Parsons Women in Design Presentation, Saudi Arabia (Interior Design)

VOLUME 2
PARSONS
INTERIOR
DESIGN
WORK
PARSONS AAS/
INTERIOR DESIGN/
WORK 2008/
VOLUME 2

2008
AAS
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Scale
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PARSONS AAS INTERIOR DESIGN WORK 2008:VOLUME 2

My project’s scope was an attempt to
Furniture Design create a lighting fixture from discarded
packaging. I made the decision to use
Anne Nixon, Faculty the plastic egg carton based on the link
that eggs have with the cycle of life.
The egg carton has moved from the tra-
ditional paper packaging to a new style
of plastic carton, which incorporates an
extra flap that adds more than 50% to
The objective of this course is to provide visual experience of the user and the the existing packaging. By using these
an introduction to furniture design focus- effect(s) in the environment. Functional transparent cartons as a base for insert-
ing on process and product. The basis considerations are counterbalanced with ing a compact fluorescent bulb, a new
of the design is rooted in the exper- aesthetic and formal considerations. kind of sustainable lighting fixture has
ience, occupation, and presence of the The light construction should incorpo- been created.
human body. rate ideas about the mounting, struc-
ture or housing, materials, light source Honorable Mention, Sustainable Design
Research and analysis of furniture arche- and effect. Competition, New School University
types form the foundation for the study
and application of fabrication methods, The objective is to explore the spatial and
design concepts, dimension and scale to experiential component of light that cre-
the design of objects. ates and enhances the visual perception
and properties of light while also address-
Design projects are further developed in ing material properties incorporating
full-scale models that are created to test construction and assembly techniques.
the design and use of the object. Students
are held accountable for the application Material Properties Material properties,
and fabrication of their design choices structure, and forces explored.
with respect to form, material, economy
and technique. Each design must address Materials and joinery are studied for
the application of specific materials, their properties of flexibility aand rigidity and
characteristics and assemblage, and their potentials in tension and compres-
hardware and joinery are addressed in sion. Concepts of gravity, material prop-
their application to the design. erties and explorations in the manip-
ulation of materials and their joinery
Throughout the course of the semes- are examined.
ter, there are focused projects address-
ing the various course topics—Light Chair Design of seating with program
Construction, Material Properties, and or use incorporated into the design of
the design of a re-examined Chair. the object.

Light Construction This design project An understanding of dimension, scale,
is a full scale exploration in space, color, proportional systems, tactile and perfor- Stanely Newman
light and composition. mance qualities of materials are inves- stanelydnewman@ gmail.com
tigated relative to the human body and Previous Degree Bachelor of Fine Arts, Painting, State of New York, Fredonia,
A three-dimensional full-scale, fully oper- design of the furniture piece. First Row: Meredith Alcarese, Tanya Jonsson, New York; Current Employment Canon Design; Studio Furniture Design; Faculty
ational light construction are designed Jana Willinger; Second Row: Colby Brock, Anne Nixon
Meredith Alcarese, Andrew Schles; Third Row:
and fabricated utilizing construction The interaction between function, dimen-
Jin Sung Lee, Stanley Newman, Andrew Schles;
techniques and material studies. The sion, assemblage and human occupation Fourth Row: Tanya Jonsson, Min Young Lee,
design concept should consider the are explored in detail. Caroline Meersseman

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The Divvy Sofa was designed in res- by perforated fabric webbing allows Stay grounded is an exploration I wanted to create a contemporary,
Furniture Design ponse to emerging market demands the buyer to literally cut-to-size the of redefining the relationship between multi-functional, individualized space—
for customization, bulk quantity exact incremental amount to suit the the floor and seating planes. Grass one that a user would be able to call her
2008 Competition Entries purchases and disposable products consumer's special demands. Intended acts as a material that covers the sofa or his own, which led me to design a
for temporary living habitations. to make consumer reasess consump- and connects the user to nature. bookcase that comes complete with its
www.vitra.com Manufactured in one continuous, tion while pro-actively delivering very own seat built into the shelving
tubular form with internal ribs held flexible sizes for varied environments. system. This piece comprises an eco
resin shell and a soft interior made
from bark cloth.

The sofa acts as an embrace, offering
a place for people of any age or size. The
curve brings the seated together while
the progressive change of scale carves
a perfect spot for each individual.

Laura Reynolds Kara Nykreim Danielle Mastrangelo Ritika Satish Jain
laura.a.reynolds@ gmail.com knykreim@ gmail.com daniellemastrangelo@ gmail.com riti.jain@ gmail.com
Previous Degree Bachelor of Arts, Art History and Studio Art, Georgetown Previous Degree Bachelor of Fine Arts, University of Washington; Work Experience Previous Degree Bachelor of Arts, Individualized Study (“The Aesthetic Editorial”), Previous Degrees Bachelor of Arts, Political Science, St. Xavier's College, Mumbai,
University; Program Vitra competition; Studio Interior Design Studio 2; Michael Graves Design Group; KSS Architects; Thomas O'Brien; Deborah Berke New York University, Gallatin School; Program Vitra competition; Studio Interior India; Degree in Interior Design from Sophia Polytechnic, Mumbai, India; Work
Faculty Design Vannucchi/Digital Ngo & Partners Architects LLP; Roman & Williams Buildings and Interiors; Puma in Design Studio 2; Faculty Design Vannucchi/Digital Ngo Experience Creations, Rahul, Bendre; Archana Kejriwal Interior Design, India;
Herzogenaurach, Germany; Program Vitra competition; Studio Interior Design Program Vitra competition; Studio Interior Design Studio 2; Faculty Design
Studio 2; Faculty Design Vannucchi/Digital Ngo Vannucchi/Digital Ngo

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Screen noun This is a continuation of the research
1 A movable or fixed device, usually con- that each of you presented over the
sisting of a covered frame, that provides course of the semester. The final assign-
shelter, serves as a partition, etc. ment will ask you to return to that body
2 Anything that shelters, protects, or of research to inform your design pro-
conceals: a screen of secrecy cess. The designer or interior space that
3 A sieve, riddle, or other meshlike you studied will serve as your avatar
device used to separate smaller particles (Gaudi, Sullivan, Nouvel, Blaisse, etc.)
or objects from larger ones, as for grain for the creation of a SCREEN composed
or sand. of repetitive units. Assume that your
screen will be located in the interior that
you studied.

Anthony Ciaramella
ciara705@ newschoo.edu Our final assignment consisted of on light and patterns, specifically Li
Previous Degree Bachelor of Science Hotel/Restaurant Management, University producing a screen or partition that Institut du Monde Arabe. I used two
of New Haven; Work Experience Restaurant Manager/Catering Director; Program would measure 16x16, include only the simple items to produce this screen,
Screen Science; Studio Decorative Practice; Faculty Sarah Strauss and Noah Biklen use of paper, one adhesive excluding paper and an exacto knife. The paper
tape, and be two inches thick. This was cut thinly in strips and weaved
proved to be challenging. My inspiration together to give it pattern and depth.
came from Jean Nouvel and his play

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Drawing Interiors 2
Philippe Baumann, Faculty

I wanted to create a graphic narrative where sets of like sides were filled in
A descriptive text—this semester, a pas- Katrina Kruszewski through my images. Using a three- with black to strengthen the spatial
sage from Paul Bowles’ Sheltering Sky— kkruszewski@ gmail.com dimensional rendering program I qualities of the courtyard. Silhouettes
serves as the basis for the final project. Previous Degree Bachelor of Fine Arts, University of Illinois at Urbana-Champaign; modeled a completely symmetrical of people were overlayed to com-
Six projects completed during the semes- Work Experience ANYK Design; Studio Drawing Interiors 2; Faculty Philippe courtyard space—the space has no clear plete the narrative. The bold use
ter are recombined and condensed into Baumann north, south, east or west—to lend each of black and white coupled with
a series of three-dimensional views that perspective a sense of ambiguity. The the detailed figural outlines create
describe the student’s analysis and inter- renderings were output as line drawings dramatic scenes that echo the feel-
pretation of the text. Katrina Kruszewski, continued and manipulated using Photoshop, ings and imagery of the given text.

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Blink aliens cut a quarry extracting
Marble from ribbons beneath
The Pangean Plain.
On blink days, before the great rifts.

To this primordial rubicon, animals Pilgrim Age
Down ramps, pool at foot. Come.
Rest in the face.
Spirits improvise, blood of de light.

Andrew Schles

Andrew Schles
schla522@ newschool.edu
Previous Degree Bachelor of Arts, Art History, New York University, Gallatin School;
Work Experience Private residential and commercial space, sets for live theatre, film
and fashion photography; Program Drawing; Studio Drawing Interiors 2;
Faculty Philippe Baumann

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Interaction

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Interiors for a school
Kara Nykreim

in Cité-Soleil, Haiti.
Federica Vannucchi, Faculty

School a pretext for Interaction conditions, both physical and cultural,
Envisioned in the most populated shanty of a place. Such simple consideration
town of Haiti, Cité-Soleil, the school is becomes even more evident in a develop-
meant to host students from pre-kinder- ing country. The restricted use of energy
garten to high school and function as a in Haiti requires one to consider clima-
gathering place for their parents. A sche- tory factors as a resource, rather than

matic design of a two-story school was impediments from which to isolate the
given to the students in the Studio with interiors. In absence of artificial light and
the request to develop the entrance, the air-conditioning, the designer is faced
hallway, the courtyard and the cafeteria. with the challenge of employing environ- Interiors interacting with the user becoming an active component in the
The Studio was organized in a way as mental conditions such as sun exposure, Interior designers are evermore con- design. Given the didactic function of
to simulate a collaboration between the natural ventilation, rainfall and vegeta- cerned with the creation of experi- the space considered, attention has been
architects, in this case the teachers, and tion as design instruments. By shaping ences produced by space. This interest paid to how the user can shape the inte-
the interior designer, the student. The the way the interiors interact with natu- has drawn attention to the relationship rior that occupies and reconfigure the
boundary between architecture and inte- ral elements, the designer is able to direct between interior design and the human arrangement of the elements that con-
rior design were set up as a collaborative the bodily experience of the user in the senses. By stimulating the senses, stitute it. In other words the interior has
mediation between the two fields, over- space. In the school project for Haiti, mainly visual, tactile, hearing and to present a number of characteristics,
coming the traditional, and less produc- such a premise has been inspirational in scent, an empathetic relationship is spatial and sensorial, which allow a par-
tive, division of the two disciplines. rethinking the design and the concept established between the user and his ticipated and variable relationship of the
of boundaries, the divisions between environment. However, in the case of occupants. Space in this instance is con-
Interiors interacting the inside and the outside and the inter- the school for Haiti, another element has sidered as an ever changing stage where
with the environment nal partitions. been considered in regard to the expe- the designer is only the director and the
It is a given that the user’s experience of riential quality of space: the user can users are the players.
an interior space is effected by external interact with and modify the experience,

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A community space is activated by the As the user moves through the space, My goal was to create a space that open areas, through which air circu-
environment and the user’s movement. it is visually activated as gradating inspires and encourages both academic lates unreservedly. A natural lighting
Movable, permeated screens allow air colors are perceived within the holes and recreational activities, in harmony study was carried out to shade those
flow and flexible spacial definition. of the screens, individualizing each with Haiti’s economic situation and parts where Haiti’s scorching sun
user’s experience. with particular attention to aesthetic hits the building directly. Attempting
functionality. In a country with scarce to portray the local charm, simple
resources, air conditioning is an unaff- materials such as concrete and wood
ordable luxury. Hence, the space was predominate within the school. The
thought as a series of interconnected feeling is one of modest beauty.

Lana Zepponi Barbara Rico Gonzolez
lanazep@ gmail.com barbararicogzz@ gmail.com
Previous Degree Bachelor of Arts, Art History, University of Mississippi; Work Previous Degree Interior Design, CEDIM University in Monterrey, Mexico; Work
Experience Interior Designer, EPoc Partnership; Program School, Cité-Soleil Haiti; Experience Interior Designer Capital Arquitectonica, Monterrey, Mexico; Program
Studio Interior Design Studio 2; Faculty Design Vannucchi/Digital Ngo Haiti; Studio Interior Design Studio 2; Faculty Design Vannucchi/Digital Ngo For more information about
how to support the school in Haiti
Contact Yves Francois at
yves@threeproperties.com

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My concept/design strategy for Beauty transcends imperfection—rising
146 147 154 155
Bodanna was “transcend,” with an infu- above or pushing beyond through
sion of wabi sabi. I tried to succinctly vertical and horizontal planes, coupled
The Lea- Dr- Mot-
Atl- fpop op her- and interestingly summarize at right: with wood wall paneling and rubber-
an- gum, out, less
stripped floor datums that suggest one’s

Bodanna:
tic, adv- cov- Bro-
pu-
blic-
erti-
sem-
er
and
ok-
lyn,
progression through the space and pro-
at- ent ins- Jon- gram, executed subtly with a minimal,
ion, ide ath-
inte- de- an weathered material and color palette.
rior tail Leth-
em,

studio, gallery, and café
bo-
ok
co-
ver

Half
Th-
ere,
aco-
rdia-

William Ngo, Faculty
n b-
ook

francesca@sciandradesign.com <francesca sciandra> lauren@laurenwickware.com <lauren wickware>
previous degree(s) bachelor of architecture, the cooper union previous degree(s) ontario college of art & design, AOCAD sculpture/installation
Nicole Campion
Program Site
languages spoken english work experience designer, the office of gilbert li; designer, toronto life; designer, chatelaine; intern,

previous work experience humanscale, tru design visionaire; assistant curator, doris mccarthy gallery, university of toronto; managing editor, prefix photo
ncampion@ gmail.com
Previous Degrees Bachelor of Arts, International Studies, University of Washington;
what is your favorite adhesive? super 77

what is the last book you read? on beauty, zadie smith
A multi-faceted space containing a
magazine, prefix institute of contemporary art

who would you choose to play you in a movie? cynthia nixon
Formerly located in the East Village, Juris Doctor, American University, Washington College of Law; Work Experience
Tihany Design; Program Non-profit ceramics studio and cafe; Studio Interior De-
what typefaces make you cringe? comic sans
what is in your right pocket? my mini sketch book
ceramics studio, retail space, and café for
what is the last book you read? the colony of unrequited dreams, wayne johnston
what typefaces make you cringe? felt tip
Bodanna moved to the site of their sign Studio 2; Faculty William Ngo

website www.sciandradesign.com
the non-profit group Bodanna.
website www.laurenwickware.com
new facilities in Nolita, approximately
two weeks prior to the start of the stu-
>
40 41

Project dio. Following some initial research and 122108.indd 40 12/21/08 2:22:29 PM 122108.indd 41 12/21/08 2:22:37 PM

Working directly with a New York City design exercises, students were given the
based non-profit group on a very lim- opportunity to visit the 4,500sq.ft. space
ited budget, the students were given the and meet with the executive director of
task of fully understanding the concep- Bodanna, as well as the artistic direc-
tual identity of the client and then devel- tor and apprentices to discuss the goals
oping strategies for translating that into and needs of the organization. Following
the built environment. Prior to engaging an intense eight week period of design
with the project directly, the individuals development, the projects returned to the
in the studio each developed designs for site where the final reviews were held.
a cohesive line of furniture pieces that
enhanced their awareness of their abil- Program
ities to sculpt their surroundings to be Students were challenged not only to
experienced at a more intimate scale. respond to the complexity of the client’s
identity, but also thoughtfully consider
Client the design, circulation and layout of the
Bodanna is a community-based non- three main programmatic elements of
profit organization whose mission is to the space: the ceramics studio, the retail
help disconnected New York City youth gallery, and a café. This was the first of
move from chronic joblessness to long- two separate projects during the semes-
term employment and self-sufficiency. ter that focused on the close connection
Founded in 1999 as a nonprofit busi- between the concepts of process and
ness venture, Bodanna uses an arts- product.
based business to encourage disen- Jeannie Gill
gaged young adults to join the workforce. gill.jeannie@ gmail.com
Previous Degree Bachelor of Arts (Honors) Art History, McGill University; Work
Experience Skidmore, Owings and Merrill; Program Non-profit ceramics studio and
cafe; Studio Interior Design Studio 2; Faculty William Ngo

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Bodanna, a non-profit apprenticeship interior design of the Broome Street
organization dedicated to helping space echoes this progression. The focal
inner city youth, uses the pottery exp- point of the design is a bamboo form
erience as real life enterprise. that stems from the actual process of
producing clay and molding shapes. The
The process of transformation of the form that moves through the space is one
youth is done through the handcraft- that transforms and adapts to specific
ing of ceramics, primarily through the functions, becoming shelving units,
process of transformation, through private seating and a café display case.
shaping, learning and growing. The

Jeannie Gill, continued

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The design of this hotel addresses virtual means, direct human-to-human
Hotels of Tomorrow
Hotels of Tomorrow a future in which changing modes of interaction is made less relevant. This
communication have reshaped the hotel is designed to act as a bridge
Antonio DiOronzo, Faculty
Antonio DiOronzo, Faculty way individuals interact with one between the virtual world and the real
another. As communication is increas- world, reconnecting people through a
ingly moved to the Internet and other rich, interactive, and shared experience.

Course Description phenomenological), surface (color, mate-
Interior Design Studio 3 further devel- rial, pattern, texture, etc.), place (active
ops students’ speculative reach and space, dentity of space, etc.).
strengthen their design process. In this
Studio students are faced with the fasci- The first project of the semester deals
nating analytical challenges of a design with the guest room and the lobby area.
investigation that builds upon long-term The scope of the second project explores
trends within the hospitality industry. the design of the pertinent lounge, to be
Parsons AAS Interior Design Program, designed for both daytime and night-
along with the students in this class, has time use, and both bar and club/lounge
partnered with Hotels of Tomorrow to arrangements. Both projects present ana-
contribute to an ongoing effort to dis- lytical challenges in terms of flexibility
cern possible aesthetic and experien- of the space units, assessment of path-
tial scopes of the hotel of the future. A ways, durability of materials, flexibility
rigorous study and careful arrangement of lighting schemes and color schemes,
of space, colors, textures, flavors, and etc. Given the unique framework of a
objects are the pedagogical devices to design problem which needs to respond
develop a systematic approach to design. to the somewhat undefined needs of the
In this framework, strong emphasis is guest of the future, students must realize Margaret Hu
put on the formulation of strong con- the importance of an experiential design marghu@ gmail.com
cepts and their representational val- approach organized through a new par- Previous Degree Bachelor of Arts, Economics, Vassar College; Work Experience
ues. The course explores the typology adigm. A thorough analysis of possible Rockwell Group; Eve Robinson; Program Hotels of Tomorrow; Studio Interior
of the hotel. It offers several investiga- scenarios inserted in an overall sustain- Design Studio 3; Faculty Antonio DiOronzo
tive possibilities in the broad design able strategy is expected.
categories of threshold (inside/out- Margaret Hu, continued
side; public/private), path (experiential, http://hot.gettys.com/about.php

46 47 48 49


Margaret Hu, continued Margaret Hu, continued

50 51 52 53


My resort hotel in St. Martins serves My main goal for the hotel was
the demographic of the new rising to convey the ultimate driving experi-
capitalist class in Asia. In the initial ence. I used two different strategies
design development, I explored the to achieve this. In the lobby, guests are
lifestyle brand of Lexus as a precedent accommodated with optics of inter-
to further understand ways to achieve changing views. The guest suite imple-
the aesthetics of bold and muscular ments sequencing of space and program
lines found in these luxury vehicles. function through speed changes.

Rebecca Barron
Previous Degree Bachelor of Arts in English, St. Lawrence University, New York;
Work Experience Intern, Gensler; Intern, Brennan Beer Gorman & Monk; Program
Hotel for Tomorrow; Studio Interior DesignStudio 3; Faculty Antonio Di Oronzo

Rebecca Barron, continued

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Featured
Faculty

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Thomas Hickey

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Thomas Hickey is the founding partner of graduate school and upon graduation began These projects confirmed his belief that the
GRADE Architecture and Interior Design. teaching classes in the undergraduate archi- boundaries between architecture and inte-
Based in New York City, Tom directs the firm with tecture program along with interior design rior design were blurry which lead to his ped-
his vast experience of projects ranging from high classes in the AAS program at Parsons. Tom agogical approach of teaching interior design
end residences to boutique retail shops and com- also joined the renowned firm of Robert with the same structured process he used in
mercial projects all over the world. A. M. Stern Architects where he was the pro- designing buildings. As with all of his projects,
ject architect on a series of high end residen- whether designing a master plan for a commu-
Tom began his career in New York working for tial projects in California, Virginia, South nity, a new house or a door handle, the process
Donna Karan as their in-house architect. After Carolina and a seven-building family comp- is consistent.

81
his tenure at DKNY, he attended Columbia for ound in Michigan.

12/21/08 2:23:32 PM
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Tom is committed to providing clients with conventions, Tom constantly challenges his as we view it, is art that emerges from a close
innovative design solutions that result from a students and his design team at GRADE to collaboration between client, architect and the
highly investigative process. Beginning with enrich their awareness of space, light, con- building team.
a structured analysis of the client’s needs and text, materials and craftsmanship. Exemplary
contextual conditions, we develop a design strat- Design, as Tom views it, not only provides With a passion creating sophisticated solutions
egy that synthesizes historical precedence with functional space, but acts as a lens through and exacting standards, Tom finds inspiration
modern vision. which we view, understand, and appreci- in the complex challenges of orchestrating the
ate the natural and man-made world. In this diversity of each client’s needs. His ultimate goal
Firmly believing that all design relates to issues way, architecture and interior design can is to create unique environments that are per-
83

of living and that one learns by questioning offer order, beauty, and inspiration. Design, sonal to each client.
12/21/08 2:23:33 PM

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84 85 88 89


Featured
Alumna

90 91

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92
Alice Kerrison

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AAS Interior Design Graduate May 2005

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After graduating from Parsons in 2005, masterpiece.” The client’s brief was to make it Previously the interior was very masculine, very
Alice Kerrison worked for Victoria Hagan “the best goddamn gym in the southern hemi- 1970’s. The original curves and geometry were
Interiors before moving back to Australia. In sphere.” With that in mind, Alice focussed on the maintained but brought into the 21st century,
Australia she established her own practice Alice dichotomy of the contemporary married with the thus creating a sense of freshness and sophisti-
Kerrison Interiors. eclecticism of the past to create anything other cation, qualities introduced in all her interiors &
than average. Columns clad in mirrored stainless paramount to her aesthetic.
Her most recent work in Sydney, completed steel bore reflections of 18th Century chandeliers
in 2007, is a club and spa that was featured in and Louis Poulsen lights, and treatment rooms Her latest projects include restaurants in Sydney
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Belle magazine and described as “a five star resembled homes of the French bourgeoisie. and Melbourne, two of which are currently in
12/21/08 2:23:52 PM

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construction and another three in conceptual New York steakhouse. She has created an impres- The vision at Alice Kerrison Interior Design is
stages of design. ‘Chophouse’ is the first res- sive and somewhat humorous interior with a cer- to raise the standards of Australian interiors to a
taurant due to open August 2008, and will push tain subtle eccentricity. level that pushes beyond even the most compel-
boundaries of expectation. Through the manip- ling designs of New York and Europe.
ulation of materials and salvaged architectural Over the next few years, Alice will be designing
elements, the restaurant will reference a bygone a number of high-end homes and beach houses

95
era. Alice designed this as a tribute to the old across Australia apartments in New York.

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Selected
Projects

98 99

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My design for the theater was inspired
by the brightly painted houses in
Rincon and the graffiti on the buildings.
I wanted the space to be playful and
colorful yet still be approachable by
all ages. I hoped to reflect the vibrant
culture of Puerto Rico and also respect
the landscape with energy-efficient
technology.

Krystle Louie
krystlelouie@ gmail.com
Previous Degree Bachelor of Arts in Psychology, Minor in Philosophy University of
British Columbia; Work Experience Stephen B. Jacobs/Andi Pepper Interior; Robert
A. M. Stern Architects; Program Outdoor Theater, Puerto Rico; Studio Interior
Design Studio 3; Faculty Sarah Strauss, Noah Biklen
Krystle Louie, continued

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Parsons Women in Design Presentation, Saudi Arabia (Interior Design)

Parsons Women in Design Presentation, Saudi Arabia (Interior Design)

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