P O R T F O L I O
MEGAN FOISY
about me Architectural Design Major, OU Sociology Minor, OU Studio Art Minor, OU OU Daily Design Editor
01
I am an architecture student from Oklahoma City, interested in design from all walks of life. My studio art background began in high school and has become an integral part of my education, both for architecture and for a studio art minor. My studies also include a sociology minor to better
understand the social systems that drive everyday life. With my experience in the visual arts, also including photography and editing, the architectural application of graphic design and presentation has been of great interest to me. I have
been fortunate enough to explore a wide range of mediums that I try to utilize in my rendering and presentation designs. Architecture is truly the intersection at which so many different forms of design come together and interact with the world and each other.
blogs
02
the cube 2017 / Academic Project Architectural Design Studio I, OSU
This multi-part introductory project deals with planar composition to introduce the idea of a formal regulating strategy to inform design decision-making and cultivate control, consistency, and superior craft in the creation of drawings and models. Three planar elements are constructed such that all of the planes are normal to the other, existing in an X, Y, and Z relationship. The planes of this construct begin to define a variety of hierarchically ordered spaces. The project required the accurate construction of a 60/30 plan oblique / axonometric projection of the cube composition using AutoCAD software to learn drawing and communication techniques. The next part of the project introduces design logic, abstraction, layout, composition,
03
and graphic representation. It requires thinking in abstract terms when considering how an architectural composition will be perceived and understood. Composition is explored through multiple figure/figure ground images of the cube, visualizing a wide range of possible shapes from the whole as well as various parts of the architectural image. From two of these compositions, one employing the use of color, a bas-relief and alto-relief are composed from a portion of the image.
04
the bridge 2017 / Academic Project Architectural Design Studio I, OSU
05
A bridge is an idea, a kind of imagining that has an ahistorical, archetypal sensibility and function. People from all walks of life and all ages dream bridges, engage in reverie on and around them, invent them, and find meaning in them. Bridges have the capacity to make a statement from end to end, and from the fountains to the upper-
most point. On occasion, bridges have also been seen as examples of ‘artistic brilliance’, akin to sculpture, music, or painting. This project encourages the exploration of potential within a simple span in form and structural logic, while applying and building upon core design principles.
The essence of this Utopian design is to create a human experience of rebirth through a baptismal journey, channeling and mirroring the cleansing nature and movement of water.
the birdhouse 2017 / Academic Project Architectural Design Studio II, OSU
Design is a creative problem solving process achieved in a variety of ways. We need to be able to think critically, clearly, and thoroughly about a problem while we are designing. Analyzing another architect’s work can help our own designing. Analysis can reveal profound, even peculiar ideas. It is, in one sense, a reverse design process; in analysis we begin with a finished product and work backwards, picking it apart and
studying its pieces until arriving at the architect’s concept for that building and understanding its spirit. The analysis process used here us threefold: first document the building, then diagram its salient element, and finally draw conclusions, ultimately arriving at the chapel’s concept and essential character.
06
a place for an orithologist 2017 / Academic Project Architectural Design Studio II, OSU
Architecture has to perform and serve the occupants in addition to conveying meaning and delivering a purposeful message. This is what defines architecture as an architectonic organism that works simultaneously within the realms of poetics and pragmatics. This project is an exercise in the deliberate molding between form and purpose while addressing architectural issues such as circulation and structure. Through separation and hierarchical definition, this habitat communicates a sense of balance in its configuration and architectural development. Both structures working to stabilize the other, they preserve individuality while upholding an interdependent relationship.
07
This relationship embodies the notion of concinnity, or the harmonious arrangement of different parts with respect to the ensemble as a whole. In bringing together the career, passions, and home life of this ornithologist client, she can better achieve balance in her life and focus on her passions. Integrating home life and a passion for nature into her physical environment allows her to fully immerse herself and develop intellectually, professionally, and physically in a very intimate way. The separation of spaces based on their function physically represents and defines priorities, keeping them at the forefront of the mind so they do not go neglected. The composition of one’s immediate environment
strongly impacts the way they process their surroundings. Physical balance encourages a mental application of balance so that one’s happiness and quality of life are kept as the highest priority in their lives, every element around them working towards that goal rather than against it.
08
chapel of the holy cross analysis 2017 / Academic Project, Precedent Study Architectural Design Studio II, OSU
Design is a creative problem solving process achieved in a variety of ways. We need to be able to think critically, clearly, and thoroughly about a problem while we are designing. Analyzing another architect’s work can help our own designing. Analysis can reveal profound, even peculiar ideas. It is, in one sense, a reverse design process; in analysis we begin with a finished product and work backwards, picking it apart and studying its pieces until arriving at the architect’s concept for that building and understanding its spirit. The analysis process used here us threefold: first document the building, then diagram its salient element, and finally draw
09
conclusions, ultimately arriving at the chapel’s concept and essential character. The Chapel of the Cross in Sedona, Arizona utilizes its alluring landscape to create a spiritual journey that reflects that of Christ to his resting place on the cross. With the cross as the main focus, a meditative environment is created wto encourage all to look inward and connect with nature through the process of spiritual enrichment. The chapel takes advantage of the climate in its long walking path to the chapel. It creates an experience that is spiritual and transformative as it opens up to the long vistas near the top. Its linear ordering
system makes the sanctuary a priority with everything organized around it. With reinforced concrete walls, the structure of the building reflects its environment and is symbolic of the rock of Peter. The Chapel of the Cross breaks down spirituality to its very core, welcoming all with open arms. Through collaboration with the landscape and a refined simplicity in its design, the chapel seems to be a place where heaven and earth meet, and all who are willing can grow.
massing
zoning
materials
views
sun and wind
10
the chapel 2017 / Academic Project Architectural Design Studio II, OSU
People often refer to feeling “called” to their spiritual path, denoting a sort of predetermination as if the spiritual approach was completely by accident. Though this point is not completely invalid, looking into the details of how each individual’s path unfolds reveals the very prominent and important element of choice. Choosing to follow a path of one’s free will is not only liberating from the expectations of others, but opens one’s own mind. This personal journey to transcendence is reflected in circulation through the church complex, beginning with a path that curves around the south side of the site, offering little indication
11
of what is around the corner. This entry sequence compels one to make a choice based on what they know in the present, accepting the unknown and potential to grow. This sequence leads to multiple resources for spiritual enrichment, such as the library, ministry, and worship spaces, including intimate chapels and places of solitude for personal reflection. This encourages the practice of mindfulness to broaden the mind and live more effectively in the present.
12
sculpture garden 01:site 2018 / Academic Project Architectural Design Studio III, OSU
This team based design project is principally focused on the design and development of the site- specifically the ground plane, with particular exploration of the issues and elements that shape the surface of the earth in an architectural context. Of note are the landscape and its interaction with the people, program, institutions, environment, and other objects, movements, and systems to which it must respond. Richard Serra has been identified as an artist that embraces and explores an integrated vision of art, science, and technology that would appropriately represent the future envisioned for CEAT (College of Engi-
13
neering, Architecture, and Technology) at OSU. This outdoor sculpture gallery has been devised specifically for the Richard Serra Sculpture Collection on the OSU campus. It is designed for pedestrian traffic only with a combination of landscape and hardscape that moves visitors through a series of spaces which highlight the artwork and provide opportunities for observation and reflection. Similarly expressive pieces have been assembled as a collection for public display on campus. The design for their placement implements integration with the site, landscape, and other required uses on the site.
14
place for assembly 02: space 2018 / Academic Project Architectural Design Studio III, OSU
15
This individual design project is focused on shaping space for a diverse set of outdoor activities. Among the principal activities are circulation and gathering for events and performances in music, film, art, and literature, in addition to lectures and other educational events for both small and large groups.
This 15,000 square foot site captures, configures, and defines the outdoor educational assembly space within the previous sculpture garden design. This multi-functional environment for students, alumni, university personnel, and visitors serves as a gathering space for intellectual exchanges of both an aca-
demic and amusement variety. The space defines smaller, more intimate alcoves as interactive space for a wide variety of activities. At both scales, convertibility and versatility have been strongly considered in the design.
16
ceat center 03: skin+structure 2018 / Academic Project Architectural Design Studio III, OSU
This project focuses on the design and development of a structural system and skin to accommodate a range of interior and exterior functions and spaces. As the new face of CEAT, OSU’s College of Engineering, Architecture, and Technology, this addition to the OSU campus provides a central, unifying core for all of the unique disciplines within the school. Through a translucent facade, the exposed interior and structural elements embody CEAT’s overall message of exploration and gathering different minds to interact with each other for the discovery of new ideas, reminding people of the potential of the future. The Georgian style that dictates the OSU campus
18
was initially developed to reflect a period of growth and prosperity, adopting an emphasis on the alliterative nature of architectural elements. The relationship of a building to other architectural elements was to make a statement of the builder’s philosophy. This new space respects the influence of its Georgian predecessors through the embodiment of CEAT’s philosophies in its design elements. With the interior almost entirely exposed through walls of glass, the space invites large gatherings and fosters exploration. A mesh of perforated steel seems to float around the perimeter of the event hall, creating point of mystery in the midst of seamless transparency to draw hierarchy to the event hall and cater
to the human sense of curiosity. The frame that suspends the mesh is partially visible from the outside and completely exposed from within, showing the complex inner workings of a system that takes this deceivingly simple form from afar. This form serves as a passive teaching mechanism that embodies CEAT’s promotion of individual thinking and looking beyond the surface to really become intimate with the way things work.
18
urban farming center 2020 / Academic Project Architectural Design Studio IV, OU
In Fort Worth alone, the urban agriculture movement continues to grow, as community members increasingly desire a connection with the land and their food. Many groups are working tirelessly to build community ties, create a more sustainable food system, and overcome food insecurity. As such, the creation of a center for exploring and educating communities about these initiatives as well as serving as a site fordemonstration, production and consumption would be a landmark cultural experience for the public to engage in what ordinarily existsbeyond the supermarket aisles. Adjacent to the Museum District, this site has been developed into a Center
20
for Urban Farming in the heart of Fort Worth. This Center celebrates the agricultural spirit, connection to its surrounding natural environments
and explores an inventive union of technology, growing culture and exhibition. This compact center provides exhibition, education, demon-
stration, and consumption for visitors, to showcase a collection of related agricultural technologies and techniques.
21