Jacqueline Teuber Portfolio 2015

J A C Q U E L I N E T E U B E R

P O R T F O L I O

RESUME 03

STUD IES 00

ENTERTA INMENT 05 RACONTEURS 05 FOLDED TECTONICS 11

RETA I L 15 GODIVA STORE 15 THE ESSENCE OF TRAVEL 19

RES IDENT IAL 23 S IGFR IDS RES IDENCE 23 CONCURRENT INFRASTRUCTURES 27

INST I TUT IONAL 33 RESEARCH CENTER 33 SH IFT ING SECUR I T I ES 39 PERCEPT ION + EXPER I ENCE 43

FOUNDAT ION 49 PROFESS IONAL 55

1

C O N T E N T S

E M A I L . T E U B E R J V @ G M A I L . C O MP H O N E . 3 3 0 . 8 8 3 . 4 9 0 5

A D D R E S S .6 2 7 5 E N R I G H T A V E . A P T . 3 WU N I V E R S I T Y C I T Y , M O 6 3 1 3 0

J A C Q U E L I N E

E D U C A T I O N

C O N T A C T

S K I L L S

A C H I E V E M E N T S

W A S H I N G T O N U N I V E R S I T Y I N S T . L O U I SS T . L O U I S , M I S S O U R IS A M F O X S C H O O L O F D E S I G N A N D V I S U A L A R T SM A S T E R O F A R C H I T E C T U R E C A N D I D A T EA U G U S T 2 0 1 2 - M A Y 2 0 1 5S T U D Y A B R O A D I N B A R C E L O N A, S P A I N, S U M M E R 2 0 1 4

AUTOCAD 2008-2015, VECTORWORKS 2008, ADOBE CREATIVE SUITE, MICROSOFT OFFICE, MAXON CINEMA 4D, FORM Z, GOOGLE SKETCH UP, RHINO 3D 4 AND 5, T-SPLINES, GRASSHOPPER, V-RAY, CURRENTLY LEARNING REVIT, HAND RENDERING (SEVERAL MEDIAS) , HAND DRAFTING, PERSPECTIVE DRAWING, SKETCHING, MODEL BUILDING, MANUAL PHOTOGRAPHY, DIGITAL FABRICATION, WOODSHOP, FAMILIAR WITH BOTH IMPERIAL AND METRIC SYSTEMS.

MARY PIPKIN AND JOSEPH YANDELL JOHNSON SCHOLARSHIP 2014-2015, THOMAS B. PERSONS AWARD 2011-2012, LENORE CUNIX LEVY ENDOWMENT FUND SCHOLARSHIP 2011-2012, THOMAS B. PERSONS AWARD 2010-2011, KNOLL SCHOLARSHIP 2009-2010, LENORE CUNIX LEVY ENDOWMENT FUND SCHOLARSHIP 2009-2010, CINCINNATUS CENTURY SCHOLARSHIP 2007-2012

R E F E R E N C E SATTACHED

U N I V E R S I T Y O F C I N C I N N A T IC I N C I N N A T I , O H I OC O L L E G E O F D E S I G N, A R C H I T E C T U R E , A R T , A N D P L A N N I N G B A C H E L O R O F S C I E N C E I N I N T E R I O R D E S I G ND E A N S L I S T 6 Q U A R T E R SS E P T E M B E R 2 0 0 7- J U N E 2 0 1 2

L E A D E R S H I PW A S H I N G T O N U N I V E R S I T Y . MANAGER OF THE WHITAKER COMPUTER LAB. SPRING SEMESTER 2013. TROUBLE SHOOTING WITH I. T. ISSUES, HIRING, TRAINING, SCHEDULING, AND SUPERVISING STAFF.

E X P E R I E N C E

R O C K W E L L G R O U PN E W Y O R K , N E W Y O R KJ U N E - S E P T 2 0 1 1 / J A N - M A R C H 2 0 1 2 W O R K E D O N H O S P I T A L I T Y/ E N T E R T A I N M E N T P R O J E C T S N A T I O N A L L Y A N D I N T E R N A T I O N A L L Y ( U.A.E. A N D C H I N A) R E S P O N S I B I L I T I E S I N C L U D E D:C A D, R E N D E R I N G P L A N S A N D E L E V A T I O N S I N P H O T O S H O P, M O D E R A T E S P A C E P L A N N I N G, W O R K I N G O N C O N S T R U C T I O N D O C U M E N T S , C O O R D I N A T I N G C O N S T R U C T I O N S A M P L E S , I N T E R I O R E L E V A T I O N D E S I G N, A T T E N D I N G C L I E N T M E E T I N G S, W O R K I N G W I T H I N I T I A L C O N C E P T D E V E L O P M E N T A N D R E S E A R C H, M A K I N G I M A G E B O A R D S A N D P R E S E N T A T I O N S ( D I G I T A L A N D P R I N T E D) , D E V E L O P I N G P O I N T S O F V I E W, A N D G R A P H I C D I A G R A M M I N G

E C K E N H O F F S A U N D E R S A R C H I T E C T S

F R A N K S H I R L E Y A R C H I T E C T SC A M B R I D G E , M A S S A C H U S E T T SJ A N U A R Y 2 0 1 0 - M A R C H 2 0 1 0 W O R K E D O N R E S I D E N T I A L P R O J E C T S L O C A L L YA N D I N T E R N A T I O N A L L Y ( E N G L A N D)

R E S P O N S I B I L I T I E S I N C L U D E:C A D, C O N S T R U C T I O N D O C U M E N T S A N D M I L L W O R K D R A W I N G S, M E E T I N G W I T H C O M P A N Y R E P R E S E N T A T I V E S , P I C K I N G F I N I S H E S , P R E P A R I N G I N T E R I O R F I N I S H P R E S E N T A T I O N S

C H I C A G O , I L L I N O I SJ U N E 2 0 1 0 - S E P T 2 0 1 0 / J A N - M A R C H 2 0 1 1

W O R K E D O N H E A L T H C A R E P R O J E C T S L O C A L L Y

R E S P O N S I B I L I T I E S I N C L U D E D:C A D, M E E T I N G W I T H I N T E R I O R M A T E R I A L R E P R E S E N T A T I V E S , R E N D E R I N G E L E V A T I O N S A N D P E R S P E C T I V E S I N P H O T O S H O P, M O D E R A T E S P A C E P L A N N I N G, W O R K I N G O N C O N S T R U C T I O N D O C U M E N T S , W O R K I N G W I T H F F & E, P R E P A R I N G I N T E R I O R F I N I S H P R E S E N T A T I O N B O A R D S A N D B O X E S , C R E A T I N G P R E S E N T A T I O N S, A T T E N D I N G C L I E N T M E E T I N G S

T E U B E R

U N I V E R S I T Y O F C I N C I N N A T I . D A A P A M B A S S A D O R 2 0 0 8 - 2 0 1 2 . T A F O R 2 S U M M E R C A M P S . S U M M E R 2 0 1 2 . H E L P I N G M I D D L E S C H O O L A N D H I G H S C H O O L E R S D E V E L O P D E S I G N S F O R O N E W E E K C A M P S , O V E R S E E I N G T E A M B U I L D I N G A C T I V I T I E S

R A C O N T E U R S I S F O L K M U S I C V E N U E T H A T F O C U S E S O N T H E I N T I M A T E , N O N - F O R M A L S T O R Y T E L L I N G

A S P E C T O F F O L K M U S I C . T H E E N V I R O N M E N T B E C O M E S A S E N S O R I A L E X P E R I E N C E O F T H E M U S I C T H A T

E M P H A S I Z E S T H E E M O T I O N A L C O N N E C T I O N P E O P L E H A V E W I T H T H E S E S O N G S . T H E P R O J E C T D E V E L O P S

A C O U S T I C S A N D L I G H T I N G T O S T R E N G T H E N T H E G E N R E S P E C I F I C V E N U E . T H E P R O J E C T B E G A N W I T H

T H E C R E A T I O N O F A P R O G R A M M I N G B O O K L E T I N T H E S P R I N G O F 2 0 1 1 , W H I C H W A S T H E N D E V E L O P E D

I N T O T H E P R O J E C T T H R O U G H T H E 2 0 1 1 - 2 0 1 2 S C H O O L Y E A R .

R A C O N T E U R S

U C C A P S T O N E S T U D I O : P R O F E S S O R S E D S O N C A B A L F I N , B R I A N D A V I E S , A N D H A N K H I L D E B R A N T

Studies: n. the cultivation of a particular branch of learning .

5

1 2 3 4 5 1 0 1 5 2 5

SF: 732 sq ft.Occupancy: 49 people

down

rest room

green room

elevator

open to below

open to below

mezzanine

bar elevator

down

1 2 3 4 5 1 0 1 5 2 5

SF: 2400 sq ft.Occupancy: 343 people

Clifton Avenue

Ludl

ow A

venu

e

down up

stage 1bar

box ofcemerchandise elevator

vestibule addition

soundstage 2

down

up

elevator

A.

MEZZAN INE FLOOR PLAN

AUTOCAD AND RENDERED WITH WATERCOLOR

B.GROUND FLOOR PLANAUTOCAD AND RENDERED WITH WATERCOLOR

C.3/16 SECT ION MODEL24L X 18W X 13 HWOOD, MDF, ACRYL ICLASER CUT AND HAND MADE

D.BAR TO STAGE PERSPECT IVE11 X 17

HAND DRAWN, RENDERED WITH WATERCOLOR AND PHOTOSHOP

E.3/16 SECT ION MODEL24L X 18W X 13 HWOOD, MDF, ACRYL ICLASER CUT AND HAND MADE

A

B C E

D

7

absorption

reflection

lighting and speakers

acoustic sectional diagram

reected ceiling plan diagram

acoustic diagram: stage 1

acoustic diagram: stage 2

absorption

reflection

lighting and speakers

A.

L IGHT ING AND ACOUST ICS D IAGRAMCAD AND I L LUSTRATOR

G.

ENTRY PERSPECT IVE11 X 17


B.INSP I RAT IONAL MOOD BOARD IMAGEOR IG INAL PHOTOGRAPHY

H.STAGE TO AUD IENCE PERSPECT IVE

11 X 17


C.INSP I RAT IONAL MOOD BOARD IMAGEOR IG INAL PHOTOGRAPHY

I .INSP I RAT IONAL MOOD BOARD IMAGEMANIPULATED IN PHOTOSHOP

D.INSP I RAT IONAL MOOD BOARD IMAGE

E.MEZZAN INE PERSPECT IVE11 X 17


J .BAR STAGE PERSPECT IVE11 X 17


F.3/16 SECT ION MODEL24L X 18W X 13 HWOOD, MDF, ACRYL ICLASER CUT AND HAND MADE

A B

C D

E F

G

JI

H

9

F O L D E D T E C T O N I C S

W U S T L 3 1 7 C O R E S T U D I O : P R O F E S S O R A N D R E W C O L O P Y


T H E P R O J E C T C U L M I N A T E D F R O M S E V E R A L S M A L L E R P R O J E C T S T H R O U G H O U T T H E S E M E S T E R . T H E F I R S T

P A R T W A S C R E A T I N G A M O D U L E T H A T C O U L D B E C O N T R O L L E D T O A L L O W O R B L O C K V I E W S . T H I S W A S

T H E N A D A P T E D T O A S I T E I N F O R E S T P A R K W H E R E A S E Q U E N C E A N D P A T H W A S E S T A B L I S H E D W I T H

B R E A K O U T B I R D W A T C H I N G S P A C E S , U S I N G T H E P R E V I O U S L O G I C E S T A B L I S H E D . T H E F I N A L P R O J E C T

C O M B I N E D T H E S E T W O S M A L L E R P R O J E C T S T O C R E A T E A N O B S E R V A T O R Y F O R T H E B A L L O O N R A C E A N D

B A L L O O N G L O W . T H E F I N A L P R O G R A M I N C L U D E D E X T E R I O R S E A T I N G , A M U L T I P U R P O S E R O O M , A C A F E ,

S T O R A G E , A N D S T A N D S F O R E X H I B I T I O N .

11

F O L D E D T E C T O N I C S

W U S T L 3 1 7 C O R E S T U D I O : P R O F E S S O R A N D R E W C O L O P Y


T H E P R O J E C T C U L M I N A T E D F R O M S E V E R A L S M A L L E R P R O J E C T S T H R O U G H O U T T H E S E M E S T E R . T H E F I R S T

P A R T W A S C R E A T I N G A M O D U L E T H A T C O U L D B E C O N T R O L L E D T O A L L O W O R B L O C K V I E W S . T H I S W A S

T H E N A D A P T E D T O A S I T E I N F O R E S T P A R K W H E R E A S E Q U E N C E A N D P A T H W A S E S T A B L I S H E D W I T H

B R E A K O U T B I R D W A T C H I N G S P A C E S , U S I N G T H E P R E V I O U S L O G I C E S T A B L I S H E D . T H E F I N A L P R O J E C T

C O M B I N E D T H E S E T W O S M A L L E R P R O J E C T S T O C R E A T E A N O B S E R V A T O R Y F O R T H E B A L L O O N R A C E A N D

B A L L O O N G L O W . T H E F I N A L P R O G R A M I N C L U D E D E X T E R I O R S E A T I N G , A M U L T I P U R P O S E R O O M , A C A F E ,

S T O R A G E , A N D S T A N D S F O R E X H I B I T I O N .

11

A.

B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

B.B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

C.B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

D.BALLOON OBSERVATORY EXTER IOR PERSPECT IVERH INO 2D EXPORT AND PHOTOSHOP

E.B I RD BL IND PATH MAPP INGS IGHT L INES TO CLOSEST TREES

24 X 36

HAND DRAFTED

G.S I TE SECT IONSRH INO/AUTO CAD AND I L LUSTRATOR

F.BALLOON OBSERVATORY INTER IOR PERSPECT IVERH INO 2D EXPORT AND PHOTOSHOP

H.BU I LD ING SECT IONSRH INO/AUTO CAD AND I L LUSTRATOR

13

Scale: 1/16 = 10 16 32 64 128

Scale: 1/16 = 10 16 32 64 128

NS Section

EW Section

Scale: 1/8 = 1

0 8 16 32 64

NS Section

EW Section

Scale: 1/8 = 1

0 8 16 32 64

A

C

D

E

F

G

H

B

A.

B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

B.B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

C.B I RD BL IND MODEL1/2 MODELI L LUSTRAT ION BOARD HAND MADE

D.BALLOON OBSERVATORY EXTER IOR PERSPECT IVERH INO 2D EXPORT AND PHOTOSHOP

E.B I RD BL IND PATH MAPP INGS IGHT L INES TO CLOSEST TREES

24 X 36

HAND DRAFTED

G.S I TE SECT IONSRH INO/AUTO CAD AND I L LUSTRATOR

F.BALLOON OBSERVATORY INTER IOR PERSPECT IVERH INO 2D EXPORT AND PHOTOSHOP

H.BU I LD ING SECT IONSRH INO/AUTO CAD AND I L LUSTRATOR

13

Scale: 1/16 = 10 16 32 64 128

Scale: 1/16 = 10 16 32 64 128

NS Section

EW Section

Scale: 1/8 = 1

0 8 16 32 64

NS Section

EW Section

Scale: 1/8 = 1

0 8 16 32 64

A

C

D

E

F

G

H

B

F O R O U R F A L L Q U A R T E R 2 0 1 0 , A S A S T U D I O W E P A R T I C I P A T E D I N T H E P A V E R E T A I L D E S I G N

C O M P E T I T I O N . T H A T Y E A R I T F E A T U R E D G O D I V A A S T H E C L I E N T . W E O N L Y F O C U S E D O N T H I S D E S I G N

F O R 5 W E E K S . T H E O T H E R 5 W E E K S W E H A D A S P O N S O R E D S T U D I O W I T H P R O C T O R A N D G A M B L E

F O R H E R B A L E S S E N C E S . H O W E V E R , W E A R E U N A B L E T O D I S P L A Y A N Y O F T H E W O R K F O R C O P Y R I G H T

R E A S O N S . F O R M Y G O D I V A P R O J E C T I F O C U S E D O N T H E Q U E S T I O N , H O W D O Y O U E N T I C E

S O M E O N E? T H E I D E A O F G I V I N G I N T O A G U I L T Y P L E A S U R E B U T F E E L I N G G O O D A B O U T I T I S W H A T I

W A N T E D T O P O R T R A Y I N T H E D E S I G N . L I G H T I N G A N D S P A T I A L O R G A N I Z A T I O N A R E W H A T I F O C U S E D

O N T O A C H I E V E T H I S .

G O D I V A S T O R E

U C R E T A I L S T U D I O : P R O F E S S O R B R I A N D A V I E S


15

G O D I VAPAVE Design Competi t ion 2010

A.

L IGHT ING D IAGRAM SECT IONS

RENDERED IN PHOTOSHOP

G.

INS IDE PERSPECT IVEGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

B.WEST ELEVAT IONGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

C.FLOOR PLANGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

D.STORE FRONT PERSPECT IVEGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

E.SOUTH ELEVAT IONGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

F.INS IDE PERSPECT IVEGOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

A

B

C

D

E

F G

17

F O R P A R T 2 O F M Y R E T A I L S T U D I O , F A L L Q U A R T E R 2 0 1 0 , W E W O R K E D W I T H P R O C T O R A N D G A M B L E

I N A S P O N S O R E D S T U D I O F O C U S I N G O N C R E A T I N G A N E X P E R I E N T I A L E N V I R O N M E N T T H A T C O U L D S P A R K

I D E A S F O R A N H E R B A L E S S E N C E B O U T I Q U E S T O R E . T H I S P R O J E C T W A S D O N E I N P A I R S . M Y P A R T N E R

A N D I W E R E L O O K I N G T O C R E A T E A R E F R E S H I N G E X P E R I E N C E I N T H E M I D S T O F T R A V E L . T H E P R O J E C T

W A S M O R E O F A C O N C E P T U A L P I T C H T O H E R B A L E S S E N C E T E A M M E M B E R S A N D I N C L U D E D M O V I E S A S

W E L L A S D E S I G N S .

T H E E S S E N C E O F T R A V E L

U C R E T A I L S T U D I O : P R O F E S S O R B R I A N D A V I E S


19

THE ESSENCE OF TRAVELHerbal Essences now at the ATLANTA AIRPORT

241,184 Passengers arrive at the Hartseld-Jackson Atlanta International Airport

of people that come into the airport see the installation.

DAILY

of those people

Thats 120,592 people50%

50% Explore the installation Thats 60,296 people

30

1

If up for a month

3,617,760 people see it and of those

1,808,880 explore the installation

452,220 take a picture

and post on

each have 50 friends that look at the picture

thats 22,611,000 outside of Atlanta, that see the installation

another 452,220 people talk to1 other person about the installation.

Thats exposure to another 452,220 people.

All by creating an Art Installation in the Hartseld-Jackson Atlanta International Airport

Herbal Essences

has the ability to reach 26,680,980 people in just 1 month

A.

PERSPECT IVE

GOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

G.

STORY V IGNETTESPHOTOSHOP WITH OR IG INAL PHOTOGRAPHY

B.PEOPLE REACHED D IAGRAM I L LUSTRATOR

C.INS IDE V IGNETTEPHOTOSHOP WITH OR IG INAL PHOTOGRAPHY

D.PROCESS SKETCHESPEN AND MARKER

E.F LOWER V IGNETTESPHOTOSHOP

F.PERSPECT IVE

GOOGLE SKETCH UP MODEL RENDERED IN PHOTOSHOP

A

F

G

D

E

CB

21

T H I S P R O J E C T W A S F O R A R E S I D E N T I A L S T U D I O H E L D I N W I N T E R O F 2 0 0 8 . W E H A D A C O U P L E A S

A C T U A L C L I E N T S F O R T H E S T U D I O W H O C A M E I N A N D V O I C E D W H A T T H E Y W A N T E D I N A R E S I D E N C E

F O R T H E M S E L V E S . T H E S I T E F O R T H E P R O J E C T W A S A H I S T O R I C F I R E H O U S E I N L E B A N O N , O H I O T H A T

W A S O N L Y 2 1 F E E T W I D E B Y 3 3 F E E T L O N G A N D 2 S T O R I E S H I G H . W E D E V E L O P E D C L I E N T I M A G E

B O A R D S A N D A P A R T I C O N C E P T T H A T D E V E L O P E D I N T O P L A N S , S E C T I O N S , A N D P E R S P E C T I V E S F O R T H E

C L I E N T . M Y I D E A F O C U S E D A R O U N D C R E A T I N G A N O P E N S P A C E W I T H V E R Y L I T T L E W A L L S A N D C U S T O M

M I L L W O R K A S A S P A T I A L D I V I D E R .


S I G F R I D S R E S I D E N C E

U C R E S I D E N T I A L S T U D I O : P R O F E S S O R S A N N B L A C K A N D R E B E K A H S I G F R I D S

23

Sigfrids ResidenceLebanon, OhioJackie TeuberFloor 1Scale 1/2= 1

East Elevation rotated 90 degrees

Sigfrids ResidenceLebanon, OhioJackie TeuberFloor 2Scale 1/2= 1

East Elevation rotated 90 degrees

Traditional Warm Clean Modern

Neutral Reds Daylight Open

A.

SECOND FLOOR PLAN AND CUSTOM MI L LWORK

PEN ON VELLUMHAND DRAFTED

B.F I RST F LOOR PLAN AND CUSTOM MI L LWORKPEN ON VELLUMHAND DRAFTED

E.INSP I RAT IONAL MOOD BOARD IMAGE

C.F I RST F LOOR PERSPECT IVE11 X 17

HAND RENDERED WITH M IXED MED IA

D.MATER IAL PALATE

F .SECOND FLOOR PERSPECT IVE

11 X 17

HAND RENDERED WITH M IXED MED IA

A B

C

D F

E

25

THE 419 STUDIO FOCUSED ON A SELF SUSTAINING HOUSING PROJECT. MY SITE IS LOCATED IN SHREWSBURY AT THE

METROLINK STATION. SELF SUSTAINING ARCHITECTURE, TO ME, IS NOT JUST AN APPLICATION OF SUSTAINABLE STRATEGIES,

BUT BECOMES A LEARNING COMMUNITY IN WHICH THE USERS ARE CONSTANTLY AWARE OF THEIR ROLE IN SUSTAINABILITY

THROUGH A CONSTANT INTERACTION WITH THE LANDSCAPE AND STRATEGIES. THE PROJECT BECAME AN ADDED

INFRASTRUCTURE ON THE SITE, JUXTAPOSING THE NEW SUSTAINABLE ON WITH THE EXISTING INDUSTRIAL ONE.

C O N C U R R E N T I N F R A S T R U C T U R E S

W U S T L 4 1 9 H O U S I N G S T U D I O : P R O F E S S O R E R S E L A K R I P A


27

SITE PLANSCALE 1/32 =1-0

N

A.

SECT ION (TOP)ELEVAT ION (BOTTOM)CAD/RH INO I L LUSTRATOR AN PHOTOSHOP

B.RENDER ING

RH INO, V-RAY, AND PHOTOSHOP

C.RENDER ING


D.RENDER ING


E.RENDER ING


F.1/16 SECT ION MODEL24W X 50L X 18 HWOOD, AND CH IPBOARDLASER CUT AND HAND MADE

G.1/16 SECT ION MODEL24W X 50L X 18 HWOOD, AND CH IPBOARDLASER CUT AND HAND MADE

H.S I TE P LANRH INO, V-RAY, AND PHOTOSHOP

I .TYP ICAL WALL SECT IONAUTOCAD, I L LUSTRATOR, AND PHOTOSHOP

29

A

B C D E F I

H

G

A.

UN IT LAYOUT D IAGRAM

CAD AND I L LUSTRATOR

B.GREEN SPACE AND TRANSPARENC IES D IAGRAM CAD AND I L LUSTRATOR

C.FLOOR PLANSCAD AND I L LUSTRATOR

D.UNIT LAYOUT PLANSCAD AND I L LUSTRATOR

E.UN IT E LEVAT IONSCAD, I L LUSTRATOR, AND PHOTOSHOP

F.UNIT LAYOUT D IAGRAM

RH INO AND V-RAY

G.1/32 STUDY MODELBR I STOL AND FOAM CORE

HAND MADE

H.1/16 SECT ION MODEL24W X 50L X 18 HWOOD, AND CH IPBOARDLASER CUT AND HAND MADE

I .1/16 SECT ION MODEL24W X 50L X 18 HWOOD, AND CH IPBOARDLASER CUT AND HAND MADE

31

A B

E F H IG

C D

R E S E A R C H C E N T E R

W U S T L 3 1 8 C O R E S T U D I O : P R O F E S S O R C A T A L I N A F R E I X A S


T H E 3 1 8 C O R E S T U D I O F O C U S E D A R O U N D C R E A T I N G A N E N V I R O N M E N T A L L Y S U S T A I N A B L E R E S E A R C H

C E N T E R W H I L E U T I L I Z I N G B I O M I M I C R Y T O D E V E L O P T H E P R O J E C T . I S T U D I E D T H E W A Y P R O T E I N S I N

S P I D E R S I L K C O N T R A C T A N D E X P A N D T O A L L O W F O R W E I G H T C O M P E N S A T I O N A N D S T R E N G T H . T H E

P R O J E C T T H E N U T I L I Z E D T H I S I D E A T O C R E A T E A L I G H T L O O K I N G S T R U C T U R E W H I L E C A N T I L E V E R I N G T H E

W H O L E C E N T E R O F F A 1 2 0 F O O T C L I F F A T T Y S O N R E S E A R C H C E N T E R . F O R T H E C L I M A T E P O R T I O N ,

I C H O S E T O F O C U S O N W I N D A N D P R E C I P I T A T I O N , S I N C E I W A S F O C U S I N G O N T H E C O M P E N S A T I O N

A N D E X P E C T A T I O N O F S T R E S S . W I N D C A N B E U T I L I Z E D F O R V E N T I L A T I O N I N T H E B U I L D I N G T H R O U G H

T H E P L E N U M S P A C E S I N B E T W E E N M E M B R A N E S . F O R P R E C I P I T A T I O N , I W A S L O O K I N G A T H O W T H E

B U I L D I N G W O U L D C A T C H T H E R U N O F F F O R T H E E X T E R I O R W A T E R T E S T I N G A R E A S , M U C H L I K E A S P I D E R

W E B C A T C H E S W A T E R .

33

A.

W IND AND WATER RUNOFF D IAGRAMGRASSHOPPER P LUG-IN FOR RH INO, CAD, AND I L LUSTRATOR

B.S I TE P LANCAD, I L LUSTRATOR, AND PHOTOSHOP

C.BU I LD ING SECT IONCAD AND I L LUSTRATOR

D.LOWER LEVEL P LANCAD, I L LUSTRATOR, AND PHOTOSHOP

E.UPPER LEVEL P LANCAD, I L LUSTRATOR, AND PHOTOSHOP

F.PHOTOGRAPH IC ORDERS

I L LUSTRAT ING B IOMIM ICRY INTENT

35

A

B C

D

E

F

A.

1/16 S I TE MODEL36L X 24W X 13 HMDF, F I SH ING L INE, AND CH IPBOARDHAND MADE

B.NATURAL LOGIC MODELIM I TAT ING SP IDER S I LK PROTE INS

RELAXED SECT IONWIRE AND EARR ING BACKSHAND MADE

C.NATURAL LOGIC MODELIM I TAT ING SP IDER S I LK PROTE INS

STRESSED SECT IONWIRE AND EARR ING BACKS HAND MADE

D.NATURAL LOGIC MODELIM I TAT ING SP IDER S I LK PROTE INS

DETA I L

W IRE AND EARR ING BACKS HAND MADE

E.NATURAL LOGIC MODELIM I TAT ING SP IDER S I LK PROTE INS

ELEVAT ION

WIRE AND EARR ING BACKS HAND MADE

E.1/16 S I TE MODEL36L X 24W X 13 HMDF, F I SH ING L INE, AND CH IPBOARD

HAND MADE

F.1/16 S I TE MODEL36L X 24W X 13 HMDF, F I SH ING L INE, AND CH IPBOARD

HAND MADE

F.1/16 S I TE MODEL36L X 24W X 13 HMDF, F I SH ING L INE, AND CH IPBOARD

HAND MADE

37

A

B C D E

F

G H

S H I F T I N G S E C U R I T I E S

W U S T L O P T I O N S T U D I O : P R O F E S S O R S T E P H E N M U E L L E R


T H I S O P T I O N S T U D I O F O C U S E D O N L O O K I N G A T T H E E N E R G Y I S S U E S S U R R O U N D I N G T H E C R E A T I O N

O F T H E K E Y S T O N E X L P I P E L I N E . I N I T I A L E X E R C I S E S I N C L U D E D G R O U P R E S E A R C H O N I S S U E S S U C H

A S H O U S I N G A N D I N F R A S T R U C T U R E S U R R O U N D I N G T H E D R A W I N G O F O I L F R O M T H E C A N A D I A N T A R

S A N D S D O W N T O T H E G U L F O F M E X I C O , A S W E L L A S A S T U D I O L E D F I E L D T R I P T O E X P E R I E N C E S O M E

O F T H E S E I S S U E S F I R S T H A N D . E A C H S T U D E N T W A S T H E N T O C H O O S E A S I T E A N D P R O G R A M B A S E D

O F F O F T H E S E R E S E A R C H E D I S S U E S T O C R E A T E A M O R E A R C H I T E C T U R A L O R U R B A N I S T I C S O L U T I O N T O

T H E E N E R G Y F U T U R E S D E B A T E . S H I F T I N G S E C U R I T I E S C R E A T E S A N E W M I L I T A R I Z E D E N V I R O N M E N T T O

P R E P A R E , P R O T E C T , E N F O R C E , A N D P R E S E R V E O U R E N E R G Y F U T U R E S , L O O K I N G A T T H E S H I F T I N L A R G E R

P R O D U C T I O N O F O I L F R O M T H E W E S T E R N T O T H E E A S T E R N H E M I S P H E R E . T H E P R O J E C T O R I E N T S A R O U N D

M I L I T A R Y I N V O L V E M E N T I N N E C E S S A R Y T R A I N I N G F A C I L I T I E S T O P R E P A R E F O R P O S S I B L E A T T A C K O R

H A C K I N G O R O U R R E S O U R C E S , T O B E B A S E D O U T O F F O R T R I L E Y , K S A S A C E N T R A L L O C A T I O N .

39

A.

LAND STRATEGY STUDY MODELSBR I STOL, AND ACRYL IC

HAND MADE

B.MASS ING MODELCH IPBOARD

LASER CUT AND HAND CONSTRUCTED

C.MI L I TARY BASE S I ZE AND DECOMMISS IONING MAPI L LUSTRATOR

D.POPULAT ION MIGRAT ION ALONG THE KEYSTONE XL MAPP ING

I L LUSTRATOR

E.KANSAS ENERGY GR ID MAPP ING

I L LUSTRATOR

F.KANSAS ENERGY GR ID HAZARDS MAPP INGI L LUSTRATOR

G.FORT R I L EY S I TE P LANCAD, I L LUSTRATOR, AND PHOTOSHOP

H.TRA IN ING SCENAR IO RENDER INGS


I .PROGRAM AXON D IAGRAMSRH INO, I L LUSTRATOR, AND PHOTOSHOP

41

Fort Riley

Junction City

A

B

C D

E F I

G

H

Secret

Semi-Public

Public

P

SP

S

Secret

Semi-Public

Public

P

S

SP

S

Secret

Semi-Public

Public

S

PSP

Secret

Semi-Public

Public

P

S

SP

Secret

Semi-Public

Public

P

S

SP

01

02

03

04

05

army

marine

air force

navy

decommissioned

army

marine

air force

navy

decommissioned

Military basesworking and recently decommissioned

more inbound migrationmore outbound migrationequillibrium

more inbound migrationmore outbound migrationequillibrium

Population Migration counties adjacent to kxl

Energy GridKansas energy resources

PROTOLOGICSKansas Power Gridstephen mueller option studio

230kW - 345kW

proposed 345kW

115kW -

P E R C E P T I O N + E X P E R I E N C E

W U S T L D E G R E E P R O J E C T : P R O F E S S O R E R I C H O F F M A N


T H E P R O J E C T I S A F O U N D A T I O N F O R E X I S T E N T I A L A R T S . T O D A Y S G L O B A L S O C I E T Y I S D E F I N E D B Y

S T I M U L I O V E R L O A D A N D T H E R E I S A S O C I A L D E M A N D T O R E M O V E S T I M U L I ; S T E P P I N G B A C K T O B E T T E R

U N D E R S T A N D H O W P E R C E P T I O N A N D E X P E R I E N C E C A N B E A H I G H L Y O R C H E S T R A T E D T O T U N E O U R

S E N S O R Y U N D E R S T A N D I N G O F T H E W O R L D . T H E F O U N D A T I O N L O O K S A T B R E A K I N G D O W N T H E U S E R S

E X P E R I E N C E I N T O I S O L A T E D E V E N T S T O F O C U S O N S L O W I N G D O W N T H E I R I N T E R F A C E W I T H S T I M U L I .

T H E B U I L D I N G H A S T H R E E P R I M A R Y P R O G R A M M A T I C S P A C E S : C O M M I S S I O N E D S P A C E S , S T I M U L I S P A C E S ,

A N D A R C H I V E S P A C E S . T H E C O M M I S S I O N E D S P A C E S A R E D E S I G N E D F O R V I S I T I N G A R T I S T S T O I N S T A L L

P E R C E P T U A L L Y - D R I V E N , S I T E - S P E C I F I C W O R K S . T H I S I N S T I T U T E T A K E S T H E P O S I T I O N T H A T , F O R T H E

A R T I S T S T O C R E A T E A S I T E S P E C I F I C W O R K , S O M E I N S P I R A T I O N F R O M T H E E N V I R O N M E N T I S N E E D E D ,

C R E A T I N G S P A C E S T H A T V A R Y I N L I G H T I N G L E V E L , S C A L E , A N D V O L U M E . T H E S T I M U L I S P A C E S A R E

H I G H L Y - D E S I G N E D , E X P E R I E N T I A L S P A C E S . R A T H E R T H A N J U S T D E A L I N G W I T H O N E S E N S E , T H E S T I M U L I

S P A C E S T A K E I N T O A C C O U N T T H E R O L E T H A T A L L O F T H E S E N S E S H A V E I N H O W A U S E R E X P E R I E N C E S

A R C H I T E C T U R E B Y E I T H E R H E I G H T E N I N G O N E S E N S E A N D D I M I N I S H I N G T H E R E S T O R H E I G H T E N I N G A L L

A N D D I M I N I S H I N G O N E . T H E S E S P A C E S A R E M E A N T T O B A C K U P T H E M I S S I O N O F T H E F O U N D A T I O N I N

C R E A T I N G S P A C E S T H A T I N T E R F A C E W I T H T H E U S E R I N A C O M P E L L I N G M A N N E R . T H E S T O R A G E S P A C E S

T H E N P R O V I D E E X H I B I T I O N S P A C E F O R U P C O M I N G A R T I S T S , W H I L E O T H E R S T O R A G E S P A C E I S D E V O T E D

T O A R C H I V I N G T H E E V E N T S .

43

A.

BASEMENT PLAN CAD, I L LUSTRATOR, AND PHOTOSHOP

B.GROUND FLOOR PLAN CAD, I L LUSTRATOR, AND PHOTOSHOP

C.LEVEL 1 P LAN CAD, I L LUSTRATOR, AND PHOTOSHOP

D.LEVEL 2 P LAN CAD, I L LUSTRATOR, AND PHOTOSHOP

E.LONGITUD INAL SECT IONCAD, I L LUSTRATOR, AND PHOTOSHOP

F.S I TE

OR IG INAL PHOTO AND PHOTOSHOP

0-0

5-0

15-0

20-0

34-3

35-3

-9-0

10-3

25-6

5 10 15 30

S E C T I O N 2Scale: 1/4 = 1-0

B

E

A

G.S I TE P LANPHOTOSHOP AND I L LUSTRATOR

H.EXTER IOR RENDER INGRH INO, V-RAY, AND PHOTOSHOP

I .MA IN FACADE ELEVAT IONRH INO, I L LUSTRATOR, AND PHOTOSHOP

45

5 10 15 30

S O U T H E L E VAT I O N

S C A L E : 1 / 8 = 1 - 0

34-3

3-0

13-0

+++P E R C E P T I O N P E R C E P T I O N P E R C E P T I O N E X P E R I E N C EE X P E R I E N C EE X P E R I E N C E

A L L T H E F O R M S O F AU X I L IAR Y A P PARA T U S

W H I C H W E HAV E I N V E N T E D F O R T H E

I M P R O V E M E N T O F O U R S E N S O R Y F U N C T I O N S

AR E B U I L T O N T H E SAM E M O D E L A S T H E S E N S E

O R GAN S T H E M S E L V E S . . . MEA S U R E D B Y T H I S

S TAN DAR D , D E V I C E S T O A I D O U R M E M O R Y

S E E M PAR T I C U LAR L Y I M P E R F E C T , S I N C E O U R

M E N TA L A P PARA T U S AC C O M P L I S H E S P R E C I S E L Y

W HA T T H E Y CAN N O T; I T HA S AN U N L I M I T E D

R E C E P T I V E CA PAC I T Y F O R N E W P E R C E P T I O N S

AN D N E V E R T H E L Z E S S LAY S D O W N P E R MAN E N T-

E V E N T H O U G H N O T U NA L T E RAB L E - M E M O R Y-

T RAC E S O F T H E M .

S I G M U N D F R U E DA N O T E U P O N T H E M Y S T I C W R I T I N G - P A D

WHA T I F W E D E S I G N E D F O R A L L O U R S E N S E S?

SU P P O S E F O R A M O M E N T , T HA T S O U N D,

T O U C H, AN D O D O R W E R E T R EA T E D A S T H E

E Q UA L S O F S I G H T , AN D T HA T E M O T I O N WA S

A S I M P O R TAN T A S C O G N I T I O N. WHA T W O U L D

O U R B U I L T E N V I R O N M E N T B E L I K E I F S E N S O R Y

R E S P O N S E , S E N T I M E N T , AN D M E M O R Y W E R E

C R I T I CA L D E S I G N FAC T O R S , M O R E V I TA L E V E N

T HAN S T R U C T U R E AN D P R O G RAM?

J O Y C E M O N I C E M A L N A R A N D F R A N K V O D V A R K AS E N S O R Y D E S I G N

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RECOGNITION

COLOR

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OBJECT RELATIONSHIP

SIZE/SHAPE

FILT

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CONCEPT

3

CONCEPT

5

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6

CONCEPT

7

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DETAIL DETAIL

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EXIS TENT IAL ART INS T I TUTE AND ARC HIVE

DP SPR ING 2015JAC KIE TEUBER

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A L L T H E F O R M S O F A U X I L I A R Y A P PA R AT U S

W H I C H W E H AV E I N V E N T E D F O R T H E


A R E B U I LT O N T H E S A M E M O D E L A S T H E S E N S E

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S TA N D A R D , D E V I C E S T O A I D O U R M E M O R Y

S E E M PA R T I C U L A R LY I M P E R F E C T , S I N C E O U R

M E N TA L A P PA R AT U S A C C O M P L I S H E S P R E C I S E LY

W H AT T H E Y C A N N O T ; I T H A S A N U N L I M I T E D

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S T I M U L I S PA C E S

C O N C E P T S PA C E S

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sensory experience of performing arts concepts in a non-wholistic manner

focus on learning idea or theme behind performing arts; relate to other concept spaces; synthesis of learning

A R O U N D 5000 S Q . F T

D I S P L AY / E X H I B I T S PA C E

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2000 S Q F T

12000 S Q F T





























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A R O U N D 5000 S Q . F T


S TA C K S


2000 S Q F T

12000 S Q F T





























PROCESS IN G

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OBJECT RELATIONSHIP

SIZE/SHAPE



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A R O U N D 5000 S Q . F T


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2000 S Q F T

12000 S Q F T




200 FT

Pulitzer

CAM

Sheldon

Fox

SITE

DELMAR AVE

BELL AVE

BELL AVE

FRANKLIN AVE

GRANDEL SQUARE

WASHINGTON AVE

WASHINGTON AVE

SAMUEL SHEPARD DR

OLIVE STREET

OLIVE STREETLINDELL BLVD

N G

RAN

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A A

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A A

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LOCUST AVE

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NG ST

ENRIGHT AVE

PH I L I P P E R A HMHORMONOR I U M ( A N D OT H E R P RO J E C T S )

Philippe Rahm uses processes that effect the senses to form projects. He has dealt with radiation, evaporation, conduction, pressure, digestion and convection. He seeks to explore an architecture of the senses (in a biological sense) to create an experience of embodiment in his spaces. He creates climates to accept program, rather than thinking strictly of formal expression.

http://www.philipperahm.com/data/projects/hormonorium/

THE HORMONORIUM OFFERS ITSELF AS AN

IMMEDIATE SPACE, NO LONGER RESORTING TO

SEMANTIC, CULTURAL, OR PLASTIC METHODS

FOR THE FABRICATION OF ARCHITECTURE. IN

EXERCISING AN INFLUENCE ON THIS SIDE OF THE

SENSES AND OF THE SKIN, THE HORMONORIUM

ESTABLISHES A SYNTHESIS OF THE ORGANIC,

OF MOOD, AND OF SPACE BY ESTABLISHING A

CONTINUITY BETWEEN ARCHITECTURE AND HUMAN

METABOLISM, BETWEEN SPACE, LIGHT, AND THE

ENDOCRINE AND NEUROLOGICAL SYSTEMS.

OLA F U R E L I A S SO NTHE WEAT H E R P RO J E C T ( A N D OT H E R P RO J E C T S )

Olafer Eliasson uses the weather as as one of the few fundamental encounters with nature that can still be experienced in the city. He is fascinated with art as an experience in his projects. He is less focused on creating an exhibit and more on the experience of the work would being left as unscathed as possible for the viewer.

http://www.tate.org.uk/whats-on/exhibition/unilever-series-olafur-eliasson-weather-project/understanding-project

EVERY CITY MEDIATES ITS OWN WEATHER. AS INHABITANTS,

WE HAVE GROWN ACCUSTOMED TO THE WEATHER AS MEDIATED

BY THE CITY. THIS TAKES PLACE IN NUMEROUS WAYS, ON

VARIOUS COLLECTIVE LEVELS RANGING FROM HYPER-MEDIATED

(OR REPRESENTATIONAL) EXPERIENCES, SUCH AS THE TELEVISION

WEATHER FORECAST, TO MORE DIRECT AND TANGIBLE

EXPERIENCES, LIKE SIMPLY GETTING WET WHILE WALKING DOWN

THE STREET ON A RAINY DAY. A LEVEL BETWEEN THE TWO

EXTREMES WOULD BE SITTING INSIDE, LOOKING OUT OF A

WINDOW ONTO A SUNNY OR RAINY STREET. THE WINDOW,

AS THE BOUNDARY OF ONES TACTILE ENGAGEMENT WITH THE

OUTSIDE, MEDIATES ONES EXPERIENCE OF THE EXTERIOR

WEATHER ACCORDINGLY.

D I L L E R , SCO F I D O , & RE N F ROBLU R BU I L D I N G

The Blur building focuses on an architecture of atmosphere. Form is not important in the building ; there is not much to see, but much to be experienced through the senses.

http://www.archello.com/en/project/blur-building/image-5

THE BLUR BUILDING IS AN

ARCHITECTURE OF ATMOSPHERE...

IN THIS EXPOSITION PAVILION

THERE IS NOTHING TO SEE BUT

OUR DEPENDENCE ON VISION

ITSELF. IT IS AN EXPERIMENT

IN DE-EMPHASIS ON AN

ENVIRONMENTAL SCALE.

SEA N L A L LYS I R E N U S E

Sean Lallys work with Weathers, specifically in the project Sirenuse, focuses on how energ y can be used in architecture. He looks at how boundaries can be created through energ y since we can perceive the changing of energies as boundaries.

http://www.mascontext.com/issues/17-boundary-spring-13/challenging-the-physical-and-disciplinary-boundaries

NOW WE ARE STARTING TO TALK

ABOUT THE AUGMENTATION OF HUMAN

SENSORY PERCEPTION. WE ARE AT THE

POINT NOW WHERE WE ARE GOING TO

BE ABLE TO CHOOSE WHETHER OR NOT

WE WANT OUR SENSORY PERCEPTION

TO EXCEED THE ABILITIES THAT WERE

BORN WITH.

W H A T I S A N A R C H I T E C T U R E O F E F F E C T ?

An architecture of effect utilizes a sense of atmosphere in relation to program and timing in architecture. Since architecture is a three dimensional medium, all of our senses should be utilized when creating the space to experience. Form and visual

stimuli become secondary to the experience. Space then becomes a void that accepts this atmosphere based on sequence and speed of the user.

W H A T I S P E R F O R M A N C E A R T ?

Performance art seeks to look at the intersection of art and life. according to the Kahn Academy, at its best, it taps into our most basic shared instincts: our physical and psychological needs for food, shelter, sex, and human interaction; our individual fears and

self-consciousness; our concerns about life, the future, and the world we live in. It often forces us to think about issues in a way that can be disturbing and uncomfortable, but it can also make us laugh by calling attention to

the absurdities in life and the idiosyncrasies of human behavior. Performance art differs from theater in the sense that narratives are not used and time, relationships with the viewers, and the sensory experience become heightened.

MAR I N A A B R AMOV I C N I C K CAV E

Marina Abramovics work seeks to explore the relationship between the performer and the audience, the limits of the body, and the possibilities of the mind.She has recently set up an institute and physical space to house several long duration projects that are a collaboration between many fields. These works seek to heighten participants awareness of their physical and mental experience.

Nick Cave works in multiple medias for his performance pieces including sculpture, installation, video, and sound. He is mostly known for his Soundsuits, which are sculptural forms based on the scale of his body. They camouflage the body, masking and creating a second skin that conceals race, gender, and class, forcing the viewer to look without judgment.

http://www.mai-hudson.org/ http://www.jackshainman.com/artists/nick-cave/

I REALLY DONT LIKE ART WHERE YOU NEED TO KNOW SO MUCH

THEORY TO UNDERSTAND. IF THE THEORY IS REMOVED, IT DOESNT

DO ANYTHING. THAT MEANS THAT THIS WORK IS AN ILLUSTRATION

OF THEORY, AND I DONT BELIEVE IN THE POWER OF THE WORK

ITSELF.

I WAS REALLY THINKING OF GETTING US BACK TO THIS DREAM

STATE, THIS PLACE WHERE WE IMAGINE AND THINK ABOUT NOW

AND HOW WE EXIST AND FUNCTION IN THE WORLD. WITH THE

STATE OF AFFAIRS ON THE WORLD, I THINK WE TEND NOT TO TAKE

THE TIME OUT TO CREATE THAT DREAM SPACE IN OUR HEADS.

Performing arts are time based expressions of themes or topics through a

creative medium. Generally the senses come into play with performing arts.

The audience is more involved with experiencing performance art than

with other mediums of art.

When archiving items pertaining to performing arts, it is more about

a time and relationship to the senses and perception of the material

presented. It creates the question of how to archive material that is non-

object based and how to organize and retrieve this information as well.

WHY P E R F O R M A N C E A R T ?

P R E C I D E N T :MAI H U D S O N

PH I L I P P E R A HMHORMONOR I U M ( A N D OT H E R P RO J E C T S )

Philippe Rahm uses processes that effect the senses to form projects. He has dealt with radiation, evaporation, conduction, pressure, digestion and convection. He seeks to explore an architecture of the senses (in a biological sense) to create an experience of embodiment in his spaces. He creates climates to accept program, rather than thinking strictly of formal expression.

http://www.philipperahm.com/data/projects/hormonorium/

THE HORMONORIUM OFFERS ITSELF AS AN

IMMEDIATE SPACE, NO LONGER RESORTING TO

SEMANTIC, CULTURAL, OR PLASTIC METHODS

FOR THE FABRICATION OF ARCHITECTURE. IN

EXERCISING AN INFLUENCE ON THIS SIDE OF THE

SENSES AND OF THE SKIN, THE HORMONORIUM

ESTABLISHES A SYNTHESIS OF THE ORGANIC,

OF MOOD, AND OF SPACE BY ESTABLISHING A

CONTINUITY BETWEEN ARCHITECTURE AND HUMAN

METABOLISM, BETWEEN SPACE, LIGHT, AND THE

ENDOCRINE AND NEUROLOGICAL SYSTEMS.

OLA F U R E L I A S SO NTHE WEAT H E R P RO J E C T ( A N D OT H E R P RO J E C T S )

Olafer Eliasson uses the weather as as one of the few fundamental encounters with nature that can still be experienced in the city. He is fascinated with art as an experience in his projects. He is less focused on creating an exhibit and more on the experience of the work would being left as unscathed as possible for the viewer.

http://www.tate.org.uk/whats-on/exhibition/unilever-series-olafur-eliasson-weather-project/understanding-project

EVERY CITY MEDIATES ITS OWN WEATHER. AS INHABITANTS,

WE HAVE GROWN ACCUSTOMED TO THE WEATHER AS MEDIATED

BY THE CITY. THIS TAKES PLACE IN NUMEROUS WAYS, ON

VARIOUS COLLECTIVE LEVELS RANGING FROM HYPER-MEDIATED

(OR REPRESENTATIONAL) EXPERIENCES, SUCH AS THE TELEVISION

WEATHER FORECAST, TO MORE DIRECT AND TANGIBLE

EXPERIENCES, LIKE SIMPLY GETTING WET WHILE WALKING DOWN

THE STREET ON A RAINY DAY. A LEVEL BETWEEN THE TWO

EXTREMES WOULD BE SITTING INSIDE, LOOKING OUT OF A

WINDOW ONTO A SUNNY OR RAINY STREET. THE WINDOW,

AS THE BOUNDARY OF ONES TACTILE ENGAGEMENT WITH THE

OUTSIDE, MEDIATES ONES EXPERIENCE OF THE EXTERIOR

WEATHER ACCORDINGLY.

D I L L E R , SCO F I D O , & RE N F ROBLU R BU I L D I N G

The Blur building focuses on an architecture of atmosphere. Form is not important in the building ; there is not much to see, but much to be experienced through the senses.

http://www.archello.com/en/project/blur-building/image-5

THE BLUR BUILDING IS AN

ARCHITECTURE OF ATMOSPHERE...

IN THIS EXPOSITION PAVILION

THERE IS NOTHING TO SEE BUT

OUR DEPENDENCE ON VISION

ITSELF. IT IS AN EXPERIMENT

IN DE-EMPHASIS ON AN

ENVIRONMENTAL SCALE.

SEA N L A L LYS I R E N U S E

Sean Lallys work with Weathers, specifically in the project Sirenuse, focuses on how energ y can be used in architecture. He looks at how boundaries can be created through energ y since we can perceive the changing of energies as boundaries.

http://www.mascontext.com/issues/17-boundary-spring-13/challenging-the-physical-and-disciplinary-boundaries

NOW WE ARE STARTING TO TALK

ABOUT THE AUGMENTATION OF HUMAN

SENSORY PERCEPTION. WE ARE AT THE

POINT NOW WHERE WE ARE GOING TO

BE ABLE TO CHOOSE WHETHER OR NOT

WE WANT OUR SENSORY PERCEPTION

TO EXCEED THE ABILITIES THAT WERE

BORN WITH.

W H A T I S A N A R C H I T E C T U R E O F E F F E C T ?

An architecture of effect utilizes a sense of atmosphere in relation to program and timing in architecture. Since architecture is a three dimensional medium, all of our senses should be utilized when creating the space to experience. Form and visual

stimuli become secondary to the experience. Space then becomes a void that accepts this atmosphere based on sequence and speed of the user.

W H A T I S E X I S T E N T I A L A

Documents

Jacqueline Teuber Portfolio 2015