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shultzJessica reed
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
PORTFOL IODIRECTORY
W H O I A MI N T E R ES T S + S K I L LSC H A S E S T R E E T G A L L E R Y / S T U D I OK A N S A S C I T Y P E R F O R M I N G A R T S C E N T E R
T H ES I S P R O J E C T// B LU R T H E L I N ES //
F I G H T I N G I N T O L E R A N C E I N J A M M U A N D K A S H M I RP R O F ES S I O N A L W O R K
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W H O I A MI N T E R ES T S + S K I L LSC H A S E S T R E E T G A L L E R Y / S T U D I OK A N S A S C I T Y P E R F O R M I N G A R T S C E N T E R
T H ES I S P R O J E C T// B LU R T H E L I N ES //
F I G H T I N G I N T O L E R A N C E I N J A M M U A N D K A S H M I RP R O F ES S I O N A L W O R K
W H O I A M
W H AT I D OBeing a curious, process-oriented person, I enjoy research and conceptualization. I have experience in several computer modeling programs as well as the Adobe Creative Suite. I am adept at hand drawing, rendering, and sketching, as well as model building.
W H E R E I ’ V E B E E NI was born and raised in Onawa, Iowa. I moved to Springfield, Missouri to study architecture and fine arts in 2006. I lived and studied in Volos, Greece, for a semester and visited Turkey and Egypt while abroad. I currently live in Kansas City, Missouri.
I love to travel.I play the banjo.I like to quilt and embroider.I hate mayonnaise.I am an artist on the side.
02/03
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
I N T E R ES T S + S K I L LS 04/05
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
The sketches on the above right, from left to right, show the Hagia Sofia in Istanbul, Turkey, a sarcophagus and statue from the Egyptian Historical Museum in Cairo, Egypt, and the caryatids at the Parthenon Museum in Athens, Greece.
My travels in Egypt and Turkey, also inspired my senior capstone collection entitled Women of Alexandria, Having been overwhelmed with memories of my various experiences, I have learned that memories are not photographic; they are entities that exist perfectly within our minds yet lose shape when physically manifested. My work currently seeks to capture this elusive quality of memory using paint in such a way that is not constructive, but becomes simply an atmospheric record of feelings, objects, and spatial form. The specific memories contemplated for this body of work consist of a few powerful interactions with various women in Egypt. By keeping this notion in mind, the atmosphere itself, manifested as part of the memory, becomes veiled.
I N T E R ES T S + S K I L LS
C H A S ES T R E E T G A L L E R Y S T U D I O
04081216
SCULPTURE GARDEN
MAIN GALLERY
STUDIO/GALLERY
PUBLIC RESTROOMS
ENCLOSED DISPLAY
SECTION MODEL FOOTPRINT
FLOOR PLAN
06/07
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
C H A S ES T R E E T G A L L E R Y S T U D I O
ABOVE + BELOW. MODELED AND RENDERED IN REVIT, MANIPULATED IN PHOTOSHOP.
RIGHT. SECTION MODEL CONSTRUCTED OF MDF, BASSWOOD, AND PLEXIGLASS. SCALE 1.5IN = 1FT
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
MUSIC CONSERVATORY
LOADING DOCK
DANCE AND THEATER PERFORMING ARTS CENTERS
EMMANUAL CLEAVER BLVD
NELSON-ATKINS MUSEUM OF ART
BRUSH CREEK
SITE PLAN
K C P E R F O R M I N G A R T S C E N T E R08/09
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B
C
ABOVE. PHYSICAL SITE MODELS CONSTRUCTED USING CHIPBOARD, AND PLEXIGLASS. SHOWS A FEW SAMPLES OF THE FORMAL PROGRESSION THROUGHOUT THE SEMESTER. SCALE 1IN = 64FT
RIGHT. HAND RENDERED INTERIOR AND EXTERIOR PERSPECTIVES QUICKLY MANIPULATED IN PHOTOSHOP.
REHEARSAL SPACES
ADMINISTRATION OFFICES
SYMPHONY HALL
BACKSTAGE AREA
EXTERIOR AMPHITHEATER
TICKETING
SHARED ATRIUM
INDIVIDUAL PRACTICE SPACES
THEATER EDUCATIONAL SPACES
THEATER PERFORMANCE HALL
DANCE EDUCATION SPACES
DANCE PERFORMANCE HALL
SHARED CONCESSION AND KITCHEN SPACES
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EXPLODED PLAN PERSPECTIVE
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
INDIVIDUAL PRACTICE SPACES
INSTRUMENT STORAGE LOCKERS
EXTERIOR AMPHITHEATER
TICKETING
SHARED ATRIUM
BACKSTAGE AREA
SYMPHONY HALL
A/V
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CROSS SECTION A-A
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K C P E R F O R M I N G A R T S C E N T E R10/11
EXTERIOR LIGHTING ELEMENTS
FIXED-PIN GLAZING SYSTEM
STEEL ‘T’ BEAM
PRECAST CONCRETE ROOF SLAB
STACKED LIMESTONE
STEEL ‘T’ BEAM
GLAZING
WOOD FLOOR
RIGID STEEL STRUCTURAL ELEMENT WITH OPEN-WEB JOISTS/ SUPPLY PLENUM
ACOUSTIC INSULATION
RADIANT FLOOR SYSTEMLIMESTONE FLOOR
VAPOR BARRIERS
SITECAST CONCRETE SLABS
STRUCTURAL STEEL COLUMN
WOOD CLADDING
WALL SECTION CWALL SECTION B
B Y S E E K I N G T O S PAT I A L LY S O L I D I F Y A
C U LT U R E T H AT H A S B E E N S Y S T E M AT I C A L LY
O P P R ES S E D , B Y F A C I L I TAT I N G A D I F F E R E N T
T Y P E O F S O C I A L I N T E R A C T I O N T H AT
E X P O S ES T H ES E P E O P L E A N D I S S U ES T O
O T H E R S , A N D B Y E X P LO R I N G T H E T E N S I O N
A N D B A L A N C E O F F R E E D O M A N D S E C U R I T Y
I N A C O N S C I O U S A N D C R I T I C A L WAY, T H E
B U I LT E N V I R O N M E N T C A N B E C O M E A PA R T
O F C R O S S - C U LT U R A L C O N F L I C T M E D I AT I O N
A N D I N T E R A C T I O N .
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
This thesis project was intended as an exploration of how the built environment can become a part of cross-cultural conflict mediation. My work was heavily influenced by the work of authors and architects such as Lisa Findley in Building Change: Architecture, Politics, and Cultural Agency, Alain de Botton’s The Art of Travel, and Elizabeth Diller and Ricardo Scofidio in their book entitled Back to the Front: Tourisms of War. Research led me to the Kashmir Territory (otherwise known as Jammu and Kashmir) in northern India due its constant conflicting rage between India and Pakistan. The images at the right illustrate an analysis of the conflict as well as the peoples that exist there.
The program of a train station/market was developed due to the notions that travelling causes one to be more vulnerable and aware of new peoples and customs, and markets and bazaars provide authentic experiences of said cultures. By mixing the two, there is an opportunity to allow different people from different parts of the world to interact with one another.
The site chosen was a college town of Sopore, about 20km northwest of the summer capital of Srinagar. This location offers many travel opportunities for tourists, including several nearby ski resorts. The degree college also draws students who often travel by train from many nearby towns The pre-existing train station was recently burnt as part of a protest in August of 2010, making it the ideal location to test these ideas.
THESISPROJECT 14/15 B LU R T H E L I N ES
F I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // R ES E A R C H
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // R ES E A R C H
ABOVE. IMAGES SHOWING RELATIONSHIP OF TROOP OCCUPATION WITH TOURISM, MARKETS, AND TRAIN STATIONS, INCLUDING THE BURNING OF SOPORE’S STATION.RIGHT. IMAGES OF KASHMIRI CULTURE INCLUDING A CRAFTSMAN CONDUCTING THE LOCAL TRADE OF WOOD CARVING AND A PEACEFUL SIT-IN PROTEST OF KASHMIR’S JAMMU TAWI STATION.BELOW. MAP SHOWING SCOPE AND LOCATIONS OF VARIOUS CONFLICTS WITHIN THE REGION. OVERLAY DIAGRAMMATIC ELEMENTS CONSTRUCTED USING ADOBE PHOTOSHOP AND INDESIGN.
700,000 IND
IAN
AFSPA
300,000 KASH
MIRI PA
NDIT HINDUS RELOCATED
70,000 CIV
ILIAN
S KILLED
SRINAGAR SHOOTINGS
SRINAGAR BOMBINGKULGAM MASSACREDODA MASSACRE
NADIMARG MASSACRE
QASIM NAGAR MASSACRE
SRINAGAR SHOOTINGSKISHTWAR MASSACRECHALWALKOTE MASSACRE
AMARNATH MASSACRECHITTISINGHPURA MASSACRE
SANGRAMPORA MASSACRE
PAHALGAM TOURIST INCIDENT
SOPORE MASSACRE
GAWAKADAL MASSACRE
1990
2010
2000
KARGIL WARWANDHAMA MASSACRE
1-50 DEATHS
101+ DEATHS
50-100 DEATHS
HOW CAN THE BUILT ENVIRONMENT SOLIDIFY OR EMBODY A CULTURE THAT HAS BEEN SYSTEMMATICALLY INVISIBLE?
HOW CAN ONE FIND A BALANCE BETWEEN SECURITY AND FREEDOM THROUGH THE IMPLEMENTATION OF BUILT FORM?
HOW CAN THIS PROJECT FACILITATE SOCIAL INTERACTION THAT INCREASES AWARENESS OF, AND IS SENSITIVE TO, THE CURRENT STATE OF KASHMIR?
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
16/17
Formal and aesthetic consideration led to the organizational structure based on pattern commonalities among the various cultures, as well as the reinterpretation of the local wood-carving trade into a hollowed and elevated building envelope that houses the station’s programmatic elements.
Spatial volumes are composed in a way that enhances the juxtaposition between spontaneous, freedom-based market spaces and the intimidating oppression of the station security offices. Also, circulation is woven through the station and market, which are both often locations of protest in Kashmir, and are organized to allow freedom of movement by all users.
Main spaces, such as the cafe, market stalls, and station platforms, are programmed to be used by a mixture of tourists, students travelling to the nearby college, as well local inhabitants of the area. These spaces are also oriented to enhance views of the surroundings mountains, the street activity, and the massacre site...all spaces of cultural significance.
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // P R O C ES S
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // P R O C ES S
volume adjacency.
CAFE
CIRC
ULATI
ON
TOURISTINFORMATION CENTER
PERMANENT MARKET SPACESSECURITY OFFICE
WAITING AREA
SPONTANEOUS MARKET SPACES
TOURISTSTUDENT
RESIDENT
MARKET ACTIVITY
HIMALAYAN MOUNTAINS
MASSACRE SITE
DEGREE COLLEGE
TRAIN PLATFORM
MARKET ACTIVITY
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wood form evolution. circulation.
elongated diamond shapes. repetitive voids. angular, linear elements. extruded components.
views.
SITE PLAN
ABOVE. CONCEPTUAL DIAGRAMS.
RIGHT. ANALYSIS CONDUCTED IN ORDER TO UNDERSTAND LOCAL COMMON DECORATIVE PATTERNS AS WELL AND APPLY IN A WAY THAT ESTABLISHES AN ORGANIZATIONAL PATTERN. PHOTOGRAPHIC IMAGE WITH OVERLAY DIAGRAMMING CONSTRUCTED IN ADOBE INDESIGN.
SOPORE MASSACRE SITE
SOPORE DEGREE COLLEGE
SECONDARY SCHOOL FOR GIRLS
SECONDARY SCHOOL FOR BOYS
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
18/19
LEFT. PHYSICAL MODEL CONSTRUCTED USING CHIPBOARD, BASSWOOD, AND PLEXIGLASS. SCALE 1/8IN = 1FT
RIGHT. DRAWINGS HAND DRAFTED, THEN MANIPULATED IN PHOTOSHOP.
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // D ES I G N
TOURISM CENTER
TICKET SALES
PUBLIC RESTROOMS
STREET LEVEL PLAN
CAFE
SECURITY OFFICE
LOCKER RENTALWAITING AREA
OPEN TO BELOW
UPPER LEVEL PLAN
PERMANENT MARKET STALLS
TEMPORARY MARKET STALLS
TRAIN DEPARTURE PLATFORM
TRAIN ARRIVAL PLATFORM
OPEN TO BELOW
OPEN TO BELOW
MARKET LEVEL PLAN
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // D ES I G N
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
20/21
LEFT + RIGHT. IMAGES SHOWING CONDITIONS OF THE STATION PLATFORM, THE STREET, AND THE TEMPORARY MARKET STALLS. HAND RENDERED AND MANIPULATED IN PHOTOSHOP.
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // D ES I G N
B LU R T H E L I N ESF I G H T I N G I N T O L E R A N C E I NJ A M M U A N D K A S H M I R // D ES I G N
P R O F ES S I O N A LW O R K 22/23
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
RIGHT. CONSTRUCTION DOCUMENT SHEETS A4.1-A4.3 SHOWING WALL SECTION DETAILS OF THE DEARBORN COMMUNITY CENTER PROJECT IN DEARBORN, MISSOURI. AUTOCAD LT.
RIGHT. RENDERINGS SHOWING OPTIONS FOR A RESTAURANT EXTERIOR RENOVATION. GOOGLE SKETCHUP AND ADOBE PHOTOSHOP.
P R O F ES S I O N A LW O R K
jessica.dian.reed.shultz // 417.872.9303 // [email protected]
T H A N K Y O U .
PG. 15 IMAGE FILE LOCATIONS (left-right).
amitavakumar.blogsome.com/2006/09/ (accessed December 5, 2010).http://photography.nationalgeographic.com/photography/wallpaper/border-security-force_pod_image.html (accessed December 5, 2010).http://www.cbsnews.com/stories/2010/09/12/ap/asia/main6858284.shtml (accessed December 5, 2010).http://viiphoto.ning.com/photo/kashmir-wood-carving?context=user (accessed February 7, 2011).http://delhiwatch.wordpress.com/ (accessed December 5, 2010).
T H A N K Y O U .