professional sample portfolio

graphic designerJAC CORNELIUS

PROFESSIONAL SAMPLE

john.adams.cornelius@gmail 708.927.7797

The site is located below street level, which posed some programmatic and aesthetic obstacles. It was my intent to encourage foot traffic into the site and to connect the separate levels of the building using illuminated fixtures, culminating in a brand wall as the focal point of a lounge area. In keeping with the client’s existing on-site marketing, we chose acrylic to create a series of chandeliers. The “fins” in each array lengthen incrementally along both X and Y axes to increase visible surface area. This radial sweep is reminiscent of the brand logo and satisfied the client’s stringent branding requirements.

CONCEPT1 Powell St., San Francisco

A flagship retail site like 1 Powell provided our client a unique opportunity to strengthen their brand and raise their profile. My team and I proposed a series of eye-catching fixtures to make the space more inviting and interesting.

Lower Level EntryFoyerEntrance

SCHEMATICMounting Configuration (pictured upside-down)

I developed a series of acrylic fin mounting configurations in order to determine which would best suit the needs of our client. Light placement, fin layouts, and mounting brackets were vetted and pared down to four concepts. Iteration “d” was chosen for its ability to conceal individual fin mounts above the ceiling surface.

The concept employs a series of metal “pans” fitted into a metal housing which can be mounted directly into a recessed ceiling. This concept would also allow for pre-assembly on the ground, reducing installation time and overhead.

a. b. c. d.



A prospective Italian manufacturer generated the construction documents and evaluated the engineering specs. An architect out of California also evaluated the final design.

This collaboration was essential to the project’s success due to San Fransisco’s stringent seismic building codes for ceiling-mounted fixtures.

© 2014 JohnRyan. Proprietary & Confidential May 2015 4

Preliminary Chandelier Fixture Development

List of ItemsDESCRIPTIONDWG #ITEM #QTYITEM

SLOTTED MOUNTING PLATE 20 x 24"BCA100 61PANNEL STOPPER ASSEMBLY BCA103 722ACRYLIC PANEL 51 5/16" x 8" x 1/4" THK W/ HOLESBCA105 43ACRYLIC PANEL 53 1/16" x 8" x 1/4" THK W/ HOLESBCA104 44ACRYLIC PANEL 49 9/16" x 8" x 1/4" THK W/ HOLESBCA106 45ACRYLIC PANEL 47 13/16" x 8" x 1/4" THK W/ HOLESBCA107 46ACRYLIC PANEL 46 1/16" x 8" x 1/4" THK W/ HOLESBCA108 47ACRYLIC PANEL 44 5/16" x 8" x 1/4" THK W/ HOLESBCA109 48ACRYLIC PANEL 42 9/16" x 8" x 1/4" THK W/ HOLESBCA110 49ACRYLIC PANEL 40 13/16" x 8" x 1/4" THK W/ HOLESBCA111 410ACRYLIC PANEL 39 1/16" x 8" x 1/4" THK W/ HOLESBCA112 411CEILING MOUNTING BRACKET W/ INSERTSBCA115 612ISO 7380 - HEX SOCKET BUTTON HEAD CAP SCREW M6 x 123,4921 3613 scala

scaledescrizionedescription

datadate

lineare/linear IT13

dis. dadrawn by

tolleranze generali/general tollerance

materialematerial

Kgpeso/weight

codicecode

finitura sup.surface finishtrattamento termicoheat treatment

durezza/hardness

rev.

ricavato da/obtained from

albero-foro/shaft-hole h/H 12 angolare/angular ±30'

A3

fusioni/casting IT14rugusita'/roughness

12.5 3.2 0.8

ALU'S INDUSTRIAL PROPERTY.

EVERY UNAUTHORIZED USE OR

REPRODUCTION OF THIS DRAWING IS

PROHIBITED.

H

G

F

E

D

C

B

A

1 2 3 4 5DATA/DATEREV. MODIFICA/MODIFICATION

6 7 8FIRMA/SIGN

9 10

HIRSCH

sostituisce/replacing

2014/10/07

1:15

CHANDELIER ASSEMBLY BCA113

0001

GRAINDIRECTION

124.410 kgDRAWING FOR

QUOTATION

DRAWING FOR

PROTOTYPE

FOR QUOTE &

PROTOTYPE

REMOVE BEVELS AND CUTTING EDGES

FLAT PATTERN DEVELOPMENT

Per studio fattibilità, quotazione e campionatura Feasibility study, quotation and prototype

PRINTED NAME: ________________________ SIGNATURE: ________________________ DATE: ______________

11

109

87

65

34

1

12

22

13

13

13

13

13

13

© 2014 JohnRyan. Proprietary & Confidential October 2014 6

Chandelier Fixture Development

DETAIL "A"IN SCALE ( 1 : 2 )

A

scalascaledescrizionedescription

datadate

lineare/linear IT13

dis. dadrawn by

tolleranze generali/general tollerance

materialematerial

Kgpeso/weight

codicecode

finitura sup.surface finishtrattamento termicoheat treatment

durezza/hardness

rev.

ricavato da/obtained from

albero-foro/shaft-hole h/H 12 angolare/angular ±30'

A3

fusioni/casting IT14rugusita'/roughness

12.5 3.2 0.8

ALU'S INDUSTRIAL PROPERTY.

EVERY UNAUTHORIZED USE OR

REPRODUCTION OF THIS DRAWING IS

PROHIBITED.

H

G

F

E

D

C

B

A

1 2 3 4 5DATA/DATEREV. MODIFICA/MODIFICATION

6 7 8FIRMA/SIGN

9 10

HIRSCH

sostituisce/replacing

2014/10/07

1:16

CHANDELIER ASSEMBLY BCA113

0001

GRAINDIRECTION

124.410 kg

CEILING

610 [24 in] 610 [24 in] 610 [24 in]

508

[20

in]

508

[20

in]

203

[8 in

]

178 [7 in] 178 [7 in]

2184 [86 in]

1219

[48

in]

203,

2 [8

in]

967

[38

in]

1011

[393

4 in

]

1056

[411

2 in

]

1100

[431

4 in

]

1145

[45

in]

1189

[463 4

in]

1234

[481 2

in]

1278

[501

4 in

]

1323

[52

in]

CEILING

1026

[403

8 in

]

1382

[543

8 in

]

23 [1516 in]

37 [1

716

in]

59 [2

516

in]

DESIGN DEVELOPMENTMaterial Study

CONSTRUCTION DOCSEngineer Approval

* concept d

* concept b

The site’s unique light conditions informed the design of the overhead fixture lighting as well as the scale, placement, and orientation of the fixtures.

Pictured (above) - rendering simulating the “golden hour” light just before dusk in mid-summer

Pictured (right) - rendering simulating chandelier lighting at entry to lower level

Light Study

Pictured (left) - material study with different light configurations

Pictured (right) - focal wall in lounge on lower level

Simulating the acrylic’s thickness, opacity and vibrance helped to ensure uniformity between the chandeliers and the branded focal wall.

Once the acrylic specs were finalized, l simulated several lighting configurations to inform our final design. We determined that insufficient light was refracted down through the acrylic fins from strip LEDs alone (as pictured at top-left in concept b). Also, any bulbs mounted directly above the fins would be difficult to replace. For these reasons, we opted to use recessed cove lighting

in all ceiling coffers. However, the LEDs were powerful enough to backlight and emit through the acrylic panels of the focal wall.



In order to frame the Sublime Machine exhibit, I created a faux playbill in the Art Deco style popular during the early days of the theremin.

It reflects the theatrical and mysterious nature of the device, whose mechanisms are mostly invisible and whose sound is unmistakably otherworldly.

CONCEPTSublime Machine

ACADEMIC SAMPLE

The use of human form and symbolism is designed to attract and engage viewers from afar. When a viewer comes “in range” of the machine, it generates an audible tone. This would ideally create an environment of realization and experimentation

My initial concept resembled a hollow human hand made of wire, which would serve as the magnetic coil. Early tests confirmed that the magnetic field generated in such an asymmetrical volume was not ideal.

However, my initial concept of using an evocative human symbol progressed into pair of angular eyes, with the coils located at their respective centers.

A theremin is an instrument which translates electromagnetic interference into an audio signal. A typical circuit board is engineered to be compact, but without being constrained by size, I reorganized the theremin’s existing circuit board design into a radial layout.

The machine seeks to attract viewers from a distance and then respond to their presence with a continuous note whose pitch and volume is proportional to the viewer’s proximity. However, the function of the Sublime Machine is not confined to the realm of utility. Charles Eames famously raised the question, “Is beauty not useful?”. My goal is to cause a realization in the audience about the complex nature of our world and how we experience it.



CONCEPTCabinet of Curiosities

Though designed primarily as a housing for the Sublime Machine exhibition, the Cabinet of Curiosities accommodates many other programs. The site is located between the Hennepin Center for the Arts (within the historic Masonic Temple of Minneapolis) and the relocated Schubert Theater located on Hennepin Avenue between 6th and 7th Sts.

The building is designed to accommodate and promote the programs of the adjacent buildings while retaining its own identity.

The study of positive vs. negative space explored in the Sublime Machine exhibition is continued in the building’s facade.

Each space’s window opacity and setback from the street is a measure of its relation to the program of the larger site.

The building’s main level features a two-story lobby which is partially illuminated from outside by the marquis spotlights.

I disrupted the regular polarity of the concrete gridwork and em-ployed an undulating staircase as a nod to the revivalist vernaculars of the adjacent Masonic Temple and The Schubert Theater (Richardso-nian Romanesque and Beaux Arts, respectively).

A basic concrete gridwork continues the structural rhythm of the adjacent buildings through their collective center.

Pictured at left -

Large scale laser-cut site model with superimposed digital rendering at half opacity to accentuate shadows.


GREG NELSON

STEVE KELLEY

CONNIE COMEAU

CHRIS RUSSELL

JOHN RYAN PERFORMANCE

JOHN RYAN PERFORMANCE

ADS GROUP

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651.263.6508

800.759.0992

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612.924.7706

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CONTACT

CONTACT

CONTACT

CONTACT

Phone:

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E-mail:

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Web:

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1350 LAGOON AVEMINNEAPOLIS, MN 55

1350 LAGOON AVEMINNEAPOLIS, MN 55

2155 Niagara Lane NorthPlymouth, MN 55447-4654

2155 Niagara Lane NorthPlymouth, MN 55447-4654

Greg Nelson delegated and reviewed all design projects in which I was involved

Connie Comeau manages all operations at ADS and was my boss for my last year with ADS

Chris Russell managed all production schedules and was my supervisor during my first year with ADS

Steve Kelley collaborated with me extensively on a long-term project to create assembly instructions for all of our more complicated fixtures

REFERENCES


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