Natalie Baer Selected Architectural Works
Design Philosophy A design is intended to serve its constituents physically and emotionally. From start to finish, the primary goal of a project is to design a seamless program and scheme that is practical but maleable enough that it can be recreated with the changing world. As such, a building will function intimately as a single entity, but also as an integrated part of the surrounding community. It can then blend culturally, functionally, and aesthetically so that it feels as though it always has and always will be apart of the community life.
Contents Chicago Lyric Opera - - - - - - - - - - - - - 4
Mattie Rhodes Art Center - - - - - - - - 16
Dyche Hall - - - - - - - - - - - - - - - - - - - - 39
Sculptural Chair - - - - - - - - - - - - - - - - 40
Light Box - - - - - - - - - - - - - - - - - - - - - 41
KU Field Station Greenhouse - - - - - - 42
Five Points Food Incubator - - - - - - - 58
Study Abroad - - - - - - - - - - - - - - - - - 77
Resume - - - - - - - - - - - - - - - - - - - - - - 94
These cover and title page images are a fusion project. The flowered plate shard and the top of the Chrysler building are merged into this architectural art. 3
Chicago Lyric Opera Fall 2012
The Chicago Lyric Opera project focused on creating a monumental, iconic place that blends with the fabric of Chicago. The huge arches can hardly be descirbed as anything other than monumental and although the building is no skyscraper, it is inspired by the layering heights that are so commonly found on tall buildings like Willis Tower. Traditionally the Chicago Lyric Operahas funded itâ€™s program with rental space above the house, so our design overlays the opera with fine dining, a cafe, conference rooms, a ballroom, a dance studio and plenty of shopping to create a megastructure and ultimately a place for the city to work and play.
The new opera site did not move too far from the old,
As a class, we decided to improve and expand the Ogden
remaining in the heart of the city near the riverâ€™s mouth to
Plaza site by removing the riverside Sheraton Hotel. Our group
flooded the Sheraton site and made our south wall of water.
The symmetrical design called for the building to be on flat
An extremely important aspect of design is how a building
ground, much like a renaissance garden. So, we raised the
relates to its surrounding context. Here, the opera house is
building on a plynth and made a series of greenroofs.
shown as part of the towering city of Chicago.
The design began with a sketch of a giant, monolithic arch, surrounded by cascading rectangles and decorated with a water wall on the south side. The arch is an invitation to the city, so it became very important to make sure that the building was equally friendly to every side of the city. After numerous interations, it was decided that a symmetrical building would be the best solution for this scheme.
Placing this symetrical building on the site became a new challenge. However, the surrounding buildings and roads solved First Sketch
the problem for us. The neighboring residential complex to the east sits on a 30â€™ plynth and the road to the west raises 30â€™ by the time it reaches the river. it only made sense to raise the entire cross of rectangles to sit on a 30â€™ plynth and continue this line. The plynth could then be filled with little less than a mall that attracts the pedestrian traffic to the riverfront.
The opera house itself remains in the renaissance constraints of perfect geometries. As such, the only appropriate answer to the curved surfaces of a theater was a cylinder. Concentric circles eventually replaced any straight lines and 8
Preliminary Balcony Seating
created an elegant space.
Although the north, west and south all have importance, they each have an expertise.The west
stair is the main entrance and the south road serves the vallet entrance. The huge west stair and
two full height, lobby, spiral stairs emphasize the sheer size of the building. On the north and south
entrances, there are firestairs and elevators within the arch columns
These extend all the way through the plynth and parking below. These secondary stairs serve their purpose but do not detract from the grandiose west.
Section A: Circulation
Level Six: Convention Center/Ballroom
Level Five: Fine Dining, Cafe, Conference Rooms, & Dance Studio Water
10’ 0’ 20’
Level Four & Pedestals: Lobby, Boutiques and Art Gallery 12
Level Three: Lobby
Once the scheme was complete the traditional rental space became the added program. So, the upper floors are filled with high-end spaces to take advantage of the great views. An interesting addition to the fourth floor are the â€œpedestals.â€? They were invented because in order for the facade to feel complete, the stairs needed to fill the entire glass case in which they sat. Furthermore, an opera house lobby is all about seeing and being seen. The pedestal is a great opportunity for guests to take a peek around the room, out at the skyline and give others a chance to see them too.
Ground Level: Retail Entrance, Performerâ€™s Entrance, Pit & Instruments
Parking Garage 13
Designing the opera house took understanding of adjacencies. We visited
between the theater and the backstage. As seen in the section, the stage
the existing Chicago Lyric Opera and took a tour of the backstage spaces to
level drops 8â€™ from the main theater entrance. This made it possible for that
hear from the specialists about their needs and preferences for their work
entire 8â€™ tall level to be the backstage dressing rooms, wig shop, constume
environment. We then made all of the required programatic spaces into
construction, wardrobe, and management offices. Another important aspect of
representative volumes and arranged them in sketchup to see what kind
theater design is the acoustics. The sound reflecting panels hanging from the
of space the house would require. To fit the house into our symmetrical
ceiling and the balcony railings diffuse the sound around the room, while the
building we decided to symbolically split the building at the intersection
perforated wood panels absorb the sound and eiminate unwanted echo.
Water Vegetation Circulation Theater Retail Restrooms
Section B: Opera House
Mattie Rhodes Art Center The Mattie Rhodes Art Center is a nonprofit after school art program at 17th Sreet and Belleview Avenue in West side Kansas City. This semester, we designed a series of six week-long iterations for a 9,800-10,200 sqft addition to the existing Mattie Rhodes Center and Gallery on the corner of 17th and Jarboe streets. The program included spaces for: after school art, varying group activities , exhibition, and administration . At the end of these iterations we chose our favorite scheme to develop with the details of a full set of construction documents and learn how to design small scale details according to the themes and ideas of the original scheme.
t tree ay S nnw rrace ay Te nnw
0’ 180’ 360’
18th Street Jefferson Street
Madison Aven ue
Existing 17th Street
Mattie Rhodes Foundation West Side Neighborhood , KC This project consists of more than just an after school art program.
There is a deeper cultural thread driven by the gentrification that runs through the West Side neighborhood and Mattie Rhodes is right at the center of it. The Mattie Rhodes Foundation began as a group of teenagers who volunteered to help the less fortunate. When Mattie died of typhoid fever in 1890, her friends continued the work that eventually became the Mattie Rhodes Memorial Art Center that exists today. The pledge to “...promise to help the needy and suffering by working for them, learning about them, giving for them, and trying to interest others in them,”
continues to shine through the program’s actions today. Because the West Side neighborhood is beginning to experience a clash of social classes, the Mattie Rhodes Center is right at the heart of everything they started out to do. The crossroads district, to the east is full of gentrified activity and prosperity that has not yet
reached the corner of 17th and Jarboe streets. The hope is that Jefferson Street gallery, original site and our addition will be a continuous trail of art and culture for “First Fridays” attendants to follow and tie the clashing cultures together. 18th Street
House NA . Sou Fujimoto
Guggenheim Museum . F.L. Wright
Charles and Ray Eames’ Private Residence
Komyo-Ji Temple . Tadao Ando
Martyrs Pavillion . John Pawson
R e s e a r c h
Tea Room . Shigeru Ban
Clyfford Still Museum . Allied Works
Robson Square in Vancouver . Arthur Erickson
“M a n
m os t
n ea r l y
h im s el f
. . .
... achieves the seriousness of a child at playâ€? - Heraclitus Scorched Earth . Mark Bradford
Jenga . Leslie Scott
I n s p i r a t i o n Museum Brandhorst . Souerbruch & Hutton
Shou-Sugi-Ban . Delta Millworks
Corkellis House . Linea Studio
21 Andante . Anne Lindbergh
Thomas Hirschorn . Too Too - Much Much
Schematic Designs Each week we studied architects and artists as inspiration to inform the new schemes. Although we researched new information every week, throughout the entire design process I tried to create a scheme that blends with the neighborhood, connects the northeast and southwest corners of the site and creates an exterior community space. The schemes that incorporated all of these qualities with a functioning program were always the most successful. Week 1: My first hope was to design a background building that blended with the surroundings, while the interior became a playful journey through art and light. 17th and Jarboe streets are lined with deep storefronts and homes so I terraced three deep rectangles down the hill. The Clifford Still museum’s baffle lit ceiling fills the space with natural light while leaving plenty of wall space for the art. The Guggenheim’s spiraling ramp informed the central two story exhibition space whose primary circulation is a long ramp, Week 2:
Because the first design was generally linear and simple, I wanted
Week 4: Scheme four accomplished everything that I had been striving
to try something different. I decided to set the building back off the
for. Sourbrach & Hutton’s courtyard was the tool to connect the north
street and create a public space that fans out around the tower made
east corner of the site to the south west corner while maintaining an
of sliding blocks. Mark Bradford’s collages, Leslie Scott’s game “Jenga”
inviting space for the community to relax. Anne Lindbergh’s use of string
and Sou Fujimoto’s “House NA” express geometries that bring these
and color that show motion were a means to create a textured facade
ideas into fruition with changing heights and playful volumes.
that directs the occupants through circulation. I loved this scheme and
Unfortunately this scheme was not so successful because the floor
continued to develop it in the construction documents. Week 5. We
plans were too crammed to work. Week 3: This week my partner and
gave the scheme from week two another try and instead of creating a
I explored the contrast between John Pawson’s sleek modernism and
tower we made an exhibition space cube that radiates program and park
Thomas Hirschorn’s chaos. The goal was to organize the chaos from
space with splashes of color. Week 6. At this point we started running
a children’s art center within a simple, welcoming form. Because the
out of new ideas so we tried to create another courtyard scheme.
original Mattie Rhodes was converted from a traditional gable roofed
Unfortunately the scheme was too formal, but it was a great exploration
home we wanted to continue that as a familiar icon. We combined
of graphics in architecture. As I designed, especially my renderings, I
this with a large outdoor community space.
made an effort to include graphics as part of the program.
Concept Exploration: The Radial Park
The radial park is one of my favorite concepts that I explored throughout
terraces that interact with the sidewalk. Unfortunately I could not bring
this series of schemes. In fact, I loved the idea so much that I tried it on two
the idea to fruition in a week, but on scheme five my partner and I decided
separate schemes. On scheme two, the idea was to cram all of the program
to take another stab at it. Instead of a Jenga tower we decided to create
into a Jenga tower on the far corner of the site and then create a splay of
terraces of color and texture radiating from a simple cube. To make the
terraces connect and be ADA accessible, we used a stair ramp combination,
wasteland turns into a grassy hill. We then played with site lines and
as exemplified by Robson Square in Vancouver. This functions, but the
emphasized the radial geometries by adding colorful stucco walls along
ramp/stair starts to feel like a concrete wasteland. So, to make the space
the radial lines. The mix of textures such as grass, stucco, ivy on chain
more inviting, we looked back to the simplicity of John Pawson. The
link and flowers growing from concrete planters, the terraces become an
grassy hill graced with stone stairs that appear to have naturally occurred
ever changing journey, beckoning people to walk further, stop and play.
before his Martyrs Pavillion is very inviting, but is not ADA accessible so we
Although I did not choose this scheme as my final design I still love the
merged the two. By adding permeable pavers to the ramps the concrete
combination of the playful and the practical to create sensory experience.
Over time, the West Side neighborhood has experienced a
The goal of this scheme is for the one building to appear
divide with the changes from re-gentrification in the North
as three separate, small buildings while they are actually
East corner. Our site is right at the center of that divide.
interconnected below as one large building.
The three separate buildings envelope a two story courtyard
This gives two fronts to the building, creates an inviting space
that connects the northeast and southwest corners of the site
for everyone in the community to play and ultimately unite
to provide access on 17th and Jarboe Streets.
the two halves of the neighborhood.
Circulation Paths Courtyard 3’ 0’
Floor Plans The plan of this building reminds me of the formal arrangements of Piet
essentially, the direction and momentum of the circulation drive this
Mondrian’s painting, “Composition with Large Blue Pane, Red, Black, Yellow
scheme. Anne Lindbergh’s “Andante” uses the density of string to express
and Gray.” Although the painting appears to be little more than a stagnant
acceleration, so I translated the density of string to the density of a
grid one could argue that all of the rectangles encircle the large square,
Sou-Shugi-Ban facade. The more space there is between the boards, the
much like the central courtyard in my scheme. To emphasize the courtyard
better the view of the adjacent space and the closer the viewer is to an
as the heart of the scheme, the courtyard glass walls create site lines that
entrance. The interconnected relationship between circulation, site lines
intimately connect the entire space. The primary circulation follows these
and public spaces creates a vibrant environment for the entire community
walls, uniting all of the interior and exterior spaces with movement. So
to experience together.
Shou-Sugi-Ban: A Warm Milled Finish
Shou-Sugi-Ban is a historical Japanese wood treatment used as siding that
Austin Texas that provides a variety of products and services, but are
allows for the wood to be basically maintenance free. The layer of carbon
known as the primary provider of shou-sugi-ban. Although the process
that accumulates after burning makes this all possible because it resists
traditionally causes the wood to look completely black Delta Millworks has
fire, rot and bugs. Delta Millworks is a specialized lumber supplier in
created a variety of colorful finishes to choose from. Of these finishes, I
4 TIGER/CEDAR (EDGE GRAIN PINE) . DELTA MILLWORKS
chose the bright sample of “4 tiger cedar edge grain pine” (shown above). The emphasis on the linear grain with the contrast of bright and charred cedar corresponds to the schematic spacing of the facade. The southernmost wall, structural wall “K”, explains how the shou-sugi-ban boards are strung together on a narrow pipe and stopped in their places with a conical shaped rubber stopper. The friction of the form holds the boards on in place and the clamp holds the rubber stopper on the pipe. The system of the playful way-finding lines continue into the courtyard and along the stairways of the interior through the five layer wood railings. As the balcony railing turns the corner on the west side of the deck the top 3 boards extend into a bench. The middle board becomes a seat, while the two boards are cut at the angle of the backrest. The building is visible at a distance and then reaches out as a seat. This particular detail shows how a theme can delineate construction at both the macro and micro scales.
Reflected Ceiling Plans I saw the reflected ceiling plans as an opportunity to develop the lighting
so I created a mixture of low and high ceilings with a balcony space to look
design of the building. Throughout the entire design process it was a goal
off. To create natural indirect light for the art on the lower level exhibition
of mine to bring natural light into the entire building. Because the scheme
space, I made a glass border on the ceiling. I wanted the building to feel lit
buries the entire north and east walls of the lower level I brought the
this way at every time of day, so I bordered most exterior glass walls with
natural light into those spaces from the roof and southwest. The atrium
LED cove lighting. By making the ceiling a detached floating mass with
and conference spaces are along the buried walls, but I created atrum
no visible lights, the attention is drawn away from the light source and
ceilings with glazing on the second story. A well done exhibition space
towards the art instead. This creates a modest and elegantly lit scheme that
allows the inhabitants to view a variety of art from a variety of angles,
focuses on the purpose of the building rather than the building itself.
Artificial Light Natural Light
Artificial Light Natural Light
After six weeks of intense schematic designing, I broke the building into construction documents by developing the foundation plan. The entire site is dug out and supported by the thick basement walls and footings that step down along the existing slope every 10-15 feet. The second story floor meets that north and east foundation wall at a “T” with two large anchor bolts in the concrete, while the rest of the building is supported with basic steel beam construction. It is bolted to the top of the inner rim foundation while the exterior of the footing has a notch for the shou sugi ban rainscreen facade to rest on. That steel system is maintained throughout the entire building with the exception of the glulam wood beams that support the glass roof of the activity space stairwell. Because these beams are exposed, it seemed appropriate for them to be a warmer material, like the facade. The stairs coordinate with this steel and wood connection as the steel carriage creates the form for the maple treads and risers to rest and the tubular steel structure supports the wooden cubes of the cubby system in the same manner. The mix of materials gives variety and texture to the building.
Some of the standard construction details that develop these community themes are expressed in the wall section to the left. To have the ceiling and wall meet with a crisp, modest line the curtain rod and LED track lighting are hidden in the cove lighting system. The simplicity of the cove system draws the attention away from the building towards the courtyard. The curtain rod holds a sheer white curtain that creates the privacy between the spaces without losing all knowledge of their adjacencies. The black steel The mirrored stairs along the second structural line differ only by the interior maple and exterior cedar treads and visually, respectively, supported by a sleek black steel carriage. The cedar decking and shou-sugi ban rails translate to the basic maple inside and the proportion of the five layer handrail carries the themes from the ShouSugi-Ban facade into the live spaces of the building. The drop cieliing gives room for the mechanical equipment and the creativity to place indirect lighting where it will create the best atmosphere. All of this is so, no matter what a person interacts with that
person will feel welcome to the Mattie
Rhodes community. 37
Dyche Hall Fall 2009
During the fall of my freshman year, I was introduced to architecture school with this particular project: a realistic drawing of Dysche Hall. Prior to this particular sketch, 24â€?x18â€? pencil on newsprint, the assignment required two other drawings of the building: one from memory, and the other from notes that I had taken to remember the building. This sketch was, in some ways, was a relief because I was finally certain of what I was drawing.
Sculptural Chair Fall 2008 - Spring 2009
The sculptural chair is a project that I did in high school shop class. It is made of poplar, stained with natural and cherry colors and coated in clear varnish. The design blends the traditional function of a dining chair with modern lines and artistic curves. The choice to use both cherry and natural stain was intended to emphasize the difference between the curved details and the frame of the chair. The design called for most tools in the shop, but focused on skill at the scroll saw.
Light Box Fall 2009
The light box is an experiment with light and radial motion. Schematically, the project is about repetition, radial motion and inverse symmetry. Although the box is interesting from every angle, the most important view is from the top, looking down into the spiral stair of gradated light. Here, the collision of inversely symetrical layers create the focal point. In constructing the 18” x 9” x 16” volume of 1/4” MDF and wood glue, we designed it as a kit of parts. The parts support themselves so that the glue becomes a precaution rather than the primary support. The light box practiced intertwining logic and dynamism at a small scale.
KU Field Station Greenhouse Spring 2012
The KU Field Station is an environmental research and education facility focused on environmental conservation. The community of scientists and conservationalists have developed a wealth of experiments from biofuel developments to ecological observations. This greenhouse addition would be the first large scale controlled environment and small year round greenhouse on site. Because of this the project is also intended to be the icon and multipurpose community center to entertain benefactors for continued research funding.
Although the KU Field Station is associated with KU, in order
Our site is very small in comparison to the entire extent of land
to have such a great field space for experiments they are off
that the field station actually tends. In addition to the primary
campus about 20 minutes away.
fields, (above) there are also hiking trails west of the site.
The beatiful view of the water drainage ponds south of the
The building uses a variety of materials: steel, glass,
site is the view that our project hopes to captialize on from our
polycarbonate, concrete and wood. These sound cold, but the
outdoor community space.
board-formed concrete creates a warm, naural texture.
This semester had an unusual design process. We started sketching individually. After a few critiques we paired off and decided on two ideas for that pair and for the last two moths we were in groups of four with one idea. Our particular group had been circling around the same ideas at the beginning so concluding on one idea was relatively simple.
We decided that we would work with 1, 3, and 5 proportionally. This worked well for us because we ended up with a five bay greenhouse space and a three bay multipurpose space that added up to one building. The windows in the greenhouse were three panes of glass wide and tall. These proportions are beauiful and practical.
Another aspect of the design was water collection. With all of the conservation efforts that the field station was making we thought that this building should also conserve. The butterfly roof collects rainwater that drains down a rain chain to an underground cistern. The water can then be filtered and reused to water all of the greenhouse experiments. 46
Our design focused largely on the function of the greenhouse. We researched the most effective materials and came to the conclusion that polycarbonate paneling is the safest and most effective greenhouse covering. Polycarbonate comes in 5’ wide strips, so each of our panels is about 5’ wide witin a 15’ bay.
The southern greenhouse wall is tall enouh to have the floor fully covered in sunlight during the winter months. By doing this, the sunlight will hit and warm the floor and also reflect to the thermal massing concrete wall and absorb there, too. This will collect heat in the space when it is not in season and could be used for other events and classes.
Futhermore, we decided to create possibilites for natual ventilation on beautiful spring and fall days. The greenhouse has a strip of vents along the lowest row of polycarbonate to let in cool air so that it circulates through the house and back out through the top two strips of skylight windows at both ends of the roof. 48
Multi-Purpose Large Greenhouse Year-Round Greenhouse Outdoor Recreation
The most important aspect of this studio was the full-scale mock up requirement. Because we had two crucial walls in our design, we decided to mock up the southern wall and the central water collection process.
We did this assignment on a budget given to us by the university. In some ways this was practice for mainaining a budget in the workplace. So, in order to make sure that we did not go over budget we made a lot of phone calls to find the best priced steel and polycarbonate. We bargain shopped for the concrete, wood and additional materials at the hardware store.
Finally working with the materials, although we had practiced in the shop throughout the semester, was still a challenge because none of us was a true expert with steelwork and that was the majority of our details. I definitely appreciate the skill set those professions require.
â€œThe material chosen, such as stone, brick or concrete...
... is meant to eternally preserve what is inside.â€? - Tadao Ando
This is no less true of steel and concrete... We must remember that everything depends on...
... how we use a material, not on the material itself.â€? - Ludwig Mies Van Der Rohe
Five Points Food Incubator Spring 2013
The Five Points Food Incubator is essentially a community center whose main functions revolve around the life cycle of the neighborhood food. As such, I explored how to design for community needs and create a building that would become the heart of the neighborhood. Five Points is currently in the process of revitalizing itâ€™s fading Jazz culture and taking itâ€™s status as a historical landmark. Although the program is for all ages, I tailored my building toward the youth with after school activities and spaces to meet with friends. Helping students learn to participate in society is the key to maintaining community in the future.
Five Points is the oldest neighborhood in the city and known for it’s skewed grid ‘s five intersections with the Jeffersonian
strong site lines. After spiderwebbing the dominant lines of
grid of surrounding Denver; hence the name Five Points.
the sites surroundings I played with program volumes.
Five Points Food Incubator Welton Street Through2500 design of the site is a mix of program needs and Five Points Business District Denver, Colorado 80205
25th Street 20’
Eventually the program was refined to a parti of sliding forms that reflect the motion of the metro train. The forms not only look like the metro, but also follow the consistent striations in the surrounding historical neighborhood.
After thorough investigation of Five Points neighborhood and the whole Denver community, our class began to develop mission statements to keep each design in line with an overall goal. My Five Points Food Incubator mission is to fit within the traditional, historical guidelines of the Five Points neighborhood, while employing the modern technologies and design strategies of downtown Denver to create a sociable urban environment. The FPFI will use the historical jazz and evolving craft food cultures of the area to reach out to low income families and beautify Welton Street as a means for community collaboration and success.
The overall goal of the design was to invite people who were interested and uninterested to stop by. I did this by employing pilotis at the front of the building with a large outdoor market and a community auditorium beneath. The food and conversation then bring the passerby to the front door where they can gradually learn more in depth about the services and programs available the further they walk into the building. Each layer towards the back becomes more private service space for the very involved community 62
members to use.
R e s e a r c h
â€œBecause of this, originality consists in returning to the origin.â€? - Antonio Gaudi
“I don’t divide architecture, landscape and gardening; to me they are one.” - Luis Barragan
I n s p i r a t i o n
Level One Floor Plan 1/8”9’ = 1’ - 0”
In order to maintain the historical character of the neighborhood The exterior elevations of the building are clad in common bond brick masonry and punched through with a regulated pattern of windows. The windows also begin to reference the long pattern of windows on the metro so the building fits appropriately to her site. Furthermore the Incubator needed to express that it is an agricultural building within this historical district, so the long barrel vaults on the roof are remeniscent of grains silos turned on their side.
Garden, Kitchen and Service Space
Second Floor Lighting Scheme
Electrical Lines (Exterior)
Grain Silo Community Space
First Floor Lighting Scheme
Electrical Lines (Interior)
and water collection
Primary HVAC Equipment
In order for this studio to be ‘comprehensive’ we discussed every aspect of
commercial kitchen with a shaft space adjacent to the stairs connecting the
the building’s inner workings, such as egress, and then we made a diagram
kitchen and the roof for the lines to run through. Furthermore, the long lines
to explain the process that the we and the engineer would collaborate to
of building are perfect to run the primary electrical and HVAC along and
design. The electrical wires would be coming from the alley on the south
snake through the building. The water use becomes a bit more unique. The
side of the building, so the mechanical room was optimally placed with
barrel vault roofs are designed to be capable of water collection to water the
access to the alley. There would be massive HVAC units needed to maintain
two large gardens. It feeds into the rainwater cisterns and drains through the
the commercial kitchen ventilation and these would need to be stored on
lower garden. The tap water is best accessed from the alley, like the electric
the roof. The small parapet space above the seeds shop is just above the
and is primarily maintained in the main mechanical room.
First Floor Egress Plan
Second Floor Egress Plan
Program Diagram Food Service Greenhouse Restrooms Kitchen Circulation Garden Seed Bank Shop Tool Lending Library Water Collection Room Food Truck Commissary Utility Retreat Think Tank
One of the most unique aspects of Joe Colistra’s comprehensive studio was
supports the floating volume as well as the cast-in-place, concrete barrel
our 3/4” working model. The large scale section cut of our building was not
vaults. Considering that the vaulted roofs would be the heaviest load of
made to be a formal model, but instead it was an opportunity to look at how
the design this section would be the most crucial to design an efficient
each building system relates to one another as we develop our design. Due
structure. Furthermore, the section contains nearly every material
to the very nature of the model, it no longer matches the plan and section
utilized in the design.: concrete, tile, hardwood, steel, glass, etc. And it
(that were displayed at 3/4” scale for the final presentation) on the following
demonstrated the aspect of the design that is most crucial to creating a
pages. The building section that I chose analyzes the connection between my
gregarious space, the bridge between the pilotis and the first layer of the
exterior auditorium seating with the front facade and the structure that
building. It was definitely the best option for the in-depth analysis..
1” 0’ 3”
I learned through the mistakes that I made on my section model and was
and concrete vault sandwiched my steel trusses and steel decking so
then able to correct those mistakes in the plan for the final presentation.
the steel would just be crushed by such a huge load of concrete and no
It was great to be able to see where I had come from and what the design
cushion. I then was able to alter the design so that the pilaster columns
became next to one another and at such a large scale. This way every
are uninterrupted all the way through to a fully concrete mass of vault and
detail could be a discussion point and a chance for me to learn. The
gutters. Another change that I made that would not have been so fatal was
mistakes that I did make were structural. I used the same structure to
the location of my HVAC. After looking at the building again I realized it
support my roof as I did to support my second floor. The concrete beam
would fit inside the building even when serving the floating volume.
6” 0’ 1’
Through all of these design choices I finally was able to pin down exactly how the Five Points Food Incubator would fulfill her mission to reach out to the community and especially to the high school students of the area as a place for after school activities.
First and foremost, the Food incubator is a community garden. What is unique about that garden, however is the fact that it is organized into large scale planters that can then be assigned to a student who would be responsible for maintaining those plants and then could use those plants for class or just as an addition to the family groceries.
The kitchen is intended for the students to use as a classroom to learn how to better prepare their fresh foods grown in the garden. These classes could be taught for college credit at the nearby community college and would then be a jump start on a college education and a successful future. When the youth leave for college the hope is that they may come back home and have the knowledge and desire to continue fostering the community that gave them the future that they have always deserved.
I LIVED HERE
JUNE 1ST, 2013 - JULY 2ND, 2013 “ALMA DOMUS” SIENA, ITALY
Civic Realism: Tour of Italy Summer 2013
Studying abroad in Italy was a life changing experience. Immersing myself in a city where: line dried clothes are expected, streets are rarely orthogonal, a crumbling facade is a respected patina and church bells are heard on the hour every hour was just incredible. The daily riposo was too good to be true! The whole culture let me live life at a pace that allowed time to appreciate the history, culture, art, architecture and community of the neighborhoods. There is
so much depth in that city and to Italy itâ€™s just a small town farming community. I loved everything about the experience and hope to temporarily live in another country again someday.
Siena, Italy â€œItalian cities have long been held up as ideals, not least by New Yorkers and Londoners...
...enthralled by the ways their architecture gives beauty to everyday acts.â€? - Rebecca Solnit
Florence, Italy â€œ The Renaissance is studded by the names of the ar tists and architects,...
... with their creations recorded as great historical eventsâ€? - Arthur Erickson
Venice, Italy â€œThere is something so different in Venice than in any other place in the world, that you leave at once...
... at once all accustomed habits and everyday sights to enter an enchanted garden.â€? - Mary Shelley
Rome, Italy â€œRome is the city of echoes, the city of illusions,...
. . . a n d t h e c i t y o f y e a r n i n g .” - G i o t t o d i B o n d o n e
Barcelona, Spain â€œWhat I saw in Barcelona - Gaudi - was the work of such strength, such faith of an...
... of a man who carved the stones before his eyes in a well thought out pattern.
...extroardinary capacity, manifested during a whole life of genius;...
... Gaudi is the builder of the century...â€? - Le Corbusier
Natalie Baer 1835 Alvarado Drive, Fenton, MO 63026 (314) - 704 - 9338 firstname.lastname@example.org
Education - University of Kansas Masters of Architecture - Degree Expected May 2014 Cumulative Graduate Grade Point Average: 3.30 Cumulative Undergraduate Grade Point Average: 3.57 Cumulative Studio Grade Point Average: 3.65
Professional Experience NewGround - Architectural Intern 15450 South Outer Forty, Chesterfield Missouri 63017 636 - 898 - 8100 Supervisor: Brad Ritner Jul 2013
Selected Accomplishments: - Collaborated on the design development of banks and a health care building by means of plans, elevations, renderings and 3D modeling
Space and Form Architects - Architectural Intern 900 South Highway Drive Fenton, Missouri 63026 636 - 349 - 9979 Supervisor/Owner: Lou Henry Jun - Aug 2009, Jun - Aug 2010, Dec - Jan 2011, Jun - Aug 2011, Jan 2012
Selected Accomplishments: - Collaborated on the design and presentation drawings of a: Guest house, High School Baseball Dugout/Press Box and High School Stadium Archway - Collaborated on the working drawings and of the Rockwood Summit and Marquette High School libraries, classrooms, and activity space building additions
Technical Skills AutoCad 2011
Physical Model Construction
Microsoft Office Word
Microsoft Office Powerpoint
Microsoft Office Excel
Additional Work Experience Swim Lessons with Ms. Natalie - Self Employed Private Swim Instructor Jun 2009 - Present Description: In summer 2009 I initiated a private swim instruction business that I operate each summer teaching 30 - 40 individuals ranging from infants to adults in private or group settings. Instructions include familiarization with the water, safety, basic swimming, competitive swim skills and diving.
Extra Curricular Activities
University of Kansas Teaching Assistant for Dean Gaunt- (Fall 2013)
Habitat for Humanity Construction Volunteer - (January 2013 - Present)
AIA St. Louis Scholarship Recipient - (2013 - 2014 school year)
AIAS KU Member - (Fall 2012 - Spring 2013)
AIA St. Louis Ranft Scholarship Nominee - (2013 - 2014 school year)
Student’s for Life of KU Secretary - (Fall 2012 - Spring 2013)
AIA St. Louis Scholarship Recipient - (2012 - 2013 school year)
Student’s for Life of KU Member - (Spring 2012 - Spring 2013)
AIA St. Louis Wischmeyer Scholarship Nominee - (2012 - 2013 school year)
St. Lawrence Newman Center Member - (Fall 2009 - Spring 2014)
CSI Kansas City Chapter Scholarship Recipient - (2012 - 2013 school year)
FOCUS Bible Study Participant - (Fall 2011)
St. Lawrence Center Scholarship Recipient 2011 - (2012 school year)
St. Lawrence Semester ‘Koinonia’ Team Member - (Spring 2010 - Fall 2012)
Elizabeth Miller Watkins Scholarship Recipient - (2010 - 2011 school year)
St. Lawrence ‘Koinonia’ Retreatant - (Fall 2009)
Glory of Missouri Award: Virtue Recipient - (2009)
Watkins Scholarship Hall Member - (Fall 2009 - Spring 2010)