Michelle Newcome University of Kansas, M.Arch mnewcome1919@gmail.com 557 Coon Creek Rd Hollister, MO 65672
creating cinema
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a world of design
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examining the abstract
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connecting kansas city
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creating cinema
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3rd year, fall semester 5
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arts district park Museum of the Cinematic Arts
The Dallas Museum of the Cinematic Arts is located to contribute to the expansion of the Dallas Arts District. On the edge of Klyde Warren Park, it touches the district and possesses various elements that reference the iconic architecture, but hold its own and works within the boundaries of the surrounding commercial region.
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outside
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ll ga inside
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tio
separation: "screen"
separation into several interconnected masses
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masses centered in void
la rcu
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second wall to isolate, other program pushed to periphery
void and program become solid mass
Plan 20’
security
restrooms
mechanical
lobby
galleries
restrooms
2’ 3”
Plan -17.5 restrooms
classrooms
temporary galleries
-39’
administration
classrooms
storage/teachers’ llounge
Plan -35’
restrooms
research/archives
-18’8”
-25’
bar
-10’8”
-3’ 3”
cafe
gift shop
kitchen
the visitor through a surreal space that mimics the spaces one so often sees on the screen. The entrance passes over a void and seemingly through a barrier that separates reality from the cinematic experience.
The interior places the visitor in the cinematic experience.
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7’ 3”
14’8”
collection storage
collection storage
Plan 0’
mechanical
tic shapes, grounded materiality, and fantastical forms draw
preservation
As the cinematic arts create new worlds on a screen, this inwardly focused museum strives to create cinematic spaces to be explored with the entire human body, not just the eyes. The combinations of futuris-
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As one moves through the museum, the overpowering height gives way to the more intimate spaces of the galleries, where solid, illuminated walls give way only to the nearby galleries, which provides a foreshadowing of the subsequent displays on the journey.
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1. 3' x 8' x 1/4" fiber cement surface coated panels spaced at 1" vertically, 2" horizontally 2. Swisspearl F1.40 concealed attachment system 3. 2" rigid commercial insulation 5. steel furring 4. plywood sheathing 6. 12"x12" square steel column 7. 8'x3' panels double laminated insulated glass with 1/2" air space 8. 2' x 2' concrete tiles in "hull" pattern, staggered 9. 3/4" thick stained oak flooring 8
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a world of design
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summer before 3rd year 19
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Studying abroad in Denmark gave me opportunities and stories I could not have experienced anywhere else. The Furniture Design program at the Danish Institute for Study Abroad gave me an intellectual background in Danish furniture and yet still allowed me to design and create an original (and very non-Danish) chair. The Mi.ne chair's name can be approached from a couple different angles. One pronunciation can give you the word 'mini,' referring to its petite size (the back reaches barely 82 cm). The size is based off measurements and proportions derived from different pieces of furniture found on study tours and showroom visits that felt comfortable for a person my size. Shorter people have trouble finding comfortable seating, so I created a design based on my proportions. You could say that this chair is all mine.
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"mi.ne chair"
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Though my love of furniture design began in Denmark, it has continued at home, helping build digital modelling skills and perceiving space by how it would be occupied. The experience of creating architecture should not be limited to solely the intangible digital world or the 2D paper world until the construction of a million-dollar structure of steel and concrete.
Architectural design plays a part in any tangible creation as well, whether it is design of furniture or the composition of a painting.
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extracurricular design
"Mi.ne stool"
"Ribbon Chair"
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minimalist clock , plexiglass
wall art, repurposed oak and chipboard
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examining the abstract
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1st year 29
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In the first year of studying architecture, the professors begin with challenging us to use our eyes and brains to see objects differently and to develop unique outlooks, as well as to use our hands to draw and draft. The following projects show the development in first year from creating the abstract, based on aesthetics and intuition, to displaying a hypothetical construction through drafting.
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By far the most intuitive assignment I have ever received in architecture school was the Transformation Project which was based on instinct and feel. After selecting a part of Picasso's painting "Guernica," we traced lines of activity, subsequently producing a tangled mess of marks. These lines we 'activated' - folding, curling, cutting, creasing - to create a volume that exhibits the power of a line through transformation.
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"transformation"
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We gave three-dimensional
properties to a two-dimensional surface through the examination of shades of color. We simplified the painting until no more than six shades were represented, and each was assigned a number (one through six) corresponding to the same number in inches in elevation. After having demonstrated with a model we then demonstrated the form with ink. Pen on mylar became the two-dimensional representation of a three-dimensional representation of a two-dimensional painting. The final product was an exhibition of drawing and seeing, a way of proving our start of the creative process that creates something out of seemingly nothing.
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"projection"
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vertical section
horizontal section
axonometric of space created by openings
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"light+space" In the first semester of architecture school, we worked less with concepts of space. This project focused on how light
interacts with surfaces and effects volume and space. Given a certain number of planes, we gleaned a shape from a section of a building (Coop Himmelblau's Merz School), and changed two or three points with every plane to change the way light came through the final 'box.' This partner project required several drafts before arriving at a final solution, every decision discussed and tweaked. The final product was created with simple foam core and the project was displayed where natural light could play with the forms.
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"perspective" To combine elements that we had learned to this point in the year, we were given a 'Kit of Parts' project, with which we had to design a path, considering the
journey itself, views, feel, and function. This tested our creativity with being able to design a balanced whole out of a limited number of pieces. My path began on an open air ledge, where one might feel insecure and vulnerable. One moves along this journey by descending a ramp, walking along a wall, and ending directly beneath the start in an enclosed area. The journey is one that develops an increasing sense of security until the traveler ends in a closed, sheltered space. The project concluded with an assessment of our drafting and representational skills. We chose the three views that most
accurately embodied the experience and put a focus on the most interesting part of that view. The final ink on vellum drawings represent a journey that only exist in three dimensions within a few square inches.
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connecting kansas city
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2nd year, fall semester 41
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Located in the heart of downtown Kansas City, the Convention Center is directly accessible from the pedestrian-heavy Power and Light District, a thriving section of the city with business, bars, and entertainment. However, the center, no more than a block away, fails to attract visitors due to empty lots and parking garages creating an unattractive barrier between the center and the more desirable
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East Elevation
Section 1 -
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Section 2
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Plan 259
The main project of our second semester of second year was to design for the ASCA Steel Design Competition. Our addition was to be a new centralized entrance to the -
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Plan 244
Kansas City Convention Center, which presently consists of three indevpendent buildings and no central access. The addition connects the historic Municipal Auditorium and the newer Bartle Hall addition. This iconic steel and glass construction, a "lighthouse" of 14th street, is a beacon lighting the commercial district and drawing attention to the little-visited convention center. -
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Plan 215
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Plan 190
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Plan 163
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The program consists of main lobby, the roof of which creates an additional green space in the district accessible from the second floor and viewable from the bar, a restaurant, two conference rooms and two boardrooms. The roofs contain skylights that let light down the front atrium and to the lobby below. The exterior is a freestanding steel diagrid stucture that supports a glass skin that allows daylight in, and in
the night lights up the street and beckons people to the events within the center.
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