Rebecca Erde Portfolio
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Transcript of Rebecca Erde Portfolio
REBECCA ERDEWashington University in St. Louis | 2015
REBECCA ERDEWashington University in St. Louis | 2015
INTRODUCTION TO DESIGN PROCESSES ICharles Brown - 2011
DRAWING I & DRAWING IIJamie Adams 2011 Mary Judge 2012
CERAMICSRon Fondaw and Michele Owens - 2011
INTRODUCTION TO DESIGN PROCESSES IIAndrew Colopy - 2012
INTRODUCTION TO DESIGN PROCESSES IIICatty Dan Zhang - 2012
INTRODUCTION TO DESIGN PROCESSES IVElisa Kim - 2013
CYCLESLindsey Stouffer - 2013 - Group Project with
Cristina Clow and Kim Gagnon
CYCLESIn this studio, the goal was to learn the mechanisms of bicycles and design a new machine inspired by the movement of insects. My groups original insect inpisration was a centipede. I learned how to work with metal and recycled bikes, welding, brazing, soldering, and plasma cutting. Through the design process, we changed our direction to create a forward reccumbant modern penny farthing. About fifteen different people rode our bike on the day of the test ride. It was equipped with functioning breaks and gear system.
The CentipedeCycles 2013
Cristina ClowKim GagnonRebecca Erde
Side Elevation
The CentipedeCycles 2013
Cristina ClowKim GagnonRebecca Erde
Front Elevation Plan View
GREEN HOUSEOur program was a four story green house. Our site was a triangular plot of grass located at South 9th St and Park Ave in the Northern tip of Soulard next to Interstate 55 in St. Louis, MO. Our surrounding site was an unconventional mix of buildings. On one side, there is a church and an abandoned printing press. On the other side, there are residential homes. Then, there is the highway and an industrial area. I created a concept model with string attempting to knot the site context together.
1st floor plan 1/8” = 1’4th floor plan 1/8” = 1’ 2nd floor plan 1/8” = 1’
3rd floor plan 1/8” = 1’section 1/4” = 1’ 4th floor plan 1/8” = 1’
First Floor Plan 1/64”= 1’ Second Floor Plan 1/64”= 1’
Third Floor Plan 1/64”= 1’ Fourth Floor Plan 1/64”= 1’
elevation 1/8” = 1’
4th floor plan 1/8” = 1’
section 1/4” = 1’
Section 1/16”= 1’
1st floor plan 1/8” = 1’ site plan 1/32” = 1’
Site Plan 1/64”= 1’
elevation 1/8” = 1’
4th floor plan 1/8” = 1’
Elevation 1/32”= 1’
URBAN PLAYGROUNDI created modules inspired by leaves and the shadows that they create when light shines through them. I added ribs and trace paper to mimic the structure and trasnparency of leaves. I attached modules to create an aggregation to experiment with different ways of connection. I created a site model of the DeMun playground based upon the canopy of leaves formed by the trees. Then, I adjusted my modules to form an aggregation that grew out of the ground and joined the canopy. The program consisted of two bathrooms and an office space.
SHADOW
PLAN, SECTIONSAND ELEVATIONSof modules and aggregation
URBAN PLAYGROUND1/4”=1’ scale model
PLAN1/8”=1’ Plan
HALF SCALE MODELI built a 1/2”=1’ model of one
of the bathrooms to better understand the details of the
space.
IMMERSION POOL I chose to study the texture of
acorns I found at the Concordia Seminary. I created a container for the tree buds I collected at the site based upon the pattern of the acorn. Then,
I translated the unjulations from my container into a biased topography. I
made changes from my original biased topography by stretchng or tightening the underlying matrix and by adjusting the sections. The final product was an
underground cave-like immersion pool created from pulling up the surface of
the biased topography
TEXTUREAcorn
OBJECTTree Buds
PATTERNof the Texture
CONTAINERPlan, section and axonometric
Plan
Section
BIASED TOPOGRAPHY
Axonometric
Plan
AxonometricCEMENT MOUNDThis is my cement cast with a bristol skin representing the immersion pool.
a b c
d e f
Plan and Sections g
a b c d e f
g
Axonometric View
Section in Perspective
Site Plan
Site Section
View from sidewalk
View from inside looking up
POTTING SHED I created a wire model based
upon my studies of corn from micro to macro. I translated my
study of corn from wire into basswood to create a potting shed. During the
making of this model, I found a certain beauty in the skeleton. In my mind, what lies beneath the
scaley surface is equally as important as the outcome, which is why I left half the model exposed. As I
applied the scales, I found that it created a beautiful biomimicry effect.
PLAN,SECTIONS,AND ELEVATIONof Potting Shed
SKELETON SCALES
DINNERWARE SETClay, black slip, clear glaze
JEWEL BOX PROJECTTransferred ink, graphite
JEWEL BOX PROJECTTransferred ink, graphite
FANTASY WORLDGraphite
CARTE DE VISITEWater color, pen, collage
IN(FIGURE)TERIORCharcoal, blue pastel
(right)FIGURE DRAWINGSCharcoal and sumi ink
REBECCA ERDEWashington University in St. Louis | 2015