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humanitarian ARCHITECTURE Architecture alone may not be able to solve world problems, but I strongly believe that it has the ability to mi gate them. I have a passion for humanitarian architecture - using the built and natural environment to improve human well-being and livelihood. During my educa on at Drury University I seized every opportunity to study social design. Since gradua ng I have co-founded a 501(c)3 in order to help other non-profits and organiza ons u lize sustainable designs to help those in need. Architecture is everywhere, and it is our duty to ensure that it is posi vely contribu ng to our lived experiences and those s ll to come.
A SCHOOL FOR BURKINA FASO In April of 2014 I co-founded For Burkina, an oﬃcial 501(c)3 opera ng out of Springfield, Missouri. For Burkina’s mission is to create sustainable, economical, and dignifying architectural designs that improve the well-being and livelihood of inhabitants. Our first project was through a partnership with another non-profit, buildOn, and our goal was to design, fund, and build a primary school in Burkina Faso, Africa. Our partners at buildOn have been building schools in seven diﬀerent countries for more than twenty years. They asked us to design a new prototype school for all primary schools that they would build in Burkina Faso and Mali, Africa beginning in 2015. The design process began with thorough research on the culture, environment, and the current school construc on methods.
The school program includes three classrooms that each will serve up to 50 students. There will be a garden, football field, and tree on site, as well. The site will be lined with jatrohpha bushes to protect from wild animals and for harves ng for bio-fuel. A latrine wil be nearby, downwind. The clima c challenges of loca on called for generous overhangs to protect the facades from gaining too much heat during the day. By raising the roof and slan ng it for a clerestory we are able to allow hot air to ven late from the structure. The cane sun shading in the clerestory was created to allow more light into the structure and air to flow out, while s ll protec ng the interior from any birds or other obstrusive animals. It was also an opportunity to use a local material. During rains, the water will run oďŹ€ the north side of the building, into a trench, and flow into the garden. Wind is also a challenging factor in Burkina Faso. Therefore, we turned the corners of the standing seam metal roof structure down to mi gate upli . The roof structure is a new system for buildOn, but readily construc ble. It is a truss assembly made of rebar. It will require some training, but this is good to advance the skills of the local labor. Rebar is a readily available material. The generous overhangs led to the crea on of the outdoor classroom areas on the east and west ends of the building. These will be used for educa onal purposes, but also for community mee ngs. The walls are made of concrete blocks because buildOn has been working with concrete block construc on for twenty years. At this point that is the only readily available wall construc on within budget. However, by introducing a new pa ern, by oďŹ€-se ng the blocks, cross circula on of air can occur and more light can get into the classrooms.
THE MONETT HISTORY MUSEUM The 418-422 Broadway Mone History Museum is a 20,000 S.F. historic renova on in the heart of Downtown Mone , Missouri. The exis ng two buildings were originally the Mone State Bank, constructed ca. 1903. Currently, the buildings sit in a deteriora ng state on the corner of Broadway and Fi h Street. Since Downtown Mone just became a registered historic district in 2013, it seemed most appropriate to restore these iconichistoric structures back to their original glory. The Mone History Museum will occupy the building with lot of gallery space, educa onal spaces, a community mee ng room, and an event space. As project manager of this project it is my role to progress the design, coordinate with the consultants, engineers, code oďŹƒcials, contractor, and client, lead other team members through delegated tasks, manage the project meline and costs, and prepare the Historic Tax Credit Applica on.
BRIDGE OF THE ARTS Overcoming the social and physical barriers of urban development by crea ng accessibility and opportuni es for the expression of cultural diversity - bridging the formal and informal city. Design can be used to foster the development of individuals’ sense of self-worth and connec on to their community, through ques oning hegemony and crea ng awareness of cultural diversity and the values of living with less consump on. The thesis implementa on is to build a Bridge of the Arts in Villa 31 in Buenos Aires, Argen na that spans between the formal and informal city. Regardless of class, the “bridge” gives the en re neighborhood the opportunity to integrate over art. The informal se lement needs be er access to the city for various reasons, including access to jobs, educa on, and cultural places. The least expensive means of transporta on around the city is the subway line. If the residents of Villa 31 can acess the subway they can access most of the city. The port will draw people from the formal side of the city across the bridge. The bridge spans above the informal se lement to the formal city - from the port to the park. The idea is to merge the park and the port across the bridge, just as the social inten on is to merge the formal and informal people. The bridge is intended to represent the organic growth of the informal se lement and merge the informal development system with some organiza on from the formal city. The bridge is made up of modular components - shipping containers, shipping container walls made into handrails, wood planks, and modular planters - that can all be moved around the bridge and re-arranged at any me. All of the modular components sit above a trench system that houses the electrical cords and water system. The containers are brought onto the bridge when people choose to “invest” in one. The containers serve as spaces for four diﬀerent programs - informal markets, music performance, dance performance, and visual arts. The other components, wood planks, benches, and planter boxes, are infilled between the containers.
HISTORY MUSEUM ON THE SQUARE The buildings and their historic features are designed to be “living, ac ve par cipants” in the presenta on of the museum’s historical stories. In order to most eﬀec vely engage the museum visitor in the significance of these four 100 year old buildings and the architectural process of the re-birth, many elements of the inner workings of the historic construc on are exposed and featured. Mini-exhibits will then further elaborate on these features and how they were created and presented in their historical context. The History Museum has chosen to relocate to The Square, the origin and heart of the community. This move represents a strong commitment to the con nued evolu on of Springfield’s Central Business District. The $22 million project will be a major feature of the newly renovated Square and will have the size, the exhibits and the programs to be a major des na on for people both living in and visi ng the region. The Museum is designed to serve as a catalyst to the con nuing redevelopment of the downtown area’s physical, business and cultural environment.
The History Museum on the Square is the renova on of four individual historic proper es into one museum. One of the main features connec ng these four buildings is the new concourse gallery on the north. The concourse gallery creates a contemporary north facade, visually linking passersby with the interior exhibits. The oversized sign on the roof of the former men’s clothing store has been replicated, but now with the words History Museum, making a prominent statement about the presence of the museum through the revitaliza on of this wellknown community landmark. The 1950 marquee of the theater has been approved for replica on with a large video monitor, a feature not normally approved on historic proper es. The screen will be used to con nually present the museum’s historical photo and video collec on to the public in the Square as well as serving as a community billboard. The large retail windows on both floors of the Barth’s building (formerly a men’s clothing store) have been replaced with glass that is clear as required by the historic requirements, yet glare and ultraviolet proof as required for a museum. Normally these walls would be solid for a museum, but the large exis ng windows are being used to take the intrigue and color of the exhibits within out to the people in the community’s Public Square. By combining tradi onal exhibit displays with highly interac ve exhibits the museum will connect visitors of all ages and backgrounds to Springfield’s history - crea ng a contemporary relevance for understanding Springfield’s past. The museum will also have exhibits that allow visitors to leave a piece of their story behind and to connect with people of the past. “Beyond the Walls” programs will facilitate walking tours and digital presenta ons at remote loca ons.
Gallery Gi Shop
Special Exhibit and Event
Lounge/ Ac vi es
Archive Library Level Two
Gallery Gallery Gallery Level Three
Reflec on Courtyard Community Farm
THE RURAL TOWER As globaliza on con nues to cause people from the rural countryside to migrate to urban centers, more and more people are losing their iden es ed to the countryside. Therefore, it is important to bring the values of community, space, and me - that exist in the rural countryside - into urban centers. By doing so, migrants can hold onto aspects of their iden es as they transi on into a denser context. The placement of this building in the urban center will create an opposi onal dialogue that incorporates the public with its plaza and lower level programs and through providing crop produc on for the city at a much closer proximity than before. The ground plane acts as an urban park by separa ng the individual from its urban surroundings through the means of vegeta on. The seven hundred and eighty feet tall building should be located on the edge of other high-rise structures. In the end, the building is intended to connect rural migrants to their past and oďŹ€er the urban public a way of rela ng to the rural lifestyle through escaping the city.
Community is a highly valued element of living in the rural countryside. The building is designed with three main outdoor spaces that facilitate a sense of community. The reflec on coutyard allows residents to reflect on their life in the countryside. The area, dominated by a waterfall, is more peaceful than the external urban context. Sharing the same backgrounds creates a connec on among the residents of the tower. The space connected to the reflec on courtyard - the community park - exists on the exterior facade of the building. It allows space to gather and ini ate ac vi es. It is also the transi on space to the community farm. Each level of residences have their own farm, for which they maintain and obtain all of their fresh produce. Using these outdoor spaces as facilitators for community reflects the communal lifestyle of the country. The percep on of space and me in the rural countryside are dependant on gradual cycles of nature - the rising and se ng of the sun, the changing of seasons, and the beginning and end of harvests. The land perceives to con nue forever and reflects pa erns and layers of crops and trees. These values are important to the lifestyle of rural migrants and should be preserved in the tower. The core of the tower has been separated into four parts, allowing the center of the tower to become an open atrium. Using the water filtra on system in the center to direct views internallyver cally, the inner atrium of the tower reflects spa al quali es of the country. The layered levels er like the crop rows on a farm. The direc onal space perceives to con nue forever - just as the rural horizon.
SPACE AND TIME
Water System Diagram
LAWRENCE DRUG Lawrence Drug is a privately owned pharmacy and compounding lab origina ng from Springfield, Missouri. This par cular project was for their second loca on in Ozark, Missouri. The design concept was to create the most eďŹƒcient layout that op mizes the workflow and communica on of employees while crea ng a space that is easy for customers to use and engages them visually with the compounding process. The strict loca ons for employee work sta ons and their rela onship to the medicine racks and compounding lab led to the crea on of the curved counter. This curve was carried throughout the rest of the space to create a fresh environment, not trypically seen in pharmacies. The large windows on the compounding lab are to allow customers the opportunity to see the compounding process. Lawrence Drug customizes medicines to meet their customersâ€™ needs and this was somethign the Owners really wanted to communicate to the customers.
Outdoor Adventure Center
Garden Park Center
Trolley Route and Stops
Pedestrian and Vehicular Bridge
Trolley Sta on and Welcoming Center
KIMBERLY CITY VISION - CONNECTIONS During the community studio design class we were placed on a team and challenged to work with the provided city, Kimberling City, to develop goals, missions, and objec ves for a thirty year visioning plan. Through collabora on between the Kimberling City Visioning Team, city residents, and the student design team, a project vision statement was created... “to create a community iden ty promo ng the city’s cultural lifestyle, while balancing economic, environmental, and social quali es. The vision seeks to revitalize the community by crea ng a year-round economy and iden ty for the town. The iden ty will promote the lifestyle of lakeside living integrated with small town values, and enhanced through tourism.As a tourist community, the vision seeks to make the iden ty of the town marketable and recognizable, especially along the Highway 13 corridor.” My par cular design sec on for this project was sugges ng public transporta on, parks, trails, and built structures that would make the city more connected and accessible. The goal was to make Kimberling City a more sustainable and self suﬃcient rural community.
CULTURAL CELEBRATION CENTER VOLOS, GREECE This design studio took place during my study abroad program in Volos, Greece. My partner and I were asked to design a structure that would best u lize the assigned site (in Volos). The core of Greek culture is in its rich history. It is important that the people con nue developing and making history by physically represen ng their contemporary lifestyle. This cultural understanding lead to my partner and I designing a Cultural Celebra on Center that oďŹ€ers people a place to engage with contemporary culture throguh educa on and crea on. Through a variety of art and expression, the center creates an environment in which individuals formulate iden es and celebrate culture, in order to come together to posi vely impact the community. The center has places for classes of various ages, individual studios, display spaces, an art store, a restaurant, a cafe, and a community space. The surrounding buildings that were in poor condi on were renovated, as part of our design, with spaces that support the cultural celebra on center, such as a historical display room, library, food market, and lo s.
BASEMENT LEVEL PLAN
GROUND LEVEL PLAN
UPPER LEVEL PLAN
RAINBOW NETWORK HEADQUARTERS The purpose of the Rainbow Network Headquarters project was to design a campus that would employ Nicaraguan workers whom would service the community through healthcare and educa on of self-suﬃcient and sustainable prac ces, while also providing a place for volunteers and donors to stay and become educated in these prac ces and the Nicaraguan culture. The site in Managua, Nicaragua is the site owned by the Rainbow Network. As a result, we developed a project goal statement: to provide the community with medical and dental services while demonstra ng examples of healthy and self-suﬃcient prac ces for the people and the environment of Nicaragua. Through merging the significance of the project goal with the importance of building systems we developed a project concept: to create a model campus that demonstrates self-suﬃcient prac ces by employing a layering system which responds to and u lizes the natural environment of Nicaragua, providing a conceptual building model that is more sensible to and apprecia ve of the environment and the community. The concept is implemented on a visual level in what people see, on a physical level in what people do, and on an interac ve level in how they do it. Layering is integrated in the building systems, across the site, and in the individual buildings themselves.
DORMITORY AND CARETAKER
ABOUT ME I was born and raised in Missouri. I have been living in Springfield, Missouri for nearly seven years, but grew up in the Foristell, MO, about an hour west of St. Louis. I love travelling and have been to Greece, Spain, Turkey, and Nicaragua. I am an outdoor and adventure enthusiest; I enjoy running, biking, rock climbing, hiking, camping, and canoeing. My family and friends are a very big part of my life. I love design because it oďŹ€ers an opportunity to solve problems in a crea ve way. The latest addi on to my life is my non-profit, For Burkina, with which I hope to spread the importance of social design and help improve the well-being and livelihood of those in need. I hope this small introduc on helped give you get a be er idea of who I am. Thank you for viewing my work.