BROOKE THOMPSON
2014 PORTFOLIO
“A profound design process eventually makes the patron, the architect, and every occasional visitor in the building a slightly better human being.� Juhani Pallasmaa
BROOKE THOMPSON bthomps8@ksu.edu | 913.634.0540 4 1 1 Ke a r n e y M a n h a t t a n , K a n s a s 6 6 5 0 2
EDUCATION
Master of Architecture, 2016 Kansas State University, Dean’s List Honor Roll Associate of Applied Science, Interior Design, 2011 Certificate, Drafting Technologies, 2011 Johnson County Community College, Dean’s List Honor Roll
ACCOLADES
Manko Competition Finalist, rank TBD Dec 2014 Bruce McMillan Scholarship, 2014-2015 June Milliard Hall Memorial Scholarship, 2014-2015 IDSA Design Merit Scholarship, Space Planning, 1st Place, Spring 2011 Harris-Polsky Design Excellence Award, Fall 2010 Bill & June Bailey Design Charette, Hospitality,1st Place, Fall 2010 Jack Harris Interior Design Innovation Scholarship, Spring 2010
AFFILIATIONS
Organizations Work Community Interests
USGBC, SEED, WID, AIAS, ASID, IDSA, & IIDA della Voce, 2012- current, caleb@dellavoce.com Sunset Zoo Keeper Shadow, Animal Haven, CSV London Mentor, School Tutor, Autism Therapy Riding my dogs, hiking, sailing, skiing, skydiving & tiny houses
PROFESSIONAL WORK
TECHNOLOGY
Summer 2011
Project Coordination Intern KC Home Creations, Overland Park, Kansas
Summer 2010
Sales Associate Intern Elements of Green, Kansas City, Missouri
2007 - 2009
Project Manager Interiors with Oohs & Aahs, Crested Butte, Colorado
2006 - 2007
Lighting Designer Electrical Logic, Crested Butte, Colorado
2005 - 2006
Kitchen Designer Sawtooth Mountain Woodworks, Gunnison, Colorado
1998 - 2005
Landscape Designer Plant Lady, Shawnee, Kansas
Adobe Autodesk Digital Analog
Creative Suite, Premier Pro & After Effects AutoCAD, Revit, Ecotect & 3DS Max Rhino, SketchUp, 20/20, Kerkykthea, Laser Cut Models Modeling & Sketching
PROCESS GOAL Improve my process. GOAL Produce thoughtful & beneficial work.
PROGRAM ANALYSIS
GOAL Work with a passionate & innovative team. GOAL Examine the details that make great architecture.
CONCEPT MATRIX
SITE STUDY
BRAINSTORM RED LINE
VOLUMETRIC STUDIES
NAPKIN SKETCHES
PROSPECT & REFUGE
A nod to our once-primitive way of life."In order to see black, you must see white. To be comfortable, you have to be uncomfortable.� --Tom Kundig
INSPIRED BY THE SKETCHES OF ALAN MASKIN
ARCHITECTURE
Joseph Beuys Museum of Art Eureka Business Incubator Manhattan Center for Dance Beach House Pacific Cliff Garden
PROFESSIONAL WORK SPECIAL PROJECTS
Hayes Residence Fixture Design
Sailboat Remodel Sunset Zoo Raccoon Hammock
02 12 22 26 32 38 42
46 48
ARCHITECTURE ARCHITECTURE
HITEC COMMUNITY CONNECTION
As architects and designers we have an HADSHAHSAHsgsdhsesjhsdhshsrhfjakincredible opportunity to improve the lives lfaklfjaksfjakljfaklfjaklfjkslfjsklfjskdfjkof people, impact the landscape and reshape safjaklsfjalkfjklsfjasklfjsklfjkfjakfjaklfj the world we live in.
PROGRAMMING
Programming is one of the most exciting steps in the design process, it presents an opportunity to strategically investigate the needs of a client and present formal solutions.
SUN, WIND & LIGHT
The introduction of sun, wind and light as a formal concept was a pivotal moment in my architectural training. Living in the mountains familiarized me with the potential impact of weather, but my education has provided a tool set to begin harnessing the power of the natural environment to improve the built environment.
INTERACTIVE SPACE
My longterm plan after completing my education was always to work in regional residential design. Life always seems to have a bigger plan. During my time at university, I have been pleasantly surprised by the opportunities large, more complex commercial programs provide. I have found I am truly passionate about investigating solutions that engage the senses at a personal level in an effort to honor the individual experience and system as a whole.
JOSEPH BEUYS MUSEUM OF ART SPRING 2014 Manhattan, NY The Joseph Beuys Museum of Art is a one artist museum in a semi-residential neighborhood on the lower East Side of Manhattan, New York. The museum is designed to create lenses of visibility, drawing guests into the experience of observing and creating. The museums program draws upon the self-consciously fictionalized account of the artist’s life, in which historical events mingle with metaphorical and mythical speech marks a blurring of fact and fiction that was to be characteristic of Beuys’ self-created persona. Beuys saw his role of an artist as a teacher or shaman who could guide society in a new direction. He aimed at creating in people/ students/society an agitation for instigating questions rather than for conveying a complete and perfect structure. His work, How to Explain Pictures to a Dead Hare,” Beuys comments on the endless attempts to interpret and explain art - and he’s claiming that even a dead hare has more power of intuition than some people.
NY CITY FRONT PORCH DATUM
SOUTH FACING NEIGHBORHOOD STAGE
UNFOLDED FACADE
WEST BUILDING SECTION
02
THEATRE
The ground level of the museum pulls guests up off the street onto a stage, through the performance park and into the open museum lobby. Adhering to the tendency for pedestrian traffic to flow to the right, a coat check window is provided on the south wall. A circular reception desk gently directs the traffic flow around the lobby, into the museum. A gift shop marks the beginning and end of every visitor experience. During off-peak hours, the lobby and gift shop may be staffed by one attendant. The ground floor is dedicated to the public, but provides sequential glimpses of the museum experience along the ground floor bridge. Guests are at once the audience and the performer. Voyeuristic bridge views offer glimpses to the north art park installation of 7000 Oaks, as well as out into the south facing performance park. The bridge links the lobby, gift shop and a public cafe. The second floor of the museum is dedicated to the Interactive Gallery which features digital installations highlighting Beuyes work, with the potential to showcase temporary or visiting galleries.
LOBBY
1 7
2 6
00 BASEMENT LEVEL
3 5
INTERACTIVE GALLERY
4
1 2 3 4 5 6 7
Mixing Room Theatre Theatre Lobby Temporary Storage Archive Workshop Archive Storage Archive Storage
1 6
01 GROUND LEVEL
2 5 7
4
3 8
1 2 3 4 5 6 7
Storage Gift Shop Main Lobby Entry Stage Covered Dining Cafe Entry Plaza
ENTRY COURT, VIEW OF HANGING THEATRE
INSIDE THE HANGING THEATRE
Joseph Beuyes was a performance artist, teacher and social sculptor. He believed, “Every man is a plastic artist who must determine things for himself.” The jewel of the museum is a hanging theatre, inspired by Diller Scofidio + Renfro’s ICA Boston waterfront museum digital center. The steep theatre projects views along the fifth floor bridge, up to the rooftop deck, down to the street and across the performance park to a three story digital screen. For intimate performances, the glass clouds, creating a screen for digital media and a backdrop for a speaker/performer. The theatre experience blurs the line of the artist and observer through multi-sensory exploration. On buildings exterior, the unfolded, chamfered facade of the building was inspired by the accepting, malleable nature of Beuyes’ preferred materials: felt and fat. The front facade offers a degree of the nature of prospect refuge in that visitors can see without necessarily being seen by the outside world. Signal Box, by Herzog de Meuron inspired the material transparency of the bridge, classroom window and fire stairs.
BRIDGE OVERLOOK
PERFORMANCE ARTIST, TEACHER, SOCIAL SCULPTOR: "Every man is a plastic artist who must determine things for himself.�
1 6
1
2 3
4 5
02 SECOND LEVEL 1 2 3 4 5 6
Fire Stairs Interactive Gallery Storage Waiting Room Primary Restrooms Gallery
1 6
03 THIRD LEVEL
2 3
4 5
1 2 3 4 5 6
Gallery Gallery Theatre Lobby Hanging Theatre Classroom Gallery Gallery
SOUTH BUILDING SECTION
THE PACK, 1969
FAT, 1972
The museum circulation was designed to follow the mantra of the artist by guiding guests, instigating questions and allowing flexibility to seek new dimensions of understanding. Visitors are guided through a processional corridor, toward the light of the dramatic, spiraling, culmination of the artists persona. Escalators guide guests up around balconies that explore the artists early works. A replica fighter plane looms dangerously, perched between the fourth and fifth floor balconies. Once visitors experience the “plane crash� responsible for Beuyes persona, they are free to visit the permanent collections, theaters and restaurant to complete the Learn, See, Be experience on a self directed path of exploration.
CIRCULATION: LEARN, SEE, BE
RESTAURANT BAR
04 FOURTH LEVEL
1
4
3
1 2 3 4
Gallery Gallery Gallery Gallery
1
2
05 FIFTH LEVEL
3 4
5
7 6
1 2 3 4 5 6 7
Administration Offices Restaurant Kitchen Server Station Conference/Dining Room Restaurant Outdoor Dining Rooftop Overlook
EUREKA BUSINESS INCUBATOR SUMMER 2014 Eureka, Kansas This manifestation of a business incubator structure would provide a significant step in anchoring the identity of the fiscal community in Eureka. An incubator for business would provide the skeletal framework for innovation and empowerment in an otherwise dwindling community. Formally, the plan that sprang to life is a 16,500-square-foot facility in local limestone, board form concrete, and Western Red Cedar. At street level, the buildings extruded front porch welcomes the community and encourages exploration. Two retail spaces flank the nearly transparent public foyer. A cafe extends out onto the sidewalk along main street, providing an opportunity for bakery sales from shared kitchen spaces as well as a meeting area for business owners and the community. Sheathed in ten-foot glass windows that let passersby see in—and tenants, business owners and clients see out. The line between public and private is purposefully thin, an invitation to viewers both inside and out to interact and engage.
PROGRAM
BUILDING SCALE TRANSITION, PEDESTRIAN PATH & TERRACE VIEWS
PROPOSED STREET SCAPE, COVERED OVERLOOK & FRONT ENTRANCE
12 SOUTH COURTYARD
so•cio•pe•tal•i•ty
FOUNDERS STONE
EUREKA BUSINESS INCUBATOR
N MAIN STREET
DOWNTOWN EUREKA
3
2
1
5 6
4
4
7
8
FOUNDATION ABOVE UP UP
11 COMMUNITY
ARCHITECTURE
10
16
13PASSIVE SYSTEMS
12
INTEGRATION
9
9
13
14
17
UP
15 18
FIRST STREET COMMUNITY
ARCHITECTURE
S MAIN STREET
1 2 3 4 5 6 7 8 9
FOUNDERS STONE
GROUND FLOOR
INTEGRATION
PASSIVE SYSTEMS
Partition Storage LEED RR Showers Custodial Butler’s Pantry Walk-In Fridge Dishwasher Wine Room Service Elevator Commercial Kitchen
10 11 12 13 14 15 16 17 18
Mechanical Core Kitchen Waiting Grey Water Classroom Kitchen Office Kitchen Walkout Terrace Rainwater Cisterns Deliveries & Disposal Covered Dining Founders Stone
Water PARK MEMORIAL
Vegetation
42% Compact Building Footprint
Parking
40% Covered Patios Public
58% Landscaped
HIGHWAY 54
Patios
Private
COMPACT BUILDING 1 2 3 4 5
NEW PEDESTRIAN WALKING DISTRICT BUSINESS INCUBATOR CREATES GATEWAY TO CITY COVERED PUBLIC SEATING RECLAIMED STREET PARKING PUBLIC BIKE RACKS
6 7 8 9
SIDEWALK CAFE STREETFRONT RETAIL LINK TO PUBLIC PARK PATH TO FOUNDERS STONE
60% Open Patios
PATIOS & TERRACES
STAMPED PERMEABLE CONCRETE
4
3
5
4 5
3
6
1
7
2
2
6 7
11
16
UP
1
12
11
15
14
UP
13
9
10
BRICK PERIMETER
9
10
8
13
PERMEABLE PARKING
12
8
15
STAMPED PERMEABLE CONCRETE
STAMPED PERMEABLE CONCRETE
NATURAL LIMESTONE BLOCKS
16
18 14
17
FIRST FLOOR 1 2 3 4 5 6 7 8 9
Reclaimed Parking Retail Reception RR & Elevator Single Office Mail & Copy Room Service Elevator Kitchen & Break Room Resource Library
Public Private
10 11 12 13 14 15 16 17 18
SECOND FLOOR
Double Office Mechanical Core Lobby Office Balcony Cafe Kitchen Community Cafe Covered Cafe Patio Wetland Water Treatment Community Patio
Service Cafe
Kitchens
Retail
Offices
1 2 3 4 5 6 7 8 9
Downtown Terrace Administration Unisex RR Office Terrace Single Office Service Elevator Solar Chimney Storage Community Conference
10 11 12 13 14 15 16
Double Office Bridge Corridor Mechanical Core Study Waiting Room Green Roof Office Terrace Park Overlook
Grid
Previous Pavement
Cisterns
Green Roof
Solar Chimney Previous Parking
Wetland
Ground Source
PUBLIC/PRIVATE
PROGRAM
WATER USE
20% Electric Lit Spaces
80% Daylit Spaces
DAYLIGHTING & ENERGY
MM SU ER
WIN
TER
6
7
8 9
10
11 12 13
14
5
2
1
SUSTAINABILITY METRICS 1 2 3 4 5 6 7 8 9
3
10 11 12 13
4
14 15 16 17 18
PV Panels Solar Chimneys Overhangs Maximize Daylighting & Shaded Terraces Stacked Ventilation & Daylit Corridor Modulated, Triple-Glazed Insulated Windows Locally Sourced Limestone & Board Form Concrete FSC Certified Sun Screens Green Roof Covered Patio Green Trellis Wall Street Privacy & Seasonal Shading Streetside Public Patio with Movable Seating Next to Cafe Rainwater Collection Cisterns Below Patio Greywater Recycling & Community Education Room Filltration Pools with Waterfalls also Provide Summer Cooling Public Patio Link to Eureka Rock, Permeable Pavement FSC Certified Wood Lined Community Room Geothermal Well Field Green Street Strategies to Capture & Filter Stormwater Reclaimed On Street Parking
18 17
15 16
WEATHERPROFF LINER ROOF DRAIN 3" COMPOSITE DECK
FACTORY FURNISHED LIVE PLANT TRAY GRID PREFORMED 45° MOD ATTACH 2 POINTS PERBIT LEGCANT INTO STANDING SEAM SIDING. STRADDLE SEAM. 2" X 4" WESTERN RED CEDAR INTERIOR/EXTERIOR BLOCK ROOF BELOW ATTACHMENT POINT, FINISH. WITH WELDED METAL STAP & RIVET JOINTERY TYPICAL ALL PANELS. SEE MANUF. SPEC.
12" x 8" I-BEAM W/3M FIRE DAM 2HR INTUMESCANT COATING
3
ROOF TOP TERRACE @ GREEN ROOF 30° TILT FROM FLOOR
1
FRAME WITH CEDAR HADRAIL AND 1 ROOFTOP PHOTOVOLTAICMETAL PANELS 3" x 3" SCREEN PANEL INFILLS. TYP. SEE
25° TILT FROM ROOF DECK CURTAIN WALL HSS6 COLUMN STABELIZING
EXTERIOR CONDITION OVERLOOKING GREEN ROOF, ABOVE CAFE SCALE: 6" = 1'-0"
STAIRCASE RAILING FOR ATRIUM OVERLOOK.
TYPICAL CONDITION FOR ROOF PV PANELS, 95 TOTAL @ 2'-6" X 4'-6" DETAIL #XXX SCALE: 6" = 1'-0"
18" x 18" SLATE TILE MOUNTED TO LIGHTWEIGHT CEMENTITIOUS PANEL METAL RISERS @ 18" X 18" GRID STANDING SEAM ROOF
PRESSURIZED FLOOR PLENUM RETURN DUCTS RUN THROUGH PLENUM, PARALLELWITH GIRDERS, ATTACHED TO COMPOSITE DECKING . TYP. AS NEEDED
VAPOR BARRIER RADIANT HEAT FLOORING INHERANT IN 3" COMPOSITE DECK COPPER FLASHING OPEN TO CAFE BELOW
MAIN STAIR @ 2ND LEVEL LOBBYGREEN ROOF DETAIL
CAFE OVERLOOK
WOOD BLOCKING 2" X 4" WESTERN RED CEDAR INTERIOR/EXTERIOR W/ METAL CAP FINISH. WITH WELDED METAL STAP & RIVET JOINTERY
4
12" x 8" I-BEAM W/3M FIRE DAM 2HR INTUMESCANT COATING
ROLLED SEAM COPPER FLASHING METAL BLOCKING, TYP
2ND LEVEL ATRIUM OVERLOOK
@ TOP OF MAIN STAIR, OVERLOOKING CAFE BELOW 2" COMPOSITE DECKING SCALE: 6" = 1'-0"
COPPER FLASHING / DRIP NOTCH
CORNICE DETAIL CONTINUOUS CLEAT
RIGID FOAM INSULATION, TYP. MEMBRANE WATERPROOFING MANKO 250 SERIES ARGON FILLED CEDAR TONGE GROOVEWITH DRAINAGE MAT DOUBLE LOW-E&GLAZING GRAVEL DRAINAGE MECHANIZED OPERABLE WINDOWS NATIVE GRASSES CONTROLLED VIA LUTRON SYSTEM 8" INTENSIVE ENGINEERED SOIL SETTING BLOCK FACTORY FURNISHED LIVE PLANT TRAY GRID TYPICAL CONDITION FOR ROOF PV PANELS, 95 TOTAL @ 2'-6" X 4'-6" PREFORMED 45° MOD BIT CANT WEEP HOLE SCALE: 6" = 1'-0" 2" X 4" WESTERN RED CEDAR INTERIOR/EXTERIOR BLOCKING FINISH. WITH WELDED METAL STAP & RIVET JOINTERY RIGID INSULATION HSS6 COLUMN STABELIZING CURTAIN WALL 6" X 8" STEEL I-BEAM & 8'-6" O.C. RIGID INSULATION, TYP
2
CONCRETE PAVERS METAL DIVIDER CAPS
2 ROOF GUTTER
METAL RISERS WEATHERPROOF MEMBRANE WEATHERPROFF LINER ROOF DRAIN 3" COMPOSITE DECK 12" x 8" I-BEAM W/3M FIRE DAM 2HR INTUMESCANT COATING
ROOF TOP TERRACE @ GREEN ROOF EXTERIOR CONDITION OVERLOOKING GREEN ROOF, ABOVE CAFE SCALE: 6" = 1'-0"
5
5
1ST FLOOR DETAIL 6
GREEN ROOF OVER PATIO
CONCRETE PAVERS
1ST LEVEL CAFE FLOOR @ SOUTH EXTERIOR STAIR SCALE: 6" = 1'-0"
METAL DIVIDER CAPS
3
MEMBRANE WATERPROOFING DRAINAGE MAT GRAVEL DRAINAGE
METAL RISERS 4" BOARD FOR CONCRETE WEATHERPROOF MEMBRANE EXTERIOR FOUNDATION WALL WEATHERPROFF LINER 4" RIGID INSULATION ROOF DRAIN 10" INTERIOR FOUDATIONDECK WALL 3" COMPOSITE RADIANT HEAT TUBES 12" x 8" I-BEAM W/3M FIRE DAM 2HR EXPANSION INTUMESCANT COATING PREMOLDED JOINT INFILL 8" SLAB ON GRADE CONCRETE FLOOR, INHERENTLY STAINED FINISH
EXPANSION JOINT ROLLED SEAM COPPER FLASHING 4" CONCRETE WALL R" RIGID INSULATION METAL BLOCKING, TYP 10" FOUNDATION WALL CORNICE DETAIL EXTERIOR CONCRETE STAIRS WITH CHAMFERED CONTINUOUS EDGE, NOSINGCLEAT BAR & 4" MIN THICKNESS TO GRAVEL INFILL RIGID INSULATION, TYP
NATIVE GRASSES 8" INTENSIVE ENGINEERED SOIL EXTERIORFURNISHED CONCRETE LIVE STAIRS WITH CHAMFERED FACTORY PLANT TRAY GRID EDGE, NOSING BAR & 4" MIN THICKNESS TO PREFORMED 45° MOD BIT CANT GRAVEL INFILL 2" X 4" WESTERN RED CEDAR INTERIOR/EXTERIOR 8" SLAB ON GRADE PATIO FINISH. WITH WELDED METAL STAP & RIVET JOINTERY EXTRUDED POLYSTYRENE FOAM INSULATION HSS6 COLUMN STABELIZING CURTAIN WALL COURSE GRAVEL
ROOF TOP TERRACE @ GREEN ROOF STABLE, UNIFORMLY DENSE BASE SOIL EXTERIOR CONDITION OVERLOOKING GREEN ROOF, ABOVE CAFE SCALE: 6" = 1'-0" DRAINAGE MAT
6" PERFORATED DRAINAGE PIPE
GREYWATER LEARNING LAB
36" SPREAD FOOTING
6
FOUNDATION DETAIL
TYPICAL SPREAD FOOTING @ FOUNDATION WALL SCALE: 6" = 1'-0"
PRESSURIZED FLOOR PLENUM RETURN DUCTS RUN THROUGH PLENUM, PARALLELWITH GIRDERS,
STAIRCASE RAILING FOR ATRIUM OVERLOOK. METAL FRAME WITH CEDAR HADRAIL AND 3" x 3" SCREEN PANEL INFILLS. TYP. SEE DETAIL #XXX 18" x 18" SLATE TILE MOUNTED TO LIGHTWEIGHT CEMENTITIOUS PANEL METAL RISERS @ 18" X 18" GRID
COMMUNITY PATIO
COURTYARD OFFICE
LOBBY RECEPTION
SOUTH COURTYARD
COMMUNITY ANCHOR
The business incubators footprint is on an elongated east west axis and characterized by screened by wood slatted panels to shelter and shade from southern exposure. The building’s compact, but visually expansive spaces strive to maximize efficiency and comfort. Air quality is managed via a solar chimney and operable windows for cross-ventilation. Programmatic separation reduces the impact of noise and odor between regions. All stormwater is stored and utilized on-site. The incubators landscape is an opportunity to transform the facility into a true teaching landscape—not only inside its walls, but also on site—the rooftop gardens and a constructed wetland serve as a metaphor for Eurekas commitment to sustainable business opportunities. Leasable spaces are at the heart of the program. All leasable spaces benefit from protected daylight and most are equipped with direct access to indoor atria and outdoor terraces. Arranged in structural bays, offices populate the first and second floors. Offices share meeting rooms, large office equipment and a resource library. Individual units are furnished with custom furniture and may be reconfigured for changing tenant needs. The lower walkout level houses commercial kitchen spaces. Kitchens are equipped with dedicated office space, shared equipment and storage zones, access to community tasting rooms and access to covered outdoor dining. The building has been envisioned to serve as a teaching landscape to engage and educate the community.
LASER CUT MODEL WITH PHOTOSHOP OVERLAYS
The town of Eureka and its inhabitants have recently sparked communal social action and inspired changes in community operations. A business incubator with LEED certification would serve as a springboard to engage the local community by providing access to the world economy while stimulating the local economy.
LASER CUT MODEL WITH PHOTOSHOP OVERLAYS
MANHATTAN CENTER FOR DANCE
SPRING 2014 Manhattan, Kansas This project purposely challenged our studio to reconsider our personal perceptions of the nature of dance. We were encouraged to research and participate in dance exercises in an effort to create a “dynamic and interactive community dance center.” Our site was sandwiched in downtown Manhattan, KS in a 17’ x 90’ slot. Street level community surveys expressed the need for a link between the walking districts of Old Downtown and New Downtown. I drew inspiration from Kevin Lynch’s Image of the City to join the disparate parts of the downtown district. This research culminated in a three phase community development plan. Internally, my programmatic interpretation was inspired by Francis Bronet’s Spillout dance assemblies. Her work is based on the volume of a cube and the potential for vertical interaction. Three stages: 1 Push, 2 Link & 3 Pull, compose the building with an agenda to interact with the community by exploring the boundary of theatre through verticality and sightlines.
BODY DYNAMIC
VERTICAL POTENTIAL
SHADOW INTERACTION
VERTICAL STAGE GARDEN STAGE
SIDEWALK STAGE
PHASE I
PERFORMANCE SPACE
PHASE II
PARKING GARAGE
PHASE III
PERFORMANCE GARDEN
22
PHASE II PHASE III
SITE
POYNTZ AVENUE
PHASE I
URBAN LINK
RECENTLY AN EFFORT HAS BEEN MADE TO LINK HISTORIC DOWNTOWN POYNTZ AVENUE TO THE NEW 3RD STREET HOTEL & CIVIC DEVELOPMENT. THIS PROPOSAL STRIVES TO IMPROVE THIS LINK VISUALLY WHILE CREATING A SENSE OF PLACE FOR THE GROWING DOWNTOWN POPULATION. STRATEGIES CONSIDER KEVIN LYNCH’S CITY IMAGE STRATEGY:
PATH
EDGE
NODE
DISTRICT
LANDMARK
PATH A GREEN WALKING DISTRICT WAS DEVELOPED TO LINK 3RD STREET TO HISTORIC DOWNTOWN. POYNTZ SHOPS HAVE THEIR BACK TO NORTHBOUND TRAFFIC ARRIVING FROM 3RD STREET DEVELOPMENT.
3RD STREET
4TH STREET
EDGE THIS PLAN PROPOSES TO STRENGTHEN THE VISUAL LINK BETWEEN THE DISCOVERY CENTER AND SOUTH, REAR FACING POYNTZ AVENUE SHOPS. DISTRICT THIS PLAN ALSO AIMS TO PROVIDE A NEW COMMUNITY CULTURAL CENTER, LINKING TRAFFIC FROM BOTH DOWNTOWN DISTRICTS.
INTERACTIVE STUDIO
INTERACTIVE STAGE
INTERACTIVE SKYLIGHT
NODE CREATING A NODE TO DRAW PEOPLE DOWN 3RD ST BY EXCHANGING THE EXISTING CIVIC PLUS BUILDING WITH A PARKING GARAGE & REPLACING THE EXISTING PARKING LOT WITH A GREEN PERFORMANCE SPACE. LANDMARK RECENT DEVELOPMENTS HAVE RAISED MANHATTAN’S SKYLINE. THE CENTER FOR DANCE RISES TO FIVE STORIES, CREATING A BEACON TO ALL WHO ENTER, A NAVIGATIONAL LANDMARK,
1
PUSH STAGE OPERABLE LOUVERS OPEN TO THIRD STREET PARK LIKE HANDS OPENING UP FOR APPLAUSE. SUN ABSORBING DRAPES PROVIDE A SECONDARY GRADIENT OF PRIVACY. SOUTH FACING ROOFTOP DECK OFFERS PRIVATE OUTDOOR FUNCTIONALITY. A VERTICAL CHANNEL LINKS STUDIOS, PROVIDING AN ADDITIONAL PERFORMANCE OPPORTUNITY.
2
LINK STAGE
CENTER STAGE TRANSCENDS THE VERTICAL BREADTH OF THE PERFORMANCE BUILDING. PERFORMERS BRING EQUILIBRIUM TO THE PUSH AND PULL OF THE POLAR STAGES WITH THE ELASTIC NATURE OF THE STAGE MATERIAL AND FILTERED DAYLIGHTING. AT THE GROUND LEVEL GUESTS HAVE THE OPPORTUNITY TO INTERACT WITH THE STAGE AT A REDUCED SCALE.
3
PULL STAGE
INTERACTION IS INITIALLY PROVIDED AT THE STREET SCALE WITH A GRADIATED SCREEN, INSPIRED BY THE FLUID SHAPE OF A HUMAN TORSO. SENSORS ILLUMINATE HORIZONTAL LIGHT PATTERNS UP THE FACADE, TRACKING PEDESTRIAN MOVEMENT. SOUTH FACING SKYLIGHT PULLS LIGHT THROUGH THE NORTH FACADE AND PROVIDES STACKED VENTILATION. DAYLIGHT MOVING FILM BOUNCES LIGHT ALONG THE FOYER PERIMETER. A CENTRALIZED SKYLIGHT, FILTERED THROUGH DICHROIC PANELS, CREATING SEASONALLY SHIFTING, DANCING LIGHT PATTERNS, PULL VISITORS UP THROUGH THE BUILDING, INTO THE CENTER STAGE.
BEACH HOUSE FALL 2011 California The Beach House program criteria presented a cube volume on a lake front site. As the diagrams on the following pages indicate, I was interested in exploring the potential for push and pull within the volume. My primary objective was to create a private street presence, unobstructed water views and a hierarchy of public and private spaces. The home is anchored by a central fireplace which provides a sheltered entry haven while freeing the floor plate for living and dining. A small office is nestled along a wall of window slots, whose dappled light leads up the circular staircase to the master suite. A built-in bed provides storage and warmth to nestle in and watch the sunrise over the water. On the exterior, a local rock and glass gabion symbolically glows above the lap pool & lake beyond. Native plants enrich the landscape and provide shaded reading nooks.
HAND CUT, 3 PIECE MODEL: Living & Kitchen Overhead
26 22
HAND CUT, 3 PIECE MODEL: Site Plan
West Elevation Sketch
East Section Sketch
HAND CUT MODEL : Entry
PACIFIC CLIFF GARDEN FALL 2011 Seaside, California A walled sculpture garden was requested to house Henry Moore’s Torso and Endless Coupling sculptures. Our studio visited the pieces at Kansas City Nelson Atkins’s Museum of Art. I visited the sculpture garden again at night and was inspired by the seating alcoves along the grand lawn. Refuge was implied by softly lit paths and benches arranged under uplit tree pairings. To maximize sunset views in the Cliff Garden, I arranged circulation along a datum leading directly over the cliff onto a glass floor balcony. A 40’ long infinity edge pool runs along the same datum, housing and gently reflecting the Endless Coupling sculpture. Lighting is housed within the walls and under the benches to provide a discrete, glowing pathway. The project terms specified an all white physical model. Study model mock ups were constructed to understand light & material reflection. The flip of a concealed switch dramatically impacts the perception of the garden space.
SHADED OVERLOOK
STUDY MODEL
FINAL MODEL
32
Hand Cut Model: Seating Nook at Night
Hand Cut Model: Glass Balcony at Night
Hand Cut Model: Site Plan with Lights Off
PROFESSIONAL WORK
RENDERING: REVIT, 3DSMAX, PHOTOSHOP
KITCHEN DESIGN
One of my earliest and most meaningful projects was for couple building their dream home. They put their limited budget and faith in me to bring their ideas to life. When the family visited my office, I always gave their little boy crayons to color us a picture. After the house was completed, the family invited me over for diner. The little boy greeted me at the door, silently took my hand, and lead me to his spot at the kitchen island that I had created. When he shared his crayons with me, a tear came to my eye.
LIGHTING DESIGN
My time spent working at a lighting consulting firm changed my life for the better. My mentor/boss/friend Eric is one of the most admirable people I have had the luxury of interacting with. During our time together he patiently taught me so many value lessons. One day I looked at him and said Eric, how do you ‘know’ all of this? He told me he went to college. I didn’t think I could leave Colorado, the place I loved so much, but it was the best decision of my life.
PROJECT MANAGEMENT
Growing up a true introvert, I shuttered at the notion of working in a group. My time spent working as an Interior Designer wholeheartedly changed my perception. Group projects in school have compounded this notion, I am always impressed with what we can accomplish when we work together.
HAYES HOUSE 2007 - 2008 Crested Butte, Colorado
1 trappers cabin
3 farmhouse
2 prospectors bunk
HAYES HOUSE KITCHEN
38
RESIDENTIAL DESIGN
Dan Murphy, of Daniel Murphy Architects in Crested Butte, Colorado designed the Hayes house. His work is characterized by masterfully efficient and effective layouts that maximize interior spatial qualities while highlighting breathtaking views. I was thrilled to work with him on the Hayes house. I was blown away by his concept for the house. He envisioned a compound that appeared to have evolved over the major historical periods of the area. Initially, I was involved in the project during the DD phase, to consult on lighting and specify a control system. When I transitioned into Interior Design, I was thrilled to work with my former boss to specify the fixtures and finishes to integrate with our work. I have included this example not only because the owner was thrilled with the results, but because the project was pivotal in my understanding of the value of teamwork. The design was initiated by a former co-worker and handed to me because of my familiarity with the project. I quickly learned the project was near litigation. I made it my personal goal to ensure that did not happen. I assembled a team to work with the homeowners contractor and organized the work flow with transparency to ease scheduling strains. Every material in this house was handcrafted by local artisans, each piece of hardware was hand selected, 80% of the fixtures were custom built, hand carved stair risers were precisely installed, hardware was bronze dipped. Every detail had to be perfect, or was not accepted. Aside from the thank yous I received from the Hayes family, one of my proudest moments on this project were the job offers I received from the contractors on my team. I returned the favor by using them whenever possible on all of my subsequent projects. TRAPPERS CABIN MASTER BEDROOM
WINTER 2008
HAYES HOUSE ENTRY STAIRWELL
COLLABORATION
PROSPECTORS BUNK GARAGE & GUEST SUITE
SCALE CHANDELIER Vintage scale from market retrofitted as dining room chandelier with help of lighting consultant, Electrician, carpenter & painter.
FIREPLACE I worked with a local artisan to create a blackened steel fireplace surround with riveted edge caps & custom matching sconces. Matching component pieces composed the living room including a riveted barrel vault ceiling and staircase surround. Riveted light channels were crafted by another artisan to house LED strips along the vaulted curves of the ceiling and staircase. I worked with the same craftsman to create the one-piece 180-degree hook and eye handrail which drew inspiration from the work of Greene & Greene. We tied the elements together at the bottom of the staircase with a custom steel and alabaster glowing entry chandelier.
42
SPECIAL PROJECTS
LAKE POWELL, MOUTH OF CAVE
SAILBOAT DESIGN HITEC I was in first grade when I found a sailboat magazine, I was immediately hooked.
HADSHAHSAHsgsdhsesjhsdhshsrhfjakEvery month I poured over the newest lfaklfjaksfjakljfaklfjaklfjkslfjsklfjskdfjkmodels, comparing the subtitles of the safjaklsfjalkfjklsfjasklfjsklfjkfjakfjaklfj spatial arrangements and systems. The efficient and cohesive nature of the floor plans mesmerized me. Every space was utilized and treated as one seamless piece of furniture. My favorite place to sleep is on my boat, rocking in the harbor, with a gentle cross breeze to carry my thoughts away.
SMALL SPACES
My infatuation with tiny spaces is an evolution of my early love for sailboats. My dad retrofitted an enclosed trailer to function as a camper and toy hauler. Every summer we would explore the wonders of the west. During that time I began to correlate the benefits of living simply with a strong connection to the outdoor environment. Lately, in my free time, I have enjoyed designing tiny houses on wheels.
ETHOLOGY
As an adolescent, I wanted to be an architect... or Jane Goodall. During my first year of architecture school I found John Coe & zoo design. The perfect marriage of my love for animals & architecture. I spent a semester shadowing keepers at Sunset Zoo. Designing for three client perspectives-- to improve the lives of animals, increase public appreciation for wildlife and create positive working environments-- is my programming dream come true.
SAILBOAT REMODEL SUMMER 2013 BVYC Manhattan, Kansas At the end of the summer of 2012 I purchased a $500, 19’ sailboat. The price included a trailer and the sails were intact. I hadn’t been on a sailboat for about 16 years, but I figured if it didn’t sink, it would be a good time. At the very least, if it did sink, I would have a good story. As I was pulling away, the seller came running out with two life jackets, just in case. The boat was rough, but the maiden voyage proved successful, in that it did not sink. Two extremely devoted friends and I stripped the boat down, patched the fiberglass hull, SANDED EVERYDAY FOR TWO MONTHS and repainted her. Nothing can compare to the feeling of pulling up to the marina and seeing her bobbing along on her mooring. Although questionable at the time, all the sanding was worth it.
MONTEGO ‘19
IF IT DOESN’T SINK...
SAIL IT INTO THE SUNSET
46
RACCOON HAMMOCK SPRING 2014 Sunset Zoo Manhattan, Kansas When I found out zoo design was an actual profession, I began volunteering at the local zoo. I shadowed the keepers for about six months to gain a stronger perspective on what the needs of the animals, employees and visitors required for a successful experience. During that time, I noticed that the raccoons in the North America region didn’t have an outdoor bed. I gained permission & materials to construct a fire hose and cable hammock. I am happy to say, if you need the raccoons, just look in their hammock.
48
BROOKE THOMPSON bthomps8@ksu.edu
“Architecture has to be instilled in the purest sense, cleaned of casual desire or ideas that are merely of the moment...� Bernard Cywinski