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HILLARY BROWN ARCHITECTURE P O R T F O L I O


C O N T E N T FILM INSTITUTE INTEGRATED

| STRUCTURES + SYSTEMS + ARCHITECTURE | TEXAS A&M UNIVERSITY

THRESHOLD

VARISCO

| ADAPTIVE REUSE & URBANISM | TEXAS A&M UNIVERSITY

LAYERS |

RESOURCE

BASQUIAT

MUSEUM

| TEXAS A&M UNIVERSITY

ACTION | SKATEPARK

| TEXAS A&M UNIVERSITY

SKATEPARK

| MEDICAL SHIPPING CONTAINER |

SERVICE |

BUILD

ORGANIZATION

TINY HOUSE

TINY HOME FOR AUSTIN HOMELESS | COMPETITION

PROFESSIONAL

PAUL DUESING PARTNERS | HARRISON KORNBERG ARCHITECTS

RESUME


UNDERGRADUATE WORKS


S H O R T

F I L M

I N S T I T U T E

THE SHORT FILM INSTITUTE IS EMBEDDED INTO ITS SITE IN DOWNTOWN HOUSTON AND RESPONDS TO THE NATURAL LIGHT, SURROUNDING BUILDINGS, AND USERS OF THE SPACE. IT ACCOMODATES 200 STUDENTS IN 32,000SQFT. IT HOUSES SOUND BOOTHS, GREEN SCREEN ROOF, EDITING SUITES FOR THE STUDENTS. THERE ARE FLEXIBLE SPACES FOR THE STUDENTS TO DISPLAY THEIR WORK AS WELL AS UNIQUELY CREATE STUDIO SPACES. A SEPARATE BUILDING HOUSES THE AUDITORIUM AND SINKS INTO THE GROUND, WHILE THE MAIN INSTITUTE RAISES UP THREE STORIES WITH PUBLIC ACCESS TO A GREEN ROOF ABOVE THE AUDITORIUM. THE AUDITORIUM IS A SOLID CONCRETE ENCLOSURE, SURROUNDED BY GLASS, WHILE THE MAIN BUILDING WHICH HOUSES THE STUDENTS HAS MORE OF A TRANSPARENT INTERIOR IN CONTRAST TO ITS COUNTERPART. FILM STUDENTS WHO OCCUPY THE MAIN BUILDING ARE ENCOURAGED TO INTERACT AND FIND INSPIRATION BY LARGE OPEN COMMON SPACES, A LEARNING STAIR, SWINGING PARTITIONS, AND CLASSROOMS WITH FLOOR TO CEILING CURTAIN WALLS. THE BUILDING IS COMPRISED OF WOOD, REINFORCED COMMUNICATES THE DIVERSITY AND INTEGRATION OF MATERIALS.

CONCRETE,

AND

STEEL

WHICH


O FAL

BUF

OU BAY

COMMERCE

FRANKLIN

CONGRESS

PRESTON

PRAIRIE

TEXAS

CAPITOL

RUSK

WALKER

McKINNEY

LAMAR

DALLAS

POLK

CLAY

BELL

HAMILTON

CHENEVERT

JACKSON

CRAWFORD

LA BRANCH

PEASE

AUSTIN

CAROLINE

SAN JACINTO

FANNIN

MAIN

TRAVIS

MIILAM

LOUISIANA

SMITH

LEELAND

JEFFERSON

ST. JOSEPH PKWY 0’

400’

800’

1600’

I N T E R A C T I O N

D O W N T O W N

MEDIA CONNECTION: MEDIA IS ANY FORM OF COMMUNICATING A MESSAGE TO A LARGER AUDIENCE. FILM IS A VISUAL TYPE OF MEDIA TO SEND A STORYLINE TO ITS AUDIENCE. PROGRAM: INDEPENDENT SHORT FILM INSTITUTE GOAL: AIM TOWARDS COLLEGE STUDENTS PURSUING THE SHORT FILM INDUSTRY INCLUDES: FILM COURSE CLASSROOMS [EDITING, SOUND DESIGN, SCREEN WRITING, NEW MEDIA, POST PRODUCTION, CAMERA & LIGHTING], GREEN SCREEN ROOM, EQUIPMENT STORAGE, EDITING SUITES, ADMINISTRATIVE OFFICES, AND PUBLIC AUDIOTORIUM


COMMUNICATING TO AN AUDIENCE

VISUAL AND AUDITORY

EVOLUTION OF MEDIA

SPEED OF REACHING AN AUDIENCE

INCREASING AUDIENCE

AUDIENCE DERIVES OPINION


P R O C E S S WE WERE FIRST ASKED TO CREATE A DIAGRAM SHOWING WHAT WE BELIEVED TO DEFINE MEDIA. THE GRAPHICS LISTED EXPLAIN HOW MEDIA IS A VISUAL TRANSLATION AND HOW IT EVENTUALLY LEAD US TO FOCUS OUR DESIGN ON A FILM INSTITUTE THAT HIGHLIGHTS THE VISUAL REPRESENTATION OF MEDIA. THE DIAGRAMS BELOW THEN EXPRESS THE THREE ELEMENTS WE FOCUSED ON WHILE DESIGNING. THE VIDEO CAPTURES THEN SHOW THE TOP DIAGRAM WE FILMED IN STOP MOTION AND PRODUCED ON YOUTUBE.

SPACIAL LAYOUT

CENTRAL STAIR

PRIVACY GRADIENT


THEATER

COURTYARD THEATER

CIRCULATION

CIRCULATION

REFLECTION POOL

ENTRANCE VESTIBULE

ENTRANCE VESTIBULE

CAFE

COURTYARD

KITCHEN

WOMENS RESTROOM

LECTURE ROOM

LEARNING STAIR

MENS RESTROOM

LECTURE ROOM

FAN ROOM

MECHANICAL ROOM

OFFICES

OFFICES

OFFICES


REFLECTION POOL

CIRCULATION

THEATER

CLASSROOM

CLASSROOM CLASSROOM

CLASSROOM

CLASSROOM

ROOFTOP GARDEN

EDITING ROOM

WOMENS RESTROOM

GREEN SCREEN ROOM

MENS RESTROOM

WOMENS RESTROOM

MENS RESTROOM

FAN ROOM

SOUND BOOTH SOUND BOOTH

SECOND FLOOR

S H O R T

F I L M

I N S T I T U T E

THEATER

THIRD FLOOR

P L A N S

THE SHORT FILM INSTITUTE HOUSES A PUBLIC THEATER AS WELL AS A PUBLIC OUTDOOR AREA FACING THE PUBLIC LIGHT RAIL. THE INSTITUTE ALSO HAS A CAFE, MOVING EXHIBITION SPACES AND OFFICES ON THE FIRST FLOOR. THE SECOND AND THIRD FLOOR OFFER MORE PRIVATE AREAS WITH STUDIO SPACES, GREEN ROOMS, SOUND ROOMS, AND A ROOF TOP GARDEN FOR THE STUDENTS TO FILM IN. THE LARGEST IMAGE IS A 1/4”=1’ DRAWING OF THE INSTITUTE,


NORTHEAST ELEVATION 1/8”=1’

NORTHWEST ELEVATION 1/8”=1’


3PM

5PM

NOON

REINFORCED CONCRETE SURROUNDING THE THEATER ACTS AS A SOUND BARRIER FROM THE EXTERIOR

OPEN AIR WALKWAYS CIRCULATE WIND THROUGH THE SITE AND SERVE AS SHADED WALKWAYS

R E A L T I O N S H I P

T O

P U B L I C

IN THE DESIGNING OF THE PROJECT, THE RELATIONSHIP BETWEEN THE SCHOOL AND THE DOWNTOWN WAS HIGHLY EVALUTATED. THE PUBLIC THEATER AND PUBLIC GARDEN ARE SEEN DIRECTLY FROM THE LIGHT RAIL. THERE ARE MANY FEATURES OF THE INSTITUTE THAT PROMOTE THIS INTERACTION OF PEOPLE.


SAWTOOTH ROOF ALLOWS NATURAL LIGHTING TO COME INTO THE INTERIOR FROM THE NORTHEAST

AUTOMATED VERTICAL LOUVERS ALLOW ENOUGH NATURAL LIGHT INTO THE SPACE WITHOUT OVER HEATING THE INTERIOR

A LARGE ATRIUM LETS LIGHT INTO THE LOWER FLOORS OF THE INSTITUTE WINDOWS ALONG THE WALL WASHES THE WALL WITH LIGHT OPEN PLAN OFFICES ALLOWS SUNLIGHT TO MOVE FURTHER INTO THE INTERIOR OF THE BUILDING

AN OPEN PLAN IN THE INSTITUTE WORKS WELL FOR AIR CIRCULATION

LONGITUDINA

A GREEN ROOF PROLONGS THE LIFE OF HEATING, VENTILATION, AND HVAC SYSTEMS

GREEN ROOFS RETAIN 70-90% OF THE PRECIPITATION THAT FALLS ON THEM

GREEN ROOFS PLAY A ROLE IN REDUCING GREENHOUSE GAS EMISSIONS

EXTENDED OVERHANGS KEEP THE INTERIOR OF THE BUILDING COOLER AND OFFER SHADE TO PEDESTRIANS

THE REFLECTION POOL SURROUNDING THE THEATER IS A SOURCE OF EVAPORATIVE COOLING

THE SUNKEN THEATER ALLOWS THE GROUND TO SERVE AS INSULATION

CROSS SECTION 1/8”=1’


F

M

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d) 8’(s) 1’(d) 8’(s) 1’(d)

8’(s) 1’(d) 8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

Q

16’ (s) 1’ (d)

16’ (s) 1’ (d)

4 5

16’ (s) 1’ (d)

16’ (s) 1’ (d)

6

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

7

16’ (s) 1’ (d)

8

8’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

3

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

8’ (s) 1’ (d)

9

10

J

K

L

M

N

P

Q

N

P

Q

M

7

8

8

P

Q

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

M

6

16’ (s) 1’ (d)

16’ (s) 1’ (d)

N

4

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

7

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

3

16’ (s) 1’ (d)

6

16’ (s) 1’ (d)

8’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

6

16’ (s) 1’ (d)

7

16’ (s) 1’ (d)

4

16’ (s) 1’ (d)

8’ (s) 1’ (d)

2

16’ (s) 1’ (d)

8’ (s) 1’ (d)

4

16’ (s) 1’ (d)

3

16’ (s) 1’ (d)

3

16’ (s) 1’ (d)

2

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

2

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

N

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d) 8’(s) 1’(d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

8

8’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

7

P

TYP. COLUMN: UNBRACED LENGTH 12’

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

N

16’ (s) 1’ (d)

Q

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

6

P

32’ (s) 2’ (d)

H

9

TYP. COLUMN: UNBRACED LENGTH 12’

8’ (s) 1’ (d) 8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d) 8’(s) 1’(d) 8’(s) 1’(d)

8’(s) 1’(d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

20’ (s) 1’ (d)

32’ (s) 2’ (d)

P

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

4

8’(s) 1’(d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

8’(s) 1’(d) 8’(s) 1’(d) 8’(s) 1’(d)

16’ (s) 1’ (d) 8’(s) 1’(d) 8’(s) 1’(d)

8’(s) 1’(d)

8’(s) 1’(d)

G

N

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

THE STRUCTURAL SYSTEM OF THIS BUILDING IS A LONG SPAN TIMBER SYSTEM. THE FRAMING OF THIS BUILDING AND REQUIRED SPAN AND LENGTHS ARE LISTED BY “RULE OF THUMB” AS WELL AS THE DIRECTION OF THE JOISTS. THE BUILDING’S GRID SYSTEM HAS A 16’ TYPICAL BAY.

3

16’ (s) 1’ (d)

P L A N S

8’ (s) 1’ (d)

F R A M I N G

16’ (s) 1’ (d)

16’ (s) 1’ (d)

2

20’ (s) 1’ (d)

12’ (s) 1’ (d)

8

1

20’ (s) 1’ (d)

16’ (s) 1’ (d)

M

TYP. COLUMN: UNBRACED LENGTH 12’

2

16’ (s) 1’ (d)

8’ (s) 1’ (d)

12’ (s) 1’ (d)

7

16’ (s) 1’ (d)

16’ (s) 1’ (d)

M

L

N

16’ (s) 1’ (d)

E

M

16’ (s) 1’ (d)

D

L

16’ (s) 1’ (d)

C

12’ (s) 1’ (d)

14’ (s) 1’ (d)

6

10

TYP. BAY: WOOD JOISTS 16” O.C.

12’ (s) 1’ (d)

16’ (s) 1’ (d)

12’ (s) 1’ (d)

14’ (s) 1’ (d)

16’ (s) 1’ (d)

B

24’ (s) 1’ (d)

8’(s) 1’(d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

A

24’ (s) 1’ (d)

K

16’ (s) 1’ (d)

8’ (s) 1’ (d)

10

8’(s) 1’(d)

8’(s) 1’(d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

5

16’ (s) 1’ (d)

8’ (s) 1’ (d)

JOISTS LOCATED 16” ON CENTER [TYPICAL BAY SHOWN]

8’(s) 1’(d)

16’ (s) 1’ (d)

K

20’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

REINFORCED CONCRETE WALLS SERVE AS LATERAL BRACING ON EVERY ELEVATION

20’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

NOTE:

9

8’(s) 1’(d)

20’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

8

16’ (s) 1’ (d)

8’(s) 1’(d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d)

4

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

3

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

2

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

12’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

7’ (s) 1’ (d)

7’ (s) 1’ (d)

7’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

7

12’ (s) 1’ (d)

J

12’ (s) 1’ (d)

16’ (s) 1’ (d)

P

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d)

J

12’ (s) 1’ (d)

16’ (s) 1’ (d)

8’(s) 1’(d)

12’ (s) 1’ (d)

12’ (s) 1’ (d)

H

16’ (s) 1’ (d)

16’ (s) 1’ (d)

6

12’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

4

12’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

STEEL W SECTION: 64’ (s) 3’ (d)

16’ (s) 1’ (d)

3

STEEL W SECTION: 64’ (s) 3’ (d)

16’ (s) 1’ (d)

STEEL W SECTION: 64’ (s) 3’ (d)

16’ (s) 1’ (d)

2

12’ (s) 1’ (d)

H

16’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

12’ (s) 1’ (d)

16’ (s) 1’ (d)

G

16’ (s) 1’ (d)

12’ (s) 1’ (d)

12’ (s) 1’ (d)

N

1

16’ (s) 1’ (d)

16’ (s) 1’ (d)

F

12’ (s) 1’ (d)

16’ (s) 1’ (d)

G

M

TYP. COLUMN: UNBRACED LENGTH 12’

16’ (s) 1’ (d)

E

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

7’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

D

F

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d) 8’(s) 1’(d)

16’ (s) 1’ (d)

1

C

E

16’ (s) 1’ (d)

B

D

7’ (s) 1’ (d)

A

C

16’ (s) 1’ (d)

B

7’ (s) 1’ (d)

A

5

16’ (s) 1’ (d)

L

TYP. PIER: 4’ DIAMETER, 30’ DEEP

12’ (s) 1’ (d)

8’(s) 1’(d)

10

16’ (s) 1’ (d)

16’ (s) 1’ (d)

8

9

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

K

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

J

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

7

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

6

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d) 16’ (s) 1’ (d) 16’ (s) 1’ (d)

5

16’ (s) 1’ (d)

16’ (s) 1’ (d)

H

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

G

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

F

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

E

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

4

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

3

D

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

2

16’ (s) 1’ (d)

16’ (s) 1’ (d)

16’ (s) 1’ (d)

1

C

16’ (s) 1’ (d)

B

16’ (s) 1’ (d)

A

P

Q

8


L O A D

P L A N S

PSFSTORAGE; : STORAGE;MECHANICAL MECHANICAL 120120 PSF: 120 PSF: STORAGE; MECHANICAL

100100 PSF: PUBLIC CORRIDORS; PSFPUBLIC : PUBLICCORRIDORS; CORRIDORS; 100 PSF: ASSEMBLY; GREEN ASSEMBLY; GREEN ROOF ASSEMBLY; GREEN ROOF ROOF PSF: FIRESTAIRS STAIRS 80 80 PSF: FIRE 80 PSF: FIRE STAIRS

60 PSF: OFFICES; PSF: OFFICES;CLASSROOMS; CLASSROOMS: SOUND 60 60 PSF: OFFICES; CLASSROOMS; SOUND BOOTHS; GREEN SCREEN SOUND BOOTHS;ROOM GREEN BOOTHS; GREEN SCREEN ROOM 30 SCREEN ROOM 30 PSF: PSF: ROOF ROOF 30 PSF: ROOF


GLAZING WINDOW FRAME GLAZING WOOD FRAME BLOCKING WINDOW OVERFLOW GRATE WOOD BLOCKING REFLECTION POOL OVERFLOW GRATE REFLECTION POOL PLUMBING PLUMBING

WINDOW EDGE DETAIL 3”=1’

WINDOW EDGE DETAIL

LOAD TRACING DIAGRAM

CONNECTION DETAIL BEAM TO COLUM + BEAM TO BEAM

3”=1’

NTS

REINFORCED DRY ERASE/ REINFORCED MAGNETIC BOARD DRY ERASE/ MAGNETIC BOARD

REINFORCED DRY ERASE/ REINFORCED MAGNETIC BOARD DRY ERASE/ MAGNETIC BOARD WHEEL

10’ PIANO HINGE

WHEEL 10’ PIANO HINGE

10’ PIANO HINGE

10’ PIANO 2’X6”HINGE GLU LAM

2’X6” GLU LAM COLUMN 2’X6” GLU LAM COLUMN

COLUMN 2’X6” GLU LAM COLUMN

HINGE DETAIL

SWINGING PARTITION WALL SWINGING PARTION WALLELEVATION ELEVATION 1 1/2”=1’

SWINGING PARTION WALL ELEVATION

SWINGING PARTION WALL DETAIL

1 1/2”=1’ GLAZING WINDOW FRAME

1 1/2”=1’

WOOD BLOCKING SWINGING PARTION WALL DETAIL 1 1/2”=1’ METAL FLASHING

WOOD BLOCKING METAL FLASHING

METAL DECKING

METAL DECKING

MOISTURE BARRIOR

MOISTURE BARRIOR

WOOD BLOCKING OVERFLOW GRATE REFLECTION POOL

PLUMBING 1’(d) GLU LAM BEAM

1’(d) GLU LAM BEAM

WOOD JOIST

WOOD JOIST

BATT INSULATION

RIGID INSULATION 2”

PAINTED GYP BOARD

WINDOW EDGE DETAIL

MOISTURE BARRIOR

3”=1’

CONCRETE WALL 10”

PRODEMA WOOD CLADDING

REINFORCED CONCRETE DRY ERASE/ FOUNDATION MAGNETIC BOARD

CONCRETE FOUNDATION

10’ PIANO HINGE

CARTON FORMS

CARTON FORMS

2’X6” GLU LAM COLUMN

STUD WALLDETAIL DETAIL TYP.TYP STUD WALL

1 1/2”=1’

S T R U C T U R A L

TYP CONCRETE CONCRETE WALL DETAIL TYP. WALL DETAIL 1 1/2”=1’

SWINGING PARTION WALL DETAIL D E T A I L S 1 1/2”=1’


V A R I S C O THE SPACE BETWEEN INTERIOR AND EXTERIOR, AND THE THRESHOLD BETWEEN PUBLIC AND PRIVATE SPACES CAN BE APPROACHED BY MANY DIFFERENT ARCHITECTURAL ELEMENTS. I HAVE CHOSEN TO EXPLORE THIS THRESHOLD BY CREATING AN “EXTERIOR ROOM” THAT ALLOWS THE CONNECTION BETWEEN INTERIOR SPACE AND EXTERIOR SPACE AND THE CONNECTION BETWEEN PUBLIC SPACE AND PRIVATE SPACE.


A D A P T I V E THE VARISCO BUILDING, LOCATED ON THE INTERSECTION OF 24TH STREET AND MAIN STREET IN DOWNTOWN BRYAN, TEXAS IS CURRENTLY AN OFFICE BUILDING THAT UNSUCCESSFULLY DEMONSTRATES THIS CONNECTIVE LINK BETWEEN PUBLIC AND PRIVATE ARCHITECTURAL SPACES. IT’S HIDDEN ENTRANCE AND LIFELESS PLANAR FAÇADE ALSO IS UNSUCCESSFUL AT EXPLORING THE THRESHOLD BETWEEN INTERIOR AND EXTERIOR SPACES. IN ORDER TO SUCCESSFULLY CREATE A LINK BETWEEN PUBLIC AND PRIVATE, THE CURRENT OFFICE BUILDING’S PROGRAM MUST BE REEVALUATED. A NEW PROGRAM OF A GROCERY STORE ON THE FIRST FLOOR WITH APARTMENTS AND AMENITIES ABOVE FOR THE BUILDING MUST BE ESTABLISHED TO CREATE THIS LINK. THIS CREATES AN INTIMACY GRADIENT, FROM MOST PUBLIC TO MOST PRIVATE IN THE VERTICAL DIRECTION BY FLOOR. THE FIRST FLOOR WILL ACCOMMODATE AND EXPLORE THE LINK BETWEEN PUBLIC AND PRIVATE SPACES AND THE TRANSITION BETWEEN THEM. ON THE NORTH EASTERN SIDE THE BUILDING, A GROCERY STORE WITH A CAFÉ IS PROPOSED. ON THE SOUTH WESTERN PART OF THE BUILDING, A PROPOSED LEASING OFFICE FOR THE RESIDENTS IS LOCATED. ON THE NORTH EASTERN SIDE OF THE BUILDING, OR CORNER POINT OF THE BUILDING IS WHERE MOST PUBLIC AND PRIVATE INTERACT. IN THIS SPACE A LOUNGE AREA IS LOCATED WITH VERTICAL CIRCULATION TO THE APARTMENTS ABOVE. THE PLACEMENT OF THESE SPACES CREATES AN INTIMACY GRADIENT AS WELL.


SEMI-PUBLIC

CAFE POOL

LEASING OFFICE ROOF BAR + LOUNGE RESIDENTIAL

CAFE POOL LEASING OFFICE LINKING BALCONIES VERTICAL ROOF BAR + LOUNGE GROCERY CIRCULATION

PUBLIC

ON

FRAMED METAL FRAMED RAILING GLASS

W SECTION COLUMN EXISITNG BRICK WELDED TIE BACKS

FLOORING

INSULATION

JOISTS

GYP BOARD BOLTED BEAM EXISITING FOUNDATION


VERTICAL CIRCULATION

LEASING OFFICE

POOL

ROOF BAR + LOUNGE

POOL

ROOF BAR + LOUNGE

LINKING BALCONIES

RESIDENTIAL

ROOF BAR + LOUNGE

LINKING BALCONIES

GROCERY

LINKING B


2

1

3

4 5

FIRST FLOOR

1

POOL SYSTEM + STRUCTURE

2

SERVICE + STORAGE

3

LOBBY + LEASING

4

GROCERY

5

CAFE

1

POOL

2

LOCKER + SAUNA

3

SITTING AREA

4

GYM

N

SCALE 3/32” = 1’

2

1

3

5

5

4

SECOND FLOOR

CLUB HOUSE

THIRD FLOOR

forth + fifth + sixth

1

2

4

5

3 6

2

1 5

3

4

1

APARTMENT 1

2

APARTMENT 2

3

VERTICAL CIRCULATIOM

4

APARTMENT 3

5

APARTMENT 4

6

APARTMENT 5

STORAGE

2

PRIVATE DINING ROOM

3

VERTICAL CIRCULATIOM

4

BATHROOMS

5 ARCH 406 300

ALI, AHMED & KOICHIRO AITANI

ROOF TOP

1

EXTERIOR DINING + LOUNGE


EXPLODED BALCONY 1

EXISITING BUILDING

2

GLASS RAILING

3

GLASS PANES

4

FOOTING OF GLASS

5

FOOTING OF BALCONY

6

JOISTS

7

W SECTION BEAMS

8

W SECTION COLUMN

9

METAL PLATE

10 SHUTTER FRAMES ON TRACK

1

2

11 PROPOSED SCREEN

3

4

5

6 7

8 9

10

11

SCREEN PROCESS

EXISTING MOSAIC

DERIVED PATTERN

PROPOSAL


PUBLIC

SEMI-PUBLIC

PRIVATE

MOST PUBLIC

SEMI - PUBLIC

MOST PRIVATE

PRIVACY GRADIENT


The volumetr gallery were d rectangular p


ric spaces within the derived from a simple prism

B A S Q U I A T THIS TWO STORY, MODERN GALLERY LOCATED IN DALLAS, TEXAS FEATURES ARTWORKS BY THE WORLD RENOWNED ARTIST, JEAN-MICHEL BASQUIAT. BASQUIAT’S LIFE WAS SHORT LIVED, BUT INTERNATIONALLY KNOWN. HIS STARDOM BEGAN WITH WALL DRAW GRAFFITI IN THE URBAN JUNGLE, NEW YORK CITY. HE QUICKLY ROSE TO FAME IN HIS TWENTIES, MEETING CELEBRITIES AND OTHER FAMOUS ARTISTS OF THE 1980S, THAT DIRECTLY IMPACTED HIS ARTWORK. BASQUIAT’S ARTWORK DISPLAYS HIS POLITICAL VIEWS AND HIS POSITION ON THE AMERICAN SOCIAL SOCIETY.

c i c l i l b ub

u p


L O C A T I O N THE LOCATION OF THE BASQUIAT ART MUSEUM IS IN THE HEART OF THE DESIGN DISTRICT OF DALLAS, TEXAS. THIS LOCATION IS A PRIME SPOT FOR A BASQUIAT GALLERY, DUE TO THE CONTEXT OF BASQUIAT AS AN ARTIST. THE SITE SHARES SIMILIAR FEATURES SUCH AS THAT IT IS MUCH LIKE THE URBAN ENVIRONMENT BASQUIAT DID MOST OF HIS GRAFFITI WORK.


PLACEMENT

P R O C E S S AFTER STUDYING BASQUIAT, ONE WOULD REALIZE HIS INTENTIONS OF RELATING HIS PAINTING TO THE HUMAN FORM. THIS IS WHY THE STUDY TO THE LEFT WITH MODELS SHOWING THE RELATIONSHIP OF THE PAINTINGS TO HUMAN FORMS. IT ALSO EXPRESSES THE NEED FOR NATURAL LIGHTING IN A GALLERY.


SECURITY

GIFT SHOP

LOBBY

END

MEDIA HISTORY SKULL

FIGURES

SMALL 699

GALLERY GARDEN


ROOF BELOW

OFFICE

OFFICE

LOBBY

OPEN TO BELOW

STORAGE

OFFICE

ROOF BELOW

M U S E U M THIS MUSEUM HOUSES UNIQUE ART PIECES THAT SHOWCASE BASQUIAT’S LIFESTYLE. IT IS REFLECTIVE OF HIS DISTINCT PERSONALITY AND IS DIRECTLY DERIVED FROM THE WORKS OF ART HE COMPLETED. HIS PALIMPSEST STYLE OF LAYERING PAINT ALLOWS VIEWERS TO SEE WHAT WAS ONCE THERE BEFORE. THIS IS CONVEYED WITH THE LAYERING OF TWO DOMINATE WALL FORMS THROUGHOUT THE BUILDING. “L-SHAPE ” AND “STRAIGHT LINE” WALLS MOLD THE INTERIOR SPACES OF THE MUSEUM AND DIVIDE THE GALLERIES WITHIN. TRANSPARENCY AND MATERIALS THROUGHOUT THE BUILDING WERE CAREFULLY CHOSEN TO ALLOW THE VIEWER TO EXPERIENCE THE BUILDING THE SAME WAY BASQUIAT INTENDED THE AUDIENCE TO EXPERIENCE HIS ARTWORK. THE MUSEUM FUSES NEW YORK’S GRAFFITI SUBCULTURE WITH THE ELITE ART SOCIETY THAT BASQUIAT QUICKLY BECAME A PART OF.


lblicic b uu

pp

yry r e l e enen l l l d r d r ga ga ggaa y r llellery nn ga ga e e d rrd a a gg

THE VOLUMETRIC SPACES WITHIN THE GALLERY WERE DERIVED FROM A SIMPLE RECTANGULAR PRISM.

THE GALLERY IS ARRANGED INTO FOUR MAJOR SPACES: PUBLIC, GALLERY, GALLERY GARDEN, AND GARDEN.

EACH AREA WITHIN THE GALLERY WAS PUSHED AND PULLED FROM THE ORIGINAL SINGLE PRISM TO CREATE A HIERARCHY OF SPACES.


VISUAL PATHS GUIDE AND INTRIGUE VIEWERS TO THE MYSTERY OF WHAT LIES BEYOND THE LAYERS OF WALLS.

THE CIRCULATION IS DESIGNED AROUND AN ARCHITECTURAL PROMENADE; AN ELEMENT KEY IN DEVELOPING MOVEMENT THROUGH SPACES.

THE PATH THROUGHOUT THE GALLERY REFLECTS BASQUIAT’S LIFE BY SHOWING HIS ARTWORK IN CHRONOLOGICAL ORDER.


GARDEN

GAL


LLERY

LOBBY


S K A T E

P A R K

IN THIS PROJECT, I WAS GIVEN A SELECTED SITE ON A GOLF COURSE IN BRYAN, TX, AND WAS REQUIRED TO CREATE A SKATE PARK AND A BUILDING THAT ACCOMPANIES IT. THE SKATE PARK TAKES ELEMENTS FROM A SUPER POWER I HAD TO MANUFACTURE. MY SUPER POWER WAS SUPER FOCUS, HYPERSENSITIVITY AND A UNIQUE PERCEPTION OF TIME. WE WERE TO CREATE ABSTRACT ITERATIONS TO PLACE IN THE PARK IN CERTAIN WAY TO EXEMPLIFY OUR SUPERPOWER. EACH ITERATION EMBODIES CERTAIN ASPECTS OF MY SUPERPOWER.


L O C A T I O N IN THIS PROJECT, I WAS GIVEN A SELECTED SITE ON A GOLF COURSE IN BRYAN, TX, AND WAS REQUIRED TO CREATE A SKATE PARK AND A BUILDING THAT ACCOMPANIES IT. THE SKATE PARK TAKES ELEMENTS FROM A SUPER POWER I HAD TO MANUFACTURE. MY SUPER POWER WAS SUPER FOCUS, HYPERSENSITIVITY AND A UNIQUE PERCEPTION OF TIME. WE WERE TO CREATE ABSTRACT ITERATIONS TO PLACE IN THE PARK IN CERTAIN WAY TO EXEMPLIFY OUR SUPERPOWER. EACH ITERATION EMBODIES CERTAIN ASPECTS OF MY SUPERPOWER.


L A Y O U T THE SKATEPARK DESIGN IS DERIVED FROM FILM WITH AN EMPHASIS ON THE ASPECT OF FOCUS. THE TOPOGRAPHY OF THE SITE IS ORGANIZED BY THE AMOUNT OF PEOPLE USING THAT AREA. THE OUTER RIMS ARE DESIGNED FOR MORE EXPERIENCED SKATERS AND DECREASE IN SKILL TOWARD THE CENTER. EACH CHANGE OF ELEVATION SIGNIFIES A CHANGE IN SKILL LEVEL. THE CENTER OF THE PARK IS MOST CONCENTRATED WITH PEOPLE, JUST HOW A CAMERA FOCUSES THE SHOT IN THE CENTER. THE PLACEMENT OF THE SKATEPARK ELEMENTS ARE DERIVED FROM FILM EDITING AS EXPRESSED IN THE DIAGRAM ON THE RIGHT. EACH ELEMENT IS PLACED FROM WHERE THE DERIVED DESIGN IN ELEVATION INTERSECTS WHEN GRID LINES ARE EXPRESSED. EACH ELEMENT IS ALSO DERIVED FROM THE SAME CONCEPT OF FOCUSING IN FILM.


CAMERA LENSE | FOCUS

DEPTH OF CAMERA LENSE

DERIVED FOCUS | FILM EDITING

START

END

FRAME INCREASES AS TIME IS SLOWED

START

END

DETAIL BECOMES GREATEST IN CENTER

FOCUS DESIGN


S K A T I N G

E L E M E N T S

EACH OF THE ABOVE ELEMENTS ARE CONCRETE STRUCTURES THAT TAKE ON THE SAME CONCEPT OF FOCUS FROM FILM . EACH ONE IS DIFFERENT IN SCALE AND ALLOWS THE OVERALL DESIGN OF THE SKATEPARK TO BE COMMUNICATED ON A MORE HUMAN SCALE. THEIR PLACEMENT IS DEPENDANT ON THE GRID SYSTEM CREATED FROM THE OVERALL DESIGN FOCUS.


COMPETITION & ORGANIZAITON WORKS


B U I L D BUILD IS AN ORGANIZAITION AIMED AT UNIFYING THE STUDENT BODY AT TEXAS A&M UNIVERSITY BY UNDERTAKING A LARGE SCALE SERVICE PROJECT. THE SERVICE PROJECT THAT I WAS IN CHARGE OF ,WHILE BEING ON THE DESIGN AND CONSTRUCTION TEAM OF THE ORGANIZATION, REQUIRED THE DESIGN DOCUMENTATION OF A SHIPPING CONTAINER FABRICATED AS A MEDICAL UNIT. THE FOUR UNITS


THOMAZEAU, HAITI

DOLORES, HONDURAS | NO NEAR BY HOSPITALS


LOCATION OF MEDICAL UNIT | TEN MILE RADIUS OF NEAREST HOSPITALS

LA PAZ, BOLIVIA

MANTA, COLUMBIA | NO NEARBY HOSPITALS

S E R V I C E THE FOUR SHIPPING CONTAINERS ARE APART OF A SERIES OF TWELEVE CONTAINERS. EACH CONTAINER REPRESENTS ONE OF THE VICTIMS OF THE BONFIRE TRADEGY AT TEXAS A&M UNIVERSITY. THIS PROJECT ALLOWS STUDENTS ALL ACROSS THE TEXAS A&M CAMPUS TO COME TOGETHER TO WORK ON A SINGLE SELFLESS SERVICE PROJECT. THE FOUR CONTAINERS WILL BE SENT TO: THOMAZEAU HAITI, DOLORES, HONDURAS, MANTA, COLUMBIA, AND LA PAZ, BOLIVA. ALL LOCATIONS WITH LITTLE ACCESS TO HEALTHCARE LOCATIONS.


A R R A N G E THE ORGANIZATION WAS DONATED FOUR SHIPPING CONTAINERS TO USE. USING A SHIPPING CONTAINER RESTRICTED THE AMOUNT OF SPACE ALLOWED FOT THE DESIGN. PRIVACY WANTED TO BE INCORPORATED INTO THE DESIGN TO ALLOW FOR PATIENT AND PRACTICE INTERACTION. IT IS THE MOST PRIVATE INTERACTION, SO IT IS FURTHEST AWAY FROM THE ENTERANCE. MOVING THE EXTERIOR WALL CLOSER ALLOWS THE THRESHOLD TO CHANGE. IT ALLOWS THE PUBLIC TO BE SHEILDED FROM THE EXTERIOR BEFORE ENTERING INTO THE INTERIOR OF THE SHIPPING CONTAINER. CIRCULATION WAS KEY IN THE LIMITED SPACE. THERE SHOULD BE A NATURAL FLOW FROM THE FRONT OF THE CONTAINER TO THE REAR OF THE CONTAINER. THE SPACING ALSO PROVIDES CLEARANCE FOR A STRETCHER TO ACCESS THE PRIVATE TREATMENT AREA AS WELL. AS ONE PROCEEDS FROM THE FRONT TO THE BACK OF THE CONTAINER, THE INTERACTION BETWEEN PEOPLE DECREASES, AS DISPLAYED IN THE BOTTOM GRAPHIC. THE MOST FREQUENTED AREA BEING IN THE FRONT OF CONTAINER.


STANDARD SHIPPING CONTAINER

PARTITION WALL | PRIVACY

MOVE

| THRESHOLD & PUBLIC

FLOW | DOOR & PATH

TRIAGE

EXAMINATION

LABRATORY

TREATMENT CIRCULATION

PLACEMENT

TRIAGE

EXAMINATION

LABRATORY

TREATMENT CIRCULATION

MOST PUBLIC

MOST PRIVATE

PRIVACY GRADIENT


NETS

TRIAGE L

EXAMINATION

LABRATORY

TREATMENT MOST PRIVATE

MOST PUBLIC

TOP SHELF WITH METAL BRACKETS

BASE CABINET SINK

BASE CABINET SINK

EXAM TABLE

EXAMINATION

LAB

EX

TRIAGE HALLWAY / CIRCULATION

RY

2”X4“ FRAMING 11”O.C. WITH 1/2” GYP ON INTERIOR SIDE

AM

TA

BL

E

TREATMENT

2”X2“ POCKET DOOR WITH 1/2” GYP ON PUBLIC SIDE

POCKET DOOR WALL

EXTERIOR ENTRY

TOP SHELF WITH METAL BRACKETS

BASE CABINET SINK

EXAM TABLE

EXAMINATION

LAB

TRIAGE HALLWAY / CIRCULATION

TS

OOR WALL

EXTERIOR ENTRY

POCKET DOOR WALL

2”X4“ FRAMING 11”O.C. WITH 1/2” GYP ON INTERIOR SIDE

EXTERIOR ENTRY REAR CABINETS 2”X2“ POCKET DOOR WITH 1/2” GYP ON PUBLIC SIDE


F A B R I C A T I O N THE FOUR SHIPPING CONTAINERS WERE CONSTUCTED AND BUILT DURING THE FALL SEMESTER OF 2015 AT TEXAS A&M UNIVERSITY. BEING APART OF THE DESIGN TEAM, I OVERSAW THE CONSTRUCTION CARRIED OUT AS WELL AS LENDING A HAND IN CONSTRUCTING THE MEDICAL UNITS. THESE UNITS WILL IMPACT THE PEOPLE IN THE COMMUNITIES OF THE COUNTRIES THAT DESPARATELY NEED THEM. BEING APART OF THE PROJECT IS SOMETHING THAT I WILL TRULY TAKE MANY THINGS AWAY FROM.


T I N Y

H O U S E

THIS SINGLE STORY TINY HOUSE WAS CREATED WITH THE CONSUMER IN MIND. AS A COMPETITION DESIGN FOR COMMUNITY FIRST, THAT PLACED FIRST, THIS TINY HOUSE THE HOME WAS DESIGNED TO ACCOMMODATE THE NEEDS OF A HANDICAP INDIVIDUAL. THIS 120 SQUARE FOOT HOME HAS PLENTIFUL SPACE, MEETING THE REQUIREMENTS OF THE COMPETITION CRITERIA OF FITTING ON A TRAILER AS WELL AS FALLING INTO THE BUDGET OF $8,000. THE DESIGN EVENTUALLY WAS REFINED BY SEVERAL FACULTY MEMBERS, BUILT, AND DONATED TO THE ORGANIZATION IN SPRING OF 2015.

TINY HOUSE PROPOSAL


FIRST FLOOR

=

FITS ON 18’X6’11” TRAILER

FITS ON 18’X

LESS THAN $8,000

LESS THAN $8

8’6” WIDTH 14’ HEIGHT FOR TRANSPORTATION

DISABILITY COMPATIBILITY

INTERIOR ELEVATION

=

=

8’6” WIDTH 1 TRANSPORTA

DISABILITY C

INTERIOR ELEVATION


PRIVATE BEDROOM

PUBLIC LIVING SPACE

PRIVATE BEDROOM

PUBLIC LIVING SPACE

THE HOUSE IS DIVIDED INTO TWO BASIC AREAS: PUBLIC AND PRIVATE.

PRIVACY DIVISION PRIVACY DIVISION

PRIVACY DIVISION THE HOUSE OFFERS VISUALS OF THE EXTERIOR OF THE HOUSE FROM ALL POINTS OF INTEREST INSIDE.

VISUAL INTERACTION VISUAL INTERACTION THE HOUSE IS EASILY ACCESSIBLE FOR A WHEEL CHAIR. THE DESIGN COMPETITION DID NOT ASK FOR THIS, BUT AFTER RESEARCHING THE ORGANIZATION, THE NEED FOR HANDICAP ACCESSIBILITY WAS AN ESSENTIAL.

VISUAL INTERACTION

HANDICAP FREEDOM HANDICAP FREEDOM


N

FRONT ELEVATION

SIDE ELEVATION

N

FRONT ELEVATION

SIDE ELEVATION

FIRST FLOOR

N

REAR ELEVATION

SIDE ELEVATION

N

REAR ELEVATION

SIDE ELEVATION

ROOM ON

PUBLIC LIVING SPACE

ROOM

PUBLIC LIVING SPACE

INTERIOR ELEVATION

PRIVATE BEDROOM INTERIOR ELEVATION PRIVATE BEDROOM


THE MODIFIED DESIGN INCORPORATED A PITCHED ROOF WITH SOLAR PANELS. THE HOUSE NOW PROVIDES HOUSING FOR THE HOMELESS IN AUSTIN THROUGH THE ORGANIZATION COMMUNITY FIRST.


PROFESSIONAL WORKS


P R O F E S S I O N A L WHILE INTERNING FOR HARRISONKORNBERG ARCHITECTS, A FIRM SPECIALIZING IN HIGHER EDUCATION AND K-12 EDUCATION DESIGN, I COMPLETED WORK ON TWO MIDDLE SCHOOLS IN THE HOUSTON AREA. I HAD MANY RESPONSIBILITES INCLUDING THE TECHNICAL FLOOR PLAN DRAWINGS FOR THE PROJECTS AS WELL AS THE SCHEDULES REQUIRED FOR THE ARCHITECTURAL PACKAGE & INTERIOR DESIGN SCHEMES. I PRIMARILY USED REVIT ON THESE PROJECTS BUT I ALSO USED AUTOCAD AND I COMPLETED RENDERINGS AND PRESENTATION GRAPHICS IN PHOTOSHOP, SKETCHUP, AND ILLUSTRATOR.


P R O F E S S I O N A L WHILE INTERNING FOR PAUL DUESING PARTNERS, AN INTERIOR DESIGN FIRM SPECIALIZING IN HIGH END RESIDENTIAL HOMES AND LUXURY HOTELS AND RESPORTS, I COMPLETED A VARIETY OF DIFFERENT TASKS. SOME OF THESE TASKS INCLUDED SPECIFYING MATERIALS TO BE USED IN THE PROJECTS, DESIGNING THE FURNITURE LAYOUT OF THE INTERIOR SPACE, COMPLETING PHYSICAL PRESENTATION BOARDS TO SHOW TO CLIENTS, AND COMMUNICATING WITH DIFFERENT REPRESNTATIVES. I PRIMARILY USED AUTOCAD DURING THE DURATIONS OF MY INTERNSHIP WITH PAUL DUESING PARTNERS. A HELPED COMPLETE A MURAL AT THE FOUR SEASONS COASTA RICA AND A GALLERY WALL IN AN APARTMENT COMPLEX IN DALLAS, TX. I ALSO WORKED ON INTERIOR DESIGN FOR PRIVATE RESIDENCES THROUGHOUT DALLAS AND THROUGHOUT THE U.S.


STATEMENT OBJECTIVE I AM A CUM LAUDE GRADUATE FROM TEXAS A&M UNIVERSITY WITH A DEGREE IN ENVIRONMENTAL DESIGN. I AM SEEKING ADMISSION INTO THE GRADUATE PROGRAM AT TEXAS A&M IN WHICH I CAN CONTINUE TO FURTHER MY EDUCATION. I HOPE TO FURTHER DEVELOP MY SKILLS AND EXPERIENCE TO ACCOMPLISH MY GOAL OF BECOMING A LICENSED ARCHITECT.

HILLARY BROWN 4008 CARTAGENA DRIVE PEARLAND, TEXAS 77581 8 3 2 . 4 7 4 . 3 4 5 6 HILLARYBROWN1992@YAHOO.COM www.linkedin.com/in/hillaryashtonbrown

EDUCATION TEXAS A&M UNIVERSITY

BACHELOR OF ENVIRONMENTAL DESIGN COLLEGE STATION, TEXAS FALL 2011 - FALL 2015

BLINN COLLEGE

BRYAN, TEXAS FALL 2011 - SPRING 2012

PEARLAND HIGH SCHOOL PEARLAND, TEXAS FALL 2007 - SPRING 2011

ARCHITECTURAL SKILLS REVIT AUTOCAD SKETCH UP RHINOCEROS 3D SEFAIRA MIROSOFT OFFICE

WORD + EXCEL + POWER POINT

PREZI ADOBE SUITE

PHOTOSHOP + ILLUSTRATOR + INDESIGN

GPA 3.69

GPA 3.50

GPA 3.90


PROFESSIONAL EXPERIENCE HARRISON KORNBERG ARCHITECTS

CHARLES JACOBS

3131 EASTSIDE STREET, SUITE 100

AIA

HOUSTON, TEXAS 77098

NCARB

LEED AP BD+C CDT 832.788.9638

CJACOBS@HARRISONKORNBERG.COM

ALSION ANDRUS

PAUL DUESING PARTNERS

INTERIOR DESIGNER 214.763.2406 AANDRUS@PAULDUESINGPARTNERS.COM

2600 FAIRMOUNT ST DALLAS, TEXAS

ORGANIZATIONS & IMPACT TAU SIGMA DELTA

MEMBER OF THE NATIONAL ARCHITECTURE HONOR SOCIETY RECOGNIZING ACADEMIC ACHIEVEMENT

AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS MEMBER OF THE NATIONAL STUDENT CHAPTER

BUILD | DESIGN AND CONSTRUCTION LEADER TEXAS A&M UNIVERSITY ORGANIZATION

| DESIGNER OF MEDICAL SHIPPING CONTAINERS

TINY HOUSE | WINNING SUBMISSION

TEXAS A&M UNIVERSITY | CREATED THE WINNING TINY HOUSE DESIGN FOR COMMUNITY FIRST, AN ORGANIZATION HELPING THE HOMELESS OF AUSTIN

AWARDS & ACHIEVEMENTS FRESHMAN SHOWCASE EXHIBIT | SELECTED WORKS SHOWCASED TEXAS A&M UNIVERSITY COLLEGE OF ARCHITECTURE

JOHN HOUCHINS ‘58 ENDOWED SCHOLARSHIP TEXAS A&M UNIVERSITY COLLEGE OF ARCHITECTURE


HILLARY BROWN ARCHITECTURE P O R T F O L I O


2016 | Hillary Brown | Undergraduate Portfolio | Texas A&M University  

My newly updated architectural portfolio showcasing the work that that completed while earning my bachelor's degree in Environmental Design...

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