d e e r a essic shultz J
PORTFOLIODIRECTORY 02 04 06 08 14 22
WHO I AM I N T E R ES T S + S K I L LS CHASE STREET GALLERY/ STUDIO KANSAS CITY PERFORMING ARTS CENTER
T H ES I S P R O J E C T// B LU R T H E L I N ES
FIGHTING INTOLERANCE IN JAMMU AND KASHM P R O F ES S I O N A L W O R K
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
S //
MIR
02/03
WHOIAM I I I I I
love to travel. play the banjo. like to quilt and embroider. hate mayonnaise. am an artist on the side.
WHEREI’VEBEEN I was born and raised in Onawa, Iowa. I moved to Springfield, Missouri to study architecture and fine arts in 2006. I lived and studied in Volos, Greece, for a semester and visited Turkey and Egypt while abroad. I currently live in Kansas City, Missouri.
W H AT I D O Being a curious, process-oriented person, I enjoy research and conceptualization. I have experience in several computer modeling programs as well as the Adobe Creative Suite. I am adept at hand drawing, rendering, and sketching, as well as model building.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
04/05
I N T E R ES T S + S K I L LS The sketches on the above right, from left to right, show the Hagia Sofia in Istanbul, Turkey, a sarcophagus and statue from the Egyptian Historical Museum in Cairo, Egypt, and the caryatids at the Parthenon Museum in Athens, Greece. My travels in Egypt and Turkey, also inspired my senior capstone collection entitled Women of Alexandria, Having been overwhelmed with memories of my various experiences, I have learned that memories are not photographic; they are entities that exist perfectly within our minds yet lose shape when physically manifested. My work currently seeks to capture this elusive quality of memory using paint in such a way that is not constructive, but becomes simply an atmospheric record of feelings, objects, and spatial form. The specific memories contemplated for this body of work consist of a few powerful interactions with various women in Egypt. By keeping this notion in mind, the atmosphere itself, manifested as part of the memory, becomes veiled.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
06/07
C H A S ES T R E E T G A L L E R Y S T U D I O
PUBLIC RESTROOMS ENCLOSED DISPLAY
SCULPTURE GARDEN
MAIN GALLERY SECTION MODEL FOOTPRINT
STUDIO/GALLERY
FLOOR PLAN
04
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
ABOVE + BELOW. MODELED AND RENDERED IN REVIT, MANIPULATED IN PHOTOSHOP. RIGHT. SECTION MODEL CONSTRUCTED OF MDF, BASSWOOD, AND PLEXIGLASS. SCALE 1.5IN = 1FT
08/09
KCPERFORMINGARTSCENTER
NELSON-ATKINS MUSEUM OF ART
EMMANUAL CLEAVER BLVD
MUSIC CONSERVATORY LOADING DOCK DANCE AND THEATER PERFORMING ARTS CENTERS
BRUSH CREEK
SITE PLAN
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
ABOVE. PHYSICAL SITE MODELS CONSTRUCTED USING CHIPBOARD, AND PLEXIGLASS. SHOWS A FEW SAMPLES OF THE FORMAL PROGRESSION THROUGHOUT THE SEMESTER. SCALE 1IN = 64FT RIGHT. HAND RENDERED INTERIOR AND EXTERIOR PERSPECTIVES QUICKLY MANIPULATED IN PHOTOSHOP.
3
1.
REHEARSAL SPACES
2.
ADMINISTRATION OFFICES
3.
SYMPHONY HALL
4.
BACKSTAGE AREA
5.
EXTERIOR AMPHITHEATER
6.
TICKETING
7.
SHARED ATRIUM
8.
INDIVIDUAL PRACTICE SPACES
9.
THEATER EDUCATIONAL SPACES
2
C B A
1
3
4 5
6 7
A
10.
THEATER PERFORMANCE HALL
11.
DANCE EDUCATION SPACES
12.
DANCE PERFORMANCE HALL
13.
SHARED CONCESSION AND KITCHEN SPACES
10 8 12
13
9
11
EXPLODED PLAN PERSPECTIVE
10/11
KCPERFORMINGARTSCENTER
1.
INDIVIDUAL PRACTICE SPACES
2.
INSTRUMENT STORAGE LOCKERS
3.
EXTERIOR AMPHITHEATER
4.
TICKETING
5.
SHARED ATRIUM
6.
BACKSTAGE AREA
7.
SYMPHONY HALL
8.
A/V
7 1
2
3
4
5
6
CROSS SECTION A-A
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
8
FIXED-PIN GLAZING SYSTEM STEEL ‘T’ BEAM EXTERIOR LIGHTING ELEMENTS PRECAST CONCRETE ROOF SLAB
STACKED LIMESTONE STRUCTURAL STEEL COLUMN STEEL ‘T’ BEAM GLAZING
WOOD FLOOR RIGID STEEL STRUCTURAL ELEMENT WITH OPEN-WEB JOISTS/ SUPPLY PLENUM WOOD CLADDING ACOUSTIC INSULATION
LIMESTONE FLOOR RADIANT FLOOR SYSTEM VAPOR BARRIERS
SITECAST CONCRETE SLABS
WALL SECTION B
WALL SECTION C
B Y S E E K I N G T O S PAT I A L LY S O L I D I F Y A C U LT U R E T H AT H A S B E E N S Y S T E M AT I C A L LY O P P R ES S E D , B Y F A C I L I TAT I N G A D I F F E R E N T T Y P E O F S O C I A L I N T E R A C T I O N T H AT E X P O S ES T H ES E P E O P L E A N D I S S U ES T O O T H E R S , A N D B Y E X P LO R I N G T H E T E N S I O N AND BALANCE OF FREEDOM AND SECURITY I N A C O N S C I O U S A N D C R I T I C A L WAY, T H E B U I LT E N V I R O N M E N T C A N B E C O M E A PA R T O F C R O S S - C U LT U R A L C O N F L I C T M E D I AT I O N AND INTERACTION.
14/15
THESISPROJECT B LU R T H E L I N ES FIGHTING INTOLERANCE IN J A M M U A N D K A S H M I R // R ES E A R C H
This thesis project was intended as an exploration of how the built environment can become a part of cross-cultural conflict mediation. My work was heavily influenced by the work of authors and architects such as Lisa Findley in Building Change: Architecture, Politics, and Cultural Agency, Alain de Botton’s The Art of Travel, and Elizabeth Diller and Ricardo Scofidio in their book entitled Back to the Front: Tourisms of War. Research led me to the Kashmir Territory (otherwise known as Jammu and Kashmir) in northern India due its constant conflicting rage between India and Pakistan. The images at the right illustrate an analysis of the conflict as well as the peoples that exist there.
The program of a train station/market was developed due to the notions that travelling causes one to be more vulnerable and aware of new peoples and customs, and markets and bazaars provide authentic experiences of said cultures. By mixing the two, there is an opportunity to allow different people from different parts of the world to interact with one another. The site chosen was a college town of Sopore, about 20km northwest of the summer capital of Srinagar. This location offers many travel opportunities for tourists, including several nearby ski resorts. The degree college also draws students who often travel by train from many nearby towns The pre-existing train station was recently burnt as part of a protest in August of 2010, making it the ideal location to test these ideas. jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
ABOVE. IMAGES SHOWING RELATIONSHIP OF TROOP OCCUPATION WITH TOURISM, MARKETS, AND TRAIN STATIONS, INCLUDING THE BURNING OF SOPORE’S STATION. RIGHT. IMAGES OF KASHMIRI CULTURE INCLUDING A CRAFTSMAN CONDUCTING THE LOCAL TRADE OF WOOD CARVING AND A PEACEFUL SIT-IN PROTEST OF KASHMIR’S JAMMU TAWI STATION. BELOW. MAP SHOWING SCOPE AND LOCATIONS OF VARIOUS CONFLICTS WITHIN THE REGION. OVERLAY DIAGRAMMATIC ELEMENTS CONSTRUCTED USING ADOBE PHOTOSHOP AND INDESIGN.
101+ DEATHS
2010
50-100 DEATHS 1-50 DEATHS SRINAGAR SHOOTINGS
SRINAGAR BOMBING KULGAM MASSACRE DODA MASSACRE
NADIMARG MASSACRE
L LE KI
D
ED
00 INDIAN AFS PA
TH
U IND
S RELO CA T
GAWAKADAL MASSACRE
DI
SOPORE MASSACRE
SHMIRI PAN
PAHALGAM TOURIST INCIDENT
KA
SANGRAMPORA MASSACRE
70
00
AMARNATH MASSACRE CHITTISINGHPURA MASSACRE
KARGIL WAR WANDHAMA MASSACRE
1990
300 ,0
70
0,0
SRINAGAR SHOOTINGS KISHTWAR MASSACRE CHALWALKOTE MASSACRE
0 CIVILIANS ,00
2000
QASIM NAGAR MASSACRE
16/17
B LU R T H E L I N ES FIGHTING INTOLERANCE IN J A M M U A N D K A S H M I R // P R O C ES S HOW CAN THE BUILT ENVIRONMENT SOLIDIFY OR EMBODY A CULTURE THAT HAS BEEN SYSTEMMATICALLY INVISIBLE?
Formal and aesthetic consideration led to the organizational structure based on pattern commonalities among the various cultures, as well as the reinterpretation of the local wood-carving trade into a hollowed and elevated building envelope that houses the station’s programmatic elements.
HOW CAN ONE FIND A BALANCE BETWEEN SECURITY AND FREEDOM THROUGH THE IMPLEMENTATION OF BUILT FORM?
Spatial volumes are composed in a way that enhances the juxtaposition between spontaneous, freedom-based market spaces and the intimidating oppression of the station security offices. Also, circulation is woven through the station and market, which are both often locations of protest in Kashmir, and are organized to allow freedom of movement by all users.
HOW CAN THIS PROJECT FACILITATE SOCIAL INTERACTION THAT INCREASES AWARENESS OF, AND IS SENSITIVE TO, THE CURRENT STATE OF KASHMIR?
Main spaces, such as the cafe, market stalls, and station platforms, are programmed to be used by a mixture of tourists, students travelling to the nearby college, as well local inhabitants of the area. These spaces are also oriented to enhance views of the surroundings mountains, the street activity, and the massacre site...all spaces of cultural significance.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
TRAIN PLATFORM SECURITY OFFICE
MARKET ACTIVITY
2
CIR CU
TOURIST INFORMATION CENTER
LA TIO
N
PERMANENT MARKET SPACES
1
TOURIST STUDENT RESIDENT
CAFE WAITING AREA
MARKET ACTIVITY DEGREE COLLEGE
3
HIMALAYAN MOUNTAINS
SPONTANEOUS MARKET SPACES
4
MASSACRE SITE
wood form evolution.
circulation.
volume adjacency.
views.
ABOVE. CONCEPTUAL DIAGRAMS. RIGHT. ANALYSIS CONDUCTED IN ORDER TO UNDERSTAND LOCAL COMMON DECORATIVE PATTERNS AS WELL AND APPLY IN A WAY THAT ESTABLISHES AN ORGANIZATIONAL PATTERN. PHOTOGRAPHIC IMAGE WITH OVERLAY DIAGRAMMING CONSTRUCTED IN ADOBE INDESIGN.
elongated diamond shapes.
repetitive voids.
angular, linear elements.
extruded components.
SECONDARY SCHOOL FOR GIRLS
SECONDARY SCHOOL FOR BOYS
SOPORE MASSACRE SITE SOPORE DEGREE COLLEGE
SITE PLAN
18/19
B LU R T H E L I N ES FIGHTING INTOLERANCE IN J A M M U A N D K A S H M I R // D ES I G N LEFT. PHYSICAL MODEL CONSTRUCTED USING CHIPBOARD, BASSWOOD, AND PLEXIGLASS. SCALE 1/8IN = 1FT RIGHT. DRAWINGS HAND DRAFTED, THEN MANIPULATED IN PHOTOSHOP.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
TICKET
TOURIS
M CEN TER
PUBLIC
SALES
OPEN
RESTR
OOMS
SE U RIT OFFCIC E Y
TO B ELOW
LO RENCTKER AL
STREET LEVEL PLAN
PERMA
UPPER LEVEL PLAN
TRAIN A RRIVA
L PLATF ORM
NENT M ARKE
T STALL S
TRAIN D EPARTU
RE PLA TFOR
OPEN T O BELO W
OPEN T O BELO W
MARKET LEVEL PLAN
TEMPO
RARY M ARKET STALLS
M
CAFE WAIT
ING A REA
20/21
B LU R T H E L I N ES FIGHTING INTOLERANCE IN J A M M U A N D K A S H M I R // D ES I G N LEFT + RIGHT. IMAGES SHOWING CONDITIONS OF THE STATION PLATFORM, THE STREET, AND THE TEMPORARY MARKET STALLS. HAND RENDERED AND MANIPULATED IN PHOTOSHOP.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
22/23
P R O F ES S I O N A LW O R K
RIGHT. CONSTRUCTION DOCUMENT SHEETS A4.1-A4.3 SHOWING WALL SECTION DETAILS OF THE DEARBORN COMMUNITY CENTER PROJECT IN DEARBORN, MISSOURI. AUTOCAD LT. RIGHT. RENDERINGS SHOWING OPTIONS FOR A RESTAURANT EXTERIOR RENOVATION. GOOGLE SKETCHUP AND ADOBE PHOTOSHOP.
jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
T H A N K Y O U. jessica.dian.reed.shultz // 417.872.9303 // jdreed.shultz@gmail.com
PG. 15 IMAGE FILE LOCATIONS (left-right). amitavakumar.blogsome.com/2006/09/ (accessed December 5, 2010). http://photography.nationalgeographic.com/photography/wallpaper/border-security-force_pod_image.html (accessed December 5, 2010). http://www.cbsnews.com/stories/2010/09/12/ap/asia/main6858284.shtml (accessed December 5, 2010). http://viiphoto.ning.com/photo/kashmir-wood-carving?context=user (accessed February 7, 2011). http://delhiwatch.wordpress.com/ (accessed December 5, 2010).