Blair Gazza Portfolio

BLAIR GAZZAPortfolio

“HERD” - ORNAMENTAL PATTERN DESIGN

Fine art and applied design have had a deep impact and relevance in my life. My path to becoming a designer has been a natural progression of intense study and work experience in the industry. My training ranges from painting and photograph composition, wood and metal form making, and exhibition, set, and interior design. In my artistic trajectory I have worked extensively with lighting, depth perception, color theory, material use and form making. In my applied design work I have developed rigorous methods to combine these skills with human scale and proportion. Throughout the years, my practice has centered on threading the dialogue between art and design - how the imaginative and inspiring aspects of art combines with functional and effective design to fulfill the greater needs of our communities. My objective as a designer is to achieve harmony between the historical, contemporary and personal, so that the user experiences a heightened sense of self through it: recognizing how to use, think about and feel, in relations to the design.

ABOUT

CONCEPT DESIGN

“LUCY” - ORNAMENTAL PATTERN DESIGN

ENTER

PERFORMANCE ART STAGE

ART HISTORY STUDY

PROPS

WOOD &METAL SHOP WC

PARKS FOR THE PEOPLE: PROJECT HOPEWELLPratt Institute, Exhibition Design Intensive

Among the greatest challenges currently facing American culture today is the growing detachment between people and landscape. In response to the National Park Service and Van Alen challenge on how to bridge this gap using Hopewell Furnace National Historic Site, Elverson, PA, my design team’s proposal for a new park experience integrates the 21st century visitors by making an engaging, interactive and high performance landscape, that reflect the values and concerns of today’s society. Our concept aims to instill a renewed sense of responsibility for visitors to stimulate stewardship of the land. The design incorporates various educational methods conveying a cohesive narrative that visitors can explore and absorb as a self-guided experience, giving this park a greater personal meaning than merely preserved history and beauty. The proposal splits the park into zones that include themed trails, interactive activities, labs and thresholds to reinforce a visitor landscape connection. Our vision incorporates reuse, conservation and relevance to create a meaningful connection.

DECOMPRESS

INTRIGUE

EXPLORE

RESOLVE

TRAIL COVERAGE

LANDSCAPEHISTORY

INGENUITY

DECOMPRESS INTRIGUE EXPLORE RESOLVE

PLAN & PROGRAM

HISTORY TRAIL ACTIVITIES

“Innovation at Hopewell lead to the design of the Mark Bird Stove, a machinethat made the U.S.A a global leader in thethe Industrial Revolution and liberatedwomen. The NPS asks you to recognize theimportance of ingenuity and to pledge toinnovation by contributing to your

A stone wall containing an engravedPledge and Pledge Book

PLEDGE WALL1

Benches are placed at varying points withetched facts relating to the ingenuityof Hopewell...

FACTS4

“Wood, Limestone, Iron Ore & Water = Iron”

ARCHIVE MUSEUM11 Hopewell is one of the most well

preserved iron communities in Pennsylvania. The museum includes exhibits, interactive space, cafe, shop and park administration offices.

Agriculture

LINGUISTIC

SOUND

MUSICAL

BODILY KINETICS

VISUAL

INTERPERSONAL

INTRAPERSONAL

UNDERSTANDING THE VISITOR

Botany

Culinary Arts

Astronomy

Design

Performing ArtsArt History

New form constructioninspired by AmericanColonial Architecture

SITE ARCHITECTURE

A “Safe House” including interior wallsfilled with graphics and perspectives

Underground Railroad and Hopewell.

UNDERGROUND RAILROAD9

telling the narrative between the

NATURE TRAIL ACTIVITIES

INGENUITY TRAIL ACTIVITIES

HISTORY TRAIL ACTIVITIES

HISTORY & NATURE CONNECTION LAB

INGENUITY & HISTORY CONNECTION LAB

NATURE & INGENUITY CONNECTION LAB

DECOMPRESS

RESOLVE INTRIGUE

EXPLORE

Archaelogy

ArchitectureNatural ResourcesPedology

ENTER

STORAGE

CLASSIFICATION LIBRARY

WC

ENTER

GARDEN

CULINARY DEMO STATION

BOTANY

ASTRONOMY EQUIPMENT

WC

STATION

DECOMPRESSION ZONE

community.”

STINKY CHEESE MAN CHILDREN’S EXHIBIT

This exhibit is an interactive environment design, aimed at a user group of children aged 5 to 8, and based on the content of a children’s story “The Stinky Cheese Man and other Fairly Stupid Tales.” The design incorporates innovative visual storytelling; explores the relationship of images, objects and text as it relates to the physical and mental perspective of children; and incorporates the interests of both the (adult) chaperone and child user. The exhibit reveals the narrative of the book through interactive and multimedia activities and environments. Activities designed to stimulate children physically through kinesthetic exercises test comprehension through questionnaires and elicit critical thinking, enabling children to learn through repetition and communication with one another. In addition, the space design helps get children and adults moving and interacting with one another in activities that are enhanced when more people join. The book illustrations, graphics and text are used to help bring to life the narrative, into an unforgettable experience and physical environment.

Introduction to Jack Goldilocks & The 3 ElephantsThe Princess & The Bowling BallLittle Red Running ShortsThe Stinky Cheese ManJack & The Beanstalk, Exit

Pratt Institute, Exhibition Design Intensive

PROGRAM

GOLDILOCKS & THE 3 ELEPHANTS

THE PRINCESS & THE BOWLING BALL LITTLE RED RUNNING SHORTS

JACK & THE BEANSTALK THE GIANTS MOUTH

KINESTHETIC EXERCISES

Follow Jack on an adventure through the Land of Fairly Stupid Tales, setting the story straight by telling you what really happened in the fairy tales you thought you knew so well.

PATH TO LITTLE RED RUNNING SHORTS

INTRODUCTION TO JACK

AMERICAN DENIM EXHIBITPratt Institute, Exhibition Design Intensive

The American Denim Exhibit, displays a collection of artifacts that tell the story of a quintessential American fabric and its production story in American mills; from its start in the late 18th century to its current state. The glass form is based on the denim twill weave, and is the main display for imagery of the mills and American iconography associated with denim. The subtle fading of the twill texture symbolizes how the industry went from being a staple American-made product to its current disarticulated state as a globally manufactured good. Overlaid are questions to provoke viewers to consider the story of their every-day jeans and whether denim is still an “all-American” iconic fabric. The opposing wall contains artifacts used in the production of denim, a historic timeline and a map of the countries currently producing and manufacturing it. The smaller structure, upholstered in denim, is made up of interactive walls for users to personalize. This exhibit reminds visitors about denim’s history as an American icon and pays tribute to its inherent spirit of individuality and expression.

CONCEPT DESIGNS

BACK ELEVATION

FRONT ELEVATION

SKETCH MODELS

LOBBY

STEINBERG FAMILYSCULPTURE GARDEN

NORMAN M. FEINBERGENTRANCE

MARTHA A. AND ROBERT S. RUBINPAVILION AND LOBBY

BROOKLYN COMMUNITYFOUNDATION VISITOR CENTER

MUSEUMCAFE

THE GREAT HALLMUSEUM SHOP

AFRICAN INNOVATIONS

CON EDISONEDUCATION GALLERY

and Art Studios

The Brooklyn Museum Rubin PavilionSITE PLAN

NORTH PERSPECTIVESOUTH PERSPECTIVE

EAST PERSPECTIVE

URBAN OUTFITTERS HALLOWEEN WINDOW DISPLAYPratt Institute, Exhibition Design Intensive

This Halloween window display was designed for and put up at the Urban Outfitters Soho store. The design utilizes all windows, including the 3-foot floor depth on the ground level. Our inspiration was “The Legend of Sleepy Hollow” original illustrations, not only because of its classic haunting imagery but also because of the all-American feel that Urban Outfitters is all about. Our design brings the scenic illustrations to life, in full scale, on the streets of New York. The details include utilizing existing store scaffolding to create spider web constructions, an ideal design for a storefront since it does not prohibit pedestrians viewing into the store. In re-creating the woven thread construction of webs, we incorporated crochet techniques to evoke and connect the store’s vintage kitschy style and intertwined metal chain to reflect light, brighten up the black yarn and add a built-in lighting dimension. We designed a tree to house the web and connect the two levels of windows, filling the remaining open space with origami bats. This spooky design is dynamic playful and eye-catching.

PARTIAL SECTION

11’-6’’

3’-0’’

16’-6’’

3’-0’’

6’-0’’1’-0’’

6’-0’’ 6’-0’’

PARTIAL PLAN

WINDOW DISPLAY CONCEPT DRAWING

PUBLIC LIBRARY

Why should people travel to a library in a digital world where information is “everywhere?” This public library design explores how libraries of the future can bring together the best of both worlds: the “everywhere-ness” of the Internet and the face to face interactions of a community center. The concept utilizes interior design to provoke the social interaction necessary to allow for these worlds to come together, by creating a network of “face-to-face” encounters within the library environment. In offering an environment catered to human networking, the library helps individuals discover and learn in ways that go beyond what the Internet and social media currently provide. To create these personal encounters, I designed a series of architectural spaces that integrate the psychological, social, emotional and spacial relationships that are conducive to “face-to-face” encounters. This design enables and leverages the human network within a learning environment, fosters a sense of community and emphasizes the pursuit of learning through exploring and interacting.

Pratt Institute, Interior Design

MEETING AREA

CORE: Rectaliner Areas for Administration, Circulation, Storage, Restrooms

Main Circulation Pathways

OPEN SPACE: Curvalinear Areas for Interactive, Community Environment

ENCLOSED SPACE: Rectaliner Areas for Quiet Space and Private Meetings

REQUIREDSQUARE FT.

SPACE BYFUNCTION

DISTRIBUTIONOF SOCIAL

INTERACTION

INTERACTIVESOCIAL SPACE

PROGRAMDISTIBUTION

COMMUNITY ROOM(S)

CIRCULATION DESK

MEDIA COLLECTION

ADMINISTRATION

TOILETSWORK STATION(S)

CIRCULATION

ENTRY

STAIR/ELEVATOR

STORAGE/MAINTENANCE

BOOK REPAIR/PRINTER

1000 SQ FT

READING ROOM(S)

BOOKS

CHILDRENS AREA

CHILDRENS BOOKS

PERIODICALS

PROGRAM

SPACE DIAGRAM

CUSTOM FURNITURE

LIBRARY:

STUDY:

HUMAN RESOURCES:

TECHNOLOGY:

CORE:

PUBLIC ENTRY

GROUND LEVEL

SECOND LEVEL

THIRD LEVEL

TECHNOLOGY CENTER

ENCOUNTER STUDIES BOOK COLLECTIONS

FINISHED PLAN DESIGN

WHITNEY MUSEUM PLACE OF REFLECTIONPratt Institute, Interior Design

The design of this reflection space in the Whitney Museum’s lower level, aims to provide users respite and calm from the museum exhibits, the brutal realist architecture of the building and the New York City streets. The design preserves the architectural integrity of the space by working around the dramatic structural features, utilizing solely the floor area. The designed floor pattern visually mimics its surrounding architectural language with heavy, repetitive geometries, monolithic scale, volumetric forms and raw concrete material. It also provides a rhythm within the space, evoking a sense of calm and spirituality, connects the current gap between the indoor and outdoor areas and visually touches users within the space and those looking down upon it from street level. The two-dimensional floor pattern is based on an ancient Zen Buddhist walking meditation practice known as Kinhan. The concept is to walk in a clockwise manner, not go anywhere in particular, but become completely aware of where you are, recognizing the world to be exactly as it is in that moment.

LOWER LEVEL PLANN

ART INSTALLATIONMATERIAL

Raw concrete in warm gray, one with a highly textured finish and the other with a smooth matte finish, joint lines exposed.

Martin Puryear’s 1985 “Sanctum,” a piece from the Whitney permanent collection used as a focal point within the space to assist with “object concentration” meditative practices.

SECTION A

INDOOR WEST PERSPECTIVE

OUTDOOR NORTH-EAST PERSPECTIVE

KINHAN CONCEPT SKETCHES

This office design translates the firm’s strengths in client relationship management, innovation and alternative media, into a visible formal structure that acts as a core to the office environment. The core spans between the two levels and includes a connecting staircase, library, study and a fully encased architectural pathway. The walk through the core is designed for clients and employees to feel connected and emmersed in the firm’s work ethic and idea process. The structural patterning of this iconic New York landmark building was completely integrated into the design of the core – synchronizing all interior lines with the lines expressed on the building’s facade. All partitions are placed along the building’s grid line, running north-south to utilize the building’s optimum light axis while incorporating passive thermal management. The structural lines of the core act as a virtual structure that holds the books and media. The open work space is designed to surround and integrate visually and structurally to amplify communication and quality workmanship.

UPPER LEVEL: partners, human resources, account managers, strategy planning, new business, media purchasing, accounting, canteen, pantry, mail, files and storage

EAST SECTION

LEVER HOUSE OFFICE DESIGNPratt Institute, Interior Design

NORTH SECTIONFLOOR PLAN & PROGRAM LAYOUT

LOWER LEVEL: main entry, reception, creative, broadcast production, enclaves, war room, formal meeting room, conference rooms

CORE & MEZANNINE LEVEL: interconnected stairs, impromtu study and meeting area, accessable book, media and art storage, passage way from point of entry to the main conference room

STEEL PANEL MODULAR SYSTEM

SECTION DETAIL

BUILDING FACADE & PLAN STUDIES DESIGN CONCEPT STUDIES

CORE ENTRY FROM RECEPTION AREA

CREATIVE OFFICE AREA

PRATT MUJIPratt Institute, Interior Design

EXHIBITION& GIFT SHOP

ENTRY

SNACKS

DRINKS

GROCERY CAFE

APPAREL

HEALTH &BEAUTY

HOUSEWARE

FURNITURE

STATIONARY

CONCEPT DIAGRAMS

PROGRAM MATERIAL

CORE

CIRCULATION

MUJI

PRATT GREENS

MEZZANINE LEVEL

The Pratt Muji design concept works to incorporate a Muji retail space into an existing Pratt campus building, creating a unique combined experience that asserts both the Pratt and Muji visions and philosophies. The design incorporates the campus’ central axis layout and sculpture garden, by permeating it into the space. The central axis splits the building into 3 parts: Muji Retail, Muji Meal and Pratt Greens. The glass partitions provide visibility between the space, which enhances the shopper experience by developing store boundaries and relationships that incorporate multisensory associations. To merge the Muji aesthetic of traditional Japanese “shibui” simplicity, the entire store layout follows a grid pattern in sync with the existing building module - every line, from partitions to glass grid systems to woodwork and lighting follow the grid. The overall space works to localize a global brand and challenge the notion of retail in contrast to the ubiquity of digital shopping by creating a hybrid experience of an extended campus into retail and day-to-day activities.

FLOOR PLAN & PROGRAM LAYOUT

GROUND LEVEL

GRID SYSTEM DESIGN

GLASS FACADE SHELVING FURNITURE & FLOOR LAYOUT REFLECTED CEILING LAYOUT

CONCEPT SKETCHES

MUJI APPAREL STOREBALCONY OVERLOOK

MUJI CAFE PRATT MUJI GREEN

DISPLAY DESIGN

MUJI OBJECT STORE

VERTICAL DOOR DESIGNDoor openings are designed to seemlessly extend Pratt Greens to an indoor-outdoor Pratt Mujienvironment.

This design is based on an analysis of a musical composition and how it relates to architecture, program and types of social interactions predicted for the space. The project parameters required the use of the existing construction, limiting the design to be developed as an overlay. The composition, Also Sprach Zarathustra Op. 30, is a classical piece by Richard Strauss, most famous for its growing dynamic transitions and intertwining between C major and B minor. The design concept is a reflection of the musical piece through a space that follows these same harmonic characteristics. The walls are built out to hold modular compartments, pocket doors and privacy shudders, so that the two rooms can expand and contract, intertwine or disconnect as required. In addition, the organization and layout of the modular wall units follow patterns that are based on a diagrammatical analysis of the composition’s sheet music. One pattern is designated to each room and can either be opened to each other to create a dynamic single space or separately enclosed private rooms.

CONFERENCE & WAITING ROOM: A MUSICAL INTERPRETATIONPratt Institue, Interior Design

SOCIAL INTERACTION STUDIES

DIAGRAMATIC STUDIES OF SHEET MUSIC

DIAGRAMATIC STUDIES OF MUSICAL COMPOSITION DIVERSITY

PLAN MODULE DETAILS AND SECTIONS

AXONOMETRIC OF CONFERENCE ROOM

CENTER FOR INTEGRATIVE MEDICINEPratt Institute, Interior Design

The programmatic parameters of this project required combining mainstream medical therapies with complementary eastern techniques – including integrative medicine and therapy, yoga, meditation and dining and social facilities – under a single roof. The design for this wellness center was based on supplementing the therapy options with an environment that acts as additional support and is conducive to healing for the user. The layout utilizes the inherent building grid system and follows careful egress and ingress studies to create a main circulation path that actively connects all areas of the center to promote its holistic philosophy, control sound and privacy levels and foster a comfortable, clearly defined, light filled experience. Additionally, the color palette and materials are inspired by the incident natural light in each space, allowing for predictable and balanced, warm and cool spectrum environments across all spaces. The overall comfortable, warm and predictable environment is meant to encourage recurrent visits to enable continuous good health.

EGRESS AND INGRESS STUDIES

2A - 5

A - 51

3’ - 5’’

4’ -

11’’

10'' SteelStringer

1 2 3

5 6 7

9

AcousticCeiling Tile

Cabinet DoorGlossyLacqueredFinish on3/4''Thk. Wood

WhiteMelamine

Under Mounted Light

3/4''Cleat

Fin. Ceiling

Pt. Gyp. Bd.

3/4''Reveal

3 5/8''Metal Stud

White Melamine

Gyp. Bd.

LacqueredShelving Wht.Glossy Finish

Trking

3/4'' Open Space Seperation

Plywood

Under Mounted Light

White Oak

3/4''Reveal

Fin. CeilingPt. Gyp. Bd.

Trking

3 5/8''Metal Stud

3/4'' Lacq.Wood DoorWhite GlossyFinish

1'' Plywood Shelvingwith White OakVeneer

1'' Plywood3/4'' MarbleCountertop

WhiteMelamine

WhiteMelamine

WhiteMelamine

Empress GreenMarble Countertop& Back Splash

White OakNat. Laq. Wd. Fl.

3/4'' MarbleCountertop

Marble EndPiece

3/4'' White Oak

1'' Plywood

Gyp. Bd.Gyp. Bd.

Gyp. Bd.

Gyp. Bd.

Gyp. Bd.

Gyp. Bd.

1/2'' Open SpaceSeperation withZ-Clips

3/4'' Oak Panelswith Black StainFinish

Underside of AboveOpen Shelf Cabinet

Under Mounted Light

Gyp. Bd.


3/4'' Thk.Oak Panelwith Black StainFinish

Empress GreenMarble Countertop& Back Splash

Gyp. Bd.3/4'' Metal Stainless Steel Channel

3/4'' Thk.Oak Panelwith BlkStain Finish

3/4'

'1'

'


3/4''

3/4'' Thk.Oak Panelwith BlkStain Finish

Gyp. Bd.

1/2'' Open Space Seperation with Z-clips

4

1/2'

'3/

4''

Oak Edge

Oak Edge

8

10 11

3’- 6

’’

2’- 5’’

4’’

3’- 0

’’

3’/4

’’

1’- 2’’

A-10

05.04.2011

WELLNESS CENTER

DETAIL(S) PANTRY& CONFERENCE RMWOODWORK

PROFESSORSTEVEN SMITH

INT 623-04CONSTRUCTION II

PRATT INSTITUTEINTERIOR DESIGNFALL 2010/SPRING 2011

CENTER FOR INTEGRATIVE MEDICINEA PLACE FOR HOLISTIC WELLNESS

65 BLEECKER STREETNEW YORK, NY 10012

B DBLAIR GAZZAT. 1.631.338.5140E. [email protected]

3/4'' White Oak

White Oak


Laq WhiteGlossy Finish

LacqueredShelving Wht.Glossy Finish

3/4'' Oak Panelswith Black StainFinish



3/4'' Thk. Oak Panelwith Black StainFinish


Laq WhiteGlossy Finish

1’’ Marble End Piece

OPEN TO BELOW

OPEN TO BELOW

DN

White Oak

White OakSteel Hand Railing Powder Coated Blk.

1

Steel Hand Railing &Railing Supports Powder Coated Blk.

A-4

10’’ 16’-7’’

16’-3’’ 3’’ 1’’

8’-0’’

9T @ 11’’ = 8’-3’’

11’’

6’-0’’ 10’-1‘’

2’-5

‘’

3’-2

’’2’

-11’

’1’

-9’’

16’-3

’’

1’-1

0’’

3’-3

’’3’

-2’’

8’-0

’’9T

@ 1

1’’ =

8’-3

’’

10’’

2’-6

’’6’

-0’’

2’-1

0’’

2’-1

0’’

2’-1

0’’

2’-1

0’’

05.04.2011

WELLNESS CENTER

PART PLAN STAIRWAY






6A - 11

A - 11

8

A - 11

7

A - 81


7

CarryingAng.1 1/4''x1 1/4''x 1/8''

White Oak Treads w 1'' Nosing

Bent Plate Pan

Oak Riser

1 1/4''

Finished Gypsum Board Ceiling

Anchor

1/4'' Steel Rod

7/8'' FurringChannel

1 1/2'' CRSChannel GAT Clip

5/8''Gypsum Board

Tape & Spackle

Anchor

1/4'' Steel Rod

Acoustical Ceiling Tile

Hanger Clip

1 1/2'' CRSChannel

Main Runner

Suspended Ceiling Tile

Cross Tee

Wall Angle

1

4

Concrete Floor Plate

6''

1'-0

''

3/4'

'1/

2''

Steel powdercoated blkStair Railing

Escheon

8

6

1/2'' x 1/2''Connectorpiece steelpowdercoated blk.

Stair Hand RailHollow SteelPowder CoatedBlack1 1/2'' x 1 1/2''

1/4'' CircularOpeningfor SteelCable

Steel powdercoated blkStair Railing

White Oak Cabinet Frame,Trim & Backing

Pt. Gyp. Bd.P-2

Pt. Gyp. Bd.P-2

3' X 3'7''Oak Panels withBlack Finish

Empress GreenMarble Countertop

White Oak Cabinetry

Pt. Gyp. Bd. P-2

OpenCabinet

Pt. Gyp. Bd. P-2

White Oak Base Board Trim4''High

TOS.Fin. Fl.

Fin. Ceiling

UOS.

OpenCabinet

OpenCabinet

White Oak Open CabinetryFrame,Trim & Backing

OpenCabinet

OpenCabinet

OpenCabinet

OpenCabinet

OpenCabinet

OpenCabinet

White OakCabinetry

White Oak Base Board Trim4'' High TOS.

Fin. Fl.

Empress GreenMarble Countertop

Existing Window

UOS.

Fin. Ceiling

Pt. Gyp. Bd. P-2

Pt. Gyp. Bd.P-2

White OakCabinetry Empress Green

Marble Countertop

Pt. Gyp. Bd. P-2

White Oak Base Board Trim 4'' High TOS. Fin. Fl.

UOS.

Fin. Ceiling

Pt. Gyp. Bd. P-2

Existing Window Existing Window

Pt. Gyp. Bd. P-2

TOS.Fin. Fl.

White OakCabinetry

White Oak Base Board Trim 4'' High

White OakCabinetry

EmpressGreen MarbleCountertop

Oak Panelswith BlackFinish

White OakPanel &Shelf

Pt. Gyp. Bd.P-2

Fin. Ceiling

UOS.

Empress GreenMarbleCountertop

Pt. Gyp. Bd.P-2

1 2

3 4

White Oak Open CabinetryFrame,Trim &Backing

2’-10’’ 2’-0’’ 10’-0’’

1’-6

’’

4’’1’

-2’’

3’’3’’

3’’3’’

8’-4

’’

1’-4

’’1’

-4’’

1’-4

’’1’

-4’’

5’’

2’’

10’-0

’’

1’-6

’’

2’-4

’’3’

-0’’

8’-4

’’

3’-0

’’

2’’

2’-8

’’2’’

3’’

7’-2

’’

8’-2

’’ 10’-0

’’

3’’

2’’

2’’

8’-4

’’

8’-1

’’3’’

1’-6

’’

3’-0

’’

3’’1’’

1’’1’’

1’-2

’’1’

-2’’

10’-0

’’

1’-6

’’8’

-4’’

2’’

2’-9

’’5’

-7’’

10’-0

’’

2’-9

’’2’

-10’’

2’-4

’’5’’

1’-0’’ 16’-2’’ 7’’ 1’-2’’

A-7

05.04.2011

WELLNESS CENTER

ELEVATION(S)CONFERENCE ROOM






A - 103

A - 1010

A - 104

A - 1011

A - 108

A - 1010

A - 107

A - 102

A - 107

A - 106

A - 107

A - 107

A - 103A - 10

2

A - 106

A - 107


1

2'x2' AcousticalCeiling Tile

Finished Gyp.Board Ceiling

3'x6''Cedar

A-6

3’-9’’7’-10’’7’-10’’9’-2’’8’-0’’2’-4’’

3’-4’’ 4’-0’’ 2’-10’’

2’-6’’ 7’-10’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 1’-9’’

6’-5’’

2’-6’’ 7’-10’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 7’-5’’ 1’-9’’

4’-8’’

3’-8

’’

9’-6

’’5’

-7’’

8’-0

’’8’

-0’’

8’-0

’’8’

-0’’

8’-0

’’3’

-7’’

2’-1

0’’

10’-4

’’5’

-3’’

5’-3

’’5’

-3’’

5’-3

’’5’

-3’’

10’-4

’’

11’’

5’-3

’’11

’’

4’-7

’’6’

-9’’

5’-3

’’5’

-3’’

5’-3

’’5’

-3’’

5’-3

’’6’

-1’’

3’-3

’’

1’-1

0’’

3’-9

’’3’

-9’’

1’-1

0’’

1’-4’’

1’-7

’’

1’-11’’

1’-5

’’

1’-10’’

1’-5

’’

1’-5

’’6’’

1’-5

’’

1’-8’’

1’-5

’’1’-7’’

1’-1

1’’

11’’

1’-1

1’’

2’-0’’

1’-5’’

1’-4

’’

11’’

9’’

1’-4’’

1’-4

’’

1’-8’’

1’-8

’’

1’-7’’

1’-0

’’

1’-6’’ 1’-1

’’1’-11’’

2’-1

’’

6’’

1’-1

0’’

1’-1

0’’

2’-2’’

05.04.2011

WELLNESS CENTER

REFLECTED CEILING PLAN






A - 114

A - 111


Stainless SteelPowder CoatedBlk. Hand Railing

1 1/4'' ThickWhite Oak

Stainless SteelRailing & SupportsPowder Coated Blk.

Stainless SteelPowder Coated Blk.

1/2''Steel Cable

1/2'' x 1/2''Steel Turn Buckle

1SECTION - STAIRWAY

Stainless SteelRailing & SupportsPowder Coated Blk.

1/2''x1/2''Steel Turn Buckle

1/2''x1/2''Steel Turn Buckle

1/2''Steel Cable 1/2''

Steel Cable

FL 4

FL 5

10 E

Q R

= 5

’ - 9’’

10 E

Q R

= 5

’ - 9’’

3’-6

’’

1’’ 11’’

10’’

6’’

3’-6

’’

22’-0

’’

11’-6

’’

A-8

05.04.2011

WELLNESS CENTER

STAIRWAY SECTION






A - 11

6

A - 11

8

A - 11

7


American white oak, plain sawn, 3'x6'' panelsnatural lacquer & varnish finish

WD-1

WD-2

WD-3

WD-4

CT-1

CT-2

CT-3

C-1

P-1

P-2

CLG-1

CLG-2

CLG-3

B-1

B-2

American white oak, plain sawn, 3'x6'' panelsblack lacquer & varnish finish

American white oak, wainscotingblack lacquer & varnish finish

Cedar wood, plain sawn, 3'x6'' panelssealed finish

Surrounding 1''x1'' mosaic,Aspen Marble, honed finish

Surrounding 3''x6'' tileAspen marble, honed finish

Surrounding 8''x16'' tileAspen marble, honed finish

Synthetic industrial carpetmachine tufted by Kravet Contract

Farrow & Ball #3 (typical wall paint)

Farrow & Ball #240 (paint for select areas)

Farrow & Ball #239 (typical ceiling paint)

Cedar wood, plain sawn, 3'x6'' panelssealed finish

American white oak base, plain sawn, 1'x4''natural lacquer & varnish finish

Base 12''x 4'' tile, Aspen marble, honed finish

WD-1

CT-2

CLG-1

CLG-2

2'x2' Acoustical ceiling tile white finish

P-1

P-2

P-2

P-2

P-2

P-2P-2

P-2P-2

B-2 WD-1

CLG-2P-1B-1

CLG-2P-1

C-1B-1

WD-1

CLG-1P-1B-1

WD-1

CLG-1P-1B-1

WD-1

CLG-1P-1B-1

CLG-2P-1

WD-1

CLG-1P-2B-1

CLG-2

WD-1

CLG-1P-1B-1

WD-1

CLG-2P-1B-1

WD-1B-1

CLG-2

WD-1

CLG-1P-2B-1

WD-1

CLG-1P-1B-1

WD-1

CLG-1P-1B-1

WD-1

CLG-1P-1B-1

WD-1

CLG-1P-1B-1

CT-3

CLG-1P-1B-2

CT-2

P-1

A-14

05.04.2011

WELLNESS CENTER

FINISH PLAN







1

CT-2

CLG-1

B-2P-1

CLG-1P-1

C-1B-1

CLG-1P-1

C-1B-1

CLG-1P-1

CT-2

CLG-1

B-2P-1

CT-2

CLG-1

B-2P-1

CLG-1P-1

WD-1B-1P-1

CT-3

CLG-1P-1B-2

CLG-3WD-4

CT-2

CT-2

CT-2

CT-2

CT-1CT-1

WD-1

CLG-1P-2B-1

WD-1

P-2B-1

WD-1B-1

WD-1B-1

A - 33

A - 72

A - 73

A - 74

A - 71

8’ - 8’’

12’’

11’ -

7’’

2’ - 0’’

5’ - 0’’

1’ - 10’’

11’ -

3’’

2’ - 0’’

2’ -

6’’

10’ -

9’’

10’ - 9’’

1’ -

2’’

6’ - 5’’

2’ - 2’’

7’ -

5’’

10’ - 0’’

1’ - 8’’

7’ - 0’’

9’ -

3’’

1’ -

7’’

2’ -

0’’

2’ -

0’’

3’ - 9’’

7’ - 10’’

1’ -

0’’

13’ - 6’’

1’ -

2’’

10’ - 8’’

1’ -

3’’

2’ - 6’’

8’ -

6’’

11’ - 9’’2’ - 4’’

6’ -

1’’

2’ - 0’’

2’ - 0’’

5’ -

11’’

5’ -

11’’

8’ -

10’’

2’ - 0’’

10’ -

10’

’

10’ - 0’’

12’’

16’ - 8’’

2’ -

6’’

9’ - 5’’

1’ - 2’’

11’’

A - 81

1’-8

’’3’

-5’’

3’’3’

-0’’

Administration Joint Yoga Rooms Meditation Room Main Circulation Path Art Therapy Room

PROGRAM RESEARCH & SPACIAL PLANNINGCONSTRUCTION DRAWINGS

PUBLIC

PUBLIC PRIVATE

PRIVATE

SECTION A

VITRA DESIGN MUSEUM

The design concept for the Vitra Museum is to translate the Vitra philosophy into a spacial experience for the interior and exterior of the building. A recurring theme in Vitra design is to bring diverse parts together to form a distinct image - which led to a design concept that reflects the company’s philosophy by exploring the collage as a means of representation. The museum’s interior design uses partitions and materials much like layers in a collage, enabling the feeling of diverse parts, in turn, allowing for the building exterior to display the collage on the facade as an embodyment of the Vitra philosophy. The special exhibit was designed to display the work of Jean Prouve, a designer and metal worker, solely represented by Vitra. The exhibit reveals the structural relationship Prouve made between his architecture and furniture designs, by way of placing his furniture in front of life size photographs of similarly constructed architectural works; allowing viewers to see each piece in relationship to one another much like Prouve did.

Pratt Institute, Interior Design

SPECIAL EXHIBIT SPACE

SPECIAL EXHIBIT DESIGN CONCEPT

PROGRAM CONCEPT MODELCONCEPT DIAGRAMS

GROUND PLAN MEZZANINE PLANA A

FACADE ELEVATION

TERRACED LAWN PAVILIONPratt Institute, Interior Design

This pavilion was specifically designed for the quadrangle lawn area outside the Interior Design, Engineering and Mechanical Complex at the Pratt Institute Brooklyn campus. The design concept aims to enhance how people experience and interact with the green: sitting, laying, leaning and standing. The design is specifically tailored to these types of experiences by creating designated areas for them. In addition, the overall scale and height of the pavilion is based on attaining different vantage points of the campus at each of these areas. Since the location of the pavilion is in the lowest ground level of the campus, the design allows a user to stand at the highest point on the pavilion and see all of the campus. The pavilion design incorporates the campus green materials such as grass and brick, and the axis of the pavilion is oriented so that the sitting areas are aligned with afternoon sun exposure.

PAVILION PLAN SITE PLAN

SOUTH EAST PERSPECTIVENORTH PERSPECTIVE

EAST PERSPECTIVE

BIRD’S EYE PERSPECTIVE

PRATT INSTITUTE BROOKLYN CAMPUS

NORTH ELEVATION

APPLIED DESIGN

“CHINESE MOUNTAINS” - ORNAMENTAL PATTERN DESIGN

9’’3/4’’ 1 3/4’’

8 1/

4’’

2’’

11 1/2’’

3/4’

’

10 1

/4’’

2’-2’’

2 1/

2’’

9’’

3/4’’5 1/2’’

2’’ 1

1/2’

’

2’ -

5 1/

2’’

3’ -

3 3/

4’’

7 3/4’’3 3/4’’

1 1/2’’

2’ - 2’’

3/4’’ 2’ - 0 1/2’’ 3/4’’

THE GREEN DORM LIVING LAB PROJECTPratt Institute, Industrial Design

The Living Lab project was produced by Pratt students, faculty and staff from the Facilities Management and Residential Life Departments, to create a “green” dorm room, showcasing sustainable urban campus living and a reinvented floor plan catered specifically to Pratt student’s needs. The design concept includes a custom designed furniture system with stacking and modular features, allowing a spacious and conductive layout. To reduce the carbon footprint, furniture was fabricated from unused wood dorm furniture. Each unit is designed to disassemble for strength, lightness and to easily repair failed elements. The desk design features removable legs and stackability. The desk chair is stackable and 40% lighter than the original. The modular shelving system consists of single and 4 shelf units and utilizes wall-mounted tracks, enabling a variety of configurations to suit the occupants’ needs. The rolling storage units are also stackable and fit under the bed for double storage. This dorm room redesign gained national recognition after being featured by The New York Times.

��

�

��

��

� �

�

��

��

��

SP

SP

SP

SP

L1

L1

L1

L1

LIVING SPACE

KITCHEN

LED OFF

LED

STORAGE

LED

NIGHTLIGHT

BATHRM

OUTLETS OFF

SIDE ELEVATION

PERSPECTIVE

FRONT ELEVATION

SIDE DETAILPLAN9

1/2’

’3/

4’’

9 3/

4’’

3/4’

’9’

’3/

4’’

8 1/

2’’

3/4’

’

RECYLED MATERIAL FOR NEW DESIGN

STORAGE CONCEPT DRAWINGS

DESK & OVERHEAD STORAGE TRASH HOLDER UNDER-BED ROLLER STORAGE

FINISHED FLOOR PLAN

MODULAR SHELVING DESIGN

Loft on Wooster Street, NYC

LIVING ROOM WOODWORK

built-in stereo system

MASTER BEDROOM

bed frame & foot bench

GUEST BEDROOMremote controlled murphy bed

FINISHED PLAN

This loft was designed for a newly married couple that desired a refined interior environment that would accommodate a growing family. We designed the layout, woodwork, décor and finishes following classical design principles to instill order and balance to each room, creating a soft, calm, casual atmosphere alongside elegance and sophistication. An open feel is maintained by utilizing walls for symmetrical built-in storage units. Custom built-ins were located in the living room, and bedrooms for media, books, clothing, storage and a motorized murphy bed for the guest/play room. Architectural lines were softened in each space by employing warm color palettes and surface materials that extend natural light. Materials used include brass and gunmetal hardware, pale blues, grays and white fabric in wool velvet and linen mixes, white oak driftwood finished flooring, natural weave wall coverings and fine paints. To reinforce the classical approach, each room is centered around a focal point, whether it be the study custom chaise lounge or master upholstered headboard.

MATERIAL

SIDE ELEVATION

1’-10’’

1’-4’’3’’3’’

2’’

PLAN

FRONT ELEVATION

5’

5’2’

2’-2’’

1’-1’’

3’’

10’’

6’-0’’3’

1’-10’’

5’’

5’’2’’ 1’-4’’13’’

10’’

3’’ 4

ELEVATION

Bed Frame Base Board7’ Projection

2’-0’’

1’-3’’ 1’- 8 1/2’’ 5’-4’’ 1’- 8 1/2’’ 1’-3’’

5’-7’’

2’-0’’

ELEVATION

3’-6’’ 1’-8’’ 4’-2’’ 1’-8’’ 3’-6’’

Flat Screen TV

Acoustic Fabric

5’’

6’-4’’

2’-10’’

4’

8’-2’’

13’’9’’ 2’’

PARTIAL PLAN

9’-3’’

6’-10’’6’-8’’

6’-4’’6’-6’’

PLAN

Electric outletcut-out on site

1’’ Allowance

4’

9’-3’’

1’-1’’

9’’4 1/2’’

6’-2’’2’’ 2’’

FRONT ELEVATION

Upholstered

King mattress 76’’Wx80’’L

Flat Screen TV

BookCase

Queen Murphy Bed7’ Projection

DESK DRESSER

BookCase

LIVING AREA

Town House, Brooklyn NY

This residence lies within a traditional small footprint town house and includes 6 levels of spacious living quarters with a backyard garden accessible at the lowest level. The design focus was to make the interior environment unique, comfortable and elegant. Inspired by the client’s hobbies in travel and the great outdoors, we followed a mid 20th century modern design aesthetic, using organic natural forms and materials to incorporate an indoor-outdoor experience to the space. The furniture designed was from reclaimed wood and stone in its natural finish. Other unique accents included bent metal framing and organic form pendent lights. The color palette was developed from a series of warm red ethnic rugs that the clients had collected over the years from their travels to Africa, and accented with gun metal and antique nickel hardware. Overall the interior design creates an open informal atmosphere that evokes a sense of family warmth.

2’’4’’

18’’

15’’

36’’

14.25’’

42’’

PLAN

FRONT ELEVATIONSIDE ELEVATION

PERSPECTIVE

.5’’

FRONT ELEVATION

17’’

20’’

13.5’’

42’’

PLAN

SIDE ELEVATION6’’

.5’’

.75’’

14.25’’

3’’

LIVING ROOM custom coffee table

GAME ROOM martini table

STUDYpendant lightday bed

THIRD LEVEL

DN

LOWER LEVEL GROUND LEVEL

FINISHED PLAN

MATERIAL

ELEVATION

ELEVATION DETAIL

.38’’

30’’

30’’

SECTION DETAIL

2.5’’

5’’

.5’’

4’’

1’’

13’’ 10’’

3’’

.5’’

4.5’’

PLAN

102’’

44’’

6’’

30’’17’’

4’’8’’

5’’

PLAN

FRONT ELEVATION

FORMAL LIVING ROOM

ENTRY

ELEVATION 1

CHELSEA DUPLEX RESIDENCE, NYC

This duplex was part of a larger brownstone that had been split into a multifamily dwelling configuration and refinished with a contemporary interior. The design approach for this residence was to use modern philosophy and aesthetics to open up the contemporary architecture and create spaces that incorporate the outdoor garden area, incoming sunlight and inherent structural components. We were able to open the living area by replacing unnecessary woodwork with glass and iron frame designs and installing venetian plaster on walls where it would extend natural light. A major challenge we faced was comfortably furnishing the small rooms without disrupting their scale or function. We achieved this by custom designing furniture and lighting specific to each room, so that it did not distort the relative proportions of each component. We mixed in a series of smaller eclectic furnishings and lights to break up the room and create a spacious look and feel. In addition, we utilized walls for built-in storage, vanity and a murphy bed in the office to accomodate guests.

TV NOOKcustom L-shaped sofa

MATERIAL

OFFICE & GUEST ROOMmurphy bed, desk & storage design

PLAN

ELEVATION 1

ELEVATION 2TV NOOK ELEVATION

30’’

4’’ 2 1/2’’1 1/2’’

13’’

5’’8’’

4’’

2’-6’’

6’-3’’

8’-0’’

Legs are upholstered& removable

1/4’’ Nail Heads

Cushion34’’x54’’

x5’’HCushion34’’x71’’

x5’’H

7’-5’’

3’’ drop

1’-1 3/4’’2’-5’’

2’-0’’

7’’

2-6’’1-5’’

8’’

cabinet as supportfor desk surface

existing wall

ceiling drop

ELEVATION 2

PencilDrawer

1’-4’’

STAIRCASEsteel powder coated

stair rail design

ALTERATION AGREEMENT DRAWINGS

ELEVATION at lower level

10'' SteelStringer

Carrying Angle

White Oak Treads w 1'' Nosing

Bent Plate

Oak

2’-8’’

1/2’’ x 1 1/2’’ steel powder coated

1/4’’ x 7’’x 1’’ steel support plate powder

coated

steel screw joints4’’ deep connector

DETAILS

1 1/4''

FORMAL LIVING ROOM STAIRWELL AND BALCONY

remove base board & casing

washer/dryer

existing radiator

resource furniture

bed module

add 2’’ on either side of module for carpentry

2’

10’’

2’-2’’

8’’

1’-4’’

5’-7’’

PARTIAL PLAN

Pan

Riser

86th SREET RESIDENCE

This apartment resides in a pre-war building that includes the traditional old world charms of high ceilings, crown molding and arched doorways. Traditional design principles were applied as a way to create an ordered and balanced backdrop for the client’s long list of family heirlooms, antique furniture, vintage textiles and modern art collection which had to be incorporated into the environment. The overall work entailed a gut renovation: moving walls, opening up doors and re-routing utilities. The original layout was made up of many rooms leading into one another with multiple doors; we organized the new layout so that it kept with the original intimate aesthetic, but was open enough to allow better storage design and natural light flow. Custom woodwork was designed for every room and bath, all utilizing the same set of dimensions and symmetrical shaker style panels. The color palette was inspired by a family heirloom rug. The end design was a harmonious blend of styles and personalities enabling a setting for each object and work of art to stand out.

Rain Head

Shower Bar

Rain Head Valve

Hand Shower Valve

Thermostat Valve

13’’

3’’

11’’

8’’1.5’’6’’

5’’

5.5’’

60’’

3’’

4.5’’1’’

10’’ 10’’20’’ 20’’

LIBRARYcustom wood work

MASTER BATHvanity, lighting & tile design

POWDER ROOMvanity & light design

9’-3’’

13’-0’’6’’6’’

5’-5’’

2’-10’’

CHILDREN’S BEDROOMcustom wood work

EAST ELEVATION SOUTH ELEVATION

1’-11’’ 2’-10’’ 4’-4’’

6’’

9’-3’’

9’’

2’-10’’

5’-8’’

3’-0’’ 8’-10’’15’-6’’

3’-8’’

ELEVATION

5’-7’’

3’-8’’

7 1/2’’

3’-0’’

4’’ woodframe

LIGHT FIXTURE PLAN

FRONT ELEVATION

SIDE ELEVATION

3’-0’’

9’-3’’

SIDE SECTION

5’’

2 1/2’’

2.5’’

FRONT SECTION

7’’

5’’7’’

1’’

10’’

ELEVATION

ELEVATION

FINISHED PLAN

PLAN1’-2’’

6’’1’’

2’-6’’

3’-0’’

4’’

9’-3’’

FORMAL LIVING ROOM

MATERIAL

MERCER STREET LOFT

This Soho loft was converted specifically for residential living, incorporating finished ceilings and walls to conceal piping, ventilation tubes, support beams and poles. The design of the space works to relate to the client’s photography collection by putting a contemporary spin on the architectural and furnishing aesthetics - the woodwork is designed to have softened edges and the custom furnishings are designed as playful statements. The color palette of blues, greens and gray were specifically chosen to complement the client’s photography collection. The incorporation of certain materials, like lacquered metal, was designed to reinforce a hardline masculine environment in a soft and relaxing way. The greatest challenge was using a darker masculine color palette without making the overall space too dark, we accomplished this successfully by designing custom mirrors and reflective finishes that filled the space with light.

ENTRY HALLstorage, seating & desk

FOYERconsole table

PLAN

LIVING ROOMC tables

bent metal, drylac finish

ELEVATION

3’-1’’ 3’-2 1/2’’ 7’-0’’ 4’-8’’ 1’-7 1/2’’

2’-4’’

1’-8’’

8’’

8’’

6’’6’’

2’-1’’

6’-11’’

2’-6’’

PLAN

FRONT ELEVATION

bolster8’’d x 25’’L

wood legsvelvet base

mattress83’’Wx30’’Dx8’’H

ELEVATION

1’-4’’

2’-10’’

7’-0’’

PLAN

ELEVATION

metal frame bolted towall for marble weight support

3’-0’’

1’-6’’

1’-8’’

1’-6’’

1’-8’’

1’-8’’1’-11’’

1’-4’’10’’ 10’’

5’’6 1/2’’ 6 1/2’’

1’-5’’

1’-6’’

5’’6 1/2’’ 6 1/2’’

1’-2’’

SIDE ELEVATION SIDE ELEVATION

PLANFRONT ELEVATION FRONT ELEVATION

FINISHED PLAN

MATERIAL

LIVING AREA

SIDE ELEVATION

“LUCKY STRIPE” - ORNAMENTAL PATTERN DESIGN

Blair Gazza Portfolio

Documents

Transcript of Blair Gazza Portfolio