MELYSSA P R E NG E R P I L O F T R O O
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M E L Y S S AP REN GER
P ILOFTRO O
M E L Y S S AP REN GER
P ILOFTRO O
1
FIFTH YEAR STUDENT ATTENDING DRURY UNIVERSITY DOUBLE MAJORING IN ARCHITECTURE AND DESIGN ARTS. I AM INTERESTED IN THE PROCESS OF DESIGNING A PROJECT IN THE COMPUTER AND BUILDING THE 3D PRODUCT.
LOOKING FOR A CAREER IN WHICH I CAN COMBINE MY KNOWLEDGE OF BOTH OF MY DEGREES IN ORDER TO BETTER UNDERSTAND THE PROGRAMS AND PROCESSES BEHIND EACH. BEYOND GRADUATING, I WANT TO FURTHER MY KNOWLEDGE OF BOTH AREAS.
Cad Lab MonitorHammons School of Architecture, Drury University• Scan and print documents out for other architecture students• 3D print• Laser cut material for other architecture students• Machine maintenance
Wedding and Party EmployeeU.S. Rents It, Jefferson City• Stock Shelves• Decorate the Store• Wash china and other rentals• Iron tablecloths and napkins
InternshipJ Price Architecture• Red line documents• Site Visits• Various Meetings (Client and Pay ap)• Design Exloration
InternshipSelser Schaefer Architects• Red line documents• Shadowed various people involved in the firm
Cafeteria EmployeeAladdin Food Services, Drury University• Served food to students• Cashiered• Washed dishes
Retail EmployeeKohls, Jefferson City• Cashier• Worked on the floor and in the dressing rooms
Melyssa Prenger562EastSimonBlvd•HoltsSummit,Missouri,65043
(573)544-5832•[email protected]://issuu.com/melyssaprenger/docs/joe_bald_vision_2040Summary
Fifth year student at Drury University with a 3.19 GPA double majoring in Architecture and the Design Arts possessing some skill in Rhino, Grasshopper, Revit, Autocad, Infraworks, Lumion and Sketchup with a good knowledge of Photoshop, Illustrator, and InDesign.
Professional Experience
Spring2013
20102-present
2008-present
2008-2010
ReferencesKim Brandt
Debbie Libbert
David Beach
11700TreelineRidge,HoltsSummit,Missouri,65043•(573)619-1559•Babysatforher
6936OldBassRoad,Eugene,Missouri,65032•(573)694-2362•CurrentCoworker
900NorthBentonAve,Springfield,Missouri,65802•(417)873-7055•Professorandboss
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RESUME
Summer2014
2010-2012
15-16
9-10
5-8
1-4
17-18
23-24
21-22
19-20
11-14
THE MOSQUE
PALESTINE/ISRAEL CONFLICT
ARCHITEXTURE THESIS
MISC. PROJECTS
SKETCHES
JOE BALD PARK
FILM PHOTOGRAPHY
BOOKSHELF
GRAPHIC DESIGN
FALL2013
SPRING2014
FALL2014
CURRENT
TABLE OF CONTENTS
ARCHITEXTURE THESISTHROUGH THE EXPLORATION OF TECHNOLOGICAL CAPABILITIES, CAN WE ENHANCE THE ROLE THAT TEXTURES HAVE WITHIN THE ARCHITECTURAL FIELD IN ORDER TO PROVOKE THEIR EFFECTS ON HUMAN EMOTION?
THE QUESTION
TYPES OF TEXTUREPHYSICAL
IMPLIED
SIMULATED
INVENTED
PSYCHOLOGY OF TEXTURESADNESS
HAPPINESS
SURPRISE
ANGER
DISGUST
FEAR
DROOPING UPPER EYELIDS
LOSING FOCUS IN EYES
SLIGHT PULLING DOWN OF LIP COLORS
CROWS FEET WRINKLES
PUSHED UP CHEEKS
MOVEMENT FROM MUSCLE THAT ORBITS THE EYE
EYEBROWS RAISED
EYES WIDENED
MOUTH OPEN
EYEBROWS DOWN AND TOGETHER
EYES GLARE
NARROWING OF THE LIPS
NOSE WRINKLING
UPPER LIP RAISED
EYEBROWS RAISED AND PULLED TOGETHER
RAISED UPPER EYELIDS
TENSED LOWER EYELIDS
LIPS SLIGHTLY STRETCHED HORIZONTALLY BACK TO EARS
PLACE OF EMOTION IN ARCHITECTURE
SADNESS ANGER HAPPINESS
PRECEDENT STUDIES
SEED CATHEDRAL P-WALL JEWISH MUSEUM
BACKGROUND RESEARCH
RESEARCH SUMMARYThe texture needs to be relatable to the user.The design needs to incorporate all types of texture in some way.
The design needs to use technology to provoke more intense emotions.The sequence of the experience needs to be played up.The techniques for details need to be simple yet intricate.The details of all scale are important.The design needs to provoke each of the universal emotions.The design needs to have a sequential flow.The design needs to be engaging to the audience.The texture needs to be multi-sensory.The experience needs to start as soon as the site does.The building / installation can be the art. The design needs to be well thought out.The design needs to be different and out of the box.The design needs to be cohesive.
A TRAIL OF TEARS MEMORIAL
OF OKLAHOMA
THE
GREA
T SEMINOLE NATION
SEAL
OF
THE CHEROKEE NATION
GR
EAT SEAL OF THE
MUSCOGEE NATION I.
T.
GR
EAT SEAL OF THE
CHOCTAW NATION
THE GRE
AT S
EAL O
F THE CHICKASAW NATION
125,000NATIVE AMERICAN INDIANS WERE INVOLVED IN THIS TRAGEDY. THEY INCLUDED THE CHEROKEE, SEMINOLE, CHICKASAW, CHOCTAW, AND MUSKOGEE TRIBES.
HISTORY
THE TRAGEDY OF THE TRAIL OF TEARS LASTED A TOTAL OF TEN YEARS, MOST OF THE EVENTS TAKING PLACE IN THE DEAD OF WINTER. IT HAPPENED FROM THE YEAR
1830 TO 1840.
THE INDIANS WERE HEADING FOR WHAT IS NOW OKLAHOMA. THEY LEFT FROM THE STATES OF ALABAMA, GEORGIA, FLORIDA, SOUTH CAROLINA, AND TENNESSEE. THEY WERE PROMISED THE MIDWEST LAND MORE
WEST.
TRIBES LIVING INDEEP SOUTH
INDIAN REMOVAL ACT
CHOCTAW FORCED TO LEAVE
SEMINOLE PEACEFULRESISTANCE
DADE MASSACRE
TREATY OF NEWECHOTA
CHICKASAW MONETARY REMOVAL
PEACEFULPETITIONING DONE
CHEROKEE ROUNDUPBEGINS
CHEROKEE FORCEDTO RELOCATE
LAST CHEROKEESLEAVE
LAST ARRIVALIN OKLAHOMA
GEORGIA, NORTH CAROLINA,TENNESSEE, FLORIDA, ALABAMA
FORCED EVACUATION OF THE NATIVE AMERICANS
IN THE DEAD OF WINTER - THOUSANDS DIED
SEMINOLES HELD PEACEFUL PROTESTS
SEMINOLES HAD AN AMBUSHAGAINST THE U.S. GOVERNMENT
MONEY TO CHEROKEES FOR LAND- THEY NEVER RECIEVED MONEY
CHICKASAWS PAID TO MERGEWITH CHOCKTAWS
CHEROKEES TRIED TO PROTESTTHE GOVERNMENT BUT FAILED
CHEROKEES FORCED INTOCONSERVATION CAMPS
AFTER SUFFERING IN CAMPS, THECHEROKEES WERE EVACUATED
THOUSANDS OF INDIANS HAD TOMAKE THIS JOURNEY
OKLAHOMA, PROMISED LAND,WAS TAKEN AWAY AS WELL
LATER
FORCED EVACUATION OF THE INDIANS WAS THE HEARTLESS TECHNIQUE USED TO WITHDRAWL THE INDIANS FROM THEIR LANDS.
LAND OWNERSHIPIS THE MAIN REASON THAT THE INDIANS WERE STRIPPED OF THEIR LAND. THE INDIANS HAD TRIED TO BE “CIVILIZED” INDIANS, BUT AMERICANS STARTED TO SEE THE LAND AS TOO VALUABLE FOR A BUNCH OF INDIANS TO HAVE.
ARCHITEXTURE
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CROSSROADS
FORKS JUNCTION EXCHANGE
STRUGGLE
CONFLICT TRIAL PAIN EFFORT
PHYSICAL MENTALSUCCESS FAILURE
CROSSROADS
EXCHANGE
STRUGGLE
PAIN
A SPLIT
AN INTERSECTION BREAKING THE NORM
$ $
$
A COMPROMISE
A TRADEA BRIDGE
OBSTACLES
CONFUSION
HURDLES
PHYSICAL
MENTALOUTWARD
SICK
BROKEN
INWARD
CONFUSIONCRAZY
CONCEPT PROGRAM
WAR MEMORIALS: sculptures statues fountains parks names walls lighting reflecting pools symbols museum artifacts tower
pavilionsculpturestatuefountainwallreflecting poolarchmuseumtowerstairstraillandscape
ICON
JOURNEY
SHELTER
WALL
WATER
FOUNTAIN REFLECTING POOL RIVER
PAVILION ARCH TOWER
BRIDGE TRAIL LANDSCAPING
EXPERIENCE
ICON
JOURNEYSHELTER
WALL
WATER
FOUNTAIN
REFLECTING POOL
RIVER
FLOOD WALL
PAVILION
ARCH
TOWER
BRIDGE
TRAIL
LANDSCAPING
EXPERIENCE
ICON
JOURNEYSHELTER
WALL
WATER
FOUNTAIN
REFLECTING POOL
RIVER
FLOOD WALL
PAVILION
ARCH
TOWER
BRIDGE
TRAIL
LANDSCAPING
STRUGGLE TO CROSS THE RIVER1) DEAD END2) CAN SEE BUT CANT REACH3) OVER UNDER AROUND BUT CANT TOUCH4) CONFUSING PATHS5) INACCESIBLE PASSAGE6) LONG PATH
PRECEDENT STUDIESBUILDING / DETAIL
CITY / BLOCK
P-WALLANDREW KUDLESSSAN FRANSISCO2006
Designer’s goal: For the design of the P-wall, the goal was to transform a boring, typical, and straightforward gallery wall into an engaging piece of art itself. In order to make this more engaging than the typical installation, he created a direct correlation between the art piece and the observer. He wanted people to be able to relate on a personal level with the wall, almost a personal reflection sort of experience. The different bulges and crevices, the use of various types of texture, the play of light and shadow across the piece, all were carefully considered in order to enhance what a person gazing at the piece could relate to.
SEED CATHEDRALANDREW KUDLESSSAN FRANSISCO2006
Designer’s goal: This project focuses on experience. The experience begins the moment you set eyes on the pavilion. People explore the playfulness and movement of the exterior of the pavilion. People experience the mystery and confusion of figuring out what exactly the pavilion is, because the rods aren’t distinguishable from a far distance away. It almost looks fuzzy, like a dandelion you can blow all the seeds off of. This evokes happiness from the moment people see the building. Upon getting closer, you can tell what the rods are, but you are left with the mystery of why the designer used rods. Finally, upon going inside, one is overwhelmed by growth and a spiritual essence that derives from being surrounded by so much life. People can see the display of thousands of different seeds illuminated from behind by the acrylic rods containing the seeds.
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OUTDOOR SYMBOLIC MEMORIALBUTZER DESIGN PARTNERSHIPOKLAHOMA CITY2000
NATIONAL SEPTEMBER 11 MEMORIALDAVIS BRODY BOND / SNOHETTANEW YORK2011
Designer’s goal: The Outdoor Symbolic Memorial was created to encourage reflection for the tragic event that struck Oklahoma City in 1995. The memorial not only honors the victims that passed away because of the bomb, but also the survivors, rescuers, and all who were in some way affected. The memorial contains various features that touch the sympathies of all residents of Oklahoma City and people visiting the site. Everyone who visits leaves with a somber persona, remembering the sadness that touched the city on that day. The city itself doesn’t go a day without remembering its scars; its location, its vastness, and its tragedy are highly recognizable in the city. Memorials are meant to touch the hearts of the people that visit, but this memorial extends beyond that by touching the city itself.
Designer’s goal: The design was created to honor the nearly 3,000 people that died on September 11, 2001. There are two huge reflecting pools, nearly an acre in size each, in the foundations of where the skyscrapers once stood. The names of the victims are inscribed upon bronze plaques that line the memorial pools. These stand as a powerful reminder for those who visit and those in the city of the largest lost in life due to a terror attack that ever occured on American soil. The memorial reminds everyone in the city of the event that happened almost 15 years ago. The loss of two of the most significant buildings in the city is clearly evident from anywhere one might be standing.
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KEY
TRAILTRANSPORTPARKBUSINESSRESIDENTIAL
SITEWATERSIGNIFICANT BLDG
SITE ANALYSISREGIONAL SCALE
Represented in this particular site analysis bubble are the transportation routes. The yellow lines represent the railroad line, the small circles with the bus symbol represents all of the bus stops that exist in the city, and the blue circles with exclamation points mark interesting buildings worth the stop to go and see if visiting.
The green regions that exist on this map are the focal point. They are the green areas or parks that exist in the city. There are main parks located along the river, beneficial to our mainly pedestrian accessed site that exists on the river bank. People will easily be able to visit the site due to the pleth-ora of parks.
The faint gray lines seen on this diagram are the trails. These trails exist mainly in the park areas. There aren’t too many of them, but there are also a lot of sidewalks in the area around the site. The problem with the trails is that there isn’t any clarifi-cation about which on is the trail of tears.
This map displays the different regions that are dominant in the area. The burnt orange color represents the residential area. This is what is mainly around the site. The other tan color consist of mainly businesses and commercial buildings. These are what is across the river from the site.
BLOCK SCALE
CITY SCALE
This block scale map shows how there is a connection between three important locations: the Clinton Library, Heifer International, and the site, located across the bridge that is becoming a pedestrian bridge. This bridge will be key in guiding people over to the site. Right now, there isn’t any reason for people to walk across the bridge. The site gives them a destination.
This map depicts what the blocks that make up the region are; whether they are residential or commercial. It also shows the abundance of green spaces that exist around the site. These are important for providing pedestrians with trails that they could associate with the trail of tears. They can actually experience what the Native Americans experienced through the use of these trail systems.
KEY
TRAILTRANSPORTPARKBUSINESSRESIDENTIAL
SITEWATERSIGNIFICANT BLDG
BIRD’S EYE VIEW #1
BIRD’S EYE VIEW #2
BIRD’S EYE VIEW #3
BIRD’S EYE VIEW #5
PLAN VIEW
STREET VIEW #1 - VIEW OF THE DISTANCE BETWEEN THE SITE AND THE BRIDGE
STREET VIEW #3 - VIEW OF THE BACK OF THE SITE
STREET VIEW #2 - VIEW OF THE CONCRETE FLOOD WALL
STREET VIEW #4 - VIEW OF THE BRIDGE AND PEDESTRIAN TRAIL CON-NECTION
STREET VIEW #5 - VIEW OF THE CONNECTION BETWEEN FLOOD WALL AND BRIDGE
STREET VIEW #6 - VIEW OF THE HEAVILY WOODED SITE
KANSASMISSOURI
ILLINOIS
KENTUCKY
TENNESSEE
VIRGINIA
NORTHCAROLINA
SOUTHCAROLINA
GEORGIAALABAMAMISSISSIPPI
ARKANSAS
OKLAHOMA
The Trail of Tears actually doesn’t consist of just one trail. There were mulitple tribes forced to move from multiple locations. Five tribes total were relocated to Oklahoma, the land the government had set aside for the Native Americans. The trails all lead to that one location, crossing over various different states along the way, such as Arkansas, the state to see the most traffic in this time. 4 of the 5 tribes reached a crossroads in the struggle in Little Rock, Arkansas, the location of the site. As far as recogintion for this troubling part of our history, there isn’t much. No monuments, no tributes, and no memorials. All that marks the locations of where thousands died is the occasional sign on what is thought to be the paths taken.
BIRD’S EYE VIEW #4
PROCESS
ARCHITEXTURE THESIS
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PLACE AND SPACESITE PLAN
SITE SECTIONS
SITE ELEVATIONS
VIEWS
IDEAS MOVING FORWARD
BIRD’S EYE VIEW OF THE MEMORIAL
ENTRANCE TO THE MEMORIAL
VIEW ACROSS THE RIVER
HEART OF THE MEMORIAL WITH ICON
VIEW FROM THE TRAIL
FLOOD WALL AND REFLECTION POOL
ENTRANCE ILLUSTRATES THE MAIN POINTS OF THE MEMORIAL - WHAT WAS THE TRAGEDY ABOUT?
THE TRAIL SYSTEM TELLS THE STORY BY SHOWING THE DIFFERENT EVENTS - IT WILL SERVE AS A TIMELINE LANDSCAPE AND TEXTURAL BUILT ELEMENTS WILL SELL THIS POINT WITH A SHIFT OF LANDSCAPE FOR EACH EVENT SHIFT
THE ENTRANCE WILL HAVE OLD NATIVE AMERICAN ARCHITECTURAL ELEMENTS SHOWCASING HOW THEY LIVED AND TRAVELED
THERE WILL BE A UNIFYING TEXTRUE THROUGHOUT THE SITE - WHETHER IT BE IN THE WALKWAYS, THE STRUCTURES, ETC
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PALESTINE/ISRAEL CONFLICTBASICRESEARCH
WHO?
WHAT?
WHEN?
WHERE?
WHY?
THE OPRESSOR AND OPRESSED.
A NEVER ENDING CONFLICT.
THE PAST 60 YEARS, SINCE 1948.
ISRAEL OR PALESTINE.
THE 4 MAJOR ISSUES.
WHO? WHAT? WHEN? WHERE? WHY?
ISRAEL VS.PALESTINE
OPRESSOR:
OPRESSED:
ISRAEL
PALESTINE
ARABS AND JEWS WERE BOTH PROMISED LAND BY BRITAIN. BRITAIN DIDN’T FOLLOW THROUGH ON THE PROMISED DEALS AND DECIDED TO SPLIT UP PALESTINE INTO THREE STATES: ONE FOR BRITAIN, ONE FOR ISRAEL, AND ONE FOR PALESTINE. BRITAIN’S FALSE PRETENSES RESULTED IN A CIVIL WAR BETWEEN JEWS AND ARABS OVER THE LAND OF PALESTINE.
1948
PRESENT
19491967
1978
20022001
19971993
19911979
2007 2005
2003
2010
ARMISTICE AGREEMENT
RESOLUTION 242 CAMP DAVID ACCORDS1978
ISRAEL EGYPT PEACE TREATY
MADRID PEACE CONFERENCE
OSLO ACCORD
HEBRON AGREEMENT
TABA SUMMIT
ARAB PEACE INITIATIVE
ISRAEL DISENGAGEMENT FROM GAZA
GENEVA ACCORD
ANNAPOLIS AGREEMENT
WASHINGTON
PALESTINE
GAZA
TEL AVIV
SANAI
AQABA
WEST BANK
JERUSALEM
JORDAN
SYRIA
SAUDI ARABIA
EGYPT
LEBANONBEIRUT
MEDITERRANIANSEA
BORDERS
REFUGEES5,000,000
JERUSALEM
SECURITY
USING AGRICULTURE AS A MEANS TO CREATE UNDISRUPTED PEACEFUL INTEGRATION OF THE JEWISH AND ARAB POPULATIONS, CAN WE FIND A WAY TO REINSTATE ALL OF THE DISPLACED REFUGEES THAT HAVE LOST THEIR HOMES DUE TO THE 60 YEAR OLD CONFLICT? CAN WE, AS DESIGNERS, TAKE A COMMONALITY, AGRICULTURE, AND USE IT TO PLACE A SENSE OF SECURITY AND HOME INTO THE COMMUNITY? CAN WE FINALLY REUNITE A DIVIDED COUNTRY BY ENDING BLIND HATE AND PERSONAL DISPUTES? THERE EXISTS A SMALL MOVEMENT OF BOTH PALESTINIANS AND ZIONISTS; CAN A GROWING PROGRAM BE THE PUSH THIS COUNTRY NEEDS IN ORDER TO FLOURISH?
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PALESTINE/ISRAEL CONFLICT
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THE MOSQUE
BY CREATING BRIDGES OVER THE EMBODY OF THE TRIANGLE THAT EXISTS BETWEEN GOD, MECCA, AND THE MOSQUE, MUSLIMS CAN EASILY COMMIT TO STRIVING TOWARD PEACE AND FINDING THEIR SPIRITUAL CONNECTION. THE SPIRITUAL ASPECT WITHIN THE MOSQUE CAN BE ENHANCED FOR THE USER BY THE SURROUNDINGS OF THE MOSQUE. EDUCATION SPACES, COMMUNITY SPACES, AND THE WORSHIP SPACE ENCOURAGE THIS IDEA FURTHER AND GIVES MUSLIMS A PLACE TO PRACTICE THEIR FAITH FULLY.
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JOE BALD PARK
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THE JOE BALD PARK IN KIMBERLING CITY PROJECT WAS A COLLABORATIVE CONTRIBUTION TO THE COMMUNITY. A TEAM OF FOUR OF US WORKED TOGETHER TO SOLVE THE CRITERIA OF WHAT THE PEOPLE NEEDED TO BETTER THEIR COMMUNITY. UPON INDIVOUAL STUDIES, WE EACH CREATED A DESIGN ON OUR OWN, MINE PICTURED HERE. AFTER THAT, WE WORKED TOGETHER AS A TEAM TO PRODUCE A BOOK FULL OF A CUMULATIVE DESIGN THAT WAS A RESULT OF GOING OVER EACH OF OUR INDIVIDUAL DESIGN AND COMING UP WITH A DESIGN AS A RESULT OF REVIEIWING THE PROS AND CONS OF EACH OF OUR INDIVIDUAL IDEAS. THE FINISHED DESIGN ENDED WITH A BOOK AND MODEL WE PRESENTED TO THE COMMUNITY OF THE PLAN, WHICH WOULD TAKE PLACE OVER A NUMBER OF YEARS.
FROM THIS PROJECT, WE GAINED EXPERIENCE IN WORKING WITH A TEAM FOR A LONG PERIOD OF TIME, LEARNING TO WORK TOGETHER, DISCUSS IN RATIONAL WAYS, AND ARGUE PROFESSIONALY. WE ALSO GAINED VALUABLE KNOWLEDGE ON WHAT IT WAS LIKE TO WORK FOR A CLIENT, THE CLIENT IN THIS CASE BEING THE COMMUNITY. WE HAD MULTIPLE MEETINGS WITH THE COMMUNITY, IN WHICH EACH OF US EXPERIENCED WHAT IT WAS LIKE TO BE IN CHARGE OF A LARGE AMOUNT OF PEOPLE, PRESENTING PRESENTATIONS, HAVING SURVEYS, AND DISCUSSING OUR IDEAS WITH MULTIPLE INDIVIDUALS. IT WAS A VALUABLE EXPERIENCE THAT TAUGHT EACH OF US SOME VALUABLE LESSONS.
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JOE BALD PARK
SOCIAL PODS
WELCOME CENTER
CHAPEL
OUTLET
MARINA
DOCKS
RENTAL
RESTAURANT
EDUCATION FACILITY
CAMP
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SKETCHES
WHILE STUDYING ABROAD IN GREECE, WE DID VARIOUS THRITY MINUTE SKETCHES. ALSO PICTURED ARE QUICK PERSPECTIVES THAT I DID MY THRID YEAR OF SCHOOL.
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BOOKSHELFTHIS PROJECT WAS MY FIRST PROJECT THAT EXPLORED WHAT CAPABILITIES THE CNC ROUTER CAN ADD TO DESIGN. I DESIGNED THIS BOOK SHELF TO BE AS VERSATILE AS POSSIBLE. CREATED USING ONLY ONE SHEET OF PLYWOOD, THE SHAPES OF THE HOLES AND THE SHAPES OF THE OUTLINES OF THE DIFFERENT SHELVING UNITS MAKE IT TO WHERE THIS SHELF CAN BE PUT TOGETHER IN A VARIETY OF DIFFERENT WAYS.
WITHOUT THE CNC, THIS PROJECT WOULD HAVE BEEN TEDIOUS AND WOULD HAVE BEEN INACCURATE, CONSIDERING THE PROBABILITY OF HUMAN MISTAKES THAT WOULD HAVE OCCURED. WITH THIS, I JUST MADE THE LINES IN AUTODESK AUTOCAD, AND THE CNC CREATED THE PROFILES AND HOLES. THERE WAS A LOT OF TRIAL AND ERROR THAT WENT INTO GETTING AN EXACT FIT FRO THE HOLES AND INSERTIONS. THE SMALLEST INFRACTION MADE THE MEASUREMENTS INADEQUATE, BUT I ENDED UP WITH A HIGHLY VERSATILE AND FUNCTIONABLE BOOKSHELF.
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MISC. PROJECTSTHESE PROJECTS WERE CREATED USING A PROCESS I DISCOVERED IN MY EXPLORATION OF THE LASER CUTTER. I WAS LOOKING AT HOW I COULD COMBINE MY TWO DEGREES, ARCHITECTURE AND DESIGN ARTS, USING THE TOOLS AND PROGRAMS I HAD AVAILABLE TO ME. I FIGURED OUT THE PROCESS FOR HOW TO GO FROM ADOBE ILLUSTRATOR TO REVIT IN ORDER TO RASTERIZE IMAGES.
I AM CURRENTLY EXPLORING THIS TOPIC MORE IN DEPTH FOR MY DESIGN ARTS SENIOR PROJECT. THE PROCESS THAT I DISCOVERED HAS A LOT OF POSSIBILITIES WITH IT. FOR EXAMPLE, I CAN TAKE 2D DIAGRAMS OF MAPS AND MAKE THEM 3D. THIS PROCESS ALSO WORKS WITH THE CNC ROUTER AS WELL, THOUGH I HAVEN’T EXPLORED THAT AREA AS MUCH.
HOW THE PROCESS WORKS IS IF YOU EXPORT THE CORRECT RGB COLORS OUT OF ILLUSTRATOR TO A DWG, THE LASER CUTTER CAN RASTERIZE THE IMAGE, AS LONG AS THE COLORS ARE EXACTLY RIGHT. IT MAKES IT A LOT EASIER DOING EVERYTHING IN ILLUSTRATOR SO THAT YOU DON’T LOSE ANY INFORMATION TRYING TO EXPLODE THE LINES AND IMAGES IN REVIT.
NOT ONLY CAN YOU DO THIS WITH MAPS AS SHOWN BY THESE VARIOUS PROJECTS, YOU CAN CREATE IMAGES SUCH AS PORTRAITS AND LETTERING AS WELL.
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THIS PROJECT EXPLORES THE PROCESS OF CREATING 3D PRINTS FROM RHINO AND GRASSHOPPER, A PROCESS I AM CURRENTLY EXPLORING IN MORE DEPTH.
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FILM PHOTOGRAPHY
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GRAPHIC DESIGN
MELYSSA PRENGERph oto graphyarchi t e c t uregraphic designm o d e l m a k i n g
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I TOOK GRAPHIC DESIGN TO IMPROVE MY PRESENTATION SKILLS FOR ARCHITECTURE, AND ENDED UP LIKING IT JUST AS MUCH. IN A WAY, GRAPHIC DESIGN CAN TOUCH ONE’S LIFE JUST AS MUCH AS ARCHITECTURE DOES. FROM SIGNS ON A STREET TO THE NEWSPAPER, WE CAN’T GO THROUGH A DAY WITHOUT SEEING SOMETHING THAT HAS BEEN INFLUENCED BY GRAPHIC DESIGN.
EVER SINCE I STARTED TAKING CLASSES FOR GRAPHIC DESIGN, I HAVE BEEN LOOKING AT WAYS I CAN TIE IT INTO ARCHITECTURE. IT TURNS OUT THAT A LOT OF THE RULES FOR GRAPHIC DESING, SUCH AS EDGE ALLIGNMENT AND SIMPLICITY IS KEY, CAN APPLY TO ARCHITECTURE AS WELL. IT HELPS WITH THE PRESENTATIONS, WHICH IS WHY I TOOK IT, BUT IT DOES SO MUCH MORE THAN THAT AS WELL. THE PROGRAMS CAN ALSO BE USED FOR BOTH, A TRAIT THAT I FOUND VERY BENEFICIAL FOR RENDERINGS AND MODEL MAKING.
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