CHRIS RICHARDS - portfolio by C RICHARDS

CHRIS RICHARDS 2012 ARCHITECTURE PORTFOLIO

DESIGNER STATEMENT 00 CHRIS RICHARDS Dynamic architecture is characterized by the fundamental dichotomy of controlled chaos. This polarity is a result of fitting the artistic and architectural expressions through monetary and code based constraints. Success comes from prioritizing the goals, methods, and objectives. Through this process, successful projects can be effectively realized. Far to often, a miscommunication of client desires and architects intent can lead to animosity that poisons the design process, which should be a fruitful experience. An understanding between the architect and the client is essential to the process. The architect must understand their clientsâ&#x20AC;&#x2122; desires to effectively design a new facility for their client. With this in mind, it is the duty of the architect to convey the value they add to the project. This value is held in their due diligence in regards to spatial programming, lighting, acoustical consideration, environmental conscientiousness, project management, and most importantly working as the clientsâ&#x20AC;&#x2122; advocate throughout the entire project. Imaginative approaches that excel past the standard of necessary architecture lead to the creation of new spatial relationships. Architects are responsible for building and shaping our world. Since we are justly accountable, we must hold ourselves to the highest standard. It is our responsibility to understand the subtle relationships between materials, identity, program, geography, history, and culture to build a more efficient and beautiful world.

TABLE OF CONTENTS

Personal

Architecture

[01] EYEBEAM SGF - FALL 2011

[02] VOLOS CULTURAL CENTER - SPRING 2011

[03] FINNISH SAUNA - SPRING 2009

[04] DRURY THEATER - FALL 2010

[05] WHITE RIVER MUSEUM - FALL 2009

[06] COMMERCIAL STREET VENTURE - FALL 2008

[07] TRAVEL SKETCHES - FALL 2011

[08] URBAN SUSTAINABILITY - FALL 2008

[09] CERAMICS - 2002-2006

[10] KANSAS CITY STAR COMICS - 2003-2006

[11] RESUME - 2011

EYEBEAM SGF 01 FALL 2011 I began this project by reorganizing the three programmatic components, leasable offices & condos, Eyebeam SGF, and the restaurant & bar, to maximize the amount of consolidated leasable space. This design move was inspired by the loft typology. Dating back to the 1900s, the original converted lofts were located in warehouses and used in conjunction with manufacturing plants or as storage spaces in the city’s industrial areas. The average population of a household is now 2.6 people and will continue to decrease. For the organization of an apartment this means two things. Firstly, there is a reduced need for privacy; secondly, the living room becomes larger and more important. Lofts are considered multi-function spaces that serve as both living and work areas. The loft typology is known for its openness and its ability to adapt to changing societal needs. Through compartmentalizing the leasable space, the amount of future leasable space increased from 35,000 sq. ft. to 55,000 sq. ft. The implementation of a raised-floor system makes the transition between tenants quick and easy. The Zahner Zepps system helps filter the western sun on the façade while also defining entrances and giving the building a distinct character that will make it a unique landmark. In response to the planned

extension of Jordan Valley Park, I chose to day-light the buried creek and treat it as an asset to the site rather than a hurdle. The video screen on the façade of the Eyebeam section will serve as a public amenity and help to increase notoriety this digital media studio and gallery. The HVAC System will be a combination three individual systems. In the leasable space, a 4 pipe chilled beam system will pull fresh air from the raised floor plenum. In the Eyebeam area and bar, individual CAV systems will be used to provide a quite, steady flow of air.

EYEBEAM SGF 01 FALL 2011

1st floor

2nd floor

5th floor

4th floor 3rd floor

6th floor

7th floor

8th floor

9th floor

10th floor

11th floor

12th floor

EYEBEAM SGF 01 FALL 2011

VOLOS CULTURAL CENTER 02 SPRING 2011 The goal of this project was to design a modern day agora that is open-aired and lit by natural sunlight. The agora will act as a public place of education and trade. Above the agora, the new cultural center for the city of Volos will celebrate and provide access to the unique Greek history of the region. By definition an agora is a public place of assembly. The word comes from the combination of two verbs, to shop and to speak publicly. It functions as a place for exchanging goods, opinions, and culture. This space served both the commercial and civic sectors. From our historical research of the country of Greece and more specifically the city of Volos, we found that this region is culturally significant because of King Chiron. King Chiron is notable for being an educator to several important figures of antiquity, including Jason, Hercules, and Achilles. Our Solution focuses on three important points. It uses typologies native to the region; it respects the natural flow of pedestrians through the site, and acts as a center for cultural exchange. Our buildingâ&#x20AC;&#x2122;s orientation is rotated slightly off the city grid for several reasons. The first is to align it to the orientation of pedestrian traffic. The second is to create four small pockets that each serve an individual activity. As one moves past these pockets

into the space beneath the building they find that the center space opens vertically through the hollow core atrium. The atrium allows for maximized amounts of natural daylight to be dispersed evenly throughout the interior spaces. Through analogy and field studies, we examined how the flow of people through the site would erode away the ground level of the building. The desire to keep the ground floor relatively free of programed space lead our team to minimize the physical footprint and maximize the above spaces. At the corners we chamfered the edges to draw people into the building and lighten the feel of the building.

VOLOS CULTURAL CENTER 02 SPRING 2011

VOLOS CULTURAL CENTER 02 SPRING 2011 GROUND FLOOR 1.Agora Space 2.Lobby

SECOND FLOOR 1.Computers 2.Library 3.Classrooms

FIRST FLOOR 1.Event Room 2.Gallery Space

THIRD FLOOR 1.Research Offices 2.Admin Offices 3.Roof Access 4.Rooftop Auditorium 5.Research Racks

VOLOS CULTURAL CENTER 02 SPRING 2011

FINNISH SAUNA 03 FALL 2009 The program we were given to address was a rural bathhouse that responded to a traditional type of bathhouse with a heavy focus on tectonics and structure. Then, after researching how they were historically used and traditionally built, we were given the task of designing our own. From the four, I chose the Finnish Sauna and sought to address the typology of this building in a uniquely foreign location. I sought to design a building that would integrate into the landscape and while still retaining the ability to be a destination landmark.

The sauna is constructed of a traditional silver birch and acts as an intermediary between the two concrete cleansing gates. As you enter the bathhouse you drive down a ramp into a covered parking lot that feeds directly into the entrance lobby.

The concept behind the arrangement and order of this building centers on a seemingly random arrangement of turns. At first glance, the bathhouse seems a random, unfounded organization of manipulated masses created solely by the hand of the designer. But upon closer inspection, we see that there is order. The order of the forms derives from the site. The concept is born out of the intersecting lines between the native trees. The overall flowing shape of the building is a response to the path of the river. Through being sunk into the earth, it plays and interacts with that which defines it, nature. 26

FINNISH SAUNA 03 FALL 2009

DRURY THEATER 04 FALL 2010 In this project, I began looking at how architecture could be more than a built structure. I looked into how it could be a social encourager and a machine that would respond to user and environmental input to become something more than sublime. To design something that is more than the some of its parts. Something that could give identity to not only itself, but to its surrounding area. The purpose of the operable roof and adjustable acoustic panels is to allow for the theater space to change as often as the performances. The ability for the theater to produce a musical one night with high attention paid to the acoustical qualities of the space and then the following night open the roof and walls and a production of Shakespeare under the stars is what make this theater invaluable to the promotion of Drury as a leader in the performance arts. Coupled with the outside movie theater, my design becomes a mecca for performances on campus. The ability for this building to act as a liaison between students, faculty, and the greater Springfield community. The purpose of the colorful skylight is more than just a ploy to bring in sunlight. The skylights are painted to respond to the changing seasons. On the interior wall there is a blank canvas that receives the light. In the

winter months with the lower sun angle, the light hits the warmer colors bringing a warm tone and feeling into the space. During the hot summer months the sun strikes the cooler colors and helps to give the space a sense of calm. This tool makes the building respond to the environment to display its natural artistic talent. The enclosure of my building focuses on developing a fixed and unfixed louver system that responds to each face of the building. For the East and West faces there are vertical or semi-vertical louvers. In each of the classrooms there are operable louvers that can be adjusted for further control of natural lighting. This allows for an environment that can be totally controlled. The louvers that frame the entrance to the education lobby are fixed and are inspired by a pulled up curtain

DRURY THEATER 04 FALL 2010

WHITE RIVER MUSEUM 05 SPRING 2009 This project focused on the creation of a museum for the White River Historical Society of Taney County in the city of Forsyth, Missouri, near Branson. The project was a semester long analysis of the needs and requirements of a museum that would be coupled with a separate yet integrated business and library. My Building seeks to separate the business side from the museum side and connect the two worlds through the library and green space. To bring the outdoors inside I used a natural rock and natural local vegetation garden to allow the runoff of the parking lot and building a chance to soak in while also creating a quality outdoor space for visitors to enjoy themselves in the most influential part of the Ozark history, the wildlife and nature. To allow the person to have an easy ability to understand and navigate my building, I sought to make the experience very easy to understand. This becomes evident when one enters the building and has the ability to look into every space in the building. In association with this project we created a detail model and analysis of one room that was an important aspect of the structure. The room that I chose was the library. In the library I have accounted for the security of the texts as well as creating an outdoor courtyard

in which the visitors can listen to texts in the form of audio books. There are also two research centers for those who are interested in researching the local genealogical history.

WHITE RIVER MUSEUM 05 SPRING - 2009

COMMERCIAL STREET VENTURE 06 FALL - 2008 This project consisted of a Thirteen store, small community shopping center with a 800 sqf commercial space for a specific business on the bottom floor, while incorporating two residential apartments on the top floors with square footage of 700 sqf and 600 sqf. The site is on a resurging decayed Commercial Street that was originally popular in the 1920s and is heavily influenced by the art-deco style. Our challenge was to work as a section of thirteen students to come together and create a cohesive shopping center on this block. Together our section established a separation of parking, with tenant parking in the rear and customer parking on the street in the front. Working as a section to establish the layout of the site and shopping center, each student was designated a specific plot for their residential, commercial multiuse building. The site was broken into thirteen individual 20â&#x20AC;&#x2122; x 50â&#x20AC;&#x2122; plots. The faĂ§ade of the building was inspired by the transformation of the cacao bean during its processing into coffee. The transformation from the modern metal upper portions to the more aged and matured brick lower portions. It was important to honor the historic past while taking a new perspective on the bay window, a timeless home programmatic element. 40

COMMERCIAL STREET VENTURE 06 FALL - 2008

TRAVEL SKETCHES 07 SPRING - 2011 While studying abroad in Greece and traveling to Munich, Istanbul, Amsterdam last semester, I kept a journal of my travels during my stay abroad where I diagramed and sketched some of the sites I was while I was there. These included the NEMO in Amsterdam, the BMW Welt in Munich the Hagia Sophia in Istanbul, the beaches of Corfu, the palace and city of Nafplion, and the agora market of Corinth.

TRAVEL SKETCHES 07 SPRING - 2011

URBAN SUSTAINABILITY 08 2008 The problem for the sustainability in the built environment class was to come up with an affordable and marketable solution to integrate an easy reproducible small recycling center to help bring attention and awareness to the large communityrecycling center. The larger recycling center on Drury campus serves the surrounding neighborhood which serves 2 high schools and a hospital. The solutions would be easily reproducible and affordable so that the University could build multiple instances. A successful solution would have to integrate other green movements already present on campus, such as biking and walking. The goal of this solution is to promote a reduction in on-campus vehicle use through the encouragement of bike use by meeting the need for an increased amount of bicycle racks on campus. The L.E.D. lights illuminate the color sorted broken glass that fills the wall. The wall will function as a beacon for recycling as well as a path to the central recycling center. Visually, they encourage both the practice of recycling and sustainable use of our fuel resources. The two containers will be for the recycling of plastic and aluminum and the trash can will take in the nonrecyclable materials. The placement of this structure

is planned to take in the pedestrian recyclables such as water bottles and aluminum cans as well as dictate where they can recycle their home recyclables, at our local community-recycling center. The Plexiglas will be supported by tube steel mounted with epoxy and bolts and that are drilled through both the Plexiglas and the steel. This will also act as a strong bracket for the fly ash concrete footing to connect to secure the wall to the ground

CERAMICS 09 2002 - 2006 My passion for ceramics began as a result of working as an intern for Redstar Studios during high school. I got the great opportunity to work with nationally noted ceramic artist Steven Hill. I held this internship throughout my high school career and learned how a studio and gallery work by through working three hours a week. At this unpaid job I completed tasks such as sorting and pricing new inventory, mixing glazes, recycling clay, and loading & unloading kilns. My passion for ceramics continued at Drury, where I took Ceramics I under the guidance of Benji. There, I made the sets of cups and saucers. They are each hand thrown and covered by slip and glaze. The sculpture is of Johnny Cash is based in his later years and was hand sculpted and hollowed out. It was then fired in cone 6 kiln.

KANSAS CITY STAR COMICS 10 2003 - 2006 This published work was for the Kansas City Star while I worked as an illustrator for Teenstar, which was part of the FYI section. This section was published once a week. I held this internship during high school and was blessed with the chances to interview notable people such as musical artist who were headliners of the Van’s Warp Tour music festival. In this internship I learned the newspaper business, how to interview people, the importance of deadlines, and how to illustrate a story in a comedic fashion. The comic to the right is one of the four panes still in raw form that is from a comic relating to the beginning of summer break and the unfortunate parental installation of early curfews. The three-pane comic on the following page is a comic that I did for The Star that dealt with FatherSon, “Birds and the Bees” talk and addresses the awkwardness that engulfs most of these discussions.

KANSAS CITY STAR COMICS 10 2003 - 2006

RESUME 11 crichards01@drury.edu CONTACT EMAIL: crichards01@drury.edu

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PHONE: 816.805.6690 WEBSITE: crichards.carbonmade.com FULL PORTFOLIO: HTTP ISSUU COM CRICHARDS DOCS PORTFOLIO

SKILLS 3D modeling in: Sketchup 7 & 8, Revit 2009-2011, Google Earth, Building Maker, 3ds Max, Unity, Blender, ArchiCAD, Ecotect, Windows 6, IES Construction and Graphic Presentation in: Adobe Photoshop, Adobe Premier, Adobe Illustrator, Adobe Indesign,AutoCAD, iDVD, FontLab Studio, Powerpoint, Word, Excel, GarageBand, LayOut, Style Builder, SketchBook Pro, Climate Consultant 5, Pages, Numbers, Keynote Also Proficient in: Interactive Virtual Walkthrough, Construction Documents, Environmental Design, Hand Drawing & Drafting, Custom Designed and Built Furniture, Community Analysis & Design, Graphic & Comic Illustration, Ceramics, Silversmithing, Woodworking, Windows Vista, 7, XP, Mac OS X

EDUCATION Drury University Springfield, MO Deans list Student Union Board (Public Relations) AIAS, Firm Visit Coordinator Gamma Sigma Alpha (Academic Honors Society) Lambda Chi Alpha (Social Fraternity) Ozark Food Harvest (Philanthropy) First-Year Council Pembroke Hill High School Kansas City, MO Leadership Advisory Board Eagle Scout

ARCHITECTURE 2012 CHRIS RICHARDS 2012