HLM by heather mcarthur

HEATHER McARTHUR -2-

PORTFOLIO 2013

ACADEMIC WORK

PROFESSIONAL WORK

WASHINGTON UNIVERSITY IN ST. LOUIS

MARLON BLACKWELL ARCHITECT CHRISTOF JANTZEN ARCHITECTURE

COLLABORATIVE WORK

126

ACADEMIC TEACHING

140

DRAWINGS + TRAVEL SKETCHES

148

162

UNIVERSITY OF ARKANSAS

HEATHER McARTHUR PORTFOLIO 2013

ACADEMIC WORK

WASHINGTON UNIVERSITY IN ST. LOUIS CROSSINGS: REDEFINING I-70 LEMP BREWERY DIGITAL MUSEUM DANCE ACADEMY OF TANGO CULTURAL INSTITUTE IN HELSINKI HIETALAHDENTORI PAVILION ST LOUIS URBAN HOUSING I-CARES RESEARCH CENTER BOWL LAKE UNIVERSITY DYNAMIC LANDSCAPE MATERIAL OBSERVATION NINE SQUARE MOSAIC NINE SQUARE GRID

CROSSINGS: REDEFINING I-70 St. Louis, Missouri. 100,000+ sqf Eric Hoffman

With the construction of the Mississippi River Bridge and the CityArchRiver GSQTIXMXMSR TVSTSWEP 7X 0SYMW MW KVEHYEPP] FIKMRRMRK XS VIHI遜RI MXW GIRXIV city. The existing four-lane interstate I-70 runs directly through the heart of downtown, aggressively dividing the city grid from the historic river and Arch Grounds. This project attempts to expand upon the proposed changes by the city and various local and national designers, and activate and transform an infrastructural space that for decades has been a physical and visual scar of St. Louis. Water has played a critical role in the development of St. Louis, physically, economically, and symbolically. The Mississippi is a powerful and unpredictable body of water that is utilized primarily for industrial purposes. Lying parallel to the river, this phase of the project is a response XS XLI 他I\MFMPMX] SJ [EXIV JSV E [MHIV VERKI SJ YWIVW ERH I\TIVMIRGIW and explores the role that water plays within a contemporary community, socially and environmentally. The project incorporates a string of public pools in and above the existing depressed section of I-70. Five experiences SJ [EXIV EVI GSRWMHIVIH MRJVEWXVYGXYVEP 他SSHMRK ERH WXSVQ [EXIV GSRXVSP VI他IGXMZI TSSPW EXLPIXMG VIGVIEXMSREP ERH XLIVETIYXMG TSSPW 8LIWI ZEVMSYW forms of water may ultimately become the connective tissue between two personalities of the city. material and concept collage

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site plan

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”Crossings: An intersection, an interchange. A mixture or compromise of two or more things. An act of moving across or over something. A place or structure where pedestrians or vehicle cross.” It is both noun and verb. It is the movement between A and B, as well as the space between A and B. It is where the built, unbuilt, and natural collide. “Crossings” is a compilation of writings and drawings which EMQ XS VIHMWGSZIV ERH VIHI½RI XLIWI MHIEW [MXLMR EVX ERH EVGLMXIGXYVI Theoretical and architectural precedents are dissected in support of E ½REP HIKVII TVSNIGX WMXIH MR 7X 0SYMW JSGYWMRK SR GVSWWMRKW FIX[IIR architecture and infrastructure. An urban condition not unique to St. Louis is urban fragmentation caused by highway construction. At a macro scale, St. Louis infrastructure is successful in allowing for transactions between metropolises, but at a micro level St. Louis is torn apart, leaving once vibrant and prominent neighborhoods desolate. I-70 is the highway of interest, as it runs through downtown St. Louis, parallel to the Mississippi, successfully isolating the river, Arch Grounds, and the once thriving neighborhood of Chouteau’s Landing, from the business and residential districts of downtown. The redirection of I-70 provides a unique opportunity to reconnect and revitalize this segment of downtown by means of architectural solutions.

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preliminary sketches

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southbound I-70

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intiial concept collages

roof plan

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plan -16’

plan -6’

concept plan +4’model

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+0’

-12’ -16’ -20’

longitudinal section

concept models

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preliminary sketches

observation and dressing level

cafe

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cross-section -therapeautic pools

cross-section -athletic pools

cross-section - recreational pools

entrance to athletic pool

to exterior pool

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thermal baths level

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LEMP BREWERY DIGITAL MUSEUM St. Louis, Missouri. 100,000 sqf Christof Jantzen + Paul Donnelly

The Lemp Brewery Silos are to be adapted from monumental, load-bearing, grain-storing silos, to a transformative digital museum and data center. The transformed complex is to host digital art installations and workshops to foster various types of interface, while preserving the iconic value of the historic Lemp Brewery and the Cherokee Street neighborhood. The aim is to preserve the iconic perspective of the silos to respect and emphasize the evolution of the complex and of St. Louis industry and culture. In an effort to do so, existing underground tunnels are exposed, activating the interstitial space between the silos and the rest of the complex, extending the Cherokee St. pedestrian path onto the site, and integrating historical education with the new program. The intervention becomes a series of subtle “digital information landscapes” that spread horizontally across the entire complex and eventually fold, overlap, and wrap around each other to create a bolder dynamic “vertical landscape” within and around the silos.

view from Cherokee Street

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site plan

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diagramming the history of digital art

sketch of workshop and existing tunnel

sketch rendering of lobby

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site analyses

concept diagrams

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plans 2-6

east-west section

north-south section

ground level plan

workshop and existing tunnel

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ACADEMIA DEL TANGO

San Telmo, Buenos Aires, Argentina. 2400 sqm Gustavo Cardon + Gerardo Caballero

The Academy of Tango in San Telmo augments the educational and entertainment values of tango, a tradition which arguably has been the pulse of Argentinian culture throughout its history.The program MRGPYHIW ½ZI HERGI WXYHMSW EHQMRMWXVEXMSR E TYFPMG QMPSRKE PMFVEV] bookstore, and a cafe bar. “Cadenas,” or, “chains” refers to the superimposition of elements of both architecture and the art of tango, creating a choreographic experience from the city to the site. In the art of tango, lines are blurred between the observer and the observed, the movements and rhythms, night and day, education and entertainment, stage and WXVIIX 8LIWI IPIQIRXW SJ XERKS EVI HI½RIH ERH VIHI½RIH XLVSYKL the choreographic movement and shifting perspectives throughout the building.

Balcarce looking south

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framed milonga

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circulation diagrams

concept sketches and diagrams

cafe and milonga

exterior milonga

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dance studios

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exterior terraces

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+ 10.60

+ 8.0

ESTUDIOS

+ 6.60

ESTUDIO

+ 3.80

ESTUDIO/ EXHIBICION/ ETAPA

+ 3.30

ADMINISTRACION SEMINARIOS

+ 0.0

+ 0

CAFE

BIBLIOTECA

+ 1.20

MILONGA

main entrance

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KVSYRH ¾SSV TPER

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WIGSRH ¾SSV TPER

AMERICAN CULTURAL INSTITUTE Ullanlinna, Helsinki, Finland.1300 sqm Pentti Kareoja, Matti Rautiola, Hille Kaukonen

A semester abroad in Helsinki encouraged the exploration of cultural and physical differences between Finnish and American societies, arts, and architecture. The goal of the American Cultural Institute is to theoretically act as the backbone of American-Finnish relations in Helsinki. Its location SR E XMKLX TPSX VIUYMVIW E ZIVXMGEP WSPYXMSR XS LSWX PMFVEVMIW KEPPIVMIW SJ½GIW studios, and seminar rooms. The ACIH encompasses the initial concept of shifting (materials, people, TIVWTIGXMZIW WTEGI [MXLMR E WXVYGXYVI KVMH JVEQI WTMRI [LMPI QEMRXEMRMRK a sensitivity to site, climate, form, material, and light in Helsinki. The given WMXI EGXW EW XLI XLVSEX SJ ER LSYVKPEWW ½PXIVMRK VIWMHIRXW ERH ZMWMXSVW through a cultural node of Helsinki. A vertical spine runs North-South through the building, dividing program and providing primary structure. The public circulation leans on and stretches across this structural element, giving visual and physical clues to context and culture.

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concept diagrams

view to St. Johns.

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view North

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HIETALAHDENTORI PAVILION Helsinki, Finland. 100 sqm. With Anne Landau. Peter MacKeith

This two week charrette was an introduction to a semester abroad in Helsinki, Finland. A public square is to host a multi-seasonal pavilion with aims to activate the square and its immediate surroundings. Hietalahdentori terminates one of the city’s main axes, and acts as a hinge point between Helsinki’s center city and the West Harbor, currently under redevelopment. In a sweeping gesture, a ramping system and small seating area is supported by a series of structural frames spaced for market vendors. The ramp elevates visitors from the market and through virtual displays, projects the activity taking place in real-time at other design pavilions, creating a virtual connectivity throughout the city. Within its own context, the pavilion activates a portion of the square void of presence, ERH GVIEXIW FSXL E FEVVMIV ERH E XLSVSYKLJEVI XS HI½RI ERH JVEQI XLI marketplace and the harbor.

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ST LOUIS URBAN HOUSING St Louis, MO. 24000 sqf Core Studio 411, Stephen Leet

-R E GMX] SZIV¾S[MRK [MXL IQTX] PSXW ERH EFERHSRIH FYMPHMRKW ]IX WGEVVIH by urban downfalls, housing development has been a touchy subject in St. Louis in the past few decades. The challenge of this core studio was to HIZIPST E WMRKPI TPSX EHNEGIRX XS JIPPS[ WXYHIRXW MRXS E WIVMIW SJ LSYWMRK TVSNIGXW [MXL QM\IH FIHVSSQ ETEVXQIRXW I\XIVMSV WTEGI ERH STXMSREP KVSYRH ¾SSV VIXEMP

concept models

The bend on Delmar is one of several grid changes throughout the city, and the chosen plot of land lies smack in the middle. This pivotal point in the grid is utilized as an access point in the chosen plot of land, on Delmar Street in midtown St. Louis. The plot is organized into two courtyards on ground level, generating circulation throughout the complex., yet also maintaining a sense of intimacy. Shared and private exterior spaces are GEVZIH SYX SJ XLI XLMVH PIZIP TVSZMHMRK GPMQEXMG FIRI½XW XS QE\MQYQ YRMXW

KVSYRH ¾SSV TPER

WIGSRH ¾SSV TPER

XLMVH ¾SSV TPER

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eDelmar elevation

eeast-west section

east-west section

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inner courtyard elevation

north-south section

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I-CARES RESEARCH CENTER Eureka, MO. 20000 sqf Core Studio 318, Karel Klein

The center is to function as part of Washington Universityâ&#x20AC;&#x2122;s International 'IRXIV JSV %HZERGIH 6IRI[EFPI )RIVK] ERH 7YWXEMREFMPMX] - '%6)7 8LI program includes wet and dry research laboratories, classroom space, an auditorium, living quarters, and an exterior test plot. The underlying concept stems from the photographic research of a natural order and its regeneration using three-dimensional splines. After developing a system of converging and bifurcating splines to create pockets of space in both section and plan, splines and surfaces can be manipulated to best serve the program, site, and climate.The research center stretches horizontally across the forested region, stepping down with the slope. Spline surfaces bend and twist, converge and diverge to separate space, VIWTSRH XS XLI WLMJXMRK XIVVEMR HIÂ˝RI TVSKVEQ ERH MQTPMGEXI QEXIVMEPMX]

__jacaranda tree study

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concept model

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form and climate analysis

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MATERIAL OBSERVATION Site-less Core Studio 317, Derek Hoerferlin

Through the exploration and reorganization of a chosen material (wire QIWL XLI KSEP [EW XS XVERWPEXI XLI QEXIVMEP TVSTIVXMIW JVSQ E WGYPTXYVEP abstraction to a concrete representation by means of model making and hand-drawing. ;MVI QIWL MW 他I\MFPI ]IX EPWS VMKMH -X MW HIRWI ]IX EPWS XVERWTEVIRX -X MW a single material yet made of thousands of woven elements. Beginning with a systematic organization of irregular tubes of wire mesh led to an MRZIWXMKEXMSR SJ HIRWMX] ERH 他I\MFMPMX] ERH I\TERWMSR ERH GSRXVEGXMSR SJ geometries within this material. Through a series of cross-sectional and elevation studies, the aim was to render the wire mesh sculpture as a multi-layered organism constantly changing, unraveling, overlapping, and interweaving.

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cross-sections and elevation

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Through projection, material properties of compression, GSRXVEGXMSR 他I\MFMPMX] ERH ZEV]MRK HIRWMXMIW FIGSQI GPIEVIV

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DYNAMIC LANDSCAPE

Demun Playground, St Louis, Missouri. Core Studio 317, Derek Hoeferlin Building upon the the spatial and material properties discovered in Material Observation, TVSTIVXMIW SJ HIRWMX] ERH 他I\MFMPMX] EVI JYVXLIV I\TPSVIH ERH translated from an abstract sculptural piece to a full-scale active terrain on the existing site of Demun Playground. 8LI H]REQMG PERHWGETI MW 他I\MFPI ]IX EPWS VMKMH -X MW HIRWI ]IX EPWS transparent. It is a single material yet made of thousands of woven elements. A combination of steel frame and climbing rope are conducive to a design for all ages, and expand and contract depending on user and program.

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concept drawings

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BOWL LAKE OBSERVATORY Forest Park, St Louis, Missouri. 10000 sqf Core Studio 317, Derek Hoeferlin

Research and resolve. This three week project called for the design of a private observatory and living quarters for one researcher combined with a public educational element. The exploration of the relationships between roof, wall, ground, and water led to the design of an integral gutter system, which not only emphasizes and celebrates water movement on site, but also serves as an alternative SZIV他S[ MRTYX W]WXIQ JSV &S[P 0EOI VI GSRRIGXMRK MX XS XLI *SVIWX 4EVO Water Circulation.

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site analysis

east-west section

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他SSV TPER ERH VSSJ KYXXIV TPER

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BETAR RESEARCH

INTERIOR PANEL

St. Louis, MO, 2011 With Christof Jantzen, Christian Clerc, Gina Gage &)8%6 &YMPHMRK )RZIPSTI 8IGLRSPSK] JSV %HETXMZI 6IYWI MW E RI[ +VEHYEXI 6IWIEVGL TVSKVEQ EJ½PMEXIH [MXL XLI -RXIVREXMSREP 'IRXIV JSV Advanced Renewable Energy and Sustainability in Washington University. BETAR is a collaboration between architects and engineers to develop several design concepts related to integral systems and their possible adaptation to existing buildings on Washington University’s campus. Research is ongoing, with goals to collect thermal data of studied buildings, produce full scale mockup of conceptual designs, and publish conclusions.

McDONNELL HALL (TYP. MASONRY VENEER BUILDING)

condenses with cold

expands with heat

condenses with heat

expands with cold

name

EXTERIOR PANEL

outside

thickness (inches)

4”

density (lb/ft^3)

130

air space 1 1/2”

rigid insulation 2 1/2”

damp proofing .03

1.5

cmu block 8”

0.11

1.0

17.5

1.1

cp : specific heat capacity (kJ/(kg·K))

0.79

1.0

5.5

0.75

k : thermal conductivity (SI units: W/(m·K))

2.2

.025

R - value (h*ft^2*F/BTU)

condenses with cold

granite

0.17

.05 - 1.5

air space 5”

1.0

.025

gypsum board

inside

.03

5/8”

1.5

0.3

.56

0.68

1.09

metal studs 2 1/2”

vapor barrier

0.17

expands with heat Rtotal = 0.17 + 0.11 + 1.0 + 17.5 + 0 + 1.1 + 1.0 + 0.3 + 0 + .56 + .68 = 22.42 Utotal = 1/22.42 = 0.0446 At first glance it satisfies ASHRAE Envelope requirement for Zone 4 U= but note that the majority of the U value is from insulation that was installed for sound buffering, and thus may not be applied uniformly across the entire building

condenses with heat

expands with cold

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PROFESSIONAL WORK MARLON BLACKWELL ARCHITECT CHRISTOF JANTZEN ARCHITECTURE RENWICK GALLERY ALL SAINT’S EPISCOPAL CHURCH LITTLE ROCK CREATIVE CORRIDOR WASH U. STUDENT HOUSING KIT OF PARTS CLASSROOMS ARCHITECTURAL ILLUSTRATION FBC

LITTLE ROCK CREATIVE CORRIDOR Little Rock, AR, 4 city blocks Marlon Blackwell Architect + UACDC With Marlon Blackwell, Jon Boelkins, Steve Reyenga

University of Arkansas Community Design Center and Marlon Blackwell Architect worked in concert to develop an urban strategy for four blocks of downtown Little Rock. The Creative Corridor aims to consolidate and cultivate the cultural arts in downtown Little Rock, generate a local economy, provide new residencies, and create a transit district.The project MW XS FI GSQTPIXIH MR JSYV TLEWIW GVIEXI KEXI[E]W HIZIPST E GIRXIV XLMGOIR XLI WXVIIX IHKIW GVIEXMRK E RI[ XVERWMX HMWXVMGX My work on this project consisted of BIM modeling, and presentation drawings and renderings.

scattered arts establishments

collected arts establishments

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restaurant cafe - view to north plaza

FPSGO W]QTLSR] SJÂ˝GIW

500 block art gallery

500 block symphony practice hall

artist lofts and studios

ALL SAINTS EPISCOPAL CHURCH Bentonville, AR, 30000 sqf Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Steve Reyenga,

All Saint’s Episcopal Church is to be located on a beautiful yet constricted site in Bentonville, AR, and to host a large varied program, including spaces JSV GSQQYRMX] GSRKVIKEXMSR [SVWLMT IHYGEXMSR ERH VI¾IGXMSR The arrangement of the program is very sensitive to the sequences of a traditional Episcopalean service, as well as the every-day services of administration, education, and community gatherings. From the parking lot, a large front porch, featuring the Episcopalean red doors, welcomes all members of the community. Two wings off of the front porch include the education, administration, and parish hall, and enclose a public internal courtyard allowing for an extension of the aformentioned programs,, casual gatherings, or a moment of solitude The northern half of the site features a layered sequence of worship, from the Narthex, to the Worship ,EPP ERH ½REPP] XS E WQEPP GLETIP % WIRWMXMZMX] SJ QEXIVMEPW ERH PMKLX EVI carefully considered for each space, to provide the most unique gathering and worshipping experience, a connection to God and the community. 1] [SVO SR XLMW TVSNIGX [EW JVSQ GSRGITXMSR XS 7(´W ERH MRGPYHIH team design work, BIM modeling, and production of drawings, renderings, and physical models. All Saint’s is currently fundraising for the construction phase.

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south elevation

west elevation

main street approach

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east elevation

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view from Tiger Boulevard

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INFLUENCES

GALLERY

RENWICK GALLERY

GALLERY

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Washington, DC, 5000 sqf Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Will Burks

The wide variety of programs held in the Grand Salon make EPXIVEXMSR SJ XLI ¾SSV SV MRGYVWMSR SJ XLI TIVMQIXIV [EPPW impractical.What remains is the ceiling plane, to become a vibrant and dynamic spatial design that is transformative and performative, VIGSR½KYVMRK HITIRHMRK SR XLI IZIRX YWMRK VIWTSRWMZI OMRIXMG technologies. Consideration of materials extends well beyond architectural effect, out to the global consequences related to their harvesting, transportation, and implementation. The Grand Salon is seen as a marriage of traditional and digital craftsmanship, built by hand but made possible by digital fabrication. The result is a dynamic space, capable of constant change, reacting and VIGSR½KYVMRK XS WTIGM½G IZIRXW XS TISTPI MRWMHI ERH XS XLI world at large. The goal is to create not only a true destination space, but also to develop a condition of resonance between the existing and the new through scale, proportion, and thoughtful articulation, ensuring a fundamental dignity, well-proportioned and elegantly detailed in materials of substance and warmth, exemplifying the traditions of American decorative arts and crafts.

4 3 5

static

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1. FILTERED LIGHT 2. TRUMPET VINES 3. CYPRESS TREES 4. HONEYCOMB 5. STACKED LUMBER

My role in this project was design lead, from initial research and concept design, to 3d modeling using parametrics and BIM, and ½REP TVIWIRXEXMSR HVE[MRKW 7LSVXPMWXIH

activated

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EXISTING OPENING

EXISTING OPENING EXISTING OPENING

EXISTING OPENING

EXISTING OPENING EXISTING OPENING

EXISTING OPENING

CLASSICAL CLASSICAL ORIGINSORIGINS

dŚĞ ŝŶŚĞƌĞŶƚ dŚĞ ŽƌĚĞƌ ŝŶŚĞƌĞŶƚ ĨŽƵŶĚ ŽƌĚĞƌ ŝŶ ĨŽƵŶĚ ƚŚĞ ŐĞŽŵĞƚƌǇ ŝŶ ƚŚĞ ŐĞŽŵĞƚƌǇ ĂŶĚ ƉƌŽƉŽƌƟŽŶ ĂŶĚ ƉƌŽƉŽƌƟŽŶ ŽĨ ƚŚĞ ŽƌŐŝŶĂů ŽĨ ƚŚĞ 'ƌĂŶĚ ŽƌŐŝŶĂů ^ĂůŽŶ 'ƌĂŶĚ ^ĂůŽŶ ŝƐ ƌĞŝŶƚĞƌƉƌĞƚĞĚ ŝƐ ƌĞŝŶƚĞƌƉƌĞƚĞĚ ŝŶ ƚŚĞ ŶĞǁ ŝŶ ĐĞŝůŝŶŐ ƚŚĞ ŶĞǁ ĂŶĚ ĐĞŝůŝŶŐ ǁĂůůƐ ĂŶĚ ǁĂůůƐ ǁŚŽƐĞ ƐǇƐƚĞŵ ǁŚŽƐĞ ĂĐĐŽŵŽĚĂƚĞƐ ƐǇƐƚĞŵ ĂĐĐŽŵŽĚĂƚĞƐ ƚŚĞ ĞǆŝƐƟŶŐ ƚŚĞ ĚŽŽƌ ĞǆŝƐƟŶŐ ĚŽŽƌ ĂŶĚ ǁŝŶĚŽǁ ŽƉĞŶŝŶŐƐ͘ ZĂƚŚĞƌ ƚŚĂŶ ĐŽŵƉůĞƚĞůǇ ĂŶĚ ǁŝŶĚŽǁ ŽƉĞŶŝŶŐƐ͘ ZĂƚŚĞƌ ƚŚĂŶ ĐŽŵƉůĞƚĞůǇ ŽďƐĐƵƌŝŶŐ ƚŚĞ ŽƌŝŐŶĂů ƌŽŽŵ͕ ƚŚĞ ĂƌƌĂǇ ŽĨ ǁŽŽĚ ŽďƐĐƵƌŝŶŐ ƚŚĞ ŽƌŝŐŶĂů ƌŽŽŵ͕ ƚŚĞ ĂƌƌĂǇ ŽĨ ǁŽŽĚ ǀĞŶĞĞƌ ͞ůĂŶƚĞƌŶƐ͟ ŝƐ ƐĞĞŶ ĂƐ ĂŶ ŝŶƚĞŶƐŝĮĐĂƟŽŶ ǀĞŶĞĞƌ ͞ůĂŶƚĞƌŶƐ͟ ŝƐ ƐĞĞŶ ĂƐ ĂŶ ŝŶƚĞŶƐŝĮĐĂƟŽŶ ĂŶĚ ƚƌĂŶƐĨŽƌŵĂƟŽŶ͘ ĂŶĚ ƚƌĂŶƐĨŽƌŵĂƟŽŶ͘ 2 GOLDEN SECTION GOLDEN SECTION

LONGITUDINAL SECTION LONGITUDINAL SECTION

SILVER SECTION SILVER SECTION ƐƐĞŶƟĂů ƚŽ ƚŚĞ ĞǆƉĞƌŝĞŶĐĞ ŽĨ ƚŚĞ 'ƌĂŶĚ ^ĂůŽŶ ŝƐ ƚŚĞ ƵŶĚĞƌƐƚĂŶĚŝŶŐ ƚŚĂƚ ƚŚĞ ŝŶƐƚĂůůĂƟŽŶ ĐŽŵƉůĞŵĞŶƚƐ ƚŚĞ ĞǆŝƐƟŶŐ ŽƌĚĞƌ ĂŶĚ ŝƐ ĞůĞŐĂŶƚůǇ ƌĞƐŽůǀĞĚ͘ Ǉ ũƵǆƚĂƉŽƐŝŶŐ Ă ƚŚŝŶ͕ ůĂǇĞƌĞĚ ƐǇƐƚĞŵ ŽŶ ƚŽ ƚŚĞ ŚĞĂǀǇ ŵŽŶŽůŝƚŚŝĐ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ƚŚĞ ZĞŶǁŝĐŬ 'ĂůůĞƌǇ͕ ƚŚĞ ĐŚĂŶŐŝŶŐ ƚĞĐŚŶŽůŽŐǇ ŽĨ ĐŽŶƐƚƌƵĐƟŽŶ ƉƌŽĐĞƐƐĞƐ ŝƐ ŐĞŶƚůǇ ŝůůƵƐƚƌĂƚĞĚ͕ ƐŚŽǁŝŶŐ ŚŽǁ ǁĞ ŚĂǀĞ ŵŽǀĞĚ ĨƌŽŵ ůŽĂĚͲďĞĂƌŝŶŐ ŵĂƐŽŶƌǇ ƐƚƌƵĐƚƵƌĞƐ ƚŽ ůŝŐŚƚĞƌ ƐǇƐƚĞŵƐ͕ ŽŶĞƐ ǁŚŝĐŚ ŵĂǆŝŵŝǌĞ ƚŚĞ ĐĂƉĂďŝůŝƟĞƐ ŽĨ ŵĂƚĞƌŝĂůƐ͘ /Ŷ ĂĚĚŝƟŽŶ ƚŽ ƚŚĞ ĐůĂƐƐŝĐĂů ƉƌĞƐĞŶĐĞ͕ ƚŚĞƌĞ ĂƌĞ Ă ǁŝĚĞ ǀĂƌŝĞƚǇ ŽĨ ŶĂƚƵƌĂů ĂŶĚ ĐŽŶƚĞǆƚƵĂů ŝŶŇƵĞŶĐĞƐ͕ ƌĂŶŐŝŶŐ ĨƌŽŵ ŽƵƌ ĐŽŶƟŶƵŝŶŐ ĨĂƐĐŝŶĂƟŽŶ 1 ǁŝƚŚ ĮĞůĚ ŽƌŐĂŶǌŝĂƟŽŶƐ ŝŶ ŽƵƌ ŽǁŶ ǁŽƌŬ Ăƚ ƚŚĞ DŽŽƌĞ ,ŽŶĞǇ,ŽƵƐĞ Žƌ ƚŚĞ ƌǇƐƚĂů ƌŝĚŐĞƐ DƵƐĞƵŵ ^ƚŽƌĞ 2 ƚŽ ƚŚĞ ǁŽƌŬ ŽĨ ŽƚŚĞƌƐ ƐƵĐŚ ĂƐ ZŽďĞƌƚ ĂŶĚ 3 ƌůĞŶĞ <ŽŐŽĚ ŽƵƌƚǇĂƌĚ Ăƚ ƚŚĞ ŽŶĂůĚ t͘ ZĞǇŶŽůĚƐ ĞŶƚĞƌ ĨŽƌ ŵĞƌŝĐĂŶ ƌƚ ĂŶĚ WŽƌƚƌĂŝƚƵƌĞ ďǇ &ŽƐƚĞƌ Θ WĂƌƚŶĞƌƐ͘

main entrance REFLECTED CEILING PLAN REFLECTED CEILING PLAN

-98-

BANQUET

½IPH STIVEXMSRW

ƐƐĞŶƟĂů ƚŽ ƚŚĞ ĞǆƉĞƌŝĞŶĐĞ ŽĨ ƚŚĞ 'ƌĂŶĚ ^ĂůŽŶ ŝƐ ƚŚĞ ƵŶĚĞƌƐƚĂŶĚŝŶŐ ƚŚĂƚ ƚŚĞ ŝŶƐƚĂůůĂƟŽŶ ĐŽŵƉůĞŵĞŶƚƐ ƚŚĞ ĞǆŝƐƟŶŐ ŽƌĚĞƌ ĂŶĚ ŝƐ ĞůĞŐĂŶƚůǇ ƌĞƐŽůǀĞĚ͘ Ǉ ũƵǆƚĂƉŽƐŝŶŐ Ă ƚŚŝŶ͕ ůĂǇĞƌĞĚ ƐǇƐƚĞŵ ŽŶ ƚŽ ƚŚĞ ŚĞĂǀǇ ŵŽŶŽůŝƚŚŝĐ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ƚŚĞ ZĞŶǁŝĐŬ 'ĂůůĞƌǇ͕ ƚŚĞ ĐŚĂŶŐŝŶŐ ƚĞĐŚŶŽůŽŐǇ ŽĨ ĐŽŶƐƚƌƵĐƟŽŶ ƉƌŽĐĞƐƐĞƐ ŝƐ ŐĞŶƚůǇ ŝůůƵƐƚƌĂƚĞĚ͕ ƐŚŽǁŝŶŐ ŚŽǁ ǁĞ ŚĂǀĞ ŵŽǀĞĚ ĨƌŽŵ ůŽĂĚͲďĞĂƌŝŶŐ ŵĂƐŽŶƌǇ ƐƚƌƵĐƚƵƌĞƐ ƚŽ ůŝŐŚƚĞƌ ƐǇƐƚĞŵƐ͕ ŽŶĞƐ ǁŚŝĐŚ ŵĂǆŝŵŝǌĞ ƚŚĞ ĐĂƉĂďŝůŝƟĞƐ ŽĨ -99ŵĂƚĞƌŝĂůƐ͘ /Ŷ ĂĚĚŝƟŽŶ ƚŽ ƚŚĞ ĐůĂƐƐŝĐĂů ƉƌĞƐĞŶĐĞ͕ ƚŚĞƌĞ ĂƌĞ Ă ǁŝĚĞ ǀĂƌŝĞƚǇ ŽĨ

FERUYIX GSR½KYVEXMSR

ENVIRONMENTAL LIGHTING LIGHTING DIFFUSE LIGHT DIFFUSE LIGHT EVENT LIGHT ^/ t >> ^/ t >> EVENT LIGHT EVENT LIGHT ABOVE BELLS ABOVE BELLS POINT KtE >/',d KtE >/',dPOINT POINT

PHOTOVOLTAIC ARRAY

^/ t >> EVENT LIGHT KtE >/',d POINT

^/ t >> ^/ t >> UPLIGHT KtE >/',d

^/ t >> UPLIGHT

WEDDING

EXISTING ROOF LED LIGHTING UPPER LIMIT OF MOVEMENT

E t >> &ZKEd t ^,/E' ^/ t >> LIGHT, BACK GRAZING LIGHT UPLIGHT E t >> &ZKEd t ^,/E' E t/E Kt >/',d/E' LIGHT, BACK GRAZING LIGHT ĂůůŽǁƐ ƚŚĞ ƐůĂƩĞĚ ǁĂůů ƚŽ ǀŝƐƵĂůůǇ ƌĞƚƌĞĂƚ ĂŶĚ ĐƌĞĂƚĞƐ Ă ĐŽŶŶĞĐƟŽŶ ƚŽ ƚŚĞ ĞǆŝƐƟŶŐ ŐĂůůĞƌǇ͘ E t/E Kt >/',d/E'

^/ t >> UPLIGHT

>ŝŐŚƟŶŐ ĞŶŚĂŶĐĞƐ ƚŚĞ ŵĂƚĞƌŝĂůƐ ĂŶĚ ĚĞůŝĐĂĐǇ ŽĨ ƚŚĞ ƐƉĂĐĞ͛Ɛ ǀŽůƵŵĞ͕ ƌĞǀĞĂůŝŶŐ ƚŚĞ ĐŽůŽƌ ĂŶĚ ƚĞǆƚƵƌĞ ŽĨ ƚŚĞ ǁŽŽĚ ĂŶĚ ƚŚĞ ĐŽŵĨŽƌƟŶŐ ǁĂƌŵƚŚ ŝŶŚĞƌĞŶƚ ƚŽ ƚŚĞ ĚĞƐŝŐŶ͘ Ǉ ƵƐŝŶŐ ƚŚĞ ĂǇůŝŐŚƚ ĐĂŶ ďĞ ƐĞĞŶ ƚŚƌŽƵŐŚ ƚŚĞ ǁĞƐƚ ǁĂůů ǁŝŶĚŽǁƐ ĂŶĚ Ăƚ ŶŝŐŚƚ ƚŚĞ ƚǁŽ ĂƌĐŚĞĚ ǁŝŶĚŽǁƐ >ŝŐŚƟŶŐ ĞŶŚĂŶĐĞƐ ƚŚĞ ŵĂƚĞƌŝĂůƐ ĂŶĚ ĚĞůŝĐĂĐǇ ŽĨ ƚŚĞ ƐƉĂĐĞ͛Ɛ ǀŽůƵŵĞ͕ ƌĞǀĞĂůŝŶŐ ƚŚĞ ĐŽůŽƌ ĂůůŽǁƐ ƚŚĞ ƐůĂƩĞĚ ǁĂůů ƚŽ ǀŝƐƵĂůůǇ ƌĞƚƌĞĂƚ ĂŶĚ ĐƌĞĂƚĞƐ Ă ĐŽŶŶĞĐƟŽŶ ƚŽ ƚŚĞ ĞǆŝƐƟŶŐ ŐĂůůĞƌǇ͘ ĞǆŝƐƟŶŐ ƐŬǇůŝŐŚƚ ƚŽ ůŝŐŚƚ Ă ƚƌĂŶƐůƵĐĞŶƚ ŵĞŵďƌĂŶĞ ĂďŽǀĞ ƚŚĞ ĂƌƌĂǇ ŽĨ ǁŽŽĚ ǀĞŶĞĞƌ ůĂŶƚĞƌŶƐ͕ ŐůŽǁ ŝŶƚĞƌŶĂůůǇ͕ ŽīĞƌŝŶŐ Ă ƐŝŵŝůĂƌ ĨĞĞů ĨŽƌ ĞǀĞŶŝŶŐ ĞǀĞŶƚƐ͘ >ŝŐŚƚ ŽŶ ƚŚĞ ĨƌŽŶƚ ŽĨ ƚŚĞ ǁĂůů ĂŶĚ ƚĞǆƚƵƌĞ ŽĨ ƚŚĞ ǁŽŽĚ ĂŶĚ ƚŚĞ ĐŽŵĨŽƌƟŶŐ ǁĂƌŵƚŚ ŝŶŚĞƌĞŶƚ ƚŽ ƚŚĞ ĚĞƐŝŐŶ͘ Ǉ ƵƐŝŶŐ ƚŚĞ ĂǇůŝŐŚƚ ĐĂŶ ďĞ ƐĞĞŶ ƚŚƌŽƵŐŚ ƚŚĞ ǁĞƐƚ ǁĂůů ǁŝŶĚŽǁƐ ĂŶĚ Ăƚ ŶŝŐŚƚ ƚŚĞ ƚǁŽ ĂƌĐŚĞĚ ǁŝŶĚŽǁƐ Ă ƐĞŶƐĞ ŽĨ ͚ďĞǇŽŶĚ͛ ŝƐ ĐƌĞĂƚĞĚ ĂƐ ĚŝīƵƐĞ ůŝŐŚƚ ĮůƚĞƌƐ ĚŽǁŶ ďĞƚǁĞĞŶ ƚŚĞ ĐŽŶƚŽƵƌƐ͘ ǇƉƌĞƐƐ ĚŝƐƉůĂǇƐ ƚŚĞ ĞĚŐĞ ŽĨ ƚŚĞ ǁŽŽĚ ƐůĂƚƐ͕ ĂƌƟĐƵůĂƟŶŐ ƚŚĞ ƚĞǆƚƵƌĞ ĂŶĚ ĐƌĂŌƐŵĂŶƐŚŝƉ ǁŚŝůĞ ĂůƐŽ ĞǆŝƐƟŶŐ ƐŬǇůŝŐŚƚ ƚŽ ůŝŐŚƚ Ă ƚƌĂŶƐůƵĐĞŶƚ ŵĞŵďƌĂŶĞ ĂďŽǀĞ ƚŚĞ ĂƌƌĂǇ ŽĨ ǁŽŽĚ ǀĞŶĞĞƌ ůĂŶƚĞƌŶƐ͕ ŐůŽǁ ŝŶƚĞƌŶĂůůǇ͕ ŽīĞƌŝŶŐ Ă ƐŝŵŝůĂƌ ĨĞĞů ĨŽƌ ĞǀĞŶŝŶŐ ĞǀĞŶƚƐ͘ >ŝŐŚƚ ŽŶ ƚŚĞ ĨƌŽŶƚ ŽĨ ƚŚĞ ǁĂůů ǀĞŶĞĞƌ ŝƐ Ă ůŝŐŚƚǁĞŝŐŚƚ͕ ƚŚŝŶ ŵĂƚĞƌŝĂů ƚŚĂƚ ŝƐ ůƵŵŝŶŽƵƐ ǁŚĞŶ ďĂĐŬůŝƚ͕ ƌĞǀĞĂůŝŶŐ ƚŚĞ ǁŽŽĚ ůŝŐŚƟŶŐ Ăƌƚ ŝŶƐƚĂůůĂƟŽŶƐ͘ Ŷ ĂĚĚŝƟŽŶĂů ůĂǇĞƌ ŽĨ ůŝŐŚƚ ĐƌĞĂƚĞƐ Ă ǀŝƐƵĂů ƐĞƉĂƌĂƟŽŶ ďĞƚǁĞĞŶ Ă ƐĞŶƐĞ ŽĨ ͚ďĞǇŽŶĚ͛ ŝƐ ĐƌĞĂƚĞĚ ĂƐ ĚŝīƵƐĞ ůŝŐŚƚ ĮůƚĞƌƐ ĚŽǁŶ ďĞƚǁĞĞŶ ƚŚĞ ĐŽŶƚŽƵƌƐ͘ ǇƉƌĞƐƐ ĚŝƐƉůĂǇƐ ƚŚĞ ĞĚŐĞ ŽĨ ƚŚĞ ǁŽŽĚ ƐůĂƚƐ͕ ĂƌƟĐƵůĂƟŶŐ ƚŚĞ ƚĞǆƚƵƌĞ ĂŶĚ ĐƌĂŌƐŵĂŶƐŚŝƉ ǁŚŝůĞ ĂůƐŽ ŐƌĂŝŶ ĂŶĚ ĞŵŝƫŶŐ Ă ƐŽŌ͕ ǁĂƌŵ ŐůŽǁ͘ ĂĐŚ ĨŽƌŵ ŽĨ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶŽƉǇ ŝƐ ƐĞĞŶ ƚŚƌŽƵŐŚ ƚŚĞ ƚŚĞ ǁŽŽĚ ƉůĂŶŬĞĚ ŇŽŽƌ ĂŶĚ ƚŚĞ ƵŶĚƵůĂƟŶŐ ǀĞŶĞĞƌ ǁĂůůƐ͘ dŚĞƐĞ ĐŽīĞƌĞĚ ƐŝĚĞ ǁĂůůƐ ĂƌĞ ǀĞŶĞĞƌ ŝƐ Ă ůŝŐŚƚǁĞŝŐŚƚ͕ ƚŚŝŶ ŵĂƚĞƌŝĂů ƚŚĂƚ ŝƐ ůƵŵŝŶŽƵƐ ǁŚĞŶ ďĂĐŬůŝƚ͕ ƌĞǀĞĂůŝŶŐ ƚŚĞ ǁŽŽĚ ůŝŐŚƟŶŐ Ăƌƚ ŝŶƐƚĂůůĂƟŽŶƐ͘ Ŷ ĂĚĚŝƟŽŶĂů ůĂǇĞƌ ŽĨ ůŝŐŚƚ ĐƌĞĂƚĞƐ Ă ǀŝƐƵĂů ƐĞƉĂƌĂƟŽŶ ďĞƚǁĞĞŶ ŚŝŐŚůŝŐŚƚƐ ŽŶ ƚŚĞ ĐƵƌǀĞĚ ŽƵƚĞƌ ƐƵƌĨĂĐĞƐ ĂŶĚ ƚŚĞ ĐŽŶƚƌĂƐƟŶŐ ĚĂƌŬĞƌ ĐŽŶĞ ŝŶƚĞƌŝŽƌ͘ Ɛ ƚŚĞ ĂůƐŽ ůŝƚ ĨƌŽŵ ďĞůŽǁ͕ ĞŵƉŚĂƐŝǌŝŶŐ ƚŚĞŝƌ ŚĞŝŐŚƚ ĂŶĚ ĞǆŚŝďŝƟŶŐ ƚŚĞ ƉĂůĞ ŚŽŶĞǇ ĐŽůŽƌ ŽĨ ƚŚĞ ŐƌĂŝŶ ĂŶĚ ĞŵŝƫŶŐ Ă ƐŽŌ͕ ǁĂƌŵ ŐůŽǁ͘ ĂĐŚ ĨŽƌŵ ŽĨ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶŽƉǇ ŝƐ ƐĞĞŶ ƚŚƌŽƵŐŚ ƚŚĞ ǁŽŽĚ ŇŽŽƌ ĐƵƌǀĞƐ ĂŶĚ ƚŚĞ ƵŶĚƵůĂƟŶŐ ǁĂůůƐ͘ dŚĞƐĞ ĐŽīĞƌĞĚ ƐŝĚĞ ǁĂůůƐ ĂƌĞ ƚŽƉŽŐƌĂƉŚǇ ŽĨ ƚŚĞ ĐĞŝůŝŶŐ ĐŚĂŶŐĞƐ ŵŽƌĞ Žƌ ůĞƐƐ ůŝŐŚƚ ĮůƚĞƌƐ ƚŚƌŽƵŐŚ ƚŽ ƚŚĞ ŇŽŽƌ ďĞůŽǁ͕ ǁŽŽĚ͘ >ŝŐŚƚƐ ƚŚĞ ƚƵĐŬĞĚ ƵƉ ƉůĂŶŬĞĚ ŝŶƐŝĚĞ ĐĞŝůŝŶŐ ŶĞĂƌ ƚŚĞ ǁĂůůƐ ǀĞŶĞĞƌ ƐůĂŶƚƐ ĚŽǁŶǁĂƌĚ͕ ŝŶƚĞƌŶĂůůǇ ŚŝŐŚůŝŐŚƚƐ ŽŶ ƚŚĞ ĐƵƌǀĞĚ ŽƵƚĞƌ ƐƵƌĨĂĐĞƐ ĂŶĚ ƚŚĞ ĐŽŶƚƌĂƐƟŶŐ ĚĂƌŬĞƌ ĐŽŶĞ ŝŶƚĞƌŝŽƌ͘ Ɛ ƚŚĞ ĂůƐŽ ůŝƚ ĨƌŽŵ ďĞůŽǁ͕ ĞŵƉŚĂƐŝǌŝŶŐ ƚŚĞŝƌ ŚĞŝŐŚƚ ĂŶĚ ĞǆŚŝďŝƟŶŐ ƚŚĞ ƉĂůĞ ŚŽŶĞǇ ĐŽůŽƌ ŽĨ ƚŚĞ ĐƌĞĂƟŶŐ ĚĞƉƚŚ ĂŶĚ ĚǇŶĂŵŝƐŵ ƚŽ ƚŚĞ ƐƵƌĨĂĐĞ͘ ^ƵƉƉůĞŵĞŶƚĂƌǇ ůŝŐŚƟŶŐ ĮůůƐ ƚŚĞ ǀŽŝĚ ǁŚĞŶ ŝůůƵŵŝŶĂƟŶŐ ƚŚĞ ĂƌĐŚǁĂǇƐ͘ tŚŝůĞ ĂĐĐŽŵŵŽĚĂƟŶŐ ŵĂŶǇ ŬŝŶĚƐ ŽĨ ĞǀĞŶƚƐ ĂŶĚ ĐŽŶĮŐƵƌĂƟŽŶƐ͕ ƚŽƉŽŐƌĂƉŚǇ ŽĨ ƚŚĞ ĐĞŝůŝŶŐ ĐŚĂŶŐĞƐ ŵŽƌĞ Žƌ ůĞƐƐ ůŝŐŚƚ ĮůƚĞƌƐ ƚŚƌŽƵŐŚ ƚŽ ƚŚĞ ŇŽŽƌ ďĞůŽǁ͕ ǁŽŽĚ͘ >ŝŐŚƚƐ ƚƵĐŬĞĚ ƵƉ ŝŶƐŝĚĞ ĐĞŝůŝŶŐ ĐƵƌǀĞƐ ŶĞĂƌ ƚŚĞ ǁĂůůƐ ƐůĂŶƚƐ ĚŽǁŶǁĂƌĚ͕ ŝŶƚĞƌŶĂůůǇ ĚĂǇůŝŐŚƚ ŝƐ ƵŶĂǀĂŝůĂďůĞ͘ EĞƐƚůĞĚ ŝŶ ƚŚĞ ĐĞŝůŝŶŐ͕ ďĞƚǁĞĞŶ ƚŚĞ ďĞůůƐ ĂƌĞ ůŝŐŚƚ ƉŽŝŶƚƐ ƚŚĂƚ ĐĂŶ ƚŚĞ ĚĞƐŝŐŶ ĞŶŐĂŐĞƐ ǀŝƐŝƚŽƌƐ ƚŚƌŽƵŐŚ ĂŶ ĂĐƟǀĞ ĞǆƉĞƌŝĞŶĐĞ͘ DƵůƟƉůĞ ůĂǇĞƌƐ ŽĨ ůŝŐŚƚ ĂƐƐŝƐƚ ŝŶ ĐƌĞĂƟŶŐ ĚĞƉƚŚ ĂŶĚ ĚǇŶĂŵŝƐŵ ƚŽ ƚŚĞ ƐƵƌĨĂĐĞ͘ ^ƵƉƉůĞŵĞŶƚĂƌǇ ůŝŐŚƟŶŐ ĮůůƐ ƚŚĞ ǀŽŝĚ ǁŚĞŶ ŝůůƵŵŝŶĂƟŶŐ ƚŚĞ ĂƌĐŚǁĂǇƐ͘ tŚŝůĞ ĂĐĐŽŵŵŽĚĂƟŶŐ ŵĂŶǇ ŬŝŶĚƐ ŽĨ ĞǀĞŶƚƐ ĂŶĚ ĐŽŶĮŐƵƌĂƟŽŶƐ͕ ďĞ ƵƐĞĚ ĂŶĚ ĨŽĐƵƐĞĚ ĨŽƌ ƐƉĞĐŝĮĐ ĞǀĞŶƚƐ͘ ƵƌǀŝŶŐ ƵƉ ĨƌŽŵ ƚŚĞ ŇŽŽƌ͕ ƚŚĞ ĞŶĚ ǁĂůůƐ ĐƌĞĂƚĞ ĐƌĂŌŝŶŐ Ă ǁĂƌŵ ĂŶĚ ƌĞƐƉŽŶƐŝǀĞ ǀŽůƵŵĞ ƚŚĂƚ ƐƚƌŝǀĞƐ ƚŽ ƌĞƐŽŶĂƚĞ ǁŝƚŚ ƚŚĞ ŽĐĐƵƉĂŶƚƐ͘ ĚĂǇůŝŐŚƚ ŝƐ ƵŶĂǀĂŝůĂďůĞ͘ EĞƐƚůĞĚ ŝŶ ƚŚĞ ĐĞŝůŝŶŐ͕ ďĞƚǁĞĞŶ ƚŚĞ ďĞůůƐ ĂƌĞ ůŝŐŚƚ ƉŽŝŶƚƐ ƚŚĂƚ ĐĂŶ ƚŚĞ ĚĞƐŝŐŶ ĞŶŐĂŐĞƐ ǀŝƐŝƚŽƌƐ ƚŚƌŽƵŐŚ ĂŶ ĂĐƟǀĞ ĞǆƉĞƌŝĞŶĐĞ͘ DƵůƟƉůĞ ůĂǇĞƌƐ ŽĨ ůŝŐŚƚ ĂƐƐŝƐƚ ŝŶ 14 Ă ƐĐƌĞĞŶ ďĞƚǁĞĞŶ ƚŚĞ ĞǆŝƐƟŶŐ ƌŽŽŵ ĂŶĚ ƚŚĞ ŶĞǁ ŝŶƐƚĂůůĂƟŽŶ͘ >ŝŐŚƟŶŐ ƚŚĞ ĞǆŝƐƟŶŐ ǁĂůůƐ ďĞ ƵƐĞĚ ĂŶĚ ĨŽĐƵƐĞĚ ĨŽƌ ƐƉĞĐŝĮĐ ĞǀĞŶƚƐ͘ ƵƌǀŝŶŐ ƵƉ ĨƌŽŵ ƚŚĞ ŇŽŽƌ͕ ƚŚĞ ĞŶĚ ǁĂůůƐ ĐƌĞĂƚĞ ĐƌĂŌŝŶŐ Ă ǁĂƌŵ ĂŶĚ ƌĞƐƉŽŶƐŝǀĞ ǀŽůƵŵĞ ƚŚĂƚ ƐƚƌŝǀĞƐ ƚŽ ƌĞƐŽŶĂƚĞ ǁŝƚŚ ƚŚĞ ŽĐĐƵƉĂŶƚƐ͘ 14 Ă ƐĐƌĞĞŶ ďĞƚǁĞĞŶ ƚŚĞ ĞǆŝƐƟŶŐ ƌŽŽŵ ĂŶĚ ƚŚĞ ŶĞǁ ŝŶƐƚĂůůĂƟŽŶ͘ >ŝŐŚƟŶŐ ƚŚĞ ĞǆŝƐƟŶŐ ǁĂůůƐ

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EMB

ASS

ǇƉƌĞƐƐ ŝƐ Ă ďĞĂƵƟĨƵů͕ ǀĞƌƐĂƟůĞ͕ ĂŶĚ ƐƵƐƚĂŝŶĂďůĞ ďƵŝůĚŝŶŐ ŵĂƚĞƌŝĂů ĐĂƉĂďůĞ ŽĨ ďĞŝŶŐ ƐŚĂƉĞĚ ŝŶƚŽ ƚŚŝŶ ǀĞŶĞĞƌƐ ĂƐ ǁĞůů ĂƐ ŝŶƚŽ ĚŝŵĞŶƐŝŽŶ ůƵŵďĞƌ͘ dŚĞ ĐŽŶƐŝƐƚĞŶƚ ŐƌĂŝŶ ĂŶĚ ǁŽƌŬĂďŝůŝƚǇ ŵĂŬĞ ĐǇƉƌĞƐƐ ĂŶ ĞǆĐĞůůĞŶƚ ĐŚŽŝĐĞ ĨŽƌ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ƚŚĞ 'ƌĂŶĚ ^ĂůŽŶ ŝŶƚĞƌŝŽƌ͘ ǇƉƌĞƐƐ EER ĂůƐŽ ŚĂƉƉĞŶƐ ƚŽ ďĞ ĂŶ ĂƌŽŵĂƟĐ ǁŽŽĚ͕ ǁŝƚŚ Ă ƉůĞĂƐĂŶƚ ƐĐĞŶƚ ƚŚĂƚ ŝƐ ƐƵďƚůĞ ĂŶĚ ĐŽŵĨŽƌƟŶŐ͘ RY CUT VƌEŝŶNŐ ϴ͛ Ƶ A ROT ŵĞĂƐ ƵƚƐŝĚĞ dŚĞ ǁŽŽĚ ͚ůĂŶƚĞƌŶƐ͛ ǁŝůů Ăůů ďĞ ĐŽŶƐƚƌƵĐƚĞĚ ǁŝƚŚ ƉŚǇƐŝĐĂů ũŽŝŶƚƐ ĂŶĚ ŵĞĐŚĂŶŝĐĂů ĨĂƐƚĞŶĞƌƐ͖ ŶŽ Ž ŐƐ ƚ ϯ ůŽ ϭϰ͟ ĂƌǇ ĐƵ ͕ ƚ ĂĚŚĞƐŝǀĞƐ ǁŝůů ďĞ ƵƐĞĚ͘ dŚĞ ƉůĂŶŬƐ ƵƐĞĚ ŝŶ ƚŚĞ ŇŽŽƌ ĂŶĚ ǁĂůůƐ ĂƌĞ ƌŝŌ ĐƵƚ ĐǇƉƌĞƐƐ͕ Ă ƚĞĐŚŶŝƋƵĞ ůŽŶŐ ĞƚĞƌ ƌŽ ŝů ƚŚŝĐŬ ŵ S ĚŝĂŵ ƌ ϮϮ Ğ ϯϰϳ ANK L P ƚŚĂƚ ĐƵƚƐ ĞĂĐŚ ďŽĂƌĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ƚŽ ƚŚĞ ƚƌĞĞ͛Ɛ ŐƌŽǁƚŚ ƌŝŶŐ͕ ƉƌŽĚƵĐŝŶŐ ǀĞƌǇ ƐƚĂďůĞ ůƵŵďĞƌ ĞĞ Ğ ƚŚ T Ŷ U Ğ ǀ C ƚ Ě ĐƌĞĂ ƵŝƌĞ RIFT ƚŽ ƌŶƐ ƌĞƋ ǁŝƚŚ ƚŚĞ ƐƚƌĂŝŐŚƚĞƐƚ ŐƌĂŝŶ͘ ƚĞ

LL WA

END

ϭϰ͟ ŶŐ͕ ƚ ĨĞĞ Ő ϭϮ͛ ůŽ ĐĞ ƚŚĞ Ğ ƌ Ă Ƶ ƵƌŝŶ ŽĚƵ ƌ Ɛ Ϯ ƐƋ CHANICA ϰϬϯ ŐƐ ŵĞĂ ĞƚĞƌ Ɖ ME L F Ž ĚŝĂŵ Ě ů ϰ A ED ϱ ĚĞ Ğ ƌ T ŝ Ƶ ŝ Ƌ ŽƵƚƐ ĨĞĞƚ ƌĞ ƌĚ ďŽĂ

OIN B J

ĐĞŝůŝŶŐ͘ dŚĞ ƐƵƌĨĂĐĞ ĐŽŵĞƐ ĂůŝǀĞ ĂŶĚ ďĞŐŝŶƐ ƐƵƌ ƚĂƌǇ Đ Ɛ Ž Ĩ Įƚ Ɛ ŵĞĂƚŽ ƌ ƚŚĞ ƌŽ Ğ ƚŚĞ ƚŽ ŝŶƚĞƌĂĐƚ ĐŚǁŝƚŚ ŚĂů ǀŝƐŝƚŽƌƐ ůŽŐ ŵĞƚĞ ƌĞĂƚ'ƌĂŶĚ Ă ϯ ͘ Ɛ ĚŝĂ ƚŽ Đ ^ĂůŽŶ͕ ĐŚĂŶŐŝŶŐ ŝŶ ĂŶƟĐŝƉĂƟŽŶ ŽĨ Ă ƐƉĞĐŝĮĐ Ğ Đ Ğ Ğ ŚŝĐŬ ϯ Ɖŝ ĐŚĂŶŐŝŶŐ RNS ƚƐŝĚ ŝů ƚŐƌĂĚƵĂůůǇ͕ ĞǀĞŶƚ͕ Žƌ ĂůŵŽƐƚ NTE Ě ŽƵ ϭϰ͟ ƌ ϮϮ ŵ ĞƋƵŝƌĞ ŝŵƉĞƌĐĞƉƟďůǇ ĂƐ ƟŵĞ ŐŽĞƐ ďǇ͘ DƵĐŚ ůŝŬĞ D LA E Ğ ƌ M Ğ Ɛ Ŷ OR ĂŶĚ ƚŚĞ ĐŚĂŶŐŝŶŐ ƚŚĞ ĐĞŝůŝŶŐ ǀĞŶ ĂƐŬǇ ƚĞƌŽƵƚƐŝĚĞ͕ RE F ů Ŷ ƚŚĞ ůŝŐŚƚƐ ǁŝƚŚŝŶ ŝƚ ǁŝůů ĂĚũƵƐƚ ƐƵďƚůǇ ĨŽƌ Ă SSU ϯϰϳ PRE IBS ǁŝĚĞ ĂƌƌĂǇ ŽĨ ĞīĞĐƚƐ͕ ůŽǁĞƌŝŶŐ ƚŽ ďĞĐŽŵĞ IC R RYL C ŵŽƌĞ ŝŶƟŵĂƚĞ ƚŽ ƐŚĂƉĞ ƚŚĞ ƐƉĂĐĞ ĨŽƌ A AR CLE ƐŵĂůůĞƌ ĞǀĞŶƚƐ Žƌ ŇĂƌŝŶŐ ƵƉ ƚŽ ŚŝŐŚůŝŐŚƚ Ă S IECE ƐĐƵůƉƚƵƌĞ Žƌ Ă ƉĞƌĨŽƌŵĞƌ͘ tŚĂƚ ƌĞƐƵůƚƐ ŝƐ AL P IDU V Ă ĐŽŶƐƚĂŶƚůǇ ĐŚĂŶŐŝŶŐ ĞǆƉĞƌŝĞŶĐĞ͕ ŽŶĞ ƚŚĂƚ I IND ĐĂŶ ĞŶŐĂŐĞ ǀŝƐŝƚŽƌƐ Žƌ ĞǀĞŶ ďĞ ĞŶŐĂŐĞĚ ďǇ ǀŝƐŝƟŶŐ ĂƌƟƐƚƐ͕ ŐŝǀŝŶŐ ƚŚĞŵ ĂŶ ŽƉƉŽƌƚƵŶŝƚǇ TS ƚŽ ŐĞŶĞƌĂƚĞ ŶĞǁ ƉŽƐƐŝďŝůŝƟĞƐ͘ /Ŷ ĂĚĚŝƟŽŶ RIVE ƚŽ ƚŚĞ ďƌŽĂĚ ƌĂŶŐĞ ŽĨ ĞǀĞŶƚƐ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶ ĂĚĚƌĞƐƐ͕ ƚŚĞ ƐƉĂĐĞ ƐƟůů ĨƵŶĐƟŽŶƐ ďĞĂƵƟĨƵůůǇ ĨŽƌ ĚŝƐƉůĂǇŝŶŐ ĂŶĚ ǀŝĞǁŝŶŐ Ăƌƚ͘ tĞ ŚĂǀĞ ƵƐĞĚ Ă ǀĂƌŝĞƚǇ ŽĨ ƉŚǇƐŝĐĂů ĂŶĚ ĚŝŐŝƚĂů ŵŽĚĞůƐ ƚŽ ĞǆƉůŽƌĞ ƉŽƚĞŶƟĂů ĐŽŶĮŐƵƌĂƟŽŶƐ ĂŶĚ ƚŽ ŚĞůƉ ƌĞƐŽůǀĞ ƚƌĂŶƐŝƟŽŶƐ ĂŶĚ ĚĞƚĂŝůƐ͘

RS ENE ST

MATERIALS MATERIAL & TECTONICS CULTURE

ŝŶ BRICdŚĞƐĞ ATEĂƌĞ ĞĞƚ ͕ ͛ ƐŚ ŐŽĨ D PďƵƚ Ă ƌĞƉƌĞƐĞŶƚĂƟǀĞ ϴƐĂŵƉůĞ ϰ͛ǆ Ő ϴ͛ ůŽŶ ƚ ƚŚĞ ǀŝƌƚƵĂůůǇ ĞŶĚůĞƐƐ ĐŽŶĮŐƵƌĂƟŽŶƐ ŽĨ ƚŚĞ Ă Ž Ƶ ŝŶ Ŷƚ

JOINTS

:ƵƐƚ ϭϬϬ ŵŝůĞƐ ƐĞƉĂƌĂƚĞƐ tĂƐŚŝŶŐƚŽŶ ͘ ͘ ĨƌŽŵ ƚŚĞ 'ƌĞĂƚ WŽĐŽŵŽŬĞ ^ǁĂŵƉ ;ĂůƐŽ ŬŶŽǁŶ ĂƐ 'ƌĞĂƚ ǇƉƌĞƐƐ ^ǁĂŵƉͿ Ă ĨŽƌĞƐƚĞĚ ĨƌĞƐŚǁĂƚĞƌ ƐǁĂŵƉ ůŽĐĂƚĞĚ ŽŶ ƚŚĞ ƉĞŶŝŶƐƵůĂ ŝŶ ƐŽƵƚŚ ĞůĂǁĂƌĞ ĂŶĚ ƐŽƵƚŚĞĂƐƚĞƌŶ DĂƌǇůĂŶĚ͘ dŚŝƐ ƐǁĂŵƉ ŽŶĐĞ ǇŝĞůĚĞĚ ŵƵĐŚ ĐǇƉƌĞƐƐ ƟŵďĞƌ͕ ďƵƚ ŽǀĞƌ ŚĂƌǀĞƐƟŶŐ ĂŶĚ Ă ĚŝƐĂƐƚƌŽƵƐ ƉĞĂƚ ĮƌĞ ŝŶ ϭϵϯϬ ĚĞƐƚƌŽǇĞĚ ŵƵĐŚ ŽĨ ŝƚƐ ǀĞŐĞƚĂƟŽŶ͘ dŚĞ 'ƌĞĂƚ ǇƉƌĞƐƐ ^ǁĂŵƉ ŝƐ ŶŽǁ ŵĂŶĂŐĞĚ ďǇ ĞůĂǁĂƌĞ tŝůĚ >ĂŶĚƐ͕ Ă ƉƌŝǀĂƚĞ͕ ŶŽŶͲƉƌŽĮƚ ƚĂǆͲĞǆĞŵƉƚ ŽƌŐĂŶŝǌĂƟŽŶ ĚĞĚŝĐĂƚĞĚ ƚŽ ƚŚĞ ĐŽŶƐĞƌǀĂƟŽŶ ĂŶĚ ƉƌĞƐĞƌǀĂƟŽŶ ŽĨ ŶĂƚƵƌĂů ĂƌĞĂƐ ƚŚƌŽƵŐŚ ƚŚĞ ĂĐƋƵŝƐŝƟŽŶ ĂŶĚ ŵĂŶĂŐĞŵĞŶƚ ŽĨ ƐƚƌĂƚĞŐŝĐ ƉĂƌĐĞůƐ ŽĨ ůĂŶĚ͕ ǁŚŽ ŚĂƐ ŝŵƉůĞŵĞŶƚĞĚ Ă ĨŽƌĞƐƚƌǇ ŵĂŶĂŐĞŵĞŶƚ ƉƌŽŐƌĂŵ ƚŚĂƚ ĐŽŶƐŝĚĞƌƐ ŶŽƚ ũƵƐƚ ͞ǁŽƌŬŝŶŐ͟ ĨŽƌĞƐƚƐ͕ ďƵƚ ĂůƐŽ ŵƵůƟƉůĞ ƵƐĞ ĂŶĚ ǀĂůƵĞƐ ŽĨ ƚŚĞ ƐĂŵĞ ůĂŶĚƐ ĨŽƌ ƐƵƐƚĂŝŶĂďůĞ ďŝŽĚŝǀĞƌƐŝƚǇ ĞŶŚĂŶĐĞŵĞŶƚ ĂŶĚ ƌĞĐƌĞĂƟŽŶĂů ƉƵďůŝĐ ƵƐĞ͕ ĂŶĚ ĂůůŽǁŝŶŐ ƐĞůĞĐƟǀĞ ŚĂƌǀĞƐƟŶŐ ŽĨ ĐǇƉƌĞƐƐ ĨŽƌ Ă ƐƵƐƚĂŝŶĂďůĞ ĂŶĚ ůŽĐĂů ƐŽƵƌĐĞ ŽĨ 10 material.

ϰ͟ ĨĞĞƚ ůŽŶŐ͕ ϭ Ğ Ğ ƌ Ă ͛ Ś ů ƐƋƵ Ő ϭϮ ĐĞ ƚ ƚŽƚĂ ĞĂƐƵƌŝŶ ƉƌŽĚƵ ϰ ϴ Ϯϭ ŐƐ ŵ ĞƚĞƌ Ž ŵ ϯϬ ů ĚĞ ĚŝĂ ƵŝƌĞĚ Ƌ ŝ Ğ Ɛ ƌ ƚ Ƶ ƚ Ž ĨĞĞ Ě ƌ ďŽĂ

FA LLY

ZLE

FLO material context and culture

RECONFIGURATION

NKS

PLA

UT FT C

OIN B J

t ^,/E'dKE

EER VEN ϴ͛ T U Ő C ARY ĞĂƐƵƌŝŶ ŝĚĞ POTOMAC RIVER ROT CHESAPEAKE BAY ƚƐ ŵ Ƶ Ɛ Ž Ő ƚ ϯ ůŽ ϭϰ͟ ĂƌǇ ĐƵ ͕ ƚ Ŭ Ő Ž Đ ƌ Ŷ ŝ ůŽ ĞƚĞƌ ŝů ƚŚ ŵ ĚŝĂŵ ƌ ϮϮ Ğ ϯϰϳ ƚŚ ĞĞ ǀĞŶ ƌĞĂƚĞ ŝƌĞĚ Đ Ƶ Ƌ ƚŽ ƌŶƐ ƌĞ Ğ ůĂŶƚ

LLS WA SIDE ƌŝŶŐ ϴ͛ ƐƵ Ğ ŵĞĂ ŽƵƚƐŝĚ Ɛ Ő ƚ ϯ ůŽ ϭϰ͟ ĂƌǇ ĐƵ ƚ ͕ Ŭ Ž Ő MATERIAL ƌ ƚŚŝĐ ůŽŶ CULTURE ĞƚĞƌ ŵŝů Ğ 'Z d WK KDK< ^t DW ĚŝĂŵ ƌ ϮϮ ĞĂƚĞ ƚŚ Ğ Ž Đƌ Ğ Ŷ ǀĞ ƌĞĚ ƚ ĂǇƐ͘ ŝ ď ƌĞƋƵ ĞǁĂůůƐ Ě ŝ Ɛ ϴϭ

ƚŽ ŐĞŶĞƌĂƚĞ ŶĞǁ ƉŽƐƐŝďŝůŝƟĞƐ͘ /Ŷ ĂĚĚŝƟŽŶ ƚŽ ƚŚĞ ďƌŽĂĚ ƌĂŶŐĞ ŽĨ ĞǀĞŶƚƐ ƚŚĞ ĐĞŝůŝŶŐ ĐĂŶ ĂĚĚƌĞƐƐ͕ ƚŚĞ ƐƉĂĐĞ ƐƟůů ĨƵŶĐƟŽŶƐ ďĞĂƵƟĨƵůůǇ ĨŽƌ ĚŝƐƉůĂǇŝŶŐ ĂŶĚ ǀŝĞǁŝŶŐ Ăƌƚ͘ tĞ ŚĂǀĞ ƵƐĞĚ Ă ǀĂƌŝĞƚǇ ŽĨ ƉŚǇƐŝĐĂů ĂŶĚ ĚŝŐŝƚĂů ŵŽĚĞůƐ ƚŽ ĞǆƉůŽƌĞ ƉŽƚĞŶƟĂů ĐŽŶĮŐƵƌĂƟŽŶƐ ĂŶĚ ƚŽ ŚĞůƉ ƌĞƐŽůǀĞ ƚƌĂŶƐŝƟŽŶƐ ĂŶĚ ĚĞƚĂŝůƐ͘

ϰ͟ Ő͕ ϭ ĨĞĞƚ ĂƌĞ ϭϮ͛ ůŽŶ ƚŚĞ Ƶ Ƌ ƚĂů Ɛ ƵƌŝŶŐ ƌŽĚƵĐĞ Ɛ ϰ ƚŽ Ϯϭϴ ŐƐ ŵĞĂ ĞƚĞƌ Ɖ Ž ŵ ů ϯϬ ĚĞ ĚŝĂ ƵŝƌĞĚ Ƌ ŝ ŽƵƚƐ ĨĞĞƚ ƌĞ ƌĚ ďŽĂ

ǇƉƌĞƐƐ ŝƐ Ă ďĞĂƵƟĨƵů͕ ǀĞƌƐĂƟůĞ͕ ĂŶĚ ƐƵƐƚĂŝŶĂďůĞ ďƵŝůĚŝŶŐ ŵĂƚĞƌŝĂů ĐĂƉĂďůĞ ŽĨ ďĞŝŶŐ ƐŚĂƉĞĚ ŝŶƚŽ ƚŚŝŶ ǀĞŶĞĞƌƐ ĂƐ ǁĞůů ĂƐ ŝŶƚŽ ĚŝŵĞŶƐŝŽŶ ůƵŵďĞƌ͘ dŚĞ ĐŽŶƐŝƐƚĞŶƚ ŐƌĂŝŶ ĂŶĚ ǁŽƌŬĂďŝůŝƚǇ ŵĂŬĞ ĐǇƉƌĞƐƐ ĂŶ ĞǆĐĞůůĞŶƚ ĐŚŽŝĐĞ ĨŽƌ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ƚŚĞ 'ƌĂŶĚ ^ĂůŽŶ ŝŶƚĞƌŝŽƌ͘ ǇƉƌĞƐƐ ĂůƐŽ ŚĂƉƉĞŶƐ ƚŽ ďĞ ĂŶ ĂƌŽŵĂƟĐ ǁŽŽĚ͕ ǁŝƚŚ Ă ƉůĞĂƐĂŶƚ ƐĐĞŶƚ ƚŚĂƚ ŝƐ ƐƵďƚůĞ ĂŶĚ ĐŽŵĨŽƌƟŶŐ͘ dŚĞ ǁŽŽĚ ͚ůĂŶƚĞƌŶƐ͛ ǁŝůů Ăůů ďĞ ĐŽŶƐƚƌƵĐƚĞĚ ǁŝƚŚ ƉŚǇƐŝĐĂů ũŽŝŶƚƐ ĂŶĚ ŵĞĐŚĂŶŝĐĂů ĨĂƐƚĞŶĞƌƐ͖ ŶŽ -103ĂĚŚĞƐŝǀĞƐ ǁŝůů ďĞ ƵƐĞĚ͘ dŚĞ ƉůĂŶŬƐ ƵƐĞĚ ŝŶ ƚŚĞ ŇŽŽƌ ĂŶĚ ǁĂůůƐ ĂƌĞ ƌŝŌ ĐƵƚ ĐǇƉƌĞƐƐ͕ Ă ƚĞĐŚŶŝƋƵĞ ƚŚĂƚ ĐƵƚƐ ĞĂĐŚ ďŽĂƌĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ƚŽ ƚŚĞ ƚƌĞĞ͛Ɛ ŐƌŽǁƚŚ ƌŝŶŐ͕ ƉƌŽĚƵĐŝŶŐ ǀĞƌǇ ƐƚĂďůĞ ůƵŵďĞƌ

SOLAR PANELS

FILM

FASHION

EXISTING CEILING AND ROOF

CATWALK + STRUCTURE OPERABLE WIRES

WOOD VENEER WALL AND LANTERN CEILING

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WOOD PLANK FLOOR AND SCREEN WALL

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SHELBY FARMS PARK

Memphis, Tn Marlon Blackwell Architect With Marlon Blackwell, Jon Boelkins, Steve Reyenga, Will Burks, Brad Payne, Justin Hershberger

Marlon Blackwell Architect has teamed up with James Corner and Field Operations to expand upon the master plan for Shelby Farms Park. Along with Field Operation’s large scale site HIZIPSTQIRXW ½ZI EVGLMXIGXYVEP MRXIVZIRXMSRW LEZI FIIR HIWMKRIH and strategically located around the park: a new visitors center, an events stage, a new restaurant and events space, a boathouse, and a pavilion. Each building is unique in its spatial qualities, but share common materials, environmental strategies, aesthetics, and emphasis on public space. 1] [SVO SR XLMW TVSNIGXIH MRGPYHIH &-1 QSHIPMRK ½REP presentation drawings and renderings. Currently in DD.

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SHELBY FARMS PARK: VISITOR’S CENTER

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SHELBY FARMS PARK: EVENTS SPACE

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SHELBY FARMS PARK: BOAT HOUSE

SHELBY FARMS PARK: EVENTS STAGE

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KIT OF PARTS

With Christof Jantzen Architecture and VS Furniture Today’s mobile classrooms tend to have a negative connotation. They were originally designed as an economical solution to provide schools a temporary space for disaster relief, or during construction and expansion. -HIRXMJ]MRK XLI ¾E[W SJ I\MWXMRK QSFMPI GPEWWVSSQW MW GVYGMEP XS MXW VI conceptualization, and include but are not limited to: installation far longer than their lifespan., use of cheap non-recyclable, non-durable materials, isolation from other classrooms, students, and activities, and an unhealthy environment for working, teaching, learning, expanding. KOP aims to improve and expand upon the current concepts of teaching and learning through high quality design, sees the mobile classroom in a RI[ PMKLX ERH EMQW XS EHHVIWW WIZIVEP MQTSVXERX MWWYIW EX LERH ¾I\MFMPMX] beyond the traditional classroom typology; transformation in the digital age, environmental: sustainability, air, ventilation, light, acoustics, health, cost IJ½GMIRG] ERH GVIEXMZI GSRWXVYGXMSR My work on this project included initial research, physical and computer modeling, and presentation drawings.

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FUNDAMENTALS OF BUILDING CONSTRUCTION, ED. 6 With Joe Iano and Ed Allen

Diagrams, renderings, and detail sections illustrated for the newest edition of the Fundamentals of Building Construction, to be printed in November 2013. Worked closely with Joe Iano to produce drawings from concept to complete illustration for publication.

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COLLABORATIVE WORK ST. ANN’S ACADEMY FLATLOT COMPETITION CART COLLECTIVE AC_CA COMPETITION

FLATLOT CARRIAGE

Flint, Michigan 20,000+ sqf FlatLot Public Project Competition with Angie Carpenter The Elevated Carriage acts as a both new marquee for the city - one that draws and welcomes visitors and locals into the site, and establishes E TVSKVEQQEXMGEPP] 他I\MFPI ERH ZMWYEPP] EGGIWWMFPI JVEQI[SVO XS WTE[R E range of activities, from the spontaneous local gathering to the destination IZIRX 8LI 'EVVMEKI EMQW XS VI他IGX ERH I\TERH YTSR XLI GSRWXVYGXMSR materiality, and temporality of the historical Michiganian carriage in a contemporary climate. The elements of a prototypical horse-drawn carriage are a light-weight framing system, wrapped with canvas, and stabilized by a platform, wheels, and axles. Embracing this construction WMQTPMGMX] GSWX IJ遜GMIRG] ERH 他I\MFMPMX] XLI 'EVVMEKI YXMPM^IW E WXERHEVHM^IH scaffolding system as a framework stretching across the site, elevated above the parking spaces for maximum daily lot access and use, touching down only in the narrow strips encompassing the existing light poles. The framework provides a multi-functional presence and platform on site, one that hosts staging, projection screens, seating, and a canopy that extends to the existing light-poles. The Carriage is a sensorial experience and an extension of the urban streetscape of Saginaw and the University of Michigan campus, and could ultimately provide a vital armature to stimulate downtown Flint, economically and socially.

canopy extended over market

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sequence of construction

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movie night

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site analysis

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performance, music event

ST. ANN’S ACADEMY

Hornell, NY 7000 sqf with Kerry O’Connor and Jen Steacy The selected site is in a prime location in the Canisteo Valley, just east of the river overlooking downtown Hornell, It is a beautiful and accessible site, and as the host for the new St. Ann’s Academy, has potential to enrich and invigorate the education of currently enrolled St. Ann’s Academy students, and generations to come. Teaching and learning methods are intrinsically linked to the environment in [LMGL XLI] EVI TVSHYGIH 8LI TVSTSWEP JSV 7%% EMQW XS TVSZMHI E ¾I\MFPI environmentally friendly, high quality, yet cost effective design through GSYVX]EVH JIEXYVIW XLI YWI SJ VIG]GPIH QEXIVMEPW ERH ¾I\MFPI WTEGIW

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west elevation

material logics and program diagrams

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view from cafe to entrance and courtyard

view from entrance to cafe and courtyard

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CART COLLECTIVE

Casablanca, Morroco, 30,000+ sqf AC-CA Competition with Max Bemberg and Gina Gage The Cart Collective conceptualizes a city-wide market network, whilst embracing the Moroccan tradition of mobile, individual vendor stalls. The proposed site provides an opportunity to test and critique a new typology of market, one that simultaneously acts as both hub and node. The functionality of the market is two-fold: it is a vertical farm, and a ZIRHSV GEVX HMWTIRWEV] 8LI ZIVXMGEP JEVQ LSWXW XLI ½ZI GVMXMGEP QEVOIX types, public programs, as well as a restaurant and observatory deck, providing panoramic views of Morocco, and visual connections to sister Cart Collective towers throughout the city. The towers provide storage, water, and waste management for the stocked carts, which can be removed and dispersed throughout the city in clusters, or as individual “petals”. The “petals” strengthen the Casablancan social fabric, and the vertical form frees the site for pedestrian activities. Cart Collective strives for sustainabiility through environmental strategies and economic growth, encouraged by a new trading web.

market active, canopy extended

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program, evironmental, circulation diagrams

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ACADEMIC TEACHING

UNIVERSITY OF ARKANSAS

FAY JONES SCHOOL OF ARCHITECTURE ARCH 3046THIRD YEAR CORE FALL 2012 - SPRING 2013

ARCH 3046: DORMITORY

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman Third year core studio juggled three fast-paced projects on various sites. Each project emphasized the unit, and its modular repetition. Through the emphasis of diagrams, graphite studies, and hybrid renderings, students explored each project through its material logics and techtonics, spatial layout of the unit, and the overarching relationship of the units to site. 8LI Â˝VWX TVSNIGX [EW E X[S [IIO GLEVIXXI I\TPSVMRK E HSVMQMXSV] YRMX SR an undisclosed site.

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ARCH 3046: MT GAYLOR MOTEL

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman The second three week project was a motel adjacent to the abandoned Mount Gaylor Observatory deck, and overlooking the rolling hills of Northwest Arkansas. Students paid attention to access from the highway, site orientation, and incorporation of the existing tower. Emphasis on the spatial layout and techtonics of the unit remained present.

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ARCH 3046: MARFA MOTEL

University of Arkansas, Third Year Core, Fall 2012 With Chuck Rotolo, Angela Carpenter, Greg Herman The third project of third year core featured a motel on a large site just outside of downtown Marfa, accompanied by a studio trip to the site, and the Chinati Foundation. Students aimed to understand the unique experiential qualities provided by the Marfa site - vastness and scale, color,, environment, etc, whilst maintaining and techtonic and programmatically logical approach to the individual units.

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DRAWINGS + TRAVEL SKETCHES

Buenos Walks: mapping a 100 day paths through the city

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Ouro Preto, Brasil

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skylines of Ouro Preto

Ouro Preto, Brasil

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skyspace graphite powder on stathmore

skyspace graphite powder on strathmore

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container graphite powder on strathmore

stacks graphite powder on strathmore

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