K a t e M a g e e M F A i n D e s i g n I n t e r i o r E n v i r o n m e n t s P o r t f o l i ok

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m a n i f e s t o

In design, I believe in sparkle.

Sparkle stems from simplicity. A facet, layered against another facet, struck with the right light in the right moment. The perfect combination of elements leads to a moment I call “The Discovery.” Much like seeing the sun hit a prism for the first time, this moment takes an ordinary object and elevates it irrevocably in the viewers’ eyes.

In design, sparkle grows with an appreciation of intent and recognition of thoughtfulness behind a decision. Something that sparkles not only speaks to but also augments a bigger picture, and an understanding of this parallel conversation between the micro and macro is what keeps this initial flash of brilliance from burning out.

(Opposite) Conceptual study model for thesis project.

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t a b l e o f c o n t e n t s

Thesis Project: Mixed-Use Space 7

Achille Castiglioni Museum of Light 25

Park Avenue Residence 33

Big River Advertising 45

Belvidere Residence Hall Lobby 55

Miscellaneous Revit + Autocad Work 59

Conceptual Work: Glimmering Light Cube 65

(Opposite) “Brighten”: carved soap stamp + ink

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t h e s i s p r o j e c t

Date: Second year, Fall 2010 + Spring 2011

Site: “Lot G,” the paint + auto body shop at the Greater Richmond Transit Company’s former headquarters in Richmond, Virginia.

Supervisor: Camden Whitehead + Christiana Lafazani

Program: 16,000 square-foot mixed-use space to celebrate Richmond, Virginia’s arts and design community. Primary spaces include an art gallery, retail space, sit-down restaurant + a casual café.

Concept: Fixed + Flexible: a mixed-use celebration of Richmond’s creative culture.

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c o n c e p t d e v e l o p m e n t

Venn diagram sketches illustrate various levels of flexibility and fixedness through an exploration of overlap between the three major programmatic areas: Gallery, Retail, and Café.

Retail

Gallery

Café

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Exploration of the degrees of overlap between the Gallery, Restaurant, and Retail Shop based on their respective programmatic square footages.

Concept models representing the six major walls of thesis building’s original floor plan, ranked in terms of fixedness and flexibility.

Restaurant concept models depicting such fixed + flexible elements as a public dining space, a private dining area, built-in booths and free-standing tables and chairs, a server wait station, the bar, coffee shop, commercial kitchen, and rest rooms.

c o n c e p t m o d e l s

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Legend

1. Main Retail Entrance

2. Retail Boutique

3. Rest Rooms

4. Changing Rooms

5. Retail Stockroom

6. Coffee Shop

7. Kitchen

8. Employee Break Room

9. Employee Bathroom

10. Janitor Closet

11. Office Area Main Entrance

12. Reception

13. Conference Room

14. Gallery Contact’s Office

15. Event Coordinator’s Office

16. President’s Office

17. Employee Kitchenette + Break Space

18. Employee Rest Rooms

19. Kitchen

20. Dining Room

21. Lounge

22. Bar

23. Rest Rooms

24. Art Gallery

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0’ 4’ 8’ 16’

Bar - semi fixed [wood + concrete]Rest Room - most fixed [concrete]Storage Carrel - semi flexible [wood + gypsum board]Dressing Room - most flexible [wood + fabric]

The building’s primary programmatic framework is structured around eight 11’ cubes that run along its core. These cubes contain the building’s rest room facilities, dressing rooms, art and event storage, and a bar. The materiality of each cube’s front façade communicates its unique level of programmatic fixedness or flexibility.

Walls clad in rusted and non-rusted

metal panels create vibrant niches

between each of the eight cubes.

Section

f l o o r p l a n + s e c t i o n

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r e t a i l a r e a

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CT Retail area highlighted

Gallery configured for basic art exhibition

Merchandise Display + Storage Racks

Display racks were modeled after moving library shelving systems. Five modules

provide a variety of storage options and can easily be wheeled into different

configurations. The cases can be pushed together and moved aside when not in use.

(Opposite) Retail floor from main entrance.

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a r t g a l l e r y

Art gallery highlighted

Configured for an exhibit in the round

Moveable panels provide additional hanging

surfaces in the gallery and can easily be

rearranged for various functions. When not in

use displaying art, these panels can partition off

areas of the gallery or simply be tucked away

between the utility cubes and

counter-carrels.

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Left: View of Gallery toward Restaurant.

Right: Mini gallery behind counter-carrels

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r e s t a u r a n t

Restaurant highlighted

Gallery configured for party or reception

View of bar from Dining Room

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d i n i n g p o d s

0’ 1’ 2’ 4’

0’ 4’ 8’ 16’Section

Dining Pod Side + Front Elevations

These 7’ pods bring the scale of the dining room down to a more human level, and provide additional hanging surfaces on which to display art. Mounted on wheels, the dining pods can be rolled outside the building’s garage doors for instant indoor/outdoor seating. They can also be pushed together to accommodate larger dining parties

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d e t a i l m o d e l

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o f f i c e a r e a

Office area highlighted

Gallery configured for wedding ceremony or performance

0’ 4’ 8’ 16’

1.

2.

Four 10’ cubes mark entrances into the back-of-house office spaces. In a similar language to that of the larger cubes running through the building’s public core, these cubes communicate fixed versus flexible as well as public versus private through the use of concrete, wood, glass, and steel. A kitchenette, shared office entrance, and conference room align along a central axis, while the president’s office is tucked back and less readily accessible.

1. Enlarged Plan. Left to right: Kitchenette,

President’s Office, Shared Office Entrance,

and Conference Room.

2. Section of office entrance cubes.

3. President’s office + Kitchenette.

4. (Opposite): Reception + Conference Room entrance.

3.

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m o d e l o f L o t G

Right: West-facing exterior façade, looking into to Retail Area and

Coffee Shop.

Below: North-facing exterior façade, with main entrances into

Retail and Dining Areas.

Opposite: Overhead views of Art Gallery and Office Area.

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m u s e u m o f l i g h t

Date: Second year studio, Fall 2010

Site: W. G. Clark’s Hillman House in Charlottesville, Virginia.

Supervisor: Rab McClure

Program: 2,200 square-foot residence transformed into a museum displaying a collection of light fixtures by Italian designer, Achille Castiglioni.

Concept: An orchestrated journey from Opacity and Darkness to Transparency and Light.

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7.

Expansive windows and a double-height interior opening make WG Clark’s Hillman House the perfect space in which to display light. Inspired by the wonderfully different experience daytime visitors would have at the museum versus those exploring the exhibits at night, I treated the existing structure like a glass bell jar encasing a collection of light fixtures by Italian designer Achille Castiglioni.

0’ 2’ 4’ 6’ 8’5. 6.

1. Perspective of Double Height Area

2. Long Section: Darker 1st floor opens up to increasingly-transparent 2nd level.

3. Long Section: Light + Transparent Areas of museum

showcase light fixtures with reflective qualities.

4. Cross Section: Both Opaque + Transparent Spaces.

5. First Level Floor Plan

6. Second Level Floor Plan

7. Revit Model of Hillman House Exterior

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0’ 1’ 2’ 3’

1. Early conceptual elevation: Most opaque stacked

stone wall

2. Early conceptual elevation: Mid opacity/transparency

stacked stone wall

3. Early conceptual elevation: Most transparent stacked

stone wall.

4. Early perspective showing series of stone walls

growing increasingly transparent as one moves closer

to the museum’s windows.

Opposite: Final construction document detailing the

stacked stone wall with glass reveals and a

suspended barn door.

4.

complete reveal

glazing

glazing with reveal1. 2. 3.

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p a r k a v e n u e r e s i d e n c e

Date: First year studio, Spring 2010

Site: 1185 Park Avenue New York, New York

Supervisor: Christiana Lafazani + Michael Rosenberg

Program: This 3,500 square-foot Park Avenue co-op is home to a family of four, their live-in housekeeper, and a small dog. Special attention was given to entertaining areas, storage, and art display.

Concept: Balancing Act: a Timeless Tradition of Old and New in Black and White.

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Public

Private

Both Public + Private

Immediate Adjacency

Secondary Adjacency

Natural Light

Above: Bubble diagrams exploring adjacencies of programmatic areas.

Right: Space plan roughing out Public + Private spaces.

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0’ 1’ 2’ 4’

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.11.

12.

1. gallery

2. eat-in gourmet kitchen

3. laundry area

4. a.c. room

5. nanny’s quarters

6. dining room

7. drawing room

8. son’s room

9. powder room

10. daughter’s room

11. master suite

12. sitting area

Floor Plan

Study Model

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Section

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0’ 6” 1’ 2’

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Above: Sitting Room in Master Suite. Opposite: Master Bedroom

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0’ 6” 1’ 2’

Above: Breakfast Nook Perspective

Left: Kitchen Elevation

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0’ 6” 1’ 2’

0’ 6” 1’ 2’

Above: Drawing Room Fireplace + Built-In Storage Elevation

Right: Section-Axonometric Detail of Built-In Storage

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0’ 6” 1’ 2’ Elevation of Daughter’s Bedroom

0’ 6” 1’ 2’

Axonometric Drawing of Lofted Bed +

Storage in Son’s Bedroom

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b i g r i v e r a d v e r t i s i n g

Date: First year studio, Spring 2010

Site: 2100 E. Cary Street Richmond, Virginia

Supervisor: Christiana Lafazani + Roberto Ventura

Program: A 5,700 square-foot office space in the newly-renovated Edgeworth Building is now home to Big River Advertising’s staff of 16. Spaces include private offices, an open plan of semi-private workstations, small and large conference rooms, a kitchen, lounge, reception and mail area, and impromptu meeting space.

Concept: A Layered Landscape

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Far right: Inspirational images of the peeling bark of River Birch trees,

which can be found along the banks of Richmond’s James River.

Right: Concept development diagram.

Above: Space planning and adjacency diagrams.

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0’ 1’ 2’ 4’ Floor Plan

1. reception + waiting area

2. small conference room

3. public lounge

4. equipment storage closet

5. library

6. collaborative/impromptu

meeting space

7. private offices

8. semi-private work stations with central

cut area

9. editing room

10. private den

11. kitchen

12. print/fax/mail room

13. server, supply and coat closets

1.

2.3.

4.

5.6.

7.

8.

9. 10.

11.

12.

13.

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Section

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0 1’ 2’ 4’

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Left: Kitchen with Papersoft Wall partition

Opposite: Private Den

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Above; : Semi-private Work Stations surrounded

by Private Offices

Left: Reception Desk

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0’ 6” 1’ 2’

0’ 6” 1’ 2’

Above: Public Lounge Elevation

Right: Copy/Print/Mail Room Elevation

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c a r y + b e l v i d e r e r e s i d e n t i a l c o l l e g e

Date: Second Year Studio, Summer 2010

Site: 301 W. Cary Street Richmond, Virginia

Supervisor: Peter Hodson

Collaborator: Angela Roy

Program: This lobby is one’s first impression upon entering Virginia Commonwealth University’s Cary + Belvidere Residential College. Classical design elements such as proportion, scale, and geometry were applied to the space, Areas of focus included the building’s main entrance, a general seating area, student work stations and mailboxes, and the front desk.

Concept: Art Deco Remix: Classical Design with a Contemporary, School-Spirited Twist.

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1. Main Entrance

2. Seating Area

3. Student Work Stations

4. Student Mailboxes

5. Front Desk

1.

2. 3. 4.

5.

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Far Left: Lobby redesigned in the Classical language of Art Deco

Left: Original Ground Floor Plan

Right: Front Desk + Secondary Entrance

Below: Student Work Station

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m i s c e l l a n e o u s r e v i t + a u t o c a d w o r k

Date: First + Second Years

Supervisor: Megan Johnson

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(This page) Coffee shop bar +

ADA rest room.

(Opposite page) Garage-turned-studio.

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r e v i t w o r k

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VCU Brandcenter Bathroom

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a u t o c a d w o r k

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c o n c e p t u a l w o r k : g l i m m e r i n g l i g h t c u b e

Date: First Year Studio, Fall 2009

Supervisor: Evelyn Tickle

Program: Through two and three-dimensional explorations such as sketching, carving ink stamps, and molding clay cubes, create a tool to portray the glimmering qualities of light from a 4-inch square bass wood cube.

Concept: “No longer a piercing, brilliant reflection of light, what I want to convey is much softer and more muted. Less rhinestones and Las Vegas. more candlelit golden glimmer, where the sparkle is appreciated because of its juxtaposition from the shadows in which it is situated.”

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1”x 1” soap stamps, grouped in fours,

visually represent 75 variations of the

verb, “imbue.”

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Concept sketches and clay cubes explore ways to three-

dimensionally represent glimmering light.

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Starting with a solid 4” x 4” basswood cube, I sliced it into eight 1/2”- thick pieces. Sanding down the back piece gave it a shoji screen-like translucence, and I drilled holes of increasing diameter in the remaining 7 slabs. By strategically twisting the slices, a pathway was created to permit the cube to glimmer from within when a light source is shone from behind and around it.

kate mageemfa, interior designvirginia commonwealth university6503 sunny hill court mclean, va 22101mageek@vcu.edu703.307.1765