Download - Megan Culp Undergraduate Portfolio 2013
Ball State University College of Architecture and Planning
Bachelors of Science degree in Architecture
Anticipated Graduation in May 2013
Thoughtful, articulate designer with a desire to enter
an appropriate architectural graduate program
with a focus in building technology, critical writing
and expanding her insight into professional practice.
M E G A N C U L P
The procurement and design of this portfolio is intended
to exemplify the best of my work during my studies at Ball
State University College of Architecture and Planning. As a
publication, this collection represents a thorough reflection
of my design philosophy and primary thinking. It is divided
into five categories, each consisting of projects in reverse
chronological order from fourth-year complexity and richness
to first-year potential and promise.
During the design of this portfolio, my reflection on these
projects has brought me a greater sense of preciseness as a
designer. Originally, I was inclined to pursue my architectural
studies as a compulsion to follow my adolescent outlook of a
life viewed through an imaginative lens. Ever since childhood,
I remember moving through spaces overlain with my own
fictitious ambitions of a whimsical world. A grove of trees
became a fortified citadel and the border along a retaining
wall sufficing as an acropolis.
B I O
M E G A N C U L P
Upon maturity, I became unsatisfied with a life of a submissive
existence in dreary spaces decided for me. Now, I have an
unquenchable desire to learn what sort of forces make up the most
successful structures we play, sleep, and work within. By pursuing
architecture, I am nourishing this awareness and looking at ways
to find patterns of successful spaces in order to greater serve the
needs of the clients and, perhaps, inspire imaginative people who
share my similar due to awareness. I am inspired greatly by the
timeless works of Louis Sullivan, the monumentality of Alvar Aalto,
the classic sense of Andrea Palladio, and the intensity of Moshe
Safdie.
I am a designer who invents by dreaming, communicates by
diagramming, and lives by writing. Every design is a story with a
plot, message, characters, interpretations, critics, metaphors, and a
wholehearted author.
B R O W N P E L I C A N S
C L A M S / H A R D S C A P E
M A R S H L A N D
F O R T P I N C K N E Y
D E N S E V E G E T A T I O N[ H Y D R O S T A T I C P R E S S U R E ]
S I T E D I A G R A M S + P E R S P E C T I V E M O D E L D O C U M E N T A T I O N
S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n
The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts.
The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons. The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes.
The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney.
Here, the ecosystem and biology is delicate and impressionable. Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.
Charleston, North Carolina
F A C A D E P E R F O R M A N C E S C A L E
T H R E S H O L D J O U R N E Y
LIGHTHOUSE/STEEPLE WAYFINDING
S I T E D I A G R A M S + P E R S P E C T I V E M O D E L D O C U M E N T A T I O N
Janice Shimizu-Coggeshall
H E A R T H D I S S O L V E
C
A
B
D
1. EXHIBIT2. DISPLAY3. HEAT (HEARTH)4. RELIEVE5. STORAGE6. OFFICE
7. ASCEND8. DESCEND9. EXPLORE10. ENERGIZE
1 23
5
6
7
8
9
10
S E C O N D F L O O R
4
BELVEDERE
PERFORMANCE SPACE
G R O U N D F L O O R
PRECEDENT DIAGRAMS SITE STUDIES
SECTION PERSPECTIVE MATERIAL PERSPECTIVES
A. WOOD FRAME FACADEB. LIGHT GAUGE FRAMINGC. SOIL SURVEY
-SATURATED BOHICKET -BEDROCKD. STRUCTURAL STEEL H-PILE ENCASED IN 2’ DIAMETER CONCRETE W/ CORROSION INHIBITOR ADMIXTURES
S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n
APP
ROAC
H
OBS
ERVE
ENTERPERFORM
DESCEND
EXPLORE
FOOTPRINT A P P R O A C H
S O L A R H E A T G A I N D I A G R A M
V E N T I L A T I O N D I A G R A M
PRECEDENT DIAGRAMS SITE STUDIES
SECTION PERSPECTIVE MATERIAL PERSPECTIVES
PHYSICAL MODEL DOCUMENTATION
The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts.
The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons.
SHUTE’S
FOLLY
APP
ROAC
H
OBS
ERVE
ENTERPERFORM
DESCEND
EXPLORE
H E A R T H D I S S O L V E FOOTPRINT A P P R O A C H
F A C A D E P E R F O R M A N C E S C A L E
T H R E S H O L D J O U R N E YB R O W N P E L I C A N S
C L A M S / H A R D S C A P E
M A R S H L A N D
F O R T P I N C K N E Y
D E N S E V E G E T A T I O N[ H Y D R O S T A T I C P R E S S U R E ]
G R O U N D F L O O R 1 ’ = 1 / 3 2 ”
1. EXHIBIT2. DISPLAY3. HEAT (HEARTH)4. RELIEVE5. STORAGE
6. OFFICE7. ASCEND
8. DESCEND9. EXPLORE10. ENERGISE
1 23
5
6
7
8
9
10
PERFORMANCE PAVILION
11’-0
”
0’-11”
1’-6
”8’-6
”
7 7 ’ - 8 ”
4 8 ’ - 6 ”6 ’ - 1 0 ”
1’-6”
2 2 ’ - 4 ”
A. WOOD FRAME FACADE
B. STAINLESS STEEL
-LIGHT GAUGE FRAMING
C. SOIL SURVEY -SATURATED BOHICKET -BEDROCK D. STRUCTURAL STEEL H-PILE ENCASED IN
2’ DIAMETER CONCRETE W/ CORROSION
INHIBITOR ADMIXTURES
A
B
C
D
S E C T I O N P E R S P E C T I V E 1 ’ = 1 / 4 ”
H Y D R O S T A T I C P R E S S U R E I S E N D A N G E R I N G T H E S T R U C T U R A L I N T E G R I T Y O F F O R T P I N C K N E Y .
C A L C U L A T E D W E E P H O L E R E L I E F P O I N T S W I L L R E A L I G N T H E
P E R I M E T E R W A L L S .
E X P L O D E D A X O N S O L A R H E A T G A I N D I A G R A M V E N T I L A T I O N D I A G R A M
CASTLE
PINCKNEY
4 ’ - 8 ”
1 1 ’ - 6 ”
5’-0
”
1’ -6
”
GAP BETWEEN BOTTOM OF BELVEDERE TO TOP OF FORT
FORT ELEVATION
COARSE PERIMETER AGGREGATE
GAP BETWEEN TOP OF HIGH TIDE TO BOTTOM OF WALKING SURFACE
REUSE OF CASTLE PINCKNEY REPLENISHABLE MATERIALS
LIGHT FOOTPRINT PERFORMANCE VENUE
NET-ZERO CONSIDERATION REUSE OF EXISTING DOCK
S E C T I O N P E R S P E C T I V E P R O F I L E S E C T I O N S [ T O P T O B O T T O M - S O U T H W E S T T O N O R T H E A S T ]
S E C O N D F L O O R 1 ’ = 1 / 6 4 ”
4
LIGHTHOUSE/STEEPLE WAYFINDING
BELVEDERE
PERFORMANCE SPACE
O F F - S I T E P V P A N E L S
The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes. The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney. Here, the ecosystem and biology is delicate and impressionable.
Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.
H E A R T H
E X P L O R E
P E R F O R M A N C ER E N E W A B L E
E N E R G Y
S U P P L I E D T O
I N V E R T E R
0
4 16
328
64
0
4 16
328
64
S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n
CRIPE COMPETITION BOARD LAYOUT + SOUTH ELEVATION VIEW
PERSPECTIVE + SECTION LOOKING EAST
E X I S T I N G , D E S I G N , + CO N S T U C T I O N P H A S E
e c o R E H A B D e s i g n - B u i l d G r o u p P r o j e c t
Participation in this semester’s ecoREHAB design-build studio pertains to rehabilitating a moderately sized residential property located in Muncie’s Old West End neighborhood. The structure was acquired by the program after being placed on the city’s demolition list. The three bedroom and two bath house is part of larger block corridor involved with development by HUD; the U.S. Department of Housing and Urban Development.
This course not only offers students the opportunity to attain construction experience, but a chance at designing a suitable back porch, visual vertical garden buffers, and sustainably responsible rain barrels. The most intriguing part of this project
511 W Main Street Muncie, IN
was being enlightened about the construction process and witnessing unforeseen complications that create instant opportunities for adaptable design strategies. The procurement of construction materials came from local institutions. Attention to craftsmanship added greatly to the monetary value of the house while keeping the overall cost low for marketability.
Group members: Megan Culp, Chloe Tyner and Kyle Schwind
End Cost: $1075
Four month project with intermittent construction days
D E S I G N + CO N S T R U C T I O N
Jonathan Spodek
V I E W LO O K I N G W E S T CO N C E P T UA L D I AG R AM S
E s t o p i n a l C o m p e t i t i o n 2 0 1 2
Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.
Elevation looking NorthScale 1”=70’
Elevation looking SouthScale 1”=70’
Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.
Union Station
Elevation looking WestScale 1”=70’
Georgia St. Parking Gar.PamAm Plaza
Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.
Elevation looking NorthScale 1”=70’
Elevation looking SouthScale 1”=70’
Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.
Union Station
Elevation looking WestScale 1”=70’
Georgia St. Parking Gar.PamAm Plaza
ELEVATION LOOKING NORTH
ELEVATION LOOKINg west
To depict Indianapolis' uniqueness as the exterior circulation will simulate that of a highway's graceful civil engineering to vertically transport people directly from Georgia Street. First, a person would become enticed by the exclusivity of socialization on the second floor public space and vertical festivities perched on balconies. To reach this suspended destination, patrons would ascend a ramp that runs across the north façade parallel to Georgia Street while being aware that they are making a transition southwards while not feeling isolated
CINCINNATI
LOUISVILLE
CHICAGO
ST. LOUIS
FORT WAYNE
DAYTON
CENTRAL ILL INOIS
south plaza
because they are, all the while, still engaged with Georgia Street. Upon reaching the first landing, they reach an open air plaza providing access to the facades of the hotel lobby and classrooms. This open space has two floors of overhead clearance up to an overhead sky bridge which houses private boutique rooms. The connection of the second floor plaza and Illinois roof garden will be linked by an equally extensive ramp system as seen on the north
rail + road + river
G E O R G I A S T R E E T
structure
G E O R G I A S T R E E T
vertical community
G E O R G I A S T R E E T
ramp accessibility
G E O R G I A S T R E E T
threshold
façade of Georgia Street. However, the south facing façade will express balconies protruding from the private boutique rooms to create the urban situation of people-watching-people for entertainment and safety aspects of PanAm plaza. Reuse of collected rebar from interstate highway demolition reminds visitors of the transportation narrative through materiality.
c r o s s r oa d s o f a m e r i c a ,
getty museum, Los angeles,ca ford calumet environmental center,chicago, il the highline, new york, ny
the estopinal group competition
second and third floor perspective
section looking north
PRIVATEVIEWS
PUBLICaccessibility
exercise room spa outdoor pool area sunbathing snack bar
guest rooms
boutique lobby
admin. career services
libraryw/view to garden
lecture study space roof garden
bake shop classrooms
wine tasting tapas teaching pastry kitchens restaurants access to parking
parking mechanical delivery access mechanical storage
boutique hotel with private access Culinary Institute with public access
guest rooms
guest rooms
guest rooms guest rooms
ground floor plan
g e o r g i a s t r e e t
buil
ding
b
70
georgia street center indianapolis, in spring 2012
a s c e n d
r a m p
10 40
0 20 80
10 40
0 20 80
25 100
0 50 200
25 100
0 50 200
roof garden w/ supply of ingredients
culinary school kitchen on georgia st
transportation theme- boutique room
reuse rebar vegetation overhang
transportation theme- boutique room Georgia street ramp ascension
“a person becomes
enticed by the exclusivity
of socialization on the
second floor”
wall axon
reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns
seasonal vegetation provides direct light diffusion and aestetic shade
underground parking clearance [existing]
15' span open web steel joist
1
1
2
3
4
3
2
Rain water control via habitable roof with sedum trays
5
5
classroom looking south Second floor plaza space panam plaza w/ vegetation third floor balcony looking south
V I E W LO O K I N G W E S T CO N C E P T UA L D I AG R AM S
G E O R G I A S T R E E T
structure
G E O R G I A S T R E E T
vertical community
G E O R G I A S T R E E T
ramp accessibility
G E O R G I A S T R E E T
threshold
RAMP
THRESHOLD
VERTICAL
STRUCTURE
To depict the state capitol’s uniqueness as the [Crossroads of America], exterior circulation will simulate that of a highway’s graceful civil engineering by vertically transporting people directly from Georgia Street. Enticed pedestrians ascend a ramp upon by which they reach a community plaza providing 24/7 access to the hotel lobby and classrooms. The south facing façade will
express balconies protruding from the private boutique rooms to create the urban situation of people-watching-people for entertainment and improved safety of PanAm plaza. The materiality of repurposed rebar from interstate highway demolition reminds visitors of the transportation narrative.
Downtown Indianapolis PanAm Plaza
ACCESSIBILITY
COMMUNITY
Andrea Swartz
reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns
seasonal vegetation provides direct light diffusion and aestetic shade
underground parking clearance [existing]
15' span open web steel joist
1
1
2
3
4
3
2
Rain water control via habitable roof with sedum trays
5
5
AXONOME TRIC DIAGRAM SECTION LOOKING NORTH
AXONOME TRIC DIAGRAM SECTION LOOKING NORTH
E s t o p i n a l C o m p e t i t i o n
PRIVATEVIEWS
PUBLICaccessibility
exercise room spa outdoor pool area sunbathing snack bar
guest rooms
boutique lobby
admin. career services
libraryw/view to garden
lecture study space roof garden
bake shop classrooms
wine tasting tapas teaching pastry kitchens restaurant access to parking
parking mechanical delivery access mechanical storage
BOUTIQUE HOTEL WITH PRIVATE ACCESS CULINARY INSTITUTE WITH PUBLIC ACCESS
guest rooms
guest rooms
guest rooms guest rooms
10 40
0 20 80
Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.
Elevation looking NorthScale 1”=70’
Elevation looking SouthScale 1”=70’
Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.
Union Station
Elevation looking WestScale 1”=70’
Georgia St. Parking Gar.PamAm Plaza
ELEVATION LOOKING NORTH 25 100
0 50 200
M O D E L D O C U M E N TAT I O N P R E L I M I N A R Y D I A G R A M S + E X P E R I E N T I A L S
Bacteria Barrel (6)gravity-fedrequires bacteria -light -vegetation for home
Muncie Municipal Center- “ l iving machine”
The Muncie Municipal Center provides a transparent, educational destination to explore [horizontal and vertical circulation], thrive [exercise and purchase], and own [seating for venue to south] as an entirely unique experience. Its design intent was to allow light, people, and water to percolate through the water treatment process. This created a space that hummed to life with the filtration process. Exploration was provided by the extensive balcony system which moved
Walnut Street Downtown Muncie, IN
SupplyBlack water
requires electricity
Sludge Filter (2)gravity-fedcaptures solid particles
Lagoon (2)gravity-fedbacteria + fish -vegetation for home
Dry Bed (1)requires electricityintended to kill bacteriadark and dryfine and course rock
Storage (1)requires electricity
Either stores or celebrates processed
grey water
visitors above, below, and around the water treatment process. Citizens are meant to thrive by the use of an exercise facility that simultaneously powers the treatment process turning mechanical energy into electrical energy. Additionally, a healthy lifestyle is encouraged by the placement of a bike shelter on the eastern side.
M O D E L D O C U M E N TAT I O N P R E L I M I N A R Y D I A G R A M S + E X P E R I E N T I A L S
Andrea Swartz
Circulation Water Treatment
Overhead Envelope/Massing
SYSTEM DIAGRAMS ELE VATION LOOKING NOR TH CONCEPT SKE TCHES
Muncie Municipal Center- “ l iving machine”
Private
Semi-Private
Semi-Public
Public
SECTION LOOKING WEST
15.00
Wa
lnu
t S
tre
et M
ulb
erry
Stre
et
GROUND FLOOR
SYSTEM DIAGRAMS ELE VATION LOOKING NOR TH CONCEPT SKE TCHES
M O D E L D O C U M E N TAT I O N P R E L I M I N A RY D I AG R AM S
G reen Workforce Training CenterNorth of Indianapolis Children’s Museum, Indianapolis, IN
D e s i g n I n t e n tC o n s c i u s n e s s - A w e l l - a r t i c u l a t e d s k i n t h a t c a p t u r e s d i r e c t a n d d i f f u s e s u n l i g h t ; r e i n f o r c e s s a w a r e n e s s o f e x t e r i o r l i g h t v a l u e s / t i m e o f t h e d a y.
E d u c a t i o n - A v e g e t a t i v e r o o f w i l l b e a l e a r n i n g t o o l u s i n g s e d u m t r a y s ; “ l o w m a i n t e n e n c e , l o w t r a f f i c ” a n d a h a b i t a b l e r o o f g a r d e n .
S y s t e m s - N o r t h / S o u t h e x t e r i o r, m i c r o c l i m a t e s , a n d D r o p c e i l i n g / a c c e s s f l o o r s ; p r o d u c e g o o d i n d o o r a i r q u a l i t y .
A d v a n t a g e s - T h e p u b l i c a t r i u m s p a c e w i l l b e o p e n d u r i n g n o n - b u s i n e s s h o u r s t o p r o v i d e h o s p i t a l i t y .
The intention of this structure is to provide helpful guidance for an unemployeed workforce population scattered through Indianapolis. The metaphor of two tetonics plates coming together and creating friction is a symbol for the provided educational opportunities and the workforce colliding
together and creating progressive momentum in the community for the progression forward of these individuals as responsible contributors to society. This point of climax is marked by a dynamic atrium space that is filled with activity and learning. The program required a total of 31,000 square feet.
M O D E L D O C U M E N TAT I O N P R E L I M I N A RY D I AG R AM S
Robert Koester
A
A GROUND FLOOR PLAN + SECTION LOOKING EAST E X P E R I E N T I A L I M AG E S CO N T E X T S K E TC H E S
W 3 2 n d S t r e e t
Me
ridia
n S
t ree
tN
Ill
ino
is S
tre
et
G reen Workforce Training Center
GROUND FLOOR PLAN + SECTION LOOKING EAST E X P E R I E N T I A L I M AG E S CO N T E X T S K E TC H E S
The Indianapolis Children’s Museum
Green roof Grid sedum trays
Integrated partitioningResponds directly to lightshelves
Drop ceiling- 2’ gap for return air
Access floor structure.Stringers spaced 4’ grid
Steel structure
20’ incremental columns
T E C TO N I C AXO N O M E T R I C V I E W S U N L I G H T A N G L E D I AG R AM S AC T I V E S YS T E M D I AG R AM
G reen Workforce Training CenterDecember Solstice- Noon 9 a.m. /3 p.m. 15 / 28
June Solstice - Noon 9 a.m. /3 p.m. 48 / 75
Mar/Sept Equinox - Noon 9 a.m. /3 p.m. 33 / 52
The average of these direct sunpaths throughout the year create common intersections. The average distance between intersections expresses where a lightshelf should be placed. AV distance or proportion = 1.92 ft.
Raised floor supplies coolth to space. Return air circulated by drop ceiling
T E C TO N I C AXO N O M E T R I C V I E W S U N L I G H T A N G L E D I AG R AM S AC T I V E S YS T E M D I AG R AM
SOUTH CORRIDOR PERSPECTIVE I N D I A N A CO N C R E T E MA S O N RY A S S O C I AT I O N CO M P E T I T I O N F I N A L I S T- E XC E P T I O N A L B OA R D L AYO U T
I ndiana Concrete M asonr y Asso ciation Comp etit ionSouth of Indianapolis IUPUI Campus along White River Canal I N D I A N A C U LT U R E C E N T E R
T r i b u t e t o H o m e t o w n H o o s i e r H e r o e s
V i c i n i t y M a pWest of downtown Indianapolis, IN
Indianapolis Canal Walk
S i t e P l a n
IUPUI CAMPUS. PRIDE. ACCESSIBILITY
RIVER TRAIL
Pedestrian BridgeRounding a CornerStrong Canal BendTopographic Hierarchy
MARRIOT HOTEL
INDY SKYLINE
CIRCLE CENTER
D i a g r a m s
S i t e S e c t i o n
This museum will be dedicated to the individual faces of Indiana and what they claim from this vast farmland
of the Midwest. Sure, everyone is familiar with the network of highways across Indiana, but only Hoosiers
are familiar with the country roads and small towns that these bustling Interstates eventually empty into.
Every country road will surely turn into a Main Street with rustic store fronts from
generations past. This is the true journey home for Hoosiers and the heart of Indiana culture.
The design engages the canal walk to conjure up the experience of walking down Main Street. The
corrugation of exterior walls is a logical application of concrete masonry at its
best while allowing pedestrians to engage the “Main Street store front” windows that will depict museum
exhibitions of cultural icons of the past, present and future. Visitors will have the opportunity to engage in
memorabilia left by familiar Hometown Heroes.
F o r m a sEntrance for people on foot venturing into Circle Center from IUPUI by means of the Canal Walk
Corrugation of CMU walls to implement masonry in its strongest form
Storefront facade created by the extraction of rectangular forms. The void left over separates individual galleries while providing convenient storage and space for coordinating additional exhibits
DEC 21
MAR 20
seating (glare?) light sensitive artifacts passive corridor courtyard
P r o b l e m a t i c D i r e c t S u n S u n l i g h t D e f i c i e n c y
D i f f u s e
exterior vegetation and light shelf diffuses light sloped skylight distributes diffuse light
D a y l i g h t i n gN a n d W s e c t i o n d i a g r a m s
S t r u c t u r a l D i a g r a m
F l o o r P l a n
S e c t i o n A L o o k i n g N o r t h
S e c t i o n B L o o k i n g E a s t
S o u t h E l e v a t i o n
W e s t E l e v a t i o n
A
B
C M U d o u b l e w y t h e w a l l s w i t h p i l a s t e r s e v e r y 1 8 ’
0
2
4
8
16
0
2
4
8
16
0
2
4
8
16
10
020
40
60
1” = 60’
0
1
2
4
7
1/2” = 1’Axon Wall Section
1/16” = 1’
1/16” = 1’
All materials in nature, the mountains and the streams and the air
and we, are made of Light which has been spent, and this crumpled
mass called material casts a shadow, and the shadow belongs to
Light-Louis Kahn
Everyone is familiar with the network of highways across Indiana, but only Hoosiers are familiar with the country roads and small towns that these bustling Interstates eventually empty into. Every country road will surely turn into a Main Street with rustic store fronts from generations past. This is the true journey home for Hoosiers and the heart of Indiana culture. The corrugation of exterior walls is a logical application of concrete masonry at its best while allowing pedestrians to engage store front windows that will depict museum exhibitions of cultural icons of the past, present and future.
The 2011 Indiana Concrete Masonry Association Competition was a simultaneous lesson in the practical application of masonry while also a discovery in a way to celebrate the best qualities of Indiana’s landscape most familiar to myself as a Hoosier. The jury selected my project as a finalist on grounds of exceptional board layout design and narrative. The program called for roughly 25,000
square feet of public space for the observance of interactive Indiana culture. Eight galleries would feature distinct aspects such as sports memorabilia from the Indianapolis 500, artwork and writings of famous Hoosiers, and performance space for guest visits. The key to the design’s success was bequeathing individuality to each gallery while maintaining an importance to the pedestrian canal walk.
SOUTH CORRIDOR PERSPECTIVE I N D I A N A CO N C R E T E MA S O N RY A S S O C I AT I O N CO M P E T I T I O N F I N A L I S T- E XC E P T I O N A L B OA R D L AYO U T
Rod Underwood + Jeff Culp
7 13/16” SPLIT BLOCK HOLLOW VENEER3” AIR AND DRAINAGE CAVITY2” EXTRUDED POLYSTYRENE INSULATIONLIQUID APPLIED MEMBRANEHOLLOW CONCRETE MASONRY BLOCK AXON WALL SECTION MASTER PLAN + SECTION LOOKING NORTH MODEL DOCUMENTATION
Indiana Concrete Masonr y Association Competition
AXON WALL SECTION MASTER PLAN + SECTION LOOKING NORTH MODEL DOCUMENTATION
W h i t e R i v e r C a n a l Wa l k
I U P U I C a m p u s
D I R E C T S U N L I G H T S T R I K I N G W E S T C H A L K B OA R D I N S I D E P R E L I M I N A RY H E L I O D O N M O D E L NORTHWEST VIEW OF OVERCAST SKY DIFFUSE DIRECT LIGHT
Overcast light is cupped and spills into interior, first coming into contact with curvilinear extrusions facing south
Curvilinear forms dissipates diffuse light further using the backside of each parallel form
Design must assist HVAC system dissipation
Surface reflectance is noted with research showing a clear order of importance; ceiling, back wall, and finally sidewalls.
Classro om Daylighting Design
D I R E C T S U N L I G H T S T R I K I N G W E S T C H A L K B OA R D I N S I D E P R E L I M I N A RY H E L I O D O N M O D E L NORTHWEST VIEW OF OVERCAST SKY DIFFUSE DIRECT LIGHT
This lab project intended to teach how to properly light the task planes in a K-12 classroom. The first step was zoning adequate light values based on programmatic needs according to the depth of the room from the exterior wall and corresponding apertures. The design solution included clearstory openings accented with curvilinear forms that cup and redirect soft light into the interior.
Specific attention was required to the project’s latitude at fifty degrees north of the equator where direct horizontal light must be dissipated by the southern facade. The soft curves are intended to dissipate the light to a specific path of surfaces; ceiling, back walls, and finally to the side walls. Absorbing the southern wall’s direct light asked for a far more opaque aperture with rectilinear openings. When arranged at a proper angle, direct light was only allowed at the most
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Adj. Daylight Factor
10.00-12.008.00-10.006.00-8.004.00-6.002.00-4.000.00-2.00
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extreme dawn and dusk moments of the day. View was maintained by altering this angle to be pivoted greater as the aperture fins move inward from the structural walls. Here, direct light is less intrusive at noon and thus views can take pertinence.
Glenn Sweitzer
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A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t
I s o Vi e w Lo o k i n g N o r t hwe s t
Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N
wind from South
Fl u i d M a p
Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.
Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.
Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.
Results: All air circulated and flowed through well
Conclusion: All objects were achieved.
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A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t
I s o Vi e w Lo o k i n g N o r t hwe s t
Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N
wind from South
Fl u i d M a p
Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.
Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.
Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.
Results: All air circulated and flowed through well
Conclusion: All objects were achieved.
PLAN VIEW- SOUTH PREVAILING WINDS ISO VIEW LOOKING NORTHWEST
SECTION LOOKING WEST
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A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t
I s o Vi e w Lo o k i n g N o r t hwe s t
Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N
wind from South
Fl u i d M a p
Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.
Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.
Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.
Results: All air circulated and flowed through well
Conclusion: All objects were achieved.
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A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t
I s o Vi e w Lo o k i n g N o r t hwe s t
Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N
wind from South
Fl u i d M a p
Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.
Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.
Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.
Results: All air circulated and flowed through well
Conclusion: All objects were achieved.
LOW INLOW OUT
LOW INHIGH OUT
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Venti lation- Water Table Study
The design intent of this research was to provide cross-ventilation in two specific spaces; the head of the bed to be occupied by persons who wish to be cooled during sleep and the surface of the dining room tables. During initial design, a strong goal was to maintain that the area of the exiting window had to be twice the size of the entrance window in order to achieve adequate cross ventilation.
In the bedroom, it was appropriate to use low openings as to keep the wind from being over intrusive. In the dining room, it
PLAN VIEW- SOUTH PREVAILING WINDS ISO VIEW LOOKING NORTHWEST WATER TABLE USED TO REPRESENT AIR FLOW
was inversely appropriate to use high apertures parallel across from high apertures in order to move the air upward and away from the table surface. In the living room, there was a low to high system that brought the coolth into the room and dispelled hot air upwards and outwards.
Results were depicted in a water table model to depict air flow. All air was circulated as planned. The experiment was useful in learning how to calculate window area, placement, and subsequent air flow intrusion.
Mies van der Rohe’s Farnsworth house
Glenn Sweitzer
EXERCISE ON SITE DEVELOPMENT + GRAPHICS
Nova S cotia Site Plan
Detailed master plans are one of the most clear ways to show a site, especially in the framework of landscape elements. For the fictional development of Rose Bay, Nova Scotia, space and landscape architecture was best defined by detailed plan views. A series of streets, boulevards, pedestrian trails and housing along the coast came together in a composition.
Nova Scotia, Rose Bay
This community was conveyed as suburban if not somewhat rural, in relation to typical housing communities. Satisfactory line weight was crucial to show depth from a rather high plan view. Roof lines and mature trees were shown in thicker line weight than ground cover, such as sidewalks and scale figures.
EXERCISE ON SITE DEVELOPMENT + GRAPHICS
Vera Adams
Analytic al Comp osite D rawing
Drawing technique is crucial to the successful communication of design. This project encouraged myself to improve my drawing techniques for the application of orthogonal projections and spatial volumes. Transformer figurines prove useful in gaining experience with this technique since they are composed of many unfolding crevices and voids. These lines are similar to what would be required
when drawing a complex axonometric view of a structure. As I progressed with these sketches I began to understand new ways of depicting internal space, which is identified here using cut planes. Shading provided a sense of materiality and depth to a perceived directional view. Ability to identify a clearer understanding of perspective, axonometric, elevation, plan and section was strengthened.
Jason DeBoer
R E S I D E N T I A L S E C T I O N
Cabin Design Work ing D rawings
Assembling appropriate working drawings for a project is essential to the success of the communication between designer and contractor. However simple, this cabin requires a hefty set of working drawings in order to communicate its’ assembly, materiality and structure. Working in groups of four, this project was a great lesson in communicating with teammates to create, edit, and organize many drawings into one set for review and further editing as if in a formal architecture firm. This first pass at AutoCAD taught me many aspects of the program, especially the importance of line weights,
hatches, and appropriate measurements. Having a comprehensive background in AutoCAD is standard for all undergraduate students, however, having an early comprehension of how this information can influence contractor bids, client feedback, and timely on-site construction improves an architect’s ability to make a profit and contribute to the progress of the firm.
Group members: Megan Culp, Kourtney Timmons and Emily Yu
EX TERIOR DE TAIL
SITE PLAN
Tim Gray
M O D E L D O C U M E N T A T I O N
Cabin Design Work ing D rawings
D E TA I L S + D I G I TA L M O D E L
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ROBIE HOUSE CHICAGO, IL TRAVEL SKETCHES 2011
Travel Sketches
ROBIE HOUSE CHICAGO, IL TRAVEL SKETCHES 2011
MUNCIE WHITE RIVER RESTAURANT + KAYAK LAUNCH SITE -2010 Top: SOLID/VOID Bottom: “FARMER’S MARKET” SKETCH-2010 “AUGUSTUS” STIMPLE INKWORK- 2010
MUNCIE WHITE RIVER RESTAURANT + KAYAK LAUNCH SITE -2010 Top: SOLID/VOID Bottom: “FARMER’S MARKET” SKETCH-2010 “AUGUSTUS” STIMPLE INKWORK- 2010
Sketches
The Glass HouseNew Canaan, Connecticut
H I L I P J O H N S O N
D e s i g n A p p r o a c h
Say what you will about Philip Johnson’s trials and tribulations with the International style. Johnson was smart in now allowing himself to become hypnotized by the glare of the transparent curtain wall and uncommitted free floor plan. Instead, Johnson took an amiable gamble halfway through his career and opted to play on tried and true architectural forms that reminded people of their humanistic origins accustomed to stone and mortar rather than cold steel and glass. Perhaps America was too young compared to the rest of the stylish world and did not share in Europe’s jaded opinion of historical technologies.
Critics were wrong in condemning Johnson as a threat to the progression of the modern movement. What he did was ingenious at offering the urban landscape a taste of what could be created from the combination of Palladio’s graceful, proportional archways with Louis Sullivan’s impeccable formula for the city skyscraper.
Starting with his early career during the 1930’s, one would describe Johnson’s process being highly involved with the International Style. As Mie’s peer, his intent was to push the modern style to a point where it was the solvent to the production of cheaper structures, not cheaper in quality, but cheaper in the assembly of appendages. Eventually, Johnson became restless and was “getting bored of the box.” His answer to this stagnant period of his creativity was self-remedied by a rekindling of historical elements. This was a bold move on his part and was not so widely accepted by the post-modernists in the 1950’s who criticized his AT & T Building as a step backwards in the name of an architecture culture. The success in Johnson’s approach peered from the fact he never denied his designs the familiarity of simple nostalgic forms such as the immortal arch.
Author John O’ Conner quoted Johnson during an interview near the end of his career saying, “Mies came in only by thumbing his nose at history. But I came in through history, and that’s exactly opposite to the way most modern architects came in. I wasn’t a form giver like Mies. I suspect that it’s due to a lack of originality on my part. I wasn’t making new shapes. I was looking for a haven, a way to use my knowledge of history” (O’ Conner 159).
The problem on the table for architects of his time was how to celebrate the dull glass-box office building that was quickly becoming the customary real estate answer to the business-hungry capitalistic market. In Johnson’s mind, what better way to reinvent the tall office building than to return it to the intentions of the creator, Louis Sullivan. His design for the American Telephone and Telegraph building in New York during 1979 would be his
Sony Building (AT &T)New York, New York
Seagram BuildingNew York, New York
hilip Johnson was born in 1906
in Cleveland, Ohio at first with
no specific inclination to become
a professional architect, but
instead, aspiring to dawn the hats of many
similar architectural trades including client, critic, author,
historian, and museum director.
At the age of 36, Philip Johnson would partake in his first
pass at designing the built environment, and in doing
so, become one of the most influential architects of the
modern movement. As clear from his regular crowd
of renowned architects Mies van der Rohe and John Burgee, he was among the
greatest designers of his time, all in collection to solve the execution of the newly
minted International Style in America.
His first project ,as being both the client and the designer, would be commissioning
his home in New Canaan, Connecticut. The Glass House would become one of
his most familiar works and was the start of his execution using the rationalist
style. However, mid-career Johnson would bookend this period with the Seagram
Building in collaboration with Mies van der Rohe. The next chasm of his design
technique started in the 1950’s, and would define his acceptance of historic
architectural principles.
Lipstick BuildingNew York, New York
Gate of EuropeMadrid, Spain
contributive solution. Returning to the basics of the tall office building included the integration of the “tripartite division” of vertical space; first two floors being street-permeable, the middle floors being extruded commercial real-estate, and then a meaningful form to close off the verticality and connect the structure to the sky. It was ridiculed as a redundant return to post-modernism proven by the adornment’s seemingly removed qualities. Attachments such as the broken pediment on the roof scape, a cookie-cutter archway “reminiscent of Brunelleschi’s Pazzi Chapel” defining the threshold, and columns peppering the lobby could not be rectified from serving any other purpose than as “cosmetic features” (Curtis 597).
“I wasn’t a form giver like Mies. I suspect that it’s due to a lack of originality on my part.”
...I was looking for a haven, a way to use my knowledge of history.”
- Philip JohnsonM e g a n C u l p F a l l 2 0 1 1 M i d d l e t o n A R C H 3 2 9
b e s t k n o w n f o r
1 9 0 6 - 2 0 0 5
K e y I n s i g h t s
Bank of America CenterHouston, Texas
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International Post-modern
PPG PlacePittsburg, Pennsylvania
G l a s s H o u s e
S e a g r a m B u i l d i n g
A T & T B u i l d i n g
L i p s t i c k B u i l d i n g
Photo graphy + B oard G raphics
The Gordon Strong Automobile Objective- excerptFrank Lloyd WrightFrederick, Maryland- Sugarloaf Mountain Designed 1924-1925
Birth of the Roadside Attraction
During the 1920’s the American dream that “anyone could achieve
anything” was well under way thanks to a time of economic prosperity. The
addition of Henry Ford’s mass assembly line made the Ford automobile
an inexpensive two hundred and ninety dollars (Whitley, 1999). As rolling
asphalt flowed in front of these eager motorists, it set the stage for a new
responsive architecture. According to Richard Cleary author of the 2009
book, Frank Lloyd Wright: From Within Outward, Chicago businessman
Gordon Strong presented Frank Lloyd Wright his first opportunity to
invent the American roadside tourist attraction.
Solving a Problem
From the beginning, Wright’s intentions were clear: people needed
meaningful journeys in their cars that terminate at a destination. This
journey and destination should glorify the automobile as a welcomed
entity of human life and a portal to a higher mental sense of escape
or freedom. Additionally, if the idea of a road trip could be routine in
American lives, it would encourage families to bond and make memories.
Progression to the summit
The uniqueness of the Gordon Strong Automobile Objective lies in its
conceptual form that allows a series of cars to physically enter the facility
and progress upward by a spiral ramp. The big idea -- only simulated in
today’s world by dismal, unattractive and unoccupied parking garages
-- was to combine the logical spiral path of a ziggurat with the habitable
program of a mega-roadside attraction. The spirit of this place was meant
to attract the American family on their Sunday drive and draw them to
the summit through the procession up the ramp. Client Gordon Strong
also called for designated parking, a dining venue, and flexible spaces for
exterior and interior galleries with weather permitting.
First Decisions –Ziggurat Scheme
Massaging the exterior relief was the first stage of three installments
during the design process. Wright made the toughest decisions first by
becoming devoted to a rational, organizing form. As a Harvard University
architectural historian Neil Levine suggested in the 2010 documentary
venerating the Guggenheim museum, this project reflects a religious
reference back to the ziggurats historically built to gain access to heaven
(Levine, 2010). We know now that Wright thought highly of the car, even
perhaps glorifying it as a portal of freedom and thus, a self-gifted divine
state of being. His later work of Broad Acre City in 1932 goes so far as to
wipe out all traces of pre-automobile behaviors and replace them with an
entirely automobile-oriented landscape in hope of achieving a utopian
society.
Second Decision – Theatre Scheme
Whatever Wright’s intentions were with the ziggurat form, it flourished
when combined with additional programmatic necessities. In 2009, Phil
Patton of The New York Times wrote an article titled “An Auto Destination,
Almost,” which quoted Wright as saying the summit was to provide the
car “the very quality of its movement, rising and adapting itself to the
uninterrupted movement of people sitting comfortably in their own
cars in a novel circumstance with the whole landscape revolving about
them” (Patton, 2009). Once a family thoroughly embraced the situation,
they were encouraged to park and exit their cars at a summit point and
descend into the structure to enjoy interior delights such as a dining hall
and dancing.
Planetarium Scheme
Creative Writing- Character Development Poem
Third Decision- Planetarium Scheme
Wright felt compelled to keep pushing his design and thus began
neglecting his client’s primary goal of constructing a commercial
destination. Wright then situated a planetarium at the structure’s center
and suggested the dome itself would become the “support for all the
design elements surrounding it” (Cleary, 2009, p 174). This move drastically
changed the spaces in section while simultaneously replacing the column
structure with that of a new “superstructure carried by a thin-shelled
dome” (Reinberger, 1984, p 44). Finally, Wright had achieved the celestial
perception of ascending through space while driving upwards. Now,
the tower was in its purist form and responsive to its initial purpose. As
Reinberger wrote, “all these changes made the Planetarium Scheme more
streamlined, more responsive to the moving automobiles that were its
original inspiration” (Reinberger, 1984, p 44). His first pass at introducing
curvilinear forms into his typically orthogonal forte later reappeared in the
Guggenheim Museum in 1959.
Points and analysis
The first two phases of the design --the ziggurat and theatre scheme
-- seemed sound enough, but once Wright changed the structural
organization from concentrated columns to becoming entirely dependent
on the observatory’s internal shell, construction became unrealistic. He
surrendered emphasis and square footage to the central observatory to the
point where Strong’s dining hall, theatre, and private rooms were pushed
out of the picture. Wright was in a vulnerable part of his career. Flirting
with this curvilinear form was a delight to his normal routine of residential
rectilinear forms, but it blurred his vision to the task at hand.
Read more at h t t p : / / a r c h 3 2 9 c u l p . b l o g s p o t . c o m /
Creative Writing- Character Development Poem
MOLDS
I stretch out my fingers after the m e t i c u l o u s scribbling of my hand
I see spaces yet defined and enclosed
I touch the pencil to the vast white unknown
I feel the ideas slip down my fingers
The lead coming to rest at the corners
Then disappearing into the depth
It enters a new dimension of the paper
Puncturing a hole into a set of ideas yet unraveled
The design starts out vague, then takes on a personality
It will take patience to discover what it wants to be
I will design my hearth and home someday
My mind leaves my body as I float through these drawings and folds
I want the design to be as free as it desires
Only pulling on the reigns to navigate through proportions
And the stubborn tick of gravity
I hope to someday walk through these buildings of mine
I a m a d e s i g n e r a n d a d r e a m e r
And the intent slowly stretches and
into understanding
M e g a n C u l p (765) 437-5999
MCObjectiveTo articulate professional insight pertaining to educational, scholarly, and architectural experience.
EducationLogansport High School, Class of 2009Academic Honors Diploma
Ball State UniversityBachelors of Architecture, anticipated completion May 2013Cumulative GPA: 3.397Dean’s List GPA: 3.627 Spring Semester 2012
Work ExperienceInternship Worked for Dimensions, Inc. as a paid summer intern once per week 110 East Alto Road Kokomo, IN 46902 (765) 453-2244 -Learned proper firm filing procedures for billing, change orders, and plotting methods -Took site measurements and photographs along with meeting clients and contractors -Performed AutoCAD drafting of interior plans and corresponding schedules, detail changes, and elevation keys -Acquired a great deal of knowledge specifically concerning projects in the hospitality and commercial markets -Attended lunch-and-learns and became familiarized with interior components -Assisted in calculating site spot elevations and grade changes -Expressed talent with graphic standards on presentation quality furniture floor plans
College-level OrganizationsAASHE Member -Association for the Advancement of Sustainability in Higher Education Park Residence Hall Council -Public Relations creative thinker for qualitative approaches in engaging hall residents -Executed campaigns for hall events to facilitate resident involvement
May-August 2012
August 2009-Present
April 2012-Present
M e g a n C u l p
MC
Resume
Ball State Opening Committee -Oriented freshmen students and parents to campus during opening week activities -Prepared informative packets, room amenities, and directional signage Muncie Living Lightly Fair Volunteer -Assisted in informing residents about environmental and practical alternatives to achieving a sustainable lifestyleEmerging Green Builders -BSU chapter of USGBC ( U.S. Green Building Council) - Discusses latest passive design and renewable energy sources to educate studio design and increase awareness of the industry of architecture on the environmentecoREHAB -Participated in design-build studio regarding issues in low-income housing -Carried out renovations at 511 W Main Street, Muncie, Indiana to restore a moderate size residential property by providing a suitable back porch, visual vertical garden buffers and sustainably responsible rain barrels
CVS/pharmacy Part-time cashier/clerk -Rotated merchandise and displays in addition to unloading weekly truck deliveries -Interacted as helpful, cooperative employee in assisting customers -Received training in photo lab processing of digital and film photos
Awards/ RecognitionsFinalist in Indiana Concrete Masonry Association Competition -Judges noted exceptional board layout, narrative, and graphicsAwarded College of Architecture and Planning Travel Scholarship funded by Alumnus Brad BarkerNominated for National Residence Hall Honorary Executive Member of the Month Technical Skills -Knowledgeable in Rhinoceros 4.0, AutoCAD 2012, Google SketchUp, Climate Consultant, Windows 7 operating system, Adobe InDesign, Photoshop, and Illustrator software -Currently acquiring a background with Revit Architecture 2013 software and BIM technology
August 11-19, 2012
September 2012
Fall 2012
Fall 2012
intermittently from 2005 to present
April 2010
September 2012October 2012
M e g a n C u l p
MC
July 2008
Fall 2009
Fall 2009
Spring 2010
Fall 2010
Fall 2011
Fall 2012
Writing/Communication Skills -Attended the Ball State University Journalism Workshop -Comfortable writing in a multitude of styles, topics, audiences and formats (essays, reviews, narratives) -Writer on high school newspaper staff for four years -Awarded with an executive position of Editor-in-Chief leading fifteen peers in producing a high quality publication for the Logansport School Corporation and community -Completed foreign language advance placement college course Spanish 102 -Writing examples are available at http://arch 329culp.blogspot.com/
Significant TravelChicago, IL -Crown Hall, Illinois Institute of Technology, The Robie House, Unity Temple, and Oak ParkSt.Louis, Mo -Missouri Botanical Garden and the Contemporary Art Museum of St. LouisMontreal, Canada -Habitat 67, Moshie Safdie, Quartier des Spectacles, and the1976 Summer Olympic StadiumOttawa, Canada -National Gallery of Canada, Moshie Safdie and the Canadian War MuseumNew York, NY -Solomon R. Guggenheim Museum, Hearst Tower interior tour, High Line Walkway, Lot-Ek architect firm, and World Trade Center ComplexLos Angeles, CA -Frank Gehry’s Walt Disney Concert Hall, SCI-Arc Institute, Morphosis office, Hollyhock House by Frank Lloyd Wright, and the Getty Museum
References available upon request.