FARMERK FARMERK K

DESIGN DESIGN

TO M

E

ISIS

“...a continuous thread, weaving together the most essential elements in order

to create the fabric of life.”

SEQUENCESEQUENCE

Based on a grid-like organization, the first and second iterations of the cube offered a clearly defined circulation path enhanced by spatial hierarchy and the frequency of outside views. Vertical movement is celebrated and highlighted by a large scale wall with a gridded pattern which also serves as the focal point that can be seen upon initial approach before even entering the structure. The manipulation of spatial qualities relating to light, scale and level of enclosure allow occupants to have a range of experiences as they move throughout. The overall space within the cube becomes more enclosed and affords less outside views as the occupant advances towards the upper levels.

Individual Work

Materials: Foam core, Plexi-glas, Acetate, Poplar wood, Crescent board, Colored vellum

C U B E + P L E N U M

Grid Organization Vertical Circulation + Focal Wall

CUBE + PLENUMCUBE + PLENUM

MO

DEL

ING

SPA

CE

STUDIO: MODEL BUILDING | SPRING 2010 + SUMMER 2010

Section View

Entry + Open Lower Level + Enclosed Upper Level

After a series of trials and errors, the final design of the cube culminated in a form organized according to an irregular grid. Vertical circulation and strategic spatial sequencing allows occupants to experience meaningful transitions between light and dark, expansion and compression, and also spaces which are open and enclosed space. A linear system which also relies on the grid, implies enclosure while still maintaining a connection between the occupant and the outside environment. The system also allows for penetration of light which drastically changes the experiential quality of each space within the sequence.

C U B E + P L E N U M

Developing Context: Process Model Primary Node + Light Manipulation

Careful analysis and examination of the University of Florida’s fine arts courtyard and its spatial relationship to surrounding buildings generated the context which eventually became the host for a plenum. A process model explored how the plenum would become part of its context, which was later adapted into primary and secondary nodes which nested into the context. The qualities of light and ways in which it could be manipulated also became an essential part of the design. A soft green glow reflects off of white crescent board to highlight interstitial spaces within the plenum.

Final Plenum Model

Inspired by psychologist Carl Jung’s personality test and the visible light spectrum, PRISM strives to recreate and redefine store culture. A new organizational system was developed to not only meet the need for a more customized shopping experience but also to promote self-actualization and discovery through shopping. Consumers can “design their lifestyle” by choosing one of four lifestyle collections (each corresponding to a specific personality type, color and style of dress) or by mixing and matching them together to find a look that best suits them.

Design Team: a. bailey, t. jonk

Software: AutoCAD 2011, Vector works, Photoshop CS5

Women’s Clothing + Accessories

RDI COMPETITIONRDI COMPETITION

RETA

IL D

ESIG

N

P R I S M

ESTABLISHING IDENTITY. INNOVATING CULTURE. PROVIDING EXPERIENCE.

Lifestyle Collection Color Palette

STUDIO: RETAIL | SPRING 2011 | 7 WEEKS | 23,000 SQ. FT.P R I S M

Women’s + Men’s ShoesCosmetics + Perfumes

Plan + Elevation Views of Custom FixturesRetail Logo

Private Break Out Space + Water Cooler +Client Pathway

PR

IS

M

PR

IS

M

Panel Detail at Entrance Main Entrance

South Elevation of Main Entrance

PRISM’s design was inspired by the direct effects that occur when rays of light strike a prism. This concept yielded a radial organization of departments centered around a centralized point, the jewelry counter, which is representative of a prism. The colors of the four lifestyle collections, polished sophistication (purple), simply classic (teal), individually eclectic (chartreuse), and radically edgy (orange), symbolically embody the characteristics of light that are often associated with a prism-- reflection, refraction and vibrance. Ultimately, consumers will experience an innovative way to shop that caters to the individual rather than generalizing an entire population.

The study of Carlo Scarpa’s renovation of the ground floor of the Fondazione Querini Stampalia emphasized the importance of designing with consideration for surrounding context. Located in Venice, Italy, it is important to understand the impact of constantly changing water levels and how it effects the city and its built environment. The strategies that Scarpa incorporated into the building give flexibility to the structure and allow for adaptation to rising and falling water levels. By doing so, the building is able to sustain its ongoing functions within its interior spaces with little disturbance to the character of its design. Through the process of creating a series of diagrams, it became clear that Querini-Stampalia was designed as a vessel to contain displaced water resulting from flooding.

Individual Work

Materials: Mylar, Vellum, Pencil, Ink

Details of Materiality

Section Showing Water + Detail Levels

QUERINI-STAMPALIAQUERINI-STAMPALIA

AN

ALY

ZIN

G S

PACE

Q U E R I N I - S T A M P A L I A

STUDIO: ANALYSIS | SUMMER 2009 | 1 WEEK

Axonometric Diagram

Q U E R I N I - S T A M P A L I A

Vessels Water Zones

Interior vs. Exterior Space Threshold + ItineraryAxis + Proportion

Not only is the building a vessel for water, but it also houses living quarters, an archive, a library, and a museum of paintings and furnishings. Scarpa’s thoughtful design solutions resulted in intricate details enhanced by the varied use of materials throughout. Ever-changing waterlines are demarcated by datums which are highlighted by a change in materials. Keeping this information in mind while diagramming the Fondazione Querini Stampalia, an evolution of the true understanding of the space developed.

SHIFTSHIFTSHIFT

Inspired by artist Felice Varini, the concept for the design of IDEAOLOGY’s corporate office is based on the idea of shifting and evolving perspectives. Additionally, the contrasting effects of opacity and transparency were inspired by the company’s logo and are key elements which bring complexity to various spaces. The final intention was to provide a space that is not only aesthetically pleasing but also visually and mentally stimulating for the employees who work there.

Design Team: c. dockree, m. urrutia

Software: Revit Architecture 2011, Photoshop CS5

+

Reception + Main Lobby

Felice Varini Concept

IDEAOLOGYIDEAOLOGY

CORP

ORA

TE D

ESIG

N

Plan View

1 Reception Lobby 7 Project Centric Zone 2 Large Group Workshop 8 Private Offices3 Guest Food Support 9 Employee Food Support 4 Small Group Workshop 10 Private Project Centric Zone5 Alpha Lounge 11 Conference Room 6 Project Centric Zone 12 Idea Gallery

STUDIO: CORPORATE | SPRING 2011 | 6 WEEKS | 23,000 SQ. FT.

Further inspired by the shifting, angular geometries found in I.M. Pei’s architecture of the building, specialized graphics occur throughout the interior space to stimulate work productivity and generate ideas. Energetic colors and warm wood tones create an environment that counteracts the isolation and sterilization sometimes caused by technology. Large pivot doors are integrated into social zones which encourage both employees and guests of the office to not only interact with their surrounding environment, but to shape it as well. The integration of white boards on walls and doors facilitates the flow of ideas during brainstorming sessions with clients, while project centric work zones provide spaces for collaboration. Private breakout spaces are also provided for individual thought and reflection.

Small Group Workshops + Client Pathway

Elevator Lobby

Collaborative Project Centric Work Zone

Taking into consideration the rapidly changing workplace due to recent technological advances, innovative design solutions had to be implemented to meet workers’ needs. Research by Steelcase showed that more “Generation Y” employees are entering the workforce and new technologies allow workers to spend less time in the office. Less people in the office means more desk space; however, this results in a lack of personalized space for all employees. The idea of a mobile storage unit combined with each employees’ photo provided a unique solution which became an integral part of the workplace culture as well as an extension of each employee’s identity. When not in use, each brightly colored unit is stored within a wall which allows each worker to still have a presence within the office even when out for the day.

Employee Break Area + Kitchenette Employee Mobile Unit Focal Wall

Employee Mobile Unit Focal Wall

STUDIO: CORPORATE | SPRING 2011 | 6 WEEKS | 23,000 SQ. FT.

Private break out spaces provide a meeting place along the client path and promotes conversation and interaction between employees. They consist of smaller groupings of furniture which are clustered around the plan to allow for meditation and relaxation in between work mode.These spaces go hand in hand with the alpha lounge which includes multi-functional spaces stimulates alpha brain waves, creative processes and productivity through alternative experiences related to ‘leisure’ activities. This includes: Music production room, Karaoke area, Digital ‘Mixed Media’ painting wall, ‘Frustration’ rooms for employees to rid themselves of negative creative energies.

Project Centric Work Zone

Private Break Out Space + Water Cooler +Client PathwayMaterials + Color Palette

The FleX House is a modular,prefabricated home designed and built by the student members of Team Florida. The team consisted of students from the four major Florida universities who collaborated to compete against 19 other teams from around the world in the 2011 Solar Decathlon. Sponsored by the U.S. Department of Energy. The competition was held in Washington D.C. in October of 2011. The 930 sq. foot home, inspired by a traditional Florida cracker style home, was designed to embrace the hot and humid climates of Florida. Utilizing both active and passive cooling systems, The FLEX HOUSE provides a comfortable and spacious living environment for its occupants year round.

Design Team: c. camargo, r. castro, c. dockree, p. cotera, j. emminger, t. ho, n. horan, e. lam, m. laverde, p. walkerSoftware: Revit Architecture 2011, Photoshop CS5, MS Office: Excel + Powerpoint

North Facing Bedroom Module + West Entry

2011 DOE COMPETITION2011 DOE COMPETITION

SOLA

R D

ECA

THLO

N

DESIGN-BUILD | FALL 2010-2011 | 1 YEAR | 930 SQ. FT.

1 Photovoltaic Solar Array 2 Louver/ Shading Umbrella 3 Structural Steel 4 House Envelope 5 Floor + Ceiling Structure

2

3

4

5

1

Plan ViewStructural Systems Diagram

The base module of the FleX House is designed for a young couple or a couple with a small child living in central Florida on a moderate income. However, as a family grows additional modules can be added to the base to expand living space as necessary. Therefore, as a family grows, FleX House grows with it. Other features include abundant glazing and an uncluttered, open floor plan, which give the interior spaces a sense of lightness and openness. Visual and physical connections to the garden and surrounding environment are made possible by four large sliding glass panels which allow the outside patio to become an extension of the kitchen and living area. Additionally, the kitchen, living, bedroom and bath areas have the option to flow together into one continuous space or to be partitioned for privacy and thermal zoning by three large pocket doors.

Bedroom Transverse Section: Bathroom + Study +Bedroom

Kitchen + Living Room Materials

DESIGN-BUILD | FALL 2010-2011 | 1 YEAR | 930 SQ. FT.

North Facing View of Patio

Bedroom + Study + Loft Interior View

Bedroom + Study + Loft Interior View

Kitchen + Living Room Interior View

The plan includes many space saving features that create comfort within a smaller, more economical envelope. A rolling kitchen island doubles as a dining table. A study adjacent to the bedroom doubles as an exercise area. A compact washer/dryer unit fits into a closet next to the bathroom. The bathroom can be partitioned into three separate zones for the shower, the lavatory and the toilet so that three people can use the same space at once and still have privacy.

CULTURECULTURE

UN

DER

GRO

UN

D T

UN

NEL

S

TOWER

CASA A

CASA C

CASA B

CASA E

PATIO 4

PATIO 2

PATIO 3

PATIO 1

BATH

S

Design Team: class collaboration, individual intervention

Software: AutoCAD, Photoshop CS4

Intervention within the Temple of Inscriptions

PALENQUE RUINSPALENQUE RUINS

PRO

GRA

MM

ING

SPA

CE

Temple of Inscriptions Model

P A L E N Q U E

To further study the ruins in Palenque, Mexico, a theory based on the Mayan afterlife was developed. The theory states that King Pakal’s construction of vessels at Palenque is a physical manifestation of the final spiritual journey taken in the afterlife as commonly believed within the Mayan religion. In studying this theory more closely, it is easy to see that both structures designed by Pakal (The Temple of Inscriptions and The Palace) act as organizers and containers of space.

STUDIO: RUINS | FALL 2009 | 5 WEEKS

Process of Tomb Construction

Site Plan

P A L E N Q U E

Concept Drawing

The outer perimeter of the Palace consists mostly of public spaces which move upward in order to bring occupants deeper into the structure. As the occupant moves inwardly through the construct, space becomes increasingly more private and compact accompanied by a change in scale and the utilization of narrow walls. Concurrently, distinctive spaces (such as the tower) gain a gradual upward movement while others (the subterranean tunnels) gain downward movement. Although the Temple of Inscriptions appears to be an impenetrable fortress, the spaces within are organized in a similar fashion. The arrangement of space and movement throughout closely relates to the Mayan religion which holds that once a person of royalty died, they would have to endure a difficult journey through the 9 levels of the underworld (Xibalba) in order to reach the final stage of rebirth.

Concept Relief Model

Section of the Temple of Inscriptions Tomb

Intervention within Contextual Model Palace + Temple Connected by Tunnel

To further investigate how this theory would hold up, a large contextual model was constructed by all studio members based on existing site conditions. Each individual was then required to explore their theory through the process of constructing a physical model that would intervene within the contextual class model. In relation to Mayan afterlife theory, a program was developed which provided spaces for storing, transporting and blessing god pots-- a common ritual that was highly practiced in Mayan times.

SUPPORTSUPPORT

After extensive pre-design research on Alzheimer’s Disease and the USF Health Byrd Institute, it became clear how much the design of an environment can affect issues such as wandering, sign legibility, mood and lack of understanding one’s surroundings. It was determined that destination points were crucial for helping patients gain a better sense of direction. For this reason, the concept of using architectural moments related to the seasons was implemented throughout the design.

Design Team: c.dockree, n. jones, j. jurich

Software: AutoCAD 2011, Revit Architecture 2011, Photoshop CS5

Secondary Check-in + Nurse’s Station

BYRD ALZHEIMER’S INSTITUTEBYRD ALZHEIMER’S INSTITUTE

HEA

LTH

CARE

DES

IGN

A L Z H E I M E R ’ S I N S T I T U T E

Plan View Resource Library

Concept: The Seasons

STUDIO: HEALTH CARE | SPRING 2011 | 6 WEEKS | 23,000 SQ. FT.

Elevator Lobby + Signage

A L Z H E I M E R ’ S I N S T I T U T E

Each season is defined by a color, which further defines spatial zones according to function. Fall consists of a warm color palette which is found in the public ares to put patients at ease during their wait. The Winter color palette is used for sterile environments such as the P.E.T. scan room, exam and injection rooms while the colors of Spring define physical therapy areas. The Summer palette is found throughout all the administrative work areas for staff. Furthermore, each zone is defined by an architectural moment which symbolizes a tree. Lowered radial panels integrated with a column act as a canopy to give interest to and compress the space near the nursing station. It not only serves as a destination point but also provides a secondary check-in point for patients or family members, while allowing staff to keep an eye on patients and deter wandering throughout the clinic.

Typical Exam RoomExam RoomMain Circulation Path + Signage Physical Therapy Room

Longitudinal Section

Transverse Section

Steeped in layers of history and once known as the Government House, the Saint Augustine Cooperative Historical Research Center will be adapted into a public research facility functioning as a nucleus for the city of St. Augustine. By creating a partnership between the local community and members of the University of Florida, its design will bring together students and researchers of multiple disciplines for the collection and sharing of knowledge. It features an exhibit which displays and houses archeological artifacts found throughout the city by leading researchers and archeologists.

“Discovering the Past, Building a Better Future“

Design Collaboration: d. florville, m. sheppard

Media: AutoCAD 2010, Photoshop CS4, Hand rendering

Archeology Exhibit

G O V E R N M E N T H O U S E

STUDIO: ADAPTIVE REUSE | FALL 2010 | 6 WEEKS | 19,000 SQ. FT.

First Floor Plan

G O V E R N M E N T H O U S E

Color Palette

Though the Saint Augustine Cooperative strives to become a hub for students, researchers and archeologists, its main function is to inform the public about the historical significance of their community. A lecture hall provides ample space which can be used for public meetings and events and is also rentable to private businesses. Additionally, the facility houses an interactive research center for the public and an independent study center for students interested in disciplines related to architecture, archeology and historic preservation. A galleria space allows students to temporarily display their work and/or findings for the benefit of the public. Additional support spaces include temporary offices for faculty, graduate students and researchers along with a coffee kiosk and outdoor study area in the courtyard.

Second Floor Plan

STUDIO: ADAPTIVE REUSE | FALL 2010 | 6 WEEKS | 19,000 SQ. FT.

Second Floor View of Archeology Exhibit + Workspace

G O V E R N M E N T H O U S E

Archeology Research Library

Main Lobby + ReceptionTransverse Section

The main lobby, galleria and restrooms on the first floor along with the stairs leading up to the vestibule, lobby and governor’s conference room were left in their original state to preserve the integrity of the design of the government house. Repurposed spaces that called for a more modern feel had pops of color strategically placed throughout.

The Cade Museum stands to bridge the gap between problems and solutions, art and science, yesterday and tomorrow, and ultimately, creativity and invention. Expanding on this idea of connection, the design of the building itself facilitates both a visual and physical connection to Depot Park, allowing the park to become part of the museum. Visitors of The Cade Museum can expect to have an interactive experience with the help of today’s technology. Upon entry, each guest will receive an interactive wearable pin that guides them through the museum’s exhibits. The idea is to encourage a different way of thinking for each guest, as well as social awareness of how other visitors of the museum are thinking.

Individual Work Software: Revit Architecture 2011, Photoshop CS5

South Elevation

Interactive Wearable Pins Depot Park Site Plan

Main Entryway Showing Skywalk

DESIGN CHARRETTE | FALL 2011 | 4 DAYS | 20,000 SQ. FT.

BACHELOR OF DESIGNUniversity of Florida: Gainesville, FLGraduation: May 2012

ARCHITECTURE OF PARISParis Research Center: Paris, FranceSummer 2010

ASSOCIATE OF ARTSSanta Fe College: Gainesville, FLGraduation: Dec 2008

DESIGN INTERNEspinosa, Inc.: Palm City, FLSummer 2010, 2011

SKILLS / SOFTWAREProocient Revit Architecture AutoCAD Adobe: Photoshop, InDesign MS Office- Word, Excel, Powerpoint

FamiliarFamiliar Google Sketchup Rhinoceros Visual Lighting 3DS Max

ASID STUDENT MEMBERAmerican Society of Interior DesignersGainesville, FL: Aug 2009- Present

INTERIOR DESIGN, TEAM FLORIDAU.S. Department of Energy Solar Decathlon 2011Gainesville/Tampa, FL: Aug 2010- October 2011

SCC MEMBERStudio Culture CommitteeGainesville, FL: Aug 2011- Present

ECO-REPSCC Eco-Reps SubcommitteeGainesville, FL: Aug 2011- Present

ARCHI-TUTOR MENTORSCC Architutor ProgramGainesville, FL: Aug 2011- Present

LEED GREEN ASSOCIATELeadership in Energy and Environmental DesignWest Palm Beach, FL: July 2011

ADDITIONAL INVOLVEMENTADDITIONAL INVOLVEMENTADDITIONAL INVOLVEMENTPROFESSIONAL EXPERIENCEPROFESSIONAL EXPERIENCEPROFESSIONAL EXPERIENCEEDUCATIONEDUCATION

KFKFEDUCATIONEDUCATION

KF 2405 River Hammock Ln. Fort Pierce, FL 34981 Phone: 850.260.1784 | Email: k.lynne.farmer@gmail.com

KRISTA LYNNE FARMER

My sincere gratitude goes to those who have provided endless support along the way:

To my parents, Don and Debra, who have been nothing less than supportive throughout my twenty-four years of life.

To my professors at UF, who have shaped the way I view the world, always with design in mind.

To my amazing friends from studio who I’ve gained through a number of sleepless nights and late night food runs: Anie, Antony, Mario, Melissa, Daphne and Danielle.

And to my best friend, my other half, Kristi Lynn Clifton. Thank you for always being there when I needed you most.

FARMER

k.lynne.farmer@

gmail.com