you are hereA s e r i e s o f _ J a d e M e i n t se x p e r i e n c e s

1 7 2 2 R i d g e P l a c e L a h o m a , O K 7 4 0 7 4 j a d e . m e i n t s @ o k s t a t e . e d u 1 . 5 8 0 . 4 0 2 . 2 1 0 8

you are heree x p e r i e n c e s

1 7 2 2 R i d g e P l a c e L a h o m a , O K 7 4 0 7 4 j a d e . m e i n t s @ o k s t a t e . e d u 1 . 5 8 0 . 4 0 2 . 2 1 0 8

Architecture is the ultimate art. There is this indescribable impression architecture leaves upon us. Space brings emotions in ways we never thought possible. It moves and inspires us, so what better form of creating is there than the act of creating a space for people to interact. Architecture is an art that drives me to be a passionate designer.

Architecture is unbiased; it does not care about prejudice or intolerance, indifference or apathy. What is created is not only space,

but also a connection between people. With this space people interact, learning and gain-ing insight from each other’s dif-ferences. True architectural suc-cess is measured when one leaves humbled by their experience, having gained knowledge. Archi-tecture cultivates connections between people; these relation-ships drive me to be a perceptive designer.

p a s s i o n

d e s i g n

pg01

Architecture is a paradox. It must have the fullest sense of individuality while inte-grating into a system as a whole. Design should hold true in a specific location, respond-ing to the immediate area and of that area only. On the other hand, the design should be completely part of the whole; a balance that responds to multiple factors at multiple scales. Great architecture never disregards the surrounding environment. Architecture

is sensitive to the requirements of others; this delicate balance drives me to be a conscious designer.

d r i v e . . .

p a s s i o n

w i t h

pg03

prologue

pg04

prologue

I view architecture in a holistic way. The predilection towards architecture is reached not through a defining moment but through a series of experiences. In the proceeding pages I propose a set of prin-ciples drawn from my manifesto.

I use these principles to propose a prem-ise, organizing my experiences as sup-porting evidence. A multiplicity of ex-periences is repeated throughout the monograph to reinforce these principles. Experiences take the form of projects, reflections, or influences. Even though in-formation is repeated, each experience re-flects a different insight. What you are left with are my principles supported by the reoccurring instances of my experiences.

art unbiased connect ion

i n f l u e n c e s

Brick

Mem

orial,

Isla

nd 09

Inte

rnatio

nal Dance T

heater,

OKC, O

K 13

Picass

o Muse

um, B

arcelo

na, Spain

15

Guggenheim

Muse

um, N

YC, New

York

19

Notre D

ame, P

aris, F

rance 33

Inte

rnatio

nal Dance T

heater,

OKC, O

K 35-38

La Toure

tte, E

veux-

sur-A

rbre

sle, F

rance 39

Seattle C

ivic

Cente

r,

LRFP Inte

rior D

esign, S

tillw

ater,

Okl

ahoma 25

Insi

ght, Barc

elona, S

pain 27

St. Pete

r’s B

asil l i

ca, Rom

e, Ita

ly 29

Seattle, W

ashin

gton 4

1-45

Creativ

ity, S

tillw

ater,

Okl

ahoma 17

connect ion paradox sensit ive

i n f l u e n c e s

La Toure

tte, E

veux-

sur-A

rbre

sle, F

rance 39

Seattle C

ivic

Cente

r,

High L

ine, N

YC, New

York

59

Seattle C

ivic

Cente

r, Seattl

e, Wash

ingto

n 61-66

Hagia S

ophia, I

stanbul,

Turk

ey 67

Seattle C

ivic

Cente

r, Seattl

e, Wash

ingto

n 71

Place d

es Vosg

es, P

aris, F

rance 7

3

National P

ortrait

Galle

ry, W

ashin

gton D

.C. 7

4

Campid

oglio, R

ome, I

taly

81

Seattle, W

ashin

gton 4

1-45

pg06

Seattle C

ivic

Cente

r, Seattl

e, Wash

ingto

n 61-66

epi logue

“You use a glass

mirror to see your face;

you use works of art to

see your soul”

George Bernard Shaw

Exposure: Professor David Hanser [History and Theory of Early Modern Architecture]pg07

a r tExposure: Professor David Hanser [History and Theory of Early Modern Architecture]

Exposure: Mrs. Kodesh [Enid High School art class]

What g ives a pro ject

soul?

With men and leaves the sameOur family lines divide...

Like leaves we live and fall,On branches we all aboundThe graves that catch us all,Are scattered on the ground

We all return to soil,This fate for both is knownFor seeds are grown like souls,In death new life is sown

Life’s chance is in the centerBetween the dark and light,Outward, it grows, from the innerAs diverging patterns fight

Like leaves we have a season,We pass through life so fastAnd no one knows the reason,That youth and life can’t last - Bryant H. McGill

In most cases people want to be remembered by future generations. Memorials and small sacred spaces, therefore, are generally erected to remind us of what people have achieved individually and as a collective group. These structures remind us what mankind can accomplish; they help us remember the standards we should live up to. They allow us the space to contemplate what we can do if we try.

EMPHASIS:The success of the solution must have a clear design concept which displays an understanding of these basic design principles; address issues of organization, circula-tion (the sequence of arrival and access to and through the chapel/ memorial), and the emotional impact that architecture can create.

DESIGN PROBLEM:A prominent family of St. Louis Missouri has requested a design on their family estate; a family chapel and a memorial. The chapel will be used for family services and the interment of ashes and quiet meditation. The chapel should show no dominant theology or denomination. It is the families wish that the chapel become a part of the existing gardens. The chapel needs to provide overhead protection and to be open air structure capable of sheltering 25 seated people during services.

The emotional aspects of the project are the most important and every effort should be made to accommodate thoughts, moods, and feelings expressed by the family.

pg09

“...with men and leaves the same, our family lines divide, like leaves we live and fall...”

“...life’s chance is in the center betwen the dark and light, like leaves we have a season...”

progression from lower to higher forms of life

The experience starts from the outside. As you travel to the memorial, you reflect on the journey of the family, contemplating their accomplish-ments. The depth of the concept is only fully realized when you reach the center. Here is where you connect with how far you have come, realizing where you have been. This moment is when you appreciate the strength of the family and their foundation.

TIMELESS, SERENE, ENDURING, DIGNIFIED, CONTEMPLATIVE, QUITE. RESPECTFUL, UNIFIED, PEACEFUL HARMONIOUS, INTROSPECTIVE.

Exposure: John Womack [Arch Design Studio IV]

parti diagram“A painter sees discreet silence in almost insignificant objects. A circle is even more silent.” - Unknown

pg1 1

music artis

Music inspires. I respond to this inspiration with creativity. This outlet can be dancing, finding, and learning how music works.

I have a predilection towards string instruments, especially the cello. I was told once that string instru-ments sing, but the cello has soul. This sparked a desire to learn how to play the cello. Through the grace and patience of others, I learned the inter-working of soulful instru-ment. I surprised myself; learning to read music was enlightening and playing the cello was exciting. Initially intimidated, I left with a connection to what I had learned. Performing music is a creative outlet that drives my passion...

Exposure: Dr. Meredith Blecha [cello lessons]

Courtesy of: La Red

M U S I C d e f i n e s S P A C E

For over 15 years, Oklahoma City has planned revitalization through its MAPS projects. Development of cultural activities has been one of the core ideas of MAPS. A district in Oklahoma City, Bricktown, has developed as an entertainment area with restaurants, bars, cinemas, and sports stadia. Not only will the dance theater will add to entertainment and cultural events in OKC, but it also needs to feed off of the urban character in Bricktown. It is required by the dancers’ union that a performance facility be conveniently located to amenities. There are detailed and technical needs for a dance theater, but a primary concern is that dancers spend many hours practicing, so they will need a place to relax and take breaks. The Bricktown area is an ideal location.

COMPANYThe international Dance Theater is home to the international dance company of about 16 dancers, but also books other small traveling dance companies. Spaces need some degree of flexibility, but the theater is ultimately designed for dance. The theater space should have a distinct, designed character.

Dance is integrated into the architecture starting with the structure. In architecture as well as mu-sic, there is an underlying module of structure but when creativity is introduced, the module is broken. This is what the structure does; it breaks the rules. The wall interjects into the theater on an underlying grid of the site and exits on the same grid, but the module is broken at the heart of the theater. This is where the wall breaks free; twisting and turning, mimicking the freedom of the human body, ultimately giving way to the artistic expression of the theater itself.

pg13

SITEThe site in Bricktown is on the canal, between Mickey Mantle Drive and Oklahoma Avenue. There is a service alley parallel to and north of Reno on the south edge of the site. The site has two levels, the lower one at the canal and the upper at the street level. The project will need to address those lev-els, and try to maintain and encourage pedestrian activity on both.

“The human body brings space to life and dance into being. In choreography, the space between dancers is as important as the human forms. In any and all dance choreography, the human body is the constant module.”

Exposure: Jerry Stivers, Jeanne Homer, Tom Spector [Arch Design Studio VI]

“Beautiful design – great plans.” Emily Crawford [Electrical Designer]

“Exciting building. It is theatrical in itself.” Tom Spector [OSU Professor]

Courtesy of: Museu Picasso

p a b l o picasso

Exposure: Independent Study [ Barcelona, Spain ]

ART: obsession MUSEU PICASSO: enlighten-

ing CONNECTION: fascination with the idea

of how one person can move so many others

PAINTER: person PROCESS: humbling LIFE:

devotion to your passion PROLIFIC: attention

to detail EXPERIENCE: marked as one of my

favorites

Courtesy of: Museu Picasso

pg16

Working with Gavin Knight and Trey Hollaway, we designed and built a birdbath suitable for an exterior garden landscape.

REQUIREMENTS

- The birdbath is to be constructed of two primary construction materials.

- The dimensional limits of each design must stay within a dimensional box of 4’-O” x 4- 0” x 4’-O”.

- Each design is to utilize water as a main design element.

- Safety issues involving the birdbath should be considered in all manners. Wind/breezes should be considered as a design determinant, also.

- Birdbath is to sit or rest on the ground (not suspended).

- Construction is to be of materials that will withstand various climatic conditions for a minimum of one year.

c r e a t i v i t yw i t h

m a t e r i a l s

pg1 7

c r e a t i v i t yw i t h

m a t e r i a l s

Exposure: John Womack [Materials in Architecture]

Photographed by: Gavin Knight Edited by: Jade Meints

Photographed & Edited by: Jade Meintspg1 9

ar t in a rch i tec ture

Exposure: Moh and Suzanne Bilbeisi [Urban USA ]Photographed & Edited by: Jade Meints

Courtesy of: La Red

unbiased

s i m p l e

i m p a r t i a lPediatrics Administration, Houston Center, Tulsa OK

REQUIREMENTS Work with current materials to pro-vide a design for the reception area of room 414 of the Houston Center

GOALS- Design an area that is functional for adults and engaging for children.- Approach the design from the perspective of a child.

EXECUTION

Give the countertop thickness so that the scale of a child is addressed. This draws a child’s attention down to the panel of the desk, allowing interac-tion to occur.

Now that a child’s attention is focused on the panel, a child can be engaged with the spaceusing colors, objects, and lights.

pg25

The proposal allows a child refuge while they wait; interacting with the desk, creating an experience in itself.

Once here, a child interacts with a space that can only be viewed from this point. The counter mass gives way to allow strips of light to pass through the desk, encouraging move-

ment into the waiting room.

Taking a stance on being impartial requires thinking outside the box; not only considering design but responding to how people react to the design. The thoughts, feelings, and emotions of others, regardless of age, race, or beliefs should be taken into account. Only then can one truly respond with a solution to the problem.

Working with the interior design department of Long Range Fa-cilities Planning, I designed the reception desk for the pediatrics wing of the Houston Center Hospital. Here, I took into account every user of the desk, paying particular attention to the experi-ence of a child.

Exposure: Jennifer Mconaghy [LRFP]

o p e n m i n d e d

One should have an open mind when approaching

design. There is so much to learn from others who

have different sets of skills and different backgrounds,

why let the opportunity for knowledge pass you by?

When there is nothing but respect for the ideas of

others is when true progress can be made.

Living in Barcelona, Spain played a crucial role

over my views of being unbiased. I had never been

stimulated in such a way; I was constantly faced with

questioning who I am as a person and what my beliefs

were. This, in turn, helped me gain focus on my values

and evaluate what my passions are today. I embraced

the experience whole-heartedly.

Telecommunications Tower [Santiago Calatrava]

Sagrada Familia [Gaudi]

Puerto Olimpico

pg27

Puerto Olimpico

“I left with insight. I have so much

confidence in myself and in my abili-

ties; I had learned more than I thought

was possible. Before leaving, I thought

that going to Spain would be the most

substantial thing I would do in my

life. Now I can’t help but think ‘what’s

next?’ The culture has captivated me

and I have the desire to travel, to do,

to see, and to learn so much more. I

am excited to see how my journey will

affect my future.”

-excerpt from my journal

Photos Taken & Edited by: Jade Meints

e m o t i o n

Exposure: Michael Rabens [Renaissance and Baroque]

emotion: driving force of predilection derive:

inspired by an experience Rome, Italy: crossed

off my list of places to see development: ability to

see how far people have come religion: enlighten-

ment Baroque: emotional involvement in a complete

work of art church: a sense of how small you are in

the grand scheme of things detail: allowing you the

feeling of accomplishment space: appreciation of

your surroundings light: never should be disregarded,

always integrated awe: leaving, unable to describe

the experience endeavor: accumulation of a group’s

efforts to create monumentality baldacchino: signifi-

cance unbiased: respecting the views and thoughts

of others, even if those beliefs contradict your own so-

ciology: observing your surrounding environment and

taking that experience with you culture: learning from

those who are different than you process: integral part

of knowing where you now versus where you started

St. Peter’s Basilica: my pilgrimage appreciate:

never taking any experience for granted

pg29

Walking into such a space is overwhelming. I wonder how someone could love God so much to the point of creating an indescribably beautiful work of architecture based solely on a belief. I leave grateful that I am able to experience the designer’s passion.

Exposure: Michael Rabens [Renaissance and Baroque]Exposure: Jeff Williams and Jerry Stivers [European Studies_ Rome, Italy]

connection

beforeSketch_ 1st year

Exposure: Suzanne Bilbeisi [Studio I_ Stillwater, OK]

pg33

afterSketch_6th year

Exposure: Jeff Williams and Jerry Stivers [European Studies_ Paris, France]Exposure: Suzanne Bilbeisi [Studio I_ Stillwater, OK]

Creating an icon for the Bricktown area was important in the design phase. The surrounding area is comprised of retail, res-taurants and entertainment that define the city, but there is not a key element that defines the area. Seeing as the International Dance Theater had a unique program, creating a gem for the city was an important goal; the theater gave visitors a sense of arrival as it recreated the identity of the area. The site becomes a space that allowed people to be open minded about creativ-ity, expressed with the playfulness of the architecture. The design embraces people from the moment of arrival, inviting people through inspiration.The theater continues to be inspiring in the gallery space. By engaging the user and creating interior space with vibrant energy, people are drawn from the outside in. This energy encourages people to interact not only with the space, but with each other.

people interacting...

pg35

The gallery conveys the heart of Bricktown. By highlighting brick behind red LED lit panels, the texture expresses the impor-tance of the theater and the theater’s sig-nificant connection to the historical context.

Exposure: Tom Spector [Comprehensive Studio]

The theater is an integral part of the program. The ener-gy from the gallery is brought into the theater as people circulate into the space; they move from a connection with each other to a connection to the performance, which is as equally important. The wall that cuts into the building shifts around the theater space, embracing the heart of the program and creating an intimate experi-ence. This response to these intimate connections helps reinforce the conceptual design of the project.

“The development and refinement of the design since schematic design is terrific.” – Tom Spector

I enjoyed integrating an energetic and artistic concept into such a program. Keeping this energy was difficult as the development progressed into the construction document phase but this challenge was embraced; seeing results of a design that could actually be build gave me a great sense of accomplishment.

pg38

pg39

Exposure: Jeff Williams and Jerry Stivers [European Studies_ Paris, France]

seattle tower

ribbon

perspective

Photographed by: Gavin Knight Edited by: Jade Meints

“Pragmatism produces shelter, while the pursuit of poetry results in the creation of art. For architecture to exist, poetry and pragmatism must approach perfect balance…. Real architecture is a challenging celebration of the client, the context, the greater community, the craft of construction and its metaphysical as well as physical presence.”

GOALS:- To design in a true urban environment- To experience the process of designing a large building complex- Provide the opportunity to develop skills for working on a design team- Provide the opportunity to focus on sustainability as a design determinant

INTENTThe primary intention is to structure an opportunity to explore (as part of a design team) a design solution that strongly connects to the urban context of Seattle, Washington, creating a stronger urban setting than was previously there.

For several years it has been a goal of many people in Seattle to build a public plaza and high-rise tower across the street from City Hall in hopes revitalizing the south end of downtown. The exterior development of the City Hall project was designed by landscape architect Kathryn Gustafson, and is conceived as part of a larger urban space that is intended to extend to the Civic Square project site.

CLIENT“Our scheme for the Civic Square will combine culture, commerce and community; providing a new civic space for Seattle. It will create a strong sense of place and a new urban destination for the city that is sensitive to the Civic Center Master Plan. Our ambition is to create a lasting legacy that will not only lift the fortunes of the area but, crucially, will establish a benchmark for sustainable architecture for future generations.” Norman Foster, CEO, Foster + Partners

space interacting...

pg43

space interacting...

Working in a team with Brandon Johnson, Gavin Knight, Trey Hollaway, and Scott Leever, we travelled to Seattle, Wash-ington to investigate the immediate site and the surrounding context. Upon reflection, we discussed important factors and goals we wanted to adhere to; letting those be the deciding factors during the design development. What I gained from this project was space; about how important it is to connect the larger context of the city to the site through the design of the plaza, connecting people to the plaza by integrating the metro, and connecting interior spaces with the exterior plaza so that ultimately people could connect with each other.

Exposure: Jeff Williams and Nathan Richardson [Design Studio VII]

e x t e r i o rPlaza view looking northeast from 3rd Street.

pg45

Creating a cultural destination for the city was an im-

portant goal to the team. The site is located between

two different types of districts so is a key transitional

point in the city. There is also a lack of pedestrian

activity in this area. We took this into account and

designed with site circulation in mind while respecting

the city’s unique characteristics. Studying circulation

paths and responding to the immediate needs of the

user allowed people to connect with this destination

as an integral part of the city.

Parti Diagram

Plaza view looking southwest from 4th Street.

James S

treet

Cherry Stree

t

3rd Street

4th Street

3 r d S t r e e t L e v e l

P l a z a L e v e l

pg47

Now that we had addressed circulation paths across the site, we focused on how best to activate the location as a destination point. The challenge became how best to coordinate the functions so they worked as a unit, rather than as an individual. Furthermore, there was the issue of the steeply sloping site (sloping down from northeast to southwest). We used the site to our advantage and saw an opportunity to have functions interlock with other functions. This enhanced the program as a whole and allowed ultimate interaction between people.

Interaction was an important goal early on but as our design developed we wanted to create an individual experience between types of users. The slope of the site allowed separate paths for the different users of the site; this includes service access to the building, a specific area to the commercial functions, and a specific area to the residential functions.

i n t e g r a t i n g w i t h . . .

3 r d S t r e e t L e v e l

P l a z a L e v e l

4 t h S t r e e t L e v e l

t h e

i n t e r i o r

C h e r r y S t .

Adding a multipurpose theater to the program proved beneficial to our site. This function enhanced the design by allowing for rent-able space for multiple functions. This space can be directly accessed by the commercial functions. The space can also be used for outsourcing cultural events, such as the arts or music. The addition also allows for interplay between the interior spaces and the plaza. By orienting the convention center to face the plaza and subtly angling the exterior facade, we were able to create a focal point. This focal point was reinforced by placing the major vertical circulation in between the multipurpose space and the plaza (on the interior). Energy exists between the multipurpose theater space and the plaza, thus linking the two spaces.

C h e r r y S t .

pg50

pg51

Rendered by: Gavin Knight Edited by: Jade Meints

pg53

Another important goal to the team was to educate people on the sustainable aspects of our design. We wanted to carry out these goals not only through portions of our program but through the entire multiuse complex. We achieved both of these goals with a sustainable screen. (The specifications of the screen are discussed later in the SENSITIVE chapter.)

This screen starts above the entrance, emphasizing significance. The screen then progresses vertically along the south facade (oriented towards the plaza). Where the zoning shifts vertically from the commercial to residential functions is where the screen cuts into the building, shift-ing up and over to the north façade (4th St. and Cherry St.). Where the screen cuts through the building is where the multipurpose zoning occurs, including a restaurant and community spaces. This brings the energy from the lower public zones into the higher more private zones. Here is where one can interact with the screen itself, ultimately becoming an educational tool (space shown on the next page).

S . W . E l e v a t i o n

E D U C A T E

pg55

Shown is where the screen cuts through the building,

shifting from the south façade (3rd and James) to the

north façade (4th and Cherry). We used the screen as

an educational tool to highlight the sustainable aspects of

the complex, reinforcing the space with public functions

(a restaurant and multipurpose space) so that any user of

the building can interact directly with the screen itself.

E D U C A T ERendered by: Jade Meints

paradox

pg59

The High Line Park in New York City is a wonderful contradic-

tion. The idea of an unused elevated railroad leaves a negative impression

on the city. It would seem logical to demolish the line. Proposing the idea

of redeveloping the rail into a pedestrian park is almost a pun; a once

common way of traveling on tracks giving way to the more sustainable

way of traveling by foot. The greenway is symbolic of the shifting views of

our society through time, and I enjoyed the connection.

My further admiration for the park continued as I walked along

the path. The integration of the existing rails and the landscape were

seamless; it was as if the landscaping grew from the tracks and into a

park. Greenery set against the background of the city of New York gave

me a sense of departure from the urban chaos.

h i g h _ l i n e

Exposure: Moh and Suzanne Bilbeisi [Urban USA_ New York, NY]

1. Integrate into the contextual fabric of Seattle

2. activate the area as a destination point

3. foster the unique culture of the area

4. design the spaces to evolve to meet future needs

5. develop the interior and exterior spaces as an entire unit

6. educate the public in sustainability

pg61

Exposure: Jeff Williams and Nathan Richardson [Design Studio VII]

p r o c e s s

M A C R O

place building to respond to sun and cast shadows

angle sides of building to allow pedestrian traffic through site

follow the scale and patterns of surrounding buildings

cut into building to merge plaza and building spaces

move transit stop into plaza to activate the plaza

consolidate vertical transportation to leave open floor plates

break down mass into towers to reduce scale

rotate towers up to meet city grid of context

express cores to break down scale of tower

expose systems with transparent core

integrate tower and plaza at base

express auditorium and outdoor community spaces

design plaza to facilitate movement into and out of site

use auditorium as signature expression in tower

contrast the two towers to break down scale of complex

gesture towards city hall to solidify identity as “civic plaza”

express signature green facade/water collector

abstract twisting form to create a signature form

use screen to express shift of grids to meet functional requirements of building

pg64

p r o c e s s m i c r o

tower cuts in on plaza level to facilitate pedestrian circulation through the site, and shifts to match the city grid on the upper levels

this allows the tower to properly address the way people circulate through the site while also properly integrating with the fabric of the area

to facilitate pedestrian circulation into the site, it is critical to under-stand the paths pedestrians take to and from their destinations.

by expressing the auditorium as an element in interaction with the plaza, interior and exterior spaces are designed together, creating a signature cultural focal point in the civic square

the signature screen element is inserted into the tower as an expression of sustainability and a more refined expres-sion of the twisting driven by pedestrian traffic and the city grid

pg66

Istanbul, Turkey

Religion is a paradox. People can believe in a single entity but the details make a major difference. When traveling in Europe I chose to specialize in the study of religious architecture. My quest was to find what exactly sets us apart. I visited different religious sects and by focusing on commonalities in architec-ture, such as light and spatial quality, I was able to compare and contract our structures in an attempt to understand our differences. What I found was that we are not as different as we seem. Through architecture we express similar thoughts, emo-tions, and feelings. I found this conclusion intriguing reinforcing why I think Hagia Sophia so fascinating.

This structure was a church retrofitted into a mosque, despite being an act against Islam. If a difference this great can be overlooked, why can’t we find a common ground and respect our similarities?

Hagia Sophiapg67

Istanbul, TurkeyCourtesy of: La Red

Exposure: Moh Bilbeisi [History Theory of Islamic Architecture]

sensitive

acknowledge how

people

La nombre de mi amiga mejor es Lindsey Kesselhuth. La conocí dos años pasados a través de los amigos mismos, aquí a la universidad. Nuestros amigos empezaban a pasar más tiempo juntos, por eso había-mos conocido mas mejor. Ella es más amable que conozco. Este es probablemente una razón que nos hicimos buenas amigas. Después de se graduó, ella vivía aquí en Stillwater, pero quería hacer algo diferente. Ella aprendió a enseñar inglés y mudó a Europa por un ano, ensañamiento inglés y trabajado como una niñera. Ella viajó muchos lugares, su puesto favorito a vivir era Italia. Me dijo que la familia con quien vivió estaba muy simpáti-co. Por suerte, estaba vivido en Italia al mismo tiempo que yo estaba viajado en Europa para una clase de arquitectura. Hemos decidió tomar una vacación juntos. Fuimos a Grecia. Era el lugar más bello que alguna ha sido. Había muchos colo-res en todas partes, la gente era muy amable, y la comida era delicioso. No queríamos salir. Despues de una

To further emphasize the site as a signature cultural focal point, the entry/exit to the metro mirrors that of the main entrance of the Civic Center (yellow). This positioning of the metro helps define the space of the plaza while guiding the user of the metro into the Civic Center. The users of the center in turn have easy access to the transportation system. The two functions coexist to support activity in the area.

To account for the increase of activity in the area, underground parking was integrated into the program of the multipurpose center and the metro station. This allows a person easy ac-cess into the Civic Center or a person is able to use parking and take the metro into other areas of the city.

CIRCULATION

Responding to pedestrian circulation paths was a driver in the group’s design. By cutting into the building, we were able to merge the plaza and pedes-trian spaces, ultimately creating a destination point (red) within the downtown context of Seattle. From there, the functions of the building were subservient to the point of arrival; the commercial entry (pink) and the residential entry (blue) were designed spe-cific to the type of user, catering to each group’s experience.

black/blue lines: pedestrian routes into the sitered: destination pointpink: commercial entry (vertically)blue: residential entry (vertically)yellow: metro entrydashed: section cut looking towards Cherry St

pg71

acknowledge how

people

Exposure: Jeff Williams and Nathan Richardson [Design Studio VII]

move

v a l u e d i v e r s i t y

v a l u e d i v e r s i t y

r e s p e c t t h e e x i s t i n g

Exposure: Jeff Williams and Jerry Stivers [European Studies_ Paris, France]

Exposure: Moh and Suzanne Bilbeisi [Urban USA ]

Nationail Portrait Gallery [Washington D.C. ]

p r e s e r v e t h e

e n v i r o n m e n t

FOG FENCEA fog fence is a device for collecting liquid water from fog, using a fine mesh. An ideal location for fog fences is high areas near cold offshore currents, where fog is common. Fog settles slowly and is carried by wind. Therefore, an efficient fog fence must be placed facing the prevailing winds, so that the moisture flows through the fence, which then catches the moisture.

SCREENThe screen had some basic initial require-ments: it had to have thickness to receive water and be transparent to allow views out of the building. Therefore, a macro-perforated material was required.Biomimetics provides a precedent for large-scale perforations. The honeycomb is consid-ered one of the most efficient structures found in nature. The honeycomb uses the least mate-rial possible to create a lattice of cells within a given volume. Additionally, the flat interior planes greatly increase the harvestable area of the screen. Because they are modular they are easily constructed. The hexagonal screen then becomes a series of modular pieces arrayed together. The wire screen is inserted on both sides of the honeycomb screen to serve as the fog fence in the system.

SCREEN MATERIALDew is formed when warm air comes in con-tact with a cool object that is below the air’s dew point. Biomimetics has provided a prec-edent for efficient dew collection. The Namib Desert Beetle survives only on the moisture it extracts from the atmosphere. It has been found that its back is coated with microscopic projections: the peaks are hydrophilic and the troughs are hydrophobic. Researchers at the Massachusetts Institute of Technology have emulated this capability by texturing hydrophilic surfaces. These systems have shown a very marked increase in water and dew collection. By texturing the interior of the cells as found in the Namib Desert Beetle, the interiors of the cells also serve to collect fog from the air.

p r e s e r v e t h e

e n v i r o n m e n t

Sustainable alternatives were taken into account early in the design process; we did not want to incorporate sustainable options if the return was not going to cover the costs of the solutions. After thorough studies, the major sustainable element was water collection.

We used the sustainable screen as a tool to educate people on sustainability. By integrating the screen through the full height of the building, people are able to interact with and learn how water harvesting works collectively as a unit.

Exposure: Jeff Williams and Nathan Richardson [Design Studio VII]

SCREEN HEXAGONSAs the functions inside the building and the water collection screen began to interact, it became obvious that one cell size was not sufficient. By undulating be-tween various cell sizes, we could begin to encourage and restrict views through the screen as was appropriate based upon the functions adjacent to each seg-ment of the ribbon.

The cells can additionally be skewed to direct views in particular directions, or to prevent glare. For example, the cells on the lower floors are skewed downward in order to foster interaction with the plaza. Other areas are focused to frame views of historic buildings, cityscapes, etc.

Additionally, the wire mesh pattern was altered for constructability, to relate to the facade structure behind the screen.The screen is compartmentalized based on the structure attaching the screen to the building. Water from each compart-ment is individually transferred through the building into the water storage tank, to allow monitoring and maintenance.

pg77

At night, objects release the heat they gained from the sun dur-ing the day back to the night sky, cooling the objects enough to form dew. Heat radiated from the building raises the dew point of the air next to the screen, increasing the efficiency of the dew collection.All of the water is collected from the bottom planes of the cells via perforations, from the bottom of the mesh via a slit, and from the vertical facade via overlapping of the cells.

By orienting the screen towards the prevailing winds on north and the south, the building is responding directly to the site and its conditions, allowing for maximum water collection to occur. The complex in turn is site sensitive; the screen will not work as effieciently anywhere else on the building, or on any other site.

pg79

335,383 GALLONS OF RAINWATER FROM GREEN ROOFS

22% GREEN ROOFS RAINWATER

374,512 GALLONS OF RAINWATER FROM SCREEN78% SCREEN RAINWATER, FOG & DEW

784,986 GALLONS OF FOG & DEW COLLECTION FROM SCREEN 4.5 x INCREASE FROM GREEN ROOF WATER COLLECTION ALONE

112% OF FLUSH FIXTURE WATER RECLAIMED1,494,863 GALLONS OF RAINWATER COLLECTEDleaving enough water to be shared with the neighboring City Hall

Campidoglio

The Piazza del Campidoglio has always fascinated me. First exposed to the space, I was inspired by the Michelangelo’s at-tention to detail; manipulating geometries so that one could experience the space the way he envisioned, despite the difficul-ties of the site. Visiting the Campidoglio, the space became even more meaning-ful. Once in the piazza, I realized that the buildings do not feel as asymmetrical as they seem in plan. The pattern imposed on the piazza compliments the tension between the piazza and the architecture; leaving the feeling of balance between the two. There is a constant play of focal points in the space regardless of where you are; the oval patterning pushes you into the colonnades while maintaining a constant focal point on the center. Michel-angelo’s sensitivity to the urban planning of the space leaves me with a sense of gratitude for being able to be a part of his experience.

Exposure: Jeff Williams and Jerry Stivers [European Studies_ Paris, France]

Rome, Italy

epilogue

pg83

epilogue

I have proposed a premise, using my experiences as supporting evidence. In the proceeding pages I will conclude the monograph with an example of how I apply these principles into design. Tak-ing a holistic approach, I developed a program where my principles became my goals…

[ I N J E C T I N G I N T E R A C T I O N ]R E V I T I L I Z I N G S O C I E T Y _ P A R I S , F R A N C E

SCENERIOTHE YEAR IS 2200. PEOPLE ARE DISCONNECTED DUE TO THE INCREASING DEVELOPE-MENT OF TECHNOLOGY. ONCE EMBRACED, THE HIGH-TECH REVOLUTION HAS CAUSED A DEGREDATION OF SOCIETY AND LACK OF HUMAN INTERACTION. PEOPLE LONG TO HAVE A BALANCE BETWEEN TECHNOLOGY AND INTERACTION; THE GOAL OF THIS PROGRAM IS TO REENGAGE SOCIETY WITH THEIR ENVIRONMENT, THEIR CITY, AND EVEN WITH EACH OTHER.

LOCATIONTHE HISTORICAL AXIS OF PARIS_FRANCE. A CITY IN NEED OF REVITILIZING IT’S INTERNA-TIONAL STATUS, PARIS WILL SET THE PRECEDENT FOR THE SOCIAL REACTION AGAINST TECHNOLOGY, USING TECHNOLOGY; THE OUTCOME ULTIMATELY BECOMING ICONIC TO THE CITY.

PROGRAMINJECTING A ROLLERCOASTER INTO THE CITY OF PARIS, ALONG THE HISTORICAL AXIS, TO PROMOTE REDISCOVERY OF THE CITY AND ITS CULTURE; ULTIMATELY REDISCOVERING INTERACTION AMONGST EACH OTHER IN THE PROCESS.

JUNCTIONSINJECTING A ROLLERCOASTER INTO THE CITY OF PARIS, ALONG THE HISTORICAL AXIS, TO PROMOTE REDISCOVERY OF THE CITY AND ITS CULTURE; ULTIMATELY REDISCOVERING INTERACTION AMONGST EACH OTHER IN THE PROCESS.

THE LOUVRE _ THE FOCUS HERE WAS INSPIRED BY THE CONCEPT OF THE PURE FORM OF THE PYRAMID AND ENTERING UNDERGROUND. THIS IS WHERE THE

“BEGINNING” OF THE ROLLERCOASTER OCCURS.

ARC DE TRIOMPHE _ CREATING A VORTEX AROUND THE ARCHE ALLOWS FOR A UNIQUE PERSPECTIVE OF PARIS, WHILE HAVING A FOCAL POINT FOR ORIENTATION.

GRANDE ARCHE _ THE ARCHE ACTS AS AN ANCHOR TO THE HISTORICAL AXIS, AND IS LOCATED IN AN AREA THAT HAS SEVERAL PLANS TO REDEVELOP TO IMPROVE A BALANCE BETWEEN OFFICE AND RESIDENTIAL PROGRAMS.

THE GOAL _ COLLISION

ART _ Revita l ize cul ture as wel l as enhance the art scene by incorporat ing the ro l lercoaster as a sculptural art piece.

UNBIASED _ Merging the boundaries of distr icts by l inking di f ferent types of people in di f ferent areas of Par is.

CONNECTION _ A base is created in which people become famil iar with the idea of each other. By integrat ing metro stops with rai ls of the ro l lercoaster, people can exper ience cultural revi ta l izat ion in masses.

PARADOX _ The beginning and the end become ambiguous. Light and dark inter p lay with this idea by creat ing a vortex around the histor ical axis of Par is; balancing paths between underground and above ground.

SENSITIVE _ The rol lercoaster becomes si te sensit ive, f i l l ing the voids of monumental spaces whi le integrat ing i tsel f with transportat ion, achieved with passive energy means.

ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-TION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBI-ASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-TION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBI-ASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-

123

ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-TION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBI-ASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-TION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBI-ASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNECTION PARADOX SENSITIVE ART UNBIASED CONNEC-

pg86

Exposure: Moh Bilbeisi [Design Studio VIII]

2 .As the path of the ro l ler-coaster reaches the Arch de Tr iomphe, the sca le of the ra i ls in re la t ion to each other increases, a l lowing v iews of the c i ty wi th the arch as a foca l po int .

1 .

3 .Regain ing focus, the form of the ro l lercoaster returns to an in t imate sca le whi le pass ing through the grand arc, a l lowing a person to ref lect upon how far soc iety has come and how important i t is to move towards a soc iety focused on each other.

Beginn ing underneath the pyramid of the Louvre, a ser ies of 6 ra i ls begin at an in t imate sca le to one another.

A C L O S E R L O O K _ D E T A I L S

THE PATH TO SELF DISCOVERY

The ro l lercoaster t racks and the s t ructura l system are in tegrated in to each other. Th is a l lows for a reduct ion in s tee l and u l t imate ly creates a system that is se l f suppor t ing. Shown below is the process the path of the ro l lercoaster undergoes f rom the t rans i t ion of the Louvre (Junct ion 1) to the Arc de Tr iomphe (Junct ion 2).

Six l ines s tar t para l le l to each other.

1 . 0

1 . 1

1 . 2

1 . 3

The ra i ls move in to a system that takes 3 d imensiona l form (sec-t ion shown above).

The t rack s t ructure begins to twis t around i tse l f tak ing on the form of a he l ix , wi th 3 t racks moving c lockwise and the other three counterc lockwise.

Just before the ra i ls t rave l above ground, the he l ix sp l i ts in ha l f (shown in the d iagram on the r ight ) ; 3 ra i ls bending c lockwise, the other three bending counter-c lockwise.

A C L O S E R L O O K _ D E T A I L S

By twis t ing the l ines of the t rack

around each other ensures that

paths wi l l natura l ly cross; th is a l-

lows for s t ructura l re in forcement to

occur at these points. To prov ide

fur ther support , a box f rame sys-

tem is incorporated. Th is u l t imate ly

creates a se l f suppor t ing system

that can meet the span requi re-

ments of the ro l lercoaster.

Magnet ic lev i ta t ion a l lows for contro l in a l l s ix axes, made poss ib le wi th the use of an inductrack and f lywheel technology. Inductrack uses unpow-ered loops and permanent magnets to ach ieve lev i ta t ion. Use of the f ly-wheel is on ly requi red when a push is needed, making th is system pass ive.

I N D U C T R A C K

p r o p u l s i o n c o i l

b e a m

m a g n e t

s u p p o r t m a g n e t

p o w e r r a i l s

g u i d a n c e c o i l

s t e e r i n g r a i l

s t e e r i n g m a g n e t

c o n n e c t i o n b e t w e e n t h e t r a c k a n d m o t o r

s t a t o r

F L Y W H E E L T E C H N O L O G Y

r a i l

m a g n e t i c b e a r i n g

t r a c k

s p i n n i n g f l y w h e e l

m o t o r g e n e r a t o r

p o w e r c o u p l i n g

( e n c l o s e d i n a v a c u u m s e a l e d c o n t a i n e r )

PROPULSION WITH

MAGNETIC LEVETATION

pg90

THE INTIMACY OF THE FAMILIAR

In tegrat ing the ro l lercoaster in to iconic monuments of Par is wi l l draw people out in to the once-forgot ten c i ty, creat ing new at t ract ions f rom ex is t ing ones. The pyramid of the Louvre seamless ly in tegrates the h is tor ica l context and the contemporary s t ructure; the s impl is t ic express ion of the ro l lercoaster underneath the pyramid br idges contextua l s ty les and ac-compl ishes th is same idea.

pg9 1

J U N C T I O N 1 _ T H E L O U V R E

C A P T U R I N G T H E C O N -C E P T I N T H E S I M P L I S T I C F O R M O F T H E V E S S E L ; A C H I E V I N G E N L I G H T E N -M E N T I N I T S P U R I T Y .

E N C A P S U L A T E

SPHERE _ pure form

SEAT _ takes an organic shape that se l f con-tours to an ind iv idua l . Comfor t a l lows one to focus on the exper ience.

FLYWHEEL _ energy is s tored as a rotat iona l energy where the wheel is f ixed about an ax is. I t produces h igh power pu lses that are more re l iab le than connect ing to a publ ic network.

STRUCTURE _ th is s tee l base made of a ser ies of se l f suppor t ing hexagons a l lows for the t rack to run through the capsule. Th is a l lows for a var ie ty of pos i t ions which can be focused on window v iews of Par is.

In tegrat ing the ro l lercoaster in a mixed use program proved benef ic ia l because of the var y ing programs wi th in the bui ld ing. Th is a l lows the ro l lercoaster to not on ly connect wi th in the c i ty, but wi th in a bu i ld ing as wel l . The tower inc ludes commerc ia l , of f ice, hote l , and res ident ia l programs.

There are 2 st ructura l cores on e i ther s ide of the at r iums which a l lows the ro l lercoaster ra i ls to be in tegrated wi th the ex is t ing s t ructure.

5 stor y at r iums in ter ject the tower at each of the ind iv idua l programs, wi th ba lcony spaces over look ing the space. These large vo lumes make i t easy for the ro l lercoaster to run through the tower. The vo lume a lso a l lows for people to enter get on the r ide, regard less of which zone they are in.

La Defense District _ Paris, France

The d is t r ic t anchors the h is tor ica l ax is and holds the ma-jor i ty of the h igh r ises in Par is. Due to an increase in demand for mixed use pro ject , La Defense is undergoing substant ia l redevel-opment to promote the area. An ending point for the ro l lercoaster takes p lace in a mixed use tower. The conceptua l idea of l ink ing people to the i r c i ty is taken a s tep fur ther by connect ing people wi th in arch i tec-ture. Tour S igna l is a pro ject proposed to enhance the reb i r th of the La Defense d is t r ic t . The in tegrat ion of the ro l lercoaster wi th program of the tower wi l l set a precedent for fu ture development of the reg ion.

pg93

FILLING THE VOID

The ro l lercoaster in tegrates in to the context of Par is by f i l l ing the vo ids of space created by iconic s t ructures. Approaching the c i ty f rom th is perspect ive a l lows space and deta i ls to be v iewed in a d i f ferent l ight , creat ing a un ique exper ience.

J U N C T I O N 3 _ T H E A R C H E d e T R I O M P H E

p.ost s.cript

p.ost s.cript

“Life isn’t about finding

yourself. Life is about

creating yourself.”

George Bernard Shaw

pg97

A special thanks to...

Brandon Johnston

fellow colleague

Oklahoma State University

Tom Spector

AIA, Ph.D _ mentor

Oklahoma State University

Gavin Knight

fellow colleague

Oklahoma State University

David Hanser

Ph.D _ mentor

Oklahoma State University

The Family

my foundation

Enid, Oklahoma

Jerry Stivers

AIA, LEED AP _ mentor

Oklahoma State University

Scott Leever

fellow colleague

Oklahoma State University

Michael Rabens

Ph. D _ mentor

Oklahoma State University

John Womack

RA _ mentor

Oklahoma State University

Jeff Williams

RA _ mentor

Oklahoma State University

Trey Hollaway

fellow colleague

Oklahoma State University

Jeanne Homer

professor _ mentor

Oklahoma State University

My Friends

my supporters

Barcelona, Spain

Suzanne Bilbeisi

RA _ mentor

Oklahoma State University

Mohamed Bilbeisi

RA _ mentor

Oklahoma State University

My Travel Companions

my guides

Europe

Mis Amigas

my amusement

Europe

Jena Kodesh

Teacher _ mentor

Enid High Public School

Nathan Richardson

Assistant Professor_ mentor

Oklahoma State University

Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, ‘Who am I to be brilliant, gorgeous, talented, fabulous?’ Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won’t feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It is not just in some of us; it is in everyone. And as we let our own light shine, we un-consciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

Marianne Williamson

The world would be better if...

if everyone considered the thoughts and feelings of others

If I had special powers, they would be...

to have the ability to fly, if only to avoid the 5 o’clock traffic.

I’m addicted to...

sushi.

When I have a creative block I...

look at anything and everything else for inspiration.

Growing up I...

...I still have some growing up to do.

Jad

e

Me

ints

17

22

Rid

ge

Pla

ce

La

ho

ma

, O

K 7

37

54

5

80

.4

02

.2

10

8

ja

de

.me

ints

@o

ks

tate

.ed

u

prof

ile

educ

atio

nca

reer

his

tory

scho

lars

hips

m

embe

rshi

psaf

filia

tions

• Demonstratedachievercommittedtohighqualityjobperformance.• BackgroundinarchitecturaldesignanddraftingcombinedwithbasicSpanishlanguageskills.• Reliablewithoutstandingorganizationalskills.• Skilledatlearningnewconceptsquicklywhileworkingwellunderpressure.• ComputertraininginMSword,PowerPoint,GoogleSketchUp,Photoshop, AutoCAD, Cinema 4D, 3D Max, InDesign.• Independentandexperiencedtraveler.

Bachelor of Architecture Design Oklahoma State University, Stillwater, OklahomaMinor in Spanish, Architecture Studies: History and Theory

Completion of Urban USA and Europe Field StudiesOklahoma State University; New York/ Washington D.C., Europe

Completion of Language and Architecture ProgramIES; Barcelona, Spain

Expected graduation May 2011

2010

2008

Architectural Intern Long Range Facilities Planning, Stillwater, OK 2009 - Present• Successfullycompletedconstructiondocuments.• Activelyinvolvedwithcommitteesandtheirdecisions.• Workedalongsidetheconstructionmanagertocomplete punchlistsandattendsitevisits.• Assistedinteriordesignerswithdesignrelatedissuesas wellasexecutinggraphicpresentations.• EngagedwiththebidandCMARprocesses.• Undertookextensivesustainabilityresearch. CateringCowboy Dining Services, Stillwater, OK 2007 - 2009• Workedwellinlargegroupswhilecommunicatingeffectively tofinishthetaskathand.• Dependableandconsistentwhileexemplifyingorganizationalskills.• Preciseandthoroughwhilequicklyattendingtoresponsibilities.

SalesThe Buckle, Enid, OK 2004-2006• Demonstratedexcellentskillsincustomerservice.• Showeddedicationtothecompany.

• RecipientoftheOSUValedictorianScholarship,BaileyScholarship• Dean’sHonorRoll• WomeninEngineering,Architecture,andTechnology• ArchitectureStudentsTeachingElementaryKids• Rugby

Jerry StiversProfessorSchoolofArchitecture,Stillwater,OK74078jerry.stivers@okstate.edu(405)744-6043

Suzanne BilbeisiProfessor/ AdvisorSchoolofArchitecture,Stillwater,OK74078suzanne.bilbeisi@okstate.edu(405)744-9054

John TrestonArchitect IILongRangeFacilitiesPlanning,Stillwater,OK74078john.treston@okstate.edu(405)744-7413

Kristin GarnerBusiness ManagerOSUCowboyDining,Stillwater,OK74078kristingarner@osucowboydining.com(405)744-3581

refe

ren

ce

s