}
SELECTED WORKS PORTFOLIO PATRICK S. BEGLEY MASTERS OF ARCHITECTURE
v
}
CURRICULUM VITAE 01 CHICAGO LYRIC OPERA 03 HASKELL CULTURAL MUSEUM 21 OKLAHOMA CITY CONVENTION CENTER 35 AMELIA EARHART AVIATION MUSEUM 53 ARTISTIC MEDIA 67
TABLE OF CONTENTS
913-439-7911 pbegley@ku.edu 4809 Roanoke Pkwy Apt. 303 Kansas City, Mo 64112
{Patrick Begley}
Related Skills
Education
Autodesk
The University of Kansas M.Arch III
CAD Vasari
Photoshop Illustrator
InDesign
Vray Rhino
Sketchup Final Cut
- Dedication - Fast Learner
- Competitive - Freehand Drawing
Adobe
- Graduated in May of 2014 - Overall GPA: 3.52
Other
B.A. Architecture Studies Business Minor
Revit 3ds
- Expected Graduation May of 2016 - Studio GPA: 3.94
- Overall GPA: 3.33
Blue Valley North High School - Graduated in May of 2010
Intangibles
Activities
Work Experience
Kappa Sigma Fraternity Vice President (Grand Procurator)
Manica Architecture, Kansas City, KS Architectural Intern - May 2015 - August 2015, & Current Employer
- Fall 2012 & Spring 2013 - Executive Officer within the Fraternity - Disciplinarian and Conduct Officer
Pledge Educator
- Fall 2011 - Responsible for acclimation of 24 freshman to the university and fraternity
Natural Ties of Lawrence, KS - Social Organization for special needs adults
- Volunteer, Fall 2010-2011 - Helped organize, work, and attend social events - Personally partnered with a “Tie”
AIAS Member
- Fall 2013-Present
Honors and Awards Academic Scholarships
- Warren Corman Architecture Scholarship - Donald Ewart Memorial Scholarship
- All A’s Scholarship Fall 2012 & Spring 2013
- Honor Roll Fall 2011, 2012, 2013, and Spring 2013, 2014 - HNTB Graduate Studio Competition Winner
Kappa Sigma Scholarships - Scholarship Leadership Award 2012 & 2013 Honors
- Projects: LA NFL Stadium in Carson, GSW Arena
- Projects: Nou Camp Nou Competition
Gensler, Los Angeles, CA Architectural Intern - August 2015 - December 2015
References
Paola Sanguinetti - Chair of Architecture KU Stephen Grabow - Professor KU Kapila Silva - Professor University of Kansas Alejandro Ogata
785-864-3862 paolas@ku.edu
785-864-3186
sgrabow@ku.edu
785-864-1150
kapilads@ku.edu
816-472-1201
- HNTB Kansas City ogata.alejandro@gmail.com - Professor University of Kansas
- Natural Ties Lawrence
Tyler Setter
913-226-9459
tyler.setter@cerner.com
[Curriculum Vitae]
01
opera {Chicago Lyric Opera}
Chicago is the third largest city in the United States. The city’s growth and development originally stemmed from its port economy linking the Great Lakes and the Mississippi River. The three rivers are prominent elements within the context of the city and the confluence of these rivers holds our site, Wolf Point. The design of an opera house at Wolf Point becomes a monumental element within the city. Before we can tap into the potential of this site and building we must {educate} ourselves. Through research design variables become apparent that directly effect the functionality of the building. The site is complex as well as the program. Thus, a well organized {scheme} must be developed. The function of the building creates a conceptual design that becomes a strong element within the context of the city. The {design} is appropriately rich and elegant catering to the higher culture of Chicago. Most importantly the main function of the building must be proficient. Acoustical considerations must be taken. The auditorium design becomes {unique} to this building type. Functionality is met with a delicate and elegant touch.
{Education}
Chicag
Location: Wolf Point,Chicago, Illinois Size: 120,000 gross square ft. Professor: Stephen Grabow Project Type: Group
07. Research & Context
08. Schematic Response {Scheme}
10. Conceptual Design
12. Program Development {Design}
15. Design Development 16. Acoustical Design
{Unique}
19. Auditorium Design
03
How can an opera house become a monumental element within the context of a lofty city...?
N Clinton St
N Canal St
Heavy
N Clark St
N Franklin St
N LaSalle St
N Wells St
W Hubbard St
W Kinzie St
W Mart Center Dr
W Upper Wacker Dr N Clark St
N LaSalle St
N Wells St
N Franklin St
W Lake St
W Lake St N Uper Wacker Dr
[INFLUENCE ON DESIGN]
W Randolph St
W Washington St
None
W Washington St
W Randolph St
[ACCESS] The access to this site plays an important role in this project. Both vehicular and pedestrian approaches are predominately from the east. This immediately creates an asymmetrical site dynamic.
[SUN] Despite the lofty urban context, Wolf Point is still is largely exposed to direct sunlight. During the summer months, the site is exposed to direct sunlight for 10 hours a day on average. Southern glazing will need to be addressed with proper sun shading.
[WIND] Chicago is known as the windy city. Vasari wind analysis shows the large wind stream running through our site based on the predominant wind from the southwest. This variable can be considered when developing the site. Harsh winds are not desirable.
Reh.
Stg Door. Orch.
Dress. Stages.
Drop.
Mgmt. Set Shop.
Shops.
AUD.
Lobby. Entry. Box.
[PROGRAM] An opera house is a very program intensive building. Proper programmatic organization is crucial in to the building’s function. Due to these necessities, the building massing is rarely altered. We must recognize the constraints of the back of house program while celebrating the front of house freedom.
[HISTORIC] Throughout the city of Chicago one can see a curtain symbol. This “Y” medallion is a historical reference to the city’s origin at Wolf Point. This is a strong connection to our project which begs for an architectural response.
[MATERIALITY] Chicago has a distinct material palette. A modern city, stone and metal is common. These contextual materials are appropriate for a civic opera. These materials can inform our design and eventually lead to expression.
[Research & Context]
07
[ROTATE] To address both the South and Main Branches of the river, the building is rotated on the site. This building rotation, along with Wolf Point’s conformity to the river, allows for a slightly rotated grid to be established within the site.
[PLAZA/DROPOFF] To further adapt to this rotation and respond to the predominantly eastern approach to this site, a plaza and dropoff if formed. The dropoff continues the axis of the Merchandise Plaza Street creating in ideal vehicular access. In conjunction the plaza envelopes pedestrians arriving via vehicle or by foot.
[SIDE ENTRY] A side entry is placed in alignment with the civic plaza. This further caters to a predominant eastern approach. This unique element to the scheme acts as a receptacle to arriving patrons while also holding the public box office.
[TERRACING] In conformity to the site and Chicago’s Riverwalk Plan, the relationship to the river must be addressed. A grand terrace divides spaces into leisure, dining, and circulation. Terracing become part of the building and civic experience.
08
[Schematic Response]
N
[ELEVATE] To elevate the status of the Chicago Lyric Opera within the city of Chicago, the lobby is lifted. Raising the lobby spaces results in more favorable views out to the stunning skyline. Symbolically, this gesture raises the Chicago Lyric Opera to a higher culture.
10
[Conceptual Design]
[VIEWS] Inherent with any site, some views are more favorable than others. To shield unfavorable views from the industrial grounds to the west of Wolf Point , a medley of fritted glass panels act as the exterior layer of a double-layered facade system which lines the lobby space.
[EXPOSE] The verticality of Chicago’s downtown district requires development of the top of the opera house. The exposed auditorium shell acts as a beacon of the arts within the fabric of the city.
[MATERIAL] In congruency with the auditorium’s exposure to the city, materiality becomes a statement. Cladded in cherry wood, the auditorium contrasts the contextual materiality of the city thus becoming a distinguished element.
Hotel
9
UP
8
27
Security
26
28
25
6
7
7
29
32 24
31 UP
23
UP
3
30
DN
3 21
22
12
11
1
10
UP
20
UP
13
14 18
2
17
15
DN
19
16
4
N 5
[City Level Plan 1”=64’] 1. Opera Plaza 2. Vehicular Drop-off 3. Parking Elevators 4. Terrace Balcony 5. Riverwalk 6. Banquet Lobby 7. Banquet Leasable 8. Hotel Drive
12
9. Hotel 10. Opera Entrance 11. Box Office Lobby 12. Box Office 13. Processional Stairs 14. Restroom 15. Gift Shop 16. Waterfront Restaurant
[Schematic Solution]
17. Kitchen 18. Employee Lounge 19. Auditorium (1800 seat) 20. Stages 21. Workshop 22. Kitchen 23. Prop Shop 24. Wig Shop
25. Green Room 26. Costume Room 27. Wardrobe Room 28. Stage Door/Waiting 29. Opera Offices 30. Stage Manager Office 31. Performer Dressing 32. Back-of-house Atrium
[Detail 1/4”=1’] 1/4” Sheet Metal Metal Drip Flashing Metal Framing 4” Roof Decking Batt Insulation
36x12 Wide-Flange C-channel @ 4’ Spacing Metal Drip Flashing 1/4” Interior Glass Air Outake Grill Vertical Tension Cable
Spider Fittin
Air Outake G
4” Metal Roo
4” Metal Roo 2” Metal Blo
[Detail 1/4”=1’] 1/4” Exterior Glass Spider Fitting 1” dia. Strut
Metal Drip F
Vertical Tension Cable 1/4” Interior Glass Air Intake Grill 1” Onyx Tiling Tension Cable Plate 4” Floor Decking Metal Framing 1/4” Sheet Metal 36x12 Wide-Flange C-channel @ 4’ Spacing Batt Insulation Ridgid Insulation Metal Drip Flashing
S
A
4
4 2
M
[SYMBOLISM] Given Chicago’s strong symbolic connection to this specific site, this connection can be emphasized through design. Additionally, this “Y” symbol can be found throughout the city on a detailed scaled. If one looks closely, they can see this symbol throughout the city.
[PATTERN] In translation to design, this symbol is implemented on a smaller scale, as a detail. It is applied to the tension webbing of the lobby facade. The “Y” is mirrored and multiplied to create a patternization. The webbing runs in between two layers of glass, binding them together.
[VENTILATION] A double skin facade system is implemented into the design to address the southern exposure of the lobby. This creates a ventilation cavity between the two layers of glass. This cavity improves thermal massing in the winter months, while circulating hot air out of the skin during the summer. Air Plenum
[SUN SHADING] For additional direct solar protection from the harsh summer sun, the outer most layer of glass is considered. This layer consists of four different densities of fritted glass panels. The density of these panels are placed in a gradient pattern favoring the south/southwest. This tessellate layer aesthetically sparkles as it tears away to reveal the auditorium within.
[Design Development]
15
[FORM] A proper acoustical distribution within the auditorium is imperative. In efforts to further strengthen the spherical concept, this form and aesthetic is brought into the auditorium. In order to achieve this innovative concave ceiling, acoustical distribution must be diagrammed. Transversely and longitudinal diagrams explain the ceilings acoustical performance. Given these two-dimensional acoustical diagrams, three-dimensional form can be acheived. These seciton cuts were brought into Rhino. This program creates a generative form. This elegant form becomes the main aesthetic within the auditorium. Through these simple steps beauty is derived from functionality. [MATERIAL] Acoustical performance also is variable to materiality. The sound performance of an auditorium is measurable. The Sabine Reverberation Equation allows us to gauge the performance of the space. Volume divided by the summation of sound absorbent area results in a reverberation. For an opera, it is ideal to have a reverberation time of 1.5sec at 60 decibel. Based on this equation we have a guideline on which we can base material design. The sounds absorbent materials within the auditorium include: the seats, back-wall, proscenium, and ceiling attic. Absorbent materials must be identified by surface area. These sum-mate to 16,918.5 square feet. This divides into the 535,000 cubic feet auditorium to result in a reverberation time of 1.5 seconds. T60mid(avg 500-1000 Hz) = 535,500 ft [s1+s2+s3+s4] = 31.65ft
16
1.5 Seconds
[Acoustic Design]
[s1]Attic=829.5 ft2
[s2]Seats=12,642 ft2
[s3]Back Wall=1,447 ft2
[s4]Procenium=2,000 ft2
22
23
In an auditorium it is functionally crucial to
The intimacy between the opera patron and
provide sound absorbant properties to unoccupied seats. Given the desire to continue the wood material pallete with the seats, it was necessary to implement a system of sound absorption. In order for this to be possible, I designed perforations in resemblance of the “Y� contextual motif.
A major part of an opera experience comes from sensible qualities. These elements are often elegant solutions to functional needs. As seen, elements such as handrails can be designed with a delicacy that provides a rich quality.
the stage is highly important. Thus an auditorium must be formed with this in mind. In my own design, I looked to organize a seating arrangement that would absolutely minimize the distance between the viewer and the stage. In result, a horseshoe arrangement was selected. Further, the auditorium is spatially minimized.
Given that operas are most commonly preformed in Italian, German, or French, it is important to consider a viewer’s relationship to a translation text-box. Functionally, a text-box is best located where the viewer can easily glance between text-box and stage. Once again these elements can be placed with delicacy and elegance.
[Auditorium Design]
19
Museum {Haskell Cultural Museum}
Haskell Indian Nations University is one of two Native American universities in the United States. This institution is a large representation of the Native American culture. Thus, this cultural center becomes a representation of both Haskell and the larger Native American community. In preparation for this project, it was imperative to adequately {educate} oneself. In doing so, it became very apparent that there are strong cultural and historical implications. This lends itself to a wide range of opportunity and potential. Given the opportunity to pick both building site and gallery experience, this project becomes {unique} as it must respond to cultural implications as well as the a historical site. Conceptual design creates a narrative that relates to both the immediate site as well as the larger Native American story. From this a {scheme} begins to develop and respond to a story. Within the building a complex program is organized, while outside, the site ties elements of the campus closer together creating a sense of cohesion. A {design} begins to evolve originated from Native American concepts, history, and tectonics.
{Education}
askell
m
Location: Lawrence, Kansas Size: 60,000 gross square ft. Professor: Kapila Silva Project Type: Individual
25. Research & Context 26. Gallery Concept
{Unique}
29. Site Development {Scheme}
31. Schematic Response
{Design}
33 Design Development
21
How can we tell the comprehensive Native American story...?
Heavy
[INFLUENCE ON DESIGN] None
[HISTORIC] Given the opportunity to pursue a historical design, it is a must to perceive history from the Native American’s perspective. In their interpretation, time is visualized in the form of a spiral opposed to a more tradition linear diagram.
[CAMPUS] Haskell has many historical elements of its own. Statues, monuments, and historical buildings are found throughout campus. However, further development is needed in order to cohesively tie the campus together.
[TECTONICS] Early Native Americans had a variety of construction techniques. Wooden structural framing was common as well as earth ramming and the use of stone. This becomes a language in which to design.
[Research & Context]
25
[SPACE] The Native American Culture had and still do possess a unique concept of time and space. In development of a historical narrative, I looked to incorporate those concepts into the program. Spatially, Native American Cultures have a strong sense of geometry. Specifically, the circle is represents a form of unity, equality, and balance. The circle is a spacial organization to the Native American. I looked to incorporate this directly into the design. This is realized in the formation of a central hearth. This space becomes the lobby, space of gather, performance, and warmth. [TIME] As forementioned, time is uniquely conceptualized by the Native American. A non-linear symbol, the spiral, becomes a symbolic representation of time. Further, time is subcategorized into five distinct phases of time: 1. Birth 2. Legendary Past 3. Recent Past 4. Present 5. Future. All together this encompasses time comprehensively. I looked to incorporate this directly into the narrative as well. This symbol is applied to the gallery experience.
3 2
1
Five galleries are formed in representation of the subcategories of time. In further representation, the galleries mimic the motion of the spiral in plan as well as elevation. One moves through the galleries and, thus conceptually, time. The comprehensive story is encapsulated in this manner.
5
1
26
[Gallery Concept]
4
2
3
4
5
Recent Past +14
Auditorium Below
Security
Present
Legendary Past
+16.5 Loading Dock Access & Service
+11.5 Classrooms Below
+/-0
+4
Lobby Below Lobby Below
-7
+/- 0
Birth
Administrative Offices
Cafe Below +9
Future +19
Balcony
N
+/- 0
Conference Room
N
[SITE] The selection of site is crucial to this project. Given that the campus lacks unity it is imperative to tie nodes together. I looked to do so in a historical context. Picking a building location in adjacency to the most historical area of campus, a solution begins to form. Conceptually this building pays homage to a comprehensive Native American story as well as conjoining with the historical campus nuclei. A geometrically developed site helps bring nodes of the campus closer together. The museum becomes one of the elements.
3
4
2 1
A quad is formed in the most prominent location of campus. This interstitial space becomes a place for recreation and leisure. Additionally it also creates a further sense of arrival to the campus, a sense of place. 1. Campus Historical Center 2. Campus Guardian Statue 3. Haskell Historical and Cultural Center 4. WWI Memorial Arch 5. Hiawatha Hall 6. The Warrior Statue
5
N 6
[Site Development]
29
[PROGRAM] Form was generated by a conceptual symbol; the program must respond and contribute to this idea. In order to do so supporting functions were placed below the galleries. This created a programmatic hierarchy and allowed the galleries to be the primary elements. In further development materiality became important. Glass was allocated to program below the galleries while the galleries themselves were cladded with native limestone. This juxtaposition of materials accentuated the spiral motion of the galleries while providing ambient light to the rooms below.
Limestone Cladding Insulation Glulam Beam 3/8� Glass Pane Glulam Column
A
Auditorium Below
Security
Loading Dock Access & Service
Classrooms Below
Loading Dock
+/-0
+/- 0
+4
Lobby Below
-7
Administrative Offices
Cafe Below
Conference Room
N
Outdoor Gathering +/- 0
[Schematic Response]
31
Glulam Beam Water Gutter Glulam Plate Fasteners Tension Cable Downspout
Glulam Brace
Glulam Split Column
Glulam Knife Plate
[TECTONIC] In cultural context it is important to thoroughly respond to typology. I looked to respond tectonically to the historical building technique of the Native American. A common Native American structural framing was the “Wigwom�. This structure is a skeletal timber construction. This was a highly efficient technique at the time. In its modern day equivalent, a glulam beam is a proficient and sustainable structural framing technique. This structure, exposed, becomes a motif throughout the museum. Is also guides the circulation through the galleries experience. Additionally, the structure must respond to the unique building form. Due to the funnel like formation, it was necessary to address water drainage. A system of water filtration and collection is retro-fitted into the glulam structural units. The column splits making room for the downspout, which filters water to a water collection cistern. Overall the structure of this museum is elegant, sustainable, and contextual.
Lobby Marble Floor Drain to Cistern Floor Decking Secondary Structure
Concrete Column Basement Floor Crushed Gravel Drainage Pipe Concrete Footing
[Design Development]
33
CONVEnTIO {Oklahoma City Convention Center}
ON Location: Oklahoma City, OK Size: 500,000 gross square ft. Professor: Alejandro Ogata Project Type: Group
Oklahoma City is on the verge of major expansion. The Core to Shore Master Plan proposes major expansion over the next 15 years. With a southern trajectory, this development looks to link the downtown nuclei to the Oklahoma River. From this comes a large economic infrastructure that our convention center integrally promotes. In our own {education} we come to find that the Convention Center is intended to be placed on the distinct axis that will eventually link the downtown nuclei to the river. A {unique} opportunity is given as we look to develop our own master plan in full extent to the shore. This development begins to influence the {scheme} as explicit moves must be made in order to maintain the prominent axis to the shore. Further, a {design} develops that not only is highly functional but links itself to the city’s industrial past.
{Education}
39. Research & C2S
{Unique}
40. Master Plan
{Scheme}
42. Schematic Development
{Design}
45. Design Development
{Visual}
47. Additional Production
35
How can a building design be iconic and a catalyst for economic expansion...?
CC Site
*Core to Shore Plan (C2S) http://www.okc.gov/Planning/coretoshore/ resources/CoreToShorePlan_2008.pdf
Heavy
Room Schedule Program
Required SF
Designed SF
Delta
200,000 SF
199,700 SF
-0.14%
200,000 SF
199,700 SF
-0.14%
Exhibition Hall Main Hall
Meeting Rooms 18,000 SF
18,064 SF
0.37%
36,000 SF
36,058 SF
0.16%
MR Size C
6,000 SF
6,042 SF
0.70%
60,000 SF
60,166 SF
0.27%
[INFLUENCE ON DESIGN]
MR Size A MR Size B
Ballroom Main Hall
20,000 SF
19,968 SF
-0.16%
20,000 SF
19,968 SF
-0.16%
EH. Pre-Function
24,000 SF
24,677 SF
2.82%
MR. Pre-Function
18,000 SF
22,197 SF
23.32%
BR. Pre-Function
12,000 SF
11,664 SF
-2.82%
Public Circulation
25,200 SF
15,955 SF
-36.69%
79,200 SF
74,493 SF
0.94%
Storage
28,000 SF
25,655 SF
-8.38%
Service Circ.
25,200 SF
35,685 SF
41.61%
Food Services
42,000 SF
43,298 SF
3.09%
BR. Kitchen
3,000 SF
2,958 SF
-1.40%
Misc. & Disc
28000 SF
10,466 SF
-62.62%
EH. Restrooms
10,000 SF
9,334 SF
-6.67%
MR. Restrooms
1,500 SF
1,544 SF
2.93%
BR. Restrooms
2,000 SF
2,002 SF
0.10%
139,700 SF
130,945 SF
-6.27%
498,900 SF
499952 SF
0.21%
Public
Service
Total
None
[CORE TO SHORE PLAN] As seen to the left, The C2S Plan has an ambitious vision. As part of our project we were asked to critique this plan, make altercations to it, and design a convention center within the plan’s framework. While designing, we must respect the distinct axis to the shore.
[HISTORY] Oklahoma City has a rich history in its oil industry. This city prides itself on this past. In a contemporary sense, this convention center becomes an economic driver much like oil has. This building looks towards the future while alluding to the city’s enriched economic past.
[PROGRAM] Program becomes an important part of this project. A strict schedule is provided in which we must adhere to. Further, a different programmatic schemes allow for different levels of functionality. An idealistic scheme can be realized.
[Research & C2S]
39
[PROMOTING THE AXIS] Through analysis, our group concluded that the current plan overplayed the role of a central greenspace within the expansion. In comparison to other prominent city’s, we found that Oklahoma City is proposing a significantly high ratio of green area to population density. In response we looked to dedicate some of this space to economic attractions that would not only support the a multitude of green-spaces but the adjacent civic programs. In result, we have a link of amenities, nodes that further promote the civic axis. [1] The Oklahoma City Convention Center is one of the main programmatic pieces in this economic expansion. The facility becomes one of the city’s predominant marketing tools as well as a primary element that re-enforces the civic axis. [2] In support of the convention center and the adjacent Chesapeake Arena, an entertainment district is proposed. Precedent from several different cities suggest that this adjacency deems promising.
1
2
3
[3] To further promote the proposed Central Park, we looked to re-purpose the dormant Union Station. This space would be programmed as the new city fair grounds servicing the city’s request for the relocation of the grounds.
4
[4] The Skydance Bridge is an icon in the skyline of Oklahoma City. In order to further attract pedestrians to this area, the highway is decked over. This allows for a seamless transition between the Central Park and the neighborhoods south of the highway.
5
[5] A pedestrian boulevard is proposed to best support the adjacent neighborhoods. Retail and dining become a large attraction along the boulevard as it stretches to the river. [6] At the point of the axis a beach is designed reconnecting the public with the river. This becomes a destination that has been long in demand.
40
[Master Plan]
6
Site Plan @ 1”=100’
[SITE] Given that our convention center is allocated to be 500,000 sq.ft., it is important to consider the effect this large mass will have on the surrounding context. Specifically, the axis and adjacent civic program must be promoted. In order to do so two distinct moves were made. First, a pedestrian bridge is formed to demarcate this axis and physically circulate people through the site. Along this bridge, one can find retail, green space, and interact with the convention center. This pedestrian artery becomes an important element in connecting the city nuclei to the southern expansion. Secondly, the main mass of the building is rotated. This distinct move opens up the corner of the lot in a more dynamic way. Further, it engages the four corner intersection of the convention center, the proposed entertainment district, Chesapeake Arena, and the proposed mixed use building. This corner becomes a key node within the city.
[Site Development]
43
Meeting Room @ 1”=250’
Exhibition Level @ 1”=200’
Ballroom Level @ 1”=250’
[PROGRAM] An efficient programmatic layout is crucial to a convention center. An ideal scheme allows for the exhibition hall, meeting rooms, and ballroom to function simultaneously. This means that neither service functions nor public functions may conflict. They must be independent of each other. Given the constraints of our site, we were not able to schematically place all three programmatic elements on the same level. In resolution, the program was stacked vertically in order to isolate one from the other. Their location is space was chosen carefully. [Exhibition Hall] This mass was placed at ground level. This is the most practical and functional approach. Service dock access is most convenient. Additionally this part of the program is most trafficked, its proximity to the main entry is important. [Meeting Rooms] The conference and meeting rooms were placed on the second level. Given their moderate necessity for privacy, this level becomes most appropriate. Additionally, its users are most likely to use the rooftop access as well as circulate to the hotel across the green-space. [Ballroom] Lastly the ballroom is placed atop of the mass. This allows for the highest level of privacy as required for this function. From a marketing standpoint, this space becomes a major selling point as it provides postcard views as it gazes north from the peak of the mass.
Room Schedule Program
Required SF
Designed SF
Delta
200,000 SF
199,700 SF
-0.14%
200,000 SF
199,700 SF
-0.14%
Exhibition Hall Main Hall
Meeting Rooms MR Size A
18,000 SF
18,064 SF
0.37%
MR Size B
36,000 SF
36,058 SF
0.16%
MR Size C
6,000 SF
6,042 SF
0.70%
60,000 SF
60,166 SF
0.27%
20,000 SF
19,968 SF
-0.16%
20,000 SF
19,968 SF
-0.16%
EH. Pre-Function
24,000 SF
24,677 SF
2.82%
MR. Pre-Function
18,000 SF
22,197 SF
23.32%
BR. Pre-Function
12,000 SF
11,664 SF
-2.82%
Public Circulation
25,200 SF
15,955 SF
-36.69%
79,200 SF
74,493 SF
0.94%
Storage
28,000 SF
25,655 SF
-8.38%
Service Circ.
25,200 SF
35,685 SF
41.61%
Food Services
42,000 SF
43,298 SF
3.09%
BR. Kitchen
3,000 SF
2,958 SF
-1.40%
Misc. & Disc
28000 SF
10,466 SF
-62.62%
EH. Restrooms
10,000 SF
9,334 SF
-6.67%
MR. Restrooms
1,500 SF
1,544 SF
2.93%
BR. Restrooms
2,000 SF
2,002 SF
0.10%
139,700 SF
130,945 SF
-6.27%
498,900 SF
499952 SF
0.21%
Ballroom Main Hall
Public
Service
Total
[Schematic Development]
45
[HEARTH] An additional mass is added to the building. This space is deemed the “hearth� as it becomes a place of gathering for all attendees at the convention center as well as the general public. This important container helps bind together the three main programmatic elements. Additionally it becomes the marquee of the building as it signifies the arrival and circulation. [WAY-FINDING] The term way-finding is often used in application to the simplicity of circulation between program. In context of a convention center and a large scaled building, way-finding becomes integral. As forementioned the hearth binds the three main programs together. Within the space, circulation is celebrated. Having a centralized space for arrival, congregation, and circulation makes the overall experience more cohesive.
46
[Hearth]
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
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25
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[STRUCTURAL EXPRESSION] In order for the hearth to be a grand space that connects to the culture and essence of Oklahoma City, historical considerations were taken. As forementioned, this city was founded on an economic oil foundation. This becomes a strong basis for the city; I looked to celebrate these strong roots. In order to do so I looked to mimic the aesthetic of an oil derrick. This symbol is a common and iconic image within the area. From this, I derived form and material from its structural framework using corten steel primarily and tensile cable secondarily. The primary structure replicates the iconic crossbracing while the secondary structure alludes to the cable pully systems often used within the rig. In culmination, the structure becomes an expression of the a rich economy. Further, it becomes an iconic aesthetic within the context of the city.
[Design Development]
49
[Additional Production]
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Museum {Amelia Earhart Aviation Museum}
m
Location: Atchison, Kansas Size: 12,000 gross square ft. Professor: Steve Padget Project Type: Individual Amelia Earhart is world famous for her groundbreaking achievements as a female pilot. This project presents the opportunity to celebrate her legacy in adjacency to her childhood home. In {education} we come to find that Amelia’s inspiration for exploration came at a young age. Her historical past becomes the basis for conceptual design. This creates a {unique} experience, a simulation of a feeling. Organized into a simple {scheme}; the experience is concise. In an architectural response a tectonic {design} is developed. A dynamic skin helps support the main conceptual expression and experience while simultaneously creating a powerful {visual} aesthetic.
{Education}
57. Research & Context
{Unique}
59. Conceptual Design
{Scheme}
60. Schematic Development
{Design}
63. Design Development
{Visual}
65. Additional Production
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How can a building experience captivate an emotion...?
Heavy
[INFLUENCE ON DESIGN] None
[ADDITION] Given the adjacency to Amelia’s childhood home and now historical museum, this additional museum must function with the old. It is important to create a connection between the two buildings as they will function as one cohesive experience.
[HISTORY] Through historical research we come to find more about Amelia’s journeys in both the Electra and Vega. Congruently they both traveled eastward, and this leads to conceptual design.
[TOPOGRAPHY] One of the most unique parts of this project is the site itself. Located on the edge of a bluff, the topography is extreme. This triggers a unique response.
[Research & Context]
57
[DIRECTION] Historical research begins to reveal a pattern in Amelia’s journey’s. Most often her flights followed an eastbound route. Specifically, the Vega and the Electra, followed this pattern. As these two famous planes are to be replicated and included in the program, I saw this as commonality. Additionally, the site itself has an east facing orientation. This link between history and site becomes a conceptual design. The building begins to take you on a journey and captivate an emotion, flight. In an architectural response, I looked to extend the program as far east as possible. The exhibition hall cantilevers proudly over the valley. Further, a deteriorating facade system is applied to further allude to the feeling of weightlessness and flight. As one moves through the building, the skin of the building tappers. This in at a climactic as the glazing is fully exposed allowing the viewer to gaze onto the valley below.
A
[Conceptual Design]
59
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[SCHEME] A organized response is crucial to support the linear progression through the building. One approaches along a narrow procession. The building begins to expand in circulatory width. A simple program is organized to support the exhibition hall. Before exhibition one is prepped in the video room. Eventually one proceeds to a highly interactive experience with the Vega and Electra.
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[Schematic Design]
[EXPLODED AXONOMETRIC] 1. Roofing 2. Entry 3. Gift Shop 4. Employee 5. Restroom 6. Video Room 7. Entry Framing 8. Exhibition Truss
9. Glass Facade 10. Panel System 11. Entry Floor Slab 12. Exhibition Floor Slab 13. Vega and Electra 14. Look out Deck 15. Foundation 16. Topography
+/-0' DN
-10' Atrium +/-0' DN Gift Shop Reception
Employee
Open to Exhibition Below -10'
M/W Bathrooms DN
B Cinema Room DN
A
Up
UP
-6’
Maintenance Room
Plane Exhibition
Display Area
Mechanical Room
-10’
UP
B UP
A
Balcony Below
-2'
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[SUN SHADING] The skin system is not just an aesthetic; it is performance based as well. The metal panels are a second skin that act as a sun shading device. This response is imperative given the extreme sun exposure along the southern facade.
[PASSIVE COOLING] Because of this expansive southern facade it is possible to apply other performance techniques. An evaporative cooling pond is placed in adjacency to this facade. On warmer days this water will cool the air before being cross ventilated through the exhibition hall.
[Detail Section] 1. EPDM Roofing 2. Flashing 3. Rigid Insulation 4. Metal Roof Decking 5. Skin System Connection 6. Purlins 7. Steel Span Beam 8. Truss Top Chord
9. Steel Column 10. Tension Cable Bracing 11. Double Pane Curtain Wall 12. Facade Panel System 13. Panel Brackets 14. Truss Bottom Chord 15. Facade Connection 16. Concrete Foundation Wall
17. Concrete Footing 18. Rigid Insulation 19. Draingage Pipe 20. Crushed Gravel 21. Cast-In-Place Concrete Slab 22. Masonry Decking 23.Evaporative Cooling Pond
[Design Development]
63
Free-Han {Artistic Media}
Freehand drawing is an innate skill that we can all develop. This development is oftentimes overlooked. We shy away from the imperfection of the human hand. However, I think it is important to embrace these imperfections with hopes to develop a confidence and fluidity to our line. By drawing a wide range of subject matter, we are able to grasp this fluidity along with an enhancement of scale, space, and form. Perhaps most importantly, we come to find that the freehand drawing possesses a soulfulness that can only be exactly obtained in this matter. In my own {education} I have had the opportunity to travel {abroad} on multiple occasions. Throughout Europe I quite thoroughly enjoyed capturing a scene by hand or through the lens. These are passionate notational tools to me.
Photog
nd
71. Free-hand Sketches {Abroad}
77. Photography {Education}
78. Analytical Drawing
67
Oidhreacht Geschichte Ouvragée Animado Idotlen báj Krása Kaiserlich Muntogna Home
[Heritage] [History]
[Ornate] [Lively] [Charm]
[Beauty] [Emperial] [Landscape]
[Home]
[Freehand Sketches]
71
[Freehand Sketches]
73
[Freehand Sketches]
75
[Photography]
77
78
[Analytical Drawing]
v
}
THANK YOU FOR YOUR CONSIDERATION
PATRICK S. BEGLEY