katelyn merrill 2016 portfolio reduced pdf

Portfolio. Virginia Tech. Interior Design.

01 lobby + reception desk.

Lobby spaces act as the face of the building, greeting those who enter and giving a hint as to what may follow. Design a dynamic environment for a residential or hospitality tower lobby. The design should revolve around the reception desk, which should be the focal point that all materials and details respond to.

objective.

Design a hostel lobby that represents the transition from basics to luxury. Use design elements to inform the guests that unlike most hostels, which consist of bare basics that lack attention to design, this hostel will provide a luxurious experience while remaining affordable. Design a reception desk that physically embodies this transition from basics to luxury using materiality and form.concept.

0’ - 8”

0’ -

8”

front elevationright elevation left elevation

3’ -

7”

12’ - 6.25”

2’ -

0”

plan view

The reception desk physically represents the transition from basics to luxury, so that as guests check in, their expectations transition from those of a standard hostel to those of this luxurious experience. The right side of the desk is formed of plywood ribs using right angles. Plywood is a basic material, and the right angles represent standard construction. As the desk progresses to the left, more of the luxurious HI-MACS acrylic stone encases the plywood structure as the plywood ribs morph to fit to the organic form.

After the desk itself makes the transition to luxury, it appears to morph into the floor to suggest that the rest of this hostel experience will be a luxurious one. The HI-MACS material of the desk transitions into a glossy, terazzo flooring material. The lobby is divided by this material change on the floor and ceiling to create a dramatic visual threshold representing the transition into luxury. Because of the placement of the desk and material change, this material flows into the elevator lobby located behind the desk. This suggests that the luxurious hostel experience continues into the guests’ rooms.

exploded axon

The physical model of the desk was constructed at 3/4” = 1’- 0” scale using laser cutting and 3D printing. The form and knotches of the plywood ribs were laser cut so that the intersecting pieces friction fit together, just as the ribs would in the full-scale model. The organic shell form was 3D printed to rest on top of the plywood

structure, just as the HI-MACS acrylic stone thermoformed shell would rest on top of the full-scale desk.

02 rei flagship store.

Interaction with nature improves quality of life. Quality of life is one thing that people of all ages and backgrounds are constantly striving to improve. Aspects of the quality of life include not only wealth and employment, but also the built environment, physical and mental health, education, recreation and leisure time, and social belonging. The design of this REI flagship store in Washington D.C., created to attract people of all demographics, uses design elements to represent how different interactions with nature are actively improving the customer’s quality of life.

Create a new store experience for the current REI customer base while trying to attract active outdoor millennials. Focus on a flagship in the Washington D.C. market. Create “shops” with an overall market-like feel. The shops and experience should be inspirational and evoke qualities of the outdoors, and should include a “commons area” where customers can relax, meet, read and connect to the local activities of the D.C. market. Store should include elements of the local community and market throughout the space. Include multiple checkouts. Technology innovation should add value to the customer experience but not detract.

objective.

concept.

not to scale not to scalecirculation checkout locations

new growth green

light gray concretewhite fabric

beech wood with rei icon


boxelder tree barkbeech wood painted white

dark gray steel

old growth green

stained beech wood


white gypsum wall board

not to scale not to scalelevel 1 quality of life level 2 quality of life

nature improves education and social belonging

nature improves the built environment

nature improves mental and physical health

Organic, tree-like forms and constructed, cube-like forms combine to create boundaries and enclosures that provide the marketplace feel. This structure represents how the presence of nature in Washington D.C. betters the built environment, therefore improving the quality of life.

Air quality is improved, pollution is reduced, and local citizens can escape the city atmosphere for time outside. The structure creates an intriguing visual for customers based on both contrast and unity.

tree-like form

An organic form is used to represent D.C’s urban forest, Rock Creek Park, which helps remove 540 tons of pollution per year and reduce energy usage by $2.6 million per year. Boxelder is one of the most common tree types found in the urban forest. By using the bark and branches of fallen trees to create the twisting forms, no living trees are sacrificed. The process of transporting the material is sustainable because it is found locally. The tree-like formations are used to imply boundaries of different merchandise sections as they appear to be bursting from the constructed cubes.

constructed cube

A linear, constructed box represents the city of Washington D.C. The white color represents the iconic monuments scattered throughout the city, while the form represents the built environment. The white boxes are made of american beech wood, which is one of the most common trees found in Washington D.C.’s urban forest, Rock Creek Park.

The more engaged the customers are with the products, the less energy the store uses and the more the environment is benefitted.

No customers are riding the stationary bikes, therefore no energy for the store is being produced, and the customers are not bettering their physical health. No accent lighting is illuminating the biking area when there are not any customers riding the bikes.

Customers are riding the stationary bikes, engaging with the REI environment, excercising, and creating energy for the store. Each customer has a lightbulb suspended over their bike that will turn on once they produce a certain amount of energy. As more energy is created, more accent lighting turns on in the biking area. This creates a visual reward for the customers who help produce energy for the store. By using pedal-powered generators, the average customer will produce around 100 watts of continuous output as they pedal. Not only will the energy benefit the REI store, but it will also benefit Washington D.C.’s environment while creating health benefits for the customer.

By integrating technology into the community area, face-to-face interactions can be strengthened by providing customers with new knowledge and opportunities to discuss. As the technology allows people to bond and make new discoveries together, customers gain education and a sense of social belonging.

not to scale not to scalelevel 1 technology level 2 technology

Screens in each market section display pictures of real REI customers using REI products. The biking section will display biking pictures, the climbing section will display climbing pictures, and so on.

Touch-screen kiosks throughout the mezzanine community area provide information about local outdoor clubs and events, as well REI’s rich company history.

Large screens provide the option for classroom settings, small movie theaters, or large picture displays.

03 bialek showroom.

.objective.

concept.

FINISH PLAN

SCALE: 1/8” = 1’-0”

CONCRETE FLOORINGGRAY CARPET

CORK FLOORING

DIRTT RAISED FLOOR

TOUCHDO

WN

PRIVATE OFFICE

PRINT/COPYLAN

SMALL MEETING

SMALL MEETING

CONTEM

PLATION SPACE

EVENT SPACE

WELCOME AREA

PHONEBOOTH

PHONEBOOTH

STORAGE

KITCHEN

BLOCK PLAN

SCALE: 1/8” = 1’0”

not to scale block plan not to scale finish plan

Design a new showroom for Bialek Environments, a DIRTT and Herman Miller dealer, in downtown Washington D.C. Create a space that will captivate clients and showcase the capabilities of the products. The showroom should also be able to function as a space for events and Continued Education Units. No permanent employees will inhabit the space, but touchdown work areas are needed for four to six employees.

Unify the virtual and physical retail experience. Utilizing the capabilities of the DIRTT wall systems, design the Bialek showroom so that it becomes a technological interface which is customized by each individual client.

CONTINUING EDUCATION UNIT

SCALE: 1/8” = 1’-0”

SOCIAL EVENT

SCALE: 1/8” = 1’-0”

DINNER EVENT

SCALE: 1/8” = 1’-0”

MULTIPLE SMALL EVENTS

SCALE: 1/8” = 1’ 0” continued education unitsocial eventdinner eventmultiple small events

purple led light around product:direct customer interest in product“clicking” on product

orange led light around product:complimentary product“customer also purchased...”

green led light around product:purchased productcustomer “put in shopping cart” maharam

regattamaharam

mistermaharamwhirlwind

maharampocket

mohawkslate

corkflooring

maplewood

Using the LED light-up capabilities of the DIRTT wall systems, products that clients are interested in can be visually “selected” with one of the three LED colors shown below. Clients visiting the showroom will be given iPads to allow them to browse the product selection independently in the contemplation space. When the client selects products that they are interested in, those products will be outlined with a purple LED lighting strip. To increase sales for Bialek, complimentary products will be highlighted in orange to suggest other possible purchases. When the client decides to buy certain products, these will be highlighted in green to signify a final purchase.

Using Bialek’s three colors of orange, green, and purple as the only colors throughout the showroom, Bialek’s brand is strengthened. As these colors are only applied to the Herman Miller furniture being showcased, the furniture is immediately brought to the attention of the clients. The DIRTT wall systems, used to create every wall surface seen in the showroom, are made of neutral materials so that their unique functions are not outshone by their appearances.

The phone booths, pictured above, and the kitchen, partly shown to the right, are located directly off of the main meeting space. However, both the phone booths and kitchen can be made into completely private spaces if need be. This way, people can slip out of a meeting or CEU to take a quick phone call without disturbing others. The kitchen can function as a space for chatting during an informal event, or be closed off for catering during a more formal presentation.

The storage system and enclosed meeting spaces are made entirely of DIRTT wall products. The storage system shows how DIRTT walls can be used to create display cases, shelves, and drawers that seamlessly make a single storage unit. The enclosed meeting spaces are made of DIRTT wall modules that contain shift glass so that the meeting spaces can be made extremely private in certain circumstances. Because the enclosed meeting spaces are placed away from the exterior wall, a quiet space is created behind them which faces the outdoors. Here, clients can take an iPad containing an interface with all of the Herman Miller and DIRTT products and browse the selection online. The touchdown booths located on the opposite side of the enclosed meeting spaces help to shield the meeting rooms from the distractions of the large event space.

DISPLAY WALLSTORAGE

CHAIR DISPLAY

BOOK DISPLAY

COAT STORAGE

SMALL MEETING

CONTEMPLATION SPACE

SMALL MEETING

TOUCHDOWNTOUCHDOWN

BOOK DISPLAY

CHAIRDISPLAY

COAT STORAGESTORAGE

DISPLAYWALL

CONTEMPLATION SPACE

SMALLMEETING

SMALLMEETING

TOUCHDOWNSPACE

storage system enclosed meeting spaces

04 day spa.

objective.

concept.

Design a day spa to be located in an existing building in Riva San Vitale, Switzerland. Create a memorable client experience while maintaining the original character of the building. (As this project was completed in an architecture studio class while studying abroad, the professor’s intended focus was solely creating a strong concept and user experience. Therefore, attention to building codes and ADA was not required.)

Aisthesis, the name of the spa, refers to more than just visual perception. It refers to general perception with all of the senses, as well as the impression that the perceived senses leave on the body. The spa experience will heighten its users’ awareness of their everyday senses by taking those senses away, and reintroducing them one by one. In addition to this client experience, the design of the spa will maintain the character of the original building in which it exists, as well as drawing inspiration from the surrounding nature of Switzerland.

Aisthesis: more than just visual perception; general perception with all the senses, as well as the impression that the perceived senses leave on the body.

Aisthesis spa, located in Riva San Vitale, Switzerland, focuses on making its users aware of their senses. This is accomplished by taking their senses away, and reintroducing them one by one. By the end of each user’s journey through the spa, they will have a heightened awareness of each of their senses as they reenter their everyday lives.

The first area of the spa into which users enter is the reception area. Here, they get limited views of the rest of the spa because of the location of the two changing rooms. This glimpse offers a taste of what is to come without revealing everything the spa contains. After going into the changing rooms and leaving their belongings in a locker,

the users proceed to the first pool of the spa. If they so desire, users can go upstairs to enter the massage room. If they proceed into the first pool, they are in an open pool environment in which they can adjust to the water before proceeding.

The logo for Aisthesis Spa was designed to reference the senses that are experienced throughout the spa. Abstracted symbols derived from an eye, nose, hand, and ear make up the geometric logo used to represent the spa. Even though the body parts

represented are made with organic shapes and lines, the logo remains linear and geometric to reference the design and spaces inside the spa itself. The logo also has strong symmetry just as the floorplan on the spa does.

I hope you’re FEELING 22















































The logo for Aisthesis Spa was designed to reference the senses that are experienced throughout the spa. Abstracted symbols derived from an eye, nose, hand, and ear make up the geometric logo used to represent the spa. Even though the body parts represented are made with organic shapes and lines, the logo remains linear and geometric to reference the design and spaces inside the spa itself. The logo also has strong symmetry just as the floorplan of the spa does.

not to scale buiilding section

second floor plannot to scalefirst floor plannot to scale

Just beyond the first pool are the sensory deprivation rooms, which users can enter to experience their senses being taken away. Each of the four following sense pools are designed to heighten the spa users’ awareness of either sight, sound, touch, or smell. The sight and sound pools are located diagonally from one another at the same level as the bottom of the pool, so that users can swim directly into these pools. The smell and touch pools are also located diagonally from one another, and their entrances are elevated so that users must climb stairs to enter the rooms and descend stairs to reenter the water.

As users enter the reception area, they get limited views of the rest of the spa because of the location of the two changing rooms. After getting a glimpse of what is to come and leaving their belongings in a locker, the users can either enter the first pool or go upstairs to the massage room. In the first pool, users will get a chance to adjust to the water before beginning their journey.

sight pool

The sight pool is designed to heighten the users’ visual awareness. With the ceiling of the room located below the adjacent window to the exterior, natural light is allowed to enter the room only through small holes in the ceiling. This creates pinholes of light in an otherwise dark environment, which is very different from the other visual experiences in the spa. Because of the lower level of this pool, users can access a lounge area on top of the sight pool. Therefore, the pinholes of light entering the pool below are constantly changing depending on how people inhabit the lounge space above.

sound pool

The sound pool is designed in a similar way, so that users inhabiting the second floor lounge space affect peoples’ experiences in the pool below. The ceiling of the sound room, which is also the floor of the above lounge area, is made of concrete tiles set loosely into a larger concrete frame. Therefore, when people walk on this surface, the concrete tiles will move around slightly, creating amplified noise to heighten the sense of sound for people in the pool below.

touch pool

The touch pool will be the only pool in the spa with a different material on the pool floor. Instead of the smooth concrete floor that exists throughout the rest of the spa, this pool will have large stones on the bottom so that people have a heightened awareness of the material they are touching. The water in this room will also be noticeably warmer than the water in the rest of the spa, to also call attention to the sensations the user is feeling.

smell pool

The smell pool contains water infused with petals from local flowers. This will create a strong aroma in the pool, which users will be able to connect back to the surrounding natural environment as they gaze out the window in the smell pool room.

Because Aisthesis Spa is located in a previously existing building in Riva San Vitale, the space planning and materiality is designed to maintain the original character of the building. The

strongest defining characteristic of the existing building was the exposed concrete trusses that are seen throughout. Therefore, these remain visible and unchanged in the design of Aisthesis

Spa. These trusses were used to determine the spatial divisions from which the various pools are created. For example, the massage rooms, sensory deprivation rooms, and sense pools were all made to fit within the limits of two adjacent trusses. The materiality chosen for the spa stays

true to the original building as well as the surrounding landscape. The original exterior brick walls were kept and painted white to maximize the effect of natural light entering the building.

The lower pools have walls made from stacked slate rock, which references local rooftops made from slate and granite due to the lack of clay in the area. The remaining walls are clad with porcelain wood which is more durable, eco-friendly, waterproof, and easier to clean than standard wood. This helps to maintain the natural feeling created in the spa, while creating a warm environment in the individual pools with brown wood and a neutral environment in the

common areas with grey wood.

reception

men’schanging

women’schanging

open pool

sensorydeprivation

sensorydeprivation

sightpool

touchpool

smellpool

soundpool

open pool

lounge area

office

washers and

dryers

storageand

electrical

massagerooms

lounge area

lounge area

The logo for Aisthesis Spa was designed to reference the senses that are experienced throughout the spa. Abstracted symbols derived from an eye, nose, hand, and ear make up the geometric logo used to represent the spa. Even though the body parts represented are

made with organic shapes and lines, the logo remains linear and geometric to reference the design and spaces inside the spa itself. The logo also has strong symmetry just as the floorplan on the spa does.







reception

men’schanging

women’schanging

open pool

sensorydeprivation

sensorydeprivation

sightpool

touchpool

smellpool

soundpool

open pool

lounge area

office

washers and

dryers

storageand

electrical

massagerooms

lounge area

lounge area









reception

men’schanging

women’schanging

open pool

sensorydeprivation

sensorydeprivation

sightpool

touchpool

smellpool

soundpool

open pool

lounge area

office

washers and

dryers

storageand

electrical

massagerooms

lounge area

lounge area



first floor second floor

The strongest defining characteristics of the existing building were the exposed concrete trusses that are seen throughout. Therefore, these trusses were used to determine the spatial divisions from which the various pools are created. For example, the massage rooms, sensory deprivation rooms, and sense pools were all made to fit within the limits of two adjacent trusses.

The materiality chosen for the spa stays true to the original building as well as the surrounding landscape. The original exterior brick walls were kept and painted white to maximize the effect of natural light entering the building. The lower pools have walls made from stacked slate rock, which references local rooftops made from slate and granite due to the lack of clay in the area. The remaining walls are clad with porcelain wood which is more durable, eco-friendly, waterproof, and easier to clean than standard wood.

05 children’s museum.

objective.

concept.

Help the Blacksburg Children’s Museum revamp its image by renovating the space and adding exhibits. Design an experience that also educates. Create spaces that stimulate curiosity and promote both mental and physical exploration. Use design techniques to solve the problem of the museum constantly being treated like a child daycare facility.

Design a children’s museum that engages adults as much as children. While this museum will be teaching the children many things, the parents will be learning about how their children prefer to learn. Design a space with a choreographed experience that presents the parents with no choice but to wander through the museum and learn with their child.

SOUTHWEST VIRGINIA CHILDREN’S MUSEUM

What if this museum equally engages children and adults?

As a child learns about exhibits in the museum, their guardian learns about how the child prefers to learn. This system engages both the child and the adult, and is achieved through the “Shades of Learning” system.

What if the museum experience made the children and adults better stewards of the community and environment?Today’s world has disconnected children from nature more than ever before. By centering the “Our Town” exhibit around nature instead of a streetscape, children and their guardians are being made more aware of the importance of nature in their lives and in the local community.

What if the museum environment reacted to the user as they moved through the space?The reaction of the museum environment to the user is achieved through the use of a pressure-activated lighting sequence in the entry. The light sequence begins when auser enters the space, and its directionality leads them to the reception desk in a welcoming, exciting manner.

OUR TOWN

THEATRE

READING

TRANSITIONAL EXHIBITIMAGINATION PLAYGROUND

BATHROOMB

ATH

RO

OM

ENTRANCE AND

RECEPTION

STROLLERSAND

LOCKERS

SCIENCE AND ARTTODDLEROFFICE

PAR

TY R

OO

M/

CLA

SS

RO

OM

NU

RS

ING

RO

OM

CLI

MB

ING

AR

EA

ENTRANCEThe entrance contains both a pressure-activated lighting sequence and the donor wall. When the user first enters the space and steps on the pressure-activated panel in the floor, a directional lighting sequence is set off in the side walls of the tunnel space. On the right side of the wall, the small panels that light up also function as interchangeable plaques into which donor names are engraved. The directional movement of the light sequence helps to move the user through the entry tunnel and to the reception desk. Not only is the entry space interactive and functional, but it provides massive curb appeal for the museum as well.

Circulation DiagramNot to Scale

Floor PlanNot to Scale






OUR TOWN

THEATRE

READING


BATHROOM

BAT

HR

OO

M

ENTRANCE AND

RECEPTION

STROLLERSAND

LOCKERS


PAR

TY R

OO

M/

CLA

SS

RO

OM

NU

RS

ING

RO

OM

CLI

MB

ING

AR

EA




circulation pathsblock plannot to scale not to scale

WAYFINDINGThe wayfinding system utilized in the space eliminates confusion and encourages intentional movement throughout the space. Each main exhibit is assigned a color and shape, as shown on the wayfinding map located near the entrance. Lines with the colors of their specific exhibits are applied the the floor throughout the space. This way, users can simply follow the floor graphic to the exibit that they want to visit.

Slide

Tunnel

Rope Bridge

Tunnel

Rock Climbing Wall

SHADES OF LEARNING SYSTEMChildren soak in the environment around them through three main modes of learning. These modes are kinesthetic, auditory, and visual learning. Shades of color are assigned to each exhibit, and are used to determine which exhibit pieces apply to which kind of learning. For example, in the exhibit represented by the color blue, there would be three shades of blue. Items with the darkest shade of blue would apply to kinesthetic learning, or learning through touch. Items with the middle shade of blue would apply to visual learning, and items with the lightest shade of blue would apply to auditory learning. If a guardian notices their child being continuously drawn to the darkest shades of color in the exhibits, that child learns best through kinesthetic interactions. This system is not meant to be understood by the children in the museum, so the subtle color changes are appropriate for informing their guardians.

wayfinding graphicsnot to scale






OUR TOWN

THEATRE

READING


BATHROOM

BAT

HR

OO

M

ENTRANCE AND

RECEPTION

STROLLERSAND

LOCKERS


PAR

TY R

OO

M/

CLA

SS

RO

OM

NU

RS

ING

RO

OM

CLI

MB

ING

AR

EA




pressure activated light-up entrance

The wayfinding system utilized in the space eliminates confusion and encourages intentional movement throughout the space. Each main exhibit is assigned a color and shape, as shown on the wayfinding map located near the entrance. Lines with the colors of their specific exhibits are applied to the floor throughout the space. This way, users can simply follow the floor graphic to the exhibit that they want to visit.

The entrance contains both a pressure-activated lighting sequence and the donor wall. When the user first enters the space and steps on the pressure-activated panel in the floor, a directional lighting sequence is set off in the side walls of the tunnel space. On the right side of the wall, the small panels that light up also function as interchangeable plaques into which donor names are engraved. The directional movement of the light sequence helps to move the user through the entry tunnel and to the reception desk. Not only is the entry space interactive and functional, but it provides massive curb appeal for the museum as well.

our

tow

nim

agin

atio

npl

aygr

ound

rota

ting

exhi

bit

tod

dle

rsse

ctio

nsc

ienc

e &

art


Slide

Tunnel

Rope Bridge

Tunnel

Rock Climbing Wall


PARTITIONSThe two main partitions in the space, used to separate the rest of the exhibits from the “Our Town” area, use strategically formed voids to peak the user’s curiosity while simultaneously improving their focus. The angled voids in the partition walls are determined by users’ lines of sight.

As the user approaches Exhibit A, the angled voids allow them a glimpse of Exhibit B, which is located on the opposite side of the partition. When the user reaches Exhibit A, the sharp angle of the void no longer allows them to get a glimpse of Exhibit B. This holds their focus on learning about Exhibit A, while encouraging their movement throughout the space since they are excited to explore the exhibit they have only experienced through controlled glimpses thus far. The sharply angled voids are placed deliberately at certain heights so that different age groups of users are experiencing the glimpses together.

Angled Void Form Glimpse of exhibit B. Focus on exhibit A.

Transitional Partitions

The partitions used to separate the individual exhibits also double as seating. Due to their inter-locking form, they can maintain a cubby form when combined or a simple stool form when stand-ing alone. When they are configured as storage throughout the space, this allows guardians to set their personal belongings down while they play with their children without losing sight of these belongings. The seating aspect of the form allows the partitions to be disassembled, which then allows the space to become open and usable for public events.





















glimpse of exhibit B focus on exhibit A

adult & young child

older child & young child

adult & older child

fully hidden(front view)

fully revealed(angled view)

Children soak in the environment around them through three main modes of learning. These modes are kinesthetic, auditory, and visual learning. Shades of color are assigned to each exhibit, and are used to determine which exhibit pieces apply to which kind of learning. For example, in the exhibit represented by the color blue, there would be three shades of blue. Items with the darkest shade of blue would apply to kinesthetic learning, or learning through touch. Items with the middle shade of blue would apply to visual learning, and items with the lightest shade of blue would apply to auditory learning. If a guardian notices their child being continuously drawn to the darkest shades of color in the exhibits, that child learns best through kinesthetic interactions. This system is not meant to be understood by the children in the museum, so the subtle color changes are appropriate for informing their guardians.

The partitions used to separate the individual exhibits also double as seating. Due to their interlocking form, they can maintain a cubby form when combined or a simple stool form when standing alone. When they are configured as storage throughout the space, this allows guardians to set their personal belongings down while they play with their children without losing sight of these belongings. The seating aspect of the form allows the partitions to be disassembled, which then allows the space to become open and usable for public events.

The two main partitions in the space, used to separate the rest of the exhibits from the “Our Town” area, use strategically formed voids to peak the user’s curiosity while simultaneously improving their focus. The angled voids in the partition walls are determined by users’ lines of sight. As the user approaches Exhibit A, the angled voids allow them a glimpse of Exhibit B, which is located on the opposite side of the partition. When the user reaches Exhibit A, the sharp angle of the void no longer allows them to get a glimpse of Exhibit B. This holds their focus on learning about Exhibit A, while encouraging their movement throughout the space since they are excited to explore the exhibit they have only experienced through controlled glimpses thus far. The sharply angled voids are placed deliberately at certain heights so that different age groups of users are experiencing the glimpses together.

Our Town folding facade.

60’ - 4”

6”

2’ -

0”

Angled Ceiling Panels

OUR TOWNThe “Our Town” structures are based off of the well-known, simpli-fied outline of a building. The structure is hinged and can be folded up completely into one house form, or extended completely to reveal seven house forms. Each of the seven building forms is outlined in a unique color to allow the children to practice color-related spatial recognition. The hinged building forms allow the “Our Town” space to be completely versatile. It can hold up to six exhibits when the form is partially folded, and it can be completely emptied to hold events when the building form is folded up.

The trees in the center of the “Our Town” community allow nature to be the center of the community. Instead of using the typical main street scenario to connect children to their surroundings, the Southwest Vir-ginia Children’s Museum will take the opportunity to reconnect children with nature after becoming alienated from it in recent years. Children are playing outside less and less in today’s world, and this is stunting cognitive development and increasing health problems. If children have fun reconnecting with nature while in the museum, they will be more likely to want to do the same with nature outside of the museum.

The tree forms also represent pillars of the community, which are communicated graphically on each individual tree. The seven values to be represented are respect, honesty, equality, environment, education, service, and leadership. As children visit the museum, they can cut out a leaf on green paper, write their name on their leaf, and have it hung from the ceiling canopy above the pillars of the community. This will add to the canopy of leaves created at the top of the tree, as well as representing their importance in the community of Southwest Virginia.

Ceiling Panels

The angled ceiling panels reference the linear nature of a tree canopy while creating visual interest and variation throughout the space. Over sized, exposed light bulbs are hung throughout the ceiling assembly to intrigue children and achieve a cheery glow.


Slide

Tunnel

Rope Bridge

Tunnel

Rock Climbing Wall


slide

tunnel

rope bridge

tunnel

rock climbing wall

Our Town folding facade.

60’ - 4”

6”

2’ -

0”

Angled Ceiling Panels

OUR TOWNThe “Our Town” structures are based off of the well-known, simpli-fied outline of a building. The structure is hinged and can be folded up completely into one house form, or extended completely to reveal seven house forms. Each of the seven building forms is outlined in a unique color to allow the children to practice color-related spatial recognition. The hinged building forms allow the “Our Town” space to be completely versatile. It can hold up to six exhibits when the form is partially folded, and it can be completely emptied to hold events when the building form is folded up.

The trees in the center of the “Our Town” community allow nature to be the center of the community. Instead of using the typical main street scenario to connect children to their surroundings, the Southwest Vir-ginia Children’s Museum will take the opportunity to reconnect children with nature after becoming alienated from it in recent years. Children are playing outside less and less in today’s world, and this is stunting cognitive development and increasing health problems. If children have fun reconnecting with nature while in the museum, they will be more likely to want to do the same with nature outside of the museum.

The tree forms also represent pillars of the community, which are communicated graphically on each individual tree. The seven values to be represented are respect, honesty, equality, environment, education, service, and leadership. As children visit the museum, they can cut out a leaf on green paper, write their name on their leaf, and have it hung from the ceiling canopy above the pillars of the community. This will add to the canopy of leaves created at the top of the tree, as well as representing their importance in the community of Southwest Virginia.

Ceiling Panels


angled ceiling panels

The trees in the center of the “Our Town” community allow nature to be the center of the community. Instead of using the typical main street scenario to connect children to their surroundings, the Southwest Virginia Children’s Museum will take the opportunity to reconnect children with nature after becoming alienated from it in recent years. Children are playing outside less and less in today’s world, and this is stunting cognitive development and increasing health problems. If children have fun reconnecting with nature while in the museum, they will be more likely to want to do the same with nature outside of the museum.

The “Our Town” structures are based off of the well-known, simplified outline of a building. The structure is hinged and can be folded up completely into one house form, or extended completely to reveal seven house forms. Each of the seven building forms is outlined in a unique color to allow the children to practice color-related spatial recognition. The hinged building forms allow the “Our Town” space to be completely versatile. It can hold up to six exhibits when the form is partially folded, as seen in the top image. It can also be completely emptied to hold events when the building form is folded up, as seen in the bottom image.

The tree forms also represent pillars of the community, which are communicated graphically on each individual tree. The seven values to be represented are respect, honesty, equality, environment, education, service, and leadership. As children visit the museum, they can cut out a leaf on green paper, write their name on their leaf, and have it hung from the ceiling canopy above the pillars of the community. This will add to the canopy of leaves created at the top of the trees, as well as representing their importance in the community of Southwest Virginia.


06 kimball office headquarters.

With technology allowing people to work from almost anywhere in today’s world, collaboration between employees is sacrificed. Without collaboration, there is no innovation. In order for Kimball Office to maintain its role as the innovative leading manufacturer of wood office furniture, collaboration is key. How can Kimball draw its employees back into the office so that they can work together towards bigger and better office solutions? Make the office feel like home. If employees feel at home in an office with the style and function of a residential space, they will be more productive, creative, and motivated. Just as residential spaces do, Kimball Office Headquarters will provide comfort, create opportunities for self expression and customization, and utilize appropriate zones of public and private space.

objective.

concept.

Develop a design solution for the Kimball Office Headquarters. The space needs to be a visible representation of Kimball Office and its products. Incorporate design that is multigenerational and will attract, support, inspire, and retain young professionals. Kimball Office wants its employees to feel like family. There should not be implied levels of hierarchy through design and the space should encourage all to work together. Use 100% Kimball Office products.

not to scale not to scalefloorplan circulation

not to scale not to scaleresidential zones public vs private

alphabet wallcovering by Maharam

alcaraz sun rugby Jan Kath

alcaraz rugby Jan Kath

oak wood

venue upholstery fabricby KnollTextiles

new field shapes tileby Pratt and Larson

leaf wallcovering by Maharam

aria upholstery fabricsby Maharam

mister upholstery fabricby Maharam

pebble wood multi fabric by Maharam

names fabricby Maharam

gray carpet by Mohawk Group

Just as in a residential space, public areas are located near the center of the space. The work spaces become quieter and more private as one moves away from the entrance and town hall. This creates appropriate zones of social activity and focus.

The living room spaces act as showrooms for Kimball Office furniture. Employees can rearrange various types of Kimball products when and how they wish to create different work areas for themselves. The foyer area is where guests and employees will be welcomed into the space. The kitchen area, a small self-serve cafe, acts as a social hub for employees, just as a kitchen is the inviting heart of a home.

living room foyer kitchen public/loud group work/medium private/quiet

The living room area contains Kimball Office’s most recent furniture lines. Employees can move the furniture around to create various configurations supporting both individual and group work. This promotes comfort and self-expression, just as residential spaces do. Kimball can collect data on how their new furniture lines are being utilized and visitors in the Kimball Headquarters can test the products. The materials throughout the office are separated into two groups. The colorful fabrics are reserved for the furniture. The remaining materials on the ceiling, walls, and floor are neutral so that they do not detract from the Kimball products.

not to scale individual cubbies

The individual nooks and Kimball branding sign in the town hall are both constructed with gray steel and wooden planks. The wooden planks represent Kimball as the leading manufacturer of wooden office furniture. The gray steel, using the same color as Kimball Office’s logo, represents Kimball’s innovation and future. Kimball is now making modern office furniture solutions using materials like steel. Therefore, the combination of the steel and wood represent the growth and history of Kimball Office furniture. Because the nooks and sign use planks that are spaced apart, people can see through the seemingly solid forms from certain angles. This references looking through tree branches, which can help improve the wellbeing of employees.

wood ceiling

dropped grey drywall ceiling

LED Cooper Lighting 23 DIP

dropped wooden beam

gray drywall ceiling

Cal Lighting PNL-714/6-BS/WH LED Dimmable PendantBerkley Black Single Light Pendant B6003

494WB06 Open White Baffle Trim

23DIP LED Straight and Narrow

reflected ceiling plannot to scale

open meeting area

sales operations

enclosed office

formal conference

individual cubby

leadership

living room/test area

informal conference

town hall

printer/supply

ITsmall break room

sales

not to scale program

Katelyn Merrill

276-698-4376

[email protected]

www.katelynmerrill.com

Virginia Tech

Portfolio 2016

contact information.

katelyn merrill 2016 portfolio reduced pdf

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