PORTFOLIO AND RESUME
QUINN MCCALLUM-LAW PORTLAND, OREGON QUINN.MCL@GMAIL.COM QM2@PDX.EDU 801.243.2745
BACKGROUND IMAGE: FURNITURE DETAIL; OAK PLYWOOD BED~2006
QUINN MCCALLUM-LAW
quinn.mcl@gmail.com 801.243.2745
EDUCATION MASTER OF ARCHITECTURE CERTIFICATES IN URBAN DESIGN AND REAL ESTATE DEVELOPMENT
PORTLAND STATE UNIVERSITY ANTICIPATED GRADUATION - 2020 UNIVERSITY OF UTAH GRADUATED 2010
B.S. OF ARCHITECTURAL STUDIES
KAISER GROUP INTERNATIONAL portland, oregon 2017
•Carpenter and safety foreman on the tallest built CLT building in the US. •Supervised subcontractors and temp labor facilitating seamless construction project flow. •Maintained and repaired construction and design errors resulting in a significant reduction in change order costs. •“Design on the fly”- solved back room design issues preventing downtime in construction avoiding RFI’s. OWNER AND DESIGN PARTNER
RESIDENCE FOR A FICITONAL CHARACTER THE TEMPLE OF THE LOST FACADE
EXPERIENCE CARPENTER/FOREMAN
CONTENTS
MCL DEVELOPMENTS salt lake city,utah 2008-2016
•Mission based development in Salt Lake City’s Granary District •Leveraged architectural design and city planning strategies to create higher ROI and positive cash flow. •Focused on cultural development projects and urban revitalization. Project portfolio includes rehabbing derelict properties in to high design, low cost apartments and live-work art studios. •Advocacy work with Salt Lake City Redevelopment agency and residents, focused on quality architecture, positive gentrification, and displacement mitigation and prevention. INTERN ARCHITECT/ CONSULTANT
COMMUNITY STUDIO salt lake city,utah 2011-2012 •Engaged clients in the design and development process. Identified and resolved potential problems before construction resulting in streamlined building process with minimized RFI’s and change orders. •Managed D.D. & C.D. Process for Charter School project with a three month “design to ribbon-cutting” timeline. •Consulted in all phases architectural and design drawings using various design and drafting platforms. •Master Planning for city-wide revitalization, project management, conceptual design and construction drawings.
SKILLS
SERVICE/AWARDS/INTERESTS/OTHER
ADOBE CC - ILLUSTRATOR, PHOTOSHOP, INDESIGN, PREMIERE MICROSOFT OFFICE - WORD, POWERPOINT, EXCEL BIM - REVIT AND ARCHICAD
2019,2020 AFO ARCHITECTS IN SCHOOLS PROGRAM 2012 GRANARY DISTRICT DESIGN CHARRETTE: SALT LAKE CITY 2008 ARCHITECT AS DEVELOPER SEMINAR: WASHINGTON, DC
SKETCHUP, AUTOCAD & RHINO FRAMING FURNITURE & MODEL - DESIGN & CONSTRUCTION CREATIVE REAL ESTATE FINANCING & CONTRACT NEGOTIATION CONSTRUCTION MANAGEMENT CODE & ZONING RESEARCH, MASTER PLANNING, SKETCHING AND DIGITAL VISUALISATION
2007 STUDENT ADVISORY COMMITTEE: U OF U COLLEGE OF ARCH 2006 DESIGN CHARRETTE WINNER: U OF U COLLEGE OF ARCHITECTURE 2002 ESL VOLUNTEER TEACHING ASSISTANT: MOUNTAIN VIEW ELEMENTARY COMMUNITY ADVOCACY; URBAN DESIGN; SNOWBOARDING; CAMPING MOUNTAIN BIKING; AUTO RESTORATION
EAST PORTLAND PERFORMING ARTS CENTER WILLAMETTE MILE MARKER LIGHT HOUSE GO! - O’BRYANT SQUARE POPTOP STUDIOS ASSORTED FURNITURE
RESIDENCE FOR A FICTIONAL CHARACTER 2009 Masking of an existing body to create another/
adaptive reuse of an abandoned railroad bridge.
Cut-away- Simple Materials reassembled simply
THE TEMPLE OF THE LOST FACADE 2018 This studio project was an excercise in adaptive reuse using a dying mall. The goals of this project were tectonic in creative reuse of the existing materials and simple construction methods to create dynamic space The Temple of the Lost Facade at Mall 205 is an Artist Residency Space with a performance art component. The resident artist works as an Abbot to the Temple, for the duration of their residency performing rituals based on identity, commodity, and The Gruen Effect for Patron temple members and visitors. The Ground floor is comprised of three chapels, The Chapel of Gruen, The Chapel of the Lost Facade, and The Chapel of Artification. The Chapels are connected by a 3 story open-air, covered “Great Hall”. The second floor contains an “Abbot’s Residence”, an art studio, and a large storage room used to house some of the Temple Rituals’ Artifacts. Constructed out of remnants of the mall’s Past life (and some borrowed materials from its current life)-- Studs, corrugated polycarbonate, and five of the most exemplary facades from the height of mall culture. The space itself works to perform as both a place of ideal-preservation, as well as a something that can breath an entirely new life into a dying mall through the introduction of high art. Garage Door Chapel of the artification of commodity
Iso View showing the three chapels and indoor/outdoor grounds
“2x4 Stud wall” joint detail
PATRON OF MALL “Patronizing” Arts
Facade Envy
Take one
PATRON OF MALL Secular Commodity Chapel Mall Goods Shrine
Facade Painting Mall Shopper Personal project
Eat Sleep Clean
ARTIST IN RESIDENCE
Show and sell ARTIST IN RESIDENCE
Labor
Gruin Delivery
TEMPLE OF THE LOST FACADE
STORAGE
PRIVATE STUDIO
RESIDENCE
3
2
2
SECOND FLOOR TEMPLE OF THE LOST FACADE 37’1”
STORAGE
PRIVATE STUDIO
RESIDENCE
3/16”: 1’
3 1
1
2
2
155’6”
SECOND FLOOR 37’1” 3/16”: 1’
N
1
1 2
2
GROUND FLOOR 37’1” 3/16”: 1’
155’6”
N 1
1
2
2 3
GROUND FLOOR 37’1” 3/16”: 1’
CHAPEL OF THE LOST FACADE
CHAPEL OF GRUEN
CHAPEL OF THE ARTIFICATION OF COMMODITY
1
1 PATRON OF MALL “Patronizing” Arts
Facade Envy
Take one
3 CHAPEL OF THE LOST FACADE
CHAPEL OF GRUEN PATRON OF MALL Secular Commodity Chapel Mall Goods Shrine
2018 Facade Painting Mall Shopper Personal project
Home Depot
Eat Sleep Clean
ARTIST IN RESIDENCE
TOTLF
PATRON OF MALL “Patronizing”
Facade Envy
Take one
CHAPEL OF THE ARTIFICATION OF COMMODITY
TEMPLE OF THE LOST FACADE TEMPLE OF THE LOST FACADE SECTIONS 3/16”: 1’
SECTIONS 3/16”: 1’
PRIVATE STUDIO
CHAPEL OF GRUEN
CHAPEL OF GRUEN
PRIVATE STUDIO
CHAPEL OF THE LOST FACADE
CHAPEL OF THE LOST FACADE
SECTION 1
SECTION 1
RESIDENCE
STORAGE
CHAPEL OF THE ARTIFICATION OF COMMODITY
CHAPEL OF THE LOST FACADE
SECTION 2
CHAPEL OF GRUEN
CHAPEL OF THE ARTIFICATION OF COMMODITY
CHAPEL OF THE ARTIFICATION OF COMMODITY
RESIDENCE
RESIDENCE
CHAPEL OF THE ARTIFICATION OF COMMODITY
CHAPEL OF THE ARTIFICATION OF COMMODITY
SECTION 3
SECTION 3
RESIDENCE
CHAPEL OF THE ARTIFICATION OF COMMODITY
RESIDE
CHAPEL OF T ARTIFICATION COMMODIT
EPPAC - EAST PORTLAND PERFORMING ARTS CENTER 2018 COMPREHENSIVE DESIGN STUDIO
East Portland Performing Arts Center Portland, East Arts Center EastPortland PortlandPerforming Performing ArtsOregon Center Arch 581 Professor Anna Goodman Portland, Oregon Portland, Oregon QuinnAnna McCallum-Law Arch581 581Professor Professor AnnaGoodman Goodman Arch QuinnMcCallum-Law McCallum-Law Quinn
NORTHWEST PERSPECTIVE
East Portlan
Arch 581
LEVEL 2 SOUTH BAL
EPPAC is a place centered in the performing arts of the Jade District and the Asian and Pacific Islander community. The building starts at its core as a circle, andcentered pulls with gridded city toarts and form space for its EPPAC place centered the performing the Jade District EPPAC isit apushes centered in the performing artsarts ofstretch the Jade District EPPAC isisplace aaplace ininthe the performing ofofthe Jade District programs. Theand exterior isIslander shrouded incommunity. louvresThe that close and open and the Asian and Pacific Islander community. The building starts itscore core and thethe Asian Pacific community. building starts attoits core astoas aasaa and Asian and Pacific Islander The building starts atatrespond its needs the users. EPPAC contains agridded Blackcity Box Event Space, After-School circle, pushes and pulls with the gridded city stretch and form space for its circle, itofpushes andand pulls with thethe gridded toTheatre, stretch andand form space forfor its its circle, ititpushes pulls with city totostretch form space Performing Arts Center, Studio as Well as an exterior circular “Courtprograms. The exterior shrouded louvres that close and open respond programs. The exterior isRecording shrouded in louvres thatthat close andand open to respond to toto programs. The exterior isisshrouded ininlouvres close open totorespond yard Theatre” that works incontains Conjunction with the Theatre Program and Event needs the users. EPPAC contains Black Box Theatre, Event Space, After-School needs of the users. EPPAC a Black Boxboth Theatre, Event Space, After-School needs ofofthe users. EPPAC contains aaBlack Box Theatre, Event Space, After-School Space. Performing Arts Center, Recording Studio asWell Well asan anexterior exterior circular “CourtPerforming ArtsArts Center, Recording Studio as as Well as as an exterior circular “CourtPerforming Center, Recording Studio circular “Courtyard Theatre” that works Conjunction with both the Theatre Program and Event yard Theatre” thatthat works in Conjunction withwith bothboth thethe Theatre Program andand Event yard Theatre” works ininConjunction Theatre Program Event Space. Space. Space. 1
EPPAC is a place centered and the Asian and Pacific Is circle, it pushes and pulls w programs. The exterior is s needs of the users. EPPAC Performing Arts Center, Re yard Theatre” that works in Space.
CULTURAL PERFORMANCE CENTER - PROGRAM DIAGRAM COVERED EXTERIOR SPACE 800sf
W.C. 400sf
OFFICES 2000sf
STORAGE 500sf
CLASSROOM 3000sf W.C. 400sf
OFFICE 500sf AUDIO 1500sf
STORAGE 500sf
VIDEO 1500sf
DRESSING 500sf
BLACK BOX 2000sf LOBBY 500sf
KITCHEN 1000sf
W.C. 400sf OFFICE 200sf
EVENT SPACE 3000sf
COSTUME SHOP 1000sf STORAGE 2000sf
OFFICE 200sf
W.C. 200sf
SCENE SHOP 2000sf
=100SF PUBLIC SEMI-PUBLIC SUPPORT
PRIVATE
SEPARATE HOUSING NOT SHOWN 10 UNITS AT ~1200 GSF EACH FOR ADDITIONAL ~12,000SF
GENERATIONAL INTER-CULTURAL DIALOGUE GENERATIONAL INTER-CULTURAL DIALOGUE
EXTENSIVE GREEN ROOF (~6") FOR STORMWATER RETENTION
GENERATIONAL INTER-CULTURAL DIALOGUE
COURTYARD AND VIEWING BACONIES ORIENTED TO MAXIMIZE DAYLIGHTING AND MINIMIZE NEGATIVE SHG
UNREAL IDEAL
REALITY
UNREAL IDEAL
REALITY
180° OPERABLE LOUVRES CREATE INSULATED EXTERIOR SHELL W/ THERMAL BREAK
DROP CEILING BELOW ALL ROOF AND ROOF PATIOS
LEVEL 2 EXPOSED GLAZING PROTECTED FROM SUMMER SOLAR GAIN ENCLOSED ROOMS LOCATED ON NORTH AND WEST OF BUILDING FOR ZONAL CONDITIONING
POST TENSIONED SLAB UNDER PRESSURIZED UFAD RAISED FLOOR SYSTEM
COMPACTED GRANITE PERMEABLE PLAZA/PARKING
TRANSOM WINDOWS ALTERNATING WITH 3" RIGID INSULATION SPANDRELS
UNREAL IDEAL
REALITY
POST TENSIONED SLAB EXPOSED GROUND FLOOR (THERMAL MODULATION)
SEE DETAIL OF LOUVRE/SHUTTER SYSTEM A110 A111 HIGH PERFORMANCE BUILDING ENVELOPE W/ LOW E GLAZING, LOW U CONDUCTIVITY AND AIR INFILTRATION WILL BE COMBINED WITH HRV OR ERV ALL STORMWATER WILL BE TREATED ON SITE THROUGH A SYSTEM OF FLOW-THROUGH FILTRATION AND SUBSURFACE DRY-WELLS
SUSTAINABLE SYSTEMS (NTS) 12" = 1'-0" SE 82ND AVENUE
SE CLINTION SE CLINTION
June 21
E
4:23 AM
E
N VICINTIY MAP SITE DIAGRAM
12:00 PM
N
N
1”:50’
December 21 7:49 AM
12:00 PM
quinn mccallum-law Arch 586 Professor Travis Bell
E CENTER
E
PARK-ABLE PLAZA
CULTURAL PERFORMANCE CENTER
SCHEMATIC DESIGN
CLASSROOM
PARK-ABLE PLAZA
CLASSROOM CLASSROOM
LAB
RECORDING STUDIO BLACK BOX THEATRE
CLASSROOM
MAIN LOBBY RECORDING STUDIO
W.C.
CLASSROOM
VIGNETTE TERRACE ELEV.
UTILITY
W.C.
OFFICE CLASSROOM
OFFICE (MEZZANINE ABOVE) MAIN LOBBY
W.C.
OFFICE
FREIGHT ELEVATOR
OFFICE UP ABOVE) (MEZZANINE
W.C.
FLUSH SKYLIGHTS
CLASSROOM
UP
VIEWING DECK
REHEARSAL
UP
COURTYARD THEATRE SECOND LOBBY/FLEX
TERRACE
VIGNETTE BALCONY
UP
SECOND LOBBY/FLEX
TERRACE
UP
W.C. FLUSH SKYLIGHTS
OFFICE
VIEWING DECK
W.C.
FREIGHT ELEVATOR
FUTURE TOWNHOME DEVELOPMENT
COURTYARD THEATRE (BELOW)
VIEWING DECK
VIEWING DECK
UP
UP
VIGNETTE BALCONY
FUTURE TOWNHOME DEVELOPMENT
COURTYARD THEATRE
OFFICE
UP
VIGNETTE TERRACE
UP
UP
STORAGE
CLASSROOM
BLACK BOX THEATRE
ELEV. UP
LAB
UP
COURTYARD THEATRE (BELOW)
REHEARSAL
DRESSING
DRESSING
OFFICE
PRINT/WORK
PAINT BOOTH
PAINT BOOTH
OFFICE TERRACE
PRINT/WORK VIEWING DECK
WC
WC COSTUME SHOP AND STORAGE
PLANS 1/16”:1’
NORTH SOUTH SECTION 1/8”=1’
OFFICE
OFFICE VIEWING DECK
MEETING/WORK SPACE
EVENT SPACE PROP AND SCENE SHOP
STORAGE
EVENT SPACE PROP AND SCENE SHOP
TERRACE
VIEWING DECK
OFFICE
MEETING/WORK SPACE TERRACE OFFICE
STORAGE
TERRACE
VIEWING DEC
EPPAC - EAST PORTLAND PERFORMING ARTS CENTER DESIGN DEVELOPMENT STUDIO
LOUVRES CLOSED
LOUVRES OPEN
LEVEL 2 SOUTH BALCONY
q m l 1
quinn mccallum-law Arch 586 Professor Travis Bell
3 EXTENSIVE GREEN ROOF ~6"
A-401
INSULATION
180°+ OPERABLE LOUVRE INSULATED R-13
A-201
L-301
2
S-501
2 M-102
1
2 A-503
1 A-503
A-301
7
3 A-503
PROPOSED PROPERTY LINE
2
° .7 4 27
"
38' - 0 3/16"
.5
3°
10 1/11-5 6" 23' - 10 7/16"
Lobby 1' - 0 1/4"
12' -
9' - 4 7/16"
Ticket Office
13' - 10 11/16"
24' - 0"
4
1-2
15' - 2 15/16"
5 1' - 7" 3' - 8 15/16" 4' - 8" 4' - 8"
31' - 1 15/32"
0° 8.0
Black Box Theatre
1-1 -0'-- 0" 2" 0'
19' - 4 3/4"
5' - 1"
39' - 6 1/8"
UP
2
Circulation
19' - 4 1/32"
A-202 2
13' - 3 3/8"
1
3 A-301
1 A-502
13' - 10 5/16"
2 A-301
DN 21' - 6 27/32" UP
Level 2 20' - 0"
2
4'
7
13
/3
2"
° .09 35
3
A-202
104' - 9 15/16"
ROOF DECK ON STANCHION
Floor Plan M 1/8" = 1'-0"
1-4
4
GUARDRAIL 48"
1
10' - 8 11/16"
89
SOFFIT W/ DRIP EDGE AND CONT. INSULATION
/8" 43
6"
6
TRANSOM/ SPANDREL
Level 3 32' - 0"
'22
'24
"
21' - 2"
STOREFRONT SYSTEM U .11 OR BETTER
/3 2 15 10
'-
5
1/4 23' - 6
ENTRY (COVERED)
OPERATING MECH SEE DETAIL SKETCH A109
° .69 53
-0'-- 0" 2" 0'
Roof 44' - 0"
4 A-502
5' - 6 21/32"
39' - 1"
AL. PARAPET CAP/ ACM CLADDING W/CONTINUOS INSULATION
AIR GAP
-0'-- 0" 2" 2'
1 -0'-- 0" 2" 2'
Lobby
1-2 VAPOR BARRIER
1/16"
" /16 89
2
" -0
4' " -8 3/ 8"
4' -5 2" 7/3
2
6"
" -8
10' - 7 1/2"
4' 8
UP
A-501
81 .1 6°
13 '-
2" 5/3 81
1
1
A-502
'-
1
11
/1
2 A-502
3 A-401
'14
1-3
2" 7/3
Flex Event Space
" -8
-8
0'
8'
ENTRY
14' - 0"
-0'-- 0" 2" 0'
Mezzazine 9' - 0"
OPERABLE WINDOW TEMPERED GLASS
2" 5/3 92
.04 °
26' - 7
'14
89
Sim
A-503
'18
2 A-501
1-4
4
ENTRY (COVERED)
Sim
2'
ADDITIONAL MULLION SUPPORTS AS NEEDED PER LOUVRE BREAKS
1 A-501
° .00
SPANDREL R-15
Circulation
52
HORIZONTAL WEATHERSTRIP SEE DETAILS
12
Level 1 0' - 0"
ENTRY 81' - 11
7/16"
2 1 A-201 A-401
3
A
Wall Section 1/4" = 1'-0"
B 24' - 1 31/32"
1 Level 1 3/32" = 1'-0"
C 24' - 1 31/32"
D
E
F
G 10' - 1 1/4"
3 Floor Plan M 1/8" = 1'-0"
1
Detail Parapet Roof Deck 1 1/2" = 1'-0"
2
AL. PARAPET CAP/CLADDING W/CONT. INSULATION ROOF DECK ON STANCHION
AIR GAP
INSULATION
PERIMETER BAND BEAM
TRANSOM/ SPANDREL
STEM WALL
VAPOR BARRIER
180°+ OPERABLE LOUVRE INSULATED R-13
9" SLAB
Z CHANNEL 3/4" ACTUATOR ROD (1" AC CABLE IN CORNERS)
INSULATION
3
Typical Gear Drive Details Open 3" = 1'-0"
5
Typical Gear Drive Details Closed 3" = 1'-0"
HORIZONTAL WEATHERSTRI P SEE DETAIL SKETCH A110 DRIP EDGE TYPE X GYP. TRANSLUCENT CURTAIN LINED CURTAIN
4
Detail Roof Deck to Wall 1 1/2" = 1'-0"
INSULATED SOFFIT SPANDREL R-15
EAST PORTLAND PERFOMING ARTS CENTER 2610 SE 82ND AVENUE, PORTL
1
Detail Parapet Roof Deck
2
Detail level 1 Foundation to Wall
Detail level 1 Foundation to Wall 1 1/2" = 1'-0"
LAND, OREGON 97266
Enve 1
Detail Typical Louvre Plan View 3" = 1'-0"
EAST PORTLAND PERFOMING ARTS CENTER 2610 SE 82ND AVENUE, PORTLAND, OREGON 97266
WILLAMETTE MILE MARKER 21 LIGHT HOUSE DIGITAL DESIGN AND GRAPHICS SEMINAR/LECTURE
GO! O’BRYANT SQUARE URBAN DESIGN METHODS- SEMINAR/LECTURE - Skate and Activity Postive Plazas
movement diagram: skateboard/bmx
Design and Policy Recommendations - What, if anything, should be changed with the relationship of the place to its surroundings? - What, if anything, should be changed with the design of the place itself?
Repair brick edges finish with metal coping on all planter edges.
Maintain and/ or infill Planters with concrete and remove some overgrown trees with concrete.
Remodel streets to make them informal extensions of the park. Allow through access for vehicles but prioritize non motor vehicles.
GO! O’bryant Square, “The Ugly Duckling,” and Portland’s Skateboarders, the Shunned practitioners of Urban Husbandry Public Space and its Role in the Creative City Preface:
Executive Summary:
In this analysis, we are looking at O’Bryant Square, a broken park, why it is currently broken, and the prevailing problem of limited active sports destinations within inner west Portland. I am proposing that a solution lies within combining these two problems. While running and cycling- and the space needed for these activities are readily available, they are activities that simply pass through urban spaces like O’bryant and do not provide a sustained activation. Similarly, the food carts only activate this space in lunch hours on weekdays. Yet, places for playing ball, skateboarding, BMX bike riding are limited or even banned. This park provides a unique opportunity to explore allowing these sports to take place in a public realm, integrated with the larger population, and in a less formal setting than a soccer field, basketball court, or skatepark. Doing so will provide long term activation and enjoyment for people of all demographics with some curation of time and space. I wholeheartedly believe these sports, just like their participants, can be integrated within the public realm. We already are in our day to day life. Portland has a long and well-known history of grassroots skateboarding community (starting with but not limited to the Burnside Skatepark) and their willingness to take ownership in community engagement, it is an undeniable yet disregarded form of urban husbandry. So for the basis of the report, the analysis and proposal will use skateboarding as its primary example. I will be making the assumption that we can incorporate multiple uses by establishing guidelines of use, because, if representatives from the various groups were brought to the table in a charette fashion to create the rules, improve the existing park for each use then, O’bryant was given this status of an “active” destination point this engagement and collaboration would carry through to almost all of the end users. Fixing the broken park, allowing it to move beyond its current status of a problem child.
These remarks can be turned on their head. The ugly duckling grew to be the swan given time, and though Pioneer courthouse came later, it shares many design similarities. So, is it really the parks fault the ugly duckling is labeled as such, or is it part of a larger design issue of the surrounding uses and their designs? Have the prescriptive definitions of users of these plazas been too rigidly defined so as to exclude this ugly duckling from groups that could make it more? A quick survey of urban design graphics shows a limited form of users are considered when thinking about public space,
O’Bryant Square Portland’s network of downtown Plaza’s and Parks is well known, and widely acclaimed. In a land of rain, the outdoor living room still remains a key feature of importance to urban living. They’ve become cherished spaces for everything from leisure to civic engagement and protests. They are the cornerstone of downtown Portland’s success. With all of that said, some parks have struggled to remain relevant throughout the expansive growth of the last few decades. Or at least the perception of relevancy has been lost. As a case study, we will look at O’Bryant Square, its current and historical uses, its perceived and actual relevancy, and at a larger context address what is missing in the greater park plaza system to see if some design strategies could be employed to create a park that encourages activity, and a sense of ownership within the community.
What other user’s might be able to be drawn to the park that would have interest in such urban husbandry of revitalizing a space? And what design systems and approaches could facilitate urban renewal of the “ugly duckling” while still allowing all types of users to engage in using the public space? The only current draw that could be found to the Park and in turn draw to the city is it being part of a larger system of alternative active-use sports tourismprimarily skateboarding. It has been featured on many sites as a great place to skateboard on Portland’s brick plazas, a place that one won’t be bothered too much by police. Only by the users that give the park its current name, the houseless, those with no where else to go. Skateboarders along with similar sports like BMX biking, inline skating, and other newer sport, are members of a sport(s) that is largely defined by grew out of creativity, they (the sports) remain rooted in this creativity, which is why skateparks, successful as they may be as a draw to the sports, have not been successful in removing these sports from places everyone else thinks they don’t belong. O’Bryant Square, in its current state, provides the City of Portland with an excellent, and unique, opportunity to explore the rebirth of theses plazas for more than the standard urban character, a caricature. Through minimal remodeling, minor additions of surface and edge treatment to safeguard the plaza, and lastly prescribed usage times for different activities wherein all uses are allowed but different ones take hierarchical precedent at different times of day- Portland can make it a welcoming space to all users, and provide a unique engagement opportunity for people to interact. Families can play while others work out, or do tricks on a skateboard. It just takes a little community engagement.
POPTOP STUDIOS - Salt Lake City, Utah 9700 s.f. - .24 acre lot START 2014 -- EST. COMPLETION 2020 ROLE: Developer/Owner
ARCHITECT: Lloyd Architects- Warren Lloyd and Won Shim
Mixed Use Development Art studios, Retail/office and Live-Work apartment converted from a derelict warehouse built of five separate structures. Working collaboratively with the architects and future-tenants, we were able to double the amount of conditioned space while keeping the gas and energy consumption the same, MOST IMPORTANTLY, secure quasi-subsidized, inexspensive art and maker studios in a gentrifying neighborhood for a decade or longer. drawing courtesy of lloyd architects
drawing courtesy of lloyd architects
drawing courtesy of lloyd architects
Living room/ Kitchen
drawing courtesy of lloyd architects
Individual-artist studio in studio
a
enlarged plan garage entry 2
enlarged plan garage entry 1
studio d
studio c
ASSORTED FURNITURE Age ~6 to 35
Thank You For Your Consideration