processBRANDON BIEDERMAN

5 . 06 . 0

a carpet tablecarpet, steel, glass

freelance artworkchalk, graphite, ink

materials[exploration]

physical media[exploration]

1 . 0 2 . 0 3 . 0 4 . 0

design process center for creative leadershipchicago, illinois

milwaukee river clubmilwaukee, wisconsin

a centre for negombonegombo, sri lanka

T A B L E O F C O N T E N T S

social[exploration]

cultural[exploration]

environment[exploration]

1 . 0

I D E N T I F Y P R O B L E M S

A N A L Y Z E

P R O G R A M

C O N C E P T U A L I Z E

R E S O L V E

B U I L D / E X E C U T E

P O S T E V A L U A T I O N

E X P E R I E N T I A LE V A L U A T I O N

E V A L U A T E

PROCESS: Design has always intrigued me. Its role in society is invaluable. Design

is not successful simply because of the way it looks; it is much more. Good design

identifies a problem and solves it. It has an aesthetic appeal that transcends time and

fully satisfies its clients. Practicing good design is far from easy: it takes creativity,

determination, and an incredible skill set.

When going about any given task, a process is undertaken to accomplish that goal.

Process is what gets us from point A to point B. In design, I have found that the same

rules apply. A process is needed to arrive from the problem to the solution.

Having an understanding of my design process has fostered my ability to derive

propitious solutions to identified problems. The diagram depicts the intrinsically

circular nature of my design process. Because of the inherent subjectivity of design,

continuous peer and self evaluation is essential to ascertain proper solutions to the

problem. My understanding of this process is my greatest tool.

Design Process

2 . 0 C e n t e r F o r C r e a t i v e L e a d e r s h i p Chic ago, i l l ino is

Long identified as one of the most prestigious institutions to teach and mentor, the

Center for Creative Leadership has in the past been physically located in idyllic setting

throughout North America, Europe, and Asia. This program, with goals of connecting

brilliant architecture based on social research, challenges the question: can the spiritual,

inspired attitudes of the participants be satisfied within an urban setting?

Through the exploration of applying social research to design, this project aims to provide an

environment that fuels learning and collaboration within the top three floors of the Inland

Steel Building. Programmatically the campus is separated into two zones, the learning lab

and the wellness area; the threshold between these two areas is a bamboo planting to

provide a mental passage between the two zones.

2 .1Center For Creative Leadership Chicago, Illinois

“Consumers are seeing a connection between maintaining their health and

caring for the many aspects of their wellness, which include not just

physical well-being,but emotional, spiritual, financial, environmental,

and occupational well-being.”

~ ARUP: Drivers of Change

“Unintended meetings are as frequent as intended meetings, yet on a per

meeting basis they take only one-third as much time to accomplish” (becker).

Increased proximity leads to higher levels of collaboration. Based on analysis of circulation

patterns, intersecting nodes are implemented to encourage unintentional meetings.

Inland Steel Building

Blue line subway

The elevated Loop

Red line subway

I N T E R N O D A L

Level 17 Level 18 Level 19

2 . 2

With the dinning area traditionally being used only an hour out of the day, adapting

the space to other uses became an important aspect. With simple changes in

furniture layout, the space becomes functional throughout the day. Enabling these

changes increases the overall value of the space.

Center For Creative Leadership Chicago, Illinois

F L E X I B I L I T Y

2 . 3Center For Creative Leadership Chicago, Illinois

“We found that ‘talking with a small group of students in a coffee shop’ ..scored as

high or higher then ‘examinations’ and ‘laboratory study.’ ..the informal activities..

contribute as much to the growth of students, as the more formal educational

activities” (Schrage).

3 . 0 M i L w a U k e e r i v e r C L U b Mi lwauke e , w is c ons in

Located along the Milwaukee River, the goal of this project is to provide an amenity

and boat storage for the local rowing club, while still retaining the agrestic simplicity

currently found along the river. Adjacent to the site, a current footbridge will provide

access to the Milwaukee River Club from both shorelines.

By impregnating the building into the river bank, its presence is light and retains

the serene environment of the site. It also gives back the public space taken by the

footprint, by enabling the entire roof to be accessible. Materials, as well as the arched

form, were selected to mimic the methodology found throughout the Milwaukee Park

System. Through the implementation of these strategies, the Milwaukee River Club

retains the tranquil environment while providing services to members of the River

Club, as well as the public.

3 .1Milwaukee, WisconsinMilwaukee River Club

The site is located in Ceaser

Park along the Milwaukee River,

north of downtown. The park

is predominantly on a hillside

which slopes towards the river.

A pedestrian bridge transfers the

biking and hiking trail across the

river. Although located in a dense

urban area, there is a sense of

seclusion.

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High priority was placed on creating a minimal footprint, providing additional community

amenities, and taking advantage of the secluded nature of the site. An emphasis is the

visual impact of each destination which contributes to the serene nature of the park.

FROM ACROSS THE RIVER, ONE VIEWS THE MILWAUKEE RIVER

CLUB. FOLLOWING THE PATHWAY, ONE IS IMMERSED IN THE PARK

EXPERIENCE BEFORE ARRIVING AT THE BOATHOUSE DESTINATION.

3 . 2

W E S T P R O C E S S I O N

Milwaukee, WisconsinMilwaukee River Club

4 . 0 a C e n t r e F o r n e g o M b o ne gomb o, sr i L ank a

Good urban spaces are important to the livability of a city, but are often inadequate

in developing countries. Some common urban issues in developing countries include

concerns of legibility, accessibility, structural order, and lack of public realm. Divisions

between commercial, industrial and residential are sometimes indistinguishable.

Infrastructures lack a common vocabulary. Pedestrians and vehicles are obligated

to share the same space. Public parks are virtually nonexistent. Markets are over-

crowded and difficult to navigate.

Negombo, a city on the western coast of Sri Lanka, suffers from similar problems,

and therefore, is an exemplar to investigate solutions for such urban situations.

Through a conceptual master plan of the main downtown commercial area of

Negombo, this project explores culturally sensitive design methods to enhance the

usability of chaotic urban spaces. Based on a design of a new multi-use building

containing an open public space, a textile market, and condominiums, this project

argues that, while some of these urban issues may be cultural constructions and

thus important to cultural identity, some sense of order should be and can be

nevertheless introduced to make the urban space more livable.

4 .1Negombo, Sri LankaA Centre For Negombo

Exploring culture-sensitive design methods, this project brings in a sense of order,

functionality, and livability to an otherwise chaotic, yet culturally-constructed

urban space. Creating a magnet at the heart of the town, this proposed multi-use

building contains a textile market, otffice spaces, high-end condominiums, and a

public plaza.

4 . 2Negombo, Sri LankaA Centre For Negombo

“a successful strategy is to place the strong, large markets at the back

and the smaller stores in the front. that way the large stalls draw people

through the small stalls” (dewar).

“Unbroken selling runs must be long enough to facilitate comparative

buying and to generate a strong sense of vibrance and activity but short

enough to avoid ‘dead spots’” (dewar).

4 . 3Negombo, Sri LankaA Centre For Negombo

5 . 0 a C a r p e t t a b L e C ar p e t , s te e l , g las s

Composed of recollected carpet samples, scrap steel angles, and a piece of glass cut from a large broken pane, this table

celebrates the elegance that can be found in the reuse of materials otherwise destined to the waste stream.

Each carpet sample was cut into six equal strips, which were then drilled and bored onto three threaded steel rods that run the

entire length of the table. Steel plates at each end provide rigidity to allow the carpet pieces to be compressed via steel bolts.

Set into a frame welded from steel angles, this coffee table boasts both strength and refinement.

5 .1Carpet, Steel, GlassA Carpet Table

6 . 0 F r e e L a n C e a r t w o r k Cha lk , graphi te , ink

Being interested in the creation of art since my youth, I was fortunate enough to be

placed under the guidance of a private art instructor. Here I furthered my drawing

techniques and learned both acrylic and oil painting. As I continued through school,

my electives were constantly filled with art and architecture classes.

Through experimentation, I have gained agility at using most mediums, predominately

ink, graphite, chalks and charcoals, and oil paint.

The image to the left is a master study of Rembrandt’s Beggars at the Door, which

per the instructors request, was to capture the mood present in the original. Below

are three men in Florence, Italy that I sketched while sitting at a cafe.

6 .1Chalk, Graphite, InkFreelance Artwork

Brandon Biederman + Angie

Biederman (top)

Brandon Biederman + Renee

Biederman (bottom)

Derived from a common art

therapy technique, these

chalk drawings represent

the fluid flow of the candid

unconsciousness. Each

created with a different one

of my sisters, the difference

in mood created by their

presence is manifest in the

layers of expression and

subject matter.

B I B L I O G R A P H Y

Becker, Franklin. Offices At Work. San Fransisco: Jossey-Bass, 2004. 20-21.

Dewar, David, and Vanessa Watson. Urban Markets: Developing Informal Retailing.

London: Routledge, 1990.

Englich and Remmers. Edition Wilkhahn: Interior and Specifiers Handbook for

Communication Areas. 4th ed. Wilkhahn, 1997.

Hodges, Richard. Primitive and Peasant Markets. New York: Basil Blackwell, 1988.

Schrage, Michael. “I’ll Have the Pasta Primavera with a Side of Strategy.” Fortune 8

Jan. 2001. Vol. 143 Issue 1, p194-194

processBRANDON BIEDERMAN