J E S S I C A
P R E J E A N
P O R T F O L I O
SELECTED WORKS
2 0 1 0 - P R E S E N T
J E S S I C A
P R E J E A N
P O R T F O L I O
SELECTED WORKS
2 0 1 0 - P R E S E N T
1
E D U C AT I O N U N I V E R S I T Y O F L O U I S I A N A AT L A F AY E T T E
2010 - 2016
Bachelors in Architectural Studies, May 2014 GPA: 3.9 Masters in Architecture, May 2016 GPA: 4.0
EXPERIENCE D R A F T I N G / P ROV I D E N C E D E S I G N + B U I L D SUMMER 2013
Assisted with the design of a small residential home in the Baton Rouge area. It consisted of coming up with an initial design and alterations of loor plan development that led to inal construction document production. Established IDP to start recording experience.
U R BA N P L A N N I N G / CO M M U N I T Y D E S I G N WO R KS H O P SUMMER 2014
Worked alongside the CDW summer class to design a schematic plan for an Equestrian development in the Opelousas, LA area. This included initial drawings of the area for site analysis as well as looking at the project as an urban development scheme to satisfy the clients..
A S S I S TA N T / S C H O O L O F A R C H I T E C T U R E + D E S I G N AUGUST 2012 - PRESENT
Graduate Assistant: aided a professor in the design of an Exhibition and the promotion tools for the Masters of Architecture program at UL Lafayette. Teaching Assistant: Critiquing the work and design process of the irst year design studio classes, preparing them for the separation into their distinct design majors.
F R E E L A N C E WO R K DECEMBER 2015 - PRESENT
Drawing loor plans for construction company for residential neighborhoods. Business Card design for individuals promotion.
2
RECOGNITION U N D E R G R A D U AT E Certiicate of Design Excellence (Design 102, Arch 202, 301, 302, 401, 402)
G R A D U AT E Certiicate of Design Excellence (Arch 501+502), Faculty Award for Masters Project
MEMBERSHIP Phi Kappa Phi Honor Society Tau Sigma Delta Honor Society
SKILLS I N T H E WO R K P L AC E Highly organized, detail oriented, meets deadlines, and proicient at multi-tasking Writes clearly and concisely, teaches/trains/instructs, delegates responsibility Develops strategies, analyzes issues, meets goals, accepts responsibility
MANUAL SKILLS Design through urban planning and site analysis Free hand rendering and drating Trained around Urban programming, structural fundamentals and schematics
TECHNICAL SKILLS CAD drating, modeling, and rendering including SketchUp, Revit, and Podium programs Digital drating including Adobe Photoshop, Illustrator, and InDesign Programs
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4
INDEX 01 U R B A N F U N D A M E N TA L S
02 URBAN INFILL: LUX BUILDING
ARCH 202 UNDERGRAD L A FAY E T T E , L A
ARCH 302 UNDERGRAD L A FAY E T T E , L A
(p.7)
(p.11)
03 CONNECT THE CONTEXT
04 URBAN AGRI-PUNCTURE
ARCH 402 UNDERGRAD TECHE-VERMILLION BASIN
ARCH 402 UNDERGRAD NEW ORLEANS, LA
(p.15)
(p.23)
05 CAMELLIA GRIDSHELL
06 URBAN DEVELOPMENT
A R C H 5 0 1 G R A D U AT E L A FAY E T T E , L A
A R C H 5 0 2 G R A D U AT E L A FAY E T T E , L A
(p.33)
(p.35)
07 MASTER’S PROJECT
08 PHOTOGRAPHY
A R C H 5 0 9 G R A D U AT E D O W N T O W N L A FAY E T T E , L A
(p.55)
(p.41)
09 OTHER INTERESTS (p.69)
01 2010
2011
2012
02 2013
03 04 2014
05
06 2015
07 2016
5
6
2010
01
2011
2012
2013
2014
2015
2016
URBAN F U N D A M E N TA L S L O C AT I O N : D O W N T O W N L A FAY E T T E , L A This studio consisted of the development of skills involving continuous surface, containments of space, and other aspects within the condition of the urban environment.
U R B A N F U N DA M E N TA LS
7
8
U R B A N F U N DA M E N TA LS
9
10
2010
02
2011
2012
2013
2014
2015
2016
URBAN INFILL THE LUX BUILDING L O C AT I O N : D O W N T O W N L A FAY E T T E , L A This project was the introduction of inill architecture located within a downtown coniguration. It laid the foundation for schematic planning, development of wall sections, and the merging of an idea with the end built result.
URBAN INFILL: THE LUX BUILDING
11
BUILDING WITHIN CONTEXT The main strategy for this project was to create a piece of architecture that it into the existing conditions, acting as an enhancement rather than a new obstacle. It is a multi-use facility that acts as a hub within the crowded downtown area. The two masses of the building create a walkway in between, making a more welcoming walkway between its two parallel roads. The integration of complete streets, green ways, trees, and improved landscaping around the site allows for an overall more aesthetically pleasing experience for the user.
12
UR UB RA BN A NI NI NF FI LI LLL: : TTHHEE LLUUXX BBUUIILL D D II N NG G
13 13
14
2010
03
2011
2012
2013
2014
2015
2016
CONNECT THE
C O N T E X T L O C AT I O N : T E C H E - V E R M I L L I O N B A S I N Investigation of the Teche-Vermillion Basin bordered on the East by the West Atchafalaya Basin Protection Levee. Survey of an ordering system of the basin by critically studying systems that inform and have given form to this landscape territory. The outcome is to create a two-dimensional presentation and an analogous three-dimensional artifact which will deploy the regional tectonics.
S E D I M E N TAT I O N O F T H E C A N A L The resulting three-dimensional expression of the drawing is about the sedimentation of the canal. The ending idea is that of creating a gridded system displaying the language of the interaction or intersection of gravity (deposit of sediment) on the y axis and the velocity (speed of the water) on the x axis. From there, I’ve simpliied the expression to be that of the structure or man-made becoming the main form tied together by the organic system.
CONNECT THE CONTEXT
15
INITIAL RESEARCH THE BASIN CONFIGURATION
Studying the placement of sedimentation through it’s organic form along the basin. By looking at the structural (man-made) interference with nature I can compare and measure it against the organic canal formation of the basin.
16
Mapping out the zones of interaction or interplay displays the intense coniguration of the basin. Through this exercise, I’ve discovered and identiied the beginnings of formation patterns that point to the larger organization of the basin as a whole.
CONNECT THE CONTEXT
17
B E G I N N I N G E X P L O R AT I O N S ORGANIC VS. MAN-MADE
Initially, the idea was about exploring the organic formation of the basin and the sedimentation or build up that occurs over time. This build up is the result of years of water depositing material on the outskirts of the basin. This drawing depicts the beginning of structuring the formation, essentially giving inspiration for the three-dimensional artifact.
18
This depicts the interaction of sedimentation pockets as a formation of structure (organic in nature). The idea that man-made is very structured in comparison to the organic nature of the basin.
CONNECT THE CONTEXT
19
Experiential drawing depicting the organic nature of sedimentation buildup on the basin and the dense zones this action eventually creates. When velocity slows - gravity removes the particle from the low.
20
ORDERING SYSTEMS SEDIMENTATION + CANALS
The drawings now become about the language and interaction of the sedimentation and canals. The two deined forces at play here is gravity and velocity. Together these forces create layers of build up.
CONNECT THE CONTEXT
21
PEOPLE LIVING IN FOOD DESERTS 22
70,660 MID-CITY + ESPLANADE RIDGE FRENCH QUARTER CENTRAL CITY
35,860 GENTILLY 7TH, 8TH + UPPER 9TH WARDS
20,087 LOWER NINTH WARD
49,570 EASTERN NOLA
2010
04
2011
2012
2013
2014
2015
2016
URBAN AGRI-PUNCTURE L O C AT I O N : N E W O R L E A N S , L A P R O J E C T PA R T N E R :
OLIVIA ALMEIDA
This studio is competition-based, letting the team of students drive their own project which allows for the individual thought process and the development of researching skills that are needed in the professional studio.
A lack of healthy food available in low-income neighborhoods has produced “food deserts,” areas overcome with fast food but miles from the nearest supermarket. We propose that part of the answer to our nation’s current health epidemic can be found in urban farming. By identifying current urban farming initiatives in combination with low-income and low-access areas, we can begin to create a network of food production and distribution within Gentilly, and eventually the city of New Orleans as a whole. We believe that food is the connection between people and land. Because of this, our project proposes ideas that seek to allow food to shape our urban environment, thereby shortening not only the physical distance between people and food, but also the conceptual distance. A food dessert is considered a low-income area with a population of 500 or more that does not have a grocery store within one to ten miles.
URBAN AGRI-PUNCTURE
23
U R B A N FA R M PRIMARY SITES
PARIS AVENUE
ED UCAT IO N + PRODU C TI ON + DIS TRI BU T I O N
MIRABEAU AVENUE
S E AT I N G AREA
WELCOME CENTER
FRESH MARKET FOOD PROCESSING
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PRIMARY SITE PLAN The primary site is the main source of production and distribution within the neighborhood.
Development
services
international initiates the funding and operations of the facility, with the eventual goal of being community driven. Not only does the urban farm provide the community with afordable access to fresh, healthy foods, it also incorporates programs that educate the consumer about the beneits of healthy eating habits and community involvement.
URBAN AGRI-PUNCTURE
25
BENEFITS
HYDROPONICS
- Year-round crop production - Converts abandoned urban properties into food production centers. - Dramatically reduces fossil fuel use.
IMPLEMENTATION WITHIN THE VERTICAL FARM
S TA N D I N G S E A M R O O F Prevents overheating of the collected rainwater, leaving the remaining panels translucent for sun exposure to the plants.
R A I N W AT E R C O L L E C T I O N Contains a gutter that feeds into the 190 gallon container for storage. Tubing allows for gravityfed irrigation.
C - C H A N N E L T R AY S Used for planting with an adjustable depth and width to allow for a variety of plants.
C.M.U. Facing the North in orientation that allows for solar heat gain during the winter months.
THIN STEEL MEMBERS Allows for the maximum penetration of sunlight.
MESH FOR DRAINAGE Used as a method of ďŹ ltration of the debris and as protection from insects.
CONCRETE IMPRESSIONS To collect the run-o water, the slab tilts slightly for drainage; this allows for a continued use as it irrigates the surrounding outside plants. 26
URBAN AGRI-PUNCTURE
27 27
C O M M U N I T Y PAV I L I O N S SECONDARY SITES PRODUCTION+DISTRIBUTION NETWORKS
PAINTERS STREET
28
40 1. m i
0.85 mi
1.31 mi
1.28 mi
0.19 mi
1.19 mi
i
1.7
5m
Primary Sites Secondary Sites
SECONDARY SITE PLAN The secondary sites create a network of food production and distribution within Genitally on a more accessible scale. These sites produce food, but obtain their main source for distribution from the primary sites. Secondary sites provide greater access to fresh food, but also encourage community involvement and education at key locations within each neighborhood. The goal is to pinpoint parts of the city that have been neglected and abandoned by viewing these city problems as opportunities for growth in every sense of the word.
URBAN AGRI-PUNCTURE
29
View of the back area of the community garden displaying the naturally planted vegetation patches that have to be maintained seasonally.
INTERIOR OF GARDEN
30
Community garden pavilion that acts as a distribution node as well as a food production center on a smaller scale. This allows for a broader range of implementation of these community gardens.
STREET VIEW
URBAN AGRI-PUNCTURE
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32
2010
05
2011
2012
2013
2014
2015
2016
CAMELLIA GRIDSHELL L O C AT I O N : C A M E L L I A , L A S T U D I O C O L L A B O R AT I O N
The Camellia Gridshell Pavilion was completed by the UL Lafayette Graduate students and the city of Lafayette. It began with the schematic design concepts developed in the 501 graduate studio and transitioned into construction documents for the inal conception.
The Camellia Gridshell provides a space for shade and rest, for relection of the art, and for promotion of education within the Camellia Art Park. Here, art and Architecture come together through the integration of physical and cultural concepts regarding place and structure.
CREDIT: MEGAN BERGERON
CAMELLIA GRIDSHELL
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34
2010
06
2011
2012
2013
2014
2015
2016
URBAN DEVELOPMENT L O C AT I O N : L A FAY E T T E , L A P R O J E C T PA R T N E R :
ADAM DENAIS
A studio based on the collaborative development to create an urban master plan that incorporates the idea of reconnecting throughout the city of Lafayette.
Our team strategy was to layer diferent techniques of rainwater mitigation, connectivity, and bufering, shiting the facility from a barrier to a bridge way between the gap that has been disconnecting communities within the North Lafayette Area. This master plan concept also introduces a more grand entrance, or gateway, into the city.
B I K E PAT H I N T E G R AT I O N Our transportation center is designed to plug-into Lafayette’s proposed 2030 bike path initiative.
B I K E R E N TA L S TAT I O N S In collaboration with the Eco-tourism development area, we are extending the implemented bike rental stations where people can rent bikes for pick up or drop of at any of the stations, including the trans-portation center. The stations are conveniently located at the entrances of neighborhoods.
NEIGHBORHOOD CONNECTIVITY Neighborhoods within the closest proximity have immediate access to restaurants and other essential services within our area. Further neighborhoods are connected through the implemented bike paths.
URBAN DEVELOPMENT
35
VISITOR CENTER LANDSCAPING + CONNECTIVITY
36
The schematic plan included an extension of the landscape, essentially creating a pull from the Visitor Center to the park underneath the upcoming highway. This created an opportunity to incorporate wetlands into the overall design, bridging together a modern yet cultural appeal to the area.
URBAN DEVELOPMENT
37
LEVEL II Dn
10 11 12 13 14
Ext. Exhibit Space Meeting Room Break Area Office Open Office
11
Dn 10 13
13
12 13
14
LEVEL I up
1 2 3 4 5 6 7 8 9
Lobby Area Exhibition Space Mechanical Men’s Restroom Women’s Restroom Storage Coffeehouse Rental Space Git Store
4 3 5 1
2
up
open to ab oV
e
6 7
9
6 8
38
6
WILLOW ST REET
URBAN DEVELOPMENT
39
40
2010
07
2011
2012
2013
2014
2015
2016
M A S T E R’S PROJECT THE HUMAN SENSES: DESIGNING BEYOND THE VISIBLE L O C AT I O N : D O W N T O W N L A FAY E T T E , L A The intent of this thesis is to design a multi -sensory experience, not driven by the visual, but by the creation of contrasting spaces and conditions that engage the user in their everyday settings. This can ultimately bring a better well being to individuals as it stimulated their creative minds as well as their awareness.
In today’s built environment, the social norm is focused around the idea of “ocularcentrism”, or the idea of putting the sense of sight as the primary reception factor when designing the built environment. Pallasmaa discusses in his book The Eyes of the Skin that this sensory deprivation and separation of experience is caused by this, making today’s architecture somewhat incapable of being wholesome. The intent of this thesis is to design architecture that is experienced through its sensory engagement and not through its visual aesthetics. This presents an opportunity to activate the other senses while neglecting the common importance of the visual.
OCULARCENTRISM Architecture is regarded as a visual phenomenon, so we largely generate, present, communicate and explore architecture through visual means. Essentially, the goal of this project is to reintroduce the non-visual senses, reversing the current emphasis on an ocularcentric culture so that occupants might be led into a more rewarding experience.
THE HUMAN SENSES
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SENSORY ENGAGEMENT S I T E L O C AT I O N + E X P E R I E N C E This site was chosen for its dynamic yet static formal qualities created by the three roadways essential creating it’s form. It is surrounded by activity, yet it feels disconnected from it’s environment.
TOUCH
SMELL
The tactile sense plays a crucial role in the sensory experience
Smell is a way to orient the user to a place. The presence of a
of a space. It incorporates not only the typical experience of
particular smell, it's density, and it's intensity can also deine
physically touching a surface, but it is also applicable in the
spatial boundaries. Smell is also beneicial when dealing with the
reading of spatial volumes and temperatures.
comfort of the individual. For instance, an ofice can be a stressful environment. A strategy would be to have a concentrated zone
"The architecture of the eye detaches and controls, whereas
of lavender which can be very calming to the user. Similarly,
haptic architecture engages and unites."
the aroma of cofee stimulates a user to be more creative and promote productivity.
A single texture is rarely uniformly applied to a building. A variety of materials demonstrates not only a textural variation, but variation in temperature, creating contrasting experiences.
SIGHT In architecture, sight cannot be completely ignored. What I take
SOUND The way a building sounds is the combination of the form and volume of the rooms as well as the material surfaces and their applications. The contrast of isolates zones of repressed sound against oversized, over ampliied sound can enrich the user's awareness of transition from one space to another.
I am also taking into account the sounds that a building would naturally produce as well as the sounds created from the user's interaction with that space.
42
from it is "what it does" rather than "what it looks like." Lighting can alter the experience within each space it is applied, creating a cool volume of space or a warm inviting threshold.
THE HUMAN SENSES
43 43
A 14 1
12 1 1 3
13
2
1
4
12 3
2
3
5 2
9
7 6
10 10
8
4
10
B
10
1
L E V E L
M E C H A N I C A L
1
W O M E N ’ S
R R
2
M E N ’ S
R R
3
S T O R A G E
4
O F F I C E
L O B BY
5
R O O M
6
O F F I C E
7
R O O M
8
E X H I B I T
L O B BY
9
E X H I B I T
S PA C E
1 0
C O N F E R E N C E O P E N B R E A K
44
C O F F E E H O U S E - Z O N E
1
1 1
G R O U P S - Z O N E
2
1 2
I N D I V I D U A L - Z O N E
3
1 3
K I T C H E N + P R E P
1 4
10
1
10 3
2
4 1 4 3 4
2
9
5 10 10 6 7
8 4
L E V E L
2
M E C H A N I C A L
1
W O M E N ’ S
R R
2
M E N ’ S
R R
3
S T O R A G E
4
L O B BY
5
R O O M
6
O F F I C E
7
R O O M
8
E X H I B I T
L O B BY
9
E X H I B I T
S PA C E
1 0
O F F I C E C O N F E R E N C E O P E N B R E A K
G R O U P S - Z O N E
2
1 2
THE HUMAN SENSES
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O R G A N I Z AT I O N OF EXPERIENCE S E N S O R Y S T R AT E G I E S
THERMAL
A C C E S S T O N AT U R E
Thermal properties are speciic to each programmed area of the
The access to nature, views, and daylight provide a endless
building. The cofeehouse gives a warm atmosphere while the
source of variation and sensory change.
courtyard has a cool breeze from the water feature.
V A R I AT I O N O F S P A C E S
AUDITORY CONTROL
The change of spaces throughout the sequence of walking
Three strategies are applied: the blocking of noise from the
creates a more dynamic and aware experience for the user. This
creation of a thick mass, the relection of sound to exaggerate the
can be applied through wall placement, materiality, and lighting
auditory experience, and the absorption of sound for a calmer
(thermal).
and more focused atmosphere.
V O L U M E T R I C S PA C E S Thermal properties are speciic to each programmed area of the building. The cofeehouse gives of a warm atmosphere while the courtyard has a cool breeze from the water feature.
46
L AY E R E D S P A C E S
L AY E R 1 : M A S S E D E N T I T I E S The structure of the tunnel walls and thick central walls create a primary thermal mass that acts as the bones of the building. This thickness creates a language from the directional materiality and variation in temperature that essentially plays a role in the user’s initial interaction with the building.
L AY E R 2 : E X T E N D E D T R A N S I T I O N The secondary system of walls bridge of of the primary, muscular concrete walls. This creates a contrast in the thermal properties as well as the texture and atmospheric quality of each space. The contrasting result implies and contributes to the idea of varying spaces for the senses.
L AY E R 3 : T H E C E N T R A L V O I D With the idea of creating a centrally focused voided mass, the courtyard is the result of extending the carved boundaries of the tunnel. The outcome is a language of the walls creating the void of connection in the center of the building.
THE HUMAN SENSES
47
48
THE TUNNEL The tunnel acts as the entrance of the building that bridges the gap between the harsh outside to the protected courtyard at the center. The interaction and sequence of the transition between the courtyard and tunnel entrances are the irst interaction between the user and the building. It acts as the most intense variation of change, becoming the beginning language of the sensory experience within the building.
S P AT I A L C O N D I T I O N S COMPRESSION The compressive function of the tunnel creates a pressurized experience for the user. This builds up the transition to the next space before the courtyard.
A M O M E N T O F PA U S E Ater passing through the compression, the user has a moment of pause, not being fully in the courtyard.
THE HUMAN SENSES
49
50
T H E C O U R T YA R D Once the user is past the compressive end of the tunnel, there is a shit in temperature as they pass through the barrier of the vegetated wall. The vast center of these two voids create the courtyard, the auditory and scent experience are ampliied, essentially creating a dynamic contrast to the tunnel.
THE HUMAN SENSES
51
T H E C O U R T YA R D S P AT I A L C O N D I T I O N S
TRANSITION TO THE CENTER The main experience is that of contrast, creating a dynamic sensory experience that will drastically alter the user as they walk through the spaces.
VOIDED MASS The two voids of the courtyard are both relative to the programs adjacent to them, allowing a peaceful oasis from the hustle of the everyday activities through sensory stimulation.
AUDITORY EXPERIENCE The water feature is supplied by collected rainwater to create a sensory experience when sitting in the courtyard or walking between the two screens.
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THE HUMAN SENSES
53 53
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08
PHOTOGRAPHY
PHOTOGRAPHY
55
cooper union
New York
cooper union
56
PHOTOGRAPHY
57
campbell sports centre
New York
58
campbell sports centre
PHOTOGRAPHY
59
campbell sports centre
60
campbell sports centre
PHOTOGRAPHY
61
perot museum
Dallas
62
perot museum
PHOTOGRAPHY
63
64
GHost 12
Nova Scotia
PHOTOGRAPHY
65
GHost 9
Nova Scotia
66
GHost 6
Nova Scotia
PHOTOGRAPHY
67
68
09
OTHER INTERESTS
P H O T O G R69 APHY
pen + marker
70
pen + marker
OT H E R I N T E R E STS
71
Watercolor
72
ruler + ink
OT H E R I N T E R E STS
73
Watercolor + pen
74
Watercolor + pen
OT H E R I N T E R E STS
75
76