Kelly Cronin Collegiate Portfolio

979.450.6705 | KELLYHEYER@GMAIL.COM

Bennett Partners 5/2022 - 10/2022 Fort Worth, TX ASA Architects 7/2018 - 5/2022 Las Cruces, NM El Paso, TX

12 YEARS EXPERIENCE

Associate / Senior Project Manager

Responsible for business development as well as management and coordination regarding all aspects of project efforts. Served as the primary client and general contractor contact. Managed client budgets, schedules, and oversees internal team. Estimated fees, determined scopes of work and authored proposals and contracts. Served as internal LEED expert. Project types included: Municipal | Higher Education

Senior Project Architect

Responsible for business development as well as management and coordination regarding all aspects of project efforts. Served as the primary client and general contractor contact. Managed client budgets, schedules, and oversees internal team. Estimated fees, determined scopes of work and authored proposals and contracts. Served as internal LEED expert. Project types included: Municipal (Aquatic Center & Animal Services Center) | K-12 Education | Public Safety (Detention Center).

Peter Vincent Architects 6/2016 - 6/2018 Honolulu, HI

Bennett Benner Partners 2/2013 - 11/2015 Fort Worth, TX

Project Architect

Responsible for management and coordination regarding all aspects of multiple luxury custom residential buildings. Responsible for project conceptual design; drawing documentation; writing specifications; selecting finish materials and fixtures; and managing consultant coordination. Served as the primary client and general contractor contact for all aspects of projects. Managed client budgets, schedules, and internal team. Project types included: Luxury Custom Residential.

Project Coordinator

Responsible for management and coordination regarding all aspects of multiple small and midsize buildings at all phases. Served as the primary client and general contractor contact. Managed client budgets, schedules, and internal project team as well as estimated fees, and determined scopes of work. Served as head LEED expert & Instated company’s AIA 2030 Commitment. Project types included: Mixed-Use Multi-building Development | Higher Education | Commercial & Retail TI.

Square Feet Studio 6/2012 - 12/2012 Atlanta, GA

IBI Bay Architects 07/2009 - 07/2010 Houston, TX

5G Studio_collaborative 12/2008 - 06/2009 Dallas, TX

Architectural Intern

Responsible for preparing presentation and technical documentation for multiple small and midsize projects. Project types included: K-12 Education | Restaurant Interior.

Architectural Intern

Responsible for preparing presentation and technical documentation for multiple midsize projects. Project types included: K-12 Education.

Architectural Intern

Responsible for preparing presentation and technical documentation for multiple midsize projects. Project types included: Restaurant | Hospitality | Higher Education.

EDUCATION | AWARDS EXTRA CURRICULAR

Georgia Institute of Technology Masters of Architecture 2012 - 2012 | Atlanta, GA

Faculty Award of Merit - Best Thesis Project | Marthame Sanders Fellowship | Portman Prize Winner, Third Place | Wood & Metal Shop Coop Assistant & Architecture Library Librarian

University of Texas at Arlington Bachelors of Science in Architecture 2005 - 2009 | Arlington, TX

University Scholar | USGBC Kristen Kirkley Scholarship | Dean’s List Finland Design Summer Studio Competition Winner

Leadership Las Cruces Alumni

USGBC Hawaii | Education Board Member

Academy of Neuroscience for Architecture Neuroscience for Architecture Certification

SALK Institute, San Diego, CA. A comprehensive background in neuroscience as it relates to architecture and the built environment with emphasis on environmental psychology, neuroanatomy, and neurophysiology.

Association for Community Design | Board Treasurer

AutoDesk AutoCad | AutoDesk Revit | Graphisoft Archicad | Adobe Creative Suite | Newforma | BlueBeam

LICENCES: COLORADO | HAWAII | NEW MEXICO | TEXAS

TABLE OF CONTENTS

Shape Grammars Thesis Part I Courthouse Thesis Part II

Promenade Building Portman Prize Landscape Building

Urban Infill Building

Roof Garden Congo Street Green Initiative Shell-ter

1 23 37 53 61 71 77 85

Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize Landscape Building

Urban Infill Building Roof Garden Congo Street Green Initiative Shell-ter

Rule 12

Thesis Abstract:

Shape Grammars Neural & Computational Processes of Shapes

“Like art, designed and mass-produced objects are bearers of meaning. The idea that visual cues communicate specific messages has a distinguishing ancestry.” Using thirty different parts of the brain to see, we are able to recognize and understand the visual environment. How do shapes and forms influence our understanding and perception of the space and the built environment? Stanislas Deheane explains how the visual processes of reading are not inherent in the brain but are learned with growth. Although, he also states that the brain is not exactly a “blank slate,” that “alphabet of shapes” (like the T shape of a face) influences the way we see other formal compositions. “These themes are not just intellectual constructs but echoes of actual material objects and spatialized patterns: abbreviated universal ‘grammars’ of line and color...” The imbedded language of shapes suggests that forms evoke a grammar or defined behavior and “how the objects make the mind” (proving that all humans have synesthesia to a small degree.)

Additionally, a process of formal design exploration using visual computation entitled shape grammars, explores the visual computations of primitive shapes (like Froeble blocks) to create dynamic spatial relationships and formal compositions solely based on the mathematics and symmetries of the shape. In contrast to symbolic computational processes where codes and language are representative of shapes and functions, visual computation allows for more authorship and intentionality. Mitchell Stiny describes, “shape grammar formalism allows for algorithms to be defined directly in terms of labeled shapes and parameterized labeled shapes. Each such algorithm defines a language of shapes.”

How do the visual computational process and the neurological process of understanding shapes influence and inform inspirations for design, specifically for architecture? How and why does our brain organization determine our understanding of shapes and forms and in turn possibly our understanding of architectural formations? How do these two processes of seeing, cataloguing, perceiving form influence how we design and experience architecture?

Bibliography

Stafford, Barbara Maria, ed. A Field Guide to a New Meta Field: Bridging the Humanities-Neuroscience Divide. Chicago: University of Chicago Press, 2011. Print. _ Stafford, Barbara Maria. Echo Objects: The Cognitive Work of Images. Chicago: University of Chicago Press, 2007. Print. _ Deheane, Stanislas, Reading in the Brain: The Science and Evolution of a Human Invention. New York: Viking, 2009. Print. Hauser, Marc. Moral Minds: How Nature Designed Our Universal Sense of Right and Wrong. New York: Ecco, 2006. Print _ Knight T, 1994. Transformations in Design: a Formal Approach to Stylistic Change an Innovation in the Visual Arts Cambridge University Press, Cambridge, England Stiny G and J. Gips, 1978. Algorithmic Aesthetics, University of California Press, Berkeley, CA _ Stiny G, 1976, “Two exercises in formal composition”, Environment and Planning B 187 – 210 Stiny G, 1980, “Introduction to shape and shape grammars” Environment and Planning B: Planning and Design 7 343-351 Stiny G, 1980, “Kindergarten grammars: designing with Froebel’s building gifts” Environment and Planning B: Planning and Design 7 409-462 _ Stiny G, 1977, “Ice-ray: a note on Chinese lattice designs” Environment and Planning B: Planning and Design 4 89-98 _ Stiny G, Mitchell W J, 1978, “The Palladian Grammar” Environment and Planning B: Planning and Design 5 5-18 _ Stiny G, Mitchell W J, 1980, “The Grammar of paradise: on the generation of Mughal gardens” Environment and Planning B: Planning and Design 7 209-226 _ Knight T W, 1990, “Mughal gardens revisited” Environment and Planning B: Planning and Design 17 73-84 Koning H, Eizenberg J, 1981, “The language of the Prairie: Frank Lloyd Wright’s Prairie houses Environment and Planning B: Planning and Design 8 295-323 _ Duarte J P, 2005, “Towards the mass customization of housing: the grammar of Siza’s houses at Malagueira” Environment and Planning B: Planning and Design 32(3) 347-380 _ Flemming U, 1987, “The role of shape grammars in the analysis and creation of designs” in Kalay Y E (ed.) Computability of Designs (New York: John Wiley amp; Sons) 245-272 (AE) Dye D S, [1937], 1974, A Grammar of Chinese Lattice, Vols. 1, 2 (Dover Publications, New York) _ Emmer M, 1993 Ed, The Visual Mind: Art and Mathematics (MIT Press, Cambridge, Massachusetts) _ Grünbaum B, Shephard G, 1987, Tilings and Patterns (Freeman Press, San Francisco) Haeckel E, 1974, Art Forms in Nature (Dover Publications Inc, New York) Sullivan L H, [1924], 1967, A System of Architectural Ornament According with a Philosophy of Man’s Powers (A L Huxtable, New York) _ Thomson D W, [1917], 1992, On Growth and Form (Cambridge University Press, Cambridge)

1 23 37 53 61 71

Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize Landscape Building Urban Infill Building Roof Garden Congo Street Green Initiative Shell-ter

DOWNTOWN MOBILE, ALABAMA NEW FEDERAL COURTHOUSE SITE PLAN SCALE 1” = 500’

Contemporary U.S. Courthouses pose unique design challenges. They have complex functional requirements and vary widely in their size, volume, configuration, form, program, and style. The courthouse design itself has received much attention in recent years under the GSA Design Excellence Program. The proposed design of a new federal courthouse is Mobile, Alabama, a state fraught with race discrimination. The most significant and identifiable characteristics of federal courthouses are the divisions in three distinct, independent zones that all terminate at the courtrooms. The three zones are: 1) the general public zone intended for includes attorneys, clients, witnesses and jurors; 2) the restricted zone intended for judges, court clerks, court employees and jurors; and 3) the secure zone intended for defendants in custody. The circulation between the three zones can not cross or interact at anytime making the building circulation and programmatic building designs quite complex. Utilizing the Shape Grammar design processes, the distinct zones can be applied in a systematic way that is influenced by both programmatic constraints as well as the neurological development and interpretation of the design methodology.

COURTHOUSE GRAMMAR COURTROOM GRAMMAR

COURTHOUSE GRAMMAR COURTROOM GRAMMAR

FINAL MODEL - COURT ROOMS

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Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize Landscape Building Urban Infill Building Roof Garden Congo Street Green Initiative Shell-ter

Promenade Building

Peachtree Promenade High School for Environmental Science allows for a creative and unconventional atmosphere for the enjoyment of learning. A large interior atrium creates the opportunity for an increase in the integration and cross-pollination of students and knowledge. The Vertical Promenade that moves throughout the project can be seen as a continuation of the street and lift up into the building. As an extension of the public sidewalk, the project becomes deeply rooted in it’s immediate context and grows to be an essential piece of the urban fabric. The building provides both service to the students as well as it’s neighbors by incorporating a public rain garden, and an experimental roof top lab, where students experiments can be conducted and observed as well as provide neighbors with an outdoor social gathering space. These elements allow for both students and their surrounding community to participate in the science experiments and simultaneously serve as a public garden. Everyone can utilize the building as a place to learn as well as a space to learn from. The building mediates itself between a dense urban, high-rise context as well as a low-rise, sparse residential context. The school also utilizes an integrated learning environment on a typical block schedule, allowing for longer class times and subjects every other day. This allows for multidisciplinary learning and team teaching, which results in more engaged students. The integration of subjects and teachers allows students to learn in a more collaborative and dynamic environment.

The building creates smart young adults by being smart itself. The building incorporates a rain garden and a roof garden that filters and stores water and also serves as a storm water management program. Additionally, the green roofs also help to prevent a heat island effect by allowing for the building to cool and not absorb too much solar heat gain. The building also incorporates a unique, extruded metal inspired facade screen that provides protection from the harsh western and southern sun rays and allows for the eastern and northern sunlight to day light the building naturally. This helps to reduce energy consumption and energy costs by minimizing the use of additional lighting. Lastly, the perforated screen helps to reduce heating and cooling costs with the use of operable windows and allowing air to move naturally through the facade screen and up the atrium creating a natural breeze.

ROOF LAB PLAN

FORTH FLOOR PLAN

FIFTH FLOOR PLAN

SECOND FLOOR PLAN

THIRD FLOOR PLAN

FIRST FLOOR PLAN

Sub-Level 1

BASEMENT FLOOR PLAN

Sub-Level 1

Ground Floor Scale: 1” = 0”-200’

Ground Floor Scale: 1” = 0”-200’

SOUTH ELEVATION

SKIN STUDY MODEL

Landscape Building

Sandwiched between the chaotic urban street and the open waterfront, the project, marks the place for transitional space. The landscape architect’s office is a structure that serves as a progressional element both formally and theoretically. The building becomes both a transitional space as well as a transitional place. Moving from strict gridded organization to the abrupt defiance of such organization shows the transition from east to west across the site. The main spaces are located in the center of both the literal and theoretical transition zones. Housed in the large glass prism is the main conference room for both professionals and non-professionals to communicate ideas. The main entrance for both cars and people is on the northern most side of the site. Although standing only 4 feet off the ground the slanted slab of material denotes the front entrance and is submerged into the site. Beams span across the front offices to the parking allowing for diffused natural light to enter the office spaces as well as providing shade for both the parking and the walkway in between. Triangulated skylights puncture the upper garden providing natural light for the additional offices below. An expressive blade slices into the additional office spaces, creating a way to access the upper garden more privately.

Urban Infill Building

As an exploration of urban analysis and insertion, this project was placed into the existing urban fabric located in the city of Heerlen, Netherlands. Within in the city circle there are several iconic buildings such as The Glass Palace and The Music School. The project took numerous cues from the two iconic buildings as well as the facades adjacent to and across from it. In efforts to enclose the city circle, the project creates pedestrianfriendly outdoor spaces that allow for large gatherings and other outdoor activities. While the topography of the site is very flat, the project creates platforms, suggested pathways as well as sunken patios. The church steeple and the elegant blank facade of The Glass Palace allowed the building to create a framed view of the steeple. This also provided a raise outdoor patio that would complement all three structures. The large blank facades are elegant in their purity, but also allow for large video projection activities to occur, which are current happenings in Heerlen. The street corner is recessed back from the curb of the street to provide a shaded and covered entrance. The west-facing facade is also pulled back to continue the ninety-degree angle seen in plan as well as providing a small green space in front of the intimate cafe.

1 23 37 53 61 71 77 85

Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize

Landscape Building

Urban Infill Building Roof Garden

Congo Street Green Initiative Shell-ter

Roof Garden

The site was one hundred and twentyfive feet by fifty feet. While the site creates a space that is long and narrow, this space is utilized in three ways: forced perspective, a space for the sport of fencing, and a small tea house. To emphasize the length and the sequence of entry, the stair entrance was accentuated with the use of forced perspective. Walls that gradually thicken towards the top of the stair, combined with the very gradually slope create a false sense of the space, making it feel longer than it actually is. The repetition of the columnar system and the overhead beams also articulates the elongation of the entrance. The focal point at the top of the stair is a red iconic installation piece which can be seen through the fogged glass of the tea house. The tea house is elevated and surrounded by translucent glass making the hierarchical box a peaceful space inside. Utilizing the existing building column structural system, the project also provided a grid system that assisted in the organization of spaces. On the other side of the interior thickened wall is a long, narrow space that is ideal for fencing.

FLOOR PLAN (CHARCOAL)

GRID STUDIES

PHYSICAL MODELS

TEA ROOM VIEW

STREET REVITALIZATION

Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize

Landscape Building

Urban Infill Building

Roog Garden Congo Street Green Initiative

Shell-ter

Congo Street Green Initiative

Congo Street is located in southeast Dallas just east of Fair Park and has become one of the best kept secrets in town. Dating back to the eighteen hundreds,small houses were built by multiple families to help aid in the growth of the city of Dallas. Closely lining the street, the scale and the proximity of the houses create a unique exterior corridor allowing for a hand full of families to have a more personal and intimate relationship as both family members and as neighbors. This social support system is another distinctive aspect of Congo Street. Although several family members live in their individual houses, many times one household will offer to feed the entire street, creating a strong family support system with heartfelt moments and good times. While the richness of Congo Street remains, others have seem to over look it and over time the street and the houses have begun deteriorating. With the help and collaboration with bc Workshop and the UTA design/build studio, a proposal was suggested to the neighborhood and the street/ families to provide better housing conditions, with aspects of community and sustainability as the nail drivers of the design process. This inspired the Congo Street Initiative, which allows for revitalization of the street without matters of displacement.

COMMUNITY MEETINGS ON SITE

HOLDING HOUSE CONCEPT

CONGO STREET FAMILY NETWORK

FRANKIE’S HOUSE VERNESSIA’S HOUSE

PAT & EARNEST’S HOUSE

FRED’S HOUSE MS. ELLA’S HOUSE

Shape Grammars Thesis Part I

Courthouse Thesis Part II

Promenade Building Portman Prize

Landscape Building Urban Infill Building Roof Garden Congo Street Green Initiative Shell-ter

Kelly A Heyer AIA LEED AP NCARB 979.450.6705 KELLYHEYER@GMAIL.COM