MIRANDA MIDDLETON ARCHITECTURE + DESIGN
ARCHITECTURE + DESIGN
EDUCATION AWARDS DRURY UNIVERSITY (2010 - PRESENT) - SPRINGFIELD, MO DEAN 'S SCHOLARSHIP RECIPIENT Masters of Architecture Minor in Global Studies
NOMINATED FOR ARCHITECTURE LIBRARIUM 2014 Academic Year
STUDY ABROAD (2013) - AEGINA, GREECE
SKILLS GRAPHIC DESIGN Adobe InDesign (PC & Mac) Adobe Photoshop (PC & Mac) Adobe Illustrator (PC & Mac)
ARCHITECTURE SOFTWARE Auto desk Revit Auto cad Vasari Rhino Sketch Up & Sketch up Pro Auto desk 360
OTHER SOFTWARE Microsoft Word Microsoft Office Microsoft Excess Microsoft Power Point
EXPERIENCE FABRICATION SHOP-DRURY UNIVERSITY Springfield, MO - 2012-2014
CARMODY GROARKE London, England - Spring 2014
SOLAR DECATHLON TEAM Spring 2014
MACK SCOGIN MERRILL ELAM ARCHITECTURE Atlanta, GA - Spring 2012
REFERENCES DIRECTOR - MAURIZIO SABINI firstname.lastname@example.org (417) 873-7494
PROFESSOR - SAUNDRA WEDDLE email@example.com (417) 873-7437
PROFESSOR - MARSHALL ARNE firstname.lastname@example.org (417) 873-7421
ARCHITECTURE + DESIGN
BUDDHIST TEMPLE URBAN PARK AT THE EDGE OF TOWN OPEN SKY: ROUTE 66 A TRACTOR HOUSE JOE'S NEST URBAN ART INTERVENTION
PARTI DIAGRAM - INTERIM WHITNEY PROGRAMMING ANALYSIS: NCCA MOSCOW
BUDDHIST TEMPLE In Spring of 2014 we were given our comprehensive studio project. The project was to design a worship space for one of three religions. The religion I selected was Buddhism. This is the conceptual work from mid-review of Spring 2014. Buddhism is seen as a way of life more than a religion. So when studying and researching types of worship, practices, and styles of spaces it was difficult to come to a consensus that was constant in the religion. My concept was derived of the constants I did find. 1. Buddhism is a way of life. 2. Buddha is a teacher. Not a God. 3. To reach enlightenment it is essential to learn, and education oneself about the eight fold path. 4. Buddhist worship days revolve around moon cycles. I took an eight by eight grid in reference to the eight fold path and developed the programing into portions of the grid. A point was picked from the grid and the education space was rotated 45 degrees addressing sun patterns as well as giving the space a hierarchy.
" EDUCATION BY DAY & WORSHIP BY NIGHT. "
URBAN PARK ON THE EDGE OF TOWN In order to revitalize an under used site, I first thought of what was causing the underutilization. After taking the programming and uses of the site into consideration I realized that uniting the site with one function was not going to result in a positive outcome. Though the programming is flexible on this particular site, the roads running though the site are not. With that being said I knew it was important to unify the sites but to what extreme? How different could these sites become without one site having a hierarchy over the other? These ideas are what derived my concept. I wanted to create on unifying factor that would connect the three sites without losing the strengths of each individual functions. This resulted in one main path that continues through the three different sites giving each site one constant. This path would result in creating different functions for each of the three spaces unify them into one
ROUTE 66 MUSEUM
When being inside of a car ones environment is constantly being warped. The view through a windshield is one that most people can relate to. This is one standard frame that is constantly changing with ones surroundings. Today's world is changing and what ones sees on a highway is much different than what one would see traveling down Route 66.The car drives through the open plane of Kansas, sees narrow views of the sky in larger cities, and feel the unease of when traveling over steep mountains. What makes Route 66 so appealing is the described journey. This museum is to preserve this journey for all to experience.
THE TRACTOR HOUSE Fall of 2013 we had a two week design charrete to design a "pavilion" for a historic tractor. We were then told that we would have two days to pick a tractor. The only restriction was that it had to be built before the 1920's. The Hornsby Oil Tractor is the first tractor to run primarily off of oil. One of the things that attracted me this tractor is its flywheel. After researching about flywheels I discovered that a fly wheel is a kinetic piece that is used to keep the engine running smooth when there is excess power or no gas. This continuous movement began to change the idea of how tractors ran. I carried forth this notion of a kinetic movement in the design of the structure that would hold this tractor. The space needed to engage with its surroundings and react to the kinetic movement that would interact with the space itself. I designed the space keeping in mind who and what would be moving within the space. Like the Hornsby Oil Tractor, I wanted the movement from these elements to directly influence how the space looked and felt. The main idea is that the elements engaged with the space would result in changing the space. The kinetic pieces surrounding the space are engaged with the elements as well as people. The movement of these elements will directly influence the concrete spaces through harsh shadow lines and pathways. The grid pattern was organized based off of the measurements of rows of crop.
JOEâ€™S NEST This project started by choosing a Drury University faculty member to design a work retreat for on Table Rock Lake.
The site that was chosen is located at
the end of a peninsula. The culture in this area is very rustic, family oriented, and engaged with nature. The client I chose is a women of many talents but this work retreat would be directed to her soul passion, writing. The final design resulted with many unique qualities and spaces. One space in particular was Joe's nest, a tower used to get away from the rest of the world and to focus solely on her writings. This project pushes and pulls the boundaries of tectonics to enhance the overall mood of individual spaces as well as creates multiple functions within the three main spaces; public, private, and a place of solitude.
URBAN ART INTERVENTION Springfield, MO is a prime example of urban sprawl. Downtown Springfield is the only place where the community comes together for gatherings. This is one of the main ideas that we had to think of when designing an art gallery for downtown Springfield. There are plenty of restaurants in the downtown but no place for social gatherings at night. Form was something I was very interested in when designing this project. One of the first things we were supposed to do for this project was listen Act One of Swan Lake and draw what we thought the music was portraying. Drawing what the music was playing was something I was familiar with because I danced for many years.
The project was an opportunity for me to take a dance and transform it into a building. The main ideas of this project where when dancing there are often two people or two structural backbones that support linear elements positioned in a way that results in curvilinear movement.
PARTI DIAGRAM: INTERIM WHITNEY
The Interim Whitney was a project explored in a Master Level class, Critical Use of the Precedent. In this class our final objective was to draw a set of parti diagrams that represented multiple precedents researched within the semester. Our first precedent was the High Line, in New York City. After researching this we were to choose a container that had a specific typology and research what made it unique and function properly. My choice of container was a first aid kit. In summary, this vessel is quite simply, a box with no interior views with bold graphics on its facade that work as a universal symbol to many people in the world. The next objective was to find 3 artworks displayed in the Whitney to best represent the Whitney as well as the chosen container. The genre I chose was Pop-Art. Pop art symbolizes mass production and popular culture while contradicting painterly styles of eras before. The Whitney's initial vision was to display work of similar ideas.
VIEWS IN FROM EXTERIOR
The final objective was to design a parti diagram for a pavilion that would sit atop of the High Line. This pavilion would display the three of the chosen artworks while the New Whitney, by Renzo Piano, is being built. Next, we chose a section of the High-line that corresponded with the beliefs of previous precedents for the site of the pavilion. The synopsis concluded that the design of the Interim Whitney should market the key beliefs of the Whitney and the chosen artworks through the use of strong graphics, hybrid programs, and marketing strategies. Monitoring people, events, trends, and the art are all a necessity for the design. The pavilion should publicize the artwork and be visible in the crowded city, while still protecting it against multiple elements including people, harsh weather conditions, and direct sunlight. The exterior of the vessel should boldly represent the art displayed and should be easily spotted in the fast pace rhythm of the New York City. The interior space should not overwhelm the artwork but clarify it. The interior should expand upon the main concepts of pop art including mass-production, mass-media, advertisement and upcoming trends.
VIEWS OUT FROM INTERIOR
A public square, the proposed location, allows for direct public access from the High Line and street level. This location provides manageable publicity, views to the site, and views from the site. Designs strategies for the pavilion should incorporate trends of popular events, mass-media, mass-production, marketing for the product, and hybrid activities, and should be visually interesting for the pedestrians on ground level to those in skyscrapers. This space should be straight-forward, known, and work as a symbol for the artworks within it.
THE PAVILION SHOULD SYMBOLIZE ITS CONTENTS AND THE POPULAR CULTURE OF THE CITY. CITY.
PROGRAMMING: NCCA - MOSCOW
Out of the many attractions in Moscow, Russia the majority include gardens and parks. There are a total of 96 parks and 18 large scale city-gardens within Moscow. In ARCH 437, Programming, our final assignment was to critically evaluate the given program and site of the National Center of Contemporary Arts in Moscow to develop our own program for the design competition. A series of goals were executed to achieve a successful programing for the competition. The space should feel like a world scale center that fits into its context. It should be a landmark for Moscow and the NCCA. The program should cover multiple functions, including a living area for artists, public space, and back of the house functions. Lastly the design and program needed to address and elaborate interactions between the center and the surrounding infrastructure. The site is centralized between multiple building types. To the south is a large park and square, to the north an event center, the west contains residential homes, and the east, many businesses. The main disadvantage to the site is the major road splitting the site from the square. The road contains heavy traffic and is now acting as a barrier between the site and the adjacent square. The first move was to reroute the vehicular circulation and bring the park into the site. The main road be re-routed around the existing square bringing the square into the building and slowing traffic around its edges. The site is a peculiar shape. The triangle-site proposes many design conflicts so to fully take advantage of the site programming was pushed to the edges. The void in the venter allowed for the continuation of the square into the site. This move gives the opportunity to have a large public zone for Moscow to enjoy and add to its list of attractions.
THIS COMPOSITION OF PROGRAM ALLOWS FOR THE MERGE & FLEXIBILITY OF 3 BASIC FUNCTIONS WHILE STILL MAINTAINING AN AREA FOR THE PUBLIC TO ENGAGE WITH SURROUNDING BUILDING AND VISITORS TO ENGAGE WITH MOSCOW.
1. ASSET: PARK
2. ASSET: CENTRALIZED
3. REDIRECT VEHICULAR CIRCULATION
4. MOVE MAIN MASS UP
5. BRING PARK INTO SITE
6. EXTEND EXTERIOR TO HUG PARK
7. CIRCULATION PATHS FROM PARKING
8. THREE MAIN SPACES
9. THREE ZONES
9. EACH ZONE ASSIGNED TO A LOCATION
10. SPACES & VERTICAL CIRCULATION
11. SPACES & VERTICAL CIRCULATION
12. SPACES & VERTICAL CIRCULATION
13. SPACES & VERTICAL CIRCULATION
14. SPACES & VERTICAL CIRCULATION
17. EACH SPACE FRAMES THE COURTYARD.
16. ALLOWING FOR UNIQUE VIEWS
16. INTERIOR PEDESTRIAN CIRCULATION