heather lynn davis design portfolio
heather lynn davis design portfolio
DIGITAL PROJECTS ANALOG PROJECTS GRAPHIC DESIGN DIGITAL FABRICATION
Studio projects showcasing digital modeling and rendering skills in various software.
> Urban Artery | 2011 > Center for the Arts | 2009 > Negative Cube | 2010 > Nooka Showroom | 2010 > Ligament of the City | 2009
Urban Artery | 2011 GRADUATE THESIS
CLUSTER STUDY
CENSUS DATA ANALYZED FOR ZIPCODES WITH MOST POTENTIAL FOR PEDESTRIAN INFRASTRUCTURE DEVELOPMENT
COMMITTEE Gabriel Esquivel John Nichols Shelley Holliday
LOCATION Houston, TX
EXISTING BRIDGE
290
610
10
SOFTWARE UTILIZED Autodesk Maya, Rhinocerous 4.0, RhinoScript, Grasshopper, VRay
DESIGN INTENT Explore the application of biomimetic principles as a theoretical basis for formal computational design.
45
610
59
610
ABSTRACT The grand effect of computation on the field of design within the past twenty years is indisputable. Still, this effect has remained passive, as technology has generally served to replace analog tools, playing a more efficient version of the same role within traditional human designing. Traditional formal design falls into the category of abductive reasoning—possessing a certain subjectivity based on the designers’ cognition and theoretical background. As computation is, by nature, non-subjective, it has lacked this necessary basis for formal design. This project explored the application of biological precedents as a theoretical basis, developing a formal design strategy through computation [1]. Historically, architects and designers have often borrowed ideas and sensibilities from the field of biology. This relationship, however, generally reaches only the superficial level, resulting in a normative architectural system “dressed up” in a biomorphic skin. Rather than giving precedence to the generation of form and then materializing it subsequently, in this project, a bridge’s form, structure, and materiality were derived simultaneously from a series of algorithms that mimicked the operations of biological evolution: selection, reproduction, and mutation [2]. The form was intelligent and efficient—informed and altered by real data from the program and context [3]. This design strategy allowed for the emergence of “complex, non-linear global systems” [3]. These biomimetic algorithms can become a blueprint of instructions that can be informed by data from any environment or program, making this strategy transferable to all contexts, at all scales [3]. Thesis research paper submitted to Fifth International Conference on Design Computing and Cognition (DCC’12). Publication selection to be announced March ‘12
1. Gero, J. Research methods for design science research: computational and cognitive approaches. University of Sydney. 2. Weinstock, M (2008 March/April) Metabolism and morphology. In Hensel, M, Menges, A (Eds) Versatility and vicissitude: performance in morpho-ecological design. Architectural Design, 78 (2): 26-33. 3. Jones, P, Sabin, J (2007) LabStudio: nonlinear biosynthesis. University of Pennsylvania.
Urban Artery | 2011
TRAFFIC
HEAVY TRAFFIC
PRIMARY LAND USE
LIGHTER TRAFFIC
WATERWAY
COMMERCIAL
PEDESTRIAN PATH
MIXED COMM / RES
RESIDENTIAL
PUBLIC / PARK
40
40
20 0
20
20
45
0 45
20
40
40
RESIDENTIAL VIEW OF DOWNTOWN
POINT OF INTEREST
800
400
200
100
0
800
TOPOGRAPHY
400
200
100
0
BRANCHING + SWARMING IN NATURE
The basic materials of biology have much lower densities than most engineering materials. They are successful not so much because of what they are but because of how they are put together. -Michael Hensel SKYLINE INTERSTATE BRIDGES EXISTING BRIDGE
PEDESTRIAN PATHS WATER LEVEL
LEVELS
The mechanical appearance and behavior of steel, glass, sheet metal, and fasteners is replaced with a new language of blending based on compositing synthetic and biological materials, not in layers but in new molecular arrangements. The combinatorial range of capacities and aesthetics of polymers, resins, rubbers, silicone, cartilage, and cuticle puts into question the tired frame-and-infill model of design, which is based on extreme disparity of material capacities within hierarchical assemblies.
SCRIPTING RESEARCH SELECTION: CENTROID BRANCHING ALGORITHM
REPRODUCTION: RECURSIVE BRANCHING ALGORITHM
RECURSIVE ATTRACTOR HYBRID
1. select starting line 2. angle of branches 3. scale amount 4. number of generations
1. select starting line 2. angle of branches 3. scale amount 4. number of generations 5. select attractors (repellers) 6. threshold distance
MUTATION: CURVE ATTRACTOR ALGORITHM 1. select curves 2. number of generations 3. attraction threshold (attractors/repellers) 4. attraction threshold (curve points) 5. distance for vector to move 6. curve degree
EMERGING PATHWAYS
SELECTION
REPRODUCTION
MUTATION
Living biological systems are based on a complex organization involving the integration of form, behavior, and environment. This complexity is “heterogeneous, with many varied parts that have multiple connections between them, and the different parts behave differently, although they are not independent�. These complex systems are layered in such a way that one system operates as the environment for another system, but they are not completely hierarchical. Each layer, or system, is integrated through multiple connections, both with the layer serving as its environment as well as with the layers it contains. Due to this complex integration, the systems are dependent upon each other and evolve interactively. Form, material, structure, behavior, and environment become integrated components of a single, complex system [4]. 4. Hensel M, Menges A, & Weinstock, M (2010) Emergent technologies and design. New York, NY: Routledge. 13-20
100 ft
50
25
0
Pro es or: Arts abe Center for the | 2009
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PRELIMINARY ELEVATION
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l ghe Ar cla s wA at eryconsider for design: ter acar fun ly ng DESIGN REQUIREMENTS Afte lass a efwnarrow ya cons ar front a Cener erng in the Artsof parking Long, very site M des g : r i lass wha garage. desi
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PRELIMINARY PLAN & SITE ANALYSIS
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es e wrapp ig ga skin g around g keg d kthem. My design interacts with the surrounding hg My i n h te d ctsl mpwit k gl ghe di il yesi g area in several ways. When driving by on W p g roid indd glb b s en U a w ly i University the interior of the buildAvenue i Avenue en erior of he u ld n la tw n d kti g s y y ing sis through the wire mesh rerevealed ealedi thro gh the w re me h n g ah ki ve oc d yh d shading The large shadi ro ngsystem. sys dditiona ly, e li t translucent M edi l em. ng by h Ut h y h weWtern d the finthe building north wall of performance serves en ei d by on isUniaised er l it space , of the n e ground or f ep o ding d g a a as ao fAvenue digital billboard but during perforhe enterior o the bui d n we ern e d o he bu di s r ed W st g s is aded outdoo bewire used fo into mance aohe window the silhoure becomes ealed oug mes off f hethspac o nd rf din ia g s e d y a shading cshaded u esyste ga taking en or . space Add tionally, etted a lptivitie place Addioutd or to out be usooinside. dhefor w acwes l bughding s ra sed h iva ern so e dreo garden the culpt o o of o the tdoo building is tionally, the western end g t p Adn i l t ofactivi of of theun gr ground, und, pro ding a es. raised off the providing a shaded ft b l n i d d s a ed ou dod espace be us for d o a sculpture outdoorf space to be used ofu t g r p ga o i i garden or for outdoor activities. d d t
ePEDESTRIAN rian Circ tio
CIRCULATION
SITE S PlPLAN
Center for the Arts | 2009
performance area
roof-top cafe
studio space
resource / media center
loading
office space / restrooms
wood shop / studio
classroom space
gallery
covered outdoor area
INTERIOR RAMPS
0
10
25
50
N LEVEL 5 50ft 15 outdoor eating / sitting area 14 roof-top cafe 14
13
LEVEL 4 35ft 13 performance area 15
NWESTERN LIGHT
LEVEL 3 30ft 12 studio space 11 studio space
N NORTHERN LIGHT
12
8
LEVEL 2 20ft 10 classroom area 9 resource / media center 8 studio space
11
r
9 1 2 3
5 10
6
7
4
LEVEL 1 10ft 7 6 5 4 3 2 1
outdoor sitting area offices / public restrooms lobby gallery storage loading wood shop / sculpture
MESH SHADING DETAIL
Negative Cube | 2010 PROFESSOR Mark Odom PROJECT DURATION 2 weeks SOFTWARE UTILIZED Autodesk Maya, Mental Ray
DESIGN REQUIREMENTS Create a design through which to explore the concept of “edge”.
I chose to explore the concept of “edge” through the creation of a negative space. Within this negative space exist a wide variety of edge conditions, with functions undefined. By making the space rather small and confined, the user is forced to interact with the edge in some way.
NEGATIVE
CUBE
3D RAPID PROTOTYPE
Negative Cube | 2010
SECTIONS
COLOR VARIATIONS
TEXTURE VARIATIONS
SEMI-TRANSPARENT
DESIGN REQUIREMENTS
Nooka Showroom | 2010 PROFESSOR Mark Odom SOFTWARE UTILIZED Autodesk Maya, Rhinocerous 4.0, VRay
Continuation of “Negative Cube” project. Apply ideas explored in previous assignment to a showroom for “Nooka” products.
The “Nooka” brand prides itself in being a very unique product line - unique both from other brands and within the brand itself. Each product has a very unique look and feel, which spurred my design concept of the creation of an “experience cube” for each product. Each cube strives to create an atmosphere that encompasses the feel of a specific Nooka product. The customer, then, could enter multiple cubes, choosing a Nooka product based on the experience of the display space.
“ ZEM ” CUBE
THE “ ZEM ”
“ ZEB ” CUBE
THE “ ZEB ”
Location ou ton X Ligament Locati n Ho of ton the TX City | 2009
PROFESSOR Spec al Requ re Gabriel Esquivel rowth pge new a ea of do in nt un
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LOCATION Houston, TX
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PROJECT DURATION f t d Prd vid f 8 weeks
SOFTWARE UTILIZED My design My d Autodesk Maya, Rhinocerous 4.0, VRay chose site B ba ed on sign s oximd si a eas and s and al ng s ouli n act elt hathosp the buildl as DESIGN REQUIREMENTS a u ld ing s oul ct s nk be wee down own a d the Encourage new growth undeveloped a ink in tw en down own and t edeveloped wee ofdown own nd egHouston he sarea a ea, drawi peop e a downtown developed
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Study of form and aeffect. I h b l
OF THE CITY
Add as tiona ly, the of uilding I thought the bu lding a ligament ons a of flower b he t city an as vib an it blooms new nto area of ouston. and sof a city flowe the city the ntasand ib an stretching, itofblooms ne scontracting, life The buil ng s aes e ic is b s dhis vibran it b ooms new life pulling city together. Additionally, area,the of Housto g fit c area olding’s Houston the e bu building aes functions het c is base as on a flower of the l i ic is based on ty and vibrant, ticldin er l sbrignt yaes a fhe t ng “flower cons musc e d-t blooms igame s” new he bui ainto f es tting d- redtoin two life th flower s area of Houston gly,the mbla ce ofcons t iss buds o ng o g ga nce sbuild cre es r gaments e ki The building s aesthetic is based on the ki o gamn o skins: a ilder g a ed ove ed tiger lily, a fitting flower” considering area w lig t s less or di sgh p t ry c o ebuds to rai tohemuscles center of th the resemblance ofI ga it’s ro g y off a a hd ga k bui ding e the ro nd, creating or “ligaments”. The building is covered n w gh o large, shad d exte or pace for h in two skins: a perforated skin to control l s p ce e lig e ra light in the gallery areas, and a striated i og e g , a g skin for the areas where light is less e, eg ux
important.
I chose to raise the center of the building off the ground, creating a large, shaded exterior space for the public.
DOWNTOWN
CONVENTION AREA PARKING
INTERSTATE
HOSPITAL
Ligament of the City | 2009
o
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n
level 3
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j
permanent gallery temporary gallery permenant galle y permenant galle y permenant gallery
f h g
level 2 f g h i j
i
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temporary and video gallery main lobby permanent gallery indoor / outdoor cafe permanent gallery
level 1 a b c d e
main entrance permanent gallery auditorium entrance auditorium sculpture garden
Early studio projects showcasing skills in hand-modeling and hand-drawing.
> Artist Compound | 2009 > Eccentric House | 2008 > Kitchen Design | 2008 > Various Hand Drawings
Artist Compound | 2009 f
PROFESSORS Hempstea Gerald Maffei John Fairey Requ
PROJECT DURATION stead TX 3 weeks
rea at t ree un
LOCATION d g Peckerwood TX in k Th Gardens, i t Thr Hempstead, BUDGET $40,000
DESIGN REQUIREMENTS Create three units in an artist compound, 0 Budget $Bu0,000 each containing a get l ving 40,0 and working space. Three visiting artists (a painter, a musician and a fashion M would esign each have a My designer) d sign: unitI to live in from October - April h li i h li i Must nn qa arte cteru cacti it W into t r arrangeuarter incorporate h unitin Wnine ment.
I chose to separate the living and working quarters in each unit. Water runs off the steep butterfly roof of each unit and is collected in a cistern. Each unit is oriented roughly north/south so that ample northern light is allowed into the work area and the cooling effects of the south breeze can be maximized. Each unit is made up of four cinder block walls which will store heat during the day and release it at night. The other walls are clad in glass with a system of sliding plywood panels that can be pulled close at night to keep heat trapped inside.
SITE MODEL
Artist Compound | 2009
GRAPHITE RENDERING
FURNITURE DESIGN Bed, desk, chair and shelving design to be used in each of the housing units. Use only 1x4 yellow pine. Simple connections only for easy on-site assembly.
Eccentric House | 2008 PROFESSOR Gerald Maffei
PROJECT DURATION 5 weeks
LOCATION Colorado River bank Austin, TX SQUARE FOOTAGE 1000 PRELIMINARY SKETCH My clients are an eccentric couple who love nature. I designed for this eccentricity by relating the form of the house itself to nature, and also allowing the clients to interact with nature as much as possible through the design. The central portion of the house, containing the living area, closet space and bathroom, relates to the ground with its low ceilings, dense limestone walls, and cobblestone flooring. The bedroom and kitchen relate to the air and sky as they are lighter structures with vast amounts of glass and high ceilings.
FINAL MODEL
SKETCH MODEL
The house is built with post-and-beam construction, disrupting the site as little as possible. The central portion of the house is covered in a green roof. The two leaf-shaped butterfly roofs collect water in cisterns which is then used to water the green roof and landscaping.
SITE MODEL
Kitchen Design | 2008 PROFESSOR Gerald Maffei
PROJECT DURATION 4 weeks
LOCATION Seattle, WA
SQUARE FOOTAGE 200
DESIGN REQUIREMENTS 1 wheelchair-bound family member.
SKETCH MODEL
Face-to-face interaction possible while preparing meals. Lounge area in kitchen.
For my design I chose to put a contemporary twist on the traditional craftsman style of architecture which is popular in the Seattle area. All countertops and appliances are fully accessible to the wheelchair-bound family member. In addition, there is at least 4 ft of circulation space all around the kitchen to allow the wheelchair-bound family member to easily move around and help with meal preparation.
DETAIL DRAWING Glass Awning System
FINAL MODEL
A large outdoor patio area is equipped with a fireplace, grill, and outdoor food preparation and storage areas so that the family can dine outside on nice days.
FINAL MODEL g
Kitchen Design | 2008
RENDERINGS (prismacolor) Bridge Design | 2009
DETAIL DRAWING (graphite) Railing Detail | 2008
Various Hand Drawings
ANALYTICAL DRAWING (prismacolor) “Run Lola Run” Plot Analysis | 2008
EXPLORATORY DRAWING (watercolor) “Morphosis” Sensibility Study | 2008
Variety of graphic work showcasing skills in two-dimensional design, layout and branding.
> Posters > Packaging & Branding > Logos
Posters
CHARACTER SERIES | 2007
Packaging & Branding
visual arts association
Band Logo “When Heaven Falls” based in Fayetteville, Arkansas
BAND LOGO | 2008
VISUAL ARTS ASSOCIATION LOGO | 2007
VERVE KIWI
VERVE WATERMELON
VERVE GRAPE
VERVE PINEAPPLE
VERVE
energy water
energy water
energy water
energy water
energy water
ENERGY WATER SERIES | 2007
STRAWBERRY
Logos
Digital design executed at full scale using CNC routing and other digital-to-analog fabrication techniques.
> Azimuth Wall | 2011 > La Riviera | 2010
Azimuth Wall | 2011 DESIGNERS Elena Manferdini Eugene Kosgoron SUPERVISORS Gabriel Esquivel Carol Lafayette
STUDENT LEADERS Heather Davis Matthew Miller Chris Gassway Karine Bashoyan
LOCATION Azimuth Cafe, College Station, TX SOFTWARE UTILIZED Rhinocerous 4.0, Autodesk Maya, Mastercam Student leaders assisted in writing the initial project proposal and budget, and presented these items to the college for approval. Upon approval, student leaders worked to produce a series of prototypes, communicating directly with Elena Manferdini’s team to solve design and construction issues encountered. The finalized design was then fabricated with the help of several students participating in the Artist in Residence program. The student leaders were responsible for organizing work schedules, material transport, setting up files for CNC routing, quality control and overall fabrication management.
MORE INFO
http://archone.tamu.edu/ www.ateliermanferdini.com
VIDEO
http://www.youtube.com/watch?v=OX4pr6XsXFM
Azimuth Wall | 2011 photos by Marcel Erminy
PROTOTYPE 1
PROTOTYPE 2
PROTOTYPE 3
PROTOTYPE 4
Aluminum scratched easily needed plastic coating.
Petals intersected - more tolerance needed.
Detched petal-to-petal tabs allowed more tolerance + more accurate bends.
Final test.
“Ears� overlapping bend lines would be bent - must not overlap.
Tabs were difficult to bend accurately.
Very tight/difficult fit on structure with attached petal-to-structure tabs.
Newer bending machine needed.
All tabs detached - multiple flowers fit on structure easily.
FABRICATION | Structure Diagrid | 1/2”x4’x8’ plywood, 1/2”x5’x10’ MDF Support Structure | various 2x yellow pine
Diagrid |Top Half
Diagrid |Bottom Half
Support Structure
Petal Sorting and Assembly
Structure Check and Petal Application
Securing Completed Wall and Vinyl Installation
La Riviera | 2010 SUPERVISOR Gabriel Esquivel LOCATION Bryan, TX
TEAM MEMBERS Ky Coffman Heather Davis Dustin Mattiza Matthew Miller Jeffrey Quantz Michael Tomaso
SOFTWARE UTILIZED Rhinocerous 4.0, Autodesk Maya, Lamina, Mastercam Commissioned by local restaurant, La Riviera, to renovate their entry space, the concept behind the project was to produce a new atmosphere more sensual and suitable for the type of food served. Some of the sensibilities explored were pastry techniques like fondant, frosting and cake ornamentation. The reason behind the research was to produce a series of sensations using materials and form or specific perceptions, sensations and actions, basically interpreting wall, furniture and ceiling surfaces as frosting and fondant with ornament. The project’s scope included a new bar, wall ornaments and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce cost while achieving the desired atmosphere. MORE INFO Search “La Riviera” at: Suckerpunchdaily http://www.suckerpunchdaily.com Theoremas http://theoremas-gabe00fab.blogspot.com
La Riviera | 2010
heather lynn davis 479.243.8232 heatherdavis4@gmail.com