CHRISTIAN M SNOWDEN 1601 POPE AV E N U E R I C H M O N D , VA 2 3 2 2 7 8 0 4 .
5 1 3 . 6 4 8 2
c h r i s s n o wd e n 0 1 2 @ g m a i l. l.com
Many architectural settings cause us to feel like outsiders in comparison to the dynamic inclusive interaction that natural and historical settings such as Savannah have as a baseline. Architecture is experiential and like all meaningful works of art, can serve to anchor, strengthen, or expand our sense of connection and inspiration versus promoting alienation from others and ourselves. It is my hope that the buildings and spaces I create will captivate the human mind and spirit, and engage that fine line between the accepted predictability of architecture and the radical contemporary.
+ S TAT E M E N T O F I N T E N T
Architecture is art. In order to become successful, a work of art must captivate the viewer. The problem with most architectural design today is its inability to effectively transcend the surface of popular taste and principles. Many contemporary architects are one sided intellectual thinkers who place design emphasis only on the visual aesthetics of their buildings. Instead of creating mere objects of visual attraction, architecture must convey, negotiate and project an intended meaning. The design process tends to omit the importance of the space created within, movement within that space, and the power of space to inspire. When surroundings are ideal, the human mind has unlimited capacity to create, enjoy and become passionate. Architecture must go beyond its shell, and it must inspire by moving beyond the present cultural normalcy. However, if a work of architecture is too far ahead of its time, it becomes an example of what is not normal and thus it becomes both dated and hated.
"You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see." Tadao Ando
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Robert Kennedy Pharmacy Building
001-004
TA B L E O F CO N T E N T S
GRAPHICS FOR THE BUILDING ARTS
FUNDAMENTALS I
Mausoleum
005-010
FUNDAMENTALS II
Savannah Crime Museum
011-014
STUDIO I
Savannah Wildlife Refuge and Visitors Center
015-018
STUDIO II
Bunnyfriend Community Center
019-024
STUDIO III 025-032
STUDIO IV
Residences & Retail at 602 West
033-038
Robert Kennedy Pharmacy Building Savannah, Georgia
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Savannah Train Terminal
EXTERIOR PERSPECTIVE
SITE PLAN + DAVENPORT HOUSE
GARDEN PLAN (DESIGNED)
COLUMBIA SQUARE WARD
SAVANNAH HISTORIC DISTRICT
SAVANNAH AREA
+ GRAPHICS FOR THE
BUILDING ARTS S2008 001 002
M O N TG O M E RY
ISOMETRIC DRAWING
These hand-drafted drawings were completed during my first year of Architecture school. The task was to document the Robert Kennedy Pharmacy Building, built in 1890 on Savannah’s Broughton Street. Drawings completed include: floor plans, north and east elevations, a section, an isometric drawing, interior elevation, an exterior perspective and interior perspectives. Diagrams of Savannah, Georgia include: the historic district, Columbia Square Ward and the site plan including the historic Davenport House. In addition, I was required to redesign the second floor plan and design a garden plan located on the adjoining lot.
EAST ELEVATION
INTERIOR PERSPECTIVE
NORTH ELEVATION
+ GRAPHICS FOR THE
BUILDING ARTS S2008 003 004
M O N TG O M E RY
2ND FLOOR PLAN
1ST FLOOR PLAN
Mausoleum Theory
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2ND FLOOR PLAN (REDESIGNED)
WEEK 1 - WEEK 2
2 WEEK 5 - WEEK 6
4
WEEK 3 - WEEK 4
WEEK 8
+ F U N DA M E N TA L S I
The reflecting pool directly below the main tower is >> stepped on two sides to allow for a cleansing process. The other two sides of the reflecting pool are steep to reaffirm that there is only one direction to cleanse the soul.
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The design process began with a basic kit of parts personally arranged on an 8� x 8� grid. The placement of the kit of parts considered lines of sight as well as geometry. Once completed, the grid was multiplied by eight and a linear footprint for the model was chosen. A plan-tosection relationship was established and a strict figure-ground design was implemented. The structure of the model is extremely feasible and a curtain wall of horizontal wood strips provides the skin for the model. The design of the base directly coincides with the geometry of the model. A ground level pool of water conveys a transparent calm. The final entry is subtle in its quiet projection. As one comes closer, the floating stairs appear. This is a different design vocabulary that furthers the yearning to experience the interior of the structure. The floating stairs signify a transition from earth-bound experience to a place of mystery, representing a higher state of being. The open rhythm of the structure allows light to direct this experience of transcendence.
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WEEK 7
F2008
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The first attempt of the base was deemed to bulky (pictured below). The final base design utilizes the geometry established on trace, pictured on the next page.
TRANSITION OF STAIRS
GEOMETRY OF BASE >>
ENTRY
+ F U N DA M E N TA L S I F2008 007 008
WOODS
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DETAIL OF SKIN Beyond this skin contains the mausoleum space. The wood louvers allow a specific ethereal light into the space transforming the space into a peaceful resting place.
PERSPECTIVE FROM BELOW
PERSPECTIVE OF MODEL
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WOODS
ENTIRE MODEL
Savannah, Georgia
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Savannah Crime Museum
CONCEPT SKETCHES
INITIAL BUILDING SKETCH
GEOMETRY OF THE SITE
TOPOGRAPHY OF SITE
EXPLODED ISOMETRIC + F U N DA M E N TA L S I I 011 012
WOODS
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SITE PICTURE
W2009
The design for the Savannah Crime Museum considers and incorporates the ‘steep’ demand the site presents. The central concept of the museum captures the essence of crime within its design. The museum is sunk into the site and is ‘underground’ (similar to crime itself). A combination of building and site creates a unified design. From the top of the site on Montgomery Street, it appears as though the landscape continues out towards River Street. The only evidence of the building is the museum entry. This glass enclosure houses the circular stair that wraps around the cylindrical glass elevator shaft, allowing light into the building. Also, windows line the east elevation and south elevation along River Street. A large projecting roof provides necessary shading, and the trees along the east elevation filter the light that enters the spaces through the two story windows. Although the museum’s architecture is a contemporary design, it blends seamlessly with the historic factory buildings of River Street and the historic 1920s power plant.
WORM’S EYE VIEW
LONGITUDINAL SECTION
VIEW OF ENTIRE BUILDING
VIEW OF NORTH ELEVATION + ROOF
NORTH ELEVATION
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LEVEL 2 FLOOR PLAN 014
WOODS
ROOF PLAN + SITE PLAN
LEVEL 1 FLOOR PLAN
Savannah, Georgia
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Savannah Wildlife Refuge and Visitor’s Center
SITE PLAN
CONCEPT 1: VIEW ORIENTED
CONCEPT 2: VIEW ORIENTED
CONCEPT 3: ORGANIC MIMICRY
FLOOR PLAN
+ STUDIO I
LIBRARY
NORTH ELEVATION F2009 015 016
CAFETERIA
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ENTRY LOBBY
EL NAHAS
SHADING DEVICE
The design for the Savannah Wildlife Refuge creates equilibrium between the site and the building. Honoring the site as a nature and wildlife refuge, existing trees would be maintained and incorporated into the design. Making use of natural light and wind helps to create a building that needs little or no artificial energy sources. Taking advantage of the views enhances the wildlife experience. Thus, the shape of the building is intended to frame views to the marsh and beyond. The interior Nature Center also serves to bring the outside into the museum space, furthering the sense of harmony with the surrounding habitat. The Nature Center includes a long curving aquarium built at eye level for children. Fish and turtles native to the refuge will occupy the low level aquarium.
TRANSVERSE SECTION
+ STUDIO I F2009 017
VIEW OF CENTRAL PATHWAY AND GALLERY SPACE
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EL NAHAS
BunnyFriend Jazz and Community Center (Upper Ninth Ward) New Orleans, Louisiana LONGITUDINAL SECTION
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VIEW FROM GALLERY SPACE
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This conceptual sketch combines all known site information, including views, sun path, wind rose, tree location, major and minor transportation routes as well as building footprints. After completion of the sketch, the white concept model (far left) was constructed. After further developement the basswood model was assembled and most closely resembles the final building form.
+ STUDIO II
GULF COAST REGION
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W2010
> > UPPER NINTH WARD
M O N TG O M E RY
GULF COAST OF LOUISIANA
020
> NEW ORLEANS
019
After Hurricane Katrina, the area known as Bunny Friend in the Upper Ninth Ward was flooded six to eight feet. All of the houses in the neighborhood had significant water damage, and many were simply swept off their foundations when the floodwaters rushed through after the levees broke. The vernacular architectural trend in the neighborhood consists of one and two story shotgun houses with wood siding. The new community center must be a beacon of hope and connection for the entire neighborhood. Because of its location in a flood zone just below sea level, FEMA requires the building to be raised a minimum of three feet. The community center has a semi-circular entrance and staircase. The entrance to the center is located on the corner across from the Bunny Friend Park. The building includes offices for the current members of the Neighborhood Board. There is also a large room to hold community meetings or gatherings. A spacious kitchen allows for healthy cooking workshops, as well as the ability to cook for large numbers of people. The second level contains after school learning spaces for children and job training facilities for adults.
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SITE PLAN (hand drawn)
The community center has a semi-circular entrrance and staircase. The entrance to the community center is located on the corner across from the BunnyFriend Park. There are two ramps that lead to the main entrance and the large meeting room. The building includes offices for the current members of the neighborhood board. There is also a large room to hold large community meetings or gatherings. A large kitchen allows for healthy cooking workshops, as well as, the ability to cook for large numbers of people. The second level contains after school learning spaces for children and job training for adults. Outside is a performance space for jazz andcommunity productions.
FIRST AND SECOND FLOOR PLANS (hand drawn)
The BunnyFriend Neighborhood located in the Upper Ninth Ward is a close knit community. The neighborhood is named after the park, whose land was donated by the parents of a child named Bunny who died tragically in the early 1900s. The park is an essental part of the neighborhood for its playing fields, basketball courts, playground and concession stand allow the children to gather.
+ STUDIO II
The skin of the building is a series of wooden louvers. The wood louvers respond to the local wooden siding vernacular of the entire upper ninth ward, while still adding a slightly modern edge. This particular louver system gradually rotates the wood from a vertical position, towards the bottom, to an entirely horizontal position at the top of the second floor.
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W2010 021 022
PERSPECTIVE OF ADA RAMP (hand drawn) M O N TG O M E RY
BUNNYFIREND PARK + SITE (hand drawn)
>> SOUTH ELEVATION (hand drawn)
NORTH ELEVATION
WEST ELEVATION
+ STUDIO II W2010 023 024
M O N TG O M E RY
MAIN ENTRANCE
Savannah, Georgia LONGITUDINAL SECTION
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Savannah Train Terminal
Trustees Garden originally was 10 acres of agricultural gardens designed by the original trustees of the Savannah settlement one month after arriving. The cotton plant and peach tree both trace their origins to this exact location.
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>> EAST COAST RAIL LINES
The original Train Station in Savannah was located on what is now Martin Luther King Boulevard. It was demolished to make the entrance of Interstate 16. The current Amtrak station is located off Louisville Road in a primarily industrial/warehouse area.
^INITIAL SKETCH OF BUILDING FORM
INITIAL CONCEPTUAL SITE SKETCH ^
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Bay Street
STUDIO III S2010
East Broad Street
025 026
SITE PLAN
eet
WOODS
Ba
tr yS
The Savannah Train Terminal would once again establish a central transportation hub in the city’s historic district. The terminal is situated on Trustees Garden in the eastern side of Savannah’s historic district. The new train terminal design utilizes a traffic pattern similar to an airport. Coming down Bay Street heading east, visitors and travelers would take the ramp that begins to circle around the terminal. Multiple drop- off points are covered by the extension of the flowing and expansive roof. After dropping off travelers, vehicles may continue to either the underground parking garage or towards East Broad Street. The western side of the site has been re-developed as an area similar to City Market (a thriving restaurant, art gallery and bar location on the west side of town).
MAIN APPROACH
EAST ELEVATION
+ STUDIO III S2010 027 028
MAIN TERMINAL WOODS
TRANSVERSE SECTION
MAIN CONCOURSE LEVEL
+ STUDIO III S2010 029
MAIN DROP OFF AREA
030
WOODS
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TRAIN PLATFORM
BRIDGE TO PARKING GARAGE
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3-D SECTION
+ STUDIO III S2010 031 032
The structure of the terminal consists of large spanning steel >> members that rely on compression to successfully support the massive roof. The two butterfly supports that connect to each steel member allow for expansion and movement.
WOODS
Austin, Texas ^ EXPLODED ISOMETRIC SHOWING STRUCTURE AND ROOF SYSTEM
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Residences and Retail at 602 West
SITE PICTURES
330’
140’
West S
t.
46,200 sq
6th S
SITE MODEL
ree k lC oa Sh
BUILDABLE AREA
t.
+ STUDIO IV F2010 033 034
B AC H A
RENDERING OF WEST FACADE ALONG SHOAL CREEK
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CONCEPT MODEL
Austin, the capital of Texas, is a culturally vibrant and liberal urban center. City leaders established the goal of having 25,000 people living in the downtown area by 2015, and have offered incentives for residential buildings. Thus, there has been an increase in construction of contemporary mixed use buildings. The current building trend in Austin is consistent in style and materiality. The project was to design a residential building with retail space occupying the first level. The site was on the corner of 6th Street and West Avenue. The west side of the site was bound by shoal creek. During the concept stage I began to experiment with particular building modules. After understanding the way in which these building modules interact and fit together I built a model that began to shift and pull individual planes on multiple levels. The next step was to add vertical planes to divide the shifting planes into the units. I then established a sense of the material palate most used on similarly sized residential and commercial buildings. There were three main concerns during this part of the process: privacy between units, shading and natural ventilation.
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MASTER CLOSET
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2 Bedroom / 2 Bath / 1400 SF / 2 Balconies MASTER BEDROOM 12'6" x 14'11"
MASTER CLOSET
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2 Bedroom + Study / 2 Bath / 1610 SF / 1 Balcony
REF
ENTRY
BEDROOM 10’5” X 12’6
CLOSET
BEDROOM 1 11'11" x 12' 2"
KITCHEN 10'7” x 9'10"
CLOSET
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OUTDOOR LIVING 15'5" x 7'5"
OUTDOOR LIVING 16' x 11'3"
W.H.
BATHROOM 10’5 x 8’0
W/D
/#56'4 $'&411/ Z
LIVING 15’7” x 10'11"
DINING 11'9” x 9'6"
/#56'4 %.15'6 LIVING 15’7” x 15’4
KITCHEN 10’7” x 9’10”
1 Bedroom / 1 Bath / 870 SF / 1 Balcony
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DINING 10’7” x 13’
STUDIO IV
176&114 .+8+0) Z
F2010
.+8+0) ’ ” Z
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B AC H A
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3-D SECTION SHOWING TYPICAL FLOOR PLANS + PARKING GARAGE
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SECOND FLOOR PLAN (TYPICAL)
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STUDIO IV
6TH
STR
EET
F2010
037
038
B AC H A
E
>> NU AVE ST WE
SITE PLAN + FIRST FLOOR
SOUTH ELEVATION
EAST ELEVATION
I decided early in the process that I wanted to highlight one of the main egress staircases on the corner of 6th Street and West Avenue. The staircase is enclosed in a frosted green glass that is ‘similar’ in color to a copper patina. At night the stairwell is lit from within and thus makes a statement to cars passing down 6th Street.
>> INITIAL BUILDING ENVELOPE
FINAL BUILDING ENVELOPE
The envelope defines the shape and projection of the building. The skin went through a number of variations, all of which incorporated Corten steel (pre-rusted). The vertical planes helped with privacy but originally had too much mass to allow a breeze to penetrate. The second envelope concept incorporated two layers that pushed and pulled to create an interesting design. The third envelope concept combined both of the previous concepts. This concept incorporates a Corten mesh that occupies the voids left by the pushing and pulling of the solid Corten steel panels. The result allows for shading, natural ventilation and privacy between units.
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+ STUDIO IV F2010 039 040
B AC H A
BUILDING RENDERING AT CORNER OF 6TH ST AND WEST AVE