1

INTERIORARCHITECTURE

Table of Contents

5 Top & Bottom

Design IV

17 Man & Nature

Design II

21 Old & New

Design III

25 Sound & Silence

Design I

29 Trash & Treasure

Construction II

31 Black & White

Viscom I

3

Top &

Design IVInstructorIgor SiddiquiSpring 2014

This project started with a precedent study of up and coming fashion designer Kris Van Assche. With a thorough understanding of Kris’s work, the project aim was to interpret his design decisions as a fashion designer into a space that would both reflect and exhibit his work in a retail setting.

Immediately, I admired the way Kris Addressed the distinction between upper and lower in both a physical and symbolic manner. This distinction became thePremise through which I filtered each of my own design decisions for the duration of the project.

5

The project progressed from designing a two-dimensional pattern wall to a Three-dimensional pop-up shop and eventually a flagship fashion boutique.

K R I S VA N A S S C H ES P R I N G / S U M M E R ‘ 1 4

K R I S VA N A S S C H EF A L L / W I N T E R ’ 1 4

K R I S VA N A S S C H EF A L L / W I N T E R ’ 1 3

K R I S VA N A S S C H EF A L L / W I N T E R ’ 1 4Hedi Slimane | YVES SAINT LAURENT

Rive Gauche pour Homme Line

2Jean Paul Gaultier

“...his interest in being a designer was confirmed as a

result of going to see a Madonna concert”. -GQ magazine

| 1998-2000

K R I S VA N A S S C H ES P R I N G / S U M M E R ‘ 1 4

4

InternedHedi Slimane | YVES SAINT LAURENT

Rive Gauche pour Homme Line

| 1998-2000

everyone was fighting for the same internships but by another mira-

cle, I won a place at Yves Saint Laurent. And once you have a place, you

need to work really hard to keep it." -KRIS VAN ASSCHE

5

| ARTISTIC DIRECTOR

Dior Homme

| APRIL 2007-

“I was taking over a success story, which

is really tough to do, because nobody

wants you to do the same thing and nobody wants you to change.” -Kris Van

AsscheK R I S VA N A S S C H E

F A L L / W I N T E R ’ 1 3

Precedent ResearchUnderstanding the mind-set of Kris Van Assche was an Part of being able to create a space for his brand. The prec-edent study period was a week and a half and ended with a verbal presentation about the designer. My main goal during this period was to understand how he thinks and views de-sign.

7

Pattern WallAfter researching Kris Van Assche’s work, the next step of the project was to implore his aesthetic into a repeating wall paper pattern. This would then be plastered onto a building of in the city of Austin to advertise the brand.

FRONT ELEVATION

BACK ELEVATION

SECTION 1/2”=1’ ELEVATION 1/2”=1’

PLAN 1/2”=1’

Pop Up Shop Translating these initial graphic observations into a formal expression 3-dimensionally, my pop-up-shop consisted of an undulating bottom that was folded to Support the top panels from which the shirts hung. I continued with this idea of the upper and lower. From one side of the pop up shop, you can only see the tops, and from the other, you can only see the Bottoms. Each look has its own moment as you experience the whole.

Rendered of elevation.In this project, I used revit render for all of the renderings.

9

Pop Up Shop rendering done using revit.

SECTION 1/2”=1’ ELEVATION 1/2”=1’

PLAN 1/2”=1’

Kris VanAssche Flagship Fashion Boutique

The strategy I Implemented consisted of an outer shell for clothing display and storage, and an inner row for the Mannequins to display each look. I intended for the space to display the clothing in a way that was not conflicting.

This desire resulted in a only using three materi-als. Concrete for the bot-tom and black stained wood for the top. There is a datum that cuts through the entire proj-ect at the waist line that is made of glass, giving a clear visual throughout the entire space. The threshold, shown as or-ange with dots would be designed for season.

This was to create anImmersive effect and allow the space to be relevant to each season.

11

Original sketch showing how clothes could potentially be displayed.

This was the first project where I began to use Revit to render. I focused on setting the materials and getting the lighting right.

SECTION-A

SECTION-A

SECTION-B

SECTION-B

RCP 1/4"= 1'PLAN 1/4”= 1’ RCP 1/4”= 1’_

SECTION A SECTION B

Diagrammatic model showing howPop-up shop scheme might be Implemented into the site.

Exterior rendering showing the space and signage.

13

SECTION-A

SECTION-A

SECTION-B

SECTION-B

RCP 1/4"= 1'PLAN 1/4”= 1’ RCP 1/4”= 1’_

SECTION A SECTION B

Rendered cabinet unit Showing accessory Display. At this Point I began To use renderingsTo show Specific Details of A project.

Study model of a row of cabinets.

Render showing both the mannequin display in front and the cabinets in the background.

15

Final model photo

Render showing seating that I designed using wood and concrete. You can also see the dressing rooms to the left of the image.

Man &

Design IISpring 2013Instructor Alan KnoxLady Bird Wild Flower Center

My struggle with this project was dis-turbing the landscape which housed the largest variety of wild plants in texas. The program for the building was a research center where students could learn about the species of wild flowers growing here. There were also two rest rooms and an event center.

My solution was an L-Shaped plan that optimized the view of the landscape. What made this project unique was the way that the land encompassed the building, Allowing the species of wildflowers to take residence on the building well.

Massing model showing original intentions.

17

Womens RestroomWomens Restroom Mens Restroom Resource Center

Event Space

Circulation, Water-runoff and shading diagrams.

Rendering from inside the event space looking out to the landscape.

19

Old &

Design IIIFall 2014Instructor Tamie GlassAustin Poetry & Literature Center

The program for this project was to house a collection of poems and temporarily Accommodate the state poet laureate. The approach I took to this project was forward and focused on taking advantage of the technology we have today to create a Paperless library. This idea of old and new came from the hundred year site. I chose to contrast this age with design choices that reflect the present day.

The intent was to free up square footage that would otherwise be used for a vast amount of book storage and instead use it for other programs that allowed users to interact in other ways with poetry. The library housed a performance space for poetry readings. This idea of old and new came from the hundred year site. I chose to contrast this aged site with contemporary design decisions.

21

Mid-review model showing the entrance sequence and upper and lower levels.

Hybrid Rendering: Analogue two- point constructed perspective materials rendered in Photoshop.

EAST ELEVATION1/4” : 1’

SECTION 11/4” : 1’

SECTION 21/4” : 1’

AUSTIN POETRY & LITERATURESECTIONS & ELEVATIONS

LEVEL 3

LEVEL 1

LEVEL 2

Axonometric Sketch looking at vertical Circulation placement

23

1

DN

OPEN TO BELOW

UP

UPUP

UP

DN

LEVEL 1 | 1/4”:1’

LEVEL 2 | MEZZANINE | 1/4”:1’

LEVEL 3 | 1/4”:1’

23

4

5

6

7

8

9

10

11

KEY

1 BAR SEATING2 COFFEE BAR / CIRCULATION DESK3 TABLE SEATING4 PERFORMANCE STAGE5 OFFICE AREA6 LIVING AREA & KITCHENETTE7 BEDROOM 8 POETRY & ART EXHIBITION AREA9 UPSTAIRS BAR SEATING10 SEATING AREA11 COMMUNAL SEATING AREA

UP

UP

DN

N

AUSTIN POETRY & LITERATUREPLAN | 1/4” : 1’

Final model photos

Sound &

Design IFall 2012Instructor Clay OdomMusic Venue

The first semester focused onCompositions. More specifically, tectonics and carving space from a volume. The program for out project was a music venue that houses livePerformances. My intent for this project was that the exterior would reflect the protrusion of sound out into the city of Austin.

25

Hybrid RenderingAnalogue two-point constructed perspective.Rendered in Photoshop.

27

Trash &

Construction IISpring 2015Professor Tamie GlassInnovative Assemblies ProjectCollaboration with Betsy Quan

My construction II class emphasized the impact designers can have on the environment. The prompt for this project was to re purpose a ma-terial that would otherwise go into a land fill. Our design used rubber base board and old shutter doors from our local habitat restore. We then used plastic bottles for plant-ers and placed them in the pockets we formed by weaving the rubber base board through the shutter doors. The result was a modular, stackable vertical garden we called Renewall.

29P R O C C E S S P H O T O SP R O C C E S S P H O T O SP R O C C E S S P H O T O S

P R O C C E S S P H O T O SP R O C C E S S P H O T O S

P R O C C E S S P H O T O S

Black &

Viscom IFall 2012Professor Joyce Rosner

Left: Free hand shaded drawing.

Right: Free hand drawing of an antique apple peeler.

These drawings emphasize the strength of analogue drawings.

31