TANNER J. PREWITT design portfolio FIRST YEAR
2016-2017
Landscape Architecture
table of contents 4
Writing Samples
20
How ThinGS Join[t] Together
6
Urban Design
22
Photography
10
23
One-Point Perspective
Sketching
11
Flat-to-Fat
24
Music of Design
12
Ball Gymnasium
26
Performative Patterns
14
Miller House & Garden
28
Suitcase Urbanism
18
Chicago Chess
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Medical Clinic
Why AM I Here? Walking into the College of Architecture and Planning, I was certain I would become an architect. It had been my life’s ambition to become a designer of livable spaces. I wanted to erect the greatest towers and monuments in the world. I was misguided. After completing the LA 100 course with Malcolm Cairns, I became intrigued with landscape architecture. There was something about the way he taught class that clicked with me. During the Miller House & Garden unit and the Urban Design unit, I felt myself drawn more and more to creating green spaces for people. The idea of transforming people to nature, and nature to people, inspired me. I felt an itch in the back of my head, an impetus that needed to burgeon into something more. As I looked back on my life, I noticed a predilection from the start. I have always loved gardens and planning how best to blend organic with inorganic. I’ve always loved shopping for flowers and noticing the brilliant colors that dapple each petal, colors I cannot begin to describe. During vacations, I was amazed with gardens like those at the Biltmore Estates or Hampton Court Palace. For me, travel is paramount to all others. I wanted to choose a field that combined my love for art and travel. Saint Augustine stated: “the world is a book, and those who do not travel read only a page”. Coupled with my History minor, I hope to travel to see exquisite architecture and lush gardens. It has planted the seed of wanderlust in my soul. I want to read the whole novel. I want to discover what it would be like to design the next Central Park, or conceive the next great testament to landscape architecture. I want to be able to find an outlet for my artistic and creative side, something, I believe, architecture would dull. The world around us is big and beautiful, and the fruits of its soil should not be hidden. People should be able to feel nature around them apart from the stone and steel of our buildings. We return to nature, over-and-over again. It is a paradise found, to play-off John Milton’s epic poem. It is an antithesis to our nature, a beauty we cannot begin to manufacture, sell, or replicate. Nature is our glimpse at perfection. And what is more perfect than a pale white lily with morning dew on its leaves?
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Hampton court
Palace
Location: Hampton, Richard-upon-Thames, Greater London, England History: Cardinal Thomas Wolsey owned the palace first, and he spent lavish amounts of money on his creation, replicating Renaissance architecture. The palace was redeveloped by King Henry VIII as the cardinal fell from power. Henry expanded to accommodate his court, erecting large kitchens, dining halls, tennis courts, and gardens. Legend states that the halls are haunted by the screams of Henry’s fifth wife, Catherine Howard, as she attempted to flee certain death. Centuries later, after the English Revolution, Oliver Cromwell stayed in the palace until his death. After the Restoration, few kings entered the palace again. It wasn’t until King William III, the face of the Glorious Revolution, that the palace began to change. He wanted the palace to look like Versailles, and he called upon master architect, Sir Christopher Wren, to assist. He established grandiose state apartments. The palace has two distinct architectural styles -- Tudor and Baroque -- as the former was partially demolished to make room for the latter. King George II was the last king to reside in the palace, overseeing the installation of grand staircases and ornate furnishings. Significance: I visited the palace in the summer of 2016. The immense size and lush gardens amazed me, and the interior was beyond words. Henry VIII has always been a fascinating study for me, and to see his palace up-close was truly an experience. The cobblestones were smooth and worn by centuries of feet and hooves. The ceilings were still stained with black smoke from fires long extinguished. The palace was huge, with halls that ended abruptly, and cellars that extended beyond the range of vision. It truly was a mesmerizing feat. Site: The palace itself is small in comparison to the park and grounds. The landscape is natural apart from the palace grounds. These gardens are trimmed in several styles. Some are more natural while others are tailored and trimmed to forms and geometries. The Thames surrounds the grounds, separating the palace from the towns of East Moseley and Richard-upon-Thames. This could be intentional, dividing the nobility from the peasantry. It promulgated the notion of “look, but don’t touch”. The palace, as noted in the History, is an amalgamation of different architectural styles, assembled in a rectangular fashion.
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elevation
Urban
This facade on S. Walnut Street features unique architectural elements. The pediment features ornamental designs, flanked by the ornaments on the corners of the building. The prism window is the dominating feature on this facade. At the doorway, a series of intricate designs have been carved into the woodworking. My color palette for this project primarily consisted of neutral colors with pops of color. I wanted to invoke a classic, rustic feeling and I used an autumnal palette to accomplish such. Spanish Orange, Poppy Red, and a blend of Mulberry and Indigo served as my accent colors. The apartment space had a palette of black and shades of red and grey. The the rich violet-and-plum sky was created with blue and purple chalks, rubbed with a cotton ball. 6
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Design
Plans Utility Room Walk-In-Closet Planters for a Garden
Sunken Sitting Area
Distillery Silos The plans for the urban business and apartment are intricate. The bottom level plan is for a microbrewery-and-winery. The bar is shaped around a trio of circles with a redwood counter. Glass walls separate the distillery silos from the microbrewery. The floor is a richly-colored, Tuscan Red hardwood. An exterior stairwell leads to the apartment plan with a balcony courtyard. This features a raised kitchen space and island; a fireplace and cabinets; a sofa and coffee table; and behind the wall, a sitting space looking out of the prism window with a bookcase nearby. Carpets cover the dark brown hardwood floor. Another staircase leads to the loft with bedroom, walk-in-closet, utility room, and bathroom. A light hardwood covers the floor. Artificial turf covers the balcony, with a hardwood base under the grill and paving stones to step across A checkered tile covers the bathroom.
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[Scale] 3/16” : 1’-0” Prismacolor + Ink + Chalk 7
Section
Urban
The section cut walls are colored with the Mulberry-Indigo blend. The basement has a cellar for the alcohol and the remainder of the distillery equipment. The walls are a pale gray. Upstairs, a profile-view of the bar can be seen along with booths, tables, and bar stools. Bare light fixtures hang from the ceiling. The walls are made of brick, broken by the glass silo room and the brown paint-finish in the bathrooms, with accents at the top. Traveling into the apartment, the walls are painted gray as well. Picture frames, mirrors, and painted accents provide detail. A small dining table can be seen right of the fireplace, with a kitchen island before it. Scale figures stand near the sofa and sitting area. The courtyard has the same sandstone wall as the facade. An outdoor bar area and table-and-chairs reside near the fountain, planters, and awning. In the loft, the bed sits on a raised dais near the bathroom with its striped walls. Painted accents run along the top of the wall.
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Design
Perspective
The perspective drawing was my favorite part of this unit. I used two-point-perspective and a 5’ horizon line. The facade was replicated from the elevation drawing, and I duplicated its work on the alternate facade. Brick planters, a tree, and a flag were added to the front. A wooden gate with steel cables surrounds the brick-paved courtyard. A pergola serves as street-entrance. Shrubs and trees line the perimeter of the courtyard, and foliage covers the wall. Ornate, arched windows travel up the alternate facade. An awning and modern door pull accesses the microbrewery. This classically rustic microbrewery feels at home in a small town or redeveloped suburb. It is warm and inviting, but also oddly aloof. It maintains a sense of class in a rapidly-moving modern age.
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[Scale] 3/16” : 1’-0” Prismacolor + Ink + Chalk 9
sketching
Sketching is a basic and crucial graphic tool essential for all designers. Various media produce a plethora of sketches and details. Whether it be pen on a napkin, marker on construction paper, or red pencil on trace, sketching is the genesis of design.
white chalk on black paper
pen on napkin
Red and White Prismacolor on black paper
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J. Prewitt
Flat-to-Fat
The analysis of folding diagrams began to visually present how every-day objects work. The box diagram began to show structure and the workings of simple geometric forms. The diagram also began to show the relation of graphics and text with the forms. The first diagram begins to diagrammatically show the process behind folding the flattened box. As the flaps begin to fold up, the colored graphics pop through. The second diagram is a close analysis of the folded box on top of the unfolded box.
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architectural examination From an architecture standpoint, Ball Gymnasium is rather uniform, emphasizing rectangular geometries. The central plaza is large enough for social interactions, with low walls to create expanse. The simple design of the plaza is subliminal compared to the ornate gymnasium exterior. The gymnasium is constructed primarily of red brick, signature of all buildings on Ball State’s campus. Limestone provides accents around the windows, along the foundations of the gym, and as accents on the parapets. The doors are wooden, weathered after decades of use. Ball Gymnasium was designed in a Gothic style, seen in the intricate details and the verticality of the building. The main facade has intricate window details, rounded edges, and sharp points. Crenelations and parapets create a medieval environment. From the side perspective above, the gymnasium appears to look like a cathedral.
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Ball Gymnasium
A Field Study and Examination
landscape examination Ball Gymnasium is ideally located at the west end of the Quad, along an axial path with the Burkhardt Building. The trees of the Quad provide therapy from the hub of campus. The entrance of the gymnasium faces the Quad, connecting human interaction with nature. The addition of Christy Woods behind the building creates a preserved forest for academic and social purposes. In the above diagram, the thicker lines indicate heavier urban traffic, primarily students on foot. Cooper Science
Christy Woods Ball Gymnasium The Quad
Urban examination The sidewalks and paths across the Quad are serpentine and extensive. These paths wrap around the two central buildings in the Quad -- Cooper Science and the Art Museum. These paths have been worn and eroded, and they are in need of repairs. The gymnasium entrance plaza does not constrict the flow of foot traffic, allowing it to proceed wihtout impediments. The only drawback to the building is its distance from the central hubs of campus.
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Miller house & garden A collaborative statement of landscape, architecture, and interior design, the Miller House and Garden in Columbus, Indiana details fluid design. Landscape architect Dan Kiley, architect Eero Saarinen, and interior designer Alexander Girard blended their respective designs into a modern statement. Completed in four parts, the Miller House and Garden project centered around orthographic and paraline drawings, in addition to introducing color theory. The plans of the house (above) were rendered at a 3/32” : 1’-0” scale on vellum with pen. The plans demonstrate the orthographics of the house. Cut areas were poched and sliced at 4’ above the floor to show doors and windows. Orthographic drawings allow designers to see relationships between spaces. 14
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The plan oblique rendering, as seen below, was completed at a 3/32” : 1’-0” scale on vellum with ink. The oblique version kept lines intact and emphasizes the dimensionality of the house. This paraline drawing began to explore the relationship of movement in the Miller House. One sees how inhabitants would move through the house. The layout is centered on the four corners of the house, as if providing structural support. This leaves the central space of the Miller House open for light, air, and movement.
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The second portion of the Miller House and Garden unit focused on landscape architecture graphics. The plan view of the Miller Garden was completed at a 1” : 40’ scale in ink on vellum. A circle template was used to render the trees, with pencil and pen marks used as guidelines. The final plan was rendered with Prismacolor pencils. The isometric drawing of the house and gardens was completed with a 3/32” : 1’-0” scale in ink on vellum. I selected a portion of the house to cut and focused on the garden as well. This portion of the landscape is the children’s garden and the pool. On the right-hand side of the isometric drawing, the unique honey locust alle compliments the cherry blossom trees behind the house.
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chicago chess
The first year trip to Chicago, Illinois was not a trip for tourists. This was a time of investigation, of taking visual notes and sketching the architecture of the city. This was an opportunity for me to find ideas for the chess board and the pieces. The sketching brought to life the Windy City.
the
board
The design of the board is based loosely off the spacial effect of Chicago’s downtown. Tiered, the board reflects how people -- and the pieces -- move toward a central space and cluster in this location. The pieces share a minimalistic design, inspired by the work of Ludwig Mies van der Rohe. The pieces are stained with polyurethane, and are made of wood and metal, adhering to van der Rohe’s appreciation of unaltered materials. 18
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the
king
The king is composed of wood. His spiked crown is inspired by the Gothic Revival elements of the Tribune Tower designed by Howells & Hood architects.
the
Bishops
The bishops are inspired by the Green Line tunnel at the McCormick Tribune Campus Center, designed by Rem Koolhaas. The tublar design also mimics a bishop’s mitre.
J. Prewitt
the
queen
The queen is the statement piece. Her crown is inspired by the petals of the Rose window at the Rockefeller Chapel, designed by architect Bertram Goodhue. The metal bars along the back distinguish her.
the
rooks
The rooks feature a recessed notch to serve as a directional guide. This was inspired by the recessed breezeway in the Wrigley Building, designed by Graham, Anderson, Probst & White.
the
knights
The knight are all based on Ludwig Mies van der Rohe’s designs. The hollow at the base reflects both a horse and the Kluczynski Federal Building in Chicago.
the
Pawns
The pawns are simple rectangular forms cut with notches. Skidmore, Owings & Merrill designed the Regenstein Library on the University of Chicago’s campus. The pawns are derived from the library. 19
How Things Join[t] To The appendage project examined how spaces relate around and among objects. The initial design process analyzed the relationship between solid mass and remaining voids and how these created unique geometries.
Phase III : The descriptive phrases used in this project helped manifest the knot below. The final design also looked at how scale figures might experience the space. White strands of paper were contorted into a 12” x 12” x 12” volume. I focused on creating a hollow center, like in my appendage, while swelling outward with strands from the walls. I also had strands twist away from their confines, weaving between the contractions and expansions. The scale of this model would have been medium-sized, not overtly large or small.
Phase I :
A 4” x 4” x 4” hollow cube was filled with plaster around forms attached to the interior. These forms would create the hollow spaces. The large cavern in the cube below was created with a balloon. Tools were used in the subtractive process of enlarging or adding to the negative spaces. The cube was smoothed down to remove unwanted pits and blemishes.
Phase II : The relationship between objects and fields began. Design decisions in Phase I determined how extrusions would protrude from the cube. The appendages became axial extensions suspending the cube. Active words used to describe my own cube were hollow, twist, and contract and swell. The planes beneath the cube hollow continue the void’s form. The arms holding the cube extended vertically, twisting along a central axis.
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ogether
A series of elevation studies were completed in conjunction with this project at a 1” : 1’-0” scale. Tonal values illustrated solid masses and voids. Section cuts were completed of the plaster cube at 1”-intervals on perpendicular sides. A thick line weight was used to accentuate the wooden pieces, while a thin line weight was used for the plaster cube.
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hollow TWIST CONTRACT AND SWELL
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Photograhpy
Photography is a modern way of documenting a sense of place. Above and below are collages of photos that tell a story. The top collage shows Park Pond from dawn to dusk, a story of the exterior environment. The bottom collage shows the interior of Bracken library, a story of the interior environment. People and locations are viewed from multiple angles, catching them in various states of activity.
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J. Prewitt
One-Point Perspective
Perspective drawings are one of our most potent tools of communication. Perspectives complement the other drawing types used by designers by showing how a space is visually perceived. The space is the living room of the Robie House, by Frank Lloyd Wright, in Chicago, Illinois. The perspective was sectioned into multiple parts: the spatial shell; the columns, fireplace, and inglenook; the ceiling details; and furniture. These were constructed with a horizon line, vanishing point, and a left-diagonal-point at a 3/16” : 1’-0” scale. Once these were drafted and finalized, the sections were compiled into the composite image above. These were overlain with ink on vellum.
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The Music
Symphony No Ludwig van The space pod project began to define spaces with points, lines, and planes. We translated a piece of instrumental music into a defined spatial environment. The design of the interior space was inspired by my translation of the piece. Once more, the pod integrated positive and negative spaces, spatial organizational systems, and ordering principles. These were all synthesized into the final model.
sharp ascension
Square, wooden dowels at 1/2” x 1/2” were used to construct the framework of the pod. The same dowels were used to construct keys for the framework. The final pod’s dimensions were 6” x 6” x 24”. 1/8” and 3/16” dowels were used in the interior, along with vinyl tubing. I constructed a series of triangles for a consistent form. I merged these triangles together to fit with my descriptive phrases. Mylar planes covered areas where I wanted containment. 24
rise & swell
Planes filter Light
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of Design
o. 9 in Op. 125 n Beethoven
J. Prewitt
The entry point for the pod is tight, like the beginning of the symphony, but it explodes at the end, unraveling in chaos. These elements -- containment and explosion -- are present throughout the pod.
unravels in chaos
Cascading
Breathless Twists
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Performative patterns Phase I began with choosing a performative object, defined as a handheld object, containing a minimum of three moving components, and is operable in a static state. This object was drawn in multiple states, activating the entire 18” x 24” board. Construction lines remained to define edges and boundaries.
Linear
10” x 10” study model using only lines to represent a state of development. Analyzed how light passes through spaces, especially through the void in the center space.
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I chose a combination lock. My board graphically shows how the arm twists about, latching into the lock. An exploded view of the lock’s interior defines an axis in the composition. I drew the analysis in a circle to mimic the lock’s design. A key piece was later developed from within the construction lines.
Planar
10” x 10” study model using plane configuration to represent a state of development. This analyzed spacial aspects like a corridor or walkway. The planes had hard, angular geometries, mimicking the key piece I would use for my final tessellated model.
Cloaked
10” x 10” study model using cloth as a cloaking device to represent a state of development. Sharp pyramidal points inspired height-element of the final tessellated model.
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This project began to analyze “pattern seeing� with integrated and dependent structures. It began to examine the visual and physical patterns, textures, and shapes the human eye can discern and construct. Such methods reveal order and definition that simplify the world. Below is the faceted model inspired by several study designs. This final model examined resilience and flow through a tessellated pattern. The iterations and structural elements I used focused an applicability in a green environment. A pavilion and fountain designs exist within this space.
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The Master Plan
Suitcase U
A combination o in suitcase urbanis to the projects ove Muncie in 2050. M area for Muncie re urban environmen to remove the grid organic forms. Cu me, and I integrate above. The landsc both blending toge tral Park, in New I wanted to recrea I wanted Muncie a blur the line betwe based on an axial r layout of Muncie, ment, breaking bo complexes and un to the park while a symbiotic relations
The Final Design
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For this unit, I d I began to experim allowed me to plac begin to construct As seen in the isom Muncie. A large p tree-lined bouleva landscape. Some o have communal ga water features also White River to th
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e Urbanism
of projects and concepts were combined sm. As designers, we hearkened back er the past year and developed a plan for My focus was on creating a larger park esidents. This design looked at blending nts with green environments. I wanted d system of Muncie and replace it with ulture and arts were also a large focus for ed those into my final master plan, as seen cape begins to merge with the hardsape, ether in a unique conglomeration. CenYork City, was inspirational for me, and ate Olmsted’s idea of nature as an escape. and the landscape to tangle together, to een grass and steel. Much of the park is relationship, adhering to the geometric but it also bleeds into the urban environoundaries and conventions. Apartment nderground parking begin to pull people also pushing the park to the people. This ship breathes with potential.
did not create a physical model. Rather, ment with the program, SketchUp. This ce my master plan in the program and t buildings, landscape, and other features. metric view, I begin to create a skyline in park dominates the center of this site, with ards and streets blending urbanism and of the buildings have green roofs; others ardens in under-utilized alleyways. Three o add serenity and mimic the nature of the he north.
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Cultural
Landscape
Roadways
Structures
The exploded isometric view of the master plan shows the relationships between the structures (architecture), the roadways (urban planning), the landscape, and the cultural trail.
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Unpacking t
Suitcase 1 contained previous projects from the past year. These projects were to inspire design aspects in our master plan. The inspiration for the boulevard leading to the pond comes from a study model from the Performative Pattern section. The unique design involves the unique angles and positioning of planes. The soft, organic forms of the landscape contrast the hard, angular forms of the study model. These elements reflect the nature of the park in downtown Muncie.
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Suitcase 2 contained successful historical urban sites across the U Village, in New York City, New integrating urban and landscape e geometric, but arterial. They flow and traffic. This fitted with my id gridded streets. The land usage in would be applicable to a small city
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the Suitcases
ideas taken from current or U.S. As seen in Urban RX, West York, is a fantastic example of environments. The blocks are not w with the movement of people dea of deviating from Muncie’s n such a tight, metropolitan area y like Muncie.
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Suitcase 3 contained visual notes and diagrams of the site. It began to analyze the relationship between structures and spaces, pedestrian circulation patterns, and cultural significance. Above is a diagram of the park in downtown Muncie. Key features like the library, the renovated AT&T Building, and the firehouse are integrated into the landscape. The pond and other features are scattered through the landscape. This diagram was the basis for my master plan and the model thereafter.
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Develo
Arcade Market The arcade-style market is on the site of the former AT&T building. The large tower and some floors were demolished, and the remaining stone was used in the construction. A glass roof covers the main section. It mimics the Rose Court, but on a larger scale. A fountain and rounded walk lead up to the entrance.
Artisan
At this angle, one can see many buildings ded hand-rendered with Prismacolor and chalk. At At center, the cultural center stands with a shiny four apartments stand against the horizon. The penthouses or office spaces. At right, the Arcade tures: pathways, fountain, lights, and shrubbery. trail and near other artisianal buildings.
Pond Bridge A large pedestrian bridge covers the pond. Large orange awnings shade the path. The bridge is accessible by steps and ramps. The boulevard beyond has the Suitcase 1 elements, and the boulevard is covered in small gravel. A brick paving element parallels the pond. 32
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opment
Apartments
n’s Park
dicated to the arts and culture. This was left, the Botanical Gardens shine in the dusk. y exterior and angular roof line. At top center, top three floors have glass window-walls, for e Market faces the gardens. This site also fea. It is an idyllic place, adjacent to the cultural
J. Prewitt
This apartment tower is located near Cornerstone Center for the Arts. It’s size can accommodate large numbers of people, with penthouses and larger suites located near the top. A gold-tinted glass dome and solar panels cover the roof. The street before sinks into a tunnel, allowing occupants to walk directly into the green space of the park.
Crescent Walkway A bridge cradles the pond, allowing pedestrians across. Shaped like a crescent, the walkway has lighted posts for sight. Trees line the street nearby, next to the apartments and commercial structures in the background. This spot is an example of how I intended to blend urban and landscape environments. 33
Medical Design In The Amazon Rainfores The examination of the world’s biomes formulated a response to climatic and global conditions not seen in previous projects. I received the rainforest biome, specifically focusing on the Amazon rainforest. In my research, I discovered that the rainforests are home to a plethora of diverse flora and fauna. Scientists postulate that over 1,500 plant species in the rainforest have the genetic makeup to fight cancer. This became my vision. I would design a medical research center to analyze the species in the rainforest.The rainforest’s climate is hot and humid. It receives over twelve full hours of day light, due to its proximity to the equator. Since a medical facility needs to have climate-control, I enclosed the facility for air-conditioning.
However, the direct sunlight could be utilized and converted into solar energy. There was a problem with this concept though. The canopy trees of the rainforest are close to 100 feet tall, meaning, the solar panels would have to break through. The facility’s final design was massive, with towers breaking through the canopy to harvest the sunlight. Epiphytes grow on the sides of these towers, recycling the air. The rainforest also receives large amounts of annual rainfall. This constant deluge would deteriorate any roofing designs for the facility. In my research though, I discovered that some plants have adapted “drip spouts” to drain water. This adaptation is replicated in petal-shaped roofing elements on the facility. This water would drain into the rive system next to the facility. The waterfall would constantly disturb the water, providing constant circulation. The tower beneath the main facility recycles water with turbines to flush through the clinic. Hydroelectric power could serve as a substitute for the solar power. 34 Tanner J
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The rainforest. Vibrant, diverse, layered, exotic, and dangerous. It creates life and decomposes it, only to use the nutrients for the cycle again. Yet, the rainforests are one of the more endangered places on Earth. This facility would allow doctors and oncologists to find better cures for a disease that cripples millions of people across the world. The rainforest around it provides the flora and fauna necessary for sustenance. Designed to withstand the dangerous environment around it, the clinic allows for state-of-the-art equipment in the main complex. The dormitory tower and the storage tower allow the facility to house occupants and materials necessary for the endeavor. The clinic has one thing in mind: life. J. Prewitt
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The Clinic
The first floor has amphibious vehicle a equipment; and facil has research laborato clinic has floor-to-ce from the humidity. T ing in the dormitory tor and stairwells loc
Sketch 1: A plan view of the research clinic with respect to the rainforest. The X-shapes through certain trees designate outdoor monitoring points connected by rope bridges. These outposts simultaneously immerse the scientist in the environment and protect the scientist from the harsher elements. Sketch 4: A diagram of how the solar panels on the roof. This diagram also shows how the epiphytes on the towers would help recycle air. This could happen if the walls are made of a semipermeable material. Sketch 5: A diagram of how the support column(s) would also filter water from the river it resides in. With the nearby waterfall, water would never be stagnant, but constantly flowing, providing continuous motion.
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c:
a reception hall (RH) for guests, staff, and patients; a garage (G) for and other maintenance equipment; storage for supplies and other lities for testing flora and fauna from the rainforest. The second floor ories (RL) for doctors and specialists in their respective fields. The eiling glass windows with moisture-wicking technology to protect The clinic is where the majority of people will work when not stayy towers behind the main complex. The levels are accessed by elevacated in the corners of the building.
gen
PR
PR
PR
e l e v a t o r
RL
PR
PR
C Rh
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G
e l e v a t o r
LA/BC
The dormitory tower is where the 20 people who work in the facility have their private residences (PR). The average size of the living space is the size of an apartment. Beneath the residences lies the cafeteria (C) and a lounge area/business center (LA/BC). Access to these apartments is via elevator. This tower is topped with solar panels that power the generators (GEN) beneath the roof. The majority of the generators are in the secondary tower, where major storage facilities also reside.
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Tanner J. Prewitt Ball State University College of Architecture and Planning First-Year Program Honors College
Draconia Latin. Dragon-like. Serpentine. Bold. Innovative. Fire made flesh.