Architecture Portfolio
James Jesmer
Design
Art Professional
James Nicholas Jesmer
jamesjesmer@gmail.com 304.669.7401 113 Carriage Lane Bridgeport, WV 26330
Contents
History + Cultural Center Space Planning Study A Study in Haiku Center for Humanity Unity Temple Study A Place to Read a Book Elements Study: Earth Elements Study: Fire WV Museum of Glass Drawing Ceramics Downtown Revitalization Golden Rule Building
Design
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Flo
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Exterior Event Space Study DN
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4. Exterior Event Space
Flo
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Two rectangular extrusions interact and connect with one another. The smaller of these two is characterized by its yellow brick and decorative windows, unique to the facades of its neighboring buildings in the Historic District of Downtown Fairmont. This extrusion is contained within the dynamic, more contemporary, concrete one that ascends from the ground floor, to the third, ending in an extensive cantilever. The triangular pattern spanning the middle portion of the façade, as well as the steel columns that support the cantilever, are reminiscent of the Industrial Age, during which Fairmont was at its prime.
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W-E Section
N-S Section
Flo
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History + Cultural Center AIAWV Competition Winner Design III: Site
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Structural Study 5. Second Floor Landing
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T​he meditative garden, located below grade, allows guests to meditate as they descend the steps, each one gradually pulling them away from the street and into a place of tranquility.
Parti
Form Study
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Fairmont, West Virginia, nestled between Morgantown and Clarksburg, developed as a point of convergence. It was the halfway point between those two major towns. Three rivers converge there, offering access to transportation unlike any town in the state. Also, at its height, Fairmont hosted a convergence of cultures and ethnicities. A building meant to host the history and culture of a place that developed in a way such as this, should represent the character of this development.
1. Lobby
2. North Promenade
3. East Mediation Garden
6. Interior Event Space
Conference Room
Shared Corridor
P2 Reception Area
P3
Staff Office
Owner’s Office P1
Work Room
The assignment for this inquiry was to remodel an interior plan in order to accommodate a list of required rooms and spaces for the Duritz and Meyers Company. This was to be completed in such a way that allowed the office to function and circulate in the most efficient way possible. This assignment also required us to implement basic Americans with Disabilities Act standards throughout the office.
Perspective One
You sit in your shell. You can’t hide there forever. Do not be afraid. The images are various views of the shell or wave-shaped, chipboard model. The tight, small back portion expresses the first line of the poem. Leaving the back, the second undulation represents the second line of the poem; the beginning of a release. Finally, the last line of the poem is shown by having the pieces of the shell begin to evaporate; their density becoming lower as the form ascends.
Since only one wall had windows to the exterior, borrowed light has been brought into deep interior rooms through overhead glazing in the partition walls. Custom furniture, specifically curved secretary desks, allow for efficient usage of spaces. The curved wall allows for the reception area to appear large without sacrificing too much spaces in the private areas.
Space Planning Study Design III: Site
Perspective Two
The assignment for this project was to express a haiku, found or created, through a visual model of any medium.
Perspective Three
A Study in Haiku Design I
The root of humanity is being recognized as a human being and a person by another human being. It is from the moment of our birth, if not before, that we receive this recognition; even if we are not conscious of it. It is a connection Parti Based on Abstraction of Hug from one person to another ac3 knowledging existence. In doing so, this creates a relationship between the two beings. If this recognition process is repeated and 2 the population sustained, a community is formed. What better to represent this instinctual connec1 tion than two people facing each 1 other in an embrace? It is an action that is seen in existence across cultures all over the world. The campus design is an abstraction of just that. An embrace that has First Floor Plan 3 been abstracted to a keyhole and an interlocking component, symbolizing that an unbreakable connection between two bodies is the key to understanding humanity in its rawest form. The guiding principle behind the design is to create a place that is conducive to producing a sense of community.
Center for Humanity Second Floor Plan Juried Competition Co-Winner Design IV Section 1
Garden
Green Roof Facing South-Ink
Glass Floor
Mound to Recline
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Mound for Activity
Green Roof Plan-Ink
2
Green Roof and Glass Floor-Ink
Custom Railing
Labyrinth Meditation Garden
Entry Perspective-Graphite
Exploded Axonometric View
Section 2
Section 3
East Elevation
North Elevation
West Elevation
Versatile Seating Option Library-Pastels
Gathering Area-Pencil
One Lounge Seat
1:00 p.m. Summer Solstice Meditation Room Light Study
1:00 p.m. Summer Solstice
Library Light Study
Separates into Multiple Seats
1:00 p.m. Winter Solstice
1:00 p.m. Winter Solstice
View From Southeast
The pronounced datum of the structure is the central cubic space. From there, extrusions are made on all sides to accommodate seating, the organ, the below-level entry, and the ceiling. The room is symmetrical along an axis that runs centrally from the pulpit to the opposite set of pews. A rhythm is created by the varied spacing and thickness of dark wood accents, emphasizing forms. Wright placed decorative detail sparingly at the bottom and more copiously as the walls rise to create a hierarchy. The collective interior volume is the final phase of a decomposed cube.
Iterations
The goal of this project was to analyze Unity Temple, designed by Frank Lloyd Wright, as an illustration of architectural order.
Final Model Axonometric Decomposition of Cube
The model created inhabits the space adjacent to Frank Lloyd Wright’s Unity Temple, just outside of Chicago. Through the use of a second level, the reading space brings the observer to a level comparable to the Unity Temple and surrounding buildings. The experience begins with a journey through the textile block and glass entry. From there, the reader grabs a book from the copious amount of shelving. Then, one would continue to the second level via the winding staircase. At the top, one has the opportunity to read either inside or on the concrete cantilever portion. Both options include plenty of natural lighting due to the large amount of glass in the building; yielding no need for artificial lighting.
Floor One
Unity Temple Study Design II
Privacy Studies
Textile Block
Floor Two
A Pace to Read a Book Design II Final Project
Cantilever View
Entryway
The assignment for this project was to capture the essence of the element “Earth” in a twelve-foot cubic structure. Those were the parameters in addition to the structure being experriential and that the project needed a Haiku to express the element as well. My design captured the essence of Earth by putting the user’s semses in contact with the element. One is made to removed their shoes before entering. The user is led down a few steps to a sub-terranian level with a semi-dirt floor. Alternating tile and Earth, the user is forced to experience texture and their sense of touch beyond their hands. Sunlight filters into the space through square portals. a shovel is in the space for the user to move the Earth around, feeling its density and volume. When the user is done, they put the shovel back and walk up the steps. They wash their hands and feet in the roof’s rainwater runoff basins. As they put on their shoes, they are acclimated to using their sight more than their sense of touch.
Elements Study: Earth Design IV
LOOK WITHOUT YOUR EYES. THAT WHICH YOU MAY FEEL ANEW, BENEATH ALWAYS LIED. 2.
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Plan
Section One
Section Two
East Elevation
South Elevation
North Elevation
Much like Earth, the Fire study was to capture the essence of Fire. I chose to express the communal qualities of fire. The The design also depends on the chemical change of the fuel as a result of the fire and a mechanical system. The place takes on a ritualistic quality as a representative from the North, South, East, and West to meet and discuss. The North and South individuals contribute wood to the ritual. The East person must ignite the flame. The person from the West removes the ashes of the ritual. The materials for these actions are provided within the winding path each person takes to their seat. They pull 2 2 2 down the fire basin and canvas 2 walls rise from the perimeter. As the fire burns, ashes exit from the basin, causing it to lighten and allowing it to raise over time. As this happens, the canvas slowly until Topwalls View lower 1 Top View 1 the fire burns out. The ashes are removed and 0the participants 6 3 0 6 3 exit.
Elements Study: Fire Design IV
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CONSUMING ITS FUEL, TRANSFORMING WOOD TO ASHES. WE ARE ALSO CHANGED.
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Top View
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Top View 0
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Elevations
Section One
Section Two
North
South
East
West
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Rain Garden Meditation Garden Forest with Grid Trails
UP
Existing Silos
UP
UP
Museum Parking Museum Entry Gate Perspective
Temporary Gallery
Lobby Atrium
Anchor Hocking Gallery
Exterior Event Space Floor One
Existing Site and Rubble Grid
Site Plan Aerial Perspective
DN
DN DN
Floor Two
Section
West Virginia Glass Museum Mayfield Scholarship Competition
Design V
50
Vestibule at Night
Sustainable Practices
The West Virginia Museum of Glass has reclaimed the Clarksburg, WV site of the Anchor-Hocking Glass Company, which operated on the 19-acre site for much of the twentieth century. As an homage to the history of the site, the grid pattern and orientation of the original factory has been used to organize the museum's main building, ancillary spaces, and activity pathways. The entry reminds visitors of this as they enter the lobby and step onto part of a brick path from the site’s previous use. The museum campus also featured the preserved concrete silos; the only intact original structure remaining on the site. The museum itself allows visitors the opportunity to explore the rich history of the glass industry in West Virginia, the processes for manufacturing different glass products, and finally the robust impact the state's glass industry has had. Additionally, visitors are able to observe glassmaking demonstrations, and research being conducted. Temporary galleries feature some of the many treasured West Virginia glass pieces. “Glass boxes” at both the entry and main temporary gallery serve to show visitors not only the decorative and ultilitarian capabilities of glass, but also its architectural characteristics and abilities.
Rain Garden
Rainwater Cistern
Priority Parking
Downlighting
Northwest Perspective
Art
Reduction Figure Study Black Charcoal, 2015
Animal Skull Charcoal, 2015
Drapery Study Charcoal, 2015
Self-Portrait Charcoal, 2015
Of Curves and Cloth Graphite, 2014
Girl with Orb Charcoal, 2015
Jubilee Church Graphite, 2014
Foot Study Charcoal, 2015
Hand Study Charcoal, 2015
Figure Study NuPastel, 2015
Foot Study NuPastel, 2015
On display at Gallery 517 in 2015
FSU Juried Art Exhibition 2015
Tea for Three Stoneware, 2014
Form Follows Dysfunction Stoneware, 2015
Rough Cut Sphere Stoneware, 2016
Cup.Saucer.Plate.Bowl. Stoneware, 2015
Seed Pouch Stoneware, 2014
Stress in Bone Stoneware, 2016
Profile Study No. 1 Stoneware, 2016
Profile Study No. 2 Stoneware, 2016
FSU Juried Art Exhibition 2015 1st Place Ceramics
Turquoise Sphere Stoneware, 2015
FSU Juried Art Exhibition 2016
FSU Juried Art Exhibition 2015
FSU Juried Art Exhibition 2016
Professional
1. The Adams Street lot is an infill site that once held a municipal building. Seeking to fill a need in the city, we proposed a Cultural Center with two large plazas. The Marion County Historical Society has a pletora of artifiacts they cannot display due to the lack of space in their current building, This center would allow for the expansion of their collection and displayed content. The plazas would alllow for much needed social spaces, featuring sculpture benches.
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Community Design Assistance Center James Jesmer, TJ Clegg, Shae Strait
Adams St. Revitalization
Monroe Street Site
Adams St. Existing Conditions
Monroe St. Existing Conditions
Proposed Design
Proposed Design
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2. The Monroe Street site is currently used for parking, bypassing traffic lights, and for festivals that happen in the city of Fairmont. Our proposal makes that street pedestrian-only, but is able to be adapted for temporary vehicile traffic for deliveries or events. A green space would also be incorporated to promote use when events are not scheduled.
Downtown Revitalization Fairmont, WV
Adams Street Site
Monroe St. Revitalization
The Golden Rule Building was once the general store and later the featured department store of Belington, WV. It was a locaiton many residents depended on, but in recent years closed down due to competition. Little has been done to keep the building in order. With a local passenger train reopening stops along the tracks behind the builing, a chance for revitalization has surfaced. Our design proposal for the town of Belington includes a remodel of the historic interior to better suit the needs of a train station and potential business hub, including a gift shop, cafe, studio apartments, and ticket window. As this building is home to one of the last existing hydro-elevators, part of the wood floor has been replaced with glass to view the historic piece of machinery. The exterior has experienced the addition of a wooden deck t accommodation train passengers as well as cafe seating. Also, a metal awning was added to invite those arriving into the building.
Main and Auxilary Building with Additions
View From Train
Hydro-elevator Machinery
Main Floor
Golden Rule Building Belington, WV
Community Assistance Design Center James Jesmer, Leslie Gonzales, Canon Fancher
Side Entrance