During her time with the UDBS, Ivy's sketchbook became an essential tool in puzzling out historical precedents for the August Wilson house and determining how to construct an effective and waterproofed box gutter with historical accuracy and contextually appropriate detailing.
 When designing her Eco-Housing proposal, Ivy's sketchbook became a tool to combine site documentation to mental visions of spatial conditions, often incorporating color to to visualize desired vibrancies and to imagine the language by which the landscape and building might join.
 Also incorporated to the Eco-Housing project was careful documentation of existing precedents, such as the residence of Bill Gates as designed by BCJ, pictured above. Particular attention was again paid to the spatial conditions of the structure and how it emerges and camouflages to the surrounding vegetation.
 During the design of the House for David Bowie, Ivy's sketchbooks took on a fittingly experimental form, using songwriting technique employed by Bowie during his  Thin White Duke era: cut-ups.
 Following each session of cut-up collage production, Ivy would sketch out whatever ideas came to the front of her mind from the combined inspirations in Bowie's space-age identity, traditional Celtic architecture, and contemporary observatory construction.
 Ivy hoped that by mirroring Bowie in technique and by looking to his chosen artistic library, she would come to closer to Bowie in mind and vision and produce more appropriate products.
 Distinctive forms began to emerge from these sessions, with Bowie's lyrics and images acting as a form of client, a standard to check her work against at every turn to measure if the designs were acting appropriately.
 Often, when working on renders, Ivy uses her sketchbook as a tool to iteratively measure views of the project, determining ideal perspectives.
 Through this iterative process, she is able to select views that are particularly informative and communicate the project exactly as she desires it to be communicated.
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