EDUCATION Bachelor of Arts in Architecture Studies University of Kansas 2009 - 2013 PROFESSIONAL University of Kansas /Lawrence, KS Software Instructor Aug 2012 - May 2013 Software tutorials given in: Adobe (Photoshop, InDesign) Autodesk (Revit, AutoCAD) Sketchup University of Kansas /Lawrence, KS Audio Visual Technician Aug 2012 - May 2013 Assist in sound and video reinforcement of department AWARDS Acoustical Society of America 2012 Student Design Competition Commendation Award SKILLS
Adobe Design Suite (Illustrator, InDesign, Photoshop) Autodesk (3ds Max, AutoCAD, Revit) EASE/EASERA Microsoft Office Rhino
REFERENCES Bruce Johnson University of Kansas Assistant Professor terra@ku.edu (913) 940-9801 Genevieve Baudoin University of Kansas Assistant Professor gbaudoin@ku.edu (785) 864-5185 Bob Coffeen University of Kansas Lecturer/Acoustic Advisor rcoffeen@ku.edu (913) 645-2381 EXTRACURRICULAR American Institute of Architect Students Aug 2010 - May 2012 Treasurer (Aug 2011 - May 2012) Acoustical Society of America KU Chapter Aug 2010 - May 2013 Treasurer (Aug 2012 - May 2013) Emporia State University Men’s Tennis Team Aug 2007 - May 2009 ESU Student Athletic Advisory Committee (SAAC) Aug 2007 - May 2009
GRANT PRICE ngprice997@gmail.com (620) 794-2969 1111 W St Emporia, KS 66801
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PLANETARIUM GEOMETRICAL PLANNING
SPAN
A PEDESTRIAN CROSSING
OFFSHORE BUILDING RISING TIDES
ORGONE HOUSE A PROCESSIONAL HOME
EYRIE EMERGENCY SHELTER INNOVATIVE, FAST, AFFORDABLE
OPERA HOUSE THE HALL AS AN INSTRUMENT
MONACO MOTORS SHOWCASING
3D PRINTS EXPERIMENTS AT A SMALL SCALE
PLANETARIUM With a voluntary site, the PLANETARIUM is a building exploring the geometric properties of Archimedean and Platonic Solids as structural and organizational systems situated in the heartland of Kansas.
[1]
[2]
PLANETARIUM
[3]
INTERIOR STRUCTURE
CIRCULATION
PLANETARIUM ENCLOSURE
PLANETARIUM ON SITE
EXTERIOR STRUCTURE
EXTERIOR FENESTRATION
[4]
250
1000
500
2000’
38° 38’ 24.33”N 96° 03’ 59.97”W
PLANETARIUM
ICOSAHEDRON 20 : faces 12 : vertices 30 : edges
[5]
ICOSIDODECAHEDRON 32 : faces 20 : equilateral triangles 12 : regular pentagons 30 : vertices 60 : edges
[6]
GROUND FLOOR PLAN 16
64
32
128’
SECOND FLOOR PLAN 16
64
32
128’
PLANETARIUM
[7]
+
+
=
+
+
=
+
=
x
12
[8] A study model consisting of an assembly of straws strung together by thread. A modular tetrahedron piece was initially constructed. Three of these, plus two more straws were combined to form a pentagonal bipyramid. 12 of these made up the icosidodecahedron.
SPAN Span explores contextual fitting along with the use of repetition as strength. The project developed from study models of a sculptural work and was adapted to stand over a split ground. A weight of 12 lbs was hung from the final basswood model.
[9]
[10]
SPAN
[11]
125
500
250
1000’
38° 58’ 30.63”N 95° 14’ 9.99”W
[12]
SPAN STUDY MODELS
FRONT VIEW
TOP VIEW
ISOMETRIC VIEW
[13]
[14]
SPAN
[15]
[16]
OFFSHORE BUILDING The Industrial Age leaves a legacy today that is evident on a global scale. The urbanization of the developed world, the consumer economy, and the unrestrained demand that fuels it finds comfort for us, but what for them? As greenhouse gas emissions drive climate change, melting the pol polar lar ice caps, Pacific Islanders face the rising ocean. It overtakes their farmlands, infiltrat ltrates es their fresh water, and intrudes their homes. This is a proposal to take action for those cultures that face the outc outcome come of actions that were not their own.
[17]
[18]
OFFSHORE BUILDING OFFSHORE BUILDING provides for the basic necessities of man, land for cultivating, a water desalination plant, and shelter for living.
[19]
[20]
ORGONE HOUSE
[21]
[22]
ORGONE HOUSE
[23]
Orgone therapy was conceptualized by Wilhelm Reich, a psychoanalyst in the 20th century. In Reich’s view, unresolved repressions arising from an unsound sexual basis leads a character into varying stages of neurosis. Reich found a corresponding dialogue between the body and the neurosis, where the tensions in certain musculature groups, once expelled, allow a free flowing basis for the orgone energy of the body. The Orgone House began from the idea of integrating Reich’s studies with the built environment. Under a procession of organized space, the musculature armor groups of the inhabitant are exercised. The hypothesis is that, in experiencing the spaces of the Orgone House, the inhabitant will release withheld tensions, reconciling themselves with their biological energy basis.
[24]
400
100
200
800’
38° 58’ 29.92”N 95° 13’ 47.85”W
ORGONE HOUSE
OCULAR
The Ocular Segment of the armor comprises musculature in the forehead, eyes, and cheekbone. Expression is characterized by an immobility of the forehead and eyelids. The Orgone House dissolves the immobility of the Ocular Segment through light. The low ambient light in entryway of the house is penetrated by the void leading to the story above. Daylight and light from above encourages the occupant’s eye site to travel up, towards the source, while the remaining musculature tensions hold the remaining body rigid.
ORAL
The Oral Segment of the armor is made up of the chin, throat, and occipital musculature. Armor in the Oral Segment is characterized by a stiffness of the jaw and difficulty in speaking. By positioning the stairway immediately after entrance, the occupant is immediately faced with a change in elevation. Through anticipation of the projected pathway the occupant mobilizes the Oral Segment of the musculature.
NECK
The Neck Segment of the armor is made up of the platysma and sternocleidomastoid muscles.
Dissolution of the Neck Segment of the armor is concluded through auditory effect. Upon emerging on the second floor, reflections from either the occupants travel or from existing second floor activity are relayed a directing west wall, and converge back onto the occupant. The natural reaction of the occupant will be to turn his or her head.
CHEST
The Chest Segment of the armor is made up of the intercostal, pectoral, and deltoid musculature. Expression of existing chest armor includes shallow breathing, immobility of the thorax, and holding back of the shoulders. The armor of the Chest Segment is mobilized through preparation. Through a mechanized system, the dining room table and chairs are able to retract into the floor via a wheel. By preparation of the dinning space, the occupant is relieved of chest armor.
[25]
[26]
ABDOMINAL The Abdominal Segment of the armor is made up of the muscles in the rectus abdominis and transversus abdominis. The furniture of the Orgone House is designed to facilitate elasticity in the abdominal muscles. By support of the lower back and agility of the upper back, the occupant is encourage in mobilization of the armor in the Abdominal Segment.
DIAPHRAGM CO The Diaphragmatic Segment of the body armor is essentially in the diaphragm, but also in the lower end of the sternum, and in the 10th to 12th thoratic vertebrae.
The mobilization of the diaphragm relies on the involuntary reaction of the occupants breathing in relation to fluctuations in the carbon dioxide levels of the house. By fluctuating CO2 levels in the HVAC system, the diaphragm dilates in order for the lungs to increase capacity.
PELVIC
The Pelvis Segment of body armor is made up of the muscles in the pelvis. This is usually demonstrated by the anal sphincter being retracted and pulled up. The vertical circulation of the Orgone House’s stairs combats the immobilization of the pelvic musculature through regular, periodic movement.
2
ORGONE HOUSE
OCULAR ORAL NECK CHEST
[27]
[28]
ABDOMINAL
DIAPHRAGM PELVIC
ORGONE HOUSE
[29] SOUTH ELEVATION
WEST ELEVATION
[30] NORTH ELEVATION
3
12
6
24’
EAST ELEVATION
ORGONE HOUSE
[31] LEVEL 1
SECTION AA
LEVEL 3
[32] LEVEL 2
LEVEL 4
2
8
4
16’
ORGONE HOUSE
[33]
SECTION AA
2
8
4
16’
[34]
EYRIE EMERGENCY SHELTER
[35]
EYRIE is a emergency shelter. It is an experimental design geared toward a quickly constructed space frame structure. Created from PVC and zip ties, the structure is covered with a canvas material, with interior finishes of lumber and plywood.
x
[36]
EYRIE EMERGENCY SHELTER
[37]
[38]
ASSEMBLY OF JOINT
EYRIE EMERGENCY SHELTER
[39]
[40]
OPERA HOUSE The Opera House was designed for the Acoustical Society of America Student Design Competition of 2013. Its program called for a college performance hall seating 1200 patrons. While the main function of the hall was for opera, theater, concerts, and lectures were also to be accommodated.
[41]
[42] Evidence of the static, wavering stance of opera today pushed the design to focus on versatility. With technology today, everything from the seating arrangements to the acoustics of the hall can become interchangeable, permitting not only the viewers, but the hall itself to become a living part of the experience.
OPERA HOUSE
[43]
256
64
128
512’
45° 29’ 43.69”N 73° 33’ 54.35”W
[44]
NE ELEVATION
SE ELEVATION
SW ELEVATION
NW ELEVATION
25
100
50
200’
OPERA HOUSE
[45]
11
7
1
4
3
2 12
ORCHESTRA LEVEL
9
8
N
AA
6
CT
IO
5 5
SE
1. Performance Hall 2. Stage 3. Orchestra Pit 4. Scene Shop 5. Chorus Dressing Rooms 6. Costume Shop 7. Loading Dock 8. Rehearsal Room 9. Music Practice Rooms 10. Green Room 11. Lobby 12. Storage
9
50
13
25
100’
[46]
FIRST BALCONY LEVEL
SECOND BALCONY LEVEL
16
64
32
100’
OPERA HOUSE
[47]
SECTION AA
16
64
32
128’
[48] Moving floor systems allow the hall to accommodate a variety of seating arrangements to suit the unique performance.
PROSCENIUM THEATER
THRUST STAGE
ARENA THEATER
TRANSVERSE STAGE
16
64
32
128’
OPERA HOUSE
[49]
The main focus of the Opera House consisted of the design of the hall. While unconventional, a spherical house fulfilled one of the two main points of the performance: seating the patrons as close to the stage as possible. The second point, of good acoustics, was met within the three shells surrounding the hall.
5
21
11
43’
[50]
ISOLATION
ENVELOPMENT
LOUDNESS ACOUSTICAL TRANSPARENCY
OPERA HOUSE
[51]
[52]
a. b. c. d. e.
OUTER SHELL WALL ASSEMBLY
SOUND TRANSMISSION CLASS (STC) 72 a. 5/8” Gypsum board b. 3” Independent metal studs / 2 1/2” Fiberglass c. 8” Concrete Block d. 3” Independent metal studs / 2 1/2” Fiberglass e. 5/8” Gypsum board
3”
1’
6”
2’
OPERA HOUSE
[53]
[54] A sphere naturally sends all acoustical reflections to its center, an unwanted focus. The diffusive shell is made of panels with irregular corrugations ranging from zero to 15 feet in relief. This scale ensures all wavelengths of sound are diffused.
0 < PWIDTH < 15â&#x20AC;&#x2122;
PANEL, SIDE VIEW
RAY TRACE, 15 BOUNCES 70 < Hz < infinite
OPERA HOUSE
[55]
[56] The design of the proscenium sound reflector is important for the case of strong reflections to the audience. This allows the music and singerâ&#x20AC;&#x2122;s voice to be heard with appropriate loudness, or sound pressure level (SPL), especially in the balconies.
TOTAL SPL
DIRECT SPL
OPERA HOUSE
[57]
An array of Helmholtz Resonators surround the diffusive shell. Equipped with telescoping necks, the resonators act as an absorption component which can be tuned to any unwanted frequency present in the hall, allowing the hall to become an instrument.
8
32
16
64â&#x20AC;&#x2122;
[58] Retractable drapery is operable in incremental segments, shown blue. Each segment, when deployed, allows for absorption of sound, allowing the hall to be acoustically suitable for a variety of performances.
OPERA HOUSE
[59]
[60]
MONACO MOTORS A car dealership, Monaco Motors is an experiment in space constraints, with a relatively small site, and circulation of both patrons, employees, and vehicles. As an aid in design, a representational dialogue was established between it and the combustible engine with the final purchase as essential combustion.
[61]
[62]
MONACO MOTORS
[63]
300
75
150
600’
43° 43’ 56.29”N 7° 25’ 15.72”E
[64]
EAST ELEVATION
SOUTH ELEVATION
40
10
20
80’
MONACO MOTORS
[65]
SECTION AA
5
21
11
43’
[66]
LEVEL 0
c.
a. Mechanical room b. Washing and drying bays c. Storage d. Car Storage a. d.
b.
LEVEL 1 e. Patron lounge f. Conference room g. Car entrance h. Reception i. Patron Bathroom
g. f. e.
SECTION AA i.
UP
h.
8
32
16
64â&#x20AC;&#x2122;
MONACO MOTORS
[67]
ACOUSTICAL ISOLATION OF MECHANICAL ROOM r. Resilient hangers s. Acoustical ceiling tile t. Concrete floating floor u. Polyethylene waterproofing membrane v. 5/8” plywood w. High density fiberglass bocks x. Low density fiberglass blanket y. Structural floor z. Neoprene
s.
z.
y.
x.
w.
r.
v.
u.
t.
1
4
2
8’
[68]
LEVEL 2
m.
j. Open offices k. Business office l. Owners offices m. Bathroom n. Automatic car retriever o. Show platform
n.
l.
j.
UP
k.
l.
o.
LEVEL 3 p. Showroom q. Show platform 2 p.
q.
8
32
16
64â&#x20AC;&#x2122;
MONACO MOTORS
[69]
[70]
3D PRINTS
[71]
CUP
[72] The cup was the first attempt at physical modeling using a 3d printer. Its conception was basic and based on an upward, smooth transitional motion. Utility and simplicity drove the design.
TOP VIEW
SIDE VIEW
1/4
1
1/2
2â&#x20AC;?
BOX 1
[73]
Box is the second model in the 3d print series. Plausibility in printing, simplicity, and t-spline experimentation drove the design, while utility as a container hindered and made irregular the form.
TOP VIEW
SIDE VIEW
1/4
1
1/2
2â&#x20AC;?
BOX 2
[74] Box 2 sought to set form above utility, and stands as a purely aesthetic object. Rather than a hollow inside, a 10 percent gridded infill solidified the skin and helped support the top.
TOP VIEW
SIDE VIEW
1/4
1
1/2
2â&#x20AC;?
VASE
[75]
Constructed with two outer shell passes, the vase was initially made at a smaller prototype scale shown, and was later made at a larger scale and a third outer shell for strength.
SIDE VIEW
TOP VIEW
BOTTOM VIEW
FRONT VIEW
1/4
1
1/2
2â&#x20AC;?
SCULPTURE
[76] Departing from the previous models in its complexity, the sculpture 3d print was constructed with a 10 percent infill and a honeycombed outer support. The outer support allowed for projections in excess of 45 degrees, and was peeled off from the final product.
BOTTOM VIEW
TOP VIEW
FRONT VIEW
BACK VIEW
SIDE 1 VIEW
SIDE 2 VIEW 1/4
1
1/2
2â&#x20AC;?