RESUME PHONE 318.789.4786 EMAIL ecg007@latech.edu emilygreene712@gmail.com HOME ADDRESS 334 GB Cooley Rd West Monroe, LA 71291 REFERENCES Karl Puljak @ Louisiana Tech puljak@latech.edu David Mason @ Douglas Cabinet Co. 318.768.2675 Bobbi Hoag @ Holyfield Construction bhoag@holyfield-inc.com 318.388.2492
HONORS
EDUCATION LOUISIANA TECH UNIVERSITY 2013 - PRESENT RUSTON, LA BS IN ARCHITECTURAL STUDIES ANTICIPATED TIME OF GRADUATION MAY 2017 MS IN ARCHITECTURE ANTICIPATED TIME OF GRADUATION MAY 2018
EXPERIENCE DOUGLAS CABINETS MAY 2016 - PRESENT - DRAFTSPERSON DRAFTED CONSTRUCTION DOCUMENTS FOR VARIOUS CABINETRY HOLYFIELD CONSTRUCTION MAY 2016 - AUGUST 2016 - DESIGN INTERN USED REVIT TO MODEL AND ASSIST IN THE DESIGN OF HOMES AND CABINETRY COLLABORATED WITH CLIENTS AND OTHER INDUSTRY PROFESSIONALS
2016 - 2017 AIAS VICE PRESIDENT 2015 - 2016 AIAS SECRETARY 2016 WALPOLE BEST/ ENDOWMENT SCHOLARSHIP 2016 BEST IN SHOW FOR 2016 STUDENT SHOW 2016 AUTODESK BUILDING PERFORMANCE ANALYSIS CERTIFICATE 2013 - 2016 PRESIDENT’S LIST 2014 -2016 WORK PRESENTED IN SCHOOL OF DESIGN STUDENT SHOW 2014 PHOEBE AWARD FOR OUTSTANDING GRAPHICS AND DESIGN 2014 WINNING PROJECT FOR FIRST YEAR DESIGN BUILD
SKILLS AUTOCAD REVIT RHINO GRASSHOPPER PHOTOSHOP ILLUSTRATOR INDESIGN LUMION MICROSOFT OFFICE
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TABLE OF CONTENTS
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MARNIA MUSEUM CANOE LAUNCH PERSONAL ARTWORK
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NO. 1 MORGAN CITY MARINA LOCATION QUARTER PROFESSOR
MORGAN CITY, LOUISIANA FALL 2015 MIGUEL LASALA & PASQUALE DEPAOLA
DESCRIPTION The Morgan City Marina was created for the Atachfalya Basin houseboat community in South Louisiana. Houseboat communities have been scattered throughout the basin for over a century, but because of their nomadic nature, they are rarely able to gather at a central point and share their culture. By creating this marina, I wanted the houseboat occupants to be able to access a central space, where food and supplies could be gathered in a shopping center. I then added a public park and a “town hall� where they could have meetings and gather with the people of Morgan City and share their livelihood without straying too far from home. In order to allow the houseboats easy access from the water, I placed the marina and park on the water. The building is anchored to the bottom of the lake through the towers, and the park is allowed to float which accounts for the rise and fall of water levels. The marina circulation towers consist of water tanks that both bring in lake water to use as grey water and act as air vents that allow the air that rises from the floor to be expelled through the tops of the towers. This use of passive cooling creates an enticing environment that relieves the heat of the Louisiana swamps. 4
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The form was created through a series of models which represented the houseboat migrations and gatherings over the century. One model was the basis of the park plan, and another created a sectional view of the building. I took the section and repeated it several times with slight variances to create the final form. I then shaped the space further through quick sectional sketches.
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SECOND FLOOR PLAN A
B
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FIRST FLOOR PLAN
WALL SECTION W
SECTION A S
SECTION B
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NO. 2 MUSEUM OF ANIMATION TECHNOLOGY LOCATION QUARTER PROFESSOR PARTNER
LOS ANGELES, CALIFORNIA WINTER 2016 MIGUEL LASALA & PASQUALE DEPOALA SAMANTHA CROSSLAND
DESCRIPTION The Museum of Animation Technology is a project that would replace the existing, historic movie museum on Wilshire Boulevard. The museum’s concept is based on the animation industry and the technology that has pushed it forward. Animation would not be possible without the movement of still frames, and as such, it was important to tell a story about how simply moving those still frames transformed into the multi-million dollar industry that can now track human movements and animate them entirely through sophisticated computer programs. As a means to tell this story, we created the plan of the buildings four floors to act like a timeline, with one main path and then smaller individual galleries. These galleries branch off to display pieces of technology and animation styles that were a result of technology from the main time line. The galleries display both technology and the resulting animations that were created using said technology. Because of its industrial contents, the building also has a very industrial feel with large structural pieces that uncover how the building stands, just as the technology uncovers how animation is possible.
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BURBANK
GLENDALE GLENDALE AL
HOLLYWOOD BEVERLY Y HILLS SANTA MO MONICA ONIC NICA CA
LOS ANGELES GE
ANIMATION STYLES BY STUDIO DIGITAL
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CGI
LIVE-ACTION
STOP MOTION
3D
CARTOON
VARIETY
Because of its iconic site on Wilshire Blvd., we understood that the building needed to pay homage to its predecessor. As a strategy, we located all of the animation studios in LA, and developed a grid system based on the most prominent ones. As such,we were able to angle the building in such a way that it kept its iconic corner entrance solely based on the layout of the existing animation studios.
SITE PLAN 12
INTERIOR GALLERY RENDERING 13
The screen system was created with grasshopper and is used to protect the artifacts in the galleries, as well as, protect the winding, outdoor walkways that guide the visitor from one gallery to the next.
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WALL WA ALL SECTION
SECTION AA
FIRST FLOOR PLAN 15
SOUTH ELEVATION
SECOND FLOOR PLAN
THIRD FLOOR PLAN
FOURTH FLOOR PLAN 16
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NO. 3 THE HERO’S LAUNCH LOCATION QUARTER PROFESSORS PARTNERS
CHOUDRANT, LOUISIANA SPRING 2016 BRAD DEAL & ROBERT BROOKS LOUISIANA TECH 3RD YEAR CLASS
DESCRIPTION The Hero’s Launch is a project for the Med Camps of America Organization. Camp Alabama is a summer camp for children with dissablities, and my class was tasked with creating a canoe launch that could store canoes and paddleboats, keep the children and staff shaded during the day, and allow the counselors to easily move children from wheelchairs into canoes and launch them safely. Many of these children have limitations that never allowed them to participate in activities involving the water. Our class decided to equate their first journey out into the pond with the idea of the “hero’s journey.” This “journey” is composed of a child being helped by a mentor into the “Unknown,” or water, and returning a hero after they have faced their fear. In this case, the children are helped and encouraged by their counselors to face their fear of the water, and then when they return, they are forever transformed because they were able to experience something new. To make this possible, we created the dock at an angle that clearly seperates the cabin or “neighborhood” side of the camp from the open lake and dense forests beyond. On the interior, we created a defining threshold that the children have to cross in order to be loaded into the canoes. The screen on the front helps hide the rest of the camp from view so the campers feel as though they are in an entirely new world at a place they thought so familiar. 18
VIEW FROM WEST PATH
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VIEW FROM EAST PATH
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VIEW FROM STREET
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SITE PLAN OF CAMP ALABAMA 19
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We created many different iterations over five weeks until we reached the final design. The designs were presented over three client meetings.
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A-A
B-B
C
C-
FLOOR PLAN 21
NORTH WEST ELEVATION
SECTION A-A
SOUTH WEST ELEVATION
SECTION B-B
SECTION C-C
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Artwork
COW SKELETON CHARCOAL 2013
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SHEEP SKELETON PENCIL 2013
FLOWERS CHARCOAL AND PENCIL 2015
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