assemblage of colors display the Bearded Lady’s

frivolity for all to plainly see.

Private Booth, based on “Lucky Penny” Beer

Bottle DetailsGlasswareTake-Out Box 33

Various branding schemes enliven the dining scene and contribute to the dining environment.

Pilsner glasses, for example, feature literal “beards” which are then featured by unsuspecting drinkers. Likewise, handmade felt and yarn beards are available for purchase for those who wish to bring the experience home.

For those not merely content with felt beards, t-shirts are also available for purchase.

The storefront is limited due to other, existing patrons, but there is more than enough room to display artwork prominently from the second floor. Also, an original garage door entrance has been converted into an entry ramp.

Street PerspectiveHandmade BeardsCustom Pilsner Glass34

to the left:Fermentation tanks border the edge of the Main Event dining area, granting

patrons a view into yet another step in the brewing process.

below:Custom patterns have been implemented throughout the Bearded

Lady’s booths, upholstery, and other various items. The Tasting Room’s centerpiece is its feather patterned bar.

Custom Patterns The Tasting Room Bar 35

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Mixed MediaAn Assemblage of Various Mediums

Traditional ArtMarker + Ink

A sampling of various traditional mediums.

Highlights include the following:

Charcoal Portrait:Utilizes the “Sight-Size” technique as instructed by

the Charles H. Cecil Studios in Firenze, Italia.

La CupolaSketch of the dome of St. Paul’s Cathedral; Roma,

Italia

Site VignettesCharettes conducted in Venezia and Lastra a Signa, Italia.

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Traditional ArtMarker + Ink

Some marker + ink samples.

to the left & below:A rendering for a simple cabin design. [Fig. 1]

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Indexing ProjectEliminating the “I-don’t-remember-its-name” Excuse

As with any profession, it is important to remain informed with regard to developments, trends, and the passage of knowledge. But what is the value of information that is forgotten? Far too

often in conversation, the precise name or designer of a project eludes me. How might this data be stored more effectively?

Interests are divided into six categories. Each is represented by a different color, and designed to fit on a simple 3” x 5” index card. The cards enable projects to be printed and easily distributed to

a friend eager for some inspiration, or perhaps bound together or some current favorites.

The software Punakea is used to tag each completed “card” with informaton and phrases. The software measures the popu-larity of various tags and acts as a search engine. It quickly nar-rows down the scope of what one is searching for, whether you

are thinking of that “One garden outside of Barcelona by that really crazy French dude” or the “Cabin in Minnesota that reuses shipping

containers in a really interesting way.”

Thus a better process of storing information is conceived, at once customized to my personal interests, habits, and thought process.

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Model-MakingConceptual + Final

Model-making capabilities demonstrate a particular fondness for woodworking.

top left:Library Sculptural Model

Pine + PlexiglassPinheads used as fasteners.

bottom left:Library Model

Pine + Bass Wood + Plexiglass + Chip BoardPrior sculptural model influences layout and form. Project to be clad in Prodema Laminate products.

above:Parti Model

Pine + Plexiglass[Carol Cobb Turner Branch Library;

Mark Scogin Merrill Elam Architects]

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PhotographyCollected Moments

The following photographs represent scenes which I found particularly evocative.

I have long held an allure for photography’s ability to immortalize even the most

ephemeral of moments.

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Group Project ExplanationsPersonal Contributions

TheBeardedLady

Amanda Baker Interior DesignMelissa Burr Graphic DesignLiz Chmela Graphic DesignChris George Graphic DesignErica Sillin Graphic Design

I spearheaded our group’s design proposal, and I introduced the intial

project concept (celebrating that which is taboo and eccentric) and

restaurant title, “The Bearded Lady.” The architectural form which encompasses the project and directs both circulation

and brewing was also my suggestion. All architectural concept diagrams, 3D models and perspectives were

generated by me as well.

While the graphics work itself was done by my respective graphic design peers, I provided valuable feedback throughout their development. Likewise, they bore

much input upon the architectural aspect of the project. I thoroughly enjoyed working with all of them.

To-Go

Liz Chmela Graphic DesignAnnette Davisson Graphic DesignRyan Kalus Graphic DesignKatharine Land Interior DesignKristen Myers Graphic DesignSpencer Simms Architecture

To-Go was a brief, charette-themed project that spanned just three weeks

from inception to completion. The idea of a food caravan traveling from place to place based on the harvest was my own idea, and further enhanced by the input

of my group members.

Architecturally speaking, I was responsible for nearly all of the work,

including the design of the shipping containers and their sequencing. I

particlarly enjoyed working with Katie, who introduced many of the finer

details, such as the booth designs and fruit display wall. I am responsible

for the partial computer generated / partially drawn renderings, as well as all

concept diagrams and 3D modelling.

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