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Heather SutherlandMaster of Interior Design Candidate

First Professional

Curriculum Vitae CV & Contact Info

Design

Collection of Musical Units

Interior Neighborhoods, Empire State Building Redesign Light & Dark. Line & Void

Objects Projection of “Light & Dark. Line & Void” Crystal Palace Truss System

Oh Gee! Room Partition System

The Pink House

Table of Contents

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8 - 15

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18 - 21

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24 - 26

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28 - 29

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Objects

WaffleWall Unterhaus Wall Section

Tiled Screen

Temporal Time

Research

Gelatin Based Bioplastic

Natural Dyed Wool

Personality in Relation to Ideal Working Spaces

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Education:

August 2014 - Present: University of Texas at Austin, Master of Interior Design I CandidateMay 2007: Graduate of Loyola University New Orleans, Bachelor of Fine Arts

Professional and Academic Research:

January 2016: Social Interiors: Engaging Objects and Environments, Book Proposal, Research Assistant to Tamie Glass Fall 2015: UTSOA Materials Lab, Research of Natural Dyes and Methods, Co-Researcher with Claudia RodriguezAugust 2015: 2015 Tallinn Architecture Biennial, ISSSStudio, Bioplastic Research and Production Assistant to Igor Siddiqui

Presentations:

November 2015: University of Texas at Austin, History of Interior Design II, Bauhaus Lecture, Guest LecturerOctober 2015: Austin Tinkering School, Meet a Material, Edible Materials Lab Presentation, Guest PresenterApril 2015: thinkEast, Edible Materials Lab Exhibition, Gelatin Based Bioplastic Presentation, Co-presenter with YingQian Zhuang

Professional Experience:

January 2015 - Present: Construction II: Interior Design, Materials and Assemblies - Teaching Assistant *Lead tours, lab sessions, and reading discussions. *Assist with grading assignments, developing and administrating exams, and gathering and uploading course content.September 2015 – Present: UTSOA: Materials Lab – Teaching Assistant (Jan 2015 - Present), Materials Lab Assistant (September 2015 - December 2015) *Preform material research and documentation. *Educate the public and University community about material investigations through exhibitions, workshops, and events. February 2015 – August 2015: Ecology Action - Intern *Performed research on issues of sustainability, community outreach, and waste diversion. *Worked on recruitment for the Austin Materials Marketplace, a project supported by the City of Austin and run in collaboration with the US Business Council for Sustainable Development. September 2014 – December 2015:: UTSOA: Lectures & Exhibitions – Mebane Gallery Assistant *Assist with installation and de-installation of professional exhibitions.July 2011 - August 2012: Hobby Local and Michaels Arts and Crafts - Crochet Teacher. *Taught beginner crochet using a project based methodology.

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Heather Sutherland 3818 Southway Dr #102(512) 496-8793 Austin, TX 78704Hjsuther@gmail.com

Professional Experience:

October 2009 – June 2015: Michaels Arts and Craft - Frame Shop Manager (April 2011 - December 2013), Custom Framer (2009-2015) *Built strong return customer base by providing excellent customer & design service. *Performed frame shop managerial operations, including interviewing, training, scheduling, andclientconflictresolution. *Specialized in mat color selection and advanced framing.

Professional and Academic Memberships:

January 2016 - Present: American Society of Interior Designers, Student MemberOctober 2015 - Present: International Interior Design Association, Student Member.October 2015 - Present: ISSUE, UTSOA’s annual, student run publication, Selection CommitteeSeptember 2015 - Present: Ampersand, Student chapter for IIDA and ASID, Member

Leadership and Recognition:

Spring 2016 - Present: Invited to join Tau Sigma Delta Honors Society (Mu Chapter)Spring 2015 - Present: Dean’s Ambassador for The University of Texas at Austin: School of ArchitectureWinter 2010 - Spring 2011: Knitting Technical Advisor and Social Media Organizer for “A Knitted Wonderland” at the Blanton MuseumFall 2009 - Summer 2011: Organizer for Knotty Knitters, Knitting and Crochet Club. *Organized thru Meetup with 150 members with multiple meeting locations.Spring 2007: Presented the Outstanding Bachelor of Fine Arts Award and the Outstanding Service Award by the Visual Arts DepartmentSpring 2007: Recommended for International Sculpture CompetitionSpring 2006: Presented the Outstanding Service Award by the Visual Arts Dept.

Community Involvement:

September2015: ZeroLandfill,InternationalInteriorDesignAssociation,Volunteer.October 2014: AIA Austin Homes Tour, Specht Harpman Architects, Docent. October 2014: Chinati Foundation’s Open House Weekend, Marfa, TX, Docent.September 2014: PARK(ing) Day 2014, Congress for the New Urbanism, Volunteer.

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GrasshopperDynamoSketchupeQuest

3D Printing3DS MaxAutoCADClimate Consultant

InDesignLaser CuttingPremier ProRevit

123DMakeCrochetIllustratorOffice

PhotoshopRhinoWindows & Mac

DesignPlace. Client. Program. These projects are grounded in reality, constrained by site, responsive to the program requirements. They vary in their location scale, from an alleyway wide, two story building to a city block wide, 102 story building. They respond to the needs of both organic clients - retirement age residents that desire a neighborhood feel in a dense urban environment, and inorganic clients - 18th and 19th century antique music boxes that need a quiet background to let their details shine.. These projects are full of content and context.

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Overlookingdoublehighgalleryspacefromsecondfloor

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Collection of Musical UnitsFall 2015Nerea Feliz8 Week Project

C.M.U. is a temporary exhibition design for the Visual Arts Center in Austin, TX. The exhibit displays 18th and 19th century music boxes housed in a modular display system. Using Charlotte Perriand’s “Biblioteque a Plots” as a precedent study, I played offheruseofcontrastingmaterialsandcantileversinmytwo-partsystem.Themainsystem functions as both the primary display system and the staircase, in addition to definingthecirculationandviewingareas.Interlockingconcretemodulescantileveroffeachother,usingthegallerywallsasthesupportingstructure.Nichescarvedintothe modules display the music box collection. Quiet, contemplative study of the col-lection is possible in the hidden alcove, underneath the arching modules on the south side of the gallery while an 18th C. salon-style display is viewable along the staircase. The secondary system consists of bronze boxes inset in the carved niches. With recessedlightingreflectingoffthesoftbronzesurface,themusicboxesappeartoglow from within.

Laser cut & 3-D Printed Model

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Axon Highlighting Module Typology

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Firstfloor,facingstaircaseandsalon-styledisplay

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Collection Display Modules

Interlocking Cantilevered System

Collection Display: “Aggregation: Salon-style Display”

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Intimate gallery display in the hidden alcove

Salon-style display along staircase

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Viewing platform overlooking staircase15.

Interior Neighborhoods, Empire State Building RedesignFall 2014Clay OdomFive Week Project

Aging cities and aging populations are a global issue. By 2050, 66% of the world population will live in urban environments while in the US, our current population of 65 or older will double. Urban environments become dense at the expense of private dwellingspace.We“downsize”and“streamlineourinterests”tofitintooureverdecreasing spaces. Community ties disappear as people age, as friends and family move, Memories become replacements for experiences. Restoring community while providing access to new experiences can reengage our aging populations. We can solve both urban density and disappearing communities by exchanging privatespaceforcommunityspace.Usingmodulardwellingunitsthat“justfit”theneedsofresidents,flexibilityandadaptabilityisbuiltintoaccommodateawiderangeof residents. The community space is generated within the “poche” of the dwelling units, with varying voids, views, and heights. The programs within the voids are reactive to the needs of the residents, prioritized over private space, stressing inclusiveness over exclusiveness.

FivefloorneighborhoodinlayersbyprogramApartmentmodulesaggregatedoverfivefloors16.

Apartment program and resident relationships and physical mobility

Desired spatial and experiential qualities

Apartment modules based on program and resident requirements

Fourthfloorwithviewsintofifth&thirdfloors

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Light & Dark. Line & VoidSummer 2014Smilja Milovanovic-BertramFive Week Project

Light & Dark. Line & Void is a proposal for a two artist sculpture gallery in a 17’ wide alleyway. Jean Tinguely’s “Hannibal II”, is a large, heavy, black metal sculpture with loud, clanging mechanical moving parts while Arthur Ganson’s “Meditation Series 1-3” are delicate, thin wire sculptures with hand-operated handles. Contrasting the light verticality of Ganson’s work with the heavy horizontal planes of Tinguely’s, vertical louvres on the east facing windows allows light to stream in while light penetrates the basementthroughvoidscutintothe1stfloorandroofabove.Theeyeisdrawnfrombelow ground by the horizontal lines cut into the walls and elevated by the vertical lines of the suspended staircase. A circuitous route allows each sculpture area to be experienced both within as participant and without as observer through apertures cut intothewallsandfloor.

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Longitudinal elevation, Facing South

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Overlooking Jean Tinguely’s sculpture, Stairs from lobbyExterior patio and balcony, East end

Handmade model, Longitudinal elevation, Facing South20.

Latitudinal cross-sections, (Left to Right) Lobby, Tinguely gallery and viewing room, AtriumwithsuspendedstaircaseandviewofGansongalleryonsecondfloor

Plan,Tinguely’sgalleryandfirstfloor

Plan,Lobbyandsecondfloor

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ObjectPaper. Ink. Metal. Plastic. These projects are site-less, client-less, program-less, but not without context. These projects may be in support of research, a presentation, an exploration of an earlier project, a prototype, or simply an exercise in learning a new skill. While often part of a greater whole, these objects have a sense of completeness, wholeness.

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Suspended staircase leading to Ganson’s gallery – Projection of “Light & Dark. Line & Void”

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Projection of “Light & Dark. Line & Void”Spring 2015Danelle BriscoeTwo Week Project

Apertures looking into Ganson’s gallery. Walkway connecting the exterior balcony to Tinguely’s viewing room

A re-examination of “Light & Dark. Line & Void,’ Projection was modeled and rendered in Revit, bringing materiality, light, and shadow to a pre-digital project.

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Hand-drawn technical drawing for a group presentation on the 1851 Crystal Palace. Using the original plates of construction documents by Sir Joseph Paxton as source material, this drawing shows the interior structural system including the second story walkway and the rain gutter system.

Crystal Palace Truss SystemFall 2014Benjamin Ibarra SevillaFive Week Project

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Oh Gee! Room Partition SystemSpring 2015Tamie GlassOne Month Partner Project (Partner Amy Witte)

The Widget - an insert in door knob kits - takes the place of a square knot in traditional macrame in this prototype for a proposed room partition screen system. Thefinaldesignwouldconsistoftubularsteelrodsandflangestoconnecttotheceil-ingandfloor.Usingmypreviousknowledgeofmacrame,Idesignedthescreenandconstructed the prototype while my partner digitially rendered the screen and compo-nents in Rhino.

Finished prototype using 120 widgets, hemp thread and wooden dowels

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Production process photos

Finished prototype

Perspective of installation of 10’x10’ room divider. Labor and Material Cost: $4,600 (Perspective room rendering by me, Screen rendering by Witte)

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The Pink HouseSummer 2014Igor SiddiquiOne Week Project

Exploded axon of Arquitectonica’s Spear House.

WaffleWallSpring 2015Danelle BriscoeThree Week Project

From a catologue of forms I generated in Rhino using a combination of operations, I selected one form to translate into an interlocking tectonic structure.

Detail

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0' 2' 4' 8' 16'

Unterhus Wall SectionFall 2014Benjamin Ibarra SevillaTwo Week Project

Technical hand drawn wall section of Pe-ter Zumthor’s Unterhus.

Tiled ScreenSpring 2015Danelle BriscoeTwo Week Project

Modular wall system designed for C-House using a parametric design tool, Dynamo. A scaled 5’x5’ section was 3-D printed.

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Temporal TimeSpring 2015Igor SiddiquiThree Week Project

Following a semester long study into Gela-tin-Based Bioplastic, I took advantage of its thermoplas-tic qualities by producing “Temporal Time,” a wall clock prototype designed for the bathroom which will soften and deform when exposed to heat and moisture. Us-ing a parametric design tool, Grasshopper, and basing formsonflowerpetals,Igeneratedmultipledesignsforpotential clocks and fabricated the highlighted form. By celebrating a limitation of bioplastics, its susceptibility tomoisture,thesefloralformswillwiltand“decay”overtime, invoking a sense of impermanence in a material that is traditionally designed to outlast life.

Initial shape formation

Final design

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Parametric designs based on seven petal shapes

Prototypes exposed to heat and moisture

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Proposedeffecttogelatinbasedbioplasticduetoexposuretoheatandmoisture

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ResearchIdeas. Exploration. Results. These projects consider a range of subject matter, from a sustainable alternative to plastic, to a look at how personality plays a role in spatial needsinofficeenvironments.Theseprojectsexploreanidea, a material, a process. They are a beginning. They answer questions, but leave space for further study.

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Prototype showing digital design possibilities and physical properties of gelatin based bioplastic

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Gelatin Based BioplasticSpring 2015Igor SiddiquiSemester Long Partner Project (Partner - Yingqian Zhuang)

Through a semester long studio entitled, The Edible Materials Lab, my partner and I explored the physical properties, limitations, and digital possibilities of gelatin based bioplastic. We learned how to vary its properties, like transparency and opacity, orflexibilityandrigidity,byvaryingadditivesandexploredcuringmethods,whichpro-duced widely diverse results. Physical transformation of the cured material was also explored, including laser cutting, etching, layering, and shaping through self-adhesion. The entire studio’s work was exhibited at thinkEast, part of the citywide Fusebox festi-val. For the exhibition, my partner and I digitally designed and fabricated a prototype which demonstrated the range of properties of bioplastic. I also created a sample set which could be easily handled by the public.

Sample disks showing color and opacity/transparency range

**Photo credit: Igor Siddiqui

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Properties (Left to Right): Transparency, Opacity, Pattern Imprinting, Laser Cutting & Shaping Through Self-Adhesion

Effectofheatonpartiallycuredsample**

Sample sheets showing a range of properties**

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Natural Dyed WoolFall 2015Jen WongSix Week Long Partner Project at the Materials Lab (Partner - Claudia Rodriguez)

I performed the preliminary research on wool dyeing processes, natural dye materials, and mordant. My partner and I jointly processed the wool and created dye baths. We experimented with both hot and cold dye baths and a range of natural dye materials, including berries, the skins of fruit and vegetables, and spices. The research culminated in a workshop on felting by Laura Grenard, where I gave a short presentation on our research with natural dyes.

Production

Turmeric hot dye bathDye materials41.

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5. 6.Brown and white wool dyed with:

1. Avocado Skin Hot Dye Bath2. Chopped Beets Hot Dye Bath

3. Blackberry Hot Dye Bath4. Indigo Hot Dye Bath, Double Dip

5. Turmeric and Indigo Hot Dye Bath6. Turmeric Cold Dye Bath

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Personality in Relation to Ideal Working SpacesFall 2015Tamie GlassSemester Project

My overarching goal was to develop a design criteria, based on the LEED sys-tem,toscoreofficeenvironmentsandcoworkingspacesonhowinclusivetheirworkenvironments are for employees across the full Extraversion spectrum.

To determine the design criteria basis, I created a survey to identify Extraver-sion and Introversion personality traits, using surveys that identify the Big Five facets of personalityandspecificsub-traitsthatmaybespecifictocomfortandneedsinofficeenvironments. The survey then asked respondents about their ideal work environ-ment for focus oriented tasks. Ideally, further surveys would ask about a range of work types (collaboration, learning, etc.) The survey results could be analyzed for coorela-tions between personality and spatial needs. I tested the survey on a small sample group at a local coworking site, Vuka.

Based on research, I considered six spatial criteria: physical enclosure, proxim-ity of enclosure to ones body, proximity of nearest neighbor, visibility to others, seating types, and working surfaces. Using two of these, physical enclosure and proximity of enclosure, I created a spectrum of work spaces that could determine an individual’s preferred working environment. With a large enough data set, coorelations between high and low Extraversion and preferred working environments could determine an overall design criteria for Extraversion and work place needs.

Question 2: 24 statements to address key sub-traits of Extraversion, Neuroticism, Conscientiousness, & Openness, 43.

Question 5: Visibility to Others

Question 6: Proximity to Others44.

Extraversion levels of entire survey sample set

Responses to gregariousness, a subtrait of extraversion, from the entire survey sample set

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Data Generator: Due to the nature of the survey software, individual results could not be calculated. As the importance of each person’s individual responses to the personality questions were paramount to understanding and comparing their spatial preferences, I created a

program to translate the personality portion of the survey into easily comparable results.

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Physical Enclosure vs. Proximity of Enclosure

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Physical Enclosure vs. Proximity of Enclosure High Extraversion Respondent

Low Extraversion Respondent

Comparision of two design criteria Application of design criteria to two survey respondents48.

Heather SutherlandMaster of Interior Design Candidate

First ProfessionalHjsuther@gmail.com