PORTFOLIO Montre’ale L. Jones B.A. in Architecture Student University of Kentucky montreale.jones@uky.edu
MONTRE’ALE L. JONES THIRD-YEAR ARCHITECTURE STUDENT
(270) 987 - 8055 montreale.jones@uky.edu 1120 University Drive, 509 Lewis Hall Lexington, KY 40526
MOTTO Opportunities don’t chase people; opportunities wait for the chasers.
GPA: 3.58
- Montre’ale Jones
GLOBAL EXPERIENCE
EDUCATION Graduating: May 9, 2020 (UK) University of Kentucky, Lexington, KY - B.A. Architecture | College of Design - Minor Political Science | College of Arts & Sciences - Honors Certificate | Lewis Honors College Aug 11, 2015 - May 5, 2017 (HCC) Hopkinsville Community College - Associates in Science - Associates in Arts - Certificate in Computer Aided Drafting and Design
INVOLVEMENT China | Gaines Center for the Humanities - Chinese History Through Art, HIS 355 - Travel | Beijing, Shaghai, Xi’an
Aug 3, 2019 - Aug. 15, 2019
Italy | UK College of Design - Ancient to Modern Architecture, ARC 497 Design Studio - Travel |Italy, Germany, France, England
May 14, 2019 - Jul. 5, 2019
Home Country | United States of America, KY
HONORS 18th Clay Lancaster Scholar with Warwick Estate
October 21, 2019
Lyman T. Johnson Torch Bearer Award
October 11, 2019
Vaughn Architecture Scholarship NAACP Emerging Leader Award MANRRS Alessandra Wayne 110% Award Coca Cola Leaders of Promise Scholar
April 23, 2019 November 3, 2018 April 25, 2018 September 9, 2016
NOMAS - University of Kentucky Chapter Co-Founder - President
Aug 2019 - Current
Gaines Fellowship for the Humanities
Aug 2018 - Current
American Institute of Architecture Students, UK - President AIA EKC Board, AIAS Committee Chair - Freedom -by-Design Chair
Aug 2017 - Current 2019 - 2020
MANNRS, National Organization - National Undergraduate Parliamentarian
Aug 2017 - Current
UK Student Government Association - College of Design Senator, Legislative Branch
Aug 2017 - Current 2019 - 2020
UK Lewis Honors College
Aug. 2017 - Current
2018 - 2019 2018 - 2019
SKILLS Software Rhino Adobe Illustrator Adobe Photoshop Microsoft Office Suite Maxwell Render
Auto CAD Revit Adobe InDesign
CONTENTS PAGES
PROJECT
06
PIXELATED
12
Regina Summers 2017. FALL ARC 151 | Design Studio I
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Marty Summers 2018. SPRING ARC 252 | Design Studio II
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GLITCH HOUSE
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BOTANICAL TOWN BRANCH PARK VISITOR CENTER
24
HOME FOOD MARKET AND HUB
32
THE MUSEUM OF AFRICAN AMERICAN INNOVATORS
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KENTUCKY MODERN HOUSES AND STUDIO PUBLICATION
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Jill Leckner 2018. FALL ARC 253 | Design Studio III . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Brent Sturlaugson 2019. SPRING ARC 254 | Design Studio IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gregory Luhan 2019. FALL ARC 355 | Design Studio VI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gregory Luhan 2019. FALL ARC 355 | Design Studio IV
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STUDENT HOUSING: A CALL FOR REFORMED COMMUNITY DESIGN Gaines Thesis Committee: Jeffery Johnson, Dr. Trisha Clement-Montgomery, Brent Sturlaugson, Rebekah Radtke 2019 - 2020. FALL / SPRING . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PAGES
PROJECT
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THE RIVER ROCK PROJECT
50
Independent 2018. SUMMER Independent Project
The
Project
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MATERIALS AND METHODS STUDY Angus Eades 2019. FALL ARC 435 |Materials and Methods
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DIGITAL MEDIA AND VISUAL REPRESENTATION
56
ASSEMBLAGE
58
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Mike McKay & Liz Swanson 2017. Fall ............................ ARC 101 | Digital Media and. Design
Independent 2017. FALL FORMICA Competition
River Rock
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PERSONAL ACHIEVEMENTS Independent 2015 - 2019 Sculpture, Painting, Photography . . . . . . . . . . . . . . . . . . . . . . .
PIXELATED SITE AND BUILD PIXELIZATION Fall 2017 | Regina Summers ARC 151 | Design Studio I
Its ethos, translation as a result of interpretation and analysis, which drives design. The act of pixelating enabled codes and systematic devises to be incorporated to bridge themes of directionality, gradience, depth, and color discovered in study models. Part to whole models were conducted and created, and images of it were translated and then pixelated to interpret architecture. Pixelization is applied to the site and a read of the pixel pattern determines the constraints of the site in height and in depth. Lighter hued pixels are raised, and darker hued pixels are lowered resulting in the site condition. The pixel pattern of the site reads of linear elements determined from patterns of the same pixel gradience, and from those pixels read the design of the build is
PART-TO-WHOLE MODELS FROM CARDSTOCK
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influenced. Linear elements that influence the reading of a build on the map are oriented to span in the x and y axis, and the hued region upon which they were raised determine their height or depth from the ground plane. The advantage of camouflaging associated with pixelization was utilized in applying it to the east and west faces of the build, and a solid color of brown is applied to the north and south face. Depending on location in the site the building becomes indistinguishable by camouflaging through pixelization, and at other perspectives the building reveals itself. In plan, the building is prescribed white roofs to specify areas of procession and movement by participants of the space. Final Grade | A
MODEL FROM PART-TO-WHOLE
PROCESS MODEL | GRADIENCE
PROCESS MODEL | FACETED
PROCESS MODEL | DEPTH AND COLOR
PROCESS MODEL | DIRECTIONALITY
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IMAGE TRANSLATION
TOPOOGRAPHY INFLUENCED BY HUES OF PIXELIZATION
TOPOOGRAPHY RAISED AND LOWERED
CAMOUFLAGING THE BUILD WITH THE SITE WITH AUGMENTED VIEWS AND HIGHLIGHTING SPACES OF MOVEMENT WITH WHITE
SITE PERSPECTIVE
SITE PLAN
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NORTH | SOUTH SECTION
EAST | WEST SECTION
GLITCH HOUSE RESIDENCE DISRUPTIVE CONTINUITY RESIDENCE Spring 2018 | Marty Summers ARC 252 | Design Studio II
Out of disruption is continuity, which sparks connection. Through a series of iterative processes, disruptive continuity cultivated an understanding for forms made whole and power in ambiguous design. In continuation of the disruptive continuity concept, geometries of disruptive are borrowed in performing a series of subtracting and adding operations using vector and object to create forms that build Glitch House. Elevated and positioned to be a cliffside residence to maximize views and experience is Glitch House. Inhabitants and visitors of the residence arrive along an extended driveway with hindered views of the landscape and are greeted by an overhead waterfall that cascades over the house as one pulls into the garage. The Glitch House prides itself of its views to the landscape by designing most spaces with glass encased walls that allow each room its own grand view. The fluid geometries of disruptive continuity are strategically
joined to not only create a cohesive roofing condition in plan, but to also designate and control what takes place beneath. The activity and liveliness of the geometry in the interior space suggest to occupants the level of communication and connectiveness to take place in that space. Areas with ceiling and wall conditions that contain more fluid geometries in its architecture are suggested to be areas of gathering and dialogue, and spaces that possess less fluid geometry and more linear walls suggest spaces of seclusion and intimacy. In continuation, the pixelized mapping onto the site is interpreted to connect the outside with the interior spaces of the house; therefore, the mapping is applied to intentional aspects of the interior to create unity and order in its chaos. Final Grade | A
CAPTIONDISRUPTIVE CONTINUITY MODEL
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DISRUPTIVE CONTINUITY SECTIONS
Disruptive Continuity Residence 14
PERSPECTIVE OF GLITCH HOUSE
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SECOND FLOOR PLAN 1) Garage 2) Master Bedroom 3) Lavatory 4) Kitchen and Dining Room 5) Living Room 6) Foyer 7) Lounge 8) Guest Bedroom 9) Guest Lavatory
FIRST FLOOR PLAN 1) Kitchen and Dining Room 2) Lounge 3) Leaning Hall 4) Guest Bedroom 5) Guest Lavatory
PORCH
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LIVING SPACE AND KITCHEN
LOUNGE SPACE
BRIDGE ROOM
BOTANICAL TOWN BRANCH PARK VISITOR CENTER VISITOR CENTER LEXINGTON, KY TOWN BRANCH PARK VISITOR CENTER Fall 2017 | Jill Leckner ARC 253 | Design Studio III
The Botanical Visitor Center of Lexington, Kentucky’s newest Town Branch Park animates the environment and creates a desire to imagine and explore. At the west end of Town Branch Park, the visitor center soars above the tree line, yet establishing its presents as its own organic form. The Botanical Visitor Center is nestled in the landscape of the park as a multi-colored crystal-like beacon with geometry inspired by the natural form of Limestone, which is a native stone to the Kentucky environment and Lexington. The orientation of the form derives from the aesthetic of the historical rock walls common in central Kentucky, which rely not on mortar for joinery but friction and gravity. The high-rise crystalline configuration encases a controlled bio-diverse tropical garden space, where the outdoors is brought inside, ultimately to allow for year-round recreational activity. As the day progresses, from dawn to dusk, and activity in the park dwindles, the indoor garden becomes a bioluminescent space of wonderment, providing a distinctively different experience than in the day. The visitor center becomes a lantern that
DUSK INTERIOR BIOLUMINESCENT GARDEN
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balances with the light illuminated from the downtown Lexington skyline. The form of the center is supported by a ball joint steel system, and the customized glass panels that fit the structure are high performance glass to withstand and protect against the elements. Near the base of the glass encasing, where the crystal form is most fragmented, the glass is opaque to hinder views of the busy Oliver Lewis Way Street adjacent to its location. Elements are installed along the perimeter of the building to absorb sound from the adjacent roadway. In the same manner, waterfalls features are desgined as part of the space to disguise as part of the landscape and to add to the tropical experience with the advantage of the rushing water canceling external noises. Larger overhead glass panels are remotely controlled to maintain the nature of the greenhouse environment and sustain the tropical ambience. Through this mechanism heat and energy emission into the space is kept at a minimum to regulate garden temperatures. Final Grade | A
TOWN BRANCH PARK SITE PLAN
BOTANICAL VISITOR CENTER SITE PLAN
VISITOR CENTER PERSPECTIVE IN SITE CONTEXT
FLOOR PLAN 2
CAFE AND TROPICAL LOUNGE TERRACE SOCIAL BOX EXTERIOR TERRACE TIMBER (TROPICAL PULL) ELEVATOR
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FLOOR PLAN 1
GIFT SHOP OFFICE BOARD ROOM GARDEN ZONE GARDEN ZONE GARDEN ZONE GARDEN ZONE
1 | WATERFALL CASCADE 2 3 4
DIAGRAM 1 | OPAQUE GLASS
DIAGRAM 2 | GEOMETRIC STRUCTURE
DIAGRAM 3 | HIGH PERFORMANCE GLASS
DIAGRAM 4 | ROCK WALL CONFIGURATION
BOTANICAL VISITOR CENTER IN PARK CONTEXT
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NORTH | SOUTH ELEVATION
BASSWOOD AND LAMINATE MODEL
HOME FOOD MARKET AND HUB FOOD MARKET AGGREGATED ADAPTIVE REUSE FOOD MARKET Spring 2019 | Brent Sturlaugson ARC 254 | Design Studio IV
Changes in society have created a pattern of unoccupied structures, like unutilized shopping malls and warehouses. Because of this epidemic, the opportunity to revitalize communities and provide unique programs that are specific to the needs of various communities opens possibilities to rejuvenate and weave unrecovered builds back into the fabric of the city. The rural town of Berea, Kentucky retains an abandoned tobacco warehouse with prospect to transform, improve, and develop the existing building. The intent is to transform and revitalize the abandoned warehouse into a space broken into three major programmatic parts: a Boys and Girls Club, an events space, and a food hub. To condense the square footage of the large warehouse and maximize intimate experiences the operation to aggregate distinctive units is implied. As part of the grand scheme to transform the tobacco warehouse, the Home Food Market and Hub seeks to celebrate the gathering of people, knowledge, and food in its effort to live out its mission to serve as a home away from home. The rising food disparity concern in Berea, Kentucky and accessibility to a central hub for selling and purchasing goods calls for the need of a food hub and market. The Home Food Market and Hub aims to serve as a centralized location for accessing healthier foods, as well as markets that foster economic independence and growth by supporting trade and healthier lifestyle classes. The food hub program space of 1,000 sq. feet is aggregated by the “home” unit. The home unit combines the versatility of the pyramid and cube to create a cube-like unit with tapered corners. In doing so, the home unit possess the characteristics of the cube to rest on six faces, and characteristics of the pyramid to join at its triangular faces. Aggregating the home unit not only consist of duplicating the same unit, but it also involves aggregating and varying the scale of the unit, altering the color, and changing materiality.
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Along the façade of the Home Food Market and Hub are the home units organized in a rhythmic pattern by diverting the unit between the up and down orientation. The rhythm of the units turned upside down imply partition, and units turned downside up imply entrance. This system is complemented and reinforced with the use of color and augmentation. Materiality and color are used as psychological drivers for creating an essence on the exterior and interior of the Home Food Market Food and Hub. The warm material palette of the colors on the units radiates a warm and inviting gesture to onlookers and visitors, while the wood paneling enforces an essence of nature and freshness. The existing warehouse is ordered by a gridded column and beam structural system to support the open floor plan. The sizing and organization of the home unit is systematically situated around the columns, to conceal the columns at ground level and harmonize with the gridded format. The substantial area of the warehouse space is segmented into intimate and organized spaces by clustering the home unit to create communities of similar units. The spaces are divided to create six market regions and support a mezzanine level with views of the market below. The markets are identified through colors: magenta, red-orange, cyan, lime green, sunshine yellow, and peach. These colored zones organize areas of trade and recreation, and it helps designate location in the large space. These spaces created by the clustering of the unit are known as neighborhoods. Traveling between the market neighborhoods is possible by colorful, systematic, and uniform halls that connect the entire complex. Notably, a dual truck loading dock is designed as part of the food market’s facade to allow visitors to witness how their food is delivered and what types of foods are being imported. This design implementation on the façade creates a degree of transparency and trust between the consumer and supplier.
HOME MARKET PLAN AND SYSTEMS DIAGRAM
HOME UNIT FORMULA DIAGRAM
UNIT AND AGGREGATION STUDY
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PLAN OF HOME FOOD MARKET AND HUB
NEIGHBORHOOD DIAGRAM
HOME UNIT
HOME UNIT INHABITANCE 1
HOME UNIT INHABITANCE 2
HOME UNIT INHABITANCE 3
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AXON OF HOME PROGRAM AND EXISTING COLUMN GRID
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MARKET BOOTH
THE MUSEUM OF AFRICAN AMERICAN INNOVATORS CULTURAL MUSEUM AND HOTEL VERTICAL MUSEUM Fall 2019 | Gregory Luhan ARC 355 | Design Studio VI
The Ohio River, what was once considered a border to freedom by runaway slaves, is now reclaimed by The Museum of African American Innovators. The hotel museum graces the Louisville, Kentucky waterfront as the beginning of a new era. The selection of the Louisville waterfront site is strategic in its value to the sequence of significant and iconic structures dedicated to African American history that dot the Ohio River. These structures include the Underground Railroad Museum in Cincinnati, OH and Muhammad Ali Center in Louisville, KY, which is adjacent to the project site. The museums purpose is to tell and exhibit a different dimension of African American history not widely highlighted. It seeks to celebrate the creative and innovativeness of African American Innovators, whose inventions and ideas have changed the world, through interactive gallery spaces, theaters, and living spaces. The theme of innovation is not limited to the figures being exhibited, but it is applied to the building’s architecture in terms of form, structure, and content. The design, function, and adaptable design of The Museum of African American Innovators is a proactive solution to the frequent flooding of the Ohio River. The building is elevated to twenty-feet above the flood datum of 10 feet, and its elevated strategies considers projected climate change flood levels one-hundred and fifty years after its construction. The organic nature of the tower is a gestural architectural representation that relates to the passing of time as a spiral sequence of exhibition spaces. The verticality of the museum takes on two complementing forms, a rectilinear element and a spiraling element that engage in different ways throughout the procession of the building. The rectilinear element represents time with the reinforcement of the elevators traveling up and down. The spiraling element represents the different generations and types of innovators, and when these elements engage it causes the floor plan to change orientation upon each floor. This design feature is intentional
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to reinforce the notion that African American Innovators, over time, have responded to challenges and have revolutionized with the resources of their era in order to innovate accordingly. The project consists of an organization of varied structural systems to achieve its fluid design. The structural framework of the museum is an organization of several systems like the timber-framed diagrid that orients it. The museum verticality organizes as a fluid, torqued, vertical volume around an exposed concrete rectilinear core and glass-enclosed elevator. The building cladding features a mixture of transparent, translucent, and opaque high-performance glass skins. The vertical characteristics of the rectilinear element communicates the same language as the cantilevered museum spaces that project out to the river and city. The incorporation of the vertical element in the design introduces a linear verticality in the high-rise portion of the museum; therefore, it adds a secondary structural system that complements the timber diagrid structure to elevate it above the floodway and anchor it into the ground. These elements contain vertical circulation and other service areas of the museum that add to the experience. The location of the exhibition spaces allows the design to engage the core in different ways. At the ground level, the museum elevates above the floodplain due to concrete supports that also feature the faces of African American innovators to invite onlookers to the hotel museum. The separation of the ground level from the museum enables a range of outdoor but covered community-based recreational activities to happen underneath. In a time of progression and innovativeness, The Museum of African American Innovators encapsulates the themes of permanence, authenticity, span, and legacy. Final Grade | A
CONCEPT MODEL The intial concept of the Museum of African American Innovators are cantilevered exhibit spaces that extend from a vertical tower encased with a carved skin system.
CONCEPT 1 | CANTILEVERING AND ROTATION
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CONCEPT 2 | FLUIDITY AND ELEVATION
The intial idea was further explored by leveling the cantilevered spaces with the highway and incorporating diagrid to support the dynamic form.
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FLOOR PLAN 1 | Highway splits museum into two halves.
FLOOR PLAN 2 | Cantilevered spaces project to the city, Ohio River, and highway. Additional space and picturesque views of the Louisville, KY city context are created by the cantilevered museum design.
FLOOR PLAN 3 | The vertical aspect of the museum houses the galleries showcasing innovators and the hotel. The orientation of the floor plan changes upon each level due to the engagement of the torqued and rectilinear elements.
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BASSWOOD MODEL OF MUSEUM
KENTUCKY MODERN HOUSES AND STUDIO PUBLICATION PUBLICATION Studio Publication Fall 2019 | Gregory Luhan ARC 355 | Design Studio VI
Architect’s contributions to the built environment are highlighted in the publication Kentucky Modern Houses. Unbeknown to many, Kentucky entails many significant architectural builds, and the publication seeks to highlight these architectural works to credit the architectural significance that Kentucky possesses. The publication includes a total of 25 modern residences, my contribution to the project are dynamic representations of the Rice and Schubert residences. Representations included plans, sections, elevations, site plan, and concept drawings for each house. Information researched and incorporated into the publication became the driver for how the residences are illustrated to produce authentic representations.
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In part of the design studio course ARC 355 with Professor Gregory Luhan a publication of collective works produced throughout the Fall 2019 semester are organized into a publication to catalog the work. The design work to be included in the publication span outside the reach of the design studio and will include work completed in the ADLV Workshop, ARUP Workshop, SHoP Workshop, Bebop Variations with Bennett Nieman Workshop, and illustration applications as a result of lectures from Jose Oubrerie.
BEBOP WORKSHOP REPRESENTATION
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SCHUBERT RESIDENCE
1412 and 1413 Hampshire Place, Lexington, KY 40502 Architect | Paul Richard Schubert
SCHUBERT RESIDENCE | SOUTH ELEVATION
The Schubert Residence and the “sister house” on the next adjacent site sits off of Chinoe Road in the Hampshire Place cul-de-sac. The dynamic nature of this suburban context enables the front façade to serve as a mask to the rural context on the rear portion of the house. The materiality for the Schubert Residence façade is white painted brick. The organization of the exterior walls creates a sense of depth that oscillates between its reading as simultaneously foreground and background. The positioning of the walls creates enclosed, intimate spaces that connect to outdoor gathering spaces. The interior partition walls contain windows arranged to emphasize scripted views to the landscape beyond. These windows have precise locations along axial alignments to accentuate both interior spaces within the house and exterior spaces that extend beyond the house. The interior walls of the Schubert Residence shift between narrow and open spaces. Notably, the narrower spaces defined as ways of passage that lead to spaces that open in the plan. The Schubert Residence also features a pool southwest to the house, and it also features a water element at the rear of the home.
SCHUBERT RESIDENCE | NORTH ELEVATION
RICE RESIDENCE
Buggy Lane, Lexington, KY 405016 Architect | Scott Guyon
RICE RESIDENCE | SOUTH ELEVATION
RICE RESIDENCE | NORTH ELEVATION
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The Rice Residence is a distinctive three-bedroom, 2-1/2 bath, single-family modern house located in the rural landscapes of Lexington, Kentucky. The Rice Residence is meant to take the concept of the rural Kentucky barn and reconfigure it to reimagine it as modern architecture conceptually. Similar to the barn and silo, which are two familiar entities found along the Kentucky countryside, the Rice Residence adopts these concepts and transforms the vernacular references into a modern house. The Rice Residence’s interior spaces and exterior facades have frames with materials including wood panels and concrete. Notably, the house entails a long spine comprised of concrete that also serves as an armature, from which all other spaces of the house connect. The concrete spine, which includes the bathrooms and laundry area programs, also directs the flow of movement from the kitchen to the living room to master bedroom along its length spanning from one side of the house to the other. Also, the modest 2,500 square foot house allows for the intimacy of the room sizes to expand through clustered windows and glass doors that orient towards the wooded wetland landscape beyond, ultimately connecting the indoors with the outdoors.
STUDENT HOUSING: A CALL FOR REFORMED COMMUNITY DESIGN RESEARCH ON STUDENT HOUSING GAINES SENIOR DESIGN THESIS Fall 2019, Spring 2020 | University of Kentucky Thesis Committee HMN 497 | Gaines Senior Thesis
Thesis Committee: Jeffery Johnson | Committee Chair Director of the College of Design School of Architecture Dr. Trisha Clement-Montgomery Director of Residence Life at the University of Kentucky Brent Sturlaugson Associate Professor School of Architecture Rebekah Radtke Associate Professor School of Interiors Thesis Abstract: Shifts in politics, university initiatives, societal interests, and other key factors have had a significant role in the revolutionizing of student housing and housing experience over the last few decades. The traditional dorm, referenced as a shared single room living space with communal baths, has since metamorphosized to become contemporary student housing widely identified as living quarters with private housing and few shared spaces. Contemporary residence halls have addressed a number of concerns associated with traditional housing as demands and interest have changed; however, the privatization of the design in newer halls, particularly, those that champion apartment and suite design have raised concern in regard to the essence, celebration, and activeness of community in the architecture and design of student residence halls. Student housing and its experience continues to become an ever-increasing concern for colleges and universities across the U.S. Inevitably, design plays a pivotal role in the outcome of the student experience and the student housing environment. As an architecture student and someone who has experienced the effects of a non-communal housing environment fostered by design, it is determined that architecture can actively participate in the creation of community in student housing. In this body of work an unconventional alternative will be developed that incorporates elements from traditional and contemporary housing, as well as technology, to create a new variety of residence halls on the basis of identity, inspiration, and ingenuity. Considering the various functional needs, efficiency, human comfort, aesthetics, life safety, mental health, and other main factors to be incorporated in the design.
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TRADITIONAL DORMITORY ROOM PLAN
CONTEMPORARY RESIDENCE HALL ROOM PLAN
COMMUNAL DESIGN STUDY 1 | FREEFORM
COMMUNAL DESIGN STUDY 2 | ORDERED
COMMUNAL DESIGN STUDY 3 | CENTRAL
THE RIVER ROCK PROJECT COMMUNITY SERVICE PROJECT THE RIVER ROCK PROJECT OF HOPKINSVILLE, KENTUCKY Summer 2018 | 4H Indepdent Project
River rocks are rounded and smoothed by the motion of moving water, and on the basis of that same concept the River Rock Project was created to combine design and philanthropic efforts to provide underserved students of the local Hopkinsville, Kentucky community scholarships to enable them to take part in opportunities, like their peers, that contribute to their personal and professional success. The project adds to the existing community as being long-lasting, significant, and participatory. Scholarships provided to students are the result of proceeds from river rocks sold to community people, who have
RIVER ROCK PROJECT TREE AND ANNUAL GROWTH DIAGRAM
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the benefit of buying a rock with their name engraved onto it, along with having their rock embedded into the project site circling the native Appalachian Redbud tree. The annual addition of new river rocks to the project site sparks enthusiasm to partake, and it generates an annual revenue to be made into scholarships for students to participate in the opportunities and experiences offered by the local 4-H Cooperative Extension Office. The project site on Pardue Lane was acquired by Hopkinsville City Government, who granted the project’s location on city property after an admired proposal.
MATERIALS AND METHODS STUDY LONG SPAN STRUCTURE PLEATED AND FOLDED LONG SPAN STRUCTURES Fall 2019 | Angus Eades ARC 435 | Materials and Methods
Team Member: Kiara Merriweather The constraints of the project entail choosing a long span system and choosing two materials to build it from. The long span was constrained to a 1’ x 2’ base with opposite abutments of 4” x 8” x 5”, and the project had to fit within a 4” space above the 5” tall abutments with two sides of the span touching the entire length of two sides at 9”. Pleated and folded was selected as the long span system to be studied by my teammate and I. Plexi glass and wire were the materials chosen to construct it. Iteration 1: Considering real applications we formulated for the glass triangles to be fastened together by a hinge system that connects to basswood frames, which were designed to secure the glass panels and enable a surface to add connectors. The concept of the first iteration was to have the framed panels connected and situated to span on top of the wire. Iteration 2: In reexamining iteration one, the frames of the panels were advanced. I revised the design of the frame to perforate around the perimeter of each triangle
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to enable the wire to be concealed and weaved through the frames of the triangles to dismantle the need for hinges. Final iteration: In the final iteration, I suggested the design be changed, and that the mass abutments be replaced with a series of dowels to support the long span. Six 1.5” dowels in diameter are aligned along the edge of the base with ¼” dowels running through them to enable the floral towers to be pulled back by cables that tighten the wire suspension of the span. In front of the larger dowels are smaller dowels with a 1” diameter with ¼” dowels running through them to enable a hanger like system to pull added force onto the wires to tighten and restrict the emergence of swaying. The triangles designed for the final iteration are a combination of hinged triangles from iteration 1 and wire and weave concept triangles of iteration2. Wires of the long span model weave through the hole in the frames of iteration 2 triangles, and triangles of iteration 1 are suspended from iteration 2 triangles by hinges that allow for the complex formations. I proposed to my team to add the floral pattern as an aesthetic with purpose. Inside the floral towers the wire weaves through floral frames, eliminating the need for the wire to connect to the base.
DIGITAL MEDIA AND VISUAL REPRESENTATION ILLUSTRATION AND REPRESENTATION
DIGITAL MEDIA AND VISUAL REPRESENTATION Fall 2017 | Mike McKay and Liz Swanson ARC 101 | Digital Media and Visual Representation
Illustration and representation are, in their own way, a language, and a means to communicate thought and action. From a series of geometrical and constructive drawings, representing simple forms, these forms are combined to create constructive drawings.
In response to perform strategic operations and create habitation from a cubic form, light and views become the focus of the design. The cube is curved of three equilateral parts, creating tri spaces, each equivalent in sq. footage with specific views to the landscape.
Among the series, further exploration in axonometric orientation is conducted on the cosmic floral design. Colors are applied to the drawing to create a kaleidoscope appeal, and this representation is advanced by duplicating the image to become a cohesive pattern that creates a grander kaleidoscope effect. Intentionally, the illustration battles between moments of 2-dimensionality and 3-dimensionality, with design strategy to perplex perception by oscillating between flatness and projection.
Interplay of light and shadow in the interior spaces is created by incorporating thin apertures to allow ribbons of light to dance around interior spaces as the sun orbits during the day. The formal quality of the open spaces and thin apertures alleviates the cube’s mass of a heavy aesthetic, instead it portrays an essence of airiness and transparency.
COSMIC FLORAL DESIGN
COSMIC FLORAL DESIGN AXON
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CONSTRUCTIVE DRAWINGS
KALEIDOSCOPE INSPIRED GRAPHIC
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CUBE INHABITANCE
ASSEMBLAGE CHAIR STUDENT COMPETITION FORMICA STUDENT INNOVATION DESIGN COMPETITION Fall 2017 Independent Project
The Assemblage chair is meant for versatility. In response to FORMICA’s Student Innovation Competition call to design “something to sit upon, lay upon, lean upon, or play upon” Assemblage chair incorporates all four gestures. Fabricated by FORMICA laminate products of grasscloth, lime, white writeable surface, and maple, the Assemblage furniture piece offers the adaptability to become furniture that serves and performs. The laminates add to the intersection of design and function. In vertical orientation the Assemblage piece becomes a chair, with a 110-degree angled recline. In horizontal orientation the Assemblage piece becomes a multi-surfaced table considerate of all heights. The design of the Assemblage
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furniture piece creates a near endless use and set of orientations. The advantage of the white writeable surface explores an avenue of play, learning, and engagement. The writeable surface encourages drawing and writing to occur. Youth can tirelessly illustrate and erase on the furniture rather than on the walls. Parents alike can use the writeable surface as a means for teaching or conversation. The versatility of the Assemblage furniture in design and intent makes this piece of furniture user and family friendly.
VERTICAL ORIENTATION | SOMETHING TO SIT UPON
HORIZONTAL ORIENTATION | SOMETHING TO LEAN UPON
GRASSCLOTH
LIME
WHITE WRITEABLE SURFANCE
MAPLE
PERSONAL ACHIEVEMENTS PERSONAL PROJECTS PAINTING, PHOTOGRAPHY, SCULPTURE 2015 - 2019 Independent Project
Art Hop Bench Hopkinsville, KY has five new artsy transit stops for travelers to enjoy as part of the Art Hop Bench initiative. In a community effort to raise funds for the Children Advocacy Center five benches were sponsored. Planters Bank sponsored my winning design that synthesizes the different iconic facets that are common to the community as one warm composition. The design is painted in acrylic and sealed onto a 72” x 30” plywood board that screws into the bench. The design of the bench captures the theme of the much anticipated 2017 Solar Eclipse, and Hopkinsville, KY being the location of totality and darkness. Regina Acrylic Portrait “Just One Bite” is an acrylic portrait of Regina the Evil Queen from the ABC television series of Once Upon a Time.
CAPTION
58 Montre’ale L. Jones, Hastings Architecture Internship
Photography International travel of summer 2019 granted the opportunity to visit destinations like Florence, Italy, Paris, France, and Shanghai, China. Photography at the Uffizi Gallery in Florence and Palace of Versailles captured moments that depict a sense of directionality that was observed at each location. At the Shanghai Museum, designed by Xing Tonghe, the staircase filled with museum goers conveyed a perception of levitation that was photographed. Sculpture In a pursuit to reconfigure and bring awareness to their depletion as the environment continues change, wire and fabric are transformed into a sculptural piece inspired to mimic abstract deep-sea coral reefs. The sculpture is painted white to designate hierarchy to its fluid form, and the face of the sculpture features a cracking effect to represent the various textures associated with
ACRYLIC PAINTING | “JUST ONE BITE”
UFFIZI GALLERY, FLORENCE, ITALY
60 Montre’ale L. Jones, Hastings Architecture Internship
PALACE OF VERSAILLES, VERSAILLES, FRANCE
PHOTOGRAPHY | SHANGHAI MUSEUM, SHANGHAI, CHINA “THROUGH THE EYES OF AN ARCHITECT”
62 Montre’ale L. Jones, Hastings Architecture Internship