This document appears to be a sophomore portfolio from Virginia Commonwealth University. It includes titles and descriptions of various interior design projects completed as part of coursework. The projects range from small-scale models and concept drawings to full interior plans and perspectives. Several focus on using light, space, and materials to explore concepts from poems. The portfolio culminates in a final project redesigning an exhibition space at the Virginia Museum of Fine Arts to showcase a collection of European artworks.

1. S
O
P
H
O
M
O
R
E
P R T F O L O
VIRGINIA COMMONWEALTH UNIVERSITY
INTERIOR DESIGN
ASHLEY NARCISO
2014-1015

2. CONTENTS
[PAGE] [TITLE]
1. INTRO
2. DEFINING STUDIO
3. GRASPING CONCEPTS
OBJECT PROJECT 1/A
4. GRASPING CONCEPTS
OBJECT PROJECT 1/B
5.CLERESTORY PROJECT 1
6.CLERESTORY PROJECT 2
7.THOMAS JEFFERSON HIGH SCHOOL
8.POEM PROJECT
CONCEPT MODEL 1
9. POEM PROJECT
CONCEPT MODEL 2
TABLEOF
[PAGE] [TITLE]
10. POEM PROJECT
CONCEPT MODEL 3
11. POEM PROJECT
CONCEPT MODEL 4
12. POEM PROJECT 1/A
13. POEM PROJECT 1/B
14. VIRGINA MUSEUM OF FINE ARTS
FINAL PROJECT:
CONCEPT MODEL
15. VIRGINA MUSEUM OF FINE ARTS
FINAL PROJECT:
PROCESS SKETCHES
16. VIRGINA MUSEUM OF FINE ARTS
FINAL PLAN

3. CONTENTS
[PAGE] [TITLE]
17. VIRGINIA MUSEUM OF FINE ARTS
WATERCOLOR + HAND DRAWN
PERSPECTIVES
18. VIRGINIA MUSEUM OF FINE ARTS
MODEL SUPPORTING CONCEPT
19. VIRGINIA MUSEUM OF FINE ARTS
EUROPEAN ART -
CHOSEN COLLECTION
20. GRAPHICS: MANUAL + COMPUTER
PAVILIONETTE
21. KITCHEN PROJECT
22. KITCHEN PROJECT (continued)
23. VIRGINIA COMMONWEALTH UNIV.
POLLAK BUILDING
TABLEOF
[PAGE] [TITLE]
24. AUTOCAD PROJECT
25. MIDTERM DOOR PROJECT
26. CHAIR RENDERINGS
27. REPLICATION RENDERINGS
28. CONCLUSION + REFERENCES

4. PROJECTS
BYCOURSE
2. DEFINING STUDIO
20. GRAPHICS: MANUAL + COMPUTER
[PAGE] [TITLE]

5. INTRO
1
WHAT DESIGN MEANS TO ME...
“EXCELLENCE IS THE RESULT OF CARING MORE THSN OTHERS THINK WISE, RISKING MORE THAN OTHERS THINK SAFE,
DREAMING MORE THAN OTHERS THINK PRACTICAL, AND EXPECTING MORE THAN OTHERS THINK POSSIBLE.”
-ANONYMOUS
BEING APART OF THE INTERIOR DESIGN COMMUNITY AT VIRGINIA COMMONWEALTH UNIVERSITY, WE ARE TAUGHT
TO EXPLORE MANY SUBJECTS, BEGINNING WITH PASSION AND PROFESSIONALISM. IT’S CRITICAL TO BE DEDICATED
TO LONG HOURS OF THOUGHT PROCESS, QUESTIONS, AND EXPLORATIONS THROUGHOUT OUR COLLEGE YEARS AND
BEYOND. TO PUSH OUR LIMITS AS IF THEY ARE NONEXISTENT, AND TO EXCEED THE EXPECTATION, ALWAYS.
FUNDAMENTALS ARE STUDYIED AND DEMONSTRATED THROUGH MUSEUM TRIPS, PROJECTS AND TESTING. LATER,
ARE THEN APPLIED TO ADVANCED CLASSES ALONG WITH LEARNING HOW TO EVOLVE STUDIO PROCESS SKILLS,
GRAPHIC HAND-DRAWN AND COMPUTER SKILLS, AND BUSINESS SKILLS.
EARLY ON AND CONTINUING THROUGH OUR TIME AT VCU, WE ARE URGED TO DOCUMENT AND RECORD OUR
IDEAS AND CREATIONS, TO HAVE AND USE INTO GETTING INTO THE PROFESSIONAL WORLD WE ARE SO EAGER TO
GET OUR HANDS ON AND EVOLVING THE DESIGN WORLD.
WHAT THIS YEAR HAS TAUGHT ME...

6. “Passion and professionalism are two critical attributes that you
should take forward from this studio. These imply references to the
heart and the mind, to the rational and the intuitive, to the intellectual
and the sensual. The goal of this class is to combine these attributes in a
constructive dialogue that informs your work and your working habits.
As a designer, play enriches us. Play allows us to see opportunities
and relationships in our work that we are unable to see when we are
focused on an outcome or deadline. Play in the form of design activities
(making things) allows us to work without being exhausted. Play enables us
to extend our design careers much longer than our colleagues who have not
learned to play. As a student of design, play should become an integral part
of your design activities. A goal of this studio is for you to identify how
you play as a designer.”
DEFINING
STUDIO
- Professor, Camden Whitehead
2

7. GRAPSING
CONCEPTS
Beginning of the fall semester, we began with two projects. The first, (right
images) learing to place two objects together with a set of rules:
First, each object will be larger than a golf ball and smaller than a grapefruit.
Then, the two objects will display the following characteristics:
one is heavy, one is light
one is yellow, one is red
one is small, one is large
one is light, one is dark
one is man-made, one is natural
one is thick, one is thin.
As my conclusion, have the objects relate, and be forced together, but
function as a whole.
The second (left images) consisted of the following rules:
Make models of 3 of the parts from your mechanical device. Your
models should be made of at least three pieces each. Your models
should help you analyze the parts. Your 3 models should connect in an
interesting way. The forms of your three models should change from
the original parts based on the materials and the tools used.
What seems to be a whole model, actually diconnects into three
separate parts that all balance individually, but essentially without each
other, cannot run as one funtioning piece, such as when it used to play
a video with many parts it housed.
3FA L L 2 0 1 4
OBJECT PROJECT 1/A

8. GRAPSING
CONCEPTS
4
OBJECT PROJECT 1/B
FA L L 2 0 1 4

9. MODELSSUPPORTING
CONCEPTS
5
CLERESTORY PROJECT 1
CREATING SPACES
WITHIN SPACES:
TRANSPARENT CURVED WALLS
AND HINTS OF LIGHT FORM
SHADOW AND LAYERD COLOR TO
FORM DIRECTION.
FA L L 2 0 1 4

10. 6
MODELSSUPPORTING
CONCEPTS
CLERESTORY PROJECT 2
Creating Spaces
Within Spaces:
CONFORMING LIGHT
USING CENTRAL
SEATING AREA
FORMING USE OF
PUBLIC (LIGHT)
SPACE AND PRIVATE
{SHADOW) SPACE.
FA L L 2 0 1 4

11. MODELSSUPPORTING
CONCEPTS
7FA L L 2 0 1 4
THOMAS JEFFERSON H.S.
REDESIGNING ART CLASSROOM
BAISED ON TEACHER/
STUDENT NEEDS:
DESIGNED FOR OPEN
EYESIGHT, ONE ON ONE
CONNECTIONS, AND
ORGANIZATION THROUGH
THE ENTIRE SPACE.

12. MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5 8
POEM PROJECTS
“LATE WIFE” POEMS BY
CLAUDIA EMERSON
SELECTED POEM FOR BOTH PROJECTS:
A Bird in the House
“I thought that could be what it was
to die, my body gone from you,
my voice, even my face, if alone
in a quiet room you tried to recall it.
I was erased, but a stronger
absence then death - even my name
disallowed, your new wife chasing
it out, a bird in your house, something
you didn’t quite want to kill - but would.”
POEM PROJECT
CONCEPT MODEL NO.1

13. MODELSSUPPORTING
CONCEPTS
9S P R I N G 2 0 1 5
POEM PROJECT
CONCEPT MODEL NO.2

14. MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5
10
POEM PROJECT
CONCEPT MODEL NO.3

15. MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5
11
POEM PROJECT
CONCEPT MODEL NO.4

16. 12
MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5
POEM PROJECT 1/A
“A BIRD IN THE HOUSE”
DESIGNING A DESIGNATED SPACE BASED
ON TWO INDIVIDUAL POEMS. THIS
SPACE IS GUIDED BY “NESTING” PLACES
TO SIT AND READ LIT STANZAS OF THE
POEM THROUGHOUT THE SPACE. THE
CENTER, ALSO LIT BUT BY
SKYLIGHT, IS SECTIONED
OFF AS THE LAST STANZA
AND LAYERED WALL SLITS
AS A FINALLY SENSE.

17. 13
MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5
POEM PROJECT 1/B
“A BIRD IN THE HOUSE”
DESIGNED TO FORM A PATHWAY TO A
SEATING AREA AND NESTING AREA. AT
THE ENTERANCE, GUESTS SEE THE POEM
CARVED OUT OF WOOD, EXCATLY THE
WAY THE POEM WAS WRITTEN. NEXT,
THE BENCH CREATES A PATHWAY OF
DIRECTION INTO THE NESTING AREA
WHERE GUESTS BECOME APART OF THE
POEM THEY READ. AFTER SITTING,
GUESTS ARE GUIDED TO THE EXIT/
ENTRANCE OF THE NEXT ROOM.

18. 14
MODELSSUPPORTING
CONCEPTS
S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
FINAL PROJECT
COLLECTION:
EUROPEAN ART
CONCEPT MODEL:
I BEGAN BY USING GOOGLE IMAGE TO
SEARCH EUROPEAN LANDMARKS THAT
CREATED DIFFERENT PATTERNS AND WAYS
OF THOSE PATTERENS CAPTURING LIGHT.
AFTER SEARCHING MANY COUNTRIES
FROM BIRD’S EYE VIEW, ITALY’S
PATTERNS INTRIGUED ME THE MOST.
ITS SIMPLICITY OF SLIGHTLY ANGLED
PARALLEL ROWS OF FIELD CAPTURED
LIGHT IN THE MOST INTRICATE BUT
YET POWERFUL WAY POSSIBLE, THAT
FURTHURED MY DESIGN PROCESS FOR THE
EUROPEAN ART COLLECTION OF THE VMFA
EXHIBITION.
I THEN CREATED A SMALL REPLICATION
MODEL OF THE ROWS I OBSERVED IN
ITALY, AND USED THE INSPIRING
ANGLED ROWS OF LAND AND LIGHT TO
FURTHER THE EXHIBITION PROJECT.

19. 15
SPACEPLANNING
PROCESS
S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
FINAL PROJECT: PROCESS SKETCHES
REDESIGN EXHIBITION AREA BASED
ON GIVEN SELECTION OF
25 PIECES OR MORE.

20. 16
HANDDRAFTPLAN
S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
FINAL PLAN SCALE: 1/8”=1’-0”

21. 17S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
WATERCOLOR
&HANDDRAFT
PERSPECTIVES
SCALE: 1/8”=1’-0”

22. 18
MODELSUPPORTING
CONCEPT
S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
SCALE: 1/8”=1’-0”
WEST
EAST
ENTRANCE
FINALE EXITOVERALL EXHIBIT

23. 19S P R I N G 2 0 1 5
VIRGINIA MUSEUM OF FINE ARTS
RICHMOND, VA
EUROPEAN ART - CHOOSEN COLLECTION
V I R G I N I A M U S E U M O F F I N E A R T S E X H I B I T - E U R O P E A N A R T
PAGE 1 OF 3A.NARCISO
pair of
girandoles
french
1747-1812
39 x 19 x 12”
ewer
french
16th c.
12 x 5.5 x 4.75”
column frame
russian
19th c.
1801-1947
4.5” x 1.5”
art nouveau
frame
russian
1846-1920
4” height
dachsund
russian
19th c.
2.5” length
dachsund
russian
19th c.
1801-1947
3” length
globeflowers
russian
19th c.
5 x 4 x 3”
dandelion
russian
19th c.
6.5” height
pansy
russian
19th c.
1801-1947
3.8 x 2 x 1.5”
Parrot in a
cage
russian
19th c.
4.5” x 2.25”
songbird in a
cage
russian 19th c.
1801-1947
4.5” x 2”
bratina
russian
19th c.
6” x 5.5”
terrestrial
globe
russian
19th c.
5.5 x 3.25”
imperial peter
the great
easter egg
russian
1870
5.75” x 4”
imerial
czarevich
easter egg
russian
20th c.
5.75” x 4”
miniature
easter egg
pendant
russian
19th c.
1.1” x 0.625”
miniature
easter egg
pendant
russian
19th c.
1.35” x 0.8”
imperial rock
crystal easter
egg
russian
1857-1908
10” x 4”
V I R G I N I A M U S E U M O F F I N E A R T S E X H I B I T - E U R O P E A N A R T
P A G E 2 O F 3A . N A R C I S O
virgin, child,
and st. anne
with garland
french
1619
41” x 30”
still life
dutch
1744-1808
26” x 20.5”
container of
flowers
french
1868-1940
24” x 23”
irises by the
pond
french
1840-1926
78” x 59”
vase and cover
english
1771-1844
14 x 9.5 x7”
don quixote
french
18th c.
144” x 96”
design for a
brooch
swiss
20th c.
12 x 9”
the twelve
months
french
mid-16th c.
3.5 x 4”
bureau plat
(desk)
french
1724-1806
30 x 70x 37”
septimius servus
roman
17th c.
86 x 47 x 37”
genius of the
dance
french
1864
21” x 9.5”
the sacrafice
of polyxena
34 x 17.5 x14.5”
tabernacle
french
15th c.
36 x 13”
hexagonal
casket
italian
1400
11 x 14.75”
the
crucifixion
with saints
and donors
italian
1330-1393
12 x 3.75”
model of a
town
french 15th
c.
5.25 x 5.75 x 6”
cross
itailian
15th c.
12.75”
window with two
roundels
english
12th and 13th c.
89.5” x 36.25”
V I R G I N I A M U S E U M O F F I N E A R T S E X H I B I T - E U R O P E A N A R T
P A G E 3 O F 3A . N A R C I S O
Girl
1913
27 x 5.5 x 10”
Goblet
16th c. Italian
6.75” x 4.74”
comb
15th c.
French
3.88 x 5.81 x
0.25”
reliquary
casket
13th c.
french
7x 13.25 x
4.25”
pot a Creme,
tete de vache
1816
french
6 5/8” x 4 x6 1/2”
oil lamp in
the form of a
satyr bust
1510
italian
8.75 x 5.13 x 7.25”
Container
for salt
1525
Italian
3.25” x 5.13”
the three
sisters
1824
french
23”t x 19”
A gentleman
1597-1667
dutch
48” x 36 1/2”
portrait oflydia
schabelsky,
baroness Stael-
holsten
1805-1873
german
56” x 43”
The young
artist (la
jeune artiste)
1760’s
french
31” x 25”
a dutch lady
dutch
20” x 14”
a dutch
gentleman
dutch
20” x 14”
interior of
the church of
st. laurens in
rotterdam
dutch
1610-1673
25.5” x 19.5”
landscape
with
cephalus and
procris
flemish
1600-1652
18” x 31”
narcissus
french
1826-1898
25.75” x 14.75”

24. 20
GRAPHICS
MANUAL&COMPUTER
S P R I N G 2 0 1 5
PAVILIONETTE
BUILD, DRAFT, RENDER, EDIT.

25. 21S P R I N G 2 0 1 5
KITCHEN PROJECT
SITE MEASURE, DRAFT, RENDER.

26. 22S P R I N G 2 0 1 5
KITCHEN PROJECT [continued]
SITE MEASURE, DRAFT, RENDER-SKETCHUP.

27. 23S P R I N G 2 0 1 5
VCU POLLAK BUILDING
SITE MEASURE & DRAFT OUTDOOR
CLASSROOM IN COURTYARD.

28. 24S P R I N G 2 0 1 5
AUTOCAD PROJECT
APPLY SKILLS & DESIGN PATTERN

29. 25S P R I N G 2 0 1 5
MIDTERM DOOR PROJECT
FIND A DOOR, SITE MEASURE, HAND
DRAFT WITH MICRON ON MYLAR.
DOOR CHOSEN:
1535 APARTMENTS
RICHMOND, VA
NO NAME, CHOSE “BARCODE” AS TITLE
BECAUSE FRAME DRAFT LINES APPEAR
AS BARCODE LINES.

30. 26S P R I N G 2 0 1 5
CHAIR RENDERINGS
RENDER TWO SETS OF FAMOUS CHAIRS,
ONE SET COOL COLORS AND ONE
SET WARM COLORS.

31. 27S P R I N G 2 0 1 5
REPLICATION RENDERINGS
CHOOSE TWO INTERIOR SPACES, RENDER
A MASTER COPY OF EACH.

32. 28
REFERENCES:
GEOMETRIC PATTERN BACKGROUND:
http://www.onlycoloringpages.com/wp-content/uploads/2015/01/Geometric_Coloring_Pages_03.jpg
WATERCOLOR SPLASH BACKGROUND:
http://toricollinsmac.com/tori/PMG/MOO%202013%20Redev/wg_watercolor_smudges_drips/Textures/
wg_watercolor_smudges_3.jpg
CONCLUSION:
I interpret and respect interior design as an expression, talent, and willingness for exploration. As
a future career, I will be given a spacial problem to solve, and can leave a memorable mark and impact
not only on the space , but on the clients as well. Thats what I’ll wake up and look forward to everyday. I
image the impossible to be possible, and allow my imagination to lead my throught processes. With that,
my success will be great and will always exceed the expectation with true passion and professionalism.
“ The only way to do great work,
is to love what you do.”
- Steve Jobs