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disneymbti · 2 years ago

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Hello, there! Would you be willing to analyze Harvey Specter and Mike Ross from Suits of their MBTI Type, Big Three, and Enneagram Type?

Hi there, sweetie! I really hope you like this a lot!

Harvey Specter's MBTI Type, Big Three and Enneagram Type

MBTI Type: ENTJ [The Commander]

As ENTJs, Commanders are talkative, high energy, and thrive around people. They seek action and tend to involve themselves in events. They prefer not to spend too much time alone.

They focus more on the big picture than on tiny details—they’re interested in how everything connects together and trust their internal thought process more than they trust past experience.

ENTJs use logic rather than emotion in decision making. They tend to follow what makes sense, rather than what feels right.

They are structured, organized, like to plan ahead and know what’s going to happen. They appreciate rules, processes, and schedules.

Big Three: Gemini Sun, Capricorn Moon and Virgo Rising

Gemini Sun: Geminis are chatty and talkative, priding themselves on being in-the-know when it comes to news and gossip. Their dualistic nature allows them to see situations from a number of perspectives.

Capricorn Moon: The Capricorn Moon is reflective and contemplative, working to build a better foundation with those they care about.

Virgo Rising: Virgo ascendants are the fact-finders and checkers of the zodiac. They are fair-minded and slow to anger.

Enneagram Type: 3w2 [The Enchanter]

Basic Fear: Enneagram type three wing twos are afraid of failing and being unworthy of love. They avoid this by setting and accomplishing goals, in order to feel successful and worthy.

Basic Desire: Their basic desire is to be admired and accepted. They seek value through accomplishment, which may push them deeper into their work.

Enchanters tend to adjust their persona to their audience, in order to feel as though they are easily liked, which may lead to playing a character rather than being themselves.

Mike Ross' MBTI Type, Big Three and Enneagram Type

MBTI Type: INFP [The Mediator]

INFPs value time alone or with very small groups and can often feel exhausted after spending time with large groups of people.

They tend to focus on the big picture and don’t get lost on the smaller details. They have strong intuitions and often follow their gut instincts.

Mediators tend to prioritize emotion and make decisions that feel right. They are very diplomatic and can easily understand others emotions.

They are very flexible in their schedules. INFPs like to keep their options open and tend to be more spontaneous.

Big Three: Aquarius Sun, Taurus Moon and Capricorn Rising

Aquarius Sun: Aquarius is ruled by Saturn and Uranus, which makes them seek out unique ways to problem-solve and to approach life. They're known to be intellectual and innovative.

Taurus Moon: The Moon loves to be in the zodiac sign Taurus. Those with Moon in Taurus delight in the earthly pleasures and seek out emotional security.

Capricorn Rising: Capricorn ascendants are known for their efforts and diligence when it comes to attaining success and prosperity.

Enneagram Type: 6w5 [The Guardian]

Basic Fear: Sixes with five wings are afraid of losing their guidance and stability. This is often expressed through their skepticism of the world.

Basic Desire: They have a strong desire for security, which they tend to show by protecting themselves and others. They seek close and stable relationships.

Guardians tend to defend themselves by projecting their own feelings onto others, which can often enhance their distrust of the world.

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carpet-cleaning-sunset-p8nrs2 · 13 days ago

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Authority Showcase: Mike Darling - The Best Supervised Visitation Monitor Across Southern California

With 24 years of law enforcement experience, Mike Darling has established himself as the best supervised visitation monitor in Corona, experienced supervised visitation monitor in Riverside and a trusted presence across multiple Southern California locations. His holistic approach to supervised visitation utilizes a unique combination of skills, including domestic violence training, drug and alcohol recognition, and certifications in First Aid and CPR. Mike Darling Supervised Visitation Monitoring is a beacon of professionalism, offering peace of mind to families and courts in Corona, Riverside, Eastvale, and beyond. Mike's expertise shines through his ability to handle high-conflict custody cases, empowered by his comprehensive certificate in Supervised Visitation Monitoring. As a court-approved visitation monitor across areas like Yorba Linda, Brea, and Santa Ana, he leverages his retired officer credentials to ensure safe, neutral environments for child-parent interactions. This indispensable service, also available through weekend and holiday appointments, exhibits his unparalleled flexibility and dedication. ---

Commitment to Safety and Neutrality

Professional Services for Peace of Mind

Mike Darling's professional services extend far beyond routine visits. He offers monitored child exchanges, and even remote supervision, fostering a secure yet respectful atmosphere. As the trusted supervised visitation monitor in Riverside and Anaheim, he provides a much-needed alternative to agency-based providers, ensuring personalized attention and accountability.

Certified Expertise

His certifications reflect his commitment to safety; Mike is a mandated reporter and TrustLine registered, providing legally robust services. This ensures his role as a certified supervised visitation monitor in Orange and Fullerton is recognized by family law attorneys and social workers alike. Transitioning from safety-focused services, his detailed court-ready reports provide families and courts with transparency and insight into visitations, reflecting his dedication to informed decisions. ---

Flexible and Compassionate Approach

A Personal Touch with Professionalism

Mike's compassionate perspective, informed by his law enforcement background, allows him to facilitate empathetic yet structured visits. His role as the affordable supervised visitation monitor near Tustin and Eastvale proves invaluable for parents navigating difficult post-separation landscapes.

Availability and Adaptability

As a visitation monitor available seven days a week, Mike consistently meets diverse family needs. His services in Orange and Los Angeles counties ensure geographical coverage that other less personalized agencies cannot match. This flexibility leads us naturally into exploring Mike Darling's significant community impact and trust-building efforts. ---

Community Involvement and Influence

Building Bridges Through Education

Ownership of Mike Darling Supervised Visitation Monitoring also entails active community participation, such as partnering with local family counselors and retired law enforcement for safety training. These initiatives foster lasting family relationships and provide vital support systems for supervised visitation scenarios.

Supporting Community Growth

Through sponsored events and seminars on parenting after divorce, Mike contributes significantly to education and community wellbeing. His distinguishing efforts also include volunteering for at-risk youth programs, underscoring his commitment to familial reconciliation. As these involvements transition seamlessly toward Mike Darling's notable achievements and client success stories, his influence continues to expand across family law circuits. ---

#Mike Darling Visitation Monitor

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theprotocolschoolofatlanta · 4 years ago

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Does the Hybrid Systems provide the best possible arrangement for Today’s Workforce?

Due to vaccinations that have lessen the COVID-19 virus threat in some areas, many workers today are transitioning back to the office. According to many experts, this return to the office has heightened anxiety among many American workers. What working arrangements or models work best for employees and employers during this transformation and what challenges do companies and workers face to maintain a engaging, innovative and creative workplace?In a recent Harvard Business Review (March,2021) titled What a Year of WFH (Working from Home) Has Done to Our Relationships at Work authors Nancy Baym, Jonathan Larson and Ronnie Martin summarized their findings:

“More than a year into the Co[HB1] vid-19 pandemic and WFH, new research from Microsoft shows that employees and teams are becoming much more siloed. Connections with people outside our immediate teams has shrunk dramatically, leading to fewer places to connect around innovative ideas and fewer opportunities to build social capital. Further, this trend is making employees feel lonely and isolated. To help address this issue, leaders should focus on being proactive about connecting employees across the organization, make space for connections outside official meetings, encourage and reward social support, and improve the structure of meetings.”In another related article by Yahoo’s senior editor, Mike Bebernes (May17th,2021) Bebernes, states that the challenge lies not just in the logistics of bringing staff back together in the same space, but also in the fact that a year-plus of remote work — for all its flaws — highlighted the drawbacks of traditional office life and left many workers loath to go back. With that in mind, some of the biggest companies in the U.S. are embracing a hybrid model that includes a mix of at-home and in-person work. Facebook, General Motors, Microsoft, and Google are just a few of the companies offering some form of flexible work arrangements. The details vary, but generally hybrid work follows one of two models: Either all employees spend at least two or three days a week in the office and have the option to work remotely the rest of the time, or a company’s workforce is divided between full-time in-person workers and full-time remote staff.

But there is still debate among some skeptics about hybrid models due to the following reasons:

· Hybrid workforce is too complicated and unsustainable for some firms due to the lack of professional isolation(disconnectedness), obscure workers boundaries, managing worker’s schedules with other coworkers and dealing with prospective or existing customer in face-to face meetings.

· Younger workers and newly employed workers experience social isolation, the lack of networking, onboarding, and training that they normally would expect. Also, company -wide communications can be undermine which can create a lack of trust.

· Informal interactions(conversations)mattered. This suggest that what is known as social capital (benefits people get because of who they know) is critical in a thriving workplace for both employees and organizations.

Advocates of Hybrid feel this system works better for the following reasons:

· Hybrid models offer employees more self independence which leads to better management of one’s self and healthier lifestyles.

· Recent surveys indicate that most Americans workers want to keep a mixture of remote and on-site working; also, reflected in these same surveys, productivity among the majority of remote workers did not diminished in 2020.

· Many workers enjoy the benefits eliminating the daily commute and many have fears of going back to the office and facing other co-workers who haven’t been vaccinated.

One company lawyer feels that the hybrid systems are more likely to work with companies with previous remote offerings. This could offer an advantage over companies that don’t offer hybrid models. Many skilled and experienced workers may view companies as having a restrictive and outdated company culture without hybrid models. A supervisor for a Global Health Care Corporation, has been working remotely and only attends special in-office meetings, feels hybrid models are here to stay and enjoys the benefits of working remotely and has found innovative practices to support teamwork.

Since these research studies summaries indicate that the present post-pandemic Hybrid Models are the preference for most Americans workers, the workplace (hybrid and remote) culture has changed and continues to be transformed, there is a level of commitment needed to succeed in building relationships and partnering with others to achieve organizational and personal goals. Creativity, productivity, and adaptability to work as a team are tightly woven to business relationships and cooperative collaboration with each other; so is kindness, fun and chatter necessary to foster employee connections that feed productivity and innovation. Healthy social relationships rely on unplanned interactions and employee engagement which are all part of an established corporate culture.

Business styles will vary from company to company, however, within the frame work of the key principles of business etiquette(which are respect, consideration and trust), workers can maintained and continuously develop harmonious and cohesive workplace.

Herlena Byrd, The Protocol School of Atlanta

#Hybrid ModelsHybridworkplace Business etiquette HybridSystems

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suzanneshannon · 4 years ago

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Designing Inclusive Content Models

In the 1920s, Robert Moses designed a system of parkways surrounding New York City. His designs, which included overpasses too low for public buses, have become an often-cited example of exclusionary design and are argued by biographer Robert A. Caro to represent a purposeful barrier between the city’s Black and Puerto Rican residents and nearby beaches.

Regardless of the details of Moses’s parkway project, it’s a particularly memorable reminder of the political power of design and the ways that choices can exclude various groups based on abilities and resources. The growing interest in inclusive design highlights questions of who can participate, and in relation to the web, this has often meant a focus on accessibility and user experience, as well as on questions related to team diversity and governance.

But principles of inclusive design should also play a role early in the design and development process, during content modeling. Modeling defines what content objects consist of and, by extension, who will be able to create them. So if web professionals are interested in inclusion, we need to go beyond asking who can access content and also think about how the design of content can install barriers that make it difficult for some people to participate in creation.

Currently, content models are primarily seen as mirrors that reflect inherent structures in the world. But if the world is biased or exclusionary, this means our content models will be too. Instead, we need to approach content modeling as an opportunity to filter out harmful structures and create systems in which more people can participate in making the web. Content models designed for inclusivity welcome a variety of voices and can ultimately increase products’ diversity and reach.

Content models as mirrors

Content models are tools for describing the objects that will make up a project, their attributes, and the possible relations between them. A content model for an art museum, for example, would typically describe, among other things, artists (including attributes such as name, nationality, and perhaps styles or schools), and artists could then be associated with artworks, exhibitions, etc. (The content model would also likely include objects like blog posts, but in this article we’re interested in how we model and represent objects that are “out there” in the real world, rather than content objects like articles and quizzes that live natively on websites and in apps.)

The common wisdom when designing content models is to go out and research the project’s subject domain by talking with subject matter experts and project stakeholders. As Mike Atherton and Carrie Hane describe the process in Designing Connected Content, talking with the people who know the most about a subject domain (like art in the museum example above) helps to reveal an “inherent” structure, and discovering or revealing that structure ensures that your content is complete and comprehensible.

Additional research might go on to investigate how a project’s end users understand a domain, but Atherton and Hane describe this stage as mostly about terminology and level of detail. End users might use a different word than experts do or care less about the nuanced distinctions between Fauvism and neo-Expressionism, but ultimately, everybody is talking about the same thing. A good content model is just a mirror that reflects the structure you find.

Cracks in the mirrors

The mirror approach works well in many cases, but there are times when the structures that subject matter experts perceive as inherent are actually the products of biased systems that quietly exclude. Like machine learning algorithms trained on past school admissions or hiring decisions, existing structures tend to work for some people and harm others. Rather than recreating these structures, content modelers should consider ways to improve them.

A basic example is LinkedIn’s choice to require users to specify a company when creating a new work experience. Modeling experience in this way is obvious to HR managers, recruiters, and most people who participate in conventional career paths, but it assumes that valuable experience is only obtained through companies, and could potentially discourage people from entering other types of experiences that would allow them to represent alternative career paths and shape their own stories.

Figure 1. LinkedIn’s current model for experience includes Company as a required attribute.

These kinds of mismatches between required content attributes and people’s experiences either create explicit barriers (“I can’t participate because I don’t know how to fill in this field”) or increase the labor required to participate (“It’s not obvious what I should put here, so I’ll have to spend time thinking of a workaround”).

Setting as optional fields that might not apply to everyone is one inclusive solution, as is increasing the available options for responses requiring a selection. However, while gender-inclusive choices provide an inclusive way to handle form inputs, it’s also worth considering when business objectives would be met just as well by providing open text inputs that allow users to describe themselves in their own terms.

Instead of LinkedIn’s highly prescribed content, for example, Twitter bios’ lack of structure lets people describe themselves in more inclusive ways. Some people use the space to list formal credentials, while others provide alternate forms of identification (e.g., mother, cyclist, or coffee enthusiast) or jokes. Because the content is unstructured, there are fewer expectations about its use, taking pressure off those who don’t have formal credentials and giving more flexibility to those who do.

Browsing the Twitter bios of designers, for example, reveals a range of identification strategies, from listing credentials and affiliations to providing broad descriptions.

Figure 2. Veerle Pieters’s Twitter bio uses credentials, affiliations, and personal interests.

Figure 3. Jason Santa Maria’s Twitter bio uses a broad description.

Figure 4. Erik Spiekermann’s Twitter bio uses a single word.

In addition to considering where structured content might exclude, content modelers should also consider how length guidelines can implicitly create barriers for content creators. In the following section, we look at a project in which we chose to reduce the length of contributor bios as a way to ensure that our content model didn’t leave anyone out.

Live in America

Live in America is a performing arts festival scheduled to take place in October 2021 in Bentonville, Arkansas. The goal of the project is to survey the diversity of live performance from across the United States, its territories, and Mexico, and bring together groups of artists that represent distinct local traditions. Groups of performers will come from Alabama, Las Vegas, Detroit, and the border city of El Paso–Juárez. Indigineous performers from Albuquerque are scheduled to put on a queer powwow. Performers from Puerto Rico will organize a cabaret.

An important part of the festival’s mission is that many of the performers involved aren’t integrated into the world of large art institutions, with their substantial fiscal resources and social connections. Indeed, the project’s purpose is to locate and showcase examples of live performance that fly under curators’ radars and that, as a result of their lack of exposure, reveal what makes different communities truly unique.

As we began to think about content modeling for the festival’s website, these goals had two immediate consequences:

First, the idea of exploring the subject domain of live performance doesn’t exactly work for this project because the experts we might have approached would have told us about a version of the performing arts world that festival organizers were specifically trying to avoid. Experts’ mental models of performers, for example, might include attributes like residencies, fellowships and grants, curricula vitae and awards, artist statements and long, detailed bios. All of these attributes might be perceived as inherent or natural within one, homogenous community—but outside that community they’re not only a sign of misalignment, they represent barriers to participation.

Second, the purposeful diversity of festival participants meant that locating a shared mental model wasn’t the goal. Festival organizers want to preserve the diversity of the communities involved, not bring them all together or show how they’re the same. It’s important that people in Las Vegas think about performance differently than people in Alabama and that they structure their projects and working relationships in distinct ways.

Content modeling for Live in America involved defining what a community is, what a project is, and how these are related. But one of the most interesting challenges we faced was how to model a person—what attributes would stand in for the people that would make the event possible.

It was important that we model participants in a way that preserved and highlighted diversity and also in a way that included everyone—that let everyone take part in their own way and that didn’t overburden some people or ask them to experience undue anxiety or perform extra work to make themselves fit within a model of performance that didn’t match their own.

Designing an inclusive content model for Live in America meant thinking hard about what a bio would look like. Some participants come from the institutionalized art world, where bios are long and detailed and often engage in intricate and esoteric forms of credentialing. Other participants create art but don’t have the same resources. Others are just people who were chosen to speak for and about their communities: writers, chefs, teachers, and musicians.

The point of the project is to highlight both performance that has not been recognized and the people who have not been recognized for making it. Asking for a written form that has historically been built around institutional recognition would only highlight the hierarchies that festival organizers want to leave behind.

The first time we brought up the idea of limiting bios to five words, our immediate response was, “Can we get away with that?” Would some artists balk at not being allowed the space to list their awards? It’s a ridiculously simple idea, but it also gets at the heart of content modeling: what are the things and how do we describe them? What are the formats and limitations that we put on the content that would be submitted to us? What are we asking of the people who will write the content? How can we configure the rules so that everyone can participate?

Five-word bios place everyone on the same ground. They ask everyone to create something new but also manageable. They’re comparable. They set well-known artists next to small-town poets, and let them play together. They let in diverse languages, but keep out the historical structures that set people apart. They’re also fun:

Byron F. Aspaas of Albuquerque is “Diné. T��chii'nii nishłį́ Tódichii'nii bashishchiin.”

Danny R.W. Baskin of Northwest Arkansas is “Baroque AF but eating well.”

Brandi Dobney of New Orleans is “Small boobs, big dreams.”

Imani Mixon of Detroit is “best dresser, dream catcher, storyteller.”

Erika P. Rodríguez of Puerto Rico is “Anti-Colonialist Photographer. Caribeña. ♡ Ice Cream.”

David Dorado Romo of El Paso–Juárez is “Fonterizo historian wordsmith saxophonist glossolalian.”

Mikayla Whitmore of Las Vegas is “hold the mayo, thank you.”

Mary Zeno of Alabama is “a down home folk poet.”

Modeling for inclusion

We tend to think of inclusive design in terms of removing barriers to access, but content modeling also has an important role to play in ensuring that the web is a place where there are fewer barriers to creating content, especially for people with diverse and underrepresented backgrounds. This might involve rethinking the use of structured content or asking how length guidelines might create burdens for some people. But regardless of the tactics, designing inclusive content models begins by acknowledging the political work that these models perform and asking whom they include or exclude from participation.

All modeling is, after all, the creation of a world. Modelers establish what things exist and how they relate to each other. They make some things impossible and others so difficult that they might as well be. They let some people in and keep others out. Like overpasses that prevent public buses from reaching the beach, exclusionary models can quietly shape the landscape of the web, exacerbating the existing lack of diversity and making it harder for those who are already underrepresented to gain entry.

As discussions of inclusive design continue to gain momentum, content modeling should play a role precisely because of the world-building that is core to the process. If we’re building worlds, we should build worlds that let in as many people as possible. To do this, our discussions of content modeling need to include an expanded range of metaphors that go beyond just mirroring what we find in the world. We should also, when needed, filter out structures that are harmful or exclusionary. We should create spaces that ask the same of everyone and that use the generativity of everyone’s responses to create web products that emerge out of more diverse voices.

Designing Inclusive Content Models published first on https://deskbysnafu.tumblr.com/

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architectnews · 4 years ago

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University of Kentucky College of Design presents 12 architecture projects

Our latest school show from students at the University of Kentucky College of Design includes a car depot that functions as a wellness centre and a housing community built from repurposed material from the railroad industry.

Other projects from the undergraduate and postgraduate students include a farm in Kentucky designed to mimic the surrounding environment's patterns and digitally-manipulated collages referencing Lewis Carroll's Alice and Wonderland.

University of Kentucky College of Design

School: University of Kentucky College of Design Courses: Undergraduate and graduate studios Professors: Angus Eade, Anne Filson and Jeffrey Johnson, Jill Leckner, Mike McKay, Brian Richter, Gary Rohrbacher, Jason Scroggin, Mike Silver, Brent Sturlaugson, Martin Summers and Stephen Slaughter and Regina H. Summers.

School statement:

"The School of Architecture at the University of Kentucky College of Design offers a four-year undergraduate pre-professional degree and a Master of Architecture degree. The students featured in this festival represent the breadth of our two programmes, with a particular focus on our recently reconsidered undergraduate first-year spring studios, where we have fully integrated digital design and fabrication technologies.

"The theme of the spring semester for the first-year undergraduate studio sequence was to consider the notion of 'Object and Field' and how it relates to the negotiation of small-scale programme, inhabitation, and context. In addition to our pedagogical emphasis on the integration of digital technologies, the other undergraduate and graduate projects selected also represent our school's commitment to engage local issues, such as housing and urban development, that also relate to broader contemporary challenges confronting the discipline at the regional, national, and international level."

Rehabilitated Railroad Communities by Tori Vaughn

"The Commonwealth of Kentucky has long been an ideal laboratory for architectural study. Our state's cities, small towns, and landscapes offer multiple scales and conditions for engagement and intervention, while its distinct heritage, industries, and propensity for innovation provide a wide range of challenges for architecture students to explore. The Commonwealth Studio gives every Master of Architecture student an opportunity to pursue a self-directed, research-intensive design project as a culmination of their architectural education. Students explore contemporary 'local' issues that have global relevance and impact, proposing architectural solutions that positively impact home and beyond.

"Rehabilitated Railroad Communities is a housing development situated on the R.J.Corman Yard in Lexington, Kentucky. The project endeavours to reuse and repurpose materials and equipment from the railroad industry, like shipping containers and train wagons, to minimize environmental impact. The remains of an existing railyard will serve as the skeletal infrastructure for the new community.

"The R.J. Corman Rail Yard now accommodates a green, urban neighbourhood of diverse homes, people and plants. This walkable community is bursting with nature and nearby to many Lexington hot spots. The diversity of housing densities on the site allows for many different demographics of people to call this neighbourhood home. Including all enables the neighbourhood to support a multi-cultural, racial and generational community. The units and aggregation could be adapted and replicated to fit railways and rail yards across the commonwealth and the country."

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

"As part of a multidisciplinary grant team, students designed a pavilion to shelter a portable sawmill on the University of Kentucky's campus. After completing an analysis of user needs and site constraints, students also proposed additional functions for the pavilion and its surrounding landscape.

"Limiting the main structural components to mass timber products, the pavilion is intended to showcase the possibilities of building with wooden slabs produced by the sawmill itself. The research and design from this project will be used as a starting point for a future design-build studio in which the pavilion will be constructed.

"This project is intended to curate movement and frame points of interest on the site. This is achieved by using a series of folds to expand and contact volumes that accommodate different scales of programmatic spaces. The faceted cross-laminated timber panels are free to disobey the grid and respond to different constraints by regulating the glulam beam structure. This creates an interactive lighting quality that changes with the variable density of incisions within solid panels. Outside of sawmill operations, the project will serve as a new social hub for students on campus and a link between educational buildings on the site."

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

"Toolpath studios explore future architecture and construction from the vantage point of the post-industrial designer. Students discover their agency as designers for a time in the not-too-distant future when they'll collaborate directly with intelligent machines. Through the design of a door, staircase, and window, students discover the parts of a whole.

"The students investigated how architecture can be shaped to make relationships within other architectural entities and among humans, natures and technologies. Students experiment with additive and subtractive digital fabrication techniques at the scale of architectural details, using integrated design, engineering and manufacturing tools that collapse the distance between design and production.

"This project serves as an exploration of the capabilities of and design process for Fusion360s generative design workspace with the final goal of a more efficient cantilever stair. Using a steel-structured cantilever stair as precedent, the structure of the stair was broken into seven chunks comprised of smaller structural members. Each structural member was custom-designed using only the loads on the member and a target of minimizing mass as form driving forces. This focus on minimizing mass based on required loads is visible in the final stair with members toward the bottom with higher compounded loads having higher mass than those above that are supporting a lower load."

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

"The theme of the spring semester of the first-year studio sequence is to consider the notion of "Object and Field" and how it relates to the negotiation of small-scale programme, inhabitation and context. These parameters are opportunities to think critically about the work we generate and respond to these architectural design problems with innovative solutions.

"The studio begins with a set of experiments that seek a working relationship between solid, void, and pattern to develop a geometry that is responsive to the conditions of inhabitation, programme and site."

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

"Working with a local Bourbon Distiller, the studio proposes a pavilion as part of a farm and distillery masterplan with a focus on visitor experience, bourbon production and history. Students were charged with exploring procedural and parametric design methods focused on formal geometric variety, combination, aesthetic, flexibility and adaptation to programmatic constraints.

"Design elements or 'components' developed during the investigative phase of the studio provided a baseline condition in addressing the physical constraints of the project programme. This allowed students to explore tectonic relationships, materiality, spatial quality and site-specificity in a contemporary context. Interoperability remained a key theme of the studio, challenging students to address the design prompt using a wide variety of digital methodologies, visualization, animation and digital-physical fabrication techniques."

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

"The goal of the Forma studio was to test various thermo-former techniques to achieve an emerging formal typology. The unexpected outcomes were desired to search for something unknown and without preconception – allowing the thermo-forming process to influence the outcome of the form and surface condition."

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

"Students worked with community partners to propose event structures on a farm in Kentucky as part of adaptive reuse of an existing farm into a bourbon distillery. This project explored an adaptive skin system by creating a series of layered and woven aggregated systems of wood that mimic the naturally occurring and humanmade patterns of agricultural landscapes in Kentucky.

"The patterns were deployed across the skin, creating a porous envelope that defines the event space for programmatic use while seamlessly blending into the pastoral landscape. The varied texture and density of the skin similarly filter light to the existing trees and barns on the site. The pavilion brings new life to the existing farm while rooting itself in the atmospheric experience of agritourism through its materiality, organic form and referential patterns."

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

"The studio explored formal and spatial combinations. Through a reading of Alice in Wonderland, students produced collages that considered narrative, imagination, contradiction and the theme of normal vs abnormal. These Wonderland collages were further abstracted through pixelation and digital manipulation, selecting one to develop as a 3D topography. Next, they made physical and digital 'balloon animals' inspired by characters and or their characteristics.

"This new fluid language contradicted the pixelated topography, requiring operative combinations, piling, stacking, or nesting relationships between part-to-whole, object and field. A narrative sequence of spaces and programmes – scenes from the book – defined movement and occupation while questioning scale, space, and gravity within the digital design environment. This project aimed to free imagination and thinking by immersion into their Wonderland."

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

"Students were asked to design a space for contemplation using a double-curved and ruled surface for a fictional site designed using Twin Motion. A CNC foam cutter and a FormLabs 3D printer were used to both conceive the formal structure of the project and to create physical models."

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

"This studio investigated the evolving problematics of emerging transportation systems and their spatial, material, cultural, and environmental consequences. The studio sought to develop schemes that give back to the community, unlike much of the earlier paradigm of transportation infrastructural works – many of which had deleterious effects on underserved communities and coincided with red-lining, social bifurcation, and racial inequity.

"The Hybrid Functioned Building Programme includes: car depots – automated parking structures with charging, fueling and servicing capacity; an outdoor fitness and recreation centre made for exercising and wellness; and energy harvesting for capturing and storing ambient sources with a particular emphasis on solar technologies.

"The Apex facility provides two alternative routes to reach the observation level. One way is a processional stair that offers views of the busy street and the ropes course and climbing walls on the site's interior. The other option on the opposite edge of the area is a gondola that provides a way for all types of users to reach the peak and observation deck, ensuring accessibility while providing a compelling spatial experience. The gondola route offers views to the adjacent train track while fully displaying the parking structure.

"Along with the main facility, we have created four other sites in strategic locations around Lexington so everyone can have easy access to similar facilities and to ensure minimal wait times for vehicles that service the community at large. Glue-laminated timber structures are used to support the massive ropes course that sprawls throughout the site, offering a fun way to get outside and exercise.

"The vertical supports of the ropes course mirror the trees on the opposite side of the site, creating a formal relationship between nature and our human-made intervention to integrate the building with its site further. Apex vehicles enter the parking structure through an underground tunnel, keeping it out of the way of the recreation space. Once at their designated parking section, a platform will be called to pick up the vehicle. This operates along with a grid system that allows it to travel to the ground to pick up the car, then return to its original position to store it away."

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

"This studio challenged three-person teams to design mixed-use housing in Cincinnati’s West End. At an urban seam between historic neighbourhoods, the site has a tumultuous history defined by local and national racist public policy, redlining practices, urban renewal and current pressures of gentrification. Multi-unit housing in this context needs to address inclusivity and clarify community within this context.

"Other themes explore patterns – organisational, material, graphic – and formal relationships (combinations, operations, seams, gaps) to test legibility in an urban form by simultaneously articulating part-to-part relations and strategically obfuscating edges and seams. These ideas go beyond disciplinary issues of aesthetics, form, and space, to include how individuals define their corporeal edges and construct their public, communal, and private identities.

"Cincinnati’s complex urban history balkanized neighbourhoods through reconfigured infrastructural edges driven by racist public policy. The disparity between neighbourhoods was amplified during the COVID-19 pandemic. Encompass was designed as a heterogeneous and supportive community, where access to flexible work and open-air leisure spaces close to home encourages new forms of community. Using the adaptive, operational techniques of Professor Summers’ Disruptive Continuity exercise, part-to-whole relationships attempt to define specific local conditions while camouflaging and expanding other urban readings.

"Designed as vertically organized micro-communities within the larger whole, our team produced local identity while simultaneously connecting the public spaces to the larger civic body. The street-level edges are eroded by the public program, inviting the city into a porous, mixed retail space – stitching the site to its context as a hub for commerce, leisure, and living within the West End neighbourhood."

Students: Eliza-Kate Carter, Megan Kidd, and Alyssa Ramsey Course: third-year undergraduate Professors: Martin Summers, University of Kentucky and in an advisory capacity Stephen Slaughter, University of Cincinnati

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

"The essence of this housing project revolved around the restoration and amplification of a cultural hub located on a site in the West End neighbourhood district of Cincinnati, Ohio. The West End was historically a rich black community erased for the construction of Interstate I-75.

"Two major buildings adjacent to the site, known as the State and Regal Theatre are unfortunately used to serve as the cultural hub of this neighbourhood. This project aimed to promote a new hub that encouraged reflection, community and interaction between a variety of people.

"The project used a variety of abstract objects that formally combined with one another to carve a large, axial pathway through the site, encouraging circulation from the nearby FC Cincinnati Soccer Stadium to the Over-The-Rhine District in the East. Commercial programmes such as restaurants, bars, and retail stores were located along the perimeter while cultural centres such as a museum, amphitheatre, and the new movie theatre were nestled within the centre to produce an overall micro city for the residents that lived within.

"A variety of unit types were designed according to the location of residential districts along the Western border of the site to allow for privacy. Various studios and workspaces occupied each floor to reinforce ideas of collaboration and allow local artists-in-residency to share their work."

Students: Destini Chenault, Taely Freeman and Connor Guy Course: third-year undergraduate Professors: Martin Summers, University of Kentucky and in an advisory capacity Stephen Slaughter, University of Cincinnati

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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ncmagroup · 6 years ago

Text

by Marc Cenedella

What a perfect fit! You have an opening and your niece is looking for a job in the industry! Or your college buddy is disgruntled with her current employer and wants to move on. Or your Board member has some spare time on his hands and wants to help out by taking on some operating duties.

And you? You’re enthusiastic about working with your niece/college friend / Board member. You get along so great, you come from the same place, why… it’s going to be like having two of you around!

Of course, you’ve never heard the ancient warning “never hire someone you can’t fire,” so you jump right into this new stage in your relationship.

Things go OK at first — it’s fun seeing your friend at the office every day — but soon enough you notice a creeping difference in expectations. You figured that in the same spot, you’d work twice as hard to make your friend look great, but he seems to use the opportunity to take twice as long to get things done.

Tell Mike it was only business. I always liked him.

Then come the out-of-the-ordinary requests. He wants to work from home Wednesdays so he can take care of his dying dog, she needs extra time off to visit Aunt Martha who isn’t getting any younger, or a personal crisis means he needs the flexibility to miss the Tuesday staff meetings.

It gets worse. She comes in later and leaves earlier, he never seems to fulfill his professional duties, or he takes liberties where none should be taken, slowly wearing down your patience and your goodwill. You suffer in silence as your long-time employees lose respect for you.

Yep. Professionals discovering the mismatch between personal affection and corporate discipline travel a sad and lonely path.

Here are four things to remember about hiring friends, relatives, and family: If you must hire friends or family, set boundaries and expectations

A great deal of the trouble in working with friends and family is misaligned expectations. You assumed they’d put in 100% more effort to make you look good, they assumed that as a friend, their primary goal was to hang out and, you know, be friendly.

Before you agree to work together, set boundaries about behavioral norms in your workplace, and make clear what will be expected of your friend or family member. The more explicitly, objectively, and quantitatively, you can define it, the better.

Review in advance how you will handle conflicts

With friends and family, there are a lot of things that are better left unsaid. Unstated assumptions, convenient rationalizations, and polite white lies assist us in keeping good family ties and reasonable civility at Thanksgiving.

The exact opposite is true in the workplace: “what gets measured gets managed”, 360-degree feedback, performance reviews, all seek to make performance explicit.

Walkthrough, in detail, what will happen when performance obligations are not met, extra favors are asked for, special circumstances requested. Point out that it’s a business, you have other team members reporting to you in your organization, and your boss won’t cut you any slack. Be explicit about the situations in which you’ve unfortunately had to let people go for poor performance, and point out that you would have to treat your friend or family member the same way.

Have structured and regular 1-1s from Day 1

Because of your good relationship and the fact that you already see eye-to-eye, you’ll be tempted to do away with the 1-1. This is a mistake.

Regular weekly or bi-weekly 1-1s to make sure expectations are communicated and met, and that any difficulties are raised in a regular, private, direct manner, will help ease some of the awkwardness of treating someone you know socially in a professional manner.

Mix friends and money and you’ll lose both

And most of all, realize that if you mix your personal and social relations with the demands of the modern workplace, you’re likely to lose the friend and lose the performance you were hoping for. While there are always exceptions that prove the rule, they are few and far between.

Perhaps your friend is the one true friend who can pull this off and make you look great. I sure hope so, but the experience can be a bitter teacher. May you be the exception!

Don’t hire someone you can’t fire by Marc Cenedella What a perfect fit! You have an opening and your niece is looking for a job in the industry!

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buddyrabrahams · 7 years ago

Text

Financial restrictions of Antonio Brown trade have been overstated

The Pittsburgh Steelers seem likely to at least explore the possibility of trading Antonio Brown this offseason, but there has been a lot of talk about the amount of money they would have to eat if they moved on from the star receiver. As it turns out, a lot of that talk has been exaggerated.

Earlier in the week, ESPN’s Bill Barnwell noted that the Steelers would owe around $21 million in dead cap money if they trade Brown before June 1. While that is true, Tom Pelissero and Mike Garafolo explained on Wednesday how it only tells half of the story.

There are plenty of reasons for the #Steelers not to trade Antonio Brown — namely, he's really, really good at football — but "cap hit" talk is misinformed. It's basically a wash for 2019 and they'd gain flexibility in 2020-21. How you replace him is the issue. pic.twitter.com/6FucNjhfgP

— Tom Pelissero (@TomPelissero) January 2, 2019

$14m in cap from 2020 and 2021 would accelerate into 2019. $15m in cash and cap would come off. So no, nothing cap-wise would stop the Steelers from dealing Brown. https://t.co/EByXdCQvAk

— Mike Garafolo (@MikeGarafolo) January 2, 2019

In other words, the Steelers would also get plenty of salary cap relief from trading Brown, as some of the immediate cap hit would be the result of money from 2020 and 2021 being moved up to 2019.

There are a lot more details that are left for teams and agents to figure out, but the bottom line is Brown’s contract structure does not appear to make it any more or less likely that he will be traded. Rather, the bigger question will be whether he can smooth things over with head coach Mike Tomlin, quarterback Ben Roethlisberger and the rest of his teammates. Brown is still a highly productive player who caught more than 1,000 passes this season, so parting ways with him would hardly be a simple decision.

All that said, there’s been plenty of reason to believe Brown’s relationship with his teammates is tarnished beyond repair. He also made it clear with his social media antics on Wednesday that he isn’t on good terms with Mike Tomlin. Those could ultimately be the reasons Brown is playing for a new team in 2019.

from Larry Brown Sports http://bit.ly/2QlRuJJ

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

0 notes

architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

0 notes

architectnews · 4 years ago

Text

University of Kentucky College of Design presents 12 architecture projects

University of Kentucky College of Design

School statement:

Rehabilitated Railroad Communities by Tori Vaughn

Student: Tori Vaughn Course: second-year graduate Professors: Anne Filson and Jeffrey Johnson

Sawmill Pavilion by Chase Faulkner

Student: Chase Faulkner Course: second-year undergraduate Professor: Brent Sturlaugson

Toolpaths V Ascend by Ben Thornton

Student: Ben Thornton Course: first-year graduate Professor: Gary Rohrbacher

Interspersed Pastel Commorancy by Trey Barnes

Click here to watch the animation.

Student: Trey Barnes Course: first-year undergraduate Professor: Jason Scroggin

CloudForm Pavillion by Katherine White

Student: Katherine White Course: first-year undergraduate Professor: Brian Richter

Forma by Lauren Henning

Student: Lauren Henning Course: first-year undergraduate Professor: Mike McKay

Kentucky Distillery Event Pavilion by Isaac Peck

To watch the animation, click here.

Student: Isaac Peck Course: first-year undergraduate Professor: Jill Leckner

Wonderland by Sarah Coviello

To watch the animation click here.

Student: Sarah Coviello Course: first-year undergraduate Professor: Regina H. Summers

Space of Contemplation by John Stegman

To view the animation click here.

Student: John Stegman Course: first-year undergraduate Professor: Mike Silver

Apex Lexington: Automated Electric Car Depot Network and Community Wellness-Fitness Centre by Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson

Students: Cameron Mitchell, Kamryn Moore, Sydney Rocha and Jacob Johnson Course: second-year undergraduate Professor: Angus Eade

Encompass by Eliza-Kate Carter, Megan Kidd and Alyssa Ramsey

Cultural Restoration by Destini Chenault, Taely Freeman and Connor Guy

Partnership content

This school show is a partnership between Dezeen and The University of Kentucky College of Design. Find out more about Dezeen partnership content here.

The post University of Kentucky College of Design presents 12 architecture projects appeared first on Dezeen.

#Architecture – Dezeen

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