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Page 1: Megan Culp Undergraduate Portfolio 2013
Page 2: Megan Culp Undergraduate Portfolio 2013

Ball State University College of Architecture and Planning

Bachelors of Science degree in Architecture

Anticipated Graduation in May 2013

Thoughtful, articulate designer with a desire to enter

an appropriate architectural graduate program

with a focus in building technology, critical writing

and expanding her insight into professional practice.

M E G A N C U L P

Page 3: Megan Culp Undergraduate Portfolio 2013

The procurement and design of this portfolio is intended

to exemplify the best of my work during my studies at Ball

State University College of Architecture and Planning. As a

publication, this collection represents a thorough reflection

of my design philosophy and primary thinking. It is divided

into five categories, each consisting of projects in reverse

chronological order from fourth-year complexity and richness

to first-year potential and promise.

During the design of this portfolio, my reflection on these

projects has brought me a greater sense of preciseness as a

designer. Originally, I was inclined to pursue my architectural

studies as a compulsion to follow my adolescent outlook of a

life viewed through an imaginative lens. Ever since childhood,

I remember moving through spaces overlain with my own

fictitious ambitions of a whimsical world. A grove of trees

became a fortified citadel and the border along a retaining

wall sufficing as an acropolis.

B I O

M E G A N C U L P

Upon maturity, I became unsatisfied with a life of a submissive

existence in dreary spaces decided for me. Now, I have an

unquenchable desire to learn what sort of forces make up the most

successful structures we play, sleep, and work within. By pursuing

architecture, I am nourishing this awareness and looking at ways

to find patterns of successful spaces in order to greater serve the

needs of the clients and, perhaps, inspire imaginative people who

share my similar due to awareness. I am inspired greatly by the

timeless works of Louis Sullivan, the monumentality of Alvar Aalto,

the classic sense of Andrea Palladio, and the intensity of Moshe

Safdie.

I am a designer who invents by dreaming, communicates by

diagramming, and lives by writing. Every design is a story with a

plot, message, characters, interpretations, critics, metaphors, and a

wholehearted author.

Page 4: Megan Culp Undergraduate Portfolio 2013
Page 5: Megan Culp Undergraduate Portfolio 2013
Page 6: Megan Culp Undergraduate Portfolio 2013

B R O W N P E L I C A N S

C L A M S / H A R D S C A P E

M A R S H L A N D

F O R T P I N C K N E Y

D E N S E V E G E T A T I O N[ H Y D R O S T A T I C P R E S S U R E ]

S I T E D I A G R A M S + P E R S P E C T I V E M O D E L D O C U M E N T A T I O N

Page 7: Megan Culp Undergraduate Portfolio 2013

S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n

The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts.

The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons. The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes.

The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney.

Here, the ecosystem and biology is delicate and impressionable. Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.

Charleston, North Carolina

F A C A D E P E R F O R M A N C E S C A L E

T H R E S H O L D J O U R N E Y

LIGHTHOUSE/STEEPLE WAYFINDING

S I T E D I A G R A M S + P E R S P E C T I V E M O D E L D O C U M E N T A T I O N

Janice Shimizu-Coggeshall

Page 8: Megan Culp Undergraduate Portfolio 2013

H E A R T H D I S S O L V E

C

A

B

D

1. EXHIBIT2. DISPLAY3. HEAT (HEARTH)4. RELIEVE5. STORAGE6. OFFICE

7. ASCEND8. DESCEND9. EXPLORE10. ENERGIZE

1 23

5

6

7

8

9

10

S E C O N D F L O O R

4

BELVEDERE

PERFORMANCE SPACE

G R O U N D F L O O R

PRECEDENT DIAGRAMS SITE STUDIES

SECTION PERSPECTIVE MATERIAL PERSPECTIVES

A. WOOD FRAME FACADEB. LIGHT GAUGE FRAMINGC. SOIL SURVEY

-SATURATED BOHICKET -BEDROCKD. STRUCTURAL STEEL H-PILE ENCASED IN 2’ DIAMETER CONCRETE W/ CORROSION INHIBITOR ADMIXTURES

Page 9: Megan Culp Undergraduate Portfolio 2013

S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n

APP

ROAC

H

OBS

ERVE

ENTERPERFORM

DESCEND

EXPLORE

FOOTPRINT A P P R O A C H

S O L A R H E A T G A I N D I A G R A M

V E N T I L A T I O N D I A G R A M

PRECEDENT DIAGRAMS SITE STUDIES

SECTION PERSPECTIVE MATERIAL PERSPECTIVES

Page 10: Megan Culp Undergraduate Portfolio 2013

PHYSICAL MODEL DOCUMENTATION

Page 11: Megan Culp Undergraduate Portfolio 2013

The Shute’s Folly Performance Pavilion will align visitors to the significance of the fort in the context of the goals of the Sons of the Confederate Veterans and also offer a sustainable reuse. The existing historical fort gives the island character and provides a destination for Charleston population whom are interested in the performing arts.

The second floor of the open-air belvedere provides an outdoor stage for dancers, thespians, and musicians. By bringing purpose back to the existence of Shute’s Folly, the project will be sure to attract many of Charleston’s local patrons.

SHUTE’S

FOLLY

APP

ROAC

H

OBS

ERVE

ENTERPERFORM

DESCEND

EXPLORE

H E A R T H D I S S O L V E FOOTPRINT A P P R O A C H

F A C A D E P E R F O R M A N C E S C A L E

T H R E S H O L D J O U R N E YB R O W N P E L I C A N S

C L A M S / H A R D S C A P E

M A R S H L A N D

F O R T P I N C K N E Y

D E N S E V E G E T A T I O N[ H Y D R O S T A T I C P R E S S U R E ]

G R O U N D F L O O R 1 ’ = 1 / 3 2 ”

1. EXHIBIT2. DISPLAY3. HEAT (HEARTH)4. RELIEVE5. STORAGE

6. OFFICE7. ASCEND

8. DESCEND9. EXPLORE10. ENERGISE

1 23

5

6

7

8

9

10

PERFORMANCE PAVILION

11’-0

0’-11”

1’-6

”8’-6

7 7 ’ - 8 ”

4 8 ’ - 6 ”6 ’ - 1 0 ”

1’-6”

2 2 ’ - 4 ”

A. WOOD FRAME FACADE

B. STAINLESS STEEL

-LIGHT GAUGE FRAMING

C. SOIL SURVEY -SATURATED BOHICKET -BEDROCK D. STRUCTURAL STEEL H-PILE ENCASED IN

2’ DIAMETER CONCRETE W/ CORROSION

INHIBITOR ADMIXTURES

A

B

C

D

S E C T I O N P E R S P E C T I V E 1 ’ = 1 / 4 ”

H Y D R O S T A T I C P R E S S U R E I S E N D A N G E R I N G T H E S T R U C T U R A L I N T E G R I T Y O F F O R T P I N C K N E Y .

C A L C U L A T E D W E E P H O L E R E L I E F P O I N T S W I L L R E A L I G N T H E

P E R I M E T E R W A L L S .

E X P L O D E D A X O N S O L A R H E A T G A I N D I A G R A M V E N T I L A T I O N D I A G R A M

CASTLE

PINCKNEY

4 ’ - 8 ”

1 1 ’ - 6 ”

5’-0

1’ -6

GAP BETWEEN BOTTOM OF BELVEDERE TO TOP OF FORT

FORT ELEVATION

COARSE PERIMETER AGGREGATE

GAP BETWEEN TOP OF HIGH TIDE TO BOTTOM OF WALKING SURFACE

REUSE OF CASTLE PINCKNEY REPLENISHABLE MATERIALS

LIGHT FOOTPRINT PERFORMANCE VENUE

NET-ZERO CONSIDERATION REUSE OF EXISTING DOCK

S E C T I O N P E R S P E C T I V E P R O F I L E S E C T I O N S [ T O P T O B O T T O M - S O U T H W E S T T O N O R T H E A S T ]

S E C O N D F L O O R 1 ’ = 1 / 6 4 ”

4

LIGHTHOUSE/STEEPLE WAYFINDING

BELVEDERE

PERFORMANCE SPACE

O F F - S I T E P V P A N E L S

The construction and form of the Pavilion is slender and translucent on some planes, but contrastingly opaque on other perimeters. The horizontal orientation of wood grain serves many purposes. The small-scale materiality and meticulousness of its installment creates a suitable rapport with the scale of Fort Pinckney. Here, the ecosystem and biology is delicate and impressionable.

Such a light, floating pavilion ensures there is no disturbance. A centralized fireplace provides a low-maintenance heat source during cold seasons while symbolizing the conventional hearth of a home. This domestication of such a public space reminds visitors that this fort was once home to soldiers.

H E A R T H

E X P L O R E

P E R F O R M A N C ER E N E W A B L E

E N E R G Y

S U P P L I E D T O

I N V E R T E R

0

4 16

328

64

0

4 16

328

64

S h u t e ’s F o l l y P e r f o r m a n c e P a v i l i o n

CRIPE COMPETITION BOARD LAYOUT + SOUTH ELEVATION VIEW

PERSPECTIVE + SECTION LOOKING EAST

Page 12: Megan Culp Undergraduate Portfolio 2013

E X I S T I N G , D E S I G N , + CO N S T U C T I O N P H A S E

Page 13: Megan Culp Undergraduate Portfolio 2013

e c o R E H A B D e s i g n - B u i l d G r o u p P r o j e c t

Participation in this semester’s ecoREHAB design-build studio pertains to rehabilitating a moderately sized residential property located in Muncie’s Old West End neighborhood. The structure was acquired by the program after being placed on the city’s demolition list. The three bedroom and two bath house is part of larger block corridor involved with development by HUD; the U.S. Department of Housing and Urban Development.

This course not only offers students the opportunity to attain construction experience, but a chance at designing a suitable back porch, visual vertical garden buffers, and sustainably responsible rain barrels. The most intriguing part of this project

511 W Main Street Muncie, IN

was being enlightened about the construction process and witnessing unforeseen complications that create instant opportunities for adaptable design strategies. The procurement of construction materials came from local institutions. Attention to craftsmanship added greatly to the monetary value of the house while keeping the overall cost low for marketability.

Group members: Megan Culp, Chloe Tyner and Kyle Schwind

End Cost: $1075

Four month project with intermittent construction days

D E S I G N + CO N S T R U C T I O N

Jonathan Spodek

Page 14: Megan Culp Undergraduate Portfolio 2013

V I E W LO O K I N G W E S T CO N C E P T UA L D I AG R AM S

Page 15: Megan Culp Undergraduate Portfolio 2013

E s t o p i n a l C o m p e t i t i o n 2 0 1 2

Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.

Elevation looking NorthScale 1”=70’

Elevation looking SouthScale 1”=70’

Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.

Union Station

Elevation looking WestScale 1”=70’

Georgia St. Parking Gar.PamAm Plaza

Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.

Elevation looking NorthScale 1”=70’

Elevation looking SouthScale 1”=70’

Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.

Union Station

Elevation looking WestScale 1”=70’

Georgia St. Parking Gar.PamAm Plaza

ELEVATION LOOKING NORTH

ELEVATION LOOKINg west

To depict Indianapolis' uniqueness as the exterior circulation will simulate that of a highway's graceful civil engineering to vertically transport people directly from Georgia Street. First, a person would become enticed by the exclusivity of socialization on the second floor public space and vertical festivities perched on balconies. To reach this suspended destination, patrons would ascend a ramp that runs across the north façade parallel to Georgia Street while being aware that they are making a transition southwards while not feeling isolated

CINCINNATI

LOUISVILLE

CHICAGO

ST. LOUIS

FORT WAYNE

DAYTON

CENTRAL ILL INOIS

south plaza

because they are, all the while, still engaged with Georgia Street. Upon reaching the first landing, they reach an open air plaza providing access to the facades of the hotel lobby and classrooms. This open space has two floors of overhead clearance up to an overhead sky bridge which houses private boutique rooms. The connection of the second floor plaza and Illinois roof garden will be linked by an equally extensive ramp system as seen on the north

rail + road + river

G E O R G I A S T R E E T

structure

G E O R G I A S T R E E T

vertical community

G E O R G I A S T R E E T

ramp accessibility

G E O R G I A S T R E E T

threshold

façade of Georgia Street. However, the south facing façade will express balconies protruding from the private boutique rooms to create the urban situation of people-watching-people for entertainment and safety aspects of PanAm plaza. Reuse of collected rebar from interstate highway demolition reminds visitors of the transportation narrative through materiality.

c r o s s r oa d s o f a m e r i c a ,

getty museum, Los angeles,ca ford calumet environmental center,chicago, il the highline, new york, ny

the estopinal group competition

second and third floor perspective

section looking north

PRIVATEVIEWS

PUBLICaccessibility

exercise room spa outdoor pool area sunbathing snack bar

guest rooms

boutique lobby

admin. career services

libraryw/view to garden

lecture study space roof garden

bake shop classrooms

wine tasting tapas teaching pastry kitchens restaurants access to parking

parking mechanical delivery access mechanical storage

boutique hotel with private access Culinary Institute with public access

guest rooms

guest rooms

guest rooms guest rooms

ground floor plan

g e o r g i a s t r e e t

buil

ding

b

70

georgia street center indianapolis, in spring 2012

a s c e n d

r a m p

10 40

0 20 80

10 40

0 20 80

25 100

0 50 200

25 100

0 50 200

roof garden w/ supply of ingredients

culinary school kitchen on georgia st

transportation theme- boutique room

reuse rebar vegetation overhang

transportation theme- boutique room Georgia street ramp ascension

“a person becomes

enticed by the exclusivity

of socialization on the

second floor”

wall axon

reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns

seasonal vegetation provides direct light diffusion and aestetic shade

underground parking clearance [existing]

15' span open web steel joist

1

1

2

3

4

3

2

Rain water control via habitable roof with sedum trays

5

5

classroom looking south Second floor plaza space panam plaza w/ vegetation third floor balcony looking south

V I E W LO O K I N G W E S T CO N C E P T UA L D I AG R AM S

G E O R G I A S T R E E T

structure

G E O R G I A S T R E E T

vertical community

G E O R G I A S T R E E T

ramp accessibility

G E O R G I A S T R E E T

threshold

RAMP

THRESHOLD

VERTICAL

STRUCTURE

To depict the state capitol’s uniqueness as the [Crossroads of America], exterior circulation will simulate that of a highway’s graceful civil engineering by vertically transporting people directly from Georgia Street. Enticed pedestrians ascend a ramp upon by which they reach a community plaza providing 24/7 access to the hotel lobby and classrooms. The south facing façade will

express balconies protruding from the private boutique rooms to create the urban situation of people-watching-people for entertainment and improved safety of PanAm plaza. The materiality of repurposed rebar from interstate highway demolition reminds visitors of the transportation narrative.

Downtown Indianapolis PanAm Plaza

ACCESSIBILITY

COMMUNITY

Andrea Swartz

Page 16: Megan Culp Undergraduate Portfolio 2013

reused rebar extracted from highway demolition. attatched to light gauge steel frame envelope and subsequent steel columns

seasonal vegetation provides direct light diffusion and aestetic shade

underground parking clearance [existing]

15' span open web steel joist

1

1

2

3

4

3

2

Rain water control via habitable roof with sedum trays

5

5

AXONOME TRIC DIAGRAM SECTION LOOKING NORTH

Page 17: Megan Culp Undergraduate Portfolio 2013

AXONOME TRIC DIAGRAM SECTION LOOKING NORTH

E s t o p i n a l C o m p e t i t i o n

PRIVATEVIEWS

PUBLICaccessibility

exercise room spa outdoor pool area sunbathing snack bar

guest rooms

boutique lobby

admin. career services

libraryw/view to garden

lecture study space roof garden

bake shop classrooms

wine tasting tapas teaching pastry kitchens restaurant access to parking

parking mechanical delivery access mechanical storage

BOUTIQUE HOTEL WITH PRIVATE ACCESS CULINARY INSTITUTE WITH PUBLIC ACCESS

guest rooms

guest rooms

guest rooms guest rooms

10 40

0 20 80

Capitol St. Section of Ice Rink Illinois St. Omni Severlin Hotel Parking Lot Meridian St.

Elevation looking NorthScale 1”=70’

Elevation looking SouthScale 1”=70’

Apartment and O�ce Apartments Meridian St. Mixed Use Omni Hotel Illinois St Pan Am Tower Capitol St.

Union Station

Elevation looking WestScale 1”=70’

Georgia St. Parking Gar.PamAm Plaza

ELEVATION LOOKING NORTH 25 100

0 50 200

Page 18: Megan Culp Undergraduate Portfolio 2013

M O D E L D O C U M E N TAT I O N P R E L I M I N A R Y D I A G R A M S + E X P E R I E N T I A L S

Page 19: Megan Culp Undergraduate Portfolio 2013

Bacteria Barrel (6)gravity-fedrequires bacteria -light -vegetation for home

Muncie Municipal Center- “ l iving machine”

The Muncie Municipal Center provides a transparent, educational destination to explore [horizontal and vertical circulation], thrive [exercise and purchase], and own [seating for venue to south] as an entirely unique experience. Its design intent was to allow light, people, and water to percolate through the water treatment process. This created a space that hummed to life with the filtration process. Exploration was provided by the extensive balcony system which moved

Walnut Street Downtown Muncie, IN

SupplyBlack water

requires electricity

Sludge Filter (2)gravity-fedcaptures solid particles

Lagoon (2)gravity-fedbacteria + fish -vegetation for home

Dry Bed (1)requires electricityintended to kill bacteriadark and dryfine and course rock

Storage (1)requires electricity

Either stores or celebrates processed

grey water

visitors above, below, and around the water treatment process. Citizens are meant to thrive by the use of an exercise facility that simultaneously powers the treatment process turning mechanical energy into electrical energy. Additionally, a healthy lifestyle is encouraged by the placement of a bike shelter on the eastern side.

M O D E L D O C U M E N TAT I O N P R E L I M I N A R Y D I A G R A M S + E X P E R I E N T I A L S

Andrea Swartz

Page 20: Megan Culp Undergraduate Portfolio 2013

Circulation Water Treatment

Overhead Envelope/Massing

SYSTEM DIAGRAMS ELE VATION LOOKING NOR TH CONCEPT SKE TCHES

Page 21: Megan Culp Undergraduate Portfolio 2013

Muncie Municipal Center- “ l iving machine”

Private

Semi-Private

Semi-Public

Public

SECTION LOOKING WEST

15.00

Wa

lnu

t S

tre

et M

ulb

erry

Stre

et

GROUND FLOOR

SYSTEM DIAGRAMS ELE VATION LOOKING NOR TH CONCEPT SKE TCHES

Page 22: Megan Culp Undergraduate Portfolio 2013

M O D E L D O C U M E N TAT I O N P R E L I M I N A RY D I AG R AM S

Page 23: Megan Culp Undergraduate Portfolio 2013

G reen Workforce Training CenterNorth of Indianapolis Children’s Museum, Indianapolis, IN

D e s i g n I n t e n tC o n s c i u s n e s s - A w e l l - a r t i c u l a t e d s k i n t h a t c a p t u r e s d i r e c t a n d d i f f u s e s u n l i g h t ; r e i n f o r c e s s a w a r e n e s s o f e x t e r i o r l i g h t v a l u e s / t i m e o f t h e d a y.

E d u c a t i o n - A v e g e t a t i v e r o o f w i l l b e a l e a r n i n g t o o l u s i n g s e d u m t r a y s ; “ l o w m a i n t e n e n c e , l o w t r a f f i c ” a n d a h a b i t a b l e r o o f g a r d e n .

S y s t e m s - N o r t h / S o u t h e x t e r i o r, m i c r o c l i m a t e s , a n d D r o p c e i l i n g / a c c e s s f l o o r s ; p r o d u c e g o o d i n d o o r a i r q u a l i t y .

A d v a n t a g e s - T h e p u b l i c a t r i u m s p a c e w i l l b e o p e n d u r i n g n o n - b u s i n e s s h o u r s t o p r o v i d e h o s p i t a l i t y .

The intention of this structure is to provide helpful guidance for an unemployeed workforce population scattered through Indianapolis. The metaphor of two tetonics plates coming together and creating friction is a symbol for the provided educational opportunities and the workforce colliding

together and creating progressive momentum in the community for the progression forward of these individuals as responsible contributors to society. This point of climax is marked by a dynamic atrium space that is filled with activity and learning. The program required a total of 31,000 square feet.

M O D E L D O C U M E N TAT I O N P R E L I M I N A RY D I AG R AM S

Robert Koester

Page 24: Megan Culp Undergraduate Portfolio 2013

A

A GROUND FLOOR PLAN + SECTION LOOKING EAST E X P E R I E N T I A L I M AG E S CO N T E X T S K E TC H E S

W 3 2 n d S t r e e t

Me

ridia

n S

t ree

tN

Ill

ino

is S

tre

et

Page 25: Megan Culp Undergraduate Portfolio 2013

G reen Workforce Training Center

GROUND FLOOR PLAN + SECTION LOOKING EAST E X P E R I E N T I A L I M AG E S CO N T E X T S K E TC H E S

The Indianapolis Children’s Museum

Page 26: Megan Culp Undergraduate Portfolio 2013

Green roof Grid sedum trays

Integrated partitioningResponds directly to lightshelves

Drop ceiling- 2’ gap for return air

Access floor structure.Stringers spaced 4’ grid

Steel structure

20’ incremental columns

T E C TO N I C AXO N O M E T R I C V I E W S U N L I G H T A N G L E D I AG R AM S AC T I V E S YS T E M D I AG R AM

Page 27: Megan Culp Undergraduate Portfolio 2013

G reen Workforce Training CenterDecember Solstice- Noon 9 a.m. /3 p.m. 15 / 28

June Solstice - Noon 9 a.m. /3 p.m. 48 / 75

Mar/Sept Equinox - Noon 9 a.m. /3 p.m. 33 / 52

The average of these direct sunpaths throughout the year create common intersections. The average distance between intersections expresses where a lightshelf should be placed. AV distance or proportion = 1.92 ft.

Raised floor supplies coolth to space. Return air circulated by drop ceiling

T E C TO N I C AXO N O M E T R I C V I E W S U N L I G H T A N G L E D I AG R AM S AC T I V E S YS T E M D I AG R AM

Page 28: Megan Culp Undergraduate Portfolio 2013

SOUTH CORRIDOR PERSPECTIVE I N D I A N A CO N C R E T E MA S O N RY A S S O C I AT I O N CO M P E T I T I O N F I N A L I S T- E XC E P T I O N A L B OA R D L AYO U T

Page 29: Megan Culp Undergraduate Portfolio 2013

I ndiana Concrete M asonr y Asso ciation Comp etit ionSouth of Indianapolis IUPUI Campus along White River Canal I N D I A N A C U LT U R E C E N T E R

T r i b u t e t o H o m e t o w n H o o s i e r H e r o e s

V i c i n i t y M a pWest of downtown Indianapolis, IN

Indianapolis Canal Walk

S i t e P l a n

IUPUI CAMPUS. PRIDE. ACCESSIBILITY

RIVER TRAIL

Pedestrian BridgeRounding a CornerStrong Canal BendTopographic Hierarchy

MARRIOT HOTEL

INDY SKYLINE

CIRCLE CENTER

D i a g r a m s

S i t e S e c t i o n

This museum will be dedicated to the individual faces of Indiana and what they claim from this vast farmland

of the Midwest. Sure, everyone is familiar with the network of highways across Indiana, but only Hoosiers

are familiar with the country roads and small towns that these bustling Interstates eventually empty into.

Every country road will surely turn into a Main Street with rustic store fronts from

generations past. This is the true journey home for Hoosiers and the heart of Indiana culture.

The design engages the canal walk to conjure up the experience of walking down Main Street. The

corrugation of exterior walls is a logical application of concrete masonry at its

best while allowing pedestrians to engage the “Main Street store front” windows that will depict museum

exhibitions of cultural icons of the past, present and future. Visitors will have the opportunity to engage in

memorabilia left by familiar Hometown Heroes.

F o r m a sEntrance for people on foot venturing into Circle Center from IUPUI by means of the Canal Walk

Corrugation of CMU walls to implement masonry in its strongest form

Storefront facade created by the extraction of rectangular forms. The void left over separates individual galleries while providing convenient storage and space for coordinating additional exhibits

DEC 21

MAR 20

seating (glare?) light sensitive artifacts passive corridor courtyard

P r o b l e m a t i c D i r e c t S u n S u n l i g h t D e f i c i e n c y

D i f f u s e

exterior vegetation and light shelf diffuses light sloped skylight distributes diffuse light

D a y l i g h t i n gN a n d W s e c t i o n d i a g r a m s

S t r u c t u r a l D i a g r a m

F l o o r P l a n

S e c t i o n A L o o k i n g N o r t h

S e c t i o n B L o o k i n g E a s t

S o u t h E l e v a t i o n

W e s t E l e v a t i o n

A

B

C M U d o u b l e w y t h e w a l l s w i t h p i l a s t e r s e v e r y 1 8 ’

0

2

4

8

16

0

2

4

8

16

0

2

4

8

16

10

020

40

60

1” = 60’

0

1

2

4

7

1/2” = 1’Axon Wall Section

1/16” = 1’

1/16” = 1’

All materials in nature, the mountains and the streams and the air

and we, are made of Light which has been spent, and this crumpled

mass called material casts a shadow, and the shadow belongs to

Light-Louis Kahn

Everyone is familiar with the network of highways across Indiana, but only Hoosiers are familiar with the country roads and small towns that these bustling Interstates eventually empty into. Every country road will surely turn into a Main Street with rustic store fronts from generations past. This is the true journey home for Hoosiers and the heart of Indiana culture. The corrugation of exterior walls is a logical application of concrete masonry at its best while allowing pedestrians to engage store front windows that will depict museum exhibitions of cultural icons of the past, present and future.

The 2011 Indiana Concrete Masonry Association Competition was a simultaneous lesson in the practical application of masonry while also a discovery in a way to celebrate the best qualities of Indiana’s landscape most familiar to myself as a Hoosier. The jury selected my project as a finalist on grounds of exceptional board layout design and narrative. The program called for roughly 25,000

square feet of public space for the observance of interactive Indiana culture. Eight galleries would feature distinct aspects such as sports memorabilia from the Indianapolis 500, artwork and writings of famous Hoosiers, and performance space for guest visits. The key to the design’s success was bequeathing individuality to each gallery while maintaining an importance to the pedestrian canal walk.

SOUTH CORRIDOR PERSPECTIVE I N D I A N A CO N C R E T E MA S O N RY A S S O C I AT I O N CO M P E T I T I O N F I N A L I S T- E XC E P T I O N A L B OA R D L AYO U T

Rod Underwood + Jeff Culp

Page 30: Megan Culp Undergraduate Portfolio 2013

7 13/16” SPLIT BLOCK HOLLOW VENEER3” AIR AND DRAINAGE CAVITY2” EXTRUDED POLYSTYRENE INSULATIONLIQUID APPLIED MEMBRANEHOLLOW CONCRETE MASONRY BLOCK AXON WALL SECTION MASTER PLAN + SECTION LOOKING NORTH MODEL DOCUMENTATION

Page 31: Megan Culp Undergraduate Portfolio 2013

Indiana Concrete Masonr y Association Competition

AXON WALL SECTION MASTER PLAN + SECTION LOOKING NORTH MODEL DOCUMENTATION

W h i t e R i v e r C a n a l Wa l k

I U P U I C a m p u s

Page 32: Megan Culp Undergraduate Portfolio 2013

D I R E C T S U N L I G H T S T R I K I N G W E S T C H A L K B OA R D I N S I D E P R E L I M I N A RY H E L I O D O N M O D E L NORTHWEST VIEW OF OVERCAST SKY DIFFUSE DIRECT LIGHT

Page 33: Megan Culp Undergraduate Portfolio 2013

Overcast light is cupped and spills into interior, first coming into contact with curvilinear extrusions facing south

Curvilinear forms dissipates diffuse light further using the backside of each parallel form

Design must assist HVAC system dissipation

Surface reflectance is noted with research showing a clear order of importance; ceiling, back wall, and finally sidewalls.

Classro om Daylighting Design

D I R E C T S U N L I G H T S T R I K I N G W E S T C H A L K B OA R D I N S I D E P R E L I M I N A RY H E L I O D O N M O D E L NORTHWEST VIEW OF OVERCAST SKY DIFFUSE DIRECT LIGHT

This lab project intended to teach how to properly light the task planes in a K-12 classroom. The first step was zoning adequate light values based on programmatic needs according to the depth of the room from the exterior wall and corresponding apertures. The design solution included clearstory openings accented with curvilinear forms that cup and redirect soft light into the interior.

Specific attention was required to the project’s latitude at fifty degrees north of the equator where direct horizontal light must be dissipated by the southern facade. The soft curves are intended to dissipate the light to a specific path of surfaces; ceiling, back walls, and finally to the side walls. Absorbing the southern wall’s direct light asked for a far more opaque aperture with rectilinear openings. When arranged at a proper angle, direct light was only allowed at the most

A

B

C

D

E0.00

2.00

4.00

6.00

8.00

10.00

12.00

2 - South

3

4

5

6 - North

Adj. Daylight Factor

10.00-12.008.00-10.006.00-8.004.00-6.002.00-4.000.00-2.00

A

B

C

D

E0.00

2.00

4.00

6.00

8.00

10.00

12.00

2 - South

3

4

5

6 - North

Adj. Daylight Factor

10.00-12.008.00-10.006.00-8.004.00-6.002.00-4.000.00-2.00

extreme dawn and dusk moments of the day. View was maintained by altering this angle to be pivoted greater as the aperture fins move inward from the structural walls. Here, direct light is less intrusive at noon and thus views can take pertinence.

Glenn Sweitzer

Page 34: Megan Culp Undergraduate Portfolio 2013

+ +

- -

N

- +

+ -

-

A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t

I s o Vi e w Lo o k i n g N o r t hwe s t

Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N

wind from South

Fl u i d M a p

Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.

Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.

Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.

Results: All air circulated and flowed through well

Conclusion: All objects were achieved.

+ +

- -

N

- +

+ -

-

A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t

I s o Vi e w Lo o k i n g N o r t hwe s t

Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N

wind from South

Fl u i d M a p

Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.

Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.

Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.

Results: All air circulated and flowed through well

Conclusion: All objects were achieved.

PLAN VIEW- SOUTH PREVAILING WINDS ISO VIEW LOOKING NORTHWEST

SECTION LOOKING WEST

+ +

- -

N

- +

+ -

-

A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t

I s o Vi e w Lo o k i n g N o r t hwe s t

Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N

wind from South

Fl u i d M a p

Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.

Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.

Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.

Results: All air circulated and flowed through well

Conclusion: All objects were achieved.

+ +

- -

N

- +

+ -

-

A R C H 2 7 3 | S p r i n g 2 0 1 1 | S w e i t z e r | A s s i g n m e n t 7 | Ve n t i l a t i o n | M . C u l p M . P e y t o nPl a n ( S o u t h p re va i l i n g w i n d ) S e c t i o n Lo o k i n g We s t

I s o Vi e w Lo o k i n g N o r t hwe s t

Window Type Inlet Area Dimensions Orientation Outlet Area Dimensions OrientationHopper 8 sq ft. 2 x 4 S 16 sq ft 4 x 4 N

wind from South

Fl u i d M a p

Intent: The design intent for the Farnsworth house was to provide cross ventila-tion in two areas. These two ares include the head of the bed in the bedroom and the surface of the dining room table.

Criteria: The area of the exiting window has to be twice the size of the entering window in order to achieve adequate cross ventilation.

Method: In the bedroom we used low to low opening to keep the wind down. In the dining room, we used high to high to being the air up to the table and mov-ing the hot air away from the people. In the living room there was a low to high system that brought the harm air out of the room and using the vent to displace the hot air in the atmosphere.

Results: All air circulated and flowed through well

Conclusion: All objects were achieved.

Page 35: Megan Culp Undergraduate Portfolio 2013

LOW INLOW OUT

LOW INHIGH OUT

+

-

-

HIGH INHIGH OUT

+

Venti lation- Water Table Study

The design intent of this research was to provide cross-ventilation in two specific spaces; the head of the bed to be occupied by persons who wish to be cooled during sleep and the surface of the dining room tables. During initial design, a strong goal was to maintain that the area of the exiting window had to be twice the size of the entrance window in order to achieve adequate cross ventilation.

In the bedroom, it was appropriate to use low openings as to keep the wind from being over intrusive. In the dining room, it

PLAN VIEW- SOUTH PREVAILING WINDS ISO VIEW LOOKING NORTHWEST WATER TABLE USED TO REPRESENT AIR FLOW

was inversely appropriate to use high apertures parallel across from high apertures in order to move the air upward and away from the table surface. In the living room, there was a low to high system that brought the coolth into the room and dispelled hot air upwards and outwards.

Results were depicted in a water table model to depict air flow. All air was circulated as planned. The experiment was useful in learning how to calculate window area, placement, and subsequent air flow intrusion.

Mies van der Rohe’s Farnsworth house

Glenn Sweitzer

Page 36: Megan Culp Undergraduate Portfolio 2013

EXERCISE ON SITE DEVELOPMENT + GRAPHICS

Page 37: Megan Culp Undergraduate Portfolio 2013

Nova S cotia Site Plan

Detailed master plans are one of the most clear ways to show a site, especially in the framework of landscape elements. For the fictional development of Rose Bay, Nova Scotia, space and landscape architecture was best defined by detailed plan views. A series of streets, boulevards, pedestrian trails and housing along the coast came together in a composition.

Nova Scotia, Rose Bay

This community was conveyed as suburban if not somewhat rural, in relation to typical housing communities. Satisfactory line weight was crucial to show depth from a rather high plan view. Roof lines and mature trees were shown in thicker line weight than ground cover, such as sidewalks and scale figures.

EXERCISE ON SITE DEVELOPMENT + GRAPHICS

Vera Adams

Page 38: Megan Culp Undergraduate Portfolio 2013
Page 39: Megan Culp Undergraduate Portfolio 2013

Analytic al Comp osite D rawing

Drawing technique is crucial to the successful communication of design. This project encouraged myself to improve my drawing techniques for the application of orthogonal projections and spatial volumes. Transformer figurines prove useful in gaining experience with this technique since they are composed of many unfolding crevices and voids. These lines are similar to what would be required

when drawing a complex axonometric view of a structure. As I progressed with these sketches I began to understand new ways of depicting internal space, which is identified here using cut planes. Shading provided a sense of materiality and depth to a perceived directional view. Ability to identify a clearer understanding of perspective, axonometric, elevation, plan and section was strengthened.

Jason DeBoer

Page 40: Megan Culp Undergraduate Portfolio 2013

R E S I D E N T I A L S E C T I O N

Page 41: Megan Culp Undergraduate Portfolio 2013

Cabin Design Work ing D rawings

Assembling appropriate working drawings for a project is essential to the success of the communication between designer and contractor. However simple, this cabin requires a hefty set of working drawings in order to communicate its’ assembly, materiality and structure. Working in groups of four, this project was a great lesson in communicating with teammates to create, edit, and organize many drawings into one set for review and further editing as if in a formal architecture firm. This first pass at AutoCAD taught me many aspects of the program, especially the importance of line weights,

hatches, and appropriate measurements. Having a comprehensive background in AutoCAD is standard for all undergraduate students, however, having an early comprehension of how this information can influence contractor bids, client feedback, and timely on-site construction improves an architect’s ability to make a profit and contribute to the progress of the firm.

Group members: Megan Culp, Kourtney Timmons and Emily Yu

EX TERIOR DE TAIL

SITE PLAN

Tim Gray

Page 42: Megan Culp Undergraduate Portfolio 2013

M O D E L D O C U M E N T A T I O N

Page 43: Megan Culp Undergraduate Portfolio 2013

Cabin Design Work ing D rawings

D E TA I L S + D I G I TA L M O D E L

4

4

Page 44: Megan Culp Undergraduate Portfolio 2013

ROBIE HOUSE CHICAGO, IL TRAVEL SKETCHES 2011

Page 45: Megan Culp Undergraduate Portfolio 2013

Travel Sketches

ROBIE HOUSE CHICAGO, IL TRAVEL SKETCHES 2011

Page 46: Megan Culp Undergraduate Portfolio 2013

MUNCIE WHITE RIVER RESTAURANT + KAYAK LAUNCH SITE -2010 Top: SOLID/VOID Bottom: “FARMER’S MARKET” SKETCH-2010 “AUGUSTUS” STIMPLE INKWORK- 2010

Page 47: Megan Culp Undergraduate Portfolio 2013

MUNCIE WHITE RIVER RESTAURANT + KAYAK LAUNCH SITE -2010 Top: SOLID/VOID Bottom: “FARMER’S MARKET” SKETCH-2010 “AUGUSTUS” STIMPLE INKWORK- 2010

Sketches

Page 48: Megan Culp Undergraduate Portfolio 2013

The Glass HouseNew Canaan, Connecticut

H I L I P J O H N S O N

D e s i g n A p p r o a c h

Say what you will about Philip Johnson’s trials and tribulations with the International style. Johnson was smart in now allowing himself to become hypnotized by the glare of the transparent curtain wall and uncommitted free floor plan. Instead, Johnson took an amiable gamble halfway through his career and opted to play on tried and true architectural forms that reminded people of their humanistic origins accustomed to stone and mortar rather than cold steel and glass. Perhaps America was too young compared to the rest of the stylish world and did not share in Europe’s jaded opinion of historical technologies.

Critics were wrong in condemning Johnson as a threat to the progression of the modern movement. What he did was ingenious at offering the urban landscape a taste of what could be created from the combination of Palladio’s graceful, proportional archways with Louis Sullivan’s impeccable formula for the city skyscraper.

Starting with his early career during the 1930’s, one would describe Johnson’s process being highly involved with the International Style. As Mie’s peer, his intent was to push the modern style to a point where it was the solvent to the production of cheaper structures, not cheaper in quality, but cheaper in the assembly of appendages. Eventually, Johnson became restless and was “getting bored of the box.” His answer to this stagnant period of his creativity was self-remedied by a rekindling of historical elements. This was a bold move on his part and was not so widely accepted by the post-modernists in the 1950’s who criticized his AT & T Building as a step backwards in the name of an architecture culture. The success in Johnson’s approach peered from the fact he never denied his designs the familiarity of simple nostalgic forms such as the immortal arch.

Author John O’ Conner quoted Johnson during an interview near the end of his career saying, “Mies came in only by thumbing his nose at history. But I came in through history, and that’s exactly opposite to the way most modern architects came in. I wasn’t a form giver like Mies. I suspect that it’s due to a lack of originality on my part. I wasn’t making new shapes. I was looking for a haven, a way to use my knowledge of history” (O’ Conner 159).

The problem on the table for architects of his time was how to celebrate the dull glass-box office building that was quickly becoming the customary real estate answer to the business-hungry capitalistic market. In Johnson’s mind, what better way to reinvent the tall office building than to return it to the intentions of the creator, Louis Sullivan. His design for the American Telephone and Telegraph building in New York during 1979 would be his

Sony Building (AT &T)New York, New York

Seagram BuildingNew York, New York

hilip Johnson was born in 1906

in Cleveland, Ohio at first with

no specific inclination to become

a professional architect, but

instead, aspiring to dawn the hats of many

similar architectural trades including client, critic, author,

historian, and museum director.

At the age of 36, Philip Johnson would partake in his first

pass at designing the built environment, and in doing

so, become one of the most influential architects of the

modern movement. As clear from his regular crowd

of renowned architects Mies van der Rohe and John Burgee, he was among the

greatest designers of his time, all in collection to solve the execution of the newly

minted International Style in America.

His first project ,as being both the client and the designer, would be commissioning

his home in New Canaan, Connecticut. The Glass House would become one of

his most familiar works and was the start of his execution using the rationalist

style. However, mid-career Johnson would bookend this period with the Seagram

Building in collaboration with Mies van der Rohe. The next chasm of his design

technique started in the 1950’s, and would define his acceptance of historic

architectural principles.

Lipstick BuildingNew York, New York

Gate of EuropeMadrid, Spain

contributive solution. Returning to the basics of the tall office building included the integration of the “tripartite division” of vertical space; first two floors being street-permeable, the middle floors being extruded commercial real-estate, and then a meaningful form to close off the verticality and connect the structure to the sky. It was ridiculed as a redundant return to post-modernism proven by the adornment’s seemingly removed qualities. Attachments such as the broken pediment on the roof scape, a cookie-cutter archway “reminiscent of Brunelleschi’s Pazzi Chapel” defining the threshold, and columns peppering the lobby could not be rectified from serving any other purpose than as “cosmetic features” (Curtis 597).

“I wasn’t a form giver like Mies. I suspect that it’s due to a lack of originality on my part.”

...I was looking for a haven, a way to use my knowledge of history.”

- Philip JohnsonM e g a n C u l p F a l l 2 0 1 1 M i d d l e t o n A R C H 3 2 9

b e s t k n o w n f o r

1 9 0 6 - 2 0 0 5

K e y I n s i g h t s

Bank of America CenterHouston, Texas

1 9 4 9 1 9 5 8 1 9 8 3 1 9 8 4 1 9 8 6 1 9 9 6

International Post-modern

PPG PlacePittsburg, Pennsylvania

G l a s s H o u s e

S e a g r a m B u i l d i n g

A T & T B u i l d i n g

L i p s t i c k B u i l d i n g

Page 49: Megan Culp Undergraduate Portfolio 2013

Photo graphy + B oard G raphics

Page 50: Megan Culp Undergraduate Portfolio 2013

The Gordon Strong Automobile Objective- excerptFrank Lloyd WrightFrederick, Maryland- Sugarloaf Mountain Designed 1924-1925

Birth of the Roadside Attraction

During the 1920’s the American dream that “anyone could achieve

anything” was well under way thanks to a time of economic prosperity. The

addition of Henry Ford’s mass assembly line made the Ford automobile

an inexpensive two hundred and ninety dollars (Whitley, 1999). As rolling

asphalt flowed in front of these eager motorists, it set the stage for a new

responsive architecture. According to Richard Cleary author of the 2009

book, Frank Lloyd Wright: From Within Outward, Chicago businessman

Gordon Strong presented Frank Lloyd Wright his first opportunity to

invent the American roadside tourist attraction.

Solving a Problem

From the beginning, Wright’s intentions were clear: people needed

meaningful journeys in their cars that terminate at a destination. This

journey and destination should glorify the automobile as a welcomed

entity of human life and a portal to a higher mental sense of escape

or freedom. Additionally, if the idea of a road trip could be routine in

American lives, it would encourage families to bond and make memories.

Progression to the summit

The uniqueness of the Gordon Strong Automobile Objective lies in its

conceptual form that allows a series of cars to physically enter the facility

and progress upward by a spiral ramp. The big idea -- only simulated in

today’s world by dismal, unattractive and unoccupied parking garages

-- was to combine the logical spiral path of a ziggurat with the habitable

program of a mega-roadside attraction. The spirit of this place was meant

to attract the American family on their Sunday drive and draw them to

the summit through the procession up the ramp. Client Gordon Strong

also called for designated parking, a dining venue, and flexible spaces for

exterior and interior galleries with weather permitting.

First Decisions –Ziggurat Scheme

Massaging the exterior relief was the first stage of three installments

during the design process. Wright made the toughest decisions first by

becoming devoted to a rational, organizing form. As a Harvard University

architectural historian Neil Levine suggested in the 2010 documentary

venerating the Guggenheim museum, this project reflects a religious

reference back to the ziggurats historically built to gain access to heaven

(Levine, 2010). We know now that Wright thought highly of the car, even

perhaps glorifying it as a portal of freedom and thus, a self-gifted divine

state of being. His later work of Broad Acre City in 1932 goes so far as to

wipe out all traces of pre-automobile behaviors and replace them with an

entirely automobile-oriented landscape in hope of achieving a utopian

society.

Second Decision – Theatre Scheme

Whatever Wright’s intentions were with the ziggurat form, it flourished

when combined with additional programmatic necessities. In 2009, Phil

Patton of The New York Times wrote an article titled “An Auto Destination,

Almost,” which quoted Wright as saying the summit was to provide the

car “the very quality of its movement, rising and adapting itself to the

uninterrupted movement of people sitting comfortably in their own

cars in a novel circumstance with the whole landscape revolving about

them” (Patton, 2009). Once a family thoroughly embraced the situation,

they were encouraged to park and exit their cars at a summit point and

descend into the structure to enjoy interior delights such as a dining hall

and dancing.

Planetarium Scheme

Creative Writing- Character Development Poem

Page 51: Megan Culp Undergraduate Portfolio 2013

Third Decision- Planetarium Scheme

Wright felt compelled to keep pushing his design and thus began

neglecting his client’s primary goal of constructing a commercial

destination. Wright then situated a planetarium at the structure’s center

and suggested the dome itself would become the “support for all the

design elements surrounding it” (Cleary, 2009, p 174). This move drastically

changed the spaces in section while simultaneously replacing the column

structure with that of a new “superstructure carried by a thin-shelled

dome” (Reinberger, 1984, p 44). Finally, Wright had achieved the celestial

perception of ascending through space while driving upwards. Now,

the tower was in its purist form and responsive to its initial purpose. As

Reinberger wrote, “all these changes made the Planetarium Scheme more

streamlined, more responsive to the moving automobiles that were its

original inspiration” (Reinberger, 1984, p 44). His first pass at introducing

curvilinear forms into his typically orthogonal forte later reappeared in the

Guggenheim Museum in 1959.

Points and analysis

The first two phases of the design --the ziggurat and theatre scheme

-- seemed sound enough, but once Wright changed the structural

organization from concentrated columns to becoming entirely dependent

on the observatory’s internal shell, construction became unrealistic. He

surrendered emphasis and square footage to the central observatory to the

point where Strong’s dining hall, theatre, and private rooms were pushed

out of the picture. Wright was in a vulnerable part of his career. Flirting

with this curvilinear form was a delight to his normal routine of residential

rectilinear forms, but it blurred his vision to the task at hand.

Read more at h t t p : / / a r c h 3 2 9 c u l p . b l o g s p o t . c o m /

Creative Writing- Character Development Poem

MOLDS

I stretch out my fingers after the m e t i c u l o u s scribbling of my hand

I see spaces yet defined and enclosed

I touch the pencil to the vast white unknown

I feel the ideas slip down my fingers

The lead coming to rest at the corners

Then disappearing into the depth

It enters a new dimension of the paper

Puncturing a hole into a set of ideas yet unraveled

The design starts out vague, then takes on a personality

It will take patience to discover what it wants to be

I will design my hearth and home someday

My mind leaves my body as I float through these drawings and folds

I want the design to be as free as it desires

Only pulling on the reigns to navigate through proportions

And the stubborn tick of gravity

I hope to someday walk through these buildings of mine

I a m a d e s i g n e r a n d a d r e a m e r

And the intent slowly stretches and

into understanding

Page 52: Megan Culp Undergraduate Portfolio 2013

M e g a n C u l p (765) 437-5999

[email protected]

MCObjectiveTo articulate professional insight pertaining to educational, scholarly, and architectural experience.

EducationLogansport High School, Class of 2009Academic Honors Diploma

Ball State UniversityBachelors of Architecture, anticipated completion May 2013Cumulative GPA: 3.397Dean’s List GPA: 3.627 Spring Semester 2012

Work ExperienceInternship Worked for Dimensions, Inc. as a paid summer intern once per week 110 East Alto Road Kokomo, IN 46902 (765) 453-2244 -Learned proper firm filing procedures for billing, change orders, and plotting methods -Took site measurements and photographs along with meeting clients and contractors -Performed AutoCAD drafting of interior plans and corresponding schedules, detail changes, and elevation keys -Acquired a great deal of knowledge specifically concerning projects in the hospitality and commercial markets -Attended lunch-and-learns and became familiarized with interior components -Assisted in calculating site spot elevations and grade changes -Expressed talent with graphic standards on presentation quality furniture floor plans

College-level OrganizationsAASHE Member -Association for the Advancement of Sustainability in Higher Education Park Residence Hall Council -Public Relations creative thinker for qualitative approaches in engaging hall residents -Executed campaigns for hall events to facilitate resident involvement

May-August 2012

August 2009-Present

April 2012-Present

Page 53: Megan Culp Undergraduate Portfolio 2013

M e g a n C u l p

MC

Resume

Ball State Opening Committee -Oriented freshmen students and parents to campus during opening week activities -Prepared informative packets, room amenities, and directional signage Muncie Living Lightly Fair Volunteer -Assisted in informing residents about environmental and practical alternatives to achieving a sustainable lifestyleEmerging Green Builders -BSU chapter of USGBC ( U.S. Green Building Council) - Discusses latest passive design and renewable energy sources to educate studio design and increase awareness of the industry of architecture on the environmentecoREHAB -Participated in design-build studio regarding issues in low-income housing -Carried out renovations at 511 W Main Street, Muncie, Indiana to restore a moderate size residential property by providing a suitable back porch, visual vertical garden buffers and sustainably responsible rain barrels

CVS/pharmacy Part-time cashier/clerk -Rotated merchandise and displays in addition to unloading weekly truck deliveries -Interacted as helpful, cooperative employee in assisting customers -Received training in photo lab processing of digital and film photos

Awards/ RecognitionsFinalist in Indiana Concrete Masonry Association Competition -Judges noted exceptional board layout, narrative, and graphicsAwarded College of Architecture and Planning Travel Scholarship funded by Alumnus Brad BarkerNominated for National Residence Hall Honorary Executive Member of the Month Technical Skills -Knowledgeable in Rhinoceros 4.0, AutoCAD 2012, Google SketchUp, Climate Consultant, Windows 7 operating system, Adobe InDesign, Photoshop, and Illustrator software -Currently acquiring a background with Revit Architecture 2013 software and BIM technology

August 11-19, 2012

September 2012

Fall 2012

Fall 2012

intermittently from 2005 to present

April 2010

September 2012October 2012

Page 54: Megan Culp Undergraduate Portfolio 2013

M e g a n C u l p

MC

July 2008

Fall 2009

Fall 2009

Spring 2010

Fall 2010

Fall 2011

Fall 2012

Writing/Communication Skills -Attended the Ball State University Journalism Workshop -Comfortable writing in a multitude of styles, topics, audiences and formats (essays, reviews, narratives) -Writer on high school newspaper staff for four years -Awarded with an executive position of Editor-in-Chief leading fifteen peers in producing a high quality publication for the Logansport School Corporation and community -Completed foreign language advance placement college course Spanish 102 -Writing examples are available at http://arch 329culp.blogspot.com/

Significant TravelChicago, IL -Crown Hall, Illinois Institute of Technology, The Robie House, Unity Temple, and Oak ParkSt.Louis, Mo -Missouri Botanical Garden and the Contemporary Art Museum of St. LouisMontreal, Canada -Habitat 67, Moshie Safdie, Quartier des Spectacles, and the1976 Summer Olympic StadiumOttawa, Canada -National Gallery of Canada, Moshie Safdie and the Canadian War MuseumNew York, NY -Solomon R. Guggenheim Museum, Hearst Tower interior tour, High Line Walkway, Lot-Ek architect firm, and World Trade Center ComplexLos Angeles, CA -Frank Gehry’s Walt Disney Concert Hall, SCI-Arc Institute, Morphosis office, Hollyhock House by Frank Lloyd Wright, and the Getty Museum

References available upon request.