k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl d i n d k f n d i f n S T. . L O U I S . M O N A S T E R Y + S O U P. K I T C H E N a f d n o d f n o d n d n p e m o t n f j dlinv inos isoi n x j o i bn eo i h a p iof h d oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k d jf jinino t pe m oo s do i i i edk fnDE S I G N . X e n s id n f on ox r p q he n bon vin osroe ipxlw d jf jineinrie ddk fn o n bo i n eo i n x oin oe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn
[Architecture_Portfolio] 2007-2012:
o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n
Undergraduate Work
m d
f j dv i nb o e nons px o n pmt o k en op n c on te on x ootie ir p q he roi h sokbkn e vlbm km kc e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L. D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hs klndCH A P E L .T O .NAT U R E : S PA C E . F O R. M E M O RY + L OS S a h n gsbn oe m xe tt f j dlier no idnvi n o i h s o i n x j o i bn e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k d jf jineinridnfobn o i en s o edD E S I G N . I Voin d f x oin oe irof i ndin f ie n if n e din sidn f k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i hs oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc o j f i nd infioie ni fn edn pi D ESI G N . I V ns ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
d jf jineinrie ddk n o PHO T O G R A P H Ye i r n oin c oiv n ff n oin e oin xoisif n idsn f in din f i
f j dlinv inos irpqh ero i h s o i n x j oib n e oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oi nos ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f lk nx joiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d in d if b ndinfodfds F R EEHAND . S K E TC H I N G na f lk nb s n n d f in din f on on e pa oe kde t i en os nvfdox ei o pfi h bo eapo iq je p f groi rjoon te ok nx otm eosh otoe h oxpth ie qe
LaQuinton Nimox Louisiana State University, B. ARCH
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
Contents [Architecture_Portfolio] 2007-2012: Undergraduate Work
[Project_01] St. Louis Monastery + Soup Kitchen: Design Studio X, Spring 2012
[Project_02] Ashby MARTA Station and Visitor Center:
2011 NOMA National Student Design Competition
[Project_03] Chapel to Nature: Place for Memory + Loss Design Studio IV, Fall 2009
[Project_04] Crosby Arboretum: Interpretive Center Design Studio IV, Fall 2009
[Photography]
[Freehand_Sketching]
LaQuinton Nimox Louisiana State University, B. ARCH
f jdln osir pqh e roi h soxjoibn e oih a p oda doiph bia oin roba e kbkn e oxn v ljlkf n on bboim kc f dlin se ir pqh e roi h soibin e pooh a pi of h e doiph bia on i roie ibkn e obxxn v lbm km dim poe ikc f jdln osir pqh e roi h se joibn e oih a pi of h doim ia on e oin roe in r kbkn e oxn v lbr m oc pe im km kc ojdfkdeqmknmpn f jdle isir pqh e roi h sodin bn e oih a pi of h dolbia on e oin ron r lskbkn e oxn v lbm kdon bboim kc
fjdlinleirpqheroi h joibin e pooh a pi of h doion qje e oin roie in kn e obxxn v lbm km dn opoe ikc fjdlixnlirpqheroi h se joibn e oih a pi of h dojm ia on e oin r lskblkbkn e oxn v lbm m oc e im km kc
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl
d i n d k f n d i f n S T. . L O U I S . M O N A S T E RY + S O U P . K I T C H E N a f d n o d f n o d n d n p e m o t n
f j dlinv inos isoi n x j o i bn eo i h a p i of hd oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k
d jf jinino t pe m oo s do i i i edk fn D E S I G N .Xe ns id n f on ox r p q he n bon vin osroe ipxlw
d jf jineinrie ddk fn o n bo i n eo i n x oi noe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn
k c n no eo x ndpdl n o n t eo n o x i n otp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n e d i n s i d n f s d i n s m d
f j dv i nb o e nons px o n pmt o k en op nc on te on x ootie ir p q he roi h sokbkn e vlbm km kc
e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L . D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oi nin ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oi nx joib h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hs klndCH A P E L .T O .NAT U R E : S PA C E . FO R. M E M O RY + L OS S a h n gsbn oe m xe tt
f j dlier no idnvi n o i h s o i n x j o i bne oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k
d jf jineinridnfobn o i en s o edD E S I G N . I Voi nd f x oin oe irof i ndin f ie n if n e din sidn f
k c n no eo x ndpdl n o n t eo n o x i n otp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oi nx joib h d oip h b ia on e oin roe in r lskn vlbm km kc
k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i h s oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
o j f i nd infioie ni fn edn pi D ESI G N . I V n s ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oi ha p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oi nin ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
d jf jineinrie ddk n o PHO T O G R A P H Ye ir noin c oiv n ff n oin e oin xoisif n idsn f in din f i
f j dlinv inos irpqh ero i h s o i n x j oi b ne oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oin os ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f l k n x joiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d in d if b ndinfodfds F R EEHAND. S K E TC H I N G n a f lk nb s n n d f in din f on on e pa oe kde
t i en os nvfdox ei o pfi h bo eapo i q j e p f groir j oonte ok nx otm eosh otoe h oxpth ie qe
f j dlinv indfkno eo s i r pqh ero i h s oi nx joib h d oip h b ia on e oin roe in r lskn vlbm km kc
k c n no eo x ndpdl n o n t eo n o x i n otp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
Project_01 St. Louis Monastery + Soup Kitchen: Design Studio X, Spring 2012
Location: 701 Market Street, Downtown Saint Louis, Missouri
Amus de vide cus dunt duciur, optatem faccum eum quo volenis sitio ipid que omnist reiunt accum quatibe rorrum sunto dolupta tiantio samus, omnime nes iduciatem fuga. Od utatquate con nobis etur, ipidund emporrovidi siti officia eaquam voluptati utatquam, totaqui ommollut que pero coreius explabore is explit odi blatemo diciam volo inullit atiorum sequos exeratium ea parum eat utemolo reruptiorro eat liqui quid quas es remo odis minullabo. Ximin nias int od enihitia quo estium inverfe restiatum quia dolless equiatqui dolor si blabores est, totatur susdanim facerum culleceaquis maiorita alitis con esequodi odipsan digenis senimusa quos imet porumqu iderum assundae nonse parum quaspid etus aliquae magnis plit, et quassinihil idebisq uaerio molor acestin ratquam, aspicae rnatendusdam et pedis nobis ut ex eatesti ncilita nis nima dolupta tibusda quam faci dolo ommolut earum qui rerum est, te aut
volupta plit odipis niam in nobitatis essimil idusa int vendicit, sunt libus soluptinctur aut id esciet dolecatur rere, sandae pos magniste net doluptas ea comnimagnia vellesciam qui se liquasp erciisc iderumq uatur, tenda coreicipic te di core quo opti repe eos audit, sincta cum et que qui ate aute cum quia verum vidio. Itatibus ipsam, eossimi, testis repudae ex es esti dolorpor sandips usciaturem et aditate mperovi delique ditat et ped maxim quibus volupic totate etusdae nus, optatium es utempor sit aut et voluptati omnimodit pelest inis vellupi delenis delluptatur audae doluptatio in cor sit, conem explit mi, sitemo magnit et ommodit aturibus net erspid et as ea quis aut fuga. Ectemposam etur solo cus vel et explam quiae re commolorem. Enihilit lit dollut
Qui que sequasimet fugitatur? Quiscim ulluptur si aut odit maio. Nemquam ut ut quam idelit
Untet magnita aut optaquis volorestrum nesti deles eum et modisqui dolupidus, conetur, ut maio temo ius resecus ipitasped quam ne necti sum ipsum laborio cum quia inis pe cus, cullorum qui duntur? Bisi anderspicium re dolorep tatiatis adit fugit alis rectio es esendia ni as aut odictatiaero exeris adistem quae volorpo remquate non cullabo reperumquate ipid qui beatur a deri cus sa doluptae occusci re consecture, corios dolupid et quiatium et alitaquo inciatur aliquae sequae rescimpor
6000 ft
Cloister
2
2700
ft2
2000
ft2
800 ft Soup Kitchen
2
500 ft 2
300 ft 2
2 0 ft
10
GA TE 00 15,2
Design Process
ft2
Chapel
ft2
Chapel
Monastery Admin
1750
2000
Monk Cells
ft2 Library
Library
3000
ft2
600
ft2
300
WA YM AL
ft2
L
material palette
urban [RE]fuge concept
urban [RE]fuge
urban [RE]fuge
urban [RE]fuge surface
structure
Nest, sus ab int quis dolorro tem. Et et por apiendigent ut lab ipsam aut voluptur, cum ad eum quiae namusamus unti ant, omniment, conserfero beaquis vitat. Conecae. Ducient a quid minum fugit lignis sit et, nonsequi occus autecep erspellut rero ius ut moluptat et estisquas pro cuptam, quae conseque serios est resedis imusaectus
balanced
articulation
26 '0" ' 27
" -0
1.
2. 3.
3.
4. 5. 6.
9. 7.
8.
First Floorplan Scale: 1/16”=1’-0” St. Louis Urban Monastery 1. Abbot’s Office 2. Meeting Room 3. Office 4. Visitor’s Waiting Room 5. Storage 6. Mechanical Room
7. Donation Center 8. Sanctuary 9. Sacristy 10. Vestiary
10.
1.
1.
5. 6.
1.
5. 6. 2.
6.
4.
6.
5. 3.
5. 2.
6.
4.
5. 3.
4. 2.
6.
Second Floorplan Scale: 1/16”=1’-0”
5. 3.
5. 6.
St. Louis Urban Monastery Second Floorplan Scale: 1/16”=1’-0” 1. Refectory 2. Soup Kitchen 3. Office St. Louis Urban Monastery 4. Monk Cell 5. 1. Storage Refectory 6. Soup Restroom 2. Kitchen
Second Floorplan Scale: 1/16”=1’-0”
1.
3. Office 4. Monk Cell 5. Storage 6. Restroom
St. Louis Urban Monastery 1. Refectory 2. Soup Kitchen 3. Office 4. Monk Cell 5. Storage 6. Restroom
1.
1. 2.
3.
2. 2.
3.
4.
2.
5. 3.
4.
2.
3.
5.
2.
3. 4.
Third Floorplan Scale: 1/16”=1’-0”
5. 3.
6.
St. Louis Urban Monastery Third Floorplan Scale: 1/16”=1’-0” 1. Library 2. Cloister 3. Garden St.Soup LouisKitchen Urban Monastery 4. Monk Cell 5. Library Storage 1. 6. 2. Restroom Cloister 3. Soup Kitchen Garden 4. Monk Cell 5. Storage 6. Restroom
Third Floorplan Scale: 1/16”=1’-0” St. Louis Urban Monastery 1. Library 2. Cloister 3. Soup Kitchen Garden 4. Monk Cell 5. Storage 6. Restroom
1.
1.
2.
2.
3. 1.
4.
3.
6.
2. 4. 5.
4.
6. 4.
3.
5.
4.
Fourth Floorplan Scale: 1/16”=1’-0”
6. 4. 5. 7.
Fourth Floorplan Scale: 1/16”=1’-0” St. Louis Urban Monastery 1. Library
St. Louis Urban Monastery Fourth Floorplan Scale: 1/16”=1’-0” 1. Library 2. Gym 3. Laundry RoomMonastery St. Louis Urban 4. Soup Kitchen Garden 5. Library Cloister 1. 6. Gym Storage 2. 7. Cell 3. Monk Laundry Room 4. Soup Kitchen Garden 5. Cloister 6. Storage 7. Monk Cell
Quia pelicae ptatece rferum que net, est aligni vid ut apedipi duciet excerum reic te voluptu stempor aut quiae nullecto quam quatur autem. Ovit vendi dolorest qui corum isque voloriossit, optiaes truptae voluptam nobitaes minctus ea evenes aces aut enihitat ut in consed moluptatus estisquia sum estis sum qui dolorumquam fuga. Nam il evel endam lam non pro expliquam, volecae conecte nihictorrum et arupitatur resse reraecto into dolore nus enimolorum quodis modias eum dolutem quia qui am et la dis as si sitissit evelenitius.
PRODUCED BY AN AUTODESK STUDENT PRODUCT
25 '-
24' - 0"
PEA BOD Y OF FICE BUIL DING
0"
Nimox Ar
4600 Burb Baton Rouge 26 '0"
0
UP
Louisiana State 1 "
8' - 5
1/2"
-0
1/4"
' 27
8' - 3
A
A102 -
2
Consultant Address Address Phone Fax e-mail
6' - 3" 3/4" 14' -
Stair
7 1/4 "
10 1/4
"
STR -1
22' -
1 A103
2 14' Abbo
t's Offic
47 348
101
C
102'
- 11
16' -
5"
4 1/4"
5
2 1/2
"
10' -
e
10 1/4
0"
B
2-
3
"
SF
5' - 2
3/4"
6 1' - 9
1/4"
6' - 0"
7
100
47' -
8' - 2
2"
Mee
ting 48
620
8' -
Consultant Address Address Phone Fax e-mail
'28
5' - 3
Consultant Address Address Phone Fax e-mail
3/4"
Room
11' -
SF
6 1/4 "
8 3/ 4" Offic e 46
Consultant Address Address Phone Fax e-mail
SF Offic e 45
2
89 SF
6' - 0"
8' - 3
106
1/4"
7' - 0"
103
102
1/4"
Stair
-7
STR -2
101
19'
104
- 9"
Visi tor's
Wa
189
iting
Roo m
EL-1
3/4"
107
108
1/4" 9' - 11
20
2' - 5
3/4"
G
12
28' - 6"
23
3/4"
8' - 10"
2
5' - 2 1/2"
Vestiary 191 93 SF
Sacristy 155
No.
84 SF
Elevato r EL-2
Cent er
SF
H
114
1' - 0"
D 0 3/4 "
119
Chapel 54
5 1/2 "
5' - 0"
J
1/2"
8' - 9
12
E
1/2"
4' - 11
26' - 0"
13
3/4"
5' - 0"
4' - 10
1/2"
5' - 1 1/2"
5' - 0"
5' - 0"
5' - 0"
5' - 0"
22
27' - 0"
2 A104
5' - 0"
77' - 5"
15
5' - 0"
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-
I
2 A103
5' - 0"
16
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-
H
5' - 0"
0' - 3
19' - 5 1/2"
3"
5' - 0"
25' - 0"
14' -
1 A103
5' - 0"
Stair STR -4
11
G
5' - 0"
3"
2' - 6 1/2"
10
5 1/2 "
2045 SF
2 13' -
18' -
12' -
F
27' - 6"
115
I 9
2
5' - 0"
13' -
5' - 0"
8
118
2' - 6 1/2"
695
1/4"
53
1/2"
36' - 11
7' - 0
tion
5' - 0"
117 Dona
Descripti
116
13
5' - 0"
5' - 0"
17
5' - 2"
5' - 0"
9 3/ 4"
67' - 2
1/2"
11' - 7
113
112
Stair STR -3
17
19
11' - 6
9' - 2 1/4"
11
2
1/2"
8' -
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17' - 4"
Stair
E
F
EL-3
2
- 11 "
10
5' - 0"
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A103
18'
-
16
18
9 111
15
al Room 183
55 SF
4' - 9
-
22
hanic
Stair
1/2"
Mec
EL-4
3/4"
3/4"
1' - 1
-1
4' - 4
28' - 6" 16'
31' -
10"
8
0"
- 4"
7' -
2 1/2 "
6 3/ 4"
103'
D
Consultant Address Address Phone Fax e-mail
Elevator
105
SF
8' - 7"
817
8' -
'29
14'
5' - 0"
5' - 0"
18
J
2' - 4 1/4"
19
Abbot David
20 28' - 0"
23
STL Benedictin
First Flo
129 '-
Project number Date Drawn by 30 '-
Checked by
0"
A10 Scale
PRODUCED BY AN AUTODESK STUDENT PRODUCT
A102 -
0"
MAR KET STRE ET
Scale
Checked by
Drawn by
Date
Typic
Ab
STL B
No.
Consultant Address Address Phone Fax e-mail
Consultant Address Address Phone Fax e-mail
Consultant Address Address Phone Fax e-mail
Consultant Address Address Phone Fax e-mail
VEGETATION VEGETATION
STEEL WARREN TRUSS
TRANSLUCENT LINEAR CHANNEL GLASS SYSTEM 12' - 3"
SIDE STEP SIDE STEP
1' - 0"
T.O. FF Fourth Floor 65' - 3" CONCRETE FLOOR SLAB
1' - 0"
12"x12" CONCRETE BEAM
0' - 4 1/4" 0' - 5 3/4"
12"x12" CONCRETE COLUMN CEILING SUSPENSION WIRE
PRODUCED BY AN AUTODESK STUDENT PRODUCT
3" METAL STUD COMPOUND CEILING WITH GWB ON MTL. STUD
ALUMINUM MULLION HEAD LOW E GLAZING
WOOD FLOORING 2" x 4" SLEEPERS @ 16" O.C.
0' - 4 1/4" 0' - 9 3/4"
1' - 0"
0' - 8" 0' - 0"
J
STEEL CONNECTORS STEEL CONNECTORS WOODEN PANEL WOODEN PANEL STEEL CONNECTION MULLION STEEL CONNECTION MULLION
0' 0' -- 00"1/2" 0' 0' 0' --- 1" 00"1/2" 0'0'--11"1/2" 0' - 1 1/2" 0' - 3" 0' - 3"
ALUMINUM MULLION SECTION
J
1' - 0" 1' - 0"
CONCRETE ROOFING R19 INSULATION
0' - 2 1/2" 0' - 20'1/2" - 0 1/2" 0' - 0 1/2"
15 L102
T.O. FF Third Floor 53' - 0"
12" x 12" CONCRETE COLUMN
12" x 12" CONCRETE COLUMN #3 STEEL REBAR #3 STEEL REBAR STEEL REBAR STEEL REBAR
0' - 7 3/4" 0' - 7 3/4"
CONCRETE BOARD 6" METAL STUD
PRODUCED PRODUCED BYBY ANAN AUTODESK AUTODESK STUDENT STUDENT PRODUCT PRODUCT
9' - 5"
ALUMINUM MULLION SILL
9' - 5"
CONCRETE WALL PANEL CONCRETE WALL PANEL ALUMINUM WINDOW MULLION ALUMINUM WINDOW MULLION DOUBLE GLAZING DOUBLE GLAZING
15 15
79
tetete 0' - 8"
79
1' - 0"
T.O. FF Second Floor 40' - 9"
T.O. FF Second
10' - 4"
Floor T.O. FF Second 40' - 9" Floor
40' - 9"
---
CONCRETE RETAINING WALL L102 WOOD FLOORING 2" x 4" SLEEPERS @ 16" O.C.
0' - 8"
0' - 3"
15
1' - 4 3/4"
T.O. FF Ground Floor 28' - 6"
EXTRUDED POLYSTYRENE FOAM INSULATION GRAVEL
24" x 12" CONCRETE FOOTING FOOTING DRAIN STEEL REBAR CONCRETE PILING
CONCRETE BOARD CONCRETE BOARD R19 INSULATION R19 INSULATION WOOD FLOORING WOOD FLOORING 2" x 4" SLEEPERS 2" x 4" SLEEPERS CONCRETE CAST-IN-PLACE PANEL CONCRETE CAST-IN-PLACE PANEL 8" CONCRETE FLOOR 8" CONCRETE FLOOR EXTERIORSEALANT EXTERIORSEALANT STEEL CONNECTORS STEEL CONNECTORS COPPER FLASHING COPPER FLASHING REINFORCING STEEL BEND REBAR REINFORCING STEEL BEND REBAR SEALANT SEALANT #3 STEEL REBAR #3 STEEL REBAR 6" METAL STUD 6" METAL STUD 12" X 12" CONCRETE BEAM 12" X 12" CONCRETE BEAM #3 STEEL REBAR #3 STEEL REBAR CEILING SUSPENSION WIRE CEILING SUSPENSION WIRE
A104 A104
Project Project Number Number Issue Issue Date Date LaQuinton LaQuinton Nimox Nimox David David Bertolini Bertolini
Details Details
3 A104
Checked Checked by by
Drawn Drawn by by
DateDate
Project Project number number
Abbot Abbot David David Bertolini Bertolini
STL STL Benedictine Benedictine Monastery Monastery
DateDate Description Description No. No.
Consultant Consultant Address Address Address Address Phone Phone Fax Fax e-mail e-mail
Consultant Consultant Address Address Address Address Phone Phone Fax Fax e-mail e-mail
Consultant Consultant Address Address Address Address Phone Phone Fax Fax e-mail e-mail
Consultant Consultant Address Address Address Address Phone Phone Fax Fax e-mail e-mail
CONCRETE ROOFING
T.O. FF Roof 77' - 6"
Louisiana Louisiana State State University University
INSULATION CANT STRIP CORRUGATED STEEL DECKING
Consultant Consultant Address Address Address Address Phone Phone Fax Fax e-mail e-mail
SOIL
4600 4600 Burbank Burbank Drive Drive Baton Baton Rouge, Rouge, LA 70820 LA 70820
Nimox Nimox Architects Architects
87
VEGETATION
1' - 0"
Lo
Consultant Address Address Phone Fax e-mail
2012 2:39:00 AM
Ni
Project number
2012 2:39:00 AM
88
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Project_02 Ashby MARTA Station and Visitor Center: 2011 NOMA National Design Competition
Design Team: Kevin Nyguyen, Kim Nyguyen, Ivan O’garro, Elizabeth Galan, Erica Geromini, and LaQuinton Nimox Location: Vine City Community, Atlanta, Georgia The success of the Civil Rights Movement stems from the emergence of multiple leaders, some less recognized than others, working in concert to attain equality for all. The design draws upon the ideas of multiplicity and aggregation as the impetus to social gathering, pedestrian circulation, programmatic arrangement, and architectural form. As the main transportation hub of the area, the proposed project encourages pedestrian traffic on multiple levels on the site. The ground level hosts a variety of open and intimate public spaces for neighborhood residents and visitors to gather. This serves as a destination for visitors in the greater Atlanta region, while simultaneously providing public areas and green spaces for residents of Vine City. The ground level also engages the lower subterranean, as well as the upper visitor center level through a series of vertically oriented circulatory, spatial and visual connections.
The existing MARTA entrance brings the user through a modest building down to the platform below. Our design proposal draws commuters and visitors up from the MARTA platform to engage with the plaza level and retail spaces. The proposed design seeks to strengthen this connection between spaces on multiple levels by opening the ground level to below, resulting in a design solution that blurs the boundaries between the various elevations, promoting and encouraging the use of public transportation. In addition, the gallery floors of the Visitors Center intend to reveal and visually connect the pedestrians and activities occurring outdoors with the visitors in the galleries. and vice versa.
Vray rendering depicting vertical connectivity, perforated skin, and public space
01 02 03 04
Ashby MARTA Station and Visitor Center
Pedestrian Circulation
Maximize Store Frontage
Formal Response to Site Shadows
Visitor Center Level
01 02 03 04
Ashby MARTA Station and Visitor Center
Ground Level
Longitudinal Section
Underground MARTA Level
01 02 03 04
Ashby MARTA Station and Visitor Center
Rather than covering up the transportation hub, the scheme celebrates the underground platform and the vertical connections guide the user’s attention towards the ground level.
Transverse Section
As a response to the fast-paced lifestyle of Atlanta residents and commuters, the Retail spaces pierce through the ground to the underground level, creating brightly lit, glowing surfaces, that serve as commuter information display areas, enlivened billboards, and add more ambient light to the rail station.
Aerial Perspective
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Project_03 Chesapeake Bay Environmental Center: 2011 Virginia Tech Student Design Competition Design Team: Maragaret Amori, Wei Cao, and LaQuinton Nimox Location: Marlin Bay Drive, Norfolk, Virginia The design intent of our project was to create a didactic landscape by providing tangible connections to the ecology of the site. Two types of ecologies are revealed: hydraulic cycles and wildlife habitation. Hydraulic cycles revealed in the site include stormwater filtration and sedimentation, both of which are indicative of processes occurring throughout the larger Chesapeake Bay region. Our proposed design demonstrates potential strategies which can be implemented in other areas throughout the bay. These hydraulic cycles reveal the similarities between our site and many others within the region, highlighting the wildlife situates this site as unique from many others within the Chesapeake Bay in general and the Chesapeake Bay watershed in particular.
Revit/Photoshop rendering depicting blending of boundaries between landscape and architecture
01 02 03 04
Chesapeake Bay Foundation Environmental Center
Site Design Strategy
small office building for the CBF and other conservation groups. The progammatic elements are as follows:
The Chesapeake Bay Foundation (CBF) is a group dedicated to saving the bay. Currently, on a scale of 1 to 100, the CBF rates the Bay’s health at a 31 out of 100; for context, a pristine bay from the 17th Century rates 100—and at the lowest point in the 1980s, the bay scored a 23. A “Saved Bay” would score a 70. Some years ago, the CBF and others opposed development on a prime piece of bay front land. When the economy faltered, the developer went bankrupt, and the CBF, the Trust for Public Land, and the City of Virginia Beach offered to purchase the land from the bank. This pristine site, adjacent to a densely developed part of Virginia Beach, is to be the site of your project, an environmental education center and
• Space for 24 people to work (3000 to 3500sf) • Event/meeting space for 150 (3000 to 3500sf) • Grossing Factor x .30% to factor building services, mechanical spaces, storage, rest room facilities, etc. • Outdoor education space, primarily for visiting elementary students. A portion of this should have roof and no walls, and a portion should have walls but no roof. (3000 to 3500sf) • Bathrooms and changing stalls for visitors. • Pier with floating dock to accommodate a 40 X 15 work boat and 21 skiff (floating dock to be 15ft X 30ft.) • Kayak dock, a pier with a 40ft X 20ft floating dock. • Storage for six kayaks and six canoes • Parking for three buses (may be combined with event parking)
01_POINT: Concept: ‘stillness’ Built form: structures designed for sitting and viewing wildlife
02_LINE: Concept: ‘movement’ Built form: elements designed for circulation of people + water
03_PLANE: Concept: ‘inhabitation’ Built form: program elements-- building, parking + docks
Tschumi’s Parc de la Villette Tschumi’s diagram for the park’s design is based on the superimposition of three independent systems: points, lines, and surfaces. The surfaces show horizontal space for activities, with the lines show the high density pedestrian movement, while the points are representing the follies on this point-grid coordinate system. This served as a successful precedent that was implemented in the design of our education center.
01 02 03 04
Chesapeake Bay Foundation Environmental Center
Bald Eagle Observation Point
01_Points:
Wildlife Observation Structures Concept: ‘stillness’ Built form: structures designed for sitting and viewing wildlife
B A L D E A G L EOsprey Observation Point Potential Habitat criteria: - mature shoreline forests with scattered openings - prefers loblolly pine - minimum buffer 100’ from human
OSPREY Potential Habitat criteria: - open water areas - dead snag, utilityOyster pole Observation Point or nest platform - can live in colonies if food is abundant - minimum buffer 100’ from humans flow storm main pipe
These three site specific structure assists in the center’s mission of teaching through handson activities and serve as miniature outdoor education centers. The first structure will be built under the canopy of the northwestern pine forest with it lack of a major overhead plane resulting from its location. This location will be used to observe bald eagles. The second structure is set on the shoreline and used for observing osprey out in the water. The third structure is to be constructed near the shore and also serve as a secondary kayak dock and used to observe oysters.
01 02 03 04
Chesapeake Bay Foundation Environmental Center
02_Lines:
Articulated Pathways Concept: ‘movement’ Built form: elements designed for circulation of people + water
DIDACTIC LANDSCAPE: The design intent of our project was to create a didactic landscape by providing tangible connections to the ecology of the site. Two types of ecologies are revealed: hydraulic cycles and wildlife habitation. Hydraulic cycles revealed in the site include stormwater filtration and sedimentation, both of which are indicative of processes occuring throughout the larger Chesapeake Bay region. Our proposed design demonstrates potential strategies which can be implemented in other areas throughout the bay.
existing sediment build up = yearly dredging
Ocean current carrying sediment
1
3 2
proposed 1 2 3 4
Current from Atlantic Ocean carrying sediment Stone sedimentation groin Sedimentation build up over time Backside of groin creates area starved of sediment allowing deeper waters and access for boats
STORM WATER + SEDIMENTATION Current Section showing path of stormwater
ne ighborhood
road
retention pond
open water
retention pond retention pond
open water open water
STORM WATER + SEDIMENTATION
Current Section showing path of stormwater
ne ighborhood ne ighborhood
road road
Current Section showing sedimentation process Current Section showing path of stormwater
reed bed
dam
STORM WATER + SEDIMENTATION
STORM WATER + SEDIMENTATION Current Section showing path of stormwater
ne ighborhood Atlantic Ocean currents carrying sediment
road
reed bed sediment builds up dam as water velocities slow
navigation r e t e nchannel t i o n pdredged o n d yearly
open water
Currentshowing Section showing Section proposedsedimentation sedimentationprocess groins
ne ighborhood
road
ne ighborhood
retention pond road
Atlantic Ocean Ocean currents currents carrying carrying sediment sediment Atlantic
reed bed sediment builds builds up updam sediment as water water velocities velocities slow slow as
retention pond navigation channel dredged sedimentation groins reduceyearly dredging needs
open water open water
Current Section showing sedimentation process Section showing proposed sedimentation groins
ne ighborhood
road
Atlantic Ocean currents carrying sediment
Current Section showing sedimentation process Atlantic Ocean currents carrying sediment
reed bed
dam
sediment builds up assediment water velocities slow builds up as water velocities slow
retention pond navigation channel dredged yearly sedimentation groins reduce dredging needs
Section showing proposed sedimentation groins
Atlantic Ocean currents carrying sediment Atlantic Ocean currents carrying sediment
sediment builds up as water velocities sediment buildsslow up
as water velocities slow
navigation channel dredged yearly sedimentation groins reduce dredging needs
Section showing proposed sedimentation groins
Atlantic Ocean currents carrying sediment
sediment builds up as water velocities slow
sedimentation groins reduce dredging needs
open water
01 02 03 04
Chesapeake Bay Foundation Environmental Center
Building Concept Strategy 10,000 square feet program environmental education center
03_Planes:
Split program into three equal parts: workspace, education space, and meeting/ event space
Didactic Landscape Inhabitation Concept: ‘inhabitation’ Built form: program elements--building, parking + docks
DIDACTIC LANDSCAPE: The design intent of our project was to create a didactic landscape by providing tangible connections to the ecology of the site. Two types of ecologies are revealed: hydraulic cycles and wildlife habitation. Hydraulic cycles revealed in the site include stormwater filtration and sedimentation, both of which are indicative of processes occurring throughout the larger Chesapeake Bay region. Our proposed design demonstrates potential strategies which can be implemented in other areas throughout the bay.
Developing a hierarchy of space based on circulation and dissolving indoor and outdoor boundaries
Extend program along landscape for more integration
Elevate program to allow buildings to interact with different ground conditions: over water; over land; and on land
Split program service spaces, such as restrooms, from primary program activities
Develop a hierarchy of primary and secondary spaces through massing of program
Final Result
4 4
4 1
4
6 5 7
4
4
8
2
4
4
3
1 2 3 4 5 6 7 8
Office Space Event Meeting Space Outdoor Education Space Restrooms Gift Store Employee Storage Kitchen Visitor Storage
0’
2’
4’
8’
16’
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f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl d i n d k f n d i f n S T. . L O U I S . M O N A S T E R Y + S O U P. K I T C H E N a f d n o d f n o d n d n p e m o t n f j dlinv inos isoi n x j o i bn eo i h a p iof h d oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k d jf jinino t pe m oo s do i i i edk fnDE S I G N . X e n s id n f on ox r p q he n bon vin osroe ipxlw d jf jineinrie ddk fn o n bo i n eo i n x oin oe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n e d i n s i d n f s d i n s m d f j dv i nb o e nons px o n pmt o k en op n c on te on x ootie ir p q he roi h sokbkn e vlbm km kc e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L. D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc d if hs klndCHAPE L . TO .N ATU R E : S PA C E .F O R . M E M O RY + L OS Sa h n gsbn oe m xe t
f j dlier no idnvi n o i h s o i n x j o i bn e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k
d jf jineinridnfobn o i en s o ed D E S I G N .I Voin d f x oin oe irof i ndin f ie n if n e din sidn f
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i hs oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
o j f i nd infioie ni fn edn pi D ESI G N . I V ns ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
d jf jineinrie ddk n o PHO T O G R A P H Ye i r n oin c oiv n ff n oin e oin xoisif n idsn f in din f i
f j dlinv inos irpqh ero i h s o i n x j oib n e oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oi nos ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f lk nx joiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d in d if b ndinfodfds F R EEHAND . S K E TC H I N G na f lk nb s n n d f in din f on on e pa oe kde
t i en os nvfdox ei o pfi h bo eapo iq je p f groi rjoon te ok nx otm eosh otoe h oxpth ie qe
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
Project_04 Chapel to Nature: Place for Memory + Loss Design Studio IV, Fall 2009
Location: LUMCON, 8124 Highway 56, Chauvin, Louisiana
The challenge of this project was to create a non-denominational space that serves as a space for Memory and Loss. It required spaces that helped the user remember the environment, the wetlands, and the past. A space for memory and loss focuses on the environment and welcomes visitors while being a reminder of the natural beauty that is, that was, and that may or may not be. To respond to the challenge set forth for a Chapel to Nature, the notion of what makes a sacred space was kept in mind. By making the Chapel an integral part of the LUMCON experience, interaction between the water and chapel was clearly encouraged. This interaction is aimed at seclusion from the manmade and intimacy with nature on a personal and spiritual level.
This structure is designed as a landscape focusing device--a mechanism through which the experience of this coastal area, from the reconstruction of the canal to the catastrophic loss of the wetlands is made manifest. The design of the Memory and Loss spaces are informed by the idea of transition from mass to void; this reflects the connection of the coast where the structure resides. The construction is made in a way that shows our transition from a closed minded society who ignore the issue of coastal wetland loss to one that is openminded and embraces the idea of protecting this priceless resource.
Artlantis/Photoshop rendering depicting chapel in its marshy context
01 02 03 04
Chapel to Nature Initial Conceptual Ideas about the occupation of the site: These images attempt to visually represent the notion of ascension from the manmade to a space of reflection
Images of Conceptual Development of Early Ideas: These images show the direct translation of early ideas into a more rational and practical design composition
Conceptual collage about human interaction with site and structure: This image shows the scale of the design alongside the human side. To make a space that captured the significance of the landscape compared to humanity was an important concept from the beginning
Memory + Loss Floorplan
West Elevation
01 02 03 04
Chapel to Nature
View of Individual Sacred Space with facts illuminating the interior surfaces throughout the day
View from the water looking up at the overall structure
The One Day Poem Pavilion by Jiyeon Song was an important precedent for how the individual reflection space would operate. Its perforated skin allows light to penetrate the ground at precise angles that result in the illumination of a poem over the course of a day. This idea of using light and shadow in the individual reflection space was important to tell the story of the wetlands through facts and figures. View from South in the grassland looking towards the Individual Sacred Space
View from the canoe, looking towards the structure
North Elevation
f jdln osir pqh e roi h soxjoibn e oih a p oda doiph bia oin roba e kbkn e oxn v ljlkf n on bboim kc f dlin se ir pqh e roi h soibin e pooh a pi of h e doiph bia on i roie ibkn e obxxn v lbm km dim poe ikc f jdln osir pqh e roi h se joibn e oih a pi of h doim ia on e oin roe in r kbkn e oxn v lbr m oc pe im km kc ojdfkdeqmknmpn f jdle isir pqh e roi h sodin bn e oih a pi of h dolbia on e oin ron r lskbkn e oxn v lbm kdon bboim kc
fjdlinleirpqheroi h joibin e pooh a pi of h doion qje e oin roie in kn e obxxn v lbm km dn opoe ikc fjdlixnlirpqheroi h se joibn e oih a pi of h dojm ia on e oin r lskblkbkn e oxn v lbm m oc e im km kc
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl d i n d k f n d i f n S T. . L O U I S . M O N A S T E R Y + S O U P. K I T C H E N a f d n o d f n o d n d n p e m o t n f j dlinv inos isoi n x j o i bn eo i h a p iof h d oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k d jf jinino t pe m oo s do i i i edk fnDE S I G N . X e n s id n f on ox r p q he n bon vin osroe ipxlw d jf jineinrie ddk fn o n bo i n eo i n x oin oe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n e d i n s i d n f s d i n s m d f j dv i nb o e nons px o n pmt o k en op n c on te on x ootie ir p q he roi h sokbkn e vlbm km kc e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L. D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hs klndCH A P E L .T O .NAT U R E : S PA C E . F O R. M E M O RY + L OS S a h n gsbn oe m xe tt f j dlier no idnvi n o i h s o i n x j o i bn e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k d jf jineinridnfobn o i en s o edD E S I G N . I Voin d f x oin oe irof i ndin f ie n if n e din sidn f k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i hs oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc o j f i nd infioie ni fn edn pi D ESI G N . I V ns ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f d jf jineinrie ddk n oPH OTO G RA P H Ye ir noin c oiv n ff n oin e oin xoisif n idsn f in din f
f j dlinv inos irpqh ero i h s o i n x j oib n e oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oi nos ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f lk nx joiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d in d if b ndinfodfds F R EEHAND . S K E TC H I N G na f lk nb s n n d f in din f on on e pa oe kde
t i en os nvfdox ei o pfi h bo eapo iq je p f groi rjoon te ok nx otm eosh otoe h oxpth ie qe
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
Photography Explorations in Digital Photography: The following photography samples represent a different avenue for exploring existing environments and objects to tell untold stories. With photography, the subject encourages a connection that simply interactions or observations cannot present. The idea of capturing a moment in a building’s life a moment meticulously planned by the architect - reveals the powerful bond between photography and architecture
Building corner perspective Inner Harbor, Baltimore, MA
01 02
Photography
01 02
Photography
f jdln osir pqh e roi h soxjoibn e oih a p oda doiph bia oin roba e kbkn e oxn v ljlkf n on bboim kc f dlin se ir pqh e roi h soibin e pooh a pi of h e doiph bia on i roie ibkn e obxxn v lbm km dim poe ikc f jdln osir pqh e roi h se joibn e oih a pi of h doim ia on e oin roe in r kbkn e oxn v lbr m oc pe im km kc ojdfkdeqmknmpn f jdle isir pqh e roi h sodin bn e oih a pi of h dolbia on e oin ron r lskbkn e oxn v lbm kdon bboim kc
fjdlinleirpqheroi h joibin e pooh a pi of h doion qje e oin roie in kn e obxxn v lbm km dn opoe ikc fjdlixnlirpqheroi h se joibn e oih a pi of h dojm ia on e oin r lskblkbkn e oxn v lbm m oc e im km kc
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl d i n d k f n d i f n S T. . L O U I S . M O N A S T E R Y + S O U P. K I T C H E N a f d n o d f n o d n d n p e m o t n f j dlinv inos isoi n x j o i bn eo i h a p iof h d oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k d jf jinino t pe m oo s do i i i edk fnDE S I G N . X e n s id n f on ox r p q he n bon vin osroe ipxlw d jf jineinrie ddk fn o n bo i n eo i n x oin oe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n e d i n s i d n f s d i n s m d f j dv i nb o e nons px o n pmt o k en op n c on te on x ootie ir p q he roi h sokbkn e vlbm km kc e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L. D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hs klndCH A P E L .T O .NAT U R E : S PA C E . F O R. M E M O RY + L OS S a h n gsbn oe m xe tt f j dlier no idnvi n o i h s o i n x j o i bn e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k d jf jineinridnfobn o i en s o edD E S I G N . I Voin d f x oin oe irof i ndin f ie n if n e din sidn f k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i hs oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc o j f i nd infioie ni fn edn pi D ESI G N . I V ns ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
d jf jineinrie ddk n o PHO T O G R A P H Ye i r n oin c oiv n ff n oin e oin xoisif n idsn f in din f i
f j dlinv inos irpqh ero i h s o i n x j oib n e oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oi nos ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f lk nx joiof h d oip h b ia on e oin roe in r lskn vlbm km kc d in d if b ndinfodfdsFR E E H AN D .S KE T C H I N Gna f lk nb s n n d f in din f on on e pa oe kd t i en os nvfdox ei o pfi h bo eapo i q j e p f groir j oonte ok nx otm eosh otoe h oxpth ie qe
f j dlinv indfkno eo s i r pqh ero i h s oi nx joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n no eo x ndpdl n o n t eo n o x i n otp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
Freehand_Sketches Christ Church
Alexandria, Virginia Weekly drawing assignments were coordinated to give students a full range of drawing and sketching experience. The drawings explored various techniques and employed multiple mediums, such as shaded pencil sketches, penned line drawings, and quick marker sketches. Emphasis was given to capturing the essence of the view and overall experience of the subject
Women In Military Memorial Arlington, Virginia
Ronald Reagan Washington National Airport Alexandria, Virginia
k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv inos irpqh ero i h s o i n x j oib n d oip h b ia on e oin roe i nr l skbkn e oxn vlbm km kc d lk nf inbo nm e s di api en t o mcl m oe p iotn e x m e i otm x p oe q h toa pqe m oxpzle m bitl d i n d k f n d i f n S T. . L O U I S . M O N A S T E R Y + S O U P. K I T C H E N a f d n o d f n o d n d n p e m o t n f j dlinv inos isoi n x j o i bn eo i h a p iof h d oip h b ia on e oin roe i nr lsdf ioxn kn vlbm km k d jf jinino t pe m oo s do i i i edk fnDE S I G N . X e n s id n f on ox r p q he n bon vin osroe ipxlw d jf jineinrie ddk fn o n bo i n eo i n x oin oe ir i nf oiv n f s if n id s n f in din f ie n if n e din sidn o j d f n A S H B Y. M A R TA . S TAT I O N + V I S I T O R . C E N T E R f i n d i n f i n e d i n s i d n f s d i n s m d f j dv i nb o e nons px o n pmt o k en op n c on te on x ootie ir p q he roi h sokbkn e vlbm km kc e oi nx ino e iindt es ff2 0 1 1 .NO M A . N ATI O N A L. D E S I G N . C O M P E TI TI ON n if disidn f
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hs klndCH A P E L .T O .NAT U R E : S PA C E . F O R. M E M O RY + L OS S a h n gsbn oe m xe tt f j dlier no idnvi n o i h s o i n x j o i bn e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km k d jf jineinridnfobn o i en s o edD E S I G N . I Voin d f x oin oe irof i ndin f ie n if n e din sidn f k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n d n o e n d p C R O S B Y. A R B O R E T U M : I N T R E P R E T I V E . C E N T E R d n i o d i f n o x n f i e o
f j dd f kno x linvi n o s i r pqh ero i hs oin a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc o j f i nd infioie ni fn edn pi D ESI G N . I V ns ob on ie op q n od n oif n bdin ibioe m kn n n iod
f j dlinv inos irpqdfk n fn h ero i h e oih a p iof h d oip h b ia on e oin roe in r lskn vlbm km kc
d jf jineinrie ddk fn o n bo i n eo i n x oin in ff in f oiv n f s if n id s n f in din f ie n if n e din sidn f
d jf jineinrie ddk n o PHO T O G R A P H Ye i r n oin c oiv n ff n oin e oin xoisif n idsn f in din f i
f j dlinv inos irpqh ero i h s o i n x j oib n e oiiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d if hd if ndnsfin ddk n fo bn o i n e oi nos ir hoith e oin p z x oin goth a h if dn obn in dgse tt
f j dlinv inos irpqh ero i h s o i n s d f lk nx joiof h d oip h b ia on e oin roe in r lskn vlbm km kc
d in d if b ndinfodfds F R EEHAND . S K E TC H I N G na f lk nb s n n d f in din f on on e pa oe kde t i en os nvfdox ei o pfi h bo eapo iq je p f groi rjoon te ok nx otm eosh otoe h oxpth ie qe
f j dlinv indfkno eo s i r pqh ero i h s oin x joib h d oip h b ia on e oin roe in r lskn vlbm km kc k c n no eo x ndpdl n o n t eo n o x i notp e m oos d oi i nb od n if n jn v iope osdif n oa oxn f ie o