CHRISTOPHER.M.
SIMMONS DESIGN PORTFOLIO Featured Projects from 2 0 0 9 - 2 0 1 3
Undulating Wall
CHRISTOPHER.M.SIMMONS Designs and builds from my studies at Ball State University College of Architecture and Planning Email simmons.chris.m@gmail.com Phone 317.697.2703 Website cmsimmons.com
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Education Ball State University [Muncie, Indiana] Master of Architecture, 2013 Ball State University [Muncie, Indiana] Bachelor of Science in Architecture, graduated Cum Laude, 2011 Minor in Construction Management Employment History Tabberson Architects [Muncie, Indiana] Graduate Architect: May 2011 to present Ball State University [Muncie, Indiana] Design Consultant for the Muncie Head Start Nature Playscape/Habitat Hub, May 2014 to July 2014, June 2013 to September 2013 Eli Lilly and Company [Indianapolis, Indiana] Global Facilities Delivery Summer Replacement: May 2010 to August 2010 Notable Accomplishments Honorable Mention in the 2010 AIAS/Kawneer National Competition First Place in the CRIPE fourth-year Architecture Competition [2010] First Place in the Gresham Smith third-year Architecture Competition [2010] Finalist in the ICMA second-year Architecture Competition [2008] Design selected for the University of Louisville / Ball State University 2013 Solar Decathlon Design: Phoenix House College of Architecture and Planning Dean’s List Fall 2008, Spring 2009, Fall 2009, Spring 2010, Fall 2010, Spring 2011 “Best & Brightest” of Architecture Class of 2011 Community Projects Tot Spot at the Muncie Children’s Museum [Muncie, Indiana] Designer/Builder: January 2011 to November 2011 Head Start’s Nature Playscape [Muncie, Indiana] Building Better Communities Fellow: August 2012 to May 2013 Relevant Skills Autodesk AutoCAD 2002+, Microsoft Office, Adobe Photoshop, Adobe Illustrator, Rhinoceros 4.0, Autodesk 3ds Max, Adobe InDesign, DepthmapX, SketchUp 8, and Revit.
RESUME 2007-2013
Rough Sawn Ash Timbers 5
Tot Spot: Caterpillar Bench Concept
Design Culinary Institute 8 Spatial Patterns
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The Living School
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Heliotropic / Dynamic Systems
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re:CONNECT
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Eco-City: Sustineo
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Design-Build Build-Design: Nature Playscape
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Exquisite Corpse
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Tot Spot: Hot Air Balloon
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Solar Decathlon: Home
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Drawings & Sketches
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FEATURED PROJECTS 7
Presentation Model
The Culinary Institute’s design is directly influenced and informed by its context. Its location on Eastern Market’s axis allows the market to expand across the site while reestablishing the urban density along the streets. The sharp edges of the surrounding buildings cut across the site to form urban alleyways within the Institute, which brings the scale down and provides for better circulation and wayfinding. Along with this, views of the historic Eastern Market sheds are preserved by using sightlines to form the public building. This structure provides a library, a community classroom, and a restaurant for the community to educate the residents about agricultural practices and urban gardens. The glass enclosures from which the buildings grow out of provide a conditioned space year round, which allows for gardens, a Living Machine, and a greenhouse to successfully operate in the winter. At night, these enclosures become beacons of light and brighten up the surrounding streets and market to draw people into the local restaurants and businesses nearby.
CULINARY INSTITUTE
Eastern Market in Detroit, Michigan Spring 2012 Graduate Studio 9
Main Level Plan
CONTEXTUAL CARVING
Reflected Ceiling Plan The structure is exposed on the interior in order to inform the user of the ingredients that make up the building. The individual buildings use 8� circular steel columns that are offset from the walls and painted black. To contrast this, the glass atrium structures use 8� square columns painted white to designate a different function and purpose.
Main Atrium 11
Community Classroom
Library
Public
Building Sections
Market
Atrium
Greenhouse
Demonstration Lab
Administration
Private
The sunken plaza not only provides for market space, but also showcases different types of fruit trees so residents and students can watch them grow and learn from their successes or potential struggles. The greenhouse makes use of the glass atrium and benefits from the direct sunlight and heat that has risen from the atrium below. The atrium garden provides space for various plants where the community can come and contribute any time of the year. The Living Machine and roof garden, located above the restaurant, create a symbiotic relationship with their host. The restaurant provides radiant heat for the garden while the garden creates produce for the restaurant. Similarly, the Living Machine helps reduce wastewater from the restaurant and provides a learning opportunity for the community. 13
Roof Membranes Insulation Metal Deck HVAC Drop Ceiling Glass Frame Lighting
Circular Steel Tube Frame
Exploded Diagram of Bridge
Steel Angles Glass
Wood Flooring Concrete Subfloor Metal Deck
Bridge Sections The elevators and ramps provide for accessibility to every space, while the change in color and material in the flooring of the atrium space help with wayfinding throughout the building. The facade shows the layers of the building, similar to a cake without icing. The apertures provide for daylighting and views, while occasionally revealing the structure behind it. The bridge, modeled after a typical railroad bridge, links the two structures together while providing an unobstructed path across the sunken plaza. This bridge passes through the orchard canopy, which creates a natural transition from public to private.The pedestrian crosswalk that links the market across the highway informs the main circulation in the private structure. 15
Trifold
The purpose of these designs were to challenge the modernist dogmas of “form follows function�.Without program, how do we start a project? For these three investigations, I looked at creating forms without a program and site, and instead, used geometry, materiality, and techtonics to guide my designs. Spatial cues and logical patterns were merged and blended with formal methodologies, such as subduct, osmosis, and uplift, to create spaces that were adaptable and without scale. The result of this type of designing is almost always original and creates unlimited opportunities in architecture and spacial design. By using the method described above, I was able to create three designs that explored scale and materiality. Through the use of one shape, these designs are able to expand the project scope exponentially to meet the needs of any programmatic requirements. In essence, one space is able to become 500 spaces just as easily as it could become 5 or 5,000 spaces.
SPATIAL PATTERNS
Conceptual Formal Methodologies Spring 2012 Gratuate Studio 17
Layered Cardboard Model
n lutio Evo
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Fold
Uplift: The act, process, or result of raising or lifting up. Fold: To bring into a compact form by bending and laying parts together.
Trifold
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Uplifted and folded to create openings and spaces
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Uplifted out of the ground to create exterior spaces
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ces Spa
Concept
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500
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Applied System
Uplift
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Plan / Elevation
This conceptual design uses uplift and folding of its faces to create forms that appear to be crawling out of the landscape. The logic from the Sierpinski triangle is applied to this as a way to develop an infinite number of spaces within a given space. Folds can be utilized to allow light penetration, designate entrances, or touch the ground like an appendage for structural stability.
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Layered Acrylic Model
Osmosis: The passage through a semipermeable membrane from less concentration to more concentration.
Osmosis
Diffuse
Concept
Molecular Structure
Evolution
Diffuse: Spread or cause to spread over a wide area.
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Added logic and system
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System
Exponential growth
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Sketch that applied the structure with the formal methodologies
500 Spaces
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Molecule
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Plan / Elevation
This conceptual design uses osmosis and diffusion as a way to create dynamic spaces that appear to grow from a host. This molecule-like structure uses an ordered system as a means for division. Once this exponential growth begins, it becomes so expansive that it can form networks with other molecular structures. The skin from which these units develop in provides shelter from the elements and absorbs energy from the sun and collects water for the units within. These units provide structure and storage, which creates a symbiotic relationship with the skin to create a mutually beneficial system.
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Layered Wood Model
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Sketch using multiple subductions
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Applied structure
3 Dimensions and scale
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500 Spa
Checkerboard Pattern
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System
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Subduct Subduct: The action or process of the edge of one object descending below the edge of another.
Concept
Fracture
Plan / Elevation
This conceptual design takes a traditional checkerboard pattern, where positive and negative space is logically arranged, and applies a subduction to the spaces. These subductions can occur at any scale necessary to create the spaces needed. In a three dimensional space, this begins to form a snake-like mass that weaves through the landscape creating openings in its structure to allow for daylighting or exterior spaces.
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CRIPE Fourth Year Architecture Competition: First Place AIAS / Kawneer National Competition: Honorable Mention
Our design for the Living School brings life into the building through community interaction and nature. Located in Detroit, Michigan, the Living School looks at educating children about life and nature to instill values such as respect and responsibility. In this way, the children are getting a living education. The building itself is used as a learning tool through both the features and its incorporation of community into the gymnasium, library, and gardens. In addition to this, the building integrates nature through green roofs, a greenhouse, and a living green wall. We created a strong connection to the community on the site as well as in the building because of the successful influence of the adjacent Eastern Market. In order to make the plaza a destination, we designed the stage in the gymnasium to open both inward and outward to the sunken amphitheater for school and community performances. The public plaza also has space for produce vendors from the ever-expanding Eastern Market and plenty of indoor space for both community and school activities to be held.
THE LIVING SCHOOL
Eastern Market in Detroit, Michigan Fall 2010 Undergratuate Studio Partner: Melissa Klemeyer 25
Presentation Model
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Ground Level Plan 1 2 3 4 5 6 7 8 9 10 11 12 13
Student Co-op Retail Second Floor: Gymnasium & Cafeteria Library Stage Second Grade Classrooms Amphitheater Third Grade Classrooms Public Plaza Fourth Grade Classrooms Living Machine Art Classroom Administration Music Classroom Kindergarten Classrooms Greenhouse First Grade Classrooms Third Floor: Special Education Fifth Grade Classrooms Sun Atrium Sixth Grade Classrooms Gardens Science Labs Orchard Green Roofs
The school not only provides classrooms for learning, but also is a learning tool in and of itself. The exposed structure and mechanical spaces allow children to understand their surroundings and the hierarchy of primary, secondary, and tertiary members, like the limbs on a tree. The Living School also showcases the living machine and incorporates numerous sustainable features that promote a love for the environment and sustainable concepts to take care of it. 27
Sun Atrium
The connection to nature is evident in every aspect of the building, from the site down to the individual classroom pods. The small, divided-up footprint of the building allows for ample daylighting in all spaces. The atrium space serves not only as the main circulation for the building, but provides for multiple greenhouses, a living machine, and balconies overlooking these interior spaces. On the south side of the atrium is a living green wall that allows light to filter through the plants and into the space. This adaptive, living wall filters the hot summer sun but allows the winter sun to warm the space as it penetrates past the dormant foliage. Along with this, there are mechanical shading louvers that open and close based on the movement of the sun to control additional light penetration. The Living School teaches children the fundamental lessons needed in life. The local Eastern Market community understands the importance of the environment and the use of sustainable, local practices. They realize that revitalization doesn’t come with new architecture; it comes with education, hard work, and the opportunities that the Living School can provide.
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Study Model
Heliotrophic systems, as used for this investigation, explore the potential of facades in our modern day structures. Whether its for dynamic openings or systems, the objective is the same: to create a skin that reacts to the environment and improves the environment within the building and outside of it. I looked at the most dynamic system of them all, our own weather, to design and form these two concepts: 1. The copper skin design was inspired by the waves of the ocean and utilized this form to direct rainwater into its mossy plants. Along with this, the copper itself reacts to the water to create a patina that shows the changing of time and creates a sunscreen to the occupants within. 2. The sails design utilizes the winds amplified in an urban setting to create a naturally breathing structure with a greenwall integrated into the design. The sails also shade the structure from the harsh western sun and instead, redirects that energy into the plants.
HELIOTROPHIC SYSTEMS
Dynamic Facade Systems
Spring 2012 Gratuate Studio 31
COPPER •
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The copper panels act as a rainscreen that drains water into moss beds to cleanse and reduce water runoff. Panel separations allow some light penetration. Perforated copper panels filter the light into the building. Copper is a nutrient for the moss for better growth. Copper patina forms over years of oxidation and weathering.
R • • • •
Sun louvers reflect light towards the plants. Cloth Sails redirect wind into the building and provide sun protection. Plants release oxidation that enters the building. Plants take in carbon dioxide released from the building. 33
Gresham Smith Third Year Architecture Competition: First Place
Presentation Model
The Re-ligare Institute is a place where connections are remade and revitalized. The meditation space focuses on the growth of a flower from a seed to a blossom, the skin covers the building but is also brought down to human scale, and the garden spaces allow people to experience the outdoors in the middle of the city. This building creates an atmosphere where mind and body, interior and exterior, self and others, and urban and architectural spaces are re:CONNECTED. Our design reconnects the urban context with the architecture by stepping back from the intersections and creating a public plaza and garden space right off of Massachusetts Avenue. The meditation cube, as seen from the surrounding context, acts as a beacon to draw people into the site and its restaurant and retail space. The scale of the Institute is comparable to the surrounding structures, but stands out in its unique materialistic qualities.
RE:CONNECT
Indianapolis, Indiana
Spring 2010 Undergratuate Studio Partner: Melissa Klemeyer 35
Meditation Cube
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Restaurant Nutritionist Lab Administration Lobby Doctor Retail Social Garden
Second Floor: Weight Room Dance Room Spinning Room Library Massage Rooms Meditation
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Fifth Floor: Classroom Music Garden Music Room Spiritual Staff Silent Garden Spa, Lecture Hall, Cafe, Therapist, and Yoga Studio located on the third, fourth, and sixth floors.
Ground Level Plan The Re-ligare Institute also connects mind and body through the architecture and the experiential journey through it. This journey begins by walking under the meditation cube among the columns. As you travel upwards, you can see an opening in the wall unlike anywhere else in the building. This leads to a small, dark space that creates the feeling of being within the earth, beneath the dirt and roots. This creates a sense of compression for the visitor. Once you move up to the second level, this compressive feeling is released as if you were breaking free from the earth. This space is primarily lit by a single aperture that allows sunlight to move across the walls and floor. The visitor is able to use this space to focus on themselves and their inner thoughts without having distractions from the outside world. 37
The interior and exterior of the building are reconnected by the permeable skin that uses different size openings to direct sunlight and views. This skin appears on the building in the places that need more privacy than glass, but less privacy than a solid wall. Because of this, the interior programming directly affects the exterior look of the building. This metal skin is also brought inside at a human scale to signify the main stairwell and to allow visitors to experience its phenomenological characteristics as they travel upward. Section
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[energy + heat] Sustineo, city of sustainability, reaches towards the sky as if to compete with itself, much like the tree canopies in a forest. The need and desire for solar access and wind has forced its inhabitants to build tall, branching structures that are covered in translucent energy collectors, covering the city below in a comfortable shade. Thousands of tall spires penetrate this solar canopy as a means to access the unused wind that blows over the city. The energy captured overhead is transported downward through hidden cables and wires to power only want the inhabitants need to survive. The users of this energy, who value it so much, developed their lives around the massive trunks and spires that elevate the city. Their homes and infrastructure developed from these like the branches on a tree, getting smaller and more delicate as they cantilever above the shaded ground. Once the energy from these secondary and tertiary spaces is used, it’s released above the city as heat and escapes through the porous canopy from which it came from.
ECO-CITY: SUSTINEO
Creative writing based on the reading from “Invisible Cities� Spring 2013 Gratuate Design Strategies 41
[water/air + pollution] As one visits the city of Sustineo, the verticality of its structures draws your attention upwards towards to the filtered sky above. However, what most visitors would not know is that these spires go just as far below the earth into the deepest subterranean lakes and rivers imaginable. These trunks from which the city depends on provide direct access to this essential resource through varying sizes of caves and wells. While human power is used to draw the water up for the city’s users, gravity brings it back down through a series of filters and purifiers before its released back into the earth. In a similar fashion, air pollution from the city is handled and filtered by the porous trunks and spires that appear translucent and rough as they rise out of the ground. Unlike the water filters, these are very visible for visitors who often cannot resist the urge to touch the soft, permeable skin that masks the technical marvels within.
[food] The city of Sustineo relies entirely on the sun and the energy it provides for local food sources.Through years of agrarian practices, Sustinians have developed a communal garden that reaches from one end of the city to the other, only interrupted by vertical penetrations that support the porous city above. Orchards, vegetable gardens, and livestock farms have no clear borders on the city’s floor. Instead, everyone and everything is free to expand and develop as they wish. As the city expanded, these gardens started to grow up the trunks and spires to fill the understory with greenery. This natural growth and expansion has created a symbiotic relationship with the trunks to provide structure, support, and an alternative means of energy through photosynthesis. Within the canopy itself, hanging from the homes, are smaller gardens that vary in sizes and appearance based on what is grown. Every growth cycle, these gardens are dropped and harvested on the city floor. What’s left of these gardens is diminished and used to support the next growing cycle that takes place throughout the city. 43
Presentation Model
[abstract] “There is a growing concern in today’s society that children are losing touch with nature. Our natural environment, however, provides us with the essential building blocks to develop cognitive, social, and physical wellbeing, especially in early childhood years. Richard Louv coined the term “nature deficit disorder” as a way to explain the problematic lack of exposure to the natural environment, especially as children are lured away from outdoors with the development of new technology and the need to be wired in. As architects, we must ask ourselves what can we do to reverse this decline and develop significant opportunities for children to be outdoors and learn in natural, unstructured play. Similarly, architects need to redefine their relationship with materials by also working in an unstructured playful process.” The complete book can be read here: http://issuu.com/cmsimmons/docs/final_ project_single_simmonsdoyle_i
BUILD : DESIGN
Redefining Dialectics Through Making and Play Fall 2012 / Spring 2013 Final Graduate Studio Partner: Jordan Doyle 45
A series of simulations spanning two semesters was developed as a method of researching and testing activities and materials that were planned as components of the nature playscape design at Head Start Preschool. By performing these simulations, we gained the knowledge of how a five-year-old child plays, thinks, and interacts with materials, the environment, and with others, helping to guide further development of the playscape’s design and components.Through these various activities, children learn the importance of giving back to their environment by getting their hands dirty and realizing that these items do not originate in a grocery store. 47
SIMULATIONS
In order to gain an understanding of nature-based play, it was essential to learn about the components needed to create a place that fosters creative, unstructured play through nature. Six playscapes were visited throughout the Midwest to develop a holistic understanding of a successful nature-based playscape. These visits were extremely insightful, especially those to preschools with nature-based curriculums such as Schlitz Nature Preschool in Milwaukee, Wisconsin and Dodge Nature Preschool in West St. Paul, Minnesota. Not only was a sense of program developed with the visits to these schools, but they also gave us a glimpse of the potentials of a nature playground with rolling terrain and a variety of wildlife and plant material. 49
CASE STUDIES
Through the entirety of this project, the importance of building, testing, and making before designing has been continuously stressed. Like children at Head Start Preschool who are learning and developing through play in nature, this project has focused on learning through the making, exploring, and testing of material limitations, grasping the idea of the profound dialectic of analog and digital processes. We quickly realized that fabrication involves multiple steps and that neither analog nor digital processes work best as a stand-alone method.This realization forced the integration of a variety of methods during the fabrication of the final piece and resulted in a better design overall. 51
PROTOTYPING
[Habitats] Whimsical Woods: Tree House Peek-A-Boo You Sensory Garden Music & Movement Crazy Climbers Tree Clearing Wetland Wonder: Rammed Earth Storage Mud Mash Sluice Water Channel Wetland Garden Boxes Wildlife Watch Cattail Corner Rain Garden River Run: Storage Stumps Meadow Garden Boxes Dino Dig Meadow Take-Out Science Calming Caves Wildlife Garden Peaceful Prairie: Hill and Tunnel Lookout Point Rainbow Garden “Campfire” Area Prints on the Prairie Maze Skeleton Tree
Our research, prototyping, and simulation led to the creation of a variety of elements and features that were included in the design of the playscape. The use of natural materials and the creation of four distinct habitat zones reinforces the idea that nature can be found in many constantly changing forms.Those habitats include a wetland, woodland, prairie, and river medow. These habitats can all be found in Indiana and through the Midwest, which instills a sense of place in the children and teach them about the environment in which they live. As the project continues to move foward, the development of these habitat zones comes in the form of a phased construction plan with five phases. This takes into consideration the accumulation of funds through donors, grants, and corporate money. It also allows for further development and detailing of each habitat as they are progressively added to the site. The first phase includes the construction of the Habitat Hub as well as a sampling of a majority of the activities within a 100’ by 100’ space. The Habitat Hub acts as an iconic piece of architecture that utilizes natural materials and houses a variety of free flowing activities such as sand and water play, nature art, and loose parts play. The final phase of construction is the Nature Clubhouse, which utilizes all of the material knowledge and experience gained during the first four phases.This outdoor classroom is designed to take full advantage of the natural materials and their intrinsic qualities.
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HABITAT HU
UB
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[Design Concept]
Abstracted Forest
Undulating roof formed from the tree canopy
Roof folds down to create a screen and splits to designate passage
Columns designed to resemble the branches of a tree
South Elevation
Section The gabion wall and rammed earth forms vary in height, function, and purpose in order to create forms that inspire creativity for the children. The exact use and purpose of these forms are undefined; instead, children can use them however they want. The timber frame structure was inspired by nature’s principles. Primary, secondary, and tertiary members all work together to support the overhead canopy, which shades the spaces below.
East Elevation
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NATURE CLU
UBHOUSE
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Transparency
[Design Concept]
Rammed Earth
East-West orientation of transparency, rammed earth, and gabion wall
Gabion Wall
Directed View
Entry Solar Access
Wet Core
Gabion wall is slid over to create solar access and direct views into the wetland Rammed earth is folded to create a wet core Transparency is folded to create an entry into the space Penetrations are put into the gabion wall to allow filtered views to the preschool
Penetrations
Rammed earth is split to connect the interior spaces together Transparency opens to allow direct access to nature
Timber frame grid is placed to support roof
South Elevation
Section
East Elevation
The gabion wall on the south side plays with shadows by pushing and pulling its fragmented cages to create a dynamic surface that shelters the activities within while providing a climbable surface to sustain a vertical garden. West Elevation 61
WATER SHED
Elevations
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The construction started during the Spring of 2013 and continues to this day. All aspects of the build were handled by students, volunteers, professors, and construction contractors to make this truely a community effort. We felt that it was incredibly important for everyone to have a hand in the construction of the playscape as a way to give the community a sense of ownership and pride. The Habitat Hub, shown above, was fabricated by both analog (students) and digital (5axis CNC) processes to create the timber frame columns, beams, and purlins with mortise and tenon connections.
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CONSTRUCTION
Study Models
Design Rules • 9’ max height • 5’ max width, 2’ 6” depth • 40-60 cubic feet • 1/2” or 3/4” plywood sheets • 12” open base • Must respond to adjacent projects • Only one additional material is allowed • Paint/stain color restrictions • Well crafted This design-build sculpture was a project about rules and constraints. We were given a set of instructions that we had to adhere to in order to design a successful project for our building technology class. Through a series of design options, we came up with this design that not only followed all the rules, but responded to the designs directly adjacent to it. Once the design was established, we had to create construction documents for the creation of this sculpture. This process went through multiple iterations in order to create a complete and accurate construction document set that would be used for construction.
EXQUISITE CORPSE
College of Architecture and Planning in Muncie, IN Spring 2010 Undergraduate Building Technology Partners: Mark Figgins, Melissa Klemeyer 67
We were required to use plywood and dimensional lumber for this project; however, the sizes of these materials were not established. For the structure, we used 2x4s and created “ribs” to make construction easier for this complex design. This was the most logical solution to this structural design because of the way we had to create indentations and extrusions that the skin could be applied to. We chose to use ¾” plywood for this skin (as opposed to ½”) because we wanted it to look more sturdy and provide better lateral support. We used the CNC router to digitally cut these pieces because of the accuracy needed in order for this design to come together perfectly. Once the pieces were cut, hand fabrication, such as sanding and staining, was necessary in order to finish the look we wanted. We then applied these panels to the structure and strategically placed the screws in order to compliment the design and provide hints of the unique structure within.
Exploded Diagram of Plywood Skin
Cutsheets
Exploded Diagram of 2x4 Framing
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CONSTRUCTION
Photo Courtesy of Ball State University
The Muncie Children’s Museum, located in downtown Muncie, Indiana, was in desperate need of a new “Tot Spot” interactive exhibit for infants and toddlers. Through numerous Ball State courses spanning more than three years, that dream became a reality. I had the opportunity to play a major role in the redesign through three classes at Ball State spanning over fifteen months. My role throughout the project was designer, primarily on the “Hot Air Balloon” and the “Water’s Edge”. The Hot Air Balloon, inspired by the story “Oh, the Places You’ll Go!” by Dr. Seuss, is one of the most iconic and noticeable pieces in the Muncie Children’s Museum. As lead designer of this piece, my role was to take the existing schematic design and reinterpret it in order to bring it to life. Aesthetics, safety, budget, and durability all had to be taken into account during the design process, and in effect created constraints that positively influenced the final design of the project.
TOT SPOT: HOT AIR
BALLOON
Muncie Children’s Museum in Muncie, IN
Spring 2011 Undergraduate Studio Partners: Dawn Baker, Jordan Doyle, Mark Figgins, Melissa Klemeyer, Becky Perez 71
The basket of the hot air balloon became a very challenging design aspect of the project because of the weaving pattern. Originally, the design called for woven rope that would simulate the aesthetic qualities of a real hot air balloon basket. However, due to the size and safety requirements of the rope, we turned to other options. I came up with the idea of using plywood because of its durability and the potential it has to be milled into anything imaginable. Through numerous prototyping and modeling exercises, I came up with the final design that simulated the look of woven rope while maintaining the durability and safety measures needed. The basket’s complexity comes from its projecting, halfcircle design with woven plywood pieces in between. The functionality of the basket is also carefully choreographed. The countertop serves as a space to display books and also create artwork using the custom rubbings based on traveling themes. In between the weavings is shelving that opens both outward and inward where books and puppets can be visibly stored. The interior of the basket provides child scaled seating and also opens up to reveal additional storage for puzzle pieces and additional rubbing boards.
Elevation Floor Plan
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The balloon was another challenge due to the size and complexity required to make it work. The supporting cage is made of conduit bent into specific shapes that had to be bolted together perfectly in order to work. The skin of this, which had to be a material that would not hold dust, had to be cut perfectly from patterns and sewn together to create removable “panels� that were velcroed onto the frame. Once this was all built on the ground, it had to be lifted and suspended into place above the basket. The simulated flame and support cage were added at the end in order to finish the piece.
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CONSTRUCTION
Selected for the University of Louisville / Ball State University 2013 Solar Decathlon Design: Phoenix House
Our Solar Decathlon design was a rework on an existing proposal from an earlier semester. Our biggest issue with the original design was the lack of aesthetic interest that a competition design needs. Along with this, the functionality and space planning was not optimized and did little to respond to the design criteria of the competition and of Ball State’s disaster relief requirements. We chose to respond to wildfires because of their ability to occur in any part of the United States. Wildfires destroy millions of acres a year and can cause billions of dollars in property damage. For this reason, we chose to design for this natural disaster, rather than the typical tornado, earthquake, or flood disaster response that has been done before. As a start, we chose Ramona, California as the location of our disaster relief reconstruction plan because its unfortunate history with wildfires. A master plan was devised that would make use of the firewise concept on a macro and micro scale. The zoning for our lots would create a natural defense against the potential risk of wildfires by creating a barrier of non-combustible materials.
SOLAR DECATHLON: HOME
Team Kentuckiana Design Entry
Summer / Fall 2012 Graduate Studio Partners: Ryan Anderson, Jordan Doyle, Yuanfan Gu 77
Master Plan Four house options were designed to fit all household sizes: one bedroom, two bedroom, three bedroom, and two-story four bedroom. The two bedroom option became the design solution for the 2013 Solar Decathlon competition. There were many constraints that we had to abide by in order to be accepted for the international competition. For example, the solar envelope and footprint had to adhere to strict rules in order to compete. Along with this, ADA and engineering systems had to be correctly implemented and accounted for in the design. These constraints are what shaped our design and influenced every decision we made.
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Competiton Site Plan
SketchUp Model
The features in this house are state-of-theart and exhibit the most sustainable practices available on the market. Photovoltaic panels, clerestory windows, water collection, and greenwalls are just some of the features utilized in this design. In addition to this, storm shutters, exterior sprinkler systems, and fireproof sheathing were implemented as a means to reduce the risk of fire damage while the front porch and pergola reflect the Midwest lifestyle.
Front (South) Elevation
West Elevation 81
This design was chosen to represent Team Kentuckiana (University of Louisville, Ball State University, and University of Kentucky) during the 2013 Solar Decathlon in Irvine, California. I continued with the design for another semester in order to ensure that the concepts and design decisions followed our original design intent. During this time, I helped with the construction documents, specifications, prototyping, and material choices on the interior of the house. For more information on this project and its progress in the competition, visit: http://www. solardecathlon.gov/past/2013/team_kentucky_indiana.html Architecture Market Appeal Engineering Communications Affordability Comfort Zone Hot Water Appliances Home Entertainment Energy Balance
Open House 83
Quick Sketch Pencil Fall 2007
DRAWINGS & SKETCHES Fallingwater Digital Spring 2013
Digital | Ink | Pencil | Color Pencil
Spring 2008 - Spring 2013 85
Bilbao Guggenheim Pencil Spring 2009
Bilbao Guggenheim Pencil Spring 2009
Bilbao Guggenheim Ink Stipple Spring 2009
Bilbao Guggenheim Color Pencil Spring 2009
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