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KATIE NIGHTINGALE


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“Carved in Time” Pompeii, Italy (Photography by Katie Nightingale)


KATIE NIGHTINGALE 2819 N. Spring Lake Rd Burrton, KS 67020 kn.nightingale@gmail.com 316.641.1139 www.katienightingale.weebly.com

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“Window to the Sky” Bagnaia, Italy (Photography by Katie Nightingale)


My work is about solving the problem. More specifically, it is about finding a solution that is clean, simple, organized, and different. The designs I create are inspired by the potential users of the finished product. When I design, my end goal is to make the best space for the user. Functionality, aesthetics, and the visceral experience one has in the space are foundations upon which I base my designs.

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MOROCCAN CONSULATE Design a structure that forms a link between two separate countries.

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The mission of the Consulate has three parts: to represent Casablanca, a sister city to Chicago; to connect Morocco and the Midwest through agriculture; and to reciprocate the acceptance of western culture in Morocco. The site is located within walking distance of Daley Center which holds a yearly festival celebrating different countries. The use of educational spaces within the building encourages the spread of knowledge about crops native to Morocco. Moroccan cuisine, offered in a street-side cafĂŠ, makes Moroccan culture tangible.


view from street

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Interior Glazing Support Curtain Wall Glazing Finish Flooring Composite Decking Metal Connection Plate W24x104 Girder W14x90 Beam Spider Clip Truss Support Screen Truss Perforated Metal Screen Suspended Acoustic Tile Ceiling

Mullion Truss Support

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front faรงade detail


view of faรงade

There are three major components to the structure of the Consulate. The back and side walls are load bearing, poured-in-place concrete. The floor systems are comprised of steel beams and girders. The front faรงade is a glazed curtain wall behind a perforated metal screen. This screen has its own structural system that is tied back to the main structure of the building.

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The concept for the building was drawn from the sands of the Sahara Desert near Morocco. The overall form of the Consulate is that of a section of the earth removed from the desert and transported to Chicago. The undulating front faรงade with its perforated screen lets in diffused light while mimicking the forms of sand dunes.

penthouse apartment


view from street

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partial 1st floor plan

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READING COMMUNITY CENTER Shape a meeting space to fuel growth in a community.

office

office

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After a tornado wiped out a large portion of the small town of Reading, KS, the community wanted to rebuild with growth being a top priority. They wanted a gathering place; a hub for communal activities. As a circle focuses towards its center, so too does the town of Reading. The existing park provided a dominant location for a new community building.

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view into amphitheater


section through offices

The layout of the community center is derived from an inward-looking shape to create a building that speaks to the needs of the town. One portion of the circle is dedicated to offices and individual rooms, while another is used for large gatherings. On top of the building is an amphitheater that flows down into the rest of the green space.

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DALLAS PUBLIC LIBRARY Form a place where knowledge and learning take precedent.

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The Dallas Public Library is designed with a figural form of two main parts. The solid, more traditional base seems to emerge from the ground through the use of builtup earth around the southern edge. This is where the support spaces and the bulk of the books are placed. The sweeping, curvilinear form rises up from the base and houses reading spaces and display shelves. This space terminates with a view looking north towards the city. The appearance of this library symbolizes ascension from the ground, through the “base� of traditional knowledge, up around modern ingenuity, and ending at a higher position from which to view the beginning of the journey.


top view of model

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first floor plan


transverse section

The first floor holds community spaces, storage, book circulation, and staff areas. There is also a small cafÊ near the entrance. The second floor contains more book stacks, as well as a children’s area.

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SILENT ARCHITECTURE Use the built environment to create spaces that are healing.

“The most powerful of healing places is in the brain and in the mind” (Sternberg, 2009). Studies have shown that the mind and its functions are directly affected by the environment. Certain environmental stimuli, such as light and sound, affect the hormone levels in the brain. These chemicals drive reactions and can either help or hinder healing (Linaraki, 2012). Healing can be defined as an internal process of transformation. Silent architecture may be a way to promote this process toward well-being. As defined by Day, silent architecture is balanced, simple, and timeless. It evokes a sense of calm and peacefulness in those who experience it (Day, 1995). These perceptions can be especially

important to older generations. In an intergenerational living environment, the difference of ages is emphasized, and stress over changes that come with age can become prevalent (Moschis, 2007). Design that takes these issues into consideration should share qualities with the idea of silent architecture. Scale, proportion, “living lines”, unity of colors and materials are strategies that can positively impact psychological well-being (Day, 1995). It is suggested that the design of space can encourage a healing or calming effect in its inhabitants. This project will explore how Day’s principles of silent architecture can inspire healing and well-being in an intergenerational living environment.

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PATTERNS OF SILENT ARCHITECTURE LIGHT

Natural light From two sides Different levels of natural light Colored light Natural light through not only windows Needs texture to play on

SIMPLICITY

Orthogonal, but not static Simplicity of plan, elevation Simple proportions of windows Somewhat symmetrical, balanced plan Ornamentation is in architectural details Underplay architecture so it’s not intrusive Slight variation in axis Slight ambiguities in form

BALANCE

Focus and axis Life-filled, breathes Scale and proportion Scale reduced by tiered elements Places at rest or have directional dynamic

FORM

Similar throughout Slightly undulating facades Overhangs, roofs, balconies Provide shadows Horizontality

SCALE

Stories shown on exterior Double height spaces divided Human scale Smaller elements to break up a larger space

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MATERIALS

Weathered Rough, rusticated Texture Show formwork Stucco, plaster Local, natural Unity, but contrasting Few materials/colors

ENTRANCE

Ease transition from public to less public Way to get rid of “street behavior” Closed-ness Tension Distance Make space between street and front door Change of: Light Sound Direction Surface Level View

NATURE

Natural shadows Tall surrounding trees Small-leaved shrubs, short landscaping

WINDOW TO THE STREET

Connects inside and outside Most successful on second and third floors Raised alcove on first floor Position where people (on the inside) pass often

INTERGENERATIONAL LIVING Circular path within unit/on each floor Adaptable units within the building Social spaces at the center Community at all levels of scale Universal Design Layers of space/buffer zones Bring the world into the building Third places Lingering realms in the circulation spaces

DAY, Christopher. “Healing Silence: The Architecture of Peace.” Places of the Soul. London: Thorsons, 1995. 138-48. Print. LINARAKI, Despoina, and Georgia Voradaki. “The Interaction of Space with the Human Nervous System and Its Impact on Human Psychology.” Proc. of ANFA, Salk Institute for Biological Studies, La Jolla. ANFA, 21 Sept. 2012. Web. 24 Sept. 2013. <http://www.anfarch.org/documents/LinarakiandVoradakiposter.pdf>. MOSCHIS, George P., and Anil Mathur. “Physical and Emotional Well-Being.” Baby Boomers and Their Parents. Ithaca: Paramount Market, 2007. 53-80. Print. STERNBERG, Esther M. “Healing Gardens and My Place of Peace.” Healing Spaces: The Science of Place and Well-being. Cambridge: Belknap of Harvard UP, 2009. 280-96. Print. ALEXANDER, Christopher, Sara Ishikawa, and Murray Silverstein. A Pattern Language: Towns, Buildings, Construction. New York: Oxford UP, 1977. Print.

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“Out of Line” Villa Adriana, Tivoli, Italy (Photography by Katie Nightingale)


“This service that you perform is not only supplying the needs of God’s people but is also overflowing in many expressions of thanks to God.” 2 Corinthians 9:12

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