DESIGN PORTFOLIOTravis Mohle

2My current studio project approaching the midterm, this is a small scale (850 SF) home designed for Houstons underprivileged and largely ignored Greater Fifth Ward neighborhood. Drawing inspiration from the vernacular and historic dog trot home methodology, this design features a prominent breezeway in the center of the home, separating the public kitchen and living rooms from the private bedrooms. Conceptually the traditional front porch has been made the literal heart of this home, offering additional flexible living space and enhancing the feeling of spaciousness.

01 | FIFTH WARD HOUSEStudio Project, Spring 2016

SITING CIRCULATION PUBLIC / PRIVATE CORE LIGHT MATERIALS

STREET

STREET

HARD

IPLAN

K

HARD

IPLAN

K

LAMINATE

SITING CIRCULATION PUBLIC / PRIVATE CORE LIGHT MATERIALS

STREET

STREET

HARD

IPLAN

K

HARD

IPLAN

K

LAMINATE

3333 SFLIVING / KITCHEN

81 SFBED

118 SFBED

43 SFBATH

NEW SIDEWALK

NEW SIDEWALK

CRUSHEDGRANITE

NEW FENCE

NEW SIDEWALK

NEW FENCE

FLOOR PLAN

4

5

6This museum is sited in Downtown Houston across from historic Market Square Park. Conceptually based on several musical principles - melody, harmony, rhythm - the museum architecturally embodies a living piece of music. A grand atrium divides the museum into two programmatic elements, in much the same way a pair of musical clefs are paired. As guests circulate through the museum, they become musical notes shifting through a composition. An oversized monumental stair doubles as seating for more casual performances and a green roof enhances the connection to the adjacent park and provides additional event space.

02| HOUSTON MUSICMUSEUMStudio Project, Fall 2015

15o

15o

7OPEN TO BELOW

OPEN TO BELOWOPEN TO BELOW

OPEN TO BELOW

2 3 4 5 6 7 8

A

B

C

D

RECORDING

EXHIBIT

MECH

MEN

WOMEN

OFFICE

ENTRY / OFFICE

STORAGE

STO.

CONTROLBALCONY

UPPER FLOOR

SEATING

EXHIBITION

MUSEUM STORE

STORAGE

STAGE

REHEARSAL

MECH

MEN

WOMEN

MEN DRESSING

RR

WOMENDRESSING

RR

ENTRY

LOADING /STORAGE

ELEC.

COAT ROOM

STORAGE

TICKETS

OPEN TO BELOW

OPEN TO BELOW

1 2 3 4 5 6 7 8

A

B

C

D

GROUND FLOOR

PRESERVATION

STUDIO /CLASSROOM

ELECTRICAL & IT

LOADING /STORAGE

MECH

STUDIO /CLASSROOM

STUDIO /CLASSROOM

STUDIO /CLASSROOM

ARCHIVESTORAGE

OFFICE

RR

MECH.

BREAK ROOM

RR

MEETING

OFFICE

OFFICE

STORAGE

STO.

1 2 3 4 5 6 7 8

A

B

C

D

M

SNACKBAR

STORAGE

MEN

WOMEN

LOWER FLOOR

TO TUNNELS

TO TUNNELS

8v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

9v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

v

20

40

ROOTTHIRDFIFTH

HARMONYINTERSTITIAL SPACE

SHARED SPACE

STACCATO (SHORT)

(LONG)

(ACCENTED)

LEGATO

MARCATO

COUNTERPOINT MELODYDURATIONTIMING

44

1 2 3 4 1 2 3 4 1 2 3 4

44

Time in a piece of music is organized

into collections of beats, or measures.

The time signature indicates the

kind and number of beats in each

measure. Throughout the piece, the

time stays the same, regardless of

whats happening in the music.

In the same way, the structure of the

museum is constant, consisting of

regular, repetitive congruent bays into

which the program fits.

Each note in music can vary in its

duration. It can be full-valued (legato)

or short and abrupt (staccato).

To further emphasize the regular

rhythm of the structure, round

columns are treated as staccato

notes, briefly and dramatically

puncturing the program space while

leaving time between them.

A scored piece of music has multiple

clefs, which are a collection of

barlines to organize notes. In a pairing

of clefs, there is a shared interstitial

space between them. Notes in this

space can belong to either clef.

The museum is divided into two

programmatic bars with a shared

atrium between to mimic this

relationship.

The counterpoint style of voicing is

characterized by a melodic line that

shifts between instruments and clefs,

while maintaining a constant structure

and fluidity.

The southern bar of the museum shifts

off its axis, maintaining structural

extensions, to create a more dynamic

melodic progression through the

program.

Melody in music is the most prominent

part which moves through the

composition and has a sense of

direction.

Circulation through the museum

becomes the melody. Pathways are

cut through the clefs so guests may

move through the spaces and

becomes notes moving through the

composition.

Harmony is the chords and secondary

lines that support the melody.

Following the same structure set up at

the beginning, the harmony

augments the depth of the entire

composition.

All aspects of the site extend and

connect to the structure set up within

the museum itself, emphasizing the

established rhythm and creating unity

throughout.

10

A particularly cramped site was the principle constraint for this schematic proposal. A requirement for pull-through bays on this small corner lot, coupled with a large program expectation necessitated three levels. The ground level is devoted to the public meeting and multipurpose room as well as necessary bay-adjacent elements. The second floor houses office space, and the top level includes the private living spaces with bedrooms on a mezzanine level above the bays. The nautical history of the city characterizes the material and color palette.

03| NASSAU BAY FIRE STATIONRandall-Porterfield Architects

11

1 NORTHWEST

2 SOUTHWEST

12

UP

UP

UP

UP

UP

77 SFGENERATOR

82 SFRESTROOM

82 SFRESTROOM

73 SFCLEANING

94 SFSTORAGE

219 SFEMS OPEN OFFICE

562 SFFIRE OPEN OFFICE

221 SFFIRE CHIEF

152 SFASSIS. FIRE CHIEF

152 SFEMS OFFICE

FITNESS ROOM326 SF

OPENTO

BELOW

375 SFGEAR ROOM

840 SFTRAINING ROOM

198 SFEMS STORAGE

107 SF

WORKSHOP/ TOOLSTORAGE107 SF

COMPRESSOR107 SF

LAUNDRY107 SF

EXTRACTOR

1012 SFFIRE TRUCK BAY 03

1005 SFFIRE TRUCK BAY 02

1005 SFFIRE TRUCK BAY 01

1003 SFEMS BAY

97 SFMECH. 73 SF

RR

326 SFGARAGE

449 SFENTRY

COVEREDSTORAGE

2 LEVEL 21 LEVEL 1

UP

UP

UP

UP

UP

77 SFGENERATOR

82 SFRESTROOM

82 SFRESTROOM

73 SFCLEANING

94 SFSTORAGE

219 SFEMS OPEN OFFICE

562 SFFIRE OPEN OFFICE

221 SFFIRE CHIEF

152 SFASSIS. FIRE CHIEF

152 SFEMS OFFICE

FITNESS ROOM326 SF

OPENTO

BELOW

375 SFGEAR ROOM

840 SFTRAINING ROOM

198 SFEMS STORAGE

107 SF

WORKSHOP/ TOOLSTORAGE107 SF

COMPRESSOR107 SF

LAUNDRY107 SF

EXTRACTOR

1012 SFFIRE TRUCK BAY 03

1005 SFFIRE TRUCK BAY 02

1005 SFFIRE TRUCK BAY 01

1003 SFEMS BAY

97 SFMECH. 73 SF

RR

326 SFGARAGE

449 SFENTRY

COVEREDSTORAGE

2 LEVEL 21 LEVEL 1

LEVEL

1 0' - 0

"LEV

EL2 1

2' -0"

MEZZA

NINE 1

8' -0"

LEVEL

3 24' -

0"

1/16" = 1'-0"1Section 1

13

UP

UP

UP

225 SFKITCHEN

534 SFDAY ROOM

215 SFMen

167 SFWomen

36 SFShower

36 SFShower

31 SFShower

31 SFShower

73 SFPANTRY

OPENTO

BELOW

EXTERIOR PATIO

129 SFBunk 01

133 SFBunk 02

133 SFBunk 03

133 SFBunk 04

133 SFBunk 05

133 SFBunk 06

133 SFBunk 07

135 SFBunk 08

100 SFDEPT. STORAGE

107 SFDISASTER STORAGE

2 LEVEL 31 MEZZANINE

UP

UP

UP

225 SFKITCHEN

534 SFDAY ROOM

215 SFMen

167 SFWomen

36 SFShower

36 SFShower

31 SFShower

31 SFShower

73 SFPANTRY

OPENTO

BELOW

EXTERIOR PATIO

129 SFBunk 01

133 SFBunk 02

133 SFBunk 03

133 SFBunk 04

133 SFBunk 05

133 SFBunk 06

133 SFBunk 07

135 SFBunk 08

100 SFDEPT. STORAGE

107 SFDISASTER STORAGE

2 LEVEL 31 MEZZANINE

LEVEL

1 0' - 0

"LEV

EL2 1

2' -0"

MEZZA

NINE 1

8' -0"

LEVEL

3 24' -

0"

LEVEL

1 0' - 0

"LEV

EL2 1

2' -0"

MEZZA

NINE 1

8' -0"

LEVEL

3 24' -

0"

1/16" = 1'-0"1Section 1

1/16" = 1'-0"2Section 2

14

Interior spaces are renovated and a new Welcome Center and JROTC/Band building are added to the existing high school. A timeless mid-century aesthetic is applied to the additions to allow a cohesiveness to the entire campus. Ample transparency is provided in the new additions to combat general lack of natural light throughout the building, allowing a sense of space despite lower ceilings. Learning Stations and commons are added to existing hallways to allow flexible learning opportunities and more 21st-century style educational experience.

04| SCARBOROUGH HSRandall-Porterfield Architects

15

1

DIAGRAM FRONT ELEVATION -WELCOME CENTER

METALFASCIA

BRICK

ANODIZED ALUMINUMLOUVERS

PLASTER FASCIA

BACKLIT SIGNAGE

NEW DECORATIVE METAL SECURITY FENCE AND GATE

NEW GLASSSTOREFRONT

18.5'

6'

FF

EXISTING GLASS STOREFRONT

2

DIAGRAM SOUTH ELEVATION -WELCOME CENTER

NEW DECORATIVE METAL SECURITY FENCE AND GATE

BACKLIT SIGNAGE

METAL FASCIA

9'

3'

9'

3'

SAFETY VESTIBULE

WELCOMECENTER

ADMINISTRATION

SECURITY GATES

EXISTING COURTYARD EXISTINGCOVEREDWALK

1 23 4

A

B

C

D

E

F

40'

20'

8'

'41'82

16

This community center schematic proposal programatically includes a large gym, racquetball courts, a weight room, locker rooms, studio spaces, and classrooms. The gym is placed in the center of the plan to create programmatic hierarchy. The other related sports facilities are located to one side, while the more flexible studios and classroom spaces are grouped on the opposing side. Wrapping the classrooms around a courtyard creates a secure exterior space for school children. Sweeping curves in the roof line embody the waves and water so inherent to the waterfront community.

05| Seabrook Community Center

Randall-Porterfield Architects

17

Bleachers

543 SFClass 2

815 SFAdmin

543 SFClass 3

758 SFStudio

760 SFStudio

8049 SFGym

600 SFWomen Locker

283 SFWomen RR

283 SFMen RR

600 SFMen Locker

968 SFAerobics975 SF

Weight Room775 SF

Racquetball774 SF

Racquetball

585 SFConference

1811 SFWarmup / Lobby

198 SFStorage

551 SFClass 1

1428 SFLobby

357 SFWomen RR

543 SFClass 5

478 SFClass 6

543 SFClass 4

735 SFStudio

353 SFMen RR

478 SFClass 7

478 SFClass 8

478 SFClass 9

478 SFClass 10

1051 SFKitchen

577 SFClass 11

541 SFClass 12

3929 SFMultipurpose

428 SFMech.

138 SFElec.

FLOOR PLAN

GYM

CLASSROOMS

STU

DIO

S AN

D C

LASS

ROO

MSKITCHEN

COURTYARD

R.B.COURTS

DRO

P O

FF

SITE PLAN

30

4

PARKING 170 Spaces

SERVICE DRIVE

3

HAM

MER

STR

EET

N MEYER AVENUE

DOTTED LARGE SOCCERFIELD OPTON240 X 360 WITH (2) SMALLCROSS FIELD 180 X 240

SITE BOUNDARY

TOTAL AREA: 34,000 SF

MODIFY EXISTING TRAIL

LIVE OAKS

SABAL PALMS

EXISTING STRUCTURES

EXISTING LIBRARY

(SKATE PARK)

(PAVILION)

(VOLLEYBALL)

18

A creek bisecting the site is the defining feature of the site. Yet, this feature is lackluster, resembling more a muddy ditch than a flowing stream, creating a void within the site. A sense of anticipation is established as the topography slopes downward, but is ultimately unresolved in the natural landscape. This design fills this void. The main building is lifted directly above the creek on pilotis, both boldly augmenting the natural feature and simultaneously becoming minimally invasive. The galleries are the culmination of topographic anticipation. With this placement, the progression of the visitor to and through the space becomes paramount.

06| TYLER MUSEUM OF ARTStudio Project, Spring 2015

TRANSVERSE SECTION

NORTHEAST ELEVATION

19

LOWER LEVEL

UPPER LEVEL1/32 : 1

1

10

11 12

12

13

1417

17

17

17

17

15

16

7

4

8

9

18

18

2

66

6

12

19

19

19

6

5

1 Lobby

2 Upper Gallery

3 Lower Gallery

4 Auxiliary Gallery

5 Library

6 Classroom

7 Museum Store

8 Multipurpose Space

9 Cafe

10 Observation Deck

11 Conference Room

12 Adminstration Oces

13 Open Oce Space

14 Janitorial Closet

15 Mens Restroom

16 Womens Restroom

17 Mechanical

18 Loading

19 Storage

1417

15

16

STORAGE BUILDING GALLERY BUILDING ENTRY BUILDING

20SOUTHEAST ELEVATION

ENTRY BUILDINGGALLERY BUILDING ENTRY BRIDGESTORAGE BRIDGESTORAGE BUILDING

COURTYARD SECTION

GALLERY SECTION

21SOUTHEAST ELEVATION

ENTRY BUILDINGGALLERY BUILDING ENTRY BRIDGESTORAGE BRIDGESTORAGE BUILDING

BATT INSULATIONR-19

GYPSUM BOARD5/8

MOISTURE BARRIER

DENSGLASS SHEATHING5/8

SPANDREL GLASS1/4

STEEL WIDE FLANGE12

CURTAIN GLASS SYSTEM2x6

INSULATED METAL PANEL2 1/2

METAL DECK1 1/2

CONCRETE SUBFLOOR3 3/4

WOOD SCREEDS2x4 TREATED 12 O.C.

MASTIC BED

MAPLE HARDWOOD FLOORING3/4

TAPERED WOOD BLOCKING2x6 TREATED

METAL STUD6 16 O.C.

BASE EXTRUSION

BASE FLASHING

BACKER ROD & SEALANT

EDGE ANGLE

BENT PLATE

INSULATED GLASS UNIT1

BOTTOM TRACK

5 1/4

7 1/2

3

10 1/2

12

83o

TRAVIS MOHLE

1170499

3 = 1 - 0

6

22

The design aims to fully integrate the education center into its surrounding environment. By both physically and metaphorically emulating a spine, the building manages to blend with the site. The program fits into bays of appropriate size along a central corridor in a manner similar to vertebrae. The sweeping roof of each bay extends in accor-dance with the interior need; some fully contact-ing the ground plane and anchoring the building to the site. To enter the building, guests first de-scend, more fully embracing the environment, before rising back to the ground plane.

07| ENERGY EXPLORATORIUMSTUDIO PROJECT, FALL 2014

23

1

2

01

1

LOWER FLOORGROUND FLOOR

MODEL

1

23 4

16

5

13

7

8

8

814

15

18 19

14

15

8

6 7

9

9

9

10

11

12

17

20

2121

2121

17

24

25

26

A reversal of the traditional roles of performers and spectators became the inspiration of this design. Conventionally, one comes to view a performance and plays a role of passive spectation. In this design, every visitor becomes a performer; every activity within becomes a performance. A circulation path moves through the structure, framing views of the various programmatic activities through extensive transparencies. Ramps are utilized instead of stairs to enhance the cinematic quality of gradually moving from scene to scene through the space. Activities are not viewed from the same plane, but from constantly changing perspectives and viewpoints.

08| MONTROSE COMMUNITY CENTERStudio Project, Spring 2014

27

LOWER LEVELS

UPPER LEVELS

1 ENTRY2 GALLERY3 MENS RESTROOM4 WOMENS RESTROOM5 MULTIPURPOSE ROOM6 CAFE7 KITCHEN

8 STORAGE9 MECHANICAL10 LOADING11 ELECTRICAL12 OFFICE13 CUSTODIAL14 COFFEE BAR

15 PERFORMANCE SEATING16 STAGE17 TERRACE18 EXTERIOR DINING19 EXTERIOR SEATING20 EXTERIOR STAGE21 BIKE RENTAL

111111111111111111111

222222222222

666666666

81818111881188818118181818

2222222222222

1771717171717171777717

19

202000020202020202020

12122222122221212222212221222212212222222

5555555

55555555555555

666111111

15151515151515

5555555555555

01

0202

01

0202

2.52+ 2+ 22+ 2+++ 2 52 522 52 52222+ 3.5

+ 7.5

+++ 0+++ 0+ 0+ 0+ 0

+ 5.0

+0.0+ 7.5

-2.5

28

29

30