Christine J. S. Mitchell Portfolio

CJ M D E S I G N P O RT FO L I O

G R A P H I C D E S I G N

A R C H I T E C T U R E

P H O T O G R A P Y

HELLO.

Thank you for taking an interest in my design work and studies. Through this visual representation of myself I hope you will gain at least a small understanding of the ideas and concepts I value as an architect and designer. First and foremost, I believe that the study and practice of architecture should reach beyond the simple design of structures. In my mind, people (and their environment) are the only reason for the existence of architecture itself, so gaining an understanding of their wants and needs should be the primary source of inspiration in any design, not my own aspirations.

Throughout my undergraduate years at Ball State, I have been extremely lucky to work with professors who have helped me to continually define and redefine my goals and skill set. One of the concepts I came away with, which has become particularly useful at this stage in my life, is one of personal limits. I often get “bogged down” with the pursuit of the one ideal design; the “perfect” final solution. However, after a few long years of struggle, I finally realized that, no matter how much time, energy or effort I put into a project, perfection is really impossible. Another way of looking at it, however, is that there is an infinite number of “perfect” designs solutions. Just as there are thousands of different species of plants and animals that have evolved and adapted to any one specific environment, so too are there many building or design adaptations that could be implemented in a specific “design environment” and be could be comparably successful in different ways and for different users.

The idea of “limits” in the field as a whole is also important to me. I feel that it is empowering for everyone involved to realize our limitations; that, we, as architects cannot change the world single-handedly. However, we can use the skills and tools that we have developed to make the differences we are capable of. We can design places and make decisions that help to create new environments that are beautiful, safe, and add on to a system of already rooted and flourishing community connections; and we can do our best to promote healthy, culturally and emotionally rich lifestyles. Using our specific “architecture” skill set, we can help build the literal and figurative framework for other people’s lives as well as our own; a physically built framework that allows people physical comfort and accessibility, but also an emotional framework that helps gives them the freedom to also flourish and use their unique skill set to its fullest potential.

That is what I hope to do; to in some way use my talents as a designer to create a ”jumping off” platform for others by helping to provide one of the most basic of human necessities, a comfortable environment for their daily lives.

1

1 //

B AC KG R O U N D

2 //

P R OJ EC T S

3 //

CONTENTS 3

5

TOPOS /CRIPE Competition

5

Cultivating Connections / Aqauaponics Center

9

Berlin Wall Museum

13

SUSTAIN / Expo + Pavilion

17

Contraposition / ICMA Competition

21

ATLAS Border Crossing / ASCA Competition

25

S T U DY A B R O A D + T R AV E L

29

CAP Americano 2014

29

Muncie Makes Exhibit

29

Experiencia Proyectules

31

4 // P H O T O G R A P H Y

33

2

[1] B A C K G R O U N D C

O

N

T

A

C

T

( 3 1 7 ) 4 2 8 8 1 4 0 c j m i t c h e l l @ b s u . e d u P R AY E R R I B B O N S ,

K E K LO K S I T E M P L E , P E N A N G M A L AY S I A .

1 // B A C K G R O U N D

2 // A W A R D S / E X H I B I T I O N S / L E A D E R S H I P

2 // R E L E V A N T S K I L L S

M a r i on U n i vers i ty

Ind iana Concrete Mas on a ry As s oci at i on Com pe t i t i on , 20 12.

Ad obe Suit e

Ba l l State U n i vers i t y

ACSA/AISC Steel D es i g n St u d e n t Com pe t i t i on , 2 0 1 3 .

G en era l Advance d St u d ies .

B .S., A rch ite ct ure .

Fina l is t a nd H o no ra bl e M e n t i o n .

Fina l is t .

C R IPE Breaking Ne w G r ou n d Com pe t i t i on , 2 0 1 4 .

L AN G UAGES E ng lish French

3

Fina l is t a nd H o no rs Awa rd .

Muncie Makes L ab

CA P A merica no Pre se n t at i o n .

Ball State Univer s i t y U SG BC St u d e n ts E x ecu t i v e Crea t ive D irec to r, 2 0 10 - ’ 11.

Vice- Pres id ent , 2 01 1- ’ 12.

Co - Pres id ent , 2 01 2- ’ 14.

P h o to s h op I l l u s t ra to r InDesign D rea mwo r ks

3 - D Mod el ing R h i n o ce ros 3 D V - Ray fo r Rhin o Au to Cad Revi t 3D S M a x

4 // W O R K E X P E R I E N C E

5 // V O L U N T E E R W O R K

6 // T R A V E L + O T H E R

L e ec h Hen s l ey A rchitects, Inc, Summer

H a bi tat for Hu m an i t y . 2 0 0 9 - 1 4 .

P l aces I v e B e e n:

2 0 1 2 . Inte rnsh ip.

I n te rn ati o nal Tal ent Acad emy, 2009 2 0 10 . Piano and ge nera l mu s ic tea c h er.

P r i vate P i an o Teac her, 2008 - Prese nt .

Week ly private piano l es s o ns fo r a g es 3 adult .

Da mas k Cafe, 20 13 - 2014 Ho stess and se rve r.

Scot ty’s Brewho u se, 2014 - Prese nt Ho stess and face paint ing .

B e H ere N ow, 20 14 - Pre sent

C raft be e r and music venu e. B a r tend er.

Wo r ks i te Vo l u n te e r .

G re e n bu i l d I n t e r n at i on a l Con f e r e n ce, 201 3 - ’1 4 .

S t u d e n t Vo l u n te e r .

Mu n ci e - D e l awa r e Cl e a n an d B e au t i f u l , 201 2 - ‘1 4 .

W hi te R i ve r C l ea n u p.

L ivi n g Li gh t l y Fa i r .

New Zeal a n d , Au stra lia , UK , Ita ly, Sp a in , Po r t u g al , A rge ntin a , Ecu a d or , Tor tola , BV I , Ca n a da , Pe n a n g , Ma la ysia , & Chin a .

O rg an i ze d t r i ps : CAP Am e r ica n o & CAP As i a .

P h otog r a ph y

D i g i t a l an d b e g in n e r film .

Cl as s i cal P i an o & Pe dag o g y O u t d oor s po rts

Cam p i n g, h i k i n g , ka ya k in g , sa ilin g , te n n i s !

G ar d e n i n g + pe r mac u lt u r e

W E B S I T E cjmdesignportfolio.tumblr.com T R A V E L B L O G archeetekturist.tumblr.com

+

E X P E R I E N C E

4

Design migrant worker housing + services.

P lace

/

Finalist + Honor Award

L o c at i o n

/

Coachella Valley, CA

G r oup

/

Greg Sheward

Role

/

Design Collaboration + Final Renderings & Graphics

P r of es s o r

/

Jonathan Spodek. Fall 2014..

Through the parameters of environmental factors and the zonal arrangement of the site, and adaptive relationship between topography and dwelling occurs.

The result is a low maintenance, low long-term cost dwelling with integrated spaces for recreation and social activities and services.

5

T

O

AFFORDABLE

HOUSING

P

FOR

O

EVERYONE

S U N

CRIPE Competition

P L A N T S

/

W AT E R

Project

A I R

[2]

S

COUPLE/SMALL FAMILY UNITS CIRCULATION

ISO

OPEN/SHARED SPACE

N

OPEN

RR HA

LOWEST

S I T E O R G A N I Z AT I O N

LARGE FAMILY UNITS / RM E FA AC EE SP TR PEN O

TO N Y TIO IT EC UN NN MM CO CO

STREET LEVEL

ST

N

W O ET

W VIE IN G D TA TIN O UN XIS RHO MO + E BO IGH NE

P R O C E S S

DENSE

HIGHEST

L IDD

M

ST

LARGE FAMILY

15

15

COUPLE / SMALL FAMILY

=

30

SINGLE

L

60 TOTAL

IA

TR US

IND

N

ENVIRONMENTAL (SOLAR EXPOSURE)

ZONING

FINAL SITE PLAN

INTEGRATION

ING

Using the constraint of southern exposure + mountain views for each dwelling unit, an approximate height was determined for each area of topographical change. Then, a goal number of units for each type was determined, (using estimated census data from the surrounding regions such as Thermal, CA, which is home to about families, half individuals living alone). With total goal of about 60 units, this was divided into about 25 single units, 15 large family units (4-6 bedrooms) and 15 small family units (2-4 bedrooms).

ING

SS MA

LL

E DW

Using the simplest form for the housing module, a square, each topographical region’s area and exact shape was determined by populating with the desired number of units. Finally, the pathways of circulation, shared open space, semi-private open space, and social service/ community buildings were formed by the intersticial space outlined by the creation of the topographical regions.

C O M M U N I T Y

+

S O C I A L

Because of the vast array of services needed in this area an lack of accessibility to necessary services, the community center acts as both a meeting place for community activities as well as a subdivided multipurpose space for rotating services such as: [1 ] [ CO NSTAN T ]

[2 ] [ROTAT ING]

Fo o d M a rke t Afte r Scho ol / Da y ca re ce nte r Com m u n i ty g a t h e r i n g sp a ce Spor ts

Hea l th ca re /Med ica l Cl in ic Ad u l t Ed u ca tion Tu tor in g S e r v ices

N+ TIO ACE A L P U IRC D S N C ARE RIA SH

S E R V I C E S EST

PED

SHARED OPEN SPACE/ SPORTS FIELD

N

TIO LA

INTEGRATED COLORED SOLAR PANELS

LIVING MACHINE CELLS

AR

UL

HIC

VE

CU CIR

SLOPED SEATING AREA CENTRAL WALKWAY

N

IO AT

PARKING FOR SOCIAL SERVICES

GR TE

IN ENTRANCE

6

S Y S T E M S E N V I R O N M E N T A L

Nestling the dwellings into the side of the designed slopes + use of solar chimney allows for maximum use of the thermal mass of the earth for cooling. In this environment, earth tubes, which pre-cool outside air for use indoors, must be embedded into the earth at least 10 ft underground. Each “mound” has an interconnected series of earth tubes attached to each dwelling in the mound.

[ SOLAR CH IMNEY ]

COOL AIR

WARM AIR

N at u r a l L i g h t i n g + E n e r g y P r o d u c t i o n Approximately uniform southern orientation allows for maximum natural daylighting of the interior space + solar energy collection. Using glazing-integrated photovoltaics such as GreenSun Energy solar panels, which use 80% less silicon than traditional cells and can be used both in direct or indirect sunlight. With a 12% efficiency rate, the panels can produce energy for approximately $2.44/W less than conventional cells by diffusing sunlight over the whole panels and delivering the energy to the silicon-coated edges, instead of coating the entire unit. They come in various colors of clear glass-like sheets which can be incorporated into the building facade.

Wat e r R e u s e + L i v i n g M a c h i n e Integration into the sloped system allows for natural water pressure as it runs from the top of the mound to the bottom. From there, the opposite, uninhabited side of the slope is used to house a series of botanical “living machine” grey + blackwater treatment cells, which can then either be pumped back up and recycled through the dwelling units for non-potable uses.

[1] [PRIMARY TANK] Wastewater enters and begins treatment proccess with bacteria.

[2] [WETLAND CELLS STAGE ONE] Pumps are used to fill + drain cells, promoting rapid oxidization [3] [WETLAND CELLS STAGE TWO] Second round of tidal cycles finalizes separation of solids.

[4] [POLISHING MODULE] Final stage for treated water using UV or chlorine to completely disinfect.

S] [ EARTH TUBE N

7

A i r C o o l i n g + C i r c u l at i o n

[SKYLIGHT]

WINTER SUN SUMMER SUN

SINGLE

D

W

E

L

L

I

N

G

C

1 BED | 1 BATH

U

S

BATH

DOUBLE

T

O

IT HEN

512 SQ. FT BATH

IT HEN

LI ING ROOM BEDROOM D

M

I

1-2 BED | 1 BATH

Z

800BATH SQ. FT

A T

IT HEN

BEDROOM TWO

BEDROOM IT ONE HEN

I

O

N

Each dwelling star ts with a base unit; either a 20x20 ft or 16x16 ft. square. For smaller (1-2 occupant dwellings), each contains a LI ING ROOM ING frontal semi-private unit containing kitchen and living room, and a LIsecond recessed unit containing bedroom and bathroom. For ROOM LI ING larger family dwellings an infinite number of aggregations of base units is possible, created BATH ROOM BATH 16 FT by stacking both above and below the ground depending on location relative to site.

20 FT

IT HEN 16 FT

Square Footage Price for Construction (Material + Labor): [$99.40/SF]. City Index: [1.03].

DOUBLE SINGLE SMALL FAMILY _$ footage x city index. 1-2 BED | 1 BATH LI ING 1 BED | 1 BATH D O U B L E S I NCost G L Edetermined by square SINGLE

1 BED | 1 BATH

512 SQ. FT

1 BED | 1 BATH

512 SQ. FT

1-2 BED | 1 BATH

800 SQ. FT

512 SQ. FT

SINGLE [ SINGLE 1 BED | 1 BATH

BEDROOM D

DOUBLE

1-2 BED | 1 BATH

800 SQ. FT

BEDROOM TWO BEDROOM 1-2 BED | 1 BATH ONE

BEDROOM BEDROOM D ONE

512 SQ. FT 1 BED BEDROOM | 1 DBATH

$ 52,429.58

BATH

S I N G1 Lbed E $

BATH BEDROOM D D 1 BED | BEDROOM 1 BATH

IT HEN

BATH

BATH

$ 1 bath IT HEN

BATH

BATH 512 sq. ft.

LI ING $BEDROOM D

LI ING ROOM

800 SQ. FT

IT HEN BATH BEDROOM BATH ONE

LI ING ROOM

IT HEN ROOM IT HEN

LI ING ROOM

S MF A LAL F MA MI ILL YY 16 FT 1 BATH S M ALI ING L FT L F A M2-4 IBEDL | Y BEDROOM D OM 16 800-1,200 SQ. FT BEDROOM ROOM

800-1,200 SQ. FT $ 122,858.40

SMALL FAMILY $ 2-4 bed M A 16L FTL F A M I L Y 2-4 BED | 1SBATH 800-1,2002-4 SQ.BED FT |BEDROOM 1 BATH

$ 1-2 bath

ONE 800-1,200 SQ. FT

BEDROOM TWO

BEDROOM ONE

$ 800-1,200 S Msq. A L ft.

L FAMILY BEDROOM 2-4 BED | 1 BATH

ONE

800-1,200 SQ. FT

LI ING ROOM

1ST FLOOR

IT HEN LI ING ROOM IT HEN IT HEN

20 FT

LI ING ROOM LI ING ROOM 20 FT

LI ING BEDROOM ONEROOM

+

2-4 BED | 1 BATH

800-1,200 SQ. FT

LARGE FAMILY RGE FAMILY 4-6 + BED L | 2 +A BATH 20 FT

$ 2 + bath 20 FT L A R GBEDROOM E F A BEDROOM MILY TWO BEDROOM THREE

BEDROOM 4-6 + BED | 2BEDROOM + ONE BATH ONE1,600 + SQ. TWO FT

2ND FLOOR

BEDROOM THREE

2ND FLOOR

20 FT

LI ING ROOM

FI E

BEDROOM FI E

BEDROOM FI E BEDROOM BEDROOM SIFI E BEDROOM FOUR

1ST FLOOR

20 FT 1ST FLOOR

L ABEDROOM RGE FAMILY SI 4-6 + BED | 2 + BATH 1,600 + SQ. FT

2ND FLOOR

BEDROOM SI

BEDROOM FOUR 2ND FLOOR

+

C O N S T R U C T I O N Use of rammed earth aesthetically merges the dwellings into the surrounding landscape and hill itself.

Because rammed earth as a building material needs sufficient uninterrupted support, all openings through the walls are limited to one wall.

20 FT

IT 20HE FTN LI ING ROOM

BEDROOM FI E

+

LI ING ROOM

IT HE N

BEDROOM SI

2ND FLOOR

LI ING ROOM

BEDROOM FI E 1ST FLOOR

N BEDROOMIT HE BEDROOM TWO THREE

BEDROOM ONE

BEDROOM SI

2ND FLOOR

BEDROOM FOUR

2ND FLOOR

BEDROOM BEDROOM D OM FI E FOUR U

BEDROOM FOUR

BEDROOM TWO

BEDROOM SI 1,600 + SQ. FT BEDROOM BEDROOM BEDROOM 1ST FLOOR ONE TWO THREE BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM TWO FOUR THREE ONE TWO FOUR THREE 1,600 + SQ. 4-6FT+ BED | 2 + BATH

BEDROOM THREE

+ sq. BEDROOM ft. $ 1,600BEDROOM ONE TWO

BEDROOM D OM FOUR U

BEDROOM FI E

20 FT

LI ING 1,600 + SQ. FT $ 163,811.20

L A R G E ROOM FAMILY | 2 + BATH S M A L L 4-6 A4-6 M I L+ Ybed $F+ BED 1,600 + SQ. FT 1ST FLOOR

BEDROOM THREE

FA M I LY ]

IT HEN

L20AFTR G E F A M I L Y 4-6 + BED | 2 + BATH

IT HEN

ING 4-6 + BED20 | 2 FT +LIBATH 1ST FLOOR 20 FT 1,600 + SQ. FTROOM 1ST FLOOR

[ L A R G E

1ST FLOOR

1ST FLOOR

4-6 + BED | 2 + BATH

BEDROOM ONE

BEDROOM THREE

LI ING ROOM

20 FT

1ST FLOOR

BEDROOM D OM FOUR 16 UFT

2ND FLOOR

1ST FLOOR

IT HEN

LI ING ROOM

2ND FLOOR

BEDROOM TWO BEDROOM BEDROOM TWO ONE

BEDROOM TWO

BEDROOM ONE

LI ING ROOM

IT HEN

BEDROOM D OM FOUR U

2ND FLOOR

BEDROOM D OM BEDROOM 20 FT U THREE LI ING FOUR 20 FT ROOM

LARGE FAMILY IT HEN + BED | 2 + BATH LARGE FAM L AI LRYG E F A 4-6 M ILY 1,600 + SQ. FT BEDROOM 1,600 + SQ. FT

$ 800 sq. ft.

2ND FLOOR

2ND FLOOR

20 FT 2ND FLOOR

BEDROOM TWO BEDROOM THREE 2ND FLOOR

BATH

IT HEN

LI ING BATH ROOM

LI ING 20 FT ROOM

BEDROOM D OM BEDROOM BEDROOM BEDROOM FOUR U THREE BEDROOM BEDROOM D OM TWO ONE FOUR U THREE 20 FT

BEDROOM TWO

IT HEN IT HEN

$ 1 bath IT HEN

]

FOUR U

THREE

2-4 BED | 1 BATH

800-1,200 SQ. FT

SMALL FAMILY

2-4 BED | 1 BATH $ 1-2 bed 800-1,200 SQ. FT

LI ING ROOM LI ING 20 FT ROOM IT HEN

20 FT

IT HEN

BEDROOM TWO BEDROOM ONE

BEDROOM ONE

BEDROOM D IT HEN

BATH

[ S M A L L SMALL FAMILY 2-4 BED | 1 BATH

BEDROOM TWO

LI ING IT HEN ROOM IT HEN

16 FT

LI ING ROOM LI BATH INGFT 16 ROOM

16 FT

DOUBLE

IT HEN

BEDROOM BEDROOM 1-2 BED | 1 BATH TWO ONE 800 SQ. FT

$ 81,905.60

BATH

BEDROOM D OM FOUR U

DOUBLE

16 FT

512 SQ. FT

1-2 BED | 1 BATH

512 SQ. FT

D O U B L E ]

800-1,200 SQ. FT

1 BED | 1 BATH

BEDROOM BEDROOM TWO BEDROOM ONE BEDROOM BATH TWO ONE

IT HEN

SMALL FAMILY

BEDROOM 2-4 BED | 1 BATH TWO

S I N G L E[

800 SQ. FT

512 SQ. FT

800-1,200 SQ. FT

BEDROOM BEDROOM ONE TWO

800 SQ. FT 1-2 BED | 1 BATH

20 FT BEDROOM THREE LI ING ROOM D OM BEDROOM BEDROOM FOUR U THREE

2-4 BED | 1 BATH ROOM

800 SQ. FT

S I N G L E ]D O UD BOLUEB L E

IT HEN

BEDROOM FI E

8

[4] Project /

FARMER’S MARKET

NOMAS Compe t it io n .

Using t h e site o f t h e exist ing aband o ned Divine Lorrain e H o tel , de sign a com mu nity living space + re side nt ial area fo r community memb ers .

L o c at i o n /

Philadelphia, PA.

Pr of es s o r /

Olon Dotson. Fall 2014

The model for this project, a co-op living arrangement, was selected as a successful existing example of a similar development down the street in the same neighborhood, the entirely resident-owned and funded Friends Housing Cooperative, in which residents share a community garden space as well as pitch in money for building cleaning, maintenance etc, in exchange for a safe, friendly living environment.

WWW.FRIENDSHOUSINGCOOPERATIVE.COM

WEST POPLAR URBAN GARDEN + CO-OP

CULTIVATING CONNECTIONS

9

SYMBIOSIS

This community design centers around symbiotic relationships on two interconnected scales. On the smaller scale, a microrganic relationship contained within the aquaponic system, and on the larger scale, the West Poplar community's relationship with surrounding Philadelphia. Just like the mutually beneficial relationship of the aquatic and plant life, human life in the community forms a symbiotic relationship with the rest of surrounding Philadelphia by providing a series of benefits-fresh healthy local crops and food, a safe public space for community events such as concerts and farmers markets, and a science center/learning environment for the youth of the area. At the same time, the Divine Lorraine co-op members receive a safe place to live and work, fresh food, and a monetary reward for their labor.

The physical design of this center is all about this idea of symbiosis and interconnection. Breaking down the urban edge to increase interaction between all of the living groups involved (aquatic life, plant life, and people) is the primary motive of every design choice.

Centering the design around a living tower containing the plant and water organisms, slivers of “human space� jut in and out of its core, a massive south-facing tower maximizing both solar collection and human interaction. Extending away from the greenhouse, site lines and topography aim at meeting with street level activity to increase interaction with the surrounding neighborhood. Using easily-accessible sunken green levels, a semi-covered green space/farmers market area allows inside activities to be separated from the street, but also visible and enticing towards the pedestrian on street level. Other axes connect the north and south ends on street level, as well as gesture towards the main vehicular street to the west.

MICROBES + WORMS

SOUTH ELEVATION

10

G

N Y L V

F A I R M O U N T

A

CITY

N IA

A E

SOU TH

V

SOUTHWEST

R

A

R

FA I R M O U N T

S

CENTER

I

E

KENSINGTON

P

WE ST

LO W E R N O RT H

A V E

S P R I N G G A R D E N S P R I N G

D

ELPHIA

S

T

W E S T P O P L A R

G A R D E N

S T

UP P ER NORTH

NEA R NORTH

N O RT H

5 T H

C HESNUT OLNEY HILL OAK LANE

PHILAD

BROA D

[ West Poplar ]

is mostly a residential area, with some commercial on Broad Street and Girard Ave. The area was originally comprised of many single-family row homes before the Great Depression, but most were bulldozed in the late 1930's to build a low-income public housing project: the Richard Allen Homes,. However, by the 1870's - 80's, the area fell into disrepair and became a center for crime. Another housing project, the highrise Cambridge Plaza, was constructed in 1957 and again demolished in 2001 to make way for more suburban-style single-family homes. A housing complex that still exists today and is recently prospering is the Friends Housing Cooperative ( FHC ), built around 1850 and reconfigured into an apartment community in the 1950s. Public Transit includes access to the Spring Garden Subway Station at Broad St and Spring Garden.

LO W E R

FA R NORT HEAST

N

CO N T E X T

S T

[ FAIRMOUNT ] Is considered one of Philadelphia’s most disireable districts, including [ SPRING GARDEN ] Mostly divere-styled residential neighborhoods as well as some a strip known as the “Museum District” containing most of the city’s museums and cultural attractions. The area was originally farmed, but became popular for prominant families of the city for establishing countryseats during the early 19th century. In the 1920’s and 30’s, three institutions took residence in the area; one of which, the Fairmount Dam and Waterworks, which used water power to pump water from the Schuylkill River to residencies and business in the area. The protection of the river for this use later helped to bring on the purchase of lakeside property to become Fairmount Park, on of the world’s biggest municipal park systems. Today, Farimount Ave contains many bars, restaraunts, and shops. .

NORTH ELEVATION

11

cultural attractions such as the Rodin Museum, the Central Library of Philadelphia, and the Barnes Museum, many playgrounds, and a community garden. The area was originally part of Spingettsbury Farm Manor, established by William Penn, which was then subdivided into two estates. In the 1800's they were subdivided again into alignment with the city grid. Later, the area was home to much heavy industry such as Baldwin Locomotive Works and many machine tool firms. The area includes one public school, one private school, J. W. Hallahan's Catholic Girls High School, and several churches.

Divine Lorraine Community Involvement The community center, which also is integrated into some of the functional aquaponics spaces used for those working in the gardens. Wrapping around the tower, it has a full glass wall shared with the tower itself so as to both be surrounded by plants and greenery, as well as to be able to witness the processes in real time for maximal real learning opportunities .

NE L ORR AINE

TRA N S TAT S I T ION C O

MM

UN

IT

Y

WA CE

NT

LKW

AY

ER

ME LO N

IRM OU NT

GRO WIN G TO WE R LE AR NIN G CE

FA R

ST .

MER

NT

ER

S MA RKE T

AV

E.

ST.

FA

13TH

DIVI

N.

The central, unifying aspect of the design, the aquaponics tower acts as both a producer of food and jobs for community members, but also a space to integrate other necessary spaces, including a chapel nested into the upper floors, surrounded by greenery and seemingly floating above the city streets, as well as the learning center, which can be accessed directly from the ground level and wraps around the aquaponic towers main level.

BRO AD

Aquaponics System Food Security

N.

In this proposed plan for the site, the Divine Lorraine itself becomes community housing. Adjacent to and connected with underground public transportation on the southwest corner, this plaza then becomes a public access point for nonresidents as well as a main entrance for Divine residents coming home.

ST.

FARMER'S MARKET Economic Stability

Learning Center Youth Involvement Finally, community members economic stability can be strengthened and become a collaborative activity by using the aquaponics tower to provide a way for those who do not have the funds to fully pay for their space in the Divine Lorraine., Working in the gardens or helping to sell the produce and fish at the farmers market can help offset that cost.

S I T E P L A N

12

[3]

Project /

Select a person, thing, or event that had a major impact on history and design a museum around it.

L o c at i o n /

White River Park, Muncie IN.

P r of es s o r /

Rod Underwood.

Fall 2012.

The Berlin Wall, from its instatement in 1961, became a long-term symbol of oppression and segregation. However, it also became a symbol for the fight against this oppression, in the form of the bright, protesting graffiti on the western side, as well as the emotional unity people both sides felt.

This museum aims at creating an experience that allows the visitor to understand both sides of the wall and the effect it might have had on the residents of East and West Berlin.

13

BERLIN WALL MUSEUM COMMEMORATION + CELEBRATION

The Berlin Wall evoked a range of intense emotions- from the cold isolation felt during its instatement to the passionate celebration of its tearing down.

The Berlin Wall Museum and Arts Center is a space that envelops visitors into the very heart of this emotion. Paralleling the emotional journey of Germans at the time of the Cold War, The spacial experience of the Museum brings two main spaces together, gradually crashing towards a frozen moment of crisis, but convening at a central moment of intense celebration and unification. Visitors enter the building from long driveways at this point of convergence. From there, they are given a choice of continuing to the dark, roughly-hewn and confined East Berlin side of the museum, characterized by utilitarian space, or to the West Berlin side, a spacious, colorful, and light space including art exhibits and overlooking the grounds and river.

14

[ 1 ] A u d i to r i u m With easy access from t h e f ro n t e n t ra n ce , t h e auditorium space is then accessible for both museum-related events and other community functions.

Fa c i n g t h e W h i t e R i v e r and outdoor park space, i t h a s p l e n ty o f n a t u ra l light and beautiful views through every season.

[2] Entrance

A u d i to r i u m

I n f o r m at i o n Center

West Berlin Exhibit

East Berlin Exhibit

15

T h e e n t ra n ce s p a ce i s the connection between the two main spaces, a ty p e o f “ n e u t ra l ground� containing the information center and an open area from which the visitor can choose which space to enter first.

Trash/Loading Dock

East Berlin Exhibit

S o u t h e r n E l e v at i o n

Auditorium

[2]

L o bb y

Office Front Desk

W e s t e r n E l e v at i o n

West Berlin Exhibit

[1]

Snack Bar

Auditorium

S e at i n g

[ 3 ] F LO O R + SITE PLANS From plan view, all site lines co nve rg e a t t h e ce n t ra l p o i n t o f e n t ra n ce i n to t h e m u se u m space, with the main axis being a h o r i zo n t a l p a t hwa y o f b ro ke n pieces of full scale recreation B e r l i n Wa l l , c h ro n i c l i n g i t s history and context before and after its instatement.

16

[ 5 ] S U S TA I N E X P O /

Create a series of 5 pavilions that are related to the concept of sustainability.

L o c at i o n

/

Worldwide

Group

/

Taylor Henderson, Ben Hensel, Roloung Tong, & Sofia Pietrita

Role

P r ofes s o r

/

/

Design collaboration + Food Security & Industry Pavilion Jonathan Spodek. Fall 2014

What does [SUSTAINABILITY] mean, anyways? And how does one go about educating the public about it? The main goal of [SUSTAIN EXPO] is that it can never becomes obsolete. In contrast to the one-use Olympic type stadium that goes into disrepair after its big hurrah, it is continually traveling, evolving and connecting to the people who have the power to make the difference.

17

1

TOPIC.

5 PAVILIONS

?

...

INFINITE POSSIBILITIES

[ SUSTAINABILITY ] and how it affects the daily lives of the inhabitants of an average urban environment + how they can learn to integrate it into their lives.

Where we’ve .

been.

[ 5 PAVILIONS ] connected through technology to create an urban scavenger hunt through multiple sensory dimensions.

[ INFINITE POSSIBILITIES ] for connection of places both on the small scale city-wide and on the larger scale throughout the world.

Infinite possibilities for reuse and re-purpose.

D I G I T A L

Where we’re

Where we

are. <<

Project

G L O B A L L Y

[TRACK] the exhibit’s journey and [VOTE] on where it goes next. People connected to phones connected to the pavilion’s system, connects the pavilions to each other and, in turn to other people in the community. The pavilions then connect to themselves in an endless line of locations they have visited, connecting places, communities, and people through technology.

L

O

+ C

GOING.

A

L

L

Y

Central info station + Digital Guestbook

[1 ] 5 sec tors of s u s t ainability

[ 4] To pic Breakdown

[3] How it effects our daily lives

[1] The urban challenge + conflict and environmental degradation

<<

[2 ] 5 e qu al p a r t s o f a w h o l e is s u e

[2] Energy + Industry [3] Population and Human Resources + Species and Ecosystems

[5]

<<

<<

Food Security + [4] Industry Managing the

Commons + Population and Human Resources

<< c o n n e c t e d

8’

Using a central [ INFO STATION ] each pavilion connects to their current sister pavilion locations (community-wide) as well as to the entire expo’s past and future locations (worldwide). This becomes a type of urban scavenger hunt to track down and sign into each location before it moves onto a new city, as well as be able to have a small connection with other cities worldwide who are making efforts to be more environmentally conscious.

45’

12‘

12‘

S T A N D A R D I Z E D

<<

Signing in to the [ DIGITAL GUESTBOOK ] lets them connect to others on both scales, as well as gives useful information for the expo to keep track of how many people have been affected.

9.5‘

So as to most easily and accessibly be able to relocate the exposition to new cities every [ SIX MONTHS TO A YEAR ], the constraints for each pavilion are that each needs to be able to be constructed either from materials that are cheap and easy to find on site, or can fit on a standard truck bed or similar storage container for air transportation. Each pavilion can entirely be assembled, reassembled, stored, and transported in 1/5 of a standard shipping container (9’ x 8.5’ x 12’).

<< m

o

b

i

l

i

z

e

d

18

[6] FOOD P r o j e c t / Design a pavilion that engages the average urban community in a discussion about food security and can fit into a 9.5’ x 8’ x 12’ cube.

L o c at i o n / Worldwide Pr o f es s o r / Jonathan Spodek. Fall 2014 There is so much we take for granted about our food system. This pavilion aims at bringing to light some of the most shocking things about the food we eat every day, as well as some things we can do to create a healthier, safer food culture for both our immediate community and our worldwide community. Its design is based off of a diagram of the basic elements of food security at different scales of society.

SECURITY PAVILION Q. how many miles does it take to get one item of food the farm to your plate?

A.1200 miles

a.100s

[2]

Q. how long could the average city last if cut off from outside food supply?

A.3 days

19

Q. how many cows does the average fast food burger contain?

G R O W I N G

INTERACTION NODES

O P T I O N S

Using one deconstructable lightweight bamboo frame, the pavilion can

Pose interactive questions about food security to pedestrians walking by.

easily be fit into the 8 X 9.5 X 12 cube. Once reconstructed on site, the planters can be added by using either recycled [ PLASTIC BOTTLES ] or [ MILK CRATES ], or whatever else can be made to fit into the flexible framework. Its construction and maintenance as a garden can become a community-wide activity for adults and school children.

ALGAE ENERGY GENERATORS Strings of algae tubes along structural members collect sunlight and convert to energy to power electronic components of the pavilion.

CENTRAL INFO STATION Digital guestbook + maps of the pavilions current and future journeys

storage DESIGN ONE - Uses recycled [ PLASTIC

C O M P O N E N T S

+

T R AV E L

BOTTLES ] as planters.

DESIGN TWO - Uses recycled [ MILK CRATES ] as planters.

The form itself comes from a diagram of the four major aspects of food security.

Pedestrians walking by are first contacted through the extending â&#x20AC;&#x153;interaction nodesâ&#x20AC;? [1] that electronically pose questions about food security. From there, visitors can have these questions answered at four screens [2] inside the pavilion itself. The pavilion also acts as a demonstration for how urban dwellers can grow produce themselves, using recycled materials such as plastic bottles and milk cartons.

INTERIOR RENDERING

20

[7] C O N T R A | P O S I T I O N Project

/

ICMA Masonry Compe t it ion.

De sign a mixe d use block inc l u d ing st ude nt dormito ries + re late d se rv ices , re t ail, apar t m ent s , a nd ope n space .

P lace

/

Finalist +H onora b l e Me nt ion

L o c at i o n

/

For t Wayne , I N

P r of es s o r

/

Rod Unde rwo o d , Fa l l 2012

21

[1] CENTRAL PEDESTRIAN WALKWAY

TIFFIN RIVER

MAUMEE RIVER

E

WAYN T R FO

CIT Y | R IV E R CO M M U NI TY

New and old, town and university, city and nature. Connecting these elements was the key to creating a successful built addition to both student life and the permanent community of Fort Wayne, Indiana.

Using the ground plane of the city as a whole, a strictly linear, gridded street organization overlayed with the free curves of the Maumee and Tiffin rivers, I created my own contraposition at a smaller scale to inform the ground plane of this block.

Starting by using the existing neighboring houses as the endpoints to the initial grid, I then, used the vertices created to inform a curvilinear pattern overlayed.

This interplay of the two elements gave enough room to then formulate a threedimensional design that could react to its immediate surroundings and create as much interaction with the street level as possible.

[2] DORMITORY ENTRANCE

[3] INTERIOR ELEVATION

22

Fo r m

[1] Extending lines from neighboring structures for initial grid.

[ 4 ] D O R M I TO RY CO M M O N R O O M Each dorm room or common area has a direct view either out into the city or into the inner co u r ty a rd .

[2] Grid vertices used to inform the overlayed curves.

[ 5 ] D O R M I TO RY AT R I U M

[3] Merged to create the baseline for three-dimensional design

[4] Final site plan.

23

A ce n t ra l s p a ce w i t h e n t ra n ce s both to the exterior and interior. This space, with its tall vertical wa l l o f g l a z i n g facing the road, acts as guiding light to students coming home.

UNIVERSITY

W. MAIN STREET

to the

A RT S D I S T R I C T

L

K

W

A

Y

[1]

C

E

N

T

R

A

[2]

L

W

A

T. EWING S

FA I R F I E L D A V E .

to the

W. BERRY STREET U N I V E R S I T Y

O F

S T .

F R A N C I S

N

P E R FO R M I N G A RT S C E N T E R

24

[8] Project

/

Design a boarder crossing station between the US and Canada.

L o c at i o n

/

Detroit, USA.

Group

/

Gregory Sheward.

Role

/

Design collaboration + final renderings & graphics.

P r of es s o r

/

Olon Dotson. Spring 2013.

PERMEATE: to flow freely between spaces, no barriers. A guiding membrane rather than a destination. To flow through the landscape, merging into it rather than covering it. Integration of country, time, place, and community.

The goal of this project was to create a building as undisturbing to the existing community as possible. Since what is really important at the border between two countries is not the physical border itself, but the two countries it unites, we wanted to view the physical border crossing station as a subtle addition to the surrounding culture and landscape rather than a grandiose landmark of their division.

25

[ 1 ] E A S T E R N â&#x20AC;&#x153; R E S T O R E D â&#x20AC;? FA C A D E

75

AT L A S

DETROIT,

UNITED STATES

DETROIT,

BELLE ISLAND PARK

I96 ROIT

DET

AMBASSADOR BRIDGE

R

RIVE

LAKE ST. CLAIR

A N A DA PT I V E R E U S E P R OJ EC T

UNITED STATES

Atlas explores the idea of a border crossing as a permeable membrane; a space that is transition rather than destination.

WINDSOR,

CANADA

A subtle but guiding force of movement. The experience begins by submerging the approaching traffic from Canada, guiding it underneath the existing community to maintain existing street flow above. Approaching the crossing, it

DELRAY

I75

slowly rises to meet the ground plane, pausing to open up

ZUG ISLAND

BELLE ISLAND and momentarily engulf the traveler in Detroitâ&#x20AC;&#x2122;s essence at PARK the first checkpoint. Once through this first level of security,

I96

various pathways funnel through the site and building,

VER T RI

bisecting its core, then release travelers into the rest of the city.

ROI DET

WINDSOR,

The building itself is the re-purposed Atlas iron foundry,

CANADA

embedded into the time and place of Detroit and left

FIGHTING ISLAND

AMBASSADOR BRIDGE

largely untouched since its working life. This open structure maintains its integrity except for two axes sliced through it. One, a glass atrium of glazing, engulfs the space with light and exposes the bones of the buildings structure. The second is a traffic lane and pedestrian walkway for secondary inspection running straight through the buildings heart,

DELRAY ZUG ISLAND

covered by an undulating acoustic ceiling, which merges its structure into the existing building, but deconstructs and lightens as it moves away from the center and into the landscape. These two axes cause the space to be visually [ 2 ] U N R E S T O R E D FA C A D E

permeable to all corners of the buildings core, but allow

Ol d AT L AS I ro n Fo u n d r y , 131 S . L i ve r n o i s Ave, D e t ro i t .

spaces to become semiprivate or private when needed.

26

Structure

[ 3 ] Cu stom s Ha ll L ig ht she lve s p e r m ea te the in te r ior sp a ce with n a tu ra l lig ht.

Exist i n g Bu i l d i ng - O l d At l a s S tee l Fo u n dry

Fo llow ex i s ti n g l i n e s to re m ove cent ra l a rea o f b ui l d i ng

[ 4 ] Ext e r ior Ve hicu la r Cir cu lat ion Fo llow c u t l i n e s to c rea te a x i s

Use a x i s to c rea te ve h i c ul a r a n d p edes tri a n pa ssa g ewa y t h ro ug h s ite

27

Slive rs of lig ht throu g h the a cou stic ce ilin g a n d s tr u ctu re d a p p le the a xis throu g h the hea r t of the b u ild in g .

Form

[ 5 ] Flo o r P l a n s A.

A. B. C. D. E. F. G. K. M. N.

E.

A.

Visito r Ope n Space Custo m s H all B. B. I nfo r m ation Ce nte r Snack B ar + Seat ing C. D. C. D. Sto rage Do g Run Do g Kenne ls O ffi ces + Administ rat ion Officer /Employe e Accommo d a t io n Detainee Accommodat ion

E.F.

F.

G.

G.

H.

H.

I.

K.

50

10010

M.

M.

30

50

N.

Exist in g Bu ildin g - O ld At las S te e l Fo u n dry

SSECOND e c o n d FFLOOR lo o r SECOND FLOOR

FFIRST i r s t FLOOR Flo o r FIRST FLOOR 30

L.

N.

I.

10

K.

L.

100

10

30

50

100 10

30

50

100

Fo llow exist in g lin e s to re m ove ce n t ral area o f bu ildin g

ENTER

SA IN G U

SP EC TI O N SE CO ND AR Y IN TI O N PR IM AR Y IN SP EC

[ 6] AERI AL SITE PLAN Loo ki n g fro m t h e n o r t h e r n Win d s or . Ca rs are s u bm e rge d b e l ow st re e t l eve l s o a s to dist u rb ex i s ting st re e t s a nd neig h b or h ood s as mu c h a s p o s s i b l e . A l o ng t h e s id e of th e h ighway at g ro und l eve l b e comes a g ra s s y plan te d p ark b a r r i e r b e t we e n th e roa d a n d existi n g co mm un i t i e s. O nce ca rs rea c h prim a ry i n s p e c t i o n t h e s t re e t rea c h e s g rou n d leve l . Fro m t h e re , ea c h m e t h od of e n tr y to t he U S s p l i ts o f l i ke te nd r i l s , s l ic in g th rou g h t he l an d an d m a k i ng a s l i t t l e d is tu r b a n ce a s poss i bl e .

Fo llow c u t lin e s to c reate axis

F IC TRAF

FROM

CANA

DA

U se axis to c reate ve hic u lar an d pe de st rian passageway t hro u gh site

28

[8] D AT E

/

Summer 2014

CAP/AMERICANO /SUR

Countries /

Ecuador, Argentina, Portugal, & Spain.

P r of es s o r

Ana DeBrea + Wes Janz

/

CAP Americano was both a growing and learning process for me. For the first time, I really had the freedom, and necessity, to learn to understand new systems and ways of life of a culture very different from my own on my own terms. Not only simple things like how to use various types of public transportation and how to order at a pinchos restaurant, but simple ways to communicate to others who donâ&#x20AC;&#x2122;t know your language or set of cultural normalcies or do a project with students you canâ&#x20AC;&#x2122;t communicate verbally with!

TR AV EL B LOG: T U M B L R . C O M / B LO G / A R C H E E T E K T U R I S T

29

MUNCIE MAK ES PRESENTATIO N

CORDOBA

3

FINAL EXHIBIT/MUNCIE MAKES

QUITO

1

ARGENTINA ECUADOR ECUADOR ECUADOR ARGENTINA 2

GUAYAQUIL BILBAO

8

BARCELONA

9

SPAIN SPAIN

9 10

LA CORUNA

7

SAN SEBASTIAN

4

SPAIN

BUENOS AIRES PORTO

ECUADOR

PORTUGAL

ARGENTINA P O RTO Q U I TO SAN SEBASTIAN BA RC E LO N A L A CO R U N A C O R D O B A G U AYA Q U I L L I S B O N BUENOS AIRES

6

PORT PORT UGAL UGAL 5

LISBON

30

[ 9 ] EXPERIENCIAS PROYECTUALES Project

/

CAP AMERICANO/SUR

Universidad National De Cordoba, Argentina.

Design a cultural center to connect to the cityâ&#x20AC;&#x2122;s current culture and heritage.

L o c at i o n

/

Plaza San Martin, Cordoba, Argentina

Group

/

Julieta Ardiles, Rocia Bartolvich, Eugene Belaus, Rocio Crosetto, Josh Bobeck, Taylor Henderson, Nathan Loudin, Christine Mitchell, Belen Gonzalez, Fernanda Santillan, and Bruno Yaccuzzi

Role

/

Design collaboration + model making + rendering.

This project was a collaborative effort between four students of Ball Stateâ&#x20AC;&#x2122;s 2014 CAP Americano program and seven 3rd-4th year architecture students of the National University De Cordoba in Argentina. The project site is located in a narrow alleyway currently in use as a tourist trinket shop and market in the historic Plaza San Martin; the goal to design a new cultural center and landmark for the city.

Using this promt, our team developed a modular latticework system that could be used as a flexible space both to climb and view important city landmarks from, as well as to house rotating cultural and artistic exhibits. The ground level space was proposed to be converted into a space that could house more traditional-style food and crafts markets weekly.

31

[1] VIEW FROM PLAZA

[Aproximacion al sitio[ Cabildo

Sitio

Casa del Obispo Mercadillo

+

Catedral

Las Teresas

Plaza San Martin

[

Lugar estrategico Posiblidad de conexion con galeria peatonal Gran movilidad peatonal

[

Sitio de gran valor patrimonial por su ubicacion frente a la plaza de armas de origen colonial en la ciudad de Cordoba.

[Propuesta [ Vinculo con la plaza

[Propuesta [

-

[Aproximacion al sitio[ Espacio publico en desuso Falta de actividad Falta de conexion con la plaza

Vivenciar el espacio

Vinculo con la galeria

Con

?

exio

nc on

Gale

ria

Planta Baja Libre

Pea

ton

al

Modulos

?

+

[Propuesta [ [Conceptos [

Revalorizar el espacio existente Soporte de nuevas actividades Modulo Simplicidad de montaje Dialogo entre edificios existentes Contraste

[Propuesta [

Dinamismo efimero de exposiciones temporales

[Propuesta [ [2] GROUND LEVEL MARKET

[3] OPEN SPACE UNDER LATTICEWORK

[4] STRUCTURE

32

[10] P H O T O G R A P H Y

In these photos I tried to capture the feeling of the place, a sense of space, colors, lights, perspective, similarities, or differences.

Not altered with any post-processing or photoshop.

Taken in: Savannah, Georgia, Toronto, Canada, Buenos Aires, Argentina, Georgetown, and Peang Island Malaysia.

CO LO RS // R EFLECTION

33

DETAIL S / / CUSTO MIZ ATIO N

SYMMETRY S

P A C

SYMMETRY+ P E R S P EC T I V E

ST R U CT U R E / / L IGHT

E

PAT T ER N S / / PER S PECT I V E

PATT E RNS // LIGH T TEXTURES / / PERSPECTIVE

34

T H A N K C

O

N

T

A

C

T

Y O U

( 3 1 7 ) 4 2 8 - 8 1 4 0 c j m i t c h e l l @ b s u . e d u

W E B S I T E c j m d e s i g n p o rt fo l i o . t u m b l r . co m T

R

A

V

E

L

B

L

O

G

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