chris snowden undergraduate architecture portfolio
DESCRIPTION
My Undergraduate Portfolio. Work was completed between Spring 2008 and Fall 2010 at the Savannah College of Art and Design.TRANSCRIPT
CHRISTIAN M SNOWDENCHRISTIAN M SNOWDEN
1601 POPE AVENUE1601 POPE AVENUERICHMOND , VA 23227RICHMOND , VA 23227
8 0 4 . 5 1 3 . 6 4 8 2 8 0 4 . 5 1 3 . 6 4 8 2
chr issnowden012@gmai l .com chr issnowden012@gmai l .com
+
STA
TE
ME
NT
OF
INT
EN
T S
TAT
EM
EN
T O
F IN
TE
NT
Architecture is art. In order to become successful, a work of art must captivate the viewer. The problem
with most architectural design today is its inability to effectively transcend the surface of popular
taste and principles. Many contemporary architects are one sided intellectual thinkers who place
design emphasis only on the visual aesthetics of their buildings. Instead of creating mere objects of
visual attraction, architecture must convey, negotiate and project an intended meaning. The design
process tends to omit the importance of the space created within, movement within that space, and
the power of space to inspire. When surroundings are ideal, the human mind has unlimited capacity
to create, enjoy and become passionate. Architecture must go beyond its shell, and it must inspire
by moving beyond the present cultural normalcy. However, if a work of architecture is too far ahead
of its time, it becomes an example of what is not normal and thus it becomes both dated and hated.
Many architectural settings cause us to feel like outsiders in comparison to the dynamic inclusive
interaction that natural and historical settings such as Savannah have as a baseline. Architecture
is experiential and like all meaningful works of art, can serve to anchor, strengthen, or expand our
sense of connection and inspiration versus promoting alienation from others and ourselves. It is my
hope that the buildings and spaces I create will captivate the human mind and spirit, and engage
that fine line between the accepted predictability of architecture and the radical contemporary.
"You cannot simply put something new into a place. You have to absorb
what you see around you, what exists on the land, and then use that
knowledge along with contemporary thinking to interpret what you see."
Tadao Ando
+>>
FUNDAMENTALS I
FUNDAMENTALS I I
GR APHICS FOR THE BUILDING ARTS
STUDIO I I
STUDIO I I I
STUDIO I
STUDIO IV
TAB
LE
OF
CO
NT
EN
TS
TAB
LE
OF
CO
NT
EN
TS
Mausoleum
005-010
S avannah Cr ime Museum
011-014
001-004
Bunnyfr iend Communit y Center
019-024
S avannah Train Terminal
025-032
S avannah Wildl i fe Refuge and Vis i tors Center
015-018
Residences & Retai l at 602 West
033-038
Rober t Kennedy Pharmac y Bui ld ing
Robert Kennedy Pharmacy Building Savannah, Georgia
EXTERIOR PERSPECTIVE
SAVANNAH AREASAVANNAH HISTORIC DISTRICTCOLUMBIA SQUARE WARDGARDEN PLAN (DESIGNED)SITE PLAN + DAVENPORT HOUSE
+
These hand-drafted drawings were
completed during my first year of
Architecture school. The task was to
document the Robert Kennedy Pharmacy
Building, built in 1890 on Savannah’s
Broughton Street. Drawings completed
include: floor plans, north and east
elevations, a section, an isometric drawing,
interior elevation, an exterior perspective
and interior perspectives. Diagrams of
Savannah, Georgia include: the historic
district, Columbia Square Ward and the
site plan including the historic Davenport
House. In addition, I was required to
redesign the second floor plan and design
a garden plan located on the adjoining lot.
001002
SS2
00
82
00
8G
RA
PH
ICS
G
RA
PH
ICS
F
OR
TH
EF
OR
TH
E BU
ILD
ING
AR
TS
BU
ILD
ING
AR
TS
MO
NT
GO
ME
RY
ISOMETRIC DRAWING
NORTH ELEVATION
EAST ELEVATION
INTERIOR PERSPECTIVE
+>>
003004
SS2
00
82
00
8G
RA
PH
ICS
G
RA
PH
ICS
F
OR
TH
EF
OR
TH
E BU
ILD
ING
AR
TS
BU
ILD
ING
AR
TS
MO
NT
GO
ME
RY
Mausoleum Theory
1ST FLOOR PLAN2ND FLOOR PLAN2ND FLOOR PLAN (REDESIGNED)
42
WEE
K 3
- W
EEK
4
WEE
K 5
- W
EEK
6
WEE
K 1
- W
EEK
2
+
005006
FF2
00
82
00
8F
UN
DA
ME
NTA
LS
IF
UN
DA
ME
NTA
LS
IW
OO
DS
The design process began with a basic
kit of parts personally arranged on an
8” x 8” grid. The placement of the kit of
parts considered lines of sight as well as
geometry. Once completed, the grid was
multiplied by eight and a linear footprint
for the model was chosen. A plan-to-
section relationship was established
and a strict figure-ground design was
implemented. The structure of the model
is extremely feasible and a curtain wall of
horizontal wood strips provides the skin for
the model. The design of the base directly
coincides with the geometry of the model.
A ground level pool of water conveys a
transparent calm. The final entry is subtle
in its quiet projection. As one comes
closer, the floating stairs appear. This is a
different design vocabulary that furthers
the yearning to experience the interior of
the structure. The floating stairs signify a
transition from earth-bound experience
to a place of mystery, representing a
higher state of being. The open rhythm
of the structure allows light to direct this
experience of transcendence.
WEE
K 7
WEEK 8
The first attempt of the base was deemed to bulky
(pictured below). The final base design utilizes the
geometry established on trace, pictured on the next page.
>>
The reflecting pool directly below the main tower is
stepped on two sides to allow for a cleansing process. The
other two sides of the reflecting pool are steep to reaffirm
that there is only one direction to cleanse the soul.
>>
ENTRYTRANSITION OF STAIRS
GEOMETRY OF BASE >>
+
007008
FF2
00
82
00
8F
UN
DA
ME
NTA
LS
IF
UN
DA
ME
NTA
LS
IW
OO
DS
DETAIL OF SKIN
PERSPECTIVE FROM BELOW
Beyond this skin contains the mausoleum space. The
wood louvers allow a specific ethereal light into the space
transforming the space into a peaceful resting place.
>>
PERSPECTIVE OF MODEL
+>>
009010
FF2
00
82
00
8F
UN
DA
ME
NTA
LS
IF
UN
DA
ME
NTA
LS
IW
OO
DS
Savannah Crime MuseumSavannah, GeorgiaENTIRE MODEL
CONCEPT SKETCHES GEOMETRY OF THE SITE
TOPOGRAPHY OF SITEINITIAL BUILDING SKETCH
+>>
011012
WW2
00
92
00
9F
UN
DA
ME
NTA
LS
IIF
UN
DA
ME
NTA
LS
IIW
OO
DS
The design for the Savannah Crime
Museum considers and incorporates the
‘steep’ demand the site presents. The
central concept of the museum captures
the essence of crime within its design.
The museum is sunk into the site and is
‘underground’ (similar to crime itself ). A
combination of building and site creates a
unified design. From the top of the site on
Montgomery Street, it appears as though
the landscape continues out towards
River Street. The only evidence of the
building is the museum entry. This glass
enclosure houses the circular stair that
wraps around the cylindrical glass elevator
shaft, allowing light into the building.
Also, windows line the east elevation and
south elevation along River Street. A large
projecting roof provides necessary shading,
and the trees along the east elevation filter
the light that enters the spaces through the
two story windows. Although the museum’s
architecture is a contemporary design, it
blends seamlessly with the historic factory
buildings of River Street and the historic
1920s power plant. SITE
PIC
TURE
EXPLODED ISOMETRIC
NORTH ELEVATIONLONGITUDINAL SECTION
VIEW OF NORTH ELEVATION + ROOFVIEW OF ENTIRE BUILDINGWORM’S EYE VIEW
+>>
013014
WW2
00
92
00
9F
UN
DA
ME
NTA
LS
IIF
UN
DA
ME
NTA
LS
IIW
OO
DS
Savannah Wildlife Refuge and Visitor’s CenterSavannah, GeorgiaLEVEL 1 FLOOR PLAN
LEVEL 2 FLOOR PLAN
ROOF PLAN + SITE PLAN
CONCEPT 1: VIEW ORIENTED CONCEPT 2: VIEW ORIENTED CONCEPT 3: ORGANIC MIMICRY FLOOR PLAN
SITE PLAN
+>>
015016
FF2
00
92
00
9S
TU
DIO
IS
TU
DIO
IE
L N
AH
AS
NORTH ELEVATION
SHADING DEVICE ENTRY LOBBY
The design for the Savannah Wildlife
Refuge creates equilibrium between the
site and the building. Honoring the site as
a nature and wildlife refuge, existing trees
would be maintained and incorporated
into the design. Making use of natural light
and wind helps to create a building that
needs little or no artificial energy sources.
Taking advantage of the views enhances
the wildlife experience. Thus, the shape of
the building is intended to frame views to
the marsh and beyond. The interior Nature
Center also serves to bring the outside into
the museum space, furthering the sense
of harmony with the surrounding habitat.
The Nature Center includes a long curving
aquarium built at eye level for children.
Fish and turtles native to the refuge will
occupy the low level aquarium.
LIBRARY
CAFETERIA
TRANSVERSE SECTION
+>>
017018
FF2
00
92
00
9S
TU
DIO
IS
TU
DIO
IE
L N
AH
AS
BunnyFriend Jazz and Community Center (Upper Ninth Ward) New Orleans, Louisiana
VIEW FROM GALLERY SPACE VIEW OF CENTRAL PATHWAY AND GALLERY SPACE
LONGITUDINAL SECTION
This conceptual sketch combines all known site information,
including views, sun path, wind rose, tree location, major and
minor transportation routes as well as building footprints. After
completion of the sketch, the white concept model (far left) was
constructed. After further developement the basswood model was
assembled and most closely resembles the final building form.
>>
+
019020
WW2
01
02
01
0S
TU
DIO
IIS
TU
DIO
IIM
ON
TG
OM
ER
Y
After Hurricane Katrina, the area known
as Bunny Friend in the Upper Ninth
Ward was flooded six to eight feet. All
of the houses in the neighborhood had
significant water damage, and many were
simply swept off their foundations when
the floodwaters rushed through after the
levees broke. The vernacular architectural
trend in the neighborhood consists of
one and two story shotgun houses with
wood siding. The new community center
must be a beacon of hope and connection
for the entire neighborhood. Because of
its location in a flood zone just below
sea level, FEMA requires the building to
be raised a minimum of three feet. The
community center has a semi-circular
entrance and staircase. The entrance to
the center is located on the corner across
from the Bunny Friend Park. The building
includes offices for the current members
of the Neighborhood Board. There is also
a large room to hold community meetings
or gatherings. A spacious kitchen allows
for healthy cooking workshops, as well
as the ability to cook for large numbers
of people. The second level contains after
school learning spaces for children and job
training facilities for adults.
GU
LF C
OA
ST R
EGIO
NG
ULF
CO
AST
OF
LOU
ISIA
NA
NEW
ORL
EAN
S
UPP
ER N
INTH
WA
RD
>
>
>
>
The community center has a semi-circular entrrance and staircase. The entrance to the
community center is located on the corner across from the BunnyFriend Park. There are two
ramps that lead to the main entrance and the large meeting room. The building includes
offices for the current members of the neighborhood board. There is also a large room to
hold large community meetings or gatherings. A large kitchen allows for healthy cooking
workshops, as well as, the ability to cook for large numbers of people. The second level
contains after school learning spaces for children and job training for adults. Outside is a
performance space for jazz andcommunity productions.
>>
FIRST AND SECOND FLOOR PLANS (hand drawn)
SITE PLAN (hand drawn)
+>>
021022
WW2
01
02
01
0S
TU
DIO
IIS
TU
DIO
IIM
ON
TG
OM
ER
Y
The BunnyFriend Neighborhood located
in the Upper Ninth Ward is a close knit
community. The neighborhood is named
after the park, whose land was donated
by the parents of a child named Bunny
who died tragically in the early 1900s.
The park is an essental part of the
neighborhood for its playing fields,
basketball courts, playground and
concession stand allow the children to
gather.
>>
SOUTH ELEVATION (hand drawn)
The skin of the building is a series of wooden
louvers. The wood louvers respond to the local
wooden siding vernacular of the entire upper
ninth ward, while still adding a slightly modern
edge. This particular louver system gradually
rotates the wood from a vertical position,
towards the bottom, to an entirely horizontal
position at the top of the second floor.
>>
BUNNYFIREND PARK + SITE (hand drawn)
PERSPECTIVE OF ADA RAMP (hand drawn)
NORTH ELEVATION WEST ELEVATION
+>>Savannah Train Terminal
Savannah, Georgia
023024
WW2
01
02
01
0S
TU
DIO
IIS
TU
DIO
IIM
ON
TG
OM
ER
Y
LONGITUDINAL SECTION
MAIN ENTRANCE
Trustees Garden originally was 10 acres of agricultural gardens
designed by the original trustees of the Savannah settlement one
month after arriving. The cotton plant and peach tree both trace
their origins to this exact location.
^INITIAL SKETCH OF BUILDING FORM
INITIAL CONCEPTUAL SITE SKETCH ^
>>
The original Train Station in Savannah was located on what is now
Martin Luther King Boulevard. It was demolished to make the
entrance of Interstate 16. The current Amtrak station is located
off Louisville Road in a primarily industrial/warehouse area.
>>
EAST COAST RAIL LINES
+
025026
SS2
01
02
01
0S
TU
DIO
IIIS
TU
DIO
IIIW
OO
DS
The Savannah Train Terminal would once
again establish a central transportation hub
in the city’s historic district. The terminal is
situated on Trustees Garden in the eastern
side of Savannah’s historic district. The
new train terminal design utilizes a traffic
pattern similar to an airport. Coming
down Bay Street heading east, visitors
and travelers would take the ramp that
begins to circle around the terminal.
Multiple drop- off points are covered by
the extension of the flowing and expansive
roof. After dropping off travelers, vehicles
may continue to either the underground
parking garage or towards East Broad
Street. The western side of the site has
been re-developed as an area similar to City
Market (a thriving restaurant, art gallery
and bar location on the west side of town).
Bay
Str
eet
East Broad Street
Bay Street
SITE PLAN
MAIN APPROACH
EAST ELEVATION
+
027028
SS2
01
02
01
0S
TU
DIO
IIIS
TU
DIO
IIIW
OO
DS
MAIN TERMINAL
TRANSVERSE SECTION
MAIN CONCOURSE LEVEL
+>>
029030
SS2
01
02
01
0S
TU
DIO
IIIS
TU
DIO
IIIW
OO
DS
TRAIN PLATFORM MAIN DROP OFF AREA
BRIDGE TO PARKING GARAGE
3-D SECTION
>>
+>>
031032
SS2
01
02
01
0S
TU
DIO
IIIS
TU
DIO
IIIW
OO
DS
The structure of the terminal consists of large spanning steel
members that rely on compression to successfully support the
massive roof. The two butterfly supports that connect to each steel
member allow for expansion and movement.
>>
^ EXPLODED ISOMETRIC SHOWING STRUCTURE AND ROOF SYSTEM
Residences and Retail at 602 WestAustin, Texas
46,200 sq
Wes
t St.
6th St.
Shoa
l Cree
k
140’
330’
SITE MODEL
SITE PICTURES
BUIL
DA
BLE
ARE
A
+>>
033034
FF2
01
02
01
0S
TU
DIO
IVS
TU
DIO
IVB
AC
HA
Austin, the capital of Texas, is a culturally
vibrant and liberal urban center. City
leaders established the goal of having
25,000 people living in the downtown
area by 2015, and have offered incentives
for residential buildings. Thus, there
has been an increase in construction
of contemporary mixed use buildings.
The current building trend in Austin is
consistent in style and materiality. The
project was to design a residential building
with retail space occupying the first level.
The site was on the corner of 6th Street and
West Avenue. The west side of the site was
bound by shoal creek. During the concept
stage I began to experiment with particular
building modules. After understanding
the way in which these building modules
interact and fit together I built a model that
began to shift and pull individual planes on
multiple levels. The next step was to add
vertical planes to divide the shifting planes
into the units. I then established a sense of
the material palate most used on similarly
sized residential and commercial buildings.
There were three main concerns during
this part of the process: privacy between
units, shading and natural ventilation.CONCEPT MODEL
RENDERING OF WEST FACADE ALONG SHOAL CREEK
UP
DN
DN
UP
UP
DN
W/D
AC
OUTDOOR LIVING15’7” x 7’6”
KITCHEN10’7” x 9’10”
LIVING15’7” x 15’4
DINING 10’7” x 13’
BATHROOM
10’5 x 8’0
CLOSET BEDROOM
10’5” X 12’6
W.H.
ENTRY
W/D
AC
OU
TDO
OR LIVIN
G15'5" x 7'5"
KITCHEN
10'7” x 9'10"
LIVING
15’7” x 10'11"
DIN
ING
11'9” x 9'6"
BATH
CLOSET
BEDRO
OM
111'11" x 12' 2"
W.H
.
ENTRY
MA
STER CLO
SET
MA
STER BEDRO
OM
12'6" x 14'11"
REF
MA
STER BATH
ROO
M
OU
TDO
OR LIVIN
G16' x 11'3"
MA
STER CLO
SET
CLOSET
’”
’
’”
’”
’”
’”
’
UP
DN
UP
DN
DN
UP
UP
DN
UP
DN
DN
UP
UP
DN
1 B
e d
r o
o m
/
1
B a
t h
/ 8
7 0
S
F /
1 B
a l
c o
n y
2 B
e d
r o
o m
+ S
t u
d y
/
2 B
a t
h /
1
6 1
0 S
F
/ 1
B a
l c
o n
y
2 B
e d
r o
o m
/
2
B a
t h
/ 1
4 0
0
S F
/ 2
B a
l c
o n
i e s
+
035036
FF2
01
02
01
0S
TU
DIO
IVS
TU
DIO
IVB
AC
HA
”
’”
”
UP
DN
DN
UP
UP
DN
3 B
e d
r o
o m
/
2
B a
t h
/ 1
7 0
0
S F
/ 2
B a
l c
o n
i e s
3-D SECTION SHOWING TYPICAL FLOOR PLANS + PARKING GARAGE
>>
SECOND FLOOR PLAN (TYPICAL)
+>>
W E S T A V E N U E
6 T H S T R E E T
037038
FF2
01
02
01
0S
TU
DIO
IVS
TU
DIO
IVB
AC
HA
SITE PLAN + FIRST FLOOR
EAST ELEVATIONSOUTH ELEVATION
INITIAL BUILDING ENVELOPE FINAL BUILDING ENVELOPE
The envelope defines the shape and projection of
the building. The skin went through a number of
variations, all of which incorporated Corten steel
(pre-rusted). The vertical planes helped with privacy
but originally had too much mass to allow a breeze to
penetrate. The second envelope concept incorporated
two layers that pushed and pulled to create an
interesting design. The third envelope concept
combined both of the previous concepts. This
concept incorporates a Corten mesh that occupies
the voids left by the pushing and pulling of the solid
Corten steel panels. The result allows for shading,
natural ventilation and privacy between units.
>>
I decided early in the process that I wanted
to highlight one of the main egress
staircases on the corner of 6th Street and
West Avenue. The staircase is enclosed in a
frosted green glass that is ‘similar’ in color to
a copper patina. At night the stairwell is lit
from within and thus makes a statement to
cars passing down 6th Street.
>>
+
039040
FF2
01
02
01
0S
TU
DIO
IVS
TU
DIO
IVB
AC
HA
BUILDING RENDERING AT CORNER OF 6TH ST AND WEST AVE