Design Portfolio

DEREK SHULTZMy name i s De r e k Shu l t z . I am f r om P l a t t e C i t y , M i s sou r i . I g r adua t ed va l ed i c t o r i a n o f my h i gh schoo l . I speak a l i t t l e G reek , a l i t t l e Span i s h , and a l o t o f Eng l i s h . I have been on f ou r d i f f e r e n t con t i n en t s , no t a l l a t t he same t ime . I l i k e h i s t o r y , I l o ve mov i e s , and I can t ype 75 wo rd s pe r m i nu t e .

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...........................................................KANSAS CITY CENTER OF PERFORMING ARTS

..................................................UNDERGRADUATE THESIS: FEATURE PRESENTATION

................................................................................................................COMPUTER DESIGN

....................................................................................................................PHYSICAL CRAFT

...................................................................................................................FOREIGN STUDIES

...........................................................................................EDUCATION AND EXPERIENCE

.......................................................................................................CONTACT INFORMATION

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KANSAS CITY CENTER OF PERFORMING ARTSSPRING 2010

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DEREK SHULTZDESIGN PORTFOLIO

The Kansas City Center of Performing Arts was a project completed in the 2010 Spring Semester at Drury University. This large community center complex was situated on a site that is currently a park immediately south of the Nelson-Atkins Museum of Arts. This park is currently a publicly used open green space flanked by trees with a creek at the southern most end. To the north is the Nelson-Atkins lawn and at the top of this sloping green is the museum itself. There are strong lines at work within this site and a force in the form of the museum that had to be addressed. Even though these two facilities were not directly linked by function, they were unavoidably linked by location. It was decided throughout the design process to meet the challenge of this site location head on by directly relating the new performing arts center to the existing museum in both form and material. The design was meant, at the same time, to reserve the natural elements of the park and maintain line of site from the creek to the Nelson-Atkins Museum.

The Program for this project consisted of three main performance spaces, a music conservatory, a theater for dramatic arts, and a dance studio. Each of these three progromatic elements also had it’s requirements in supporting spaces as well as an outdoor amphitheatre. All of these functions would service the community and its many needs in the creation of the arts. These performance spaces and adjacent functional spaces were open to the community and also available to be rented out for larger crowd-drawing performances. This element of necessity meant that there had to be a grandeur to this design that was worthy of the performances within its walls, but at the same time it had to relate and be available to the surrounding community. It was decided that the three performing arts spaces be arranged in two seperate towers connected by an elevated outdoor amphitheatre. This decision required two of the performing arts spaces to be stacked on top of each other with remaining floors being used for functional spaces such as classrooms, storage, and restrooms. Both towers utilize seperate glazed lobbies that connect at the same elevation as the amphitheatre. The space between the two towers gives unobstructed views between the creek and the museum while also contributing to the fountains of Kansas City with a large reflecting pool and waterfall.

Material choices also had to be carefully addressed to not only relate to the natural, but also the built surroundings of the site. Concrete, though unrelated to the nature of the park, creates a strong bond with the Nelson-Atkins Museum as two monuments of art seperated by the natural serenity of the park and lawn. A textured pattern was developed for the facade of building to disrupt the harsh lines of the building and better relate to the organic natural surroundings in the park. The scale of the building, though large, does not overpower the surrounding buildings and corresponds very well to their heights in the skyline. The ultimate goal of this project was to develop a large-scale community center that responds respectfully to both the needs of the community and the needs of the landscape.

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FOURTH LEVEL PLAN

BASEMENT LEVEL PLAN

FIFTH LEVEL PLAN

FIRST LEVEL PLAN

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SIXTH LEVEL PLAN

SECOND LEVEL PLAN

SEVENTH LEVEL PLAN

THIRD LEVEL PLAN

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SITE PLAN

NORTH ELEVATION

WEST AND EAST ELEVATION

SOUTH ELEVATION


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SECTION THROUGH THEATER

SECTION THROUGH AMPHITHEATER

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FEATURE PRESENTATIONSPRING 2011

Architecture today is not reaching the full potential of its experiential possibilities and is becoming an art form that is falling toward function over emotion.

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Upon entering the 2011 Spring Semester work had already begun on a thesis paper that was meant to question something in the world of architecture. This Spring Semester was utilized to answer this question by proposing a designed solution for that answer. Within the thesis paper the argument was made that experience is lacking in the world of architecture and a solution was proposed through the world of cinema. It was argued that cinematic elements and filmmaking techniques from all different styles of film could enhance the experience of a visitor in a work of architecture. Examples of experiential architecture were cited and compared to arguably one of the best films ever made, Citizen Kane. Lighting, scale, perspective, script and soundtrack could all be applied to architectural design in order to create a more evocative and emotionally stimulating experience for the visitor. It was decided that the overall design would center around a traveling museum for American Cinema. A museum has the potential to fully immerse the observer into the subject matter of the museum and provides an excellent base to begin designing experiential and stimulating exhibt spaces that are interactive and educational.

The locations for this traveling museum were determined with further research into movie sound stages and production studios. these studios have been established all over the United States and the world and each has their own history and contribution to the industry. It seemed only appropriate that the museum visit each of them and allow a variety of people to not only experience cinematic history through the museum, but also through the space it occupies. Much like movie set construction the exhibit and other constructed spaces within the museum will be finished on one side and unfinished on the other side which will include exposed structure and unpainted surfaces. This dramatic contrast will allow the audience to better understand the process and product of filmmaking. The elements of this traveling museum would be required to be built up and torn down often as the museum moves. The traveling and temporary nature of the proposed program creates a striking similarity to the temporary nature of actual film and theatre sets. This would provide an extra level of detail for the visitor to explore as they visit this museum of American Cinema.

After the initial diagramming and understanding of the broad topics associated with this thesis project, then it was time to better evaluate and understand what goals needed to be met and what questions needed to be answered. As stated the problem explored in the thesis paper was the lack of emotion in current architecture and also in this paper was the investigation of certain architecture deemed to be emotionally evocative. It was ideas from these precedents combined with the application of cinematic techniques that was the goal of the thesis project. As further investigation into the design occured it was decided that rather than employing generic cinematic techniques into exhibit spaces that it was the styles of the exhibits themselves that would dictate the design of the space. Three styles in film history were chosen based on their contribution to the advancement of film and their uniquely individual styles and attributes. These three film styles were Silent Film, Film Noir, and the Computer Age. The most important aspects of these styles were understood and condensed to their purest forms before being implemented into exhibit designs that are meant to fully immerse the visitor into the film style represented. All of their scenses will be fully explored and highlighted to create an intense understanding of the space and therefore a more fullfilling experience both emotionally and intellectually.

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SILENT FILM

FILM NOIR

COMPUTER AGE

OVERALL PLAN

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SILENT FILM PLAN

SILENT FILM SECTION

Silent Film is the original form of filmmaking that did not have the luxury of synchronized sound to portray the story. It relied on the visual stimulation of the viewer entirely. Sound is absent and therefore completely at the forefront of the style. A lack of a sense is more powerful than the those remaining.

HYPERSONIC SOUND SPEAKER

FOCUSED SOUND

POWER SUPPLY

SILENT FILM WALL SECTION

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INTERIOR PROJECTION CANVAS

TRANSLUCENT CHANNEL GLASS

POWERED LIGHT SOURCE

FILM NOIR WALL SECTION


Film Noir holds a relatively small role in cinematic history, however; its influences can always be seen. Film Noir plays with light and shadows. It uses the senses of the viewer to manipulate their experience in the simplest of forms. A maze of plot twists changed by the light.

FILM NOIR PLAN

FILM NOIR SECTION17


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VIEWING WINDOW

HANGING STEEL ROUND TRUSS

1 OF 9 PROJECTORS

HANGING PROJECTION CANVAS

COMPUTER AGE WALL SECTION

COMPUTER AGE PLAN

COMPUTER AGE SECTION

The computer generation of film has opened a wealth of possibilities in scale, dimension, and experience. The spatial experience is beyond comprehension to a normal viewer experience and it is this sort of surreal interraction that binds itself to computer generated film.

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COMPUTER MODELS2007-2008

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PHYSICAL MODELS2008-2009

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FOREIGN STUDIESSPRING 2010

My Study Abroad experience opened my eyes to some of the world’s diverse culture. The main location of this experience was located in Volos, Greece. Time was spent traveling throughout the country and other Mediterranean locations including Alexandria and Cairo Egypt, as well as Istanbul, Turkey.

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Education

Drury University | 2006-2011 | Springfield, MissouriBachelors of Architecture | Bachelors of Arts in Art History Platte County High School | 2006 | Platte City, MissouriGeneral Education

Experience

Black & Veatch | 2012-2013 | Overland Park, KansasEngineering Technician

DeLaval | 2005-2008 2011-2012 | Kansas City, MissouriAssembler/Stocker/Shipper/Receiver

JCPenney | 2010-Present | Springfield, MissouriSales Support Associate

Springfield History Museum | 2010 | Springfield, MissouriInternzzz

Lowe’s Home Improvement | 2009 | Springfield, Missouri Cashier/ Loader

EDUCATION AND EXPERIENCE

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www.derekshultz.com(816) 863 [email protected] East 17th Street Apt. 406Kansas City, MO 64108

DEREK SHULTZ

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