Hayley's Portfolio Part 1

H a y l e y O l s o n

T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A H a y l e y O l s o n F l o o r P l a n s

I N T E R I O R D E S I G N &

A R T P O R T F O L I O

S e r e n d i p i t y (n) :good luck in making unexpected and fortunate discoveries.

H a y l e y O l s o n CONCEPT . PROCESS . DESIGN

T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A H a y l e y O l s o n

Nature Conservancy: Site Diagram

Key: Public Area Nature Conservancy Bldng Vehicle Nature Conservancy Circulation Below Grade Access to Venue Neighboring Businesses Foot Circulation

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Key: Public Area Nature Conservancy Bldng Vehicle Nature Conservancy Circulation Below Grade Access to Venue Neighboring Businesses Foot Circulation Major Views Slope in Topography

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Nature Conservancy: Program Diagram

Key: Public Workspaces

Conference

Storage

Phone Areas

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Nature Conservancy: Combined Diagram in Section

Key: Vehicle Circulation Stairwell Slope Access to Venue Public Area Major Views Neighboring Businesses Foot Circulation

* See Program Diagram for Nature Conservancy Key

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D i a g r a m m i n g T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A




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T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A H a y l e y O l s o n F l o o r P l a n s

FINAL DESIGN . Floor Plans, focusing on the adjacencies between functions.

W o r k p l a c e S t u d i o

CLIENT . The Nature Conservancy is the leading conservation organization in the world. In their Seattle building, we were given 3 levels to work with. We needed to provide at least 80 workstations, small conference rooms, one large conference room, phone rooms, a kitchen, & reception area. Their biggest desire was for a space that inspired a collaborative, innovative work environment.

CONCEPT . spiderweb, ecosystem web of hierarchy. I was inspired by the way a web interweaves within itself to perform a function. The organization functions like a small ecosystem. I created a 3-tiered hiearchy, areas of collaboration being the highest. My plan for the space was based on the most effective adjacencies.

PROCESS . Concept Models & Diagraming.

3- TIERED HIEARCHY WEB

3RD FLOOR:PRODUCTION-WORKSTATIONS

2ND FLOOR:WEB’S CENTER - LARGE CONFERENCERECEPTIONHIGHESTCOLLABORATION

A LEVEL FLOOR:“DESTINATION”-LOUNGE WORKSTATIONS

1 . WORKSTATIONS & CONFERENCE ROOMS

2 . PUBLIC AREAS: RECEPTION & PRIVATE OFFICES

3 . PHONE ROOMS & STORAGE

HIGHEST COLLABORATION TOLEAST...

VEHICLE: office space SITE: 1917 1st Ave Seattle, WA 98101

PROGRAM: approx. total 18,680 SF large conference 880 SF conference (6) 630 SF workstations (71) 5960 SF private offices (20) 1970 SF reception 680 SF phone rooms (5) 190 SF kitchen/ lounge 560 SF/1160 SF storage 650 SF coffee area/gallery 330 SF restrooms (10) 860 SF

1.

T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A H a y l e y O l s o n S e c t i o n s




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PROCESS . Mid Term 3D Program Diagrams, exploring adjacencies, initial program & plan development.

FINAL DESIGN . Sections & Physical Model, concept translates in section- the most important areas are full height, the least are shortest.

PROCESS . Workstations & conference rooms arethe 1st and highest level of hierarchy- this is where the most collaboration happens between workers, Open workstations culminate in small conference rooms, con-necting the web, with one large conference room sym-bolizing the web’s center, where the most people come together. The 2nd level of hiearchy is public areas like reception & private offices, while the 3rd level of hierar-chy contains support elements like phone rooms & storage. The levels of hiearchy move from most collaboration to least.

The 3rd floor level focuses on workers & production, the 2nd level focuses on the web’s center, where reception & large conferences occur, & the A level, now viewed as a dungeon, is intended as a destination now with a lounge near workstations.



FINALPHYSICALMODEL

A LEVEL

2NDLEVEL

3RDLEVEL

W o r k p l a c e S t u d i o2.

PROCESS . Mid Term Floor Plans, exploring adjacencies, initial program and plan. development after creating the 3-tiered hierarchy.

FINAL DESIGN . Renderings & Materials Selections, 2nd Floor conference room, 3rd Floor workstations, 2nd Floor reception

T h e N a t u r e C o n s e r v a n c y: S e a t t l e, W A H a y l e y O l s o n P e r s p e c t i v e s & M a t e r i a l s

2 n d F l o o r C o n f e r e n c e

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3 r d F l o o r W o r k s t a t i o n s



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For finishes, I focused on materials that would represent the organization & encourage interaction through openess. Transparent materials such as glass & resin panels designate conference rooms and work-stations. Natural materials such as wood and steel are used. The color scheme uses colors seen in nature. Furniture and spatial organizations pay homage to the angles seen in a spiderweb.

A spiderweb initially influenced my concept, but my design is less literal & based on the organization as its own ecosystem, the web representing how the areas of the space support eachother. Workstations flow into small conference rooms, support areas (phone rooms, etc) occur on the periphery, reception & the large conference room form the web’s highest center of collaboration.

2ND LEVEL CONFERENCE

3RD LEVEL WORKSTATIONS

MATERIALS

2ND LEVELRECEPTION

W o r k p l a c e S t u d i o3.

ARTWORK . Art is one of my biggest passions.Being able to physically manifest what I imagine inside my head or see with my eyes is the greatest creative freedom. I am especially drawn to recreating human faces, experimenting with color, & articulating folds in fabric. Some work has been done for school and some for my own pleasure.

I enjoy working in several mediums: colored pencil blended with marker is my signature style, but I also work in oil and acrylic paint, charcoal, & pencil. I’d like to try my hand at more sculpting & various artisan crafts in the future.

FINAL DESIGN . Works done in oil paint, acrylic paint, charcoal, colored pencil/marker, & painted sculpture.

“EVERY ARTISTWAS FIRST AN AMATEUR.”

- RALPH WALDO EMERSON

A r t w o r k1.

PROCESS . Research of Villa Savoye, & Le Corbusier’s 5 Points of Architecture for a building abstraction = FINAL DESIGN . Building Abstraction of Villa Savoye.

CONCEPT . Digital designs utilizing computer programs to create perspective renderings, graphics, & layouts. The top strip contains two images of Les Corbusier’s Villa Savoye & a building abstraction created in Adobe Illustrator describing elements of the house, inspired by its plan, site, composition, & underlying principles such as Les Corbusier’s 5 points of architecture.

Digital perspective rendering of a jewelry store done in Adobe Photoshop. Alongside is an elevation rendering of a residential kitchen & residential bathroom also done in Photoshop.

FINAL DESIGN . Perspective of a retail jewelry store done in Photoshop. FINAL DESIGN . Elevations done in Photoshop.

D i g i t a l D e s i g n s1.

G r a n d E s c a l i e r R e s t a u r a n t : S e a t t l e, W A


FF & E I n s p i r a t i o n

FINAL DESIGN . Rendering, axon of the entire space, relationship between the floors and stairs. & sequential materials.

PROCESS . Inspiration Images: iconographic French symbols- Arc de Triomphe, Henri Toulouse Lautrec painting, Bordeaux wine grapes, & grand marble staircases.

CLIENT . My task, to create a high-end French restaurant. I was inspired by French iconography.

CONCEPT . My organizing principle was based on “sequence”: a particular order in which related events, movements, or things follow each other. I focused on sequence of movement and how pattern, repetition & sequence of material & shape motivate one to move through a space in a certain manner. My design is anchored off of a grand staircase & the cascading “steps” of each floor(inspired by Paris Opera), which you travel upward to from the building’s dual entrance. One enterson the right side of the building which is segrated by a skylight & lit resin panels running along the center, flow through the space using the stairs on the right, & come down the other side to the exit.

INSPIRATION... SEQUENCE

VEHICLE: high-end French restaurant

SITE: Counterbalance bldng, Seattle, WA

PROGRAM: approx. 9970 SF total space public/private dining 2850 SF kitchen 700 SF restrooms (2)@ 180 SF entry/reservations 1020 SF bar/lounge 590 SF bussing 770 SF* total includes stairs, fire stairs, circulation

R e s t a u r a n t S t u d i o 1.

PROCESS . Original spatial model illustrating “sequence” to progression to final model = FINAL DESIGN . Exterior, dual entry, & sequence between floors.

PROCESS . My first step was a spatial model illustrating the word “sequence.” The stairs of the Paris Opera inspired the floors being set back from one another & the idea of a grand staircase running along one side & down the other, leading patrons sequentially through the space & its four tiered floors. I decided on the dual entry to reinforce this sequence of movement. The entrance side is revealed, the exit side is enclosed, of-fering a sense of mystery. The Arc de Triomphe inspired the archways connecting the floors, which contribute to visual sequence, & create transitions, “arches within arches.”

The floor plans illustrate the vertical relationship between them well as the sequence, unity, & flow of matierality & furniture.

FINAL DESIGN . Floor Plans, 2nd & 1st floor plan & Physical Model, interior.


H a y l e y O l s o nH a r m o n i q u e R e s t a u r a n tPROCESS . Midterm Floor Plans, when the staircase was removed, there became a disconnect between the floor plans & my concept of sequence.

I removed the staircases at midterm to gain space. My concept of sequential movement through the restaurant, enforced by the stair was ruined & theimpact of my dual entry was diminished. My goal was to create an interconnection between floors, with a smooth transition between them. The stairs, arches, & lit resin panels had originally acted as the visual guides leading one upward in the space.

The entire space is divided in half, starting on the exterior: the entrance open, & the exit closed. One travels in a designated sequence of movement to experience it. The space is unified, yet also divided. The lit resin panels & skylight running from the entrance through the ceiling divide the building lengthwise, yet connect the floors vertically with visual repetition.

FINAL DESIGN . Floor Plans & Perspective Rendering, 4th & 3rd floor & dual entry/exit.

ENTRY/EXIT

WITHOUT THE STAIRCASE, THE SEQUENCEBECAME UNCLEAR...


PROCESS . Designing custom furniture, sequence of design & materiality, repetition & unity of finishes and color.

The furniture & finishes in the space are inspired by French iconography & serve as visual sequence. The bold color palette references French painter Henri-Toulouse Lautrec as well as French Bordeaux wine. Color illustrates the separation between floors sequen-tially. Red represents wine, yellow the sun, green the vine, & purple the grape. On the bottom floor entry you start at “wine,” & travel through each phase of the grape’s life as you move upward. You return back to “wine “ down the other side.

The space is divided by function sequentially, the 1st floor is reservation when you enter, coat check when exiting, & the kitchen, the 2nd: public dining, the 3rd: public bar/lounge & dining area, the 4th: private dining. The space is a journey: ending where you began, a series of events.

FINAL DESIGN . Renderings, 4th floor private dining & 3rd floor public dining areas.

4TH LEVEL - PRIVATE DINING3RD LEVEL-PUBLIC DINING

2ND LEVEL -PUBLIC DINING

1ST LEVEL -RECEPTIONENTRY/EXIT

CUSTOM FURNITURE WAS CREATED TO REINFORCE THESEQUENCE & RELATIONSHIP BETWEENFLOORS...


PROCESS . Conceptualization, building sketches, materials selection, construction.

FINAL DESIGN . Finished hourglass sculpture with light on, detailing on bottom & top.

CONCEPT . In 3D sculpture format, we were required to represent either time (movement) or light. I decided to represent both in an hourglass using “flame” as my concept. Fire contains both elements: it flickers, showing movement, & burns, giving off bright light.

The hour glass tells times through moving grains of sand, representing literal time, & time as expressed by movement. I added the flame-like quality by choosing fire- representative warm colors as well as adding tealights to each base of the hourglass, creating a flickering glow of light. Jewels & shiny, gem-like beads were added to the design, as well as metallic, shiny, reflective gold material to enhance the sense of movement & light.

3D ART A CONCEPT,DRAWING, &PROCESS BECOMESACTUAL...

3 D D e s i g n 1.

FINAL DESIGN . Renderings, night & day with artificial source in residential dining room, artificial light in a warehouse store & coffee shop.

TOP . These renderings were an exploration of how lighting schemes differ between residential &commercial spaces. I rendered my dining room in the day & nighttime, comparing the effects of the natural & artificial lights. The warehouse space explored a “all-over” fluorescent lighting scheme while the coffee shop illustrates commercial “mood lighting.” Both commercial spaces use focused light for emphasis.

BOTTOM . The bedroom rendering explores the use of one decorative fixture & directional sconces, combining function & aesthetics. St. James & St. Ignatius analyze different, equally successful ways of lighting sacred space. One focuses on meaningful pops of color, the other on candlelight, enshrining a holy figure in the dark.

FINAL DESIGN . Rendering, illustrating directional light in a residential bedroom.

ST. IGNATIUS CHAPEL ST. JAMES CHAPEL

HOW LIGHTING VARIES IN A RESIDENTIALVS. COMMERCIAL SETTING... AS WELL AS IN ITS FUNCTIONAL PURPOSE...

L i g h t i n g S t u d i e s 1.

V i M A r t F a c i l i t y

D ualism

C o n c e p t & M a t e r i a l s

C r e a t o r V i e w e r

D e s i g n I n t e n t:

To express an aspect of dualism. How two mutually exclusive ideas can coexist and conjoin to create an inter-connected entity, transcending their dichotomous nature. These two ideas exist independently, yet transmute into each other, relying on both contrast and harmony in order to achieve unity.

what is art? individualism coexisting ideas

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DUALISM

M a t e r i a l s:

PROCESS . Design Intent & Inspiration Images, development of a concept of “dualism,” combining dichotomous views of the “viewer” & “creator.”

CLIENT . ViM (Visual in Motion), an LLC offering rentable studio spaces for artists (paint, sculpture, print making, metals, ceramics), to work & sell art directly to the public. They desire a community space for artists & patrons. ViM will offer artist studios, multi-use spaces, shops, a coffee bar, & 2 large gallery spaces for sculpture & paintings. ViM is located in a 2 -story brick formerly used as a garage.

CONCEPT . My intent of “dualism” was developed from the idea of our individual interpretations of art, how the “creator” & “viewer” see it differently. These differences are dichotomous, but they also coexist & intermingle like the Venn Diagram shape to make art what it is: something that invites opinion, encourages community & a blend of contrast & harmony.


D ualism






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DUALISM

M a t e r i a l s:

DESIGN INTENT...

“TO EXPRESS AN ASPECT OF DUALISM. HOW TWO MUTUALLY EXCLUSIVE IDEAS CAN COEXIST & CONJOIN TO CREATE AN INTER-CONNECTED ENTITY, TRANSCENDING THEIRDICHOTOMOUS NATURE. THESE TWO IDEAS EXIST INDEPENDENTLY, YET TRANSMUTE INTO EACH OTHER, RELYING ON BOTH CONTRAST & HARMONY TO ACHIEVE UNITY.”

FINAL DESIGN . Floor Plans, showing the duality of the space.

FF&E

LIGHTING

TO COMPLEMENT THE SPATIAL LANGUAGE, MATERIALS SELECTIONS WERE MADE TO ENHANCE THE DUALITY, CIRCULAR LANGUAGE, & ILLUSTRATE THE CONCEPT THROUGH A BLUE + YELLOW =GREEN COLOR SCHEME.


D ualism






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DUALISM

M a t e r i a l s:

Vesica Piscis

A CONCEPTUAL EQUATION THAT WOULD EVENTUALLY BECOME SPATIAL...

VEHICLE: art making facilitySITE: 946 Virginia Street Seattle, WA

PROGRAM: approx. 13,680 SF (total) Giacommetti Gallery 900 SF Motherwell Gallery 560 SF reception/coffee bar 1090 SF studios(11) 1940 SF public art lounge/demo 490 SF director’s office 150 SF restrooms(2) 420 SF multi-use space(2)@ 190 SF kiln-space 60 SF maintenance(2)@ 90 SF storage 120 SF artist storage(11) 1550 SF facility storage 530 SF*total includes stairs, circulation

A r t M a k i n g F a c i l i ty 1.

V i e w e r C r e a t o r

FINAL DESIGN . Axon Rendering, relationship between the galleries & Physical Model, both illustrate the light creating the driving shape the of the design.

PROCESS . Design Intent, in a simple diagram, spatial & conceptual integrity, diagramming the program development, circulation, & spatial duality in plan.

PROCESS . My intent, “dualism” was inspired by the Venn Diagram & the Vesica Piscis, which show elements represented by two circles conjoining to create an overlap of shapes & interests. My intent & plan are based on the “viewer” & “creator” representing these two circles, & the mutual space shared by both is shown by the overlap. The triad color scheme translates into yellow as the “viewer,” blue as the “creator,” & green as the “mutual” areas where the duality combines.

My spatial language is a conceptual Venn Diagram of “dualism.” As the most representative of mutual gather-ing space between “viewers” & “creators,” the galleries form the two circles. A skylight & floating green resin panel overlap the galleries to create the central shape which, when light shines down, is reflected upon the floor.

CONCEPT SPATIALCONCEPT

AXON -VERTICAL SPATIALRELATIONSHIPS

PHYSICALMODEL -HOW THE INTENT IS REPRESENTEDIN 3-D

A r t M a k i n g F a c i l i t y 2.

PROCESS . Spatial Models, the idea of “fulcrum,” in the Conceptual Model, a fulcrum supports a duality of two human faces which spin to combine.

My conceptual models above helped me develop the idea that the prime “mutual” spaces would the galleries, acting as a “fulcrum,” anchoring the main & basement floors as well as the two sides of the building. The two faces, representing the duality of the “creator” & the “viewer” are supported by a fulcrum, yet their ability to join together represents how the “viewer” & “creator” side of the building combine to create mutual public space.

The floor opening with stairs wrap around the main gallery, reinforcing the galleries as the fulcrum. The skylight & floating resin panel literally overlap to create the Venn Diagram’s center. Circulation leads to this moment with two pathways. The blue ceiling planes & lights designate “creator” space, the yellow ceiling planes & lights represent “viewer” space.

FINAL DESIGNS . Renderings, cross section of building & relationship between the galleries on both floors, one is led to the space in between them.


PROCESS . Mid Term Floor Plans, too defined by the galleries. FINAL DESIGN . Lighting Plans, track-lighting, etc. to define spaces & highlight artwork.

The materiality all has a dualistic & circular quality in keeping with my intent & inspiration, including the triad color scheme. The paneling on the studios: glass, translucent panel, & GWB, show a progression from transparency to opacity. The galleries show this dualism of opacity & transparency with alternate steel paneling & open voids. The steel panels on the outside of galleries slide for curator’s display convenience, as do the pivoting steel display panels inside of the Motherwell Gallery for paintings.

The spaces that most encourage the public & artist to come together are located centrally, the galleries, the coffee bar, & the basement art lounge, These areas have the highest ceiling plane, giving them hiearchy, while studios, & storage spaces are more private & shallow, their outer walls offset from the galleries.

FINAL DESIGNS . Renderings, Reception/Coffee Bar area, the Motherwell Gallery beyond, and the seating area surrounding it.


FINAL DESIGNS . Art Deco table, Scandinavian screen, Charles Rennie Mackintosh screen, Art Nouveau screen, & Shaker screen.

TOP . In my Furniture Design & Fabrication class, we designed furniture inspired by different art & architecture movements throughout history.

BOTTOM . Also, for Furniture Design & Fabrication, we were to choose a movement, artist, furniture designer, or architect to inspire our own furniture. I chose Salvador Dali, who was known for research of the psyche, dreams, & their influence on his surreal art. I re-interpretated two of his paintings, The Meditative Rose & Landscape of Butterflies. I saw a brighter, less melancholy palette. I chose a nighttable to pay homage to dreams, in keeping with my aesthetic, made it more typical rather than surreal. Also pictured are views of a teapot based on the design of Charles Rennie Mackintosh, which is wholistic, fluid, and based on his color scheme.

FINAL DESIGN . Furniture, Dali-inspired night table. FINAL DESIGN . Object Design, Charles Rennie Mackintosh teapot.

F u r n i t u r e & O b j e c t D e s i g n s 1.

FINAL DESIGNS . Renderings, using various techniques to render perspective sketches.

In my Visual Presentations class, we used a textbook called Color Drawing by Michael E. Doyle. The book is filled with techniques & information on how to render as well as black & white sketches on which to practice.

The shown renderings are ones I’ve done using Doyle’s black and whitesketches. I made use of Prismacolor marker, colored pencil, & white gouache to create these images. This is a technique I’ve also developed in my personal artwork & enjoy doing in my design renderings, as colored pencil & marker blend so well together. The Doyle book focuses on techniques used to represent a variety of materiality and helped me learn to articulate reflections & lighting effects, & even shade & shadow.

FINAL DESIGN . Renderings, exploring ways to articulate different materials and light. and shadow.

LIGHT . SHADOW . COLOR

C o l o r R e n d e r i n g s1.

FINAL DESIGN . Colorboard, for company owner’s condo in Kona, Hawaii. FINAL DESIGN . Colorboards, black & gold, white, and black color schemes.

As an intern at Bargreen Ellingson Foodservice Supply and Design- specialists in foodservice & hospitality projects- I helped layout colorboards, to give clients visual representations of the coordinating finishes to be used in the space. The Kona condo project was special, as Bargreen typically doesn’t do residential design. The clients wanted to pay homage to Kona, Hawaii. They requested a neutral palette with pops of color, high-end finishes, & artwork by a Hawaiian watercolorist.

Using materials commonly specified: paint, wall covering, vinyl upholstery, woven fabric, Lumicore panels, plastic laminate, & tile, I created colorboards for the display cubes in the design department. They serve as a reference to the design team & clients, of matieriality & characteristics of certain colors.

FINAL DESIGN . Colorboards, layouts based on each color of the rainbow, used as a display & informative tool for Bargreen Ellingson’s design department.

C o m m e r c i a l C o l o r b o a r d s 1.

Hayley's Portfolio Part 1

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