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HEATHER McARTHUR -2-

PORTFOLIO 2013


ACADEMIC WORK

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PROFESSIONAL WORK

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WASHINGTON UNIVERSITY IN ST. LOUIS

MARLON BLACKWELL ARCHITECT CHRISTOF JANTZEN ARCHITECTURE

COLLABORATIVE WORK

126

ACADEMIC TEACHING

140

DRAWINGS + TRAVEL SKETCHES

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CV

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UNIVERSITY OF ARKANSAS

HEATHER McARTHUR PORTFOLIO 2013


ACADEMIC WORK

WASHINGTON UNIVERSITY IN ST. LOUIS CROSSINGS: REDEFINING I-70 LEMP BREWERY DIGITAL MUSEUM DANCE ACADEMY OF TANGO CULTURAL INSTITUTE IN HELSINKI HIETALAHDENTORI PAVILION ST LOUIS URBAN HOUSING I-CARES RESEARCH CENTER BOWL LAKE UNIVERSITY DYNAMIC LANDSCAPE MATERIAL OBSERVATION NINE SQUARE MOSAIC NINE SQUARE GRID


CROSSINGS: REDEFINING I-70 St. Louis, Missouri. 100,000+ sqf Eric Hoffman

With the construction of the Mississippi River Bridge and the CityArchRiver GSQTIXMXMSRTVSTSWEP7X0SYMWMWKVEHYEPP]FIKMRRMRKXSVIHI遜RIMXWGIRXIV city. The existing four-lane interstate I-70 runs directly through the heart of downtown, aggressively dividing the city grid from the historic river and Arch Grounds. This project attempts to expand upon the proposed changes by the city and various local and national designers, and activate and transform an infrastructural space that for decades has been a physical and visual scar of St. Louis. Water has played a critical role in the development of St. Louis, physically, economically, and symbolically. The Mississippi is a powerful and unpredictable body of water that is utilized primarily for industrial purposes. Lying parallel to the river, this phase of the project is a response XS XLI 他I\MFMPMX] SJ [EXIV JSV E [MHIV VERKI SJ YWIVW ERH I\TIVMIRGIW and explores the role that water plays within a contemporary community, socially and environmentally. The project incorporates a string of public pools in and above the existing depressed section of I-70. Five experiences SJ[EXIVEVIGSRWMHIVIHMRJVEWXVYGXYVEP 他SSHMRKERHWXSVQ[EXIVGSRXVSP  VI他IGXMZITSSPWEXLPIXMGVIGVIEXMSREPERHXLIVETIYXMGTSSPW8LIWIZEVMSYW forms of water may ultimately become the connective tissue between two personalities of the city. material and concept collage

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site plan

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”Crossings: An intersection, an interchange. A mixture or compromise of two or more things. An act of moving across or over something. A place or structure where pedestrians or vehicle cross.” It is both noun and verb. It is the movement between A and B, as well as the space between A and B. It is where the built, unbuilt, and natural collide. “Crossings” is a compilation of writings and drawings which EMQ XS VIHMWGSZIV ERH VIHI½RI XLIWI MHIEW [MXLMR EVX ERH EVGLMXIGXYVI Theoretical and architectural precedents are dissected in support of E ½REP HIKVII TVSNIGX WMXIH MR 7X 0SYMW JSGYWMRK SR GVSWWMRKW FIX[IIR architecture and infrastructure. An urban condition not unique to St. Louis is urban fragmentation caused by highway construction. At a macro scale, St. Louis infrastructure is successful in allowing for transactions between metropolises, but at a micro level St. Louis is torn apart, leaving once vibrant and prominent neighborhoods desolate. I-70 is the highway of interest, as it runs through downtown St. Louis, parallel to the Mississippi, successfully isolating the river, Arch Grounds, and the once thriving neighborhood of Chouteau’s Landing, from the business and residential districts of downtown. The redirection of I-70 provides a unique opportunity to reconnect and revitalize this segment of downtown by means of architectural solutions.

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preliminary sketches

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southbound I-70

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intiial concept collages

roof plan

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plan -16’

plan -6’

concept plan +4’model


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-12’ -16’ -20’

longitudinal section

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concept models

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preliminary sketches

observation and dressing level

cafe

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cross-section -therapeautic pools

cross-section -athletic pools

cross-section - recreational pools

entrance to athletic pool

to exterior pool

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thermal baths level

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LEMP BREWERY DIGITAL MUSEUM St. Louis, Missouri. 100,000 sqf Christof Jantzen + Paul Donnelly

The Lemp Brewery Silos are to be adapted from monumental, load-bearing, grain-storing silos, to a transformative digital museum and data center. The transformed complex is to host digital art installations and workshops to foster various types of interface, while preserving the iconic value of the historic Lemp Brewery and the Cherokee Street neighborhood. The aim is to preserve the iconic perspective of the silos to respect and emphasize the evolution of the complex and of St. Louis industry and culture. In an effort to do so, existing underground tunnels are exposed, activating the interstitial space between the silos and the rest of the complex, extending the Cherokee St. pedestrian path onto the site, and integrating historical education with the new program. The intervention becomes a series of subtle “digital information landscapes” that spread horizontally across the entire complex and eventually fold, overlap, and wrap around each other to create a bolder dynamic “vertical landscape” within and around the silos.

view from Cherokee Street

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site plan

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diagramming the history of digital art

sketch of workshop and existing tunnel

sketch rendering of lobby

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site analyses

concept diagrams

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plans 2-6

east-west section

north-south section

ground level plan

workshop and existing tunnel

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ACADEMIA DEL TANGO

San Telmo, Buenos Aires, Argentina. 2400 sqm Gustavo Cardon + Gerardo Caballero

The Academy of Tango in San Telmo augments the educational and entertainment values of tango, a tradition which arguably has been the pulse of Argentinian culture throughout its history.The program MRGPYHIW½ZIHERGIWXYHMSW EHQMRMWXVEXMSR ETYFPMGQMPSRKE PMFVEV] bookstore, and a cafe bar. “Cadenas,” or, “chains” refers to the superimposition of elements of both architecture and the art of tango, creating a choreographic experience from the city to the site. In the art of tango, lines are blurred between the observer and the observed, the movements and rhythms, night and day, education and entertainment, stage and WXVIIX8LIWIIPIQIRXWSJXERKSEVIHI½RIHERHVIHI½RIHXLVSYKL the choreographic movement and shifting perspectives throughout the building.

Balcarce looking south

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framed milonga

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circulation diagrams

concept sketches and diagrams

cafe and milonga

exterior milonga

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dance studios

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exterior terraces

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ESTUDIOS

+ 6.60

ESTUDIO

+ 3.80

ESTUDIO/ EXHIBICION/ ETAPA

+ 3.30

ADMINISTRACION SEMINARIOS

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+ 0

CAFE

BIBLIOTECA

+ 1.20

MILONGA

main entrance

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AMERICAN CULTURAL INSTITUTE Ullanlinna, Helsinki, Finland.1300 sqm Pentti Kareoja, Matti Rautiola, Hille Kaukonen

A semester abroad in Helsinki encouraged the exploration of cultural and physical differences between Finnish and American societies, arts, and architecture. The goal of the American Cultural Institute is to theoretically act as the backbone of American-Finnish relations in Helsinki. Its location SREXMKLXTPSXVIUYMVIWEZIVXMGEPWSPYXMSRXSLSWXPMFVEVMIWKEPPIVMIWSJ½GIW studios, and seminar rooms. The ACIH encompasses the initial concept of shifting (materials, people, TIVWTIGXMZIWWTEGI [MXLMREWXVYGXYVI KVMHJVEQIWTMRI [LMPIQEMRXEMRMRK a sensitivity to site, climate, form, material, and light in Helsinki. The given WMXI EGXW EW XLI XLVSEX SJ ER LSYVKPEWW ½PXIVMRK VIWMHIRXW ERH ZMWMXSVW through a cultural node of Helsinki. A vertical spine runs North-South through the building, dividing program and providing primary structure. The public circulation leans on and stretches across this structural element, giving visual and physical clues to context and culture.

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concept diagrams

view to St. Johns.

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view North

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HIETALAHDENTORI PAVILION Helsinki, Finland. 100 sqm. With Anne Landau. Peter MacKeith

This two week charrette was an introduction to a semester abroad in Helsinki, Finland. A public square is to host a multi-seasonal pavilion with aims to activate the square and its immediate surroundings. Hietalahdentori terminates one of the city’s main axes, and acts as a hinge point between Helsinki’s center city and the West Harbor, currently under redevelopment. In a sweeping gesture, a ramping system and small seating area is supported by a series of structural frames spaced for market vendors. The ramp elevates visitors from the market and through virtual displays, projects the activity taking place in real-time at other design pavilions, creating a virtual connectivity throughout the city. Within its own context, the pavilion activates a portion of the square void of presence, ERHGVIEXIWFSXLEFEVVMIVERHEXLSVSYKLJEVIXSHI½RIERHJVEQIXLI marketplace and the harbor.

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ST LOUIS URBAN HOUSING St Louis, MO. 24000 sqf Core Studio 411, Stephen Leet

-REGMX]SZIV¾S[MRK[MXLIQTX]PSXWERHEFERHSRIHFYMPHMRKW]IXWGEVVIH by urban downfalls, housing development has been a touchy subject in St. Louis in the past few decades. The challenge of this core studio was to HIZIPSTEWMRKPITPSX EHNEGIRXXSJIPPS[WXYHIRXW MRXSEWIVMIWSJLSYWMRK TVSNIGXW[MXLQM\IH  FIHVSSQETEVXQIRXW I\XIVMSVWTEGIERH STXMSREPKVSYRH¾SSVVIXEMP

concept models

The bend on Delmar is one of several grid changes throughout the city, and the chosen plot of land lies smack in the middle. This pivotal point in the grid is utilized as an access point in the chosen plot of land, on Delmar Street in midtown St. Louis. The plot is organized into two courtyards on ground level, generating circulation throughout the complex., yet also maintaining a sense of intimacy. Shared and private exterior spaces are GEVZIHSYXSJXLIXLMVHPIZIPTVSZMHMRKGPMQEXMGFIRI½XWXSQE\MQYQYRMXW

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eDelmar elevation

eeast-west section

east-west section

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inner courtyard elevation

north-south section

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I-CARES RESEARCH CENTER Eureka, MO. 20000 sqf Core Studio 318, Karel Klein

The center is to function as part of Washington University’s International 'IRXIVJSV%HZERGIH6IRI[EFPI)RIVK]ERH7YWXEMREFMPMX] -'%6)7 8LI program includes wet and dry research laboratories, classroom space, an auditorium, living quarters, and an exterior test plot. The underlying concept stems from the photographic research of a natural order and its regeneration using three-dimensional splines. After developing a system of converging and bifurcating splines to create pockets of space in both section and plan, splines and surfaces can be manipulated to best serve the program, site, and climate.The research center stretches horizontally across the forested region, stepping down with the slope. Spline surfaces bend and twist, converge and diverge to separate space, VIWTSRHXSXLIWLMJXMRKXIVVEMRHI½RITVSKVEQERHMQTPMGEXIQEXIVMEPMX]

__jacaranda tree study

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concept model

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form and climate analysis

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MATERIAL OBSERVATION Site-less Core Studio 317, Derek Hoerferlin

Through the exploration and reorganization of a chosen material (wire QIWL XLIKSEP[EWXSXVERWPEXIXLIQEXIVMEPTVSTIVXMIWJVSQEWGYPTXYVEP abstraction to a concrete representation by means of model making and hand-drawing. ;MVIQIWLMW他I\MFPI]IXEPWSVMKMH -XMWHIRWI]IXEPWSXVERWTEVIRX -XMW a single material yet made of thousands of woven elements. Beginning with a systematic organization of irregular tubes of wire mesh led to an MRZIWXMKEXMSR SJ HIRWMX] ERH 他I\MFMPMX] ERH I\TERWMSR ERH GSRXVEGXMSR SJ geometries within this material. Through a series of cross-sectional and elevation studies, the aim was to render the wire mesh sculpture as a multi-layered organism constantly changing, unraveling, overlapping, and interweaving.

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cross-sections and elevation

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Through projection, material properties of compression, GSRXVEGXMSR他I\MFMPMX]ERHZEV]MRKHIRWMXMIWFIGSQIGPIEVIV

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DYNAMIC LANDSCAPE

Demun Playground, St Louis, Missouri. Core Studio 317, Derek Hoeferlin Building upon the the spatial and material properties discovered in Material Observation, TVSTIVXMIWSJHIRWMX]ERH他I\MFMPMX]EVIJYVXLIVI\TPSVIHERH translated from an abstract sculptural piece to a full-scale active terrain on the existing site of Demun Playground. 8LI H]REQMG PERHWGETI MW 他I\MFPI ]IX EPWS VMKMH -X MW HIRWI ]IX EPWS transparent. It is a single material yet made of thousands of woven elements. A combination of steel frame and climbing rope are conducive to a design for all ages, and expand and contract depending on user and program.

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concept drawings

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BOWL LAKE OBSERVATORY Forest Park, St Louis, Missouri. 10000 sqf Core Studio 317, Derek Hoeferlin

Research and resolve. This three week project called for the design of a private observatory and living quarters for one researcher combined with a public educational element. The exploration of the relationships between roof, wall, ground, and water led to the design of an integral gutter system, which not only emphasizes and celebrates water movement on site, but also serves as an alternative SZIV他S[MRTYXW]WXIQJSV&S[P0EOI VIGSRRIGXMRKMXXSXLI*SVIWX4EVO Water Circulation.

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site analysis

east-west section

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他SSVTPERERHVSSJKYXXIVTPER

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BETAR RESEARCH

INTERIOR PANEL

St. Louis, MO, 2011 With Christof Jantzen, Christian Clerc, Gina Gage &)8%6 &YMPHMRK )RZIPSTI 8IGLRSPSK] JSV %HETXMZI 6IYWI  MW E RI[ +VEHYEXI 6IWIEVGL TVSKVEQ EJ½PMEXIH [MXL XLI -RXIVREXMSREP 'IRXIV JSV Advanced Renewable Energy and Sustainability in Washington University. BETAR is a collaboration between architects and engineers to develop several design concepts related to integral systems and their possible adaptation to existing buildings on Washington University’s campus. Research is ongoing, with goals to collect thermal data of studied buildings, produce full scale mockup of conceptual designs, and publish conclusions.

McDONNELL HALL (TYP.    MASONRY  VENEER  BUILDING)

condenses with  cold

expands with  heat

condenses with  heat

expands with  cold

name

EXTERIOR PANEL

outside

thickness (inches)

4”

density (lb/ft^3)

130

air space 1 1/2”

rigid insulation 2 1/2”

damp proofing .03

2

1.5

cmu block 8”

0.11

1.0

17.5

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1.1

cp : specific heat capacity (kJ/(kg·K))

0.79

1.0

5.5

--

0.75

k : thermal conductivity (SI units: W/(m·K))

2.2

.025

R - value (h*ft^2*F/BTU)

condenses with  cold

granite

0.17

.05 - 1.5

air space 5”

1.0

.025

gypsum board

inside

.03

5/8”

--

1.5

50

--

0.3

0

.56

0.68

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metal studs 2 1/2”

vapor barrier

0.17

expands with  heat Rtotal = 0.17 + 0.11 + 1.0 + 17.5 + 0 + 1.1 + 1.0 + 0.3 + 0 + .56 + .68 = 22.42 Utotal = 1/22.42 = 0.0446 At first glance it satisfies ASHRAE Envelope requirement for Zone 4 U= but note that the majority of the U value is from insulation that was installed for sound buffering, and thus may not be applied uniformly across the entire building

condenses with  heat

expands with  cold

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PROFESSIONAL WORK MARLON BLACKWELL ARCHITECT CHRISTOF JANTZEN ARCHITECTURE RENWICK GALLERY ALL SAINT’S EPISCOPAL CHURCH LITTLE ROCK CREATIVE CORRIDOR WASH U. STUDENT HOUSING KIT OF PARTS CLASSROOMS ARCHITECTURAL ILLUSTRATION FBC


LITTLE ROCK CREATIVE CORRIDOR Little Rock, AR, 4 city blocks Marlon Blackwell Architect + UACDC With Marlon Blackwell, Jon Boelkins, Steve Reyenga

University of Arkansas Community Design Center and Marlon Blackwell Architect worked in concert to develop an urban strategy for four blocks of downtown Little Rock. The Creative Corridor aims to consolidate and cultivate the cultural arts in downtown Little Rock, generate a local economy, provide new residencies, and create a transit district.The project MWXSFIGSQTPIXIHMRJSYVTLEWIW GVIEXIKEXI[E]W HIZIPSTEGIRXIV  XLMGOIRXLIWXVIIXIHKIW GVIEXMRKERI[XVERWMXHMWXVMGX My work on this project consisted of BIM modeling, and presentation drawings and renderings.

scattered arts establishments

collected arts establishments

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restaurant cafe - view to north plaza


FPSGOW]QTLSR]SJ½GIW

500 block art gallery

500 block symphony practice hall

artist lofts and studios


ALL SAINTS EPISCOPAL CHURCH Bentonville, AR, 30000 sqf Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Steve Reyenga,

All Saint’s Episcopal Church is to be located on a beautiful yet constricted site in Bentonville, AR, and to host a large varied program, including spaces JSVGSQQYRMX]GSRKVIKEXMSR[SVWLMTIHYGEXMSRERHVI¾IGXMSR The arrangement of the program is very sensitive to the sequences of a traditional Episcopalean service, as well as the every-day services of administration, education, and community gatherings. From the parking lot, a large front porch, featuring the Episcopalean red doors, welcomes all members of the community. Two wings off of the front porch include the education, administration, and parish hall, and enclose a public internal courtyard allowing for an extension of the aformentioned programs,, casual gatherings, or a moment of solitude The northern half of the site features a layered sequence of worship, from the Narthex, to the Worship ,EPP ERH½REPP]XSEWQEPPGLETIP %WIRWMXMZMX]SJQEXIVMEPWERHPMKLXEVI carefully considered for each space, to provide the most unique gathering and worshipping experience, a connection to God and the community. 1][SVOSRXLMWTVSNIGX[EWJVSQGSRGITXMSRXS 7(´WERHMRGPYHIH team design work, BIM modeling, and production of drawings, renderings, and physical models. All Saint’s is currently fundraising for the construction phase.

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south elevation

west elevation

main street approach

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east elevation

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view from Tiger Boulevard

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INFLUENCES

GALLERY

RENWICK GALLERY

GALLERY

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Washington, DC, 5000 sqf Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Will Burks

The wide variety of programs held in the Grand Salon make EPXIVEXMSR SJ XLI ¾SSV SV MRGYVWMSR SJ XLI TIVMQIXIV [EPPW impractical.What remains is the ceiling plane, to become a vibrant and dynamic spatial design that is transformative and performative, VIGSR½KYVMRK HITIRHMRK SR XLI IZIRX YWMRK VIWTSRWMZI OMRIXMG technologies. Consideration of materials extends well beyond architectural effect, out to the global consequences related to their harvesting, transportation, and implementation. The Grand Salon is seen as a marriage of traditional and digital craftsmanship, built by hand but made possible by digital fabrication. The result is a dynamic space, capable of constant change, reacting and VIGSR½KYVMRK XS WTIGM½G IZIRXW XS TISTPI MRWMHI ERH XS XLI world at large. The goal is to create not only a true destination space, but also to develop a condition of resonance between the existing and the new through scale, proportion, and thoughtful articulation, ensuring a fundamental dignity, well-proportioned and elegantly detailed in materials of substance and warmth, exemplifying the traditions of American decorative arts and crafts.

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1.  FILTERED  LIGHT 2.    TRUMPET  VINES 3.    CYPRESS  TREES 4.    HONEYCOMB 5.    STACKED  LUMBER

My role in this project was design lead, from initial research and concept design, to 3d modeling using parametrics and BIM, and ½REPTVIWIRXEXMSRHVE[MRKW7LSVXPMWXIH

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activated

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EXISTING OPENING

EXISTING OPENING EXISTING  OPENING

EXISTING OPENING

EXISTING OPENING

EXISTING OPENING

EXISTING OPENING

EXISTING OPENING EXISTING  OPENING

EXISTING OPENING

1

CLASSICAL CLASSICAL ORIGINSORIGINS

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LONGITUDINAL SECTION LONGITUDINAL  SECTION

1

SILVER SECTION SILVER  SECTION ƐƐĞŶƟĂůƚŽƚŚĞĞdžƉĞƌŝĞŶĐĞŽĨƚŚĞ'ƌĂŶĚ^ĂůŽŶŝƐƚŚĞƵŶĚĞƌƐƚĂŶĚŝŶŐƚŚĂƚƚŚĞ ŝŶƐƚĂůůĂƟŽŶ ĐŽŵƉůĞŵĞŶƚƐ ƚŚĞ ĞdžŝƐƟŶŐ ŽƌĚĞƌ ĂŶĚ ŝƐ ĞůĞŐĂŶƚůLJ ƌĞƐŽůǀĞĚ͘  LJ ũƵdžƚĂƉŽƐŝŶŐĂƚŚŝŶ͕ůĂLJĞƌĞĚƐLJƐƚĞŵŽŶƚŽƚŚĞŚĞĂǀLJŵŽŶŽůŝƚŚŝĐĐŽŶƐƚƌƵĐƟŽŶ ŽĨƚŚĞZĞŶǁŝĐŬ'ĂůůĞƌLJ͕ƚŚĞĐŚĂŶŐŝŶŐƚĞĐŚŶŽůŽŐLJŽĨĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐĞƐŝƐ ŐĞŶƚůLJŝůůƵƐƚƌĂƚĞĚ͕ƐŚŽǁŝŶŐŚŽǁǁĞŚĂǀĞŵŽǀĞĚĨƌŽŵůŽĂĚͲďĞĂƌŝŶŐŵĂƐŽŶƌLJ ƐƚƌƵĐƚƵƌĞƐ ƚŽ ůŝŐŚƚĞƌ ƐLJƐƚĞŵƐ͕ ŽŶĞƐ ǁŚŝĐŚ ŵĂdžŝŵŝnjĞ ƚŚĞ ĐĂƉĂďŝůŝƟĞƐ ŽĨ ŵĂƚĞƌŝĂůƐ͘/ŶĂĚĚŝƟŽŶƚŽƚŚĞĐůĂƐƐŝĐĂůƉƌĞƐĞŶĐĞ͕ƚŚĞƌĞĂƌĞĂǁŝĚĞǀĂƌŝĞƚLJŽĨ ŶĂƚƵƌĂů ĂŶĚ ĐŽŶƚĞdžƚƵĂů ŝŶŇƵĞŶĐĞƐ͕ ƌĂŶŐŝŶŐ ĨƌŽŵ ŽƵƌ ĐŽŶƟŶƵŝŶŐ ĨĂƐĐŝŶĂƟŽŶ 1 ǁŝƚŚĮĞůĚŽƌŐĂŶnjŝĂƟŽŶƐŝŶŽƵƌŽǁŶǁŽƌŬĂƚƚŚĞDŽŽƌĞ,ŽŶĞLJ,ŽƵƐĞŽƌƚŚĞ ƌLJƐƚĂů ƌŝĚŐĞƐ DƵƐĞƵŵ ^ƚŽƌĞ2  ƚŽ ƚŚĞ ǁŽƌŬ ŽĨ ŽƚŚĞƌƐ ƐƵĐŚ ĂƐ ZŽďĞƌƚ ĂŶĚ 3 ƌůĞŶĞ<ŽŐŽĚŽƵƌƚLJĂƌĚĂƚƚŚĞŽŶĂůĚt͘ZĞLJŶŽůĚƐĞŶƚĞƌĨŽƌŵĞƌŝĐĂŶƌƚ ĂŶĚWŽƌƚƌĂŝƚƵƌĞďLJ&ŽƐƚĞƌΘWĂƌƚŶĞƌƐ͘

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3

main entrance REFLECTED CEILING  PLAN REFLECTED  CEILING  PLAN

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-98-

2

7

BANQUET

½IPHSTIVEXMSRW

ƐƐĞŶƟĂůƚŽƚŚĞĞdžƉĞƌŝĞŶĐĞŽĨƚŚĞ'ƌĂŶĚ^ĂůŽŶŝƐƚŚĞƵŶĚĞƌƐƚĂŶĚŝŶŐƚŚĂƚƚŚĞ ŝŶƐƚĂůůĂƟŽŶ ĐŽŵƉůĞŵĞŶƚƐ ƚŚĞ ĞdžŝƐƟŶŐ ŽƌĚĞƌ ĂŶĚ ŝƐ ĞůĞŐĂŶƚůLJ ƌĞƐŽůǀĞĚ͘  LJ ũƵdžƚĂƉŽƐŝŶŐĂƚŚŝŶ͕ůĂLJĞƌĞĚƐLJƐƚĞŵŽŶƚŽƚŚĞŚĞĂǀLJŵŽŶŽůŝƚŚŝĐĐŽŶƐƚƌƵĐƟŽŶ ŽĨƚŚĞZĞŶǁŝĐŬ'ĂůůĞƌLJ͕ƚŚĞĐŚĂŶŐŝŶŐƚĞĐŚŶŽůŽŐLJŽĨĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐĞƐŝƐ ŐĞŶƚůLJŝůůƵƐƚƌĂƚĞĚ͕ƐŚŽǁŝŶŐŚŽǁǁĞŚĂǀĞŵŽǀĞĚĨƌŽŵůŽĂĚͲďĞĂƌŝŶŐŵĂƐŽŶƌLJ ƐƚƌƵĐƚƵƌĞƐ ƚŽ ůŝŐŚƚĞƌ ƐLJƐƚĞŵƐ͕ ŽŶĞƐ ǁŚŝĐŚ ŵĂdžŝŵŝnjĞ ƚŚĞ ĐĂƉĂďŝůŝƟĞƐ ŽĨ-99ŵĂƚĞƌŝĂůƐ͘/ŶĂĚĚŝƟŽŶƚŽƚŚĞĐůĂƐƐŝĐĂůƉƌĞƐĞŶĐĞ͕ƚŚĞƌĞĂƌĞĂǁŝĚĞǀĂƌŝĞƚLJŽĨ

9

FERUYIXGSR½KYVEXMSR


ENVIRONMENTAL LIGHTING LIGHTING DIFFUSE LIGHT   DIFFUSE  LIGHT   EVENT  LIGHT   ^/t>> ^/t>> EVENT  LIGHT   EVENT  LIGHT   ABOVE  BELLS ABOVE  BELLS POINT KtE>/',d KtE>/',dPOINT POINT

PHOTOVOLTAIC ARRAY

^/t>> EVENT LIGHT   KtE>/',d POINT

^/t>> ^/t>> UPLIGHT KtE>/',d

^/t>> UPLIGHT

WEDDING

EXISTING ROOF LED  LIGHTING UPPER  LIMIT  OF  MOVEMENT

Et>>&ZKEdt^,/E' ^/t>> LIGHT, BACK  GRAZING  LIGHT   UPLIGHT Et>>&ZKEdt^,/E' Et/EKt>/',d/E' LIGHT,  BACK  GRAZING  LIGHT   ĂůůŽǁƐƚŚĞƐůĂƩĞĚǁĂůůƚŽǀŝƐƵĂůůLJƌĞƚƌĞĂƚĂŶĚĐƌĞĂƚĞƐĂĐŽŶŶĞĐƟŽŶƚŽƚŚĞĞdžŝƐƟŶŐŐĂůůĞƌLJ͘ Et/EKt>/',d/E'

^/t>> UPLIGHT

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LJƉƌĞƐƐŝƐĂďĞĂƵƟĨƵů͕ǀĞƌƐĂƟůĞ͕ĂŶĚƐƵƐƚĂŝŶĂďůĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĐĂƉĂďůĞŽĨďĞŝŶŐƐŚĂƉĞĚ ŝŶƚŽ ƚŚŝŶ ǀĞŶĞĞƌƐ ĂƐ ǁĞůů ĂƐ ŝŶƚŽ ĚŝŵĞŶƐŝŽŶ ůƵŵďĞƌ͘  dŚĞ ĐŽŶƐŝƐƚĞŶƚ ŐƌĂŝŶ ĂŶĚ ǁŽƌŬĂďŝůŝƚLJ ŵĂŬĞĐLJƉƌĞƐƐĂŶĞdžĐĞůůĞŶƚĐŚŽŝĐĞĨŽƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƚŚĞ'ƌĂŶĚ^ĂůŽŶŝŶƚĞƌŝŽƌ͘LJƉƌĞƐƐ EER ĂůƐŽŚĂƉƉĞŶƐƚŽďĞĂŶĂƌŽŵĂƟĐǁŽŽĚ͕ǁŝƚŚĂƉůĞĂƐĂŶƚƐĐĞŶƚƚŚĂƚŝƐƐƵďƚůĞĂŶĚĐŽŵĨŽƌƟŶŐ͘RY CUT  VƌEŝŶNŐ ϴ͛ Ƶ A  ROT  ŵĞĂƐ ƵƚƐŝĚĞ dŚĞǁŽŽĚ͚ůĂŶƚĞƌŶƐ͛ǁŝůůĂůůďĞĐŽŶƐƚƌƵĐƚĞĚǁŝƚŚƉŚLJƐŝĐĂůũŽŝŶƚƐĂŶĚŵĞĐŚĂŶŝĐĂůĨĂƐƚĞŶĞƌƐ͖ŶŽ Ž ŐƐ ƚ ϯ ůŽ  ϭϰ͟ ĂƌLJ ĐƵ  ͕ ƚ ĂĚŚĞƐŝǀĞƐǁŝůůďĞƵƐĞĚ͘dŚĞƉůĂŶŬƐƵƐĞĚŝŶƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂƌĞƌŝŌĐƵƚĐLJƉƌĞƐƐ͕ĂƚĞĐŚŶŝƋƵĞ ůŽŶŐ ĞƚĞƌ ƌŽ ŝů ƚŚŝĐŬ  ŵ S ĚŝĂŵ ƌ ϮϮ Ğ ϯϰϳ ANK L P ƚŚĂƚĐƵƚƐĞĂĐŚďŽĂƌĚƉĞƌƉĞŶĚŝĐƵůĂƌƚŽƚŚĞƚƌĞĞ͛ƐŐƌŽǁƚŚƌŝŶŐ͕ƉƌŽĚƵĐŝŶŐǀĞƌLJƐƚĂďůĞůƵŵďĞƌ   ĞĞ Ğ ƚŚ T Ŷ U Ğ ǀ C ƚ   Ě ĐƌĞĂ ƵŝƌĞ RIFT ƚŽ ƌŶƐƌĞƋ ǁŝƚŚƚŚĞƐƚƌĂŝŐŚƚĞƐƚŐƌĂŝŶ͘ ƚĞ

S

LL WA

END

 ϭϰ͟ ŶŐ͕  ƚ ĨĞĞ Ő ϭϮ͛ ůŽ ĐĞ ƚŚĞ Ğ ƌ Ă Ƶ ƵƌŝŶ ŽĚƵ ƌ Ɛ ϮƐƋ CHANICA ϰϬϯ ŐƐ ŵĞĂ ĞƚĞƌ Ɖ ME L  F Ž ĚŝĂŵ Ě ů  ϰ A ED ϱ ĚĞ Ğ ƌ T ŝ Ƶ ŝ Ƌ ŽƵƚƐ ĨĞĞƚƌĞ  ƌĚ ďŽĂ

OIN B J

ĐĞŝůŝŶŐ͘dŚĞƐƵƌĨĂĐĞĐŽŵĞƐĂůŝǀĞĂŶĚďĞŐŝŶƐ ƐƵƌ ƚĂƌLJ Đ  Ɛ Ž Ĩ Įƚ ƐŵĞĂƚŽƌ ƚŚĞ ƌŽ Ğ ƚŚĞ ƚŽ ŝŶƚĞƌĂĐƚĐŚǁŝƚŚ  ŚĂů ǀŝƐŝƚŽƌƐ ůŽŐ ŵĞƚĞ ƌĞĂƚ'ƌĂŶĚ Ă ϯ   ͘ Ɛ  ĚŝĂ ƚŽ Đ ^ĂůŽŶ͕ĐŚĂŶŐŝŶŐŝŶĂŶƟĐŝƉĂƟŽŶŽĨĂƐƉĞĐŝĮĐ Ğ Đ Ğ  Ğ ŚŝĐŬ ϯƉŝ ĐŚĂŶŐŝŶŐ RNS ƚƐŝĚ ŝů ƚŐƌĂĚƵĂůůLJ͕ ĞǀĞŶƚ͕ Žƌ ĂůŵŽƐƚ NTE Ě  ŽƵ ϭϰ͟ ƌ ϮϮ ŵ ĞƋƵŝƌĞ ŝŵƉĞƌĐĞƉƟďůLJĂƐƟŵĞŐŽĞƐďLJ͘DƵĐŚůŝŬĞ D LA E Ğ ƌ M  Ğ Ɛ Ŷ OR ĂŶĚ ƚŚĞ ĐŚĂŶŐŝŶŐ ƚŚĞ ĐĞŝůŝŶŐ ǀĞŶ ĂƐŬLJ ƚĞƌŽƵƚƐŝĚĞ͕ RE  F ů Ŷ ƚŚĞůŝŐŚƚƐǁŝƚŚŝŶŝƚǁŝůůĂĚũƵƐƚƐƵďƚůLJĨŽƌĂ SSU ϯϰϳ PRE IBS ǁŝĚĞĂƌƌĂLJŽĨĞīĞĐƚƐ͕ůŽǁĞƌŝŶŐƚŽďĞĐŽŵĞ IC  R RYL C ŵŽƌĞ ŝŶƟŵĂƚĞ ƚŽ ƐŚĂƉĞ ƚŚĞ ƐƉĂĐĞ ĨŽƌ A   AR CLE ƐŵĂůůĞƌĞǀĞŶƚƐŽƌŇĂƌŝŶŐƵƉƚŽŚŝŐŚůŝŐŚƚĂ S IECE ƐĐƵůƉƚƵƌĞŽƌĂƉĞƌĨŽƌŵĞƌ͘tŚĂƚƌĞƐƵůƚƐŝƐ AL  P IDU V ĂĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐĞdžƉĞƌŝĞŶĐĞ͕ŽŶĞƚŚĂƚ I IND ĐĂŶĞŶŐĂŐĞǀŝƐŝƚŽƌƐŽƌĞǀĞŶďĞĞŶŐĂŐĞĚďLJ ǀŝƐŝƟŶŐĂƌƟƐƚƐ͕ŐŝǀŝŶŐƚŚĞŵĂŶŽƉƉŽƌƚƵŶŝƚLJ TS ƚŽŐĞŶĞƌĂƚĞŶĞǁƉŽƐƐŝďŝůŝƟĞƐ͘/ŶĂĚĚŝƟŽŶ RIVE ƚŽ ƚŚĞ ďƌŽĂĚ ƌĂŶŐĞ ŽĨ ĞǀĞŶƚƐ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶ ĂĚĚƌĞƐƐ͕ ƚŚĞ ƐƉĂĐĞ ƐƟůů ĨƵŶĐƟŽŶƐ ďĞĂƵƟĨƵůůLJ ĨŽƌ ĚŝƐƉůĂLJŝŶŐ ĂŶĚ ǀŝĞǁŝŶŐ Ăƌƚ͘  tĞ ŚĂǀĞ ƵƐĞĚ Ă ǀĂƌŝĞƚLJ ŽĨ ƉŚLJƐŝĐĂů ĂŶĚ ĚŝŐŝƚĂů ŵŽĚĞůƐ ƚŽ ĞdžƉůŽƌĞ ƉŽƚĞŶƟĂů ĐŽŶĮŐƵƌĂƟŽŶƐ ĂŶĚ ƚŽ ŚĞůƉ ƌĞƐŽůǀĞ ƚƌĂŶƐŝƟŽŶƐĂŶĚĚĞƚĂŝůƐ͘

RS ENE ST

16

MATERIALS MATERIAL & TECTONICS CULTURE



ŝŶ BRICdŚĞƐĞ ATEĂƌĞ ĞĞƚ ͕ ͛ ƐŚ ŐŽĨ D PďƵƚ Ă ƌĞƉƌĞƐĞŶƚĂƟǀĞ ϴƐĂŵƉůĞ  ϰ͛dž Őϴ͛ůŽŶ ƚ ƚŚĞǀŝƌƚƵĂůůLJĞŶĚůĞƐƐĐŽŶĮŐƵƌĂƟŽŶƐŽĨƚŚĞ Ă  Ž Ƶ ŝŶ Ŷƚ

JOINTS

:ƵƐƚϭϬϬŵŝůĞƐƐĞƉĂƌĂƚĞƐtĂƐŚŝŶŐƚŽŶ͘͘ĨƌŽŵƚŚĞ'ƌĞĂƚWŽĐŽŵŽŬĞ^ǁĂŵƉ ;ĂůƐŽŬŶŽǁŶĂƐ'ƌĞĂƚLJƉƌĞƐƐ^ǁĂŵƉͿĂĨŽƌĞƐƚĞĚĨƌĞƐŚǁĂƚĞƌƐǁĂŵƉůŽĐĂƚĞĚ ŽŶƚŚĞƉĞŶŝŶƐƵůĂŝŶƐŽƵƚŚĞůĂǁĂƌĞĂŶĚƐŽƵƚŚĞĂƐƚĞƌŶDĂƌLJůĂŶĚ͘dŚŝƐƐǁĂŵƉ ŽŶĐĞLJŝĞůĚĞĚŵƵĐŚĐLJƉƌĞƐƐƟŵďĞƌ͕ďƵƚŽǀĞƌŚĂƌǀĞƐƟŶŐĂŶĚĂĚŝƐĂƐƚƌŽƵƐƉĞĂƚ ĮƌĞ ŝŶ ϭϵϯϬ ĚĞƐƚƌŽLJĞĚ ŵƵĐŚ ŽĨ ŝƚƐ ǀĞŐĞƚĂƟŽŶ͘  dŚĞ 'ƌĞĂƚ LJƉƌĞƐƐ ^ǁĂŵƉ ŝƐ ŶŽǁ ŵĂŶĂŐĞĚ ďLJ ĞůĂǁĂƌĞ tŝůĚ >ĂŶĚƐ͕ Ă ƉƌŝǀĂƚĞ͕ ŶŽŶͲƉƌŽĮƚ ƚĂdžͲĞdžĞŵƉƚ ŽƌŐĂŶŝnjĂƟŽŶ ĚĞĚŝĐĂƚĞĚ ƚŽ ƚŚĞ ĐŽŶƐĞƌǀĂƟŽŶ ĂŶĚ ƉƌĞƐĞƌǀĂƟŽŶ ŽĨ ŶĂƚƵƌĂů ĂƌĞĂƐƚŚƌŽƵŐŚƚŚĞĂĐƋƵŝƐŝƟŽŶĂŶĚŵĂŶĂŐĞŵĞŶƚŽĨƐƚƌĂƚĞŐŝĐƉĂƌĐĞůƐŽĨůĂŶĚ͕ ǁŚŽ ŚĂƐ ŝŵƉůĞŵĞŶƚĞĚ Ă ĨŽƌĞƐƚƌLJ ŵĂŶĂŐĞŵĞŶƚ ƉƌŽŐƌĂŵ ƚŚĂƚ ĐŽŶƐŝĚĞƌƐ ŶŽƚ ũƵƐƚ ͞ǁŽƌŬŝŶŐ͟ ĨŽƌĞƐƚƐ͕ ďƵƚ ĂůƐŽ ŵƵůƟƉůĞ ƵƐĞ ĂŶĚ ǀĂůƵĞƐ ŽĨ ƚŚĞ ƐĂŵĞ ůĂŶĚƐ ĨŽƌ ƐƵƐƚĂŝŶĂďůĞ ďŝŽĚŝǀĞƌƐŝƚLJ ĞŶŚĂŶĐĞŵĞŶƚ ĂŶĚ ƌĞĐƌĞĂƟŽŶĂů ƉƵďůŝĐ ƵƐĞ͕ ĂŶĚ ĂůůŽǁŝŶŐƐĞůĞĐƟǀĞŚĂƌǀĞƐƟŶŐŽĨĐLJƉƌĞƐƐĨŽƌĂƐƵƐƚĂŝŶĂďůĞĂŶĚůŽĐĂůƐŽƵƌĐĞŽĨ 10 material.

ϰ͟  ĨĞĞƚ ůŽŶŐ͕ ϭ Ğ  Ğ ƌ Ă ͛ Ś ůƐƋƵ Ő ϭϮ ĐĞ ƚ ƚŽƚĂ ĞĂƐƵƌŝŶ ƉƌŽĚƵ ϰ ϴ Ϯϭ ŐƐ ŵ ĞƚĞƌ Ž ŵ ϯϬ ů ĚĞ ĚŝĂ ƵŝƌĞĚ Ƌ ŝ Ğ Ɛ ƌ ƚ  Ƶ ƚ Ž ĨĞĞ  Ě ƌ ďŽĂ

A

FA LLY

ZLE

OR

FLO material context and culture

RECONFIGURATION

UZ

RI

3

TS

NKS

PLA

UT FT C

Ϯ

OIN B J

t^,/E'dKE

EER VEN  ϴ͛ T U Ő  C ARY ĞĂƐƵƌŝŶ ŝĚĞ POTOMAC  RIVER ROT CHESAPEAKE  BAY ƚƐ  ŵ Ƶ  Ɛ Ž Ő ƚ ϯ ůŽ  ϭϰ͟ ĂƌLJ ĐƵ  ͕ ƚ Ŭ Ő Ž Đ ƌ Ŷ ŝ ůŽ ĞƚĞƌ ŝů ƚŚ  ŵ ĚŝĂŵ ƌ ϮϮ Ğ ϯϰϳ ƚŚ ĞĞ ǀĞŶ ƌĞĂƚĞ ŝƌĞĚ Đ Ƶ Ƌ  ƚŽ ƌŶƐƌĞ Ğ ůĂŶƚ

LLS WA  SIDE ƌŝŶŐ ϴ͛ ƐƵ Ğ ŵĞĂ ŽƵƚƐŝĚ   Ɛ Ő ƚ ϯ ůŽ  ϭϰ͟ ĂƌLJ ĐƵ  ƚ ͕ Ŭ Ž Ő MATERIAL  ƌ ƚŚŝĐ ůŽŶ CULTURE ĞƚĞƌ ŵŝů Ğ 'ZdWKKDK<^tDW ĚŝĂŵ ƌ ϮϮ ĞĂƚĞƚŚ Ğ ŽĐƌ Ğ Ŷ ǀĞ ƌĞĚƚ ĂLJƐ͘ ŝ ď ƌĞƋƵ ĞǁĂůůƐ Ě ŝ Ɛ ϴϭ

ƚŽŐĞŶĞƌĂƚĞŶĞǁƉŽƐƐŝďŝůŝƟĞƐ͘/ŶĂĚĚŝƟŽŶ ƚŽ ƚŚĞ ďƌŽĂĚ ƌĂŶŐĞ ŽĨ ĞǀĞŶƚƐ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶ ĂĚĚƌĞƐƐ͕ ƚŚĞ ƐƉĂĐĞ ƐƟůů ĨƵŶĐƟŽŶƐ ďĞĂƵƟĨƵůůLJ ĨŽƌ ĚŝƐƉůĂLJŝŶŐ ĂŶĚ ǀŝĞǁŝŶŐ Ăƌƚ͘  tĞ ŚĂǀĞ ƵƐĞĚ Ă ǀĂƌŝĞƚLJ ŽĨ ƉŚLJƐŝĐĂů ĂŶĚ ĚŝŐŝƚĂů ŵŽĚĞůƐ ƚŽ ĞdžƉůŽƌĞ ƉŽƚĞŶƟĂů ĐŽŶĮŐƵƌĂƟŽŶƐ ĂŶĚ ƚŽ ŚĞůƉ ƌĞƐŽůǀĞ ƚƌĂŶƐŝƟŽŶƐĂŶĚĚĞƚĂŝůƐ͘

ϰ͟  Ő͕ ϭ ĨĞĞƚ ĂƌĞ ϭϮ͛ ůŽŶ  ƚŚĞ Ƶ Ƌ ƚĂůƐ ƵƌŝŶŐ ƌŽĚƵĐĞ Ɛ ϰƚŽ Ϯϭϴ ŐƐ ŵĞĂ ĞƚĞƌ Ɖ Ž ŵ ů  ϯϬ ĚĞ ĚŝĂ ƵŝƌĞĚ Ƌ ŝ ŽƵƚƐ ĨĞĞƚƌĞ ƌĚ ďŽĂ

LJƉƌĞƐƐŝƐĂďĞĂƵƟĨƵů͕ǀĞƌƐĂƟůĞ͕ĂŶĚƐƵƐƚĂŝŶĂďůĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĐĂƉĂďůĞŽĨďĞŝŶŐƐŚĂƉĞĚ ŝŶƚŽ ƚŚŝŶ ǀĞŶĞĞƌƐ ĂƐ ǁĞůů ĂƐ ŝŶƚŽ ĚŝŵĞŶƐŝŽŶ ůƵŵďĞƌ͘  dŚĞ ĐŽŶƐŝƐƚĞŶƚ ŐƌĂŝŶ ĂŶĚ ǁŽƌŬĂďŝůŝƚLJ ŵĂŬĞĐLJƉƌĞƐƐĂŶĞdžĐĞůůĞŶƚĐŚŽŝĐĞĨŽƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƚŚĞ'ƌĂŶĚ^ĂůŽŶŝŶƚĞƌŝŽƌ͘LJƉƌĞƐƐ ĂůƐŽŚĂƉƉĞŶƐƚŽďĞĂŶĂƌŽŵĂƟĐǁŽŽĚ͕ǁŝƚŚĂƉůĞĂƐĂŶƚƐĐĞŶƚƚŚĂƚŝƐƐƵďƚůĞĂŶĚĐŽŵĨŽƌƟŶŐ͘ dŚĞǁŽŽĚ͚ůĂŶƚĞƌŶƐ͛ǁŝůůĂůůďĞĐŽŶƐƚƌƵĐƚĞĚǁŝƚŚƉŚLJƐŝĐĂůũŽŝŶƚƐĂŶĚŵĞĐŚĂŶŝĐĂůĨĂƐƚĞŶĞƌƐ͖ŶŽ -103ĂĚŚĞƐŝǀĞƐǁŝůůďĞƵƐĞĚ͘dŚĞƉůĂŶŬƐƵƐĞĚŝŶƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂƌĞƌŝŌĐƵƚĐLJƉƌĞƐƐ͕ĂƚĞĐŚŶŝƋƵĞ ƚŚĂƚĐƵƚƐĞĂĐŚďŽĂƌĚƉĞƌƉĞŶĚŝĐƵůĂƌƚŽƚŚĞƚƌĞĞ͛ƐŐƌŽǁƚŚƌŝŶŐ͕ƉƌŽĚƵĐŝŶŐǀĞƌLJƐƚĂďůĞůƵŵďĞƌ


SOLAR PANELS

FILM

FASHION

EXISTING CEILING AND ROOF

CATWALK + STRUCTURE OPERABLE WIRES

WOOD VENEER WALL AND LANTERN CEILING

12

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15

WOOD PLANK FLOOR AND SCREEN WALL

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SHELBY FARMS PARK

Memphis, Tn Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Steve Reyenga, Will Burks, Brad Payne, Justin Hershberger

Marlon Blackwell Architect has teamed up with James Corner and Field Operations to expand upon the master plan for Shelby Farms Park. Along with Field Operation’s large scale site HIZIPSTQIRXW½ZIEVGLMXIGXYVEPMRXIVZIRXMSRWLEZIFIIRHIWMKRIH and strategically located around the park: a new visitors center, an events stage, a new restaurant and events space, a boathouse, and a pavilion. Each building is unique in its spatial qualities, but share common materials, environmental strategies, aesthetics, and emphasis on public space. 1] [SVO SR XLMW TVSNIGXIH MRGPYHIH &-1 QSHIPMRK ½REP presentation drawings and renderings. Currently in DD.

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SHELBY FARMS PARK: VISITOR’S CENTER

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SHELBY FARMS PARK: EVENTS SPACE

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SHELBY FARMS PARK: BOAT HOUSE

SHELBY FARMS PARK: EVENTS STAGE

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KIT OF PARTS

With Christof Jantzen Architecture and VS Furniture Today’s mobile classrooms tend to have a negative connotation. They were originally designed as an economical solution to provide schools a temporary space for disaster relief, or during construction and expansion. -HIRXMJ]MRK XLI ¾E[W SJ I\MWXMRK QSFMPI GPEWWVSSQW MW GVYGMEP XS MXW VI conceptualization, and include but are not limited to: installation far longer than their lifespan., use of cheap non-recyclable, non-durable materials, isolation from other classrooms, students, and activities, and an unhealthy environment for working, teaching, learning, expanding. KOP aims to improve and expand upon the current concepts of teaching and learning through high quality design, sees the mobile classroom in a RI[PMKLXERHEMQWXSEHHVIWWWIZIVEPMQTSVXERXMWWYIWEXLERH¾I\MFMPMX] beyond the traditional classroom typology; transformation in the digital age, environmental: sustainability, air, ventilation, light, acoustics, health, cost IJ½GMIRG]ERHGVIEXMZIGSRWXVYGXMSR My work on this project included initial research, physical and computer modeling, and presentation drawings.

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FUNDAMENTALS OF BUILDING CONSTRUCTION, ED. 6 With Joe Iano and Ed Allen

Diagrams, renderings, and detail sections illustrated for the newest edition of the Fundamentals of Building Construction, to be printed in November 2013. Worked closely with Joe Iano to produce drawings from concept to complete illustration for publication.

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COLLABORATIVE WORK ST. ANN’S ACADEMY FLATLOT COMPETITION CART COLLECTIVE AC_CA COMPETITION


FLATLOT CARRIAGE

Flint, Michigan 20,000+ sqf FlatLot Public Project Competition with Angie Carpenter The Elevated Carriage acts as a both new marquee for the city - one that draws and welcomes visitors and locals into the site, and establishes ETVSKVEQQEXMGEPP]他I\MFPIERHZMWYEPP]EGGIWWMFPIJVEQI[SVOXSWTE[RE range of activities, from the spontaneous local gathering to the destination IZIRX8LI 'EVVMEKI EMQW XS VI他IGX ERH I\TERH YTSR XLI GSRWXVYGXMSR materiality, and temporality of the historical Michiganian carriage in a contemporary climate. The elements of a prototypical horse-drawn carriage are a light-weight framing system, wrapped with canvas, and stabilized by a platform, wheels, and axles. Embracing this construction WMQTPMGMX]GSWXIJ遜GMIRG]ERH他I\MFMPMX]XLI'EVVMEKIYXMPM^IWEWXERHEVHM^IH scaffolding system as a framework stretching across the site, elevated above the parking spaces for maximum daily lot access and use, touching down only in the narrow strips encompassing the existing light poles. The framework provides a multi-functional presence and platform on site, one that hosts staging, projection screens, seating, and a canopy that extends to the existing light-poles. The Carriage is a sensorial experience and an extension of the urban streetscape of Saginaw and the University of Michigan campus, and could ultimately provide a vital armature to stimulate downtown Flint, economically and socially.

canopy extended over market

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sequence of construction

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movie night

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site analysis

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performance, music event


ST. ANN’S ACADEMY

Hornell, NY 7000 sqf with Kerry O’Connor and Jen Steacy The selected site is in a prime location in the Canisteo Valley, just east of the river overlooking downtown Hornell, It is a beautiful and accessible site, and as the host for the new St. Ann’s Academy, has potential to enrich and invigorate the education of currently enrolled St. Ann’s Academy students, and generations to come. Teaching and learning methods are intrinsically linked to the environment in [LMGLXLI]EVITVSHYGIH8LITVSTSWEPJSV7%%EMQWXSTVSZMHIE¾I\MFPI environmentally friendly, high quality, yet cost effective design through GSYVX]EVHJIEXYVIWXLIYWISJVIG]GPIHQEXIVMEPWERH¾I\MFPIWTEGIW

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west elevation

material logics and program diagrams

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view from cafe to entrance and courtyard

view from entrance to cafe and courtyard

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CART COLLECTIVE

Casablanca, Morroco, 30,000+ sqf AC-CA Competition with Max Bemberg and Gina Gage The Cart Collective conceptualizes a city-wide market network, whilst embracing the Moroccan tradition of mobile, individual vendor stalls. The proposed site provides an opportunity to test and critique a new typology of market, one that simultaneously acts as both hub and node. The functionality of the market is two-fold: it is a vertical farm, and a ZIRHSV GEVX HMWTIRWEV]8LI ZIVXMGEP JEVQ LSWXW XLI ½ZI GVMXMGEP QEVOIX types, public programs, as well as a restaurant and observatory deck, providing panoramic views of Morocco, and visual connections to sister Cart Collective towers throughout the city. The towers provide storage, water, and waste management for the stocked carts, which can be removed and dispersed throughout the city in clusters, or as individual “petals”. The “petals” strengthen the Casablancan social fabric, and the vertical form frees the site for pedestrian activities. Cart Collective strives for sustainabiility through environmental strategies and economic growth, encouraged by a new trading web.

market active, canopy extended

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program, evironmental, circulation diagrams

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ACADEMIC TEACHING

UNIVERSITY OF ARKANSAS

FAY JONES SCHOOL OF ARCHITECTURE ARCH 3046THIRD YEAR CORE FALL 2012 - SPRING 2013


ARCH 3046: DORMITORY

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman Third year core studio juggled three fast-paced projects on various sites. Each project emphasized the unit, and its modular repetition. Through the emphasis of diagrams, graphite studies, and hybrid renderings, students explored each project through its material logics and techtonics, spatial layout of the unit, and the overarching relationship of the units to site. 8LI½VWXTVSNIGX[EWEX[S[IIOGLEVIXXII\TPSVMRKEHSVMQMXSV]YRMXSR an undisclosed site.

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ARCH 3046: MT GAYLOR MOTEL

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman The second three week project was a motel adjacent to the abandoned Mount Gaylor Observatory deck, and overlooking the rolling hills of Northwest Arkansas. Students paid attention to access from the highway, site orientation, and incorporation of the existing tower. Emphasis on the spatial layout and techtonics of the unit remained present.

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ARCH 3046: MARFA MOTEL

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman The third project of third year core featured a motel on a large site just outside of downtown Marfa, accompanied by a studio trip to the site, and the Chinati Foundation. Students aimed to understand the unique experiential qualities provided by the Marfa site - vastness and scale, color,, environment, etc, whilst maintaining and techtonic and programmatically logical approach to the individual units.

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DRAWINGS + TRAVEL SKETCHES


Buenos Walks: mapping a 100 day paths through the city

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Ouro Preto, Brasil

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skylines of Ouro Preto

Ouro Preto, Brasil

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skyspace graphite powder on stathmore

skyspace graphite powder on strathmore

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container graphite powder on strathmore

stacks graphite powder on strathmore

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HLM  

2013 Portfolio

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