ARCHITECTURE
TO CHANGE YOUR
WORLD
amy.pokora LEED AP
BD+C
UNLESS
someone like you cares a whole awful lot, nothing is going to get better.
it’s not. dr. seuss.
G A R U ENCO
TY I N U M M E CO
SAVE RESOURCES
INCREASE HAPPINESS INSPIRE PEOPLE
educational background
amy.pokora LEED AP
r e l e v a n t experience
BD+C
anpokora@gmail.com
professional affiliations
professional experience
professional a b i l i t i e s
Masters of Architecture Candidate University of Oregon, Eugene, Oregon
Graduation: March 2013 September 2011
Bachelor of Environmental Design Texas A&M University, College Station, Texas Graduated Magna Cum Laude (GPA 3.85)
2007 - 2011
Employee June 2010 - March 2011 Intern July 2009 - December 2009 TSG Architects AIA, Gonzales, TX Tracked and edited LEED credits for a new building project Reviewed and compiled Request for Qualifications Designed PowerPoint presentations for clients Selected Coursework Texas A&M University, College Station, Texas Structural & Mechanical Integrated Studio Energy & Sustainable Architecture: Completed LEED Analysis University of Oregon, Eugene, Oregon Passive House Passive Heating & Cooling LEED AP in Building Design + Construction since August 2010 US Green Building Council, Washington DC Officer: US Green Building Council Student Chapter University of Oregon, Eugene, Oregon Panel Co-Chair: Ecological Design Center: HOPES Conference 2012 University of Oregon, Eugene, Oregon Peer Ambassador for the Department of Architecture University of Oregon, Eugene, Oregon January 2012 - February 2012 Administrative Assistant School of Architecture & Allied Arts, Eugene, Oregon Responsible for handling and organizing 400 applications February 2011 - August 2011 Administrative Support Brazos Technology, College Station, Texas Managed complex Repair Maintenance Authorization process Music Instructor 2005 - 2011 Piano + Violin Teacher, College Station, Texas Established and advertised a new music studio Tutored ages grade school to adult in piano and violin Model Building Time Management Graphic Design: Illustrator, Photoshop, InDesign, Microsoft Office Software Capabilities: Revit, AutoCAD, eQuest, Rhino, 3ds Max, WUFI, Therm
M O C E G A R U O C EN
Y T I N MU
FIELD.SCHOOL
The University of Oregon’s Field School
INVITES HUMAN INTERACTION AND COLLABORATION amongst the students, staff, and community of Depoe Bay.
Parti
Structure
gypsum board denim insulation 2x8 wood stud sheathing rigid insulation weather barrier Northwest Door and Sash Inswing Casement Window
air space batten
tongue and groove panels wood trim
wooden vertical support horizontal sunshade
gypsum board
attachment bolt
wood framing
denim insulation
WINDOW + SHADING AXON DETAIL WALL DETAIL AXONOMETRIC 2” = 1’-0”
Program
Circulation
The University of Oregon’s Field School design takes its cues from the beautiful site condition and the interactive community. Located in Depoe Bay, Oregon, the south facade gently cascades down into the intimate bay. The north facade interacts with the street, by including a large porch and entrance. The small community of Depoe Bay is very interactive; therefore, a major design goal was to invite the community to interact with the students and the facility. The simple parti keeps the focus on the complex site topography. The horizontal bar holds the living and sleeping spaces, while the vertical bar holds the communal learning spaces. The ground floor gallery opens to a covered patio open to the street, inviting community members to events held in the field school. Above the gallery, each bedroom overlooks the bay area. A double height living space connects the two sleeping floors together, providing a common area for students and faculty. Continuing down to the classroom, this high space has a view to the bay that would inspire any student. The classroom pours out onto decks that walk down to the dock, which can serve as a secondary outdoor classroom or gathering space.
Summer 2012 Dr. Virginia Cartwright, AIA University of Oregon
PRODUCED BY AN AUT
storage ---
heat pump & ERV
mech
mech
---
---
Floor -1
Floor 1
TODESK STUDENT PRODUCT
-
-
---
---
mech
Floor 2
mech
-
-
---
---
Floor 3
North Elevation
South Elevation
Each interior space has a complementing exterior portion as well. Connecting all of the spaces to the exterior landscape was a priority. Additionally, the open ground floor plan provides a flexible space for various programs. In order to make the community feel connected to the remote campus, the ground floor kitchen, dining room and gallery could be rented out for various community events. This integration between the university and the Depoe Bay community benefits the citizens, while enhancing each student’s experience while at the field school.
LIVE.WORK
The Eugene co-housing design creates
DESIRABLE SPACES FOR HUMAN INTERACTION, linking the community together like a series of
PUZZLE PIECES.
The Links Ecovillage is a Co-Housing establishment for fifteen different families. This unique development combines all aspects of daily life through a live-work program. Each of the fifteen units attaches to a work space of varying sizes. This integration of living and working provides not only the convenience of working close to home, but also brings more life into the home.
Activity Distribution
Circulation Diagram
The site was conceived by studying the program diagramatically. Each portion of the program was given an appropriate area. By manipulating these 500 square feet squares, a dynamic and interesting site evolves. Much like a puzzle, these square units create interesting and active outdoor spaces as well as indoor spaces. The spaces, alcoves and corners formed create desirable areas on a human scale.
Fall 2011 Dr. Virginia Cartwright, AIA University of Oregon
Sandwiched between the northern edge of downtown Eugene and the southern edge of Skinner’s Butte, this site reacts to both borders. The steep slope of the butte receives each unit on an individual slab, so that the village gently climbs up the butte. The southern edge of the site, facing downtown, has an active streetfront. The main design goals were to link the project to the city of Eugene, to Skinner’s Butte, and to the residents each other. The site ammenities of the project beautifully combine these aspects. The most important site feature is the circulation infrastructure. These paths encourage residents to move about the site. Therefore, residents are able to frequently interact with one another and the environment.
Transverse Section
B
A
B
A
Unit Level 1
Detailed Unit Section
Unit Level 2
Each unit divides the program into three sections: public living area, private sleeping area, and working area. The individual unit has a large front entry porch, which includes a small vegetable garden, an open area, and a covered entry. This exterior vestibule acts as an entrance to both the working space and the home, creating a true integration of the program. Each unit has an ADA bathroom and bedroom located on the first floor. The overall design of The Links Ecovillage emphasizes the community. The site itself deliberately creates opportunities for people to interact with one another. The diagonal axis of the site plan, running from the northwest corner to the southeast corner, creates a process of moving about the complex. The residents of The Links Ecovillage are truly linked to Eugene, linked to the environment, and linked to eachother.
Longitudinal Section
CITY.HALL
The Eugene City Hall’s
TRANSPARENT COUNCIL CHAMBER & PLAZA i nv i t es t h e communi ty to play a role in their city’s government.
Support
Kitchenette Storage UP
Council Work Room Session
Exhibition Catering
Security Office
UP
Storage
Control Rm
Site Plan
Plaza Plaza Section Section
South Elevation of Administration Building
gypsum board Gypsum Board metal studStud wall Metal Wall sheathing Sheathing rigid Rigid insulation Insulation Anchor Bracket anchor bracket Spacer spacer Connectionbracket Bracket connection Cotta Panel terra Terra cotta panel
Terra Cotta Connection Plan
Terra Cotta Facade Connection Plan
Connection Bracket Air Cavity Backup Railing System Anchor Bracket Rigid Insulation
The new City Hall is pulled into two separate structures: the administrative building and the City Council Chamber. Eugene’s community is very politically active. Therefore, the Council Chamber is frequently filled with Eugene citizens. For this reason, the chamber sits on the most visible corner of the block. The chamber represents democracy and community in Eugene, and needed to be open to the city both visually and programatically. Considering these design needs, the chamber became its own entity, as a pavilion enclosed by transparent glass. In this way, city government is transparent to the citizens both in practive and in physical form. A plaza connects the administration building and the chamber. This plaza creates the City Hall complex as a whole, and provides a place for citizens to actively raise their voices to the government. This outdoor space invites the community to play a role in their government. The City Hall complex exists to serves the citizens as a whole, not just the city officials.
Sheathing Metal Stud Wall
Wall Section
Longitudinal Council Chamber Section
Winter 2012 Don Corner, AIA University of Oregon
Seating
Floor Floor Two Two 1/16” = 1’-0”
Floor Three Three Floor 1/16” = 1’-0”
Floor Four
Floor Four Floor Four 1/16” = 1’-0”
Floor Two 1/16” = 1’-0”
Offices Circulation
Open Work Spaces Circulation
Seating
Floor Three 1/16” = 1’-0”
Floor Two 1/16” = 1’-0”
Daylighting Section
Daylight Section 1/8” = 1’-0”
Floor Four
1/16” = 1’-0” Floor Three 1/16” = 1’-0”
Floor Four 1/16” = 1’-0”
City HallCity Office HallSection Office Section 1/16” = 1’-0”
The Administration Building of the City Hall stands on the north edge of the complex. Most city officials requested an individual office, but the plan still reflects an open space. The individual offices are located along the north and west walls, while the central space is open, encouraging collaboration among co-workers. Additionally, the south curtain wall is pulled out from the plan, creating a comfortable sun space for casual meetings and conversation. The structure consists of castellated joists, and none of the interior walls reach to these members. Therefore, the sunlight is able to bounce into each individual office space, greatly lowering Office the lighting load onPlan the Detail 1/8” = 1’-0” building.
S E C R U SAVE RESO
PRODUCT.DESIGN
UNDERSTANDING DESIGN TOOLS maximizes the opportunity to utilize the
greatest efficiencies in the final product.
what can only be made by a laser cutter?
This abstract design assigment was simple: create an item that can only be made by a laser cutter. The laser tool epitomizes efficiency nothing is left for waste. Additionally, this exploration demonstrates the importance of understanding all design tools. Research into the principles of the laser cutter took me through four iterative generations of the design. Each design further developed the idea of the laser cutter. The path of the laser cutter is etched on the wood, depicting the process of the design. An exact cube is used since the laser cutter makes precise cuts each time. In addition, for a laser to function, it must be kept in an enclosed area, which is why each item includes an enclosure. Since the laser cutter does not create waste from any cuts, the inteior negative space leftover from the windows of the enclosure becomes the inteior elements. In essence, extensive research and an in depth understanding of the tool was the driving force of this design.
Spring 2010 Professor Marcel Erminy Texas A&M Universiy
FIRE.STATION
College Station’s Fire Station No. 6 offers the community a living example of
SMART SUSTAINABLE DESIGN
BY MAXIMIZING INTEGRATION AND EFFICIENCY.
The City of College Station’s new Fire Station No. 6 included four major components to the program: an apparatus bay, administration areas, living spaces for the fire fighters, and a community center. The site is adjacent to a city pavilion, which remained central to the design from its conception. Simple spaces created by manipulating index cards slowly transformed into cohesive buildings forming a fire station. With the creation of the first scheme, three words dictated all other design decisions: elegance, honesty and economy. Elegance refers to a clean, precise design. Honesty refers especially to revealing the structure. Economy refers to the systems, in creating an efficient and effective product. Integration was key to this project. The design evolved along with a grid system, stemming from a direct connection to the existing pavilion. This grid grew as a succession of mirrors and transformations along parallel axes to create the final plan.
Fall 2010 Design - Prof. Michael O’Brien Structure - Prof. Shelley Holliday Performance - Dr. Charles Culp Texas A&M University
After including numerous sustainable features throughout the design, this fire station is eligible for a LEED Gold Rating. Some of the features used toward points include green parking spaces, water collection cisterns, photovoltaics, natural lighting and views, shading devices to reduce the heat load, and a white roof to reflect sunlight. Additionally, extensive research was contributed to water conservation efforts through reclaimation and reuse.
beam intersection model
Overall, the goal was to create multiple uses for one architectural feature. The design includes smart sustainable ideas integrated directly into the building facility as an entire complex of interconnected components.
wall + roof connection detail
The primary focus of this project was to smoothly integrate the structure and mechanical systems. In addition, integrating the existing park and pavilion with the new community center was imperative. This connection strengthens the relationship between the fire station and the public. My teammate and I collaborated together in the integration of these components. The design of the community space and the apparatus bay, the two focal points of the project, were my specific responsibility.
mechanical plan
S S E N I P P A H E S A E INCR
COMMUNITY.LIVING
Crockett Community Living encourages an
ACTIVE AND SOCIAL LIFESTYLE through a walkable paths leading to desirable destinations,
INCREASING THE QUALITY OF LIFE
for each senior resident.
rendering: Jennifer Whisenhunt
The design for Crockett Community Living is the result of the AIA New Urban Models for Aging Competition for student teams. The AIA challenged students to choose a high density site to design a residence that included a continuum of care for seniors. This facility encompasses three levels of care: independent living, assisted living, and skilled nursing. My partner and I chose a site in downtown San Antonio next to the Riverwalk. The dynamic nature of the site greatly informed all design decisions. Additionally, a small historic building, the Staacke Building, is located on the south central side of the block. Our goal was to create an exciting and lively residency, while adding to the urban fabric of downtown.
site analysis sketches: Jennifer Whisenhunt
Spring 2011 Dr. Susan Rodiek, AIA Texas A&M University
The Staacke Building was constructed in 1894 by the Staacke Brothers. The building was placed on the National Register of Historic Places in 1980. In its present state, the 100’ square footprint is surrounded by a parking lot and partially filled with retail. Crockett Community Living gently surrounds the historic building, and preserves the structure and facade through adaptive reuse. In the design, the ground floor is retail. The upper floors are reserved for the Small Houses, which hold groups of ten skilled nursing residents. Since these residents are less mobile, they will enjoy the beautiful views and historic presence of the Staacke Building. Crockett Community Living not only provides the highest quality of living for senior residents, but the facility also revitalizes downtown San Antonio and the history Staacke Building.
west elevation
north to south section
PASSIVE.HOME
This Austin dwelling CELEBRATES THE ENERGY of an
EVER-PERFORMING MUSICIAN, who lives each day as if performing on stage.
Musicians view the world as their stage and their lives as a performance. This eccentric characteristic yields its own design to accomodate the everyday life of an ever-performing musician. Located along Lake Austin in Texas, this design explores passive cooling strategies in a challenging climate. The strict rectangular exterior houses numerous curved stages inside, which is mirrored in the ceiling as well. This long shape facilitates natural ventilation through the space. The large windows on the north and south of the home create a space beautifully lit from indirect natural lighting.
summer
ll
a g.f
rin
sp
wi
nt
er
sun study: north - south section
The mullions of the windows and the railing of the porch display the same energy as a musical performance, as if changing dynamic levels as one experiences these features. The intent of the design was to create a space that both acoustically and visually appeals to a musician. Since none of the interior walls reaches the ceiling in the main space, even a faint snap of the fingers can be heard from opposite sides of this Austin dwelling.
Fall 2008 Professor Gerald Maffei Texas A&M University
URBAN.HOUSE
The success of a live/work urban home depends on the
PRIVACY GRADIENT:
pulling customers into the site, while preserving a private home life.
site plan
An urban environment creates a new set of design issues, including limited space and limited privacy. This urban home is part of a development of similar homes, each with a unique business attached. Since the home is situated a dense urban block, the street elevation is key. The business integrated into this house is a bakery. The central element of the space is the kitchen, which is the heart of the structure. The house has one large kitchen, which serves both the bakery and the residents. From the street, people may look into the bakery through a large curtain wall, drawing people into the establishment. In order to preserve privacy for the residents, one enters into a courtyard before entering into the home. This creates a space separate from the urban street for the family and their guests. Furthermore, to allow light in the basement, a sunken courtyard is included in the back of the house, creating an intimate outdoor area as well as windows for the basement.
Spring 2010 Professor Marcel Erminy Texas A&M University
sectionaa aa Section Section aa
basementFloor Basement
section Section aa aa
basement floor Basement
section bb Section
section Section bb bb
First Floor ground floor
First first Floor floor
section cccc Section
section dddd Section
second floor
roof plan
INSPIRE PEOPLE
FLOORING.DESIGN
The Gonzales Memorial Hospital was in desperate need of a renovation. The focal point of the renovation was a new nurses’ station in the central space of the patient area. Another portion of this upgrade was a new floor. The hospital requested a flooring design which would not only create an inviting and welcoming atmosphere, but also guide patients and family members through the space. During an internship at TSG Architects, I had the opportunity to design the flooring pattern. At the forefront of the nurses’ station lies the Gonzales Memorial Hospital’s logo, marking this area as a focal point of the hospital. This logo also is seen upon one’s initial entry into the hospital lobby. The hallway design creates a softened feel to a building type which often emits a cold and institutional tone. Hospital stays are often stressful, and simple gestures, such as a unique flooring design, can have a comforting effect. After completion, this hospital project received a Special Award Recognition for Interior Finishes from the Associated Builders & Contractors at the 21st Annual Excellence in Construction Awards.
Fall 2009 Tim Gescheidle, AIA TSG Architects AIA
FFOLK. OLK.M USEUM MUSEUM
The master plan of Museum of Folk Architecture in Poland
u n i f i e s to create a
t h e
m u s e u m
COMPLETE TEMPORAL JOURNEY.
transverse section
The Museum of Folk Architecture in Sanok, Poland approached our studio to bring new life to the landscape plan for the complex. This museum holds a collection of historic reconstructed Polish buildings, dating back to the mid 19th century. As the museum stands, the buildings exhibits seem disjointed and sporadic. My central design goal was to unify the museum as one whole complex, creating a complete journey through time for each visitor. Unifying the museum complex began with an overarching theme. This design connects the building sections through a complete experience through time. One new structure was added to each section of the museum. These new structures are of the same architectural language, and are a simple, modern design with similar materials and shapes from the historic buildings. The four new additions provide temporal anchors within a historic context, each of which is integrated into the natural landscape. The new structures provide a gateway into the historic portal of each exhibit, transferring each visitor back to the 19th century.
Spring 2012 Howard Davis Thomas Hubka University of Oregon
LIGHT.TOWER
This abstract light study called for a sculptural tower to be conceived for a unique client. This sculptural tower is for the pope of the Roman Catholic Church. Deep symbolism and history of the Church is embedded within the core of the design. Such a symbolic piece visually illustrates the beauty and stability of the papacy. Symbolic gestures include a motif of threes, paying tribute to the Holy Trinity. Additionally, design references are made to the papal staff, miter, St. Peter’s Square, and even the pope’s glass vehicle. In focusing on the behavior of light in the tower, different materials were utilized to show how they interact with light, each with a different opacity. The wood, the most opaque material, creates shadows against the structure. The frosted glass softens the light, distributing it evenly. The canvas allows one to see some of the building, but it envokes curiousity in the viewer to discover the remainder of the tower. Lastly, the clear glass, both in the small ground-mounted columns and the tube, fills with light, so only the light is seen, and the container disappears. Overall, this structure illustrates numerous techniques in creating various types of lighting.
Spring 2009 Dr. Julie Rogers Texas A&M University
UNLESS
someone like you cares a whole awful lot, nothing is going to get better.
it’s not.
dr. seuss.