Drew Lofton Architectural Portfolio - Kansas State University

Dre w L of ton Architectural Portfolio

2021

Fifth-year graduate student in the five-year NAAB accredited Master of Architecture program at Kansas State University

Table of Contents

S el ec t ed Wor k Fi sch H a us Bla c k Bo x The a t re

4

Wichita, Kansas

B l ue Va l l e y Yac h t C lu b

12

Manhattan, Kansas

E a me s Fur ni t u re E xh ib it

18

New York, New York

Re - I ma g i ni ng Piazza C a he n

22

Orvieto, Italy

Vo l l a nd Fo un da t io n

28

Volland, Kansas

Re sume

35

Fall 2019

F i sc h H au s B lack B ox The atre Wichita, Kansas

The Commerce St. Arts District has gained attention as an up-andcoming arts neighborhood south of downtown Wichita, Kansas. There are a wide variety of theatrical and dance troupes in Wichita, many of which use leftover or borrowed spaces to put on their performances.

The Fisch Haus Black Box Theatre will accommodate these local groups and add to the identity of the district as a place for art to thrive.

4

Fisch Haus Black Box Theatre

5

Fall 2019

946 SF Occ. 187

Occ. 16

UP

ENTRY VESTIBULE 102 259 SF Occ. 17

LOBBY 103 946 SF LOBBY Occ. 187 103

ENTRY VESTIBULE ENTRY VESTIBULE 101 101 242 SF 242 Occ. 16SF

ELEVATOR ELEVATOR 110 110 57 SF 57 SF 3000 lbs Limit

3000 lbs Limit

VISITOR VISITOR SERVICES SERVICES 104 104 152 SF 152 SF Occ. 6 Occ. 6

MECH. MECHANICAL 106 106 35 35 SF Occ. Occ.11

UP

MEN’S DRESSING 109 159 SF Occ. 10 BLACK BOX

WORKSHOP WORKSHOP 108 108 1696 SF 1696 SF Occ.Occ. 17 17

BLACK BOX 105 105 1435SFSF 1435 Occ.206 206 Occ.

BACK OF STAGE 107 1435 SF BACK OF STAGE Occ. 42 107 620 SF Occ. 42

Level 1 Plan 6

WOMEN’S DRESSING 110 159 SF Occ. 10

Fisch Haus Black Box Theatre

The building is divided into three zones based on the size requirements and programmatic functions of the spaces.

The Black Box occupies the central zone and is supported by the larger western zone with rehearsal and workshop spaces and by the smaller eastern zone occupied by administrative and service spaces.

A

B

The Black Box is recessed down and back into the mass of the building allowing the outer program to hold the most important space. This creates a crown jewel in a box effect.

C

D

E

F

G

The perforated brick screen adds an additional layer to the Black Box. During the day the screen can be seen as a delicate mask that hints at what is behind it, while at night the glow of the theatre through the screen adds to the connotation of the Black Box being the heart of the district.

H

I

J

K

118' - 1" 10' - 6"

1' - 11"

2' - 0"

11' - 10"

6' - 0"

2' - 0"

6' - 0"

15' - 0"

2' - 0"

6' - 0"

2' - 0"

15' - 3"

6' - 0"

8' - 6"

1' - 11"

15' - 6"

7' - 9"

13' - 6"

45' - 1"

1' - 11"

5' - 10"

10' - 1"

2' - 0"

6' - 0"

2' - 0"

5' - 10"

4' - 8" 9' - 8"

6' - 1"

14' - 0" 9' - 1"

6' - 1"

6' - 2"

28' - 2"

17' - 9"

5' - 6"

5' - 6"

8' - 8"

6' - 0"

31' - 5"

LOUNGE 206 381 SF Occ. 25

1 A 4.1

3' - 11"

ASSEMBLY 202 639 SF Occ. 45

SEMINAR ROOM 201 1745 SF Occ. 117

17' - 2"

2

1' - 11"

2' - 11"

1

13' - 7"

10' - 2"

8' - 6" 2' - 6"

2' - 0" 11' - 0" 12' - 3"

5

6' - 0" 2' - 0" 6' - 0"

26' - 0"

2' - 0"

8' - 10" 7' - 9"

14' - 0"

14' - 0"

7' - 6"

8

2' - 0"

OPEN TO BELOW

6' - 0"

MENS RESTROOM 30 216 SF Occ. 7

4' - 0"

WOMENS RESTROOM 31 250 SF Occ. 7

6' - 0"

15' - 6"

25' - 7"

7

7' - 3"

10' - 6"

OPEN TO BELOW

6

6' - 0" 2' - 0"

1' - 11"

9

16' - 0 "

8' - 4"

75' - 0"

45' - 0"

BALCONY 203 385 SF Occ. 54

29' - 0"

10' - 8"

12' - 0"

RECORDING BOOTH 205 116 SF Occ. 4

22' - 8"

4

TECHNICAL BOOTH 204 116 SF Occ. 3

6' - 0"

ELEVATOR 110 57 SF 3000 lbs Limit

2' - 0"

3

47' - 6"

47' - 0"

23' - 7"

2 A 4.2

Actual Egress Distance: 87' - 6" Actual distance less than allowable distance 200'

Level 2 Plan 7

Fall 2019

Exterior Wall Section

8

Fisch Haus Black Box Theatre

Section Perspective Looking East

9

Fall 2019

Window Recess and Parapet Detail

Curtain Wall and Brick Screen Detail

10

Fisch Haus Black Box Theatre

Exterior View Into Lobby

Black Box Interior 11

Fall 2018

Blue Va l l ey Yacht Clu b Manhattan, Kansas

The clubhouse and boat shop for the Blue Valley Yacht Club was designed around the belief that the heart of a sailing club is the dock.

The dock is the social hub where members meet before and after going on the water. The design uses this concept at the building scale with an axis that starts from the entry and goes through a viewing and dinning deck above the water’s edge. The building entry from the water is below the axis where members can gather for an event or meet before setting sail.

12

Blue Valley Yacht Club

13

Fall 2018

Existing site of the Blue Valley Yacht Club

Site Plan 14

Road lead to the boat ramp and dock

Club member’s dinghies on the water

Blue Valley Yacht Club

The building is separated into two spaces to define the different types of program, clean versus dirty. The north form accommodates offices and club fellowship areas, the south form houses the boat shop and locker rooms.

Upper Floor Plan

The two forms are situated to fit along the site’s sloping contours and to take advantage of the waterfront views.

The pedestrian dock defines the entry and provides a place for social gathering and club comradery, much like a boat dock.

Lower Floor Plans 15

Fall 2018

Classroom View Into Boat Shop

Longitudinal Section 16

Blue Valley Yacht Club

Lake View

Transverse Section 17

Spring 2019

Inspired by the Eames designed Herman Miller Showroom in Los Angeles, the exhibition follows a 7-ft grid to determine space size, partition length and lighting location.

The final chair within each exhibit extrudes past the partition walls where the display can be viewed from all angles. The viewer is pulled through the exhibition by the last chair, where they can identify how the next chair type was directly inspired by the previous.

Ea m e s Fu r n itu re E x hibit New York, New York

The exhibition showcases four different Eames chair types and the progression of those types. The final chair within each exhibit is pulled out from the viewing platform to allow visitors the ability to see from all angels and to generate circulation into the next exhibit. In the final exhibit, a viewer at the Eames Lounge Chair and Ottoman is given a revile to the plywood prototypes in the first exhibit creating a connection to the overall progression of Eames furniture.

18

While in the Lounge Chair and Ottoman exhibit, the viewer is able to see the early prototypes and progression of the plywood chair. This reveals the connection the final exhibit has to the first.

Eames Furniture Exhibit

19

Spring 2019

Wire-Mesh Chair (1951-1953)

Plastic Chair (1950-1953)

D

C

C

A

A

D

Lounge Chair and Ottoman (1956)

Floor Plan 20

B

B

Plywood Chair (1945-1946)

Eames Furniture Exhibit

Section AA

The Organic Design in Home Furnishings competition in 1940 by the Museum of Modern Art saw an entry from the Cranbrook Academy of Art’s Charles Eames and Eero Saarinen. Together they entered categories consisting of molded shell chairs, case goods and tables. The team made a curvilinear chair from a single piece of molded plywood that was comfortable, inexpensive and could be massed-produced. The MoMA catalog stated, “a significant innovation was that a manufacturing method never previously applied to furniture was employed to make a light structural shell consisting of layers of plastic glue and wood veneers molded in three-dimensional forms.”

When time came to produce, the winning design proved to be difficult to produce and was prohibitively expensive. The Kazam! machine was designed to mold sheets of plywood into curvilinear furniture. The Eames were visited by a physician, who recommended the adapt their techniques for molding plywood wooden splints for the military. After being commissioned by the Navy, the Eames had the financial means to move forward with the furniture.

Section BB

Section CC

Section DD 21

Spring 2020

Re - I m a g i n i g Piaz za Cahe n Orvieto, Italy

The hill town of Orvieto is located in the Umbria region of Italy. Piazza Cahen is situated in the eastern-most corner of Orvieto. The site serves as the main point of arrival and departure to the town for tourists and residents who use the funicolare station or commute uphill by car.

Nearby the site sits the historic military barracks building, Saint Patrick’s well, and the Albornoz fort. This project was completed as a team.

22

Re-Imagining Piazza Cahen

23

Spring 2020

Piazza Cahen Masterplan

Lookout 24

Cahen Garden

We

Re-Imagining Piazza Cahen Vehicular vs Pedestrian

Community Connection

Surface Treatment

By re-routing Via Postierla away from the funicolare station and creating pedestrian zones, a three-way stop, and crosswalks, Piazza Cahen is a safer, more accessible destination for visiting pedestrians arriving to Orvieto.

Creating more welcoming spaces for visitors and residents allows for community interaction to happen within the piazza rather than around it.

The site’s hardscape splits the piazza into two spaces that lack in green and gathering spaces. Diminishing the amount of parking stalls, re-routing the road, and establishing green spaces has turned Piazza Chaen into a usable community space.

Residential Buildings

lcome Piazza

Residential Parking Drive

Via Postierla

Cahen Park

Cahen Park

To St. Patrick’s Well

Via Della Strazione 25

Spring 2020

Welcome Piazza Plan

To Corso Cavour 26

Residential Drive and Parking

Via Postierla

Welcome Piazza

Funicolare Station

Re-Imagining Piazza Cahen

View at Cahen Park and Welcome Center

Visitor Service Pavilion South Elevation

Visitor Service Pavilion East Elevation 27

Fall 2020

The Vo l l a n d Fou ndatio n Volland, Kansas

The Volland Artist Residency is not only a retreat to escape an urban setting, it is a place to collaborate with the Flint Hills landscape and other traveling artists in a way that promotes the growth and awareness of the importance of local arts and humanities. This project was completed as a team.

28

The Volland Foundation

29

Fall 2020

A r t B ar n and A dministratio n

The art barn addresses The Volland Foundation’s need for staff office space and a larger studio workspace. The form of the office and studio are directly inspired by the relationship they have to the blacksmith shop and it’s agrarian form to the south. The long plan creates a boundary edge between the southern community center of Volland and the residential sites to the north.

30

The Volland Foundation

31

Fall 2020

2

3

1

6 4

1 2 3 4 5 6

Large Studio Materials Closet Entry Water Closet HVAC Small Studio

7 8

5

9

7 Water Closet 8 HVAC 9 Office Support 10 Open Work Space

2 0

Building Elements 32

10

8 4

16

The Volland Foundation

Section Through Studio

Section Through Office

Longitudinal Section Through Studio and Office

North Elevation

West Elevation

East Elevation

2 0

8 4

16

33

2021

Dre w L of ton walofton@ksu.edu 210 315 6935 www.linkedin.com/in/ drew-lofton

34

Resume

S k il l s Rhino, Revit, Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Adobe Premier, V-Ray, Microsoft Suite, Hand Drafting, Model Building, Laser Cutting, Fabrication Lab

Ed u c ati o n Kansas State University College of Architecture Planning and Design - Fifth Year Master of Architecture Program Manhattan, Kansas | August 2015- Present | 3.85 Graduate GPA Kansas State University College of Architecture Planning and Design - Regional and Community Planning Minor Manhattan, Kansas | January 2017- December 2019 Centro Studi Citta di Orvieto - Orvieto, Italy | January 2020 - March 2020 Sandra Day O’Connor High School - Helotes, Texas | August 2011- May 2015 | 3.70 GPA

Emp l o ym e n t H istor y Facility Programming and Consulting | May 2019- August 2019 Alamo City Golf Trail | May 2017- August 2017 UPS | September 2016- November 2016

Aw a rds Dean’s Italian Studies Scholarship Recipient Goss International Program/Study Abroad Scholarship Recipient Kansas State University Purple and White Scholarship Recipient Accepted to Kansas State University Staley School of Leadership Studies Texas A&M University Camp Arch Scholarship Recipient

Re f eren c es Available upon request

35