Design&Formal EDUCATION : 2007 - 2012 DRURY UNIVERSITY // Major(s): Bachelor of Architecture Minor(s): Art History, Design Arts, Global StudiesDesign&Formal EXPERIENCE : 5.2008 - 8.2010 (summers) MANTEL TETER ARCHITECTS // KANSAS CITY.MISSOURI Intern Architect Assisted partner architects in developing, documenting and archiving production drawings and 3d models. Attended OEA meetings, and catalogued recently completed projects. Assisted in the design process for Kaw Prairie Church, Oak Grove Church, Kansas City Baptist Temple and the Savlation Army Chapel in Olathe. 1.2011 - 5.2012 DRURY UNIVERSITY // SPRINGFIELD.MISSOURI CAD Lab Operator Helped run the I/O lab in the Drury Architecture facility. This entailed the supervision and education of plotting, laser cutting and other technical output jobs.Design&Formal SKILLS : ANALOG SKILLS // Hand drafting, illustration, sketching, physical models, etc. SOFTWARE PROFICIENCIES // Adobe Creative/Design Suites (2+) / Open Source Equivalents: Illustrator/Inkscape, PhotoShop/GIMPshop, InDesign/Scribus 3d/2d Drafting: AutoDesk REvit Architecture (with Vasari), AutoDesk Revit Structure, AutoDesk Revit MEP, AutoDesk AutoCAD, AutoDesk 3dsMax Design, Google SketchUp (with Kerkytheaand/or Podium), Blender, etc.

LANGUAGE & SPECIAL SKILLS // Some French; Digital and analog fabrication, the operation of plotters, networks, 3d printing, laser cutting, CNC router and woodshop equipment; Graphic Design, Web Design, Corporate Identity Development, Product Design, Photography

Design&Formal HONORS & AWARDS : 2007 - 2012 DEAN’S LIST Drury University 2009 - 2012 LIBRARIUM AWARD NOMINATIONS Drury University

Design&Formal EXPERIENCE ABROAD : 2007 - 2012 Thailand, Cambodia, Greece, Germany, France, Turkey, Egypt

3

ARCHITECTURAL DESIGN PHILOSOPHY

Contemporary generations of architects and developers will likely be remembered for their investments in the foundations of the environmental movement. Changes in material consumption, effi cient use of passive and active environmental systems, support of anti-consumerist ideals, autonomous construction, integration of urban and agricultural environs, and the ease of trans-architectural palettes has diversifi ed the fi eld of architecture all across the board. Architecture is in itself a material and spatial thing, and as a result, the response and impact on the natural context is a crucial part of design development. At its essence, environmental response is also a social concept, as the atmosphere, energy (fi gurative and technical), and the interface of a space have an over-whelming effect on the overall health of the user experiencing it. By taking steps to understand these integrated concepts as layers of design, the architectural process can be responsibly comprehensive, demonstrating con-siderations that fl exibly balance many performance imperatives and interests, invoking research, experiments, and practice, ultimately forging into the next frontier of design.

In this respect, the responsible expression of materials and the inclusion of new ways of thought are essential to the growth and exploration in the architectural fi eld. Due to its material and experiential nature, the importance and identity of architecture does not emerge from any one piece of construction, but through the ideas and words of the people who experience it, making the evolution and procession of our ideas as culturists, commu-nity activists, artists, engineers and businessmen/women absolutely crucial. As our culture grows and evolves, so should our articulation in architecture, as design is not a static thing. Architecture should be designed with this in mind, emphasizing that the things that are designed and constructed today will become our history tomorrow, and will probably not be as relevant in its intended purpose; architecture needs to be pliable and renewable. This does not mean that those infl exible designs are useless, by any means; it simply implies that the use and purpose of all things evolve, while the original shell serves only as a supposition of what it used to be.

Architecture has come to embrace the concept of integrated design, which is both an organized collaboration between disciplines and a knitting of building systems to create a product that is socially, economically, environ-mentally and programmatically responsible. The balancing of people, prosperity and planet creates an equal basis for which any user can identify with, regardless of the scope or intended purpose, resulting in the maximum quality and probability of success in architectural design.

// ARCHITECTURAL PORTFOLIO THEORY & CONTENT

The various projects presented in this portfolio explore ideas of sustainability, spatial juxtapositions, and phenomenology, while maintaining a strict knowledge of architectural theory. Through each project, I explore different building typologies and pro-grammatic issues while attempting to advance the discipline of architecture in the application of novel forms and often con-fl icting ideas. The work is not entirely modernist, nor is it entirely organic, but rather, the conceptualizations occupy the space between the two movements, and continually investigate attributes of both. Although there are many theoretical camps to develop and adhere to, the work contained herein vacillates between many polarities in an effort to remain fl exible to the infl ux of new ideas.

WHITE RIVER HERITAGEMUSEUM

A BATHHOUSE FORTHE OZARKS

DRURY UNIVERSITYCENTER FOR PERFORM-ING ARTS

a cultural center for forsyth, missouri

turkish hammamin a curious

context facilitating artistic growth and community

year 2 / semester 2 year 3 / semester 1 year 3 / semester 2

6 10 14

5EYEBEAM : SGF

TEMPLE OF BITS :UNDER CONSTRUCTION MISCELLANEOUS WORKSa multi-use

highrise housinga digital collective

developing architectural narrative through technological empower-

ment

graphic design, branding, prec-edent studies, sketches, etc.

year 5 / semester 1 year 5 / semester 2

18 22 26

WHITE RIVER HERITAGE MUSUEMA CULTURAL CENTER FOR FORSYTH, MISSOURITEAM: NATHANIEL DEASONARCH211 - BILLY KIMMONS - SP09

PROBLEMThis project provided a real life application of our architectural studies up to the time. Drury’s second year architecture stu-dents were contracted to design a center for the exhibition of artifacts from the White River area in southwestern Missouri. We were given a site and context in Forsyth, Missouri, along with some information concerning the expected inventory.

CONCEPTI adhered to the client’s prerogative to make the visitors discover the natural, historical (Native Americans, Civil War, etc.), and the more contemporary histories of the surrounding area. With this in mind, the development focused on the dichotomy of the more industrialized areas and the more natural, untouched boundaries of the site. I used these boundaries to develop axes as a tool to orient my building and began to investigate a contrast between the two sides of the building.

The edges of the construction corresponding to the more developed boundaries of the site are much more rigid and planular to refl ect and emphasize the rectilinear nature of the architectural histories. On the other hand, the face of the museum that corresponds to the natural formations of the context emphasize an organic form, in the likeness of an arc and accentuates a more progressive and unrefi ned growth that also houses the main body of the exhibits.

PROGRAMMATIC REQS.1. Main Gallery2. Subsidiary Gallery3. Support & Offi ces4. Storage5. Classrooms6. Theature7. Reading Louge8. Library9. Gift Shop10. Revolving Gallery

1

7

// LEGEND1. Exterior Rendering2. Site Plan3. Proportion and Circula tion Flow Diagram4. Exterior Rendering

2

3

4

GROUND LEVELClassroomsStoragePark Access

ENTRY LEVELOffi cesStorageRevolving GalleryGift ShopMain GalleryTheatreRestroomsLounge(s)

SECOND LEVELOffi cesLibraryReading LoungeConference Space

1

2

3

9

// LEGEND1. Southeast Elevation2. Building Section3. Structural Rendering4. Library Rendering5. Lobby Rendering6. Gallery Rendering7. Gallery Rendering

4

5

6

7

A tepidarium (warm room): used for washing up with soap and water

B sıcaklık (caldarium: hot room): used for soaking up steam and get-ting scrub massages

C sojukluk (cool room): used to re-lax, dress up, have a refreshing drink and take naps

OTHER PROGRAMMATIC REQS.1. Reception2. Staff accommodation3. Laundry4. Changing rooms5. Garden / meditation spaces6. Plunging pools

A

B

C

CONCEPT

Upholding the typological attributes of sensuality, procedure and transforma-tion, the conceptualization analyzes an amorphous process in which a minimalist object develops themes of maximalism and iconic manipulation of volumes being defi ned by organic forms. PROCESSION The bather would enter the facility, meet-ing very rigid and narrow spaces, revealing a sense of friction or compression that would personify the stressed qualities of the visitor as they begin the bathing pro-cess. As the bather begins to progress through the warming rooms, the rectilinear qualities of the structure and walls begin to warp and peel away, creating larger spaces in plan and in elevation, as they also create lounges and viewing areas. Once the bather emerges from the warming rooms, the surfaces begin to curve outward and overlap over the prior volumes to create a different sense of form as the compression and friction continues to lessen.

A BATHHOUSE FOR THE OZARKSTURKISH HAMMAM IN A CURIOUS CONTEXTTEAM: NATHANIEL DEASONARCH319 - M.J. NEAL - FA09

TYPOLOGY

The turkish hammam is the middle-eastern variant of a steam bath. The bathing process is similar to that of a sauna, but it generally resembles the organization of ancient roman baths. In this sense, it is said the functionality and form of the baths are derived from their conquests into Alexandria, but have in turn adapted to the cultural implications in Turkey, resulting in early baths being added on to mosques and other religious and civil buildings. In many cases, they have evolved into large, dedicated complexes. For the most part, these baths are not exclusive to men: women are segregated by different spaces or by different bathing times. Moreover, each of the spaces in the bath have different functions and varying forms. Typically a hammam is divided into 3 areas:

1

2

11

// LEGEND1. Spatial Procedure2. Conceptual Floor Plan3. Contextual Site Plan4. Building Site Plan5. Southwest Elevation6. Exterior Rendering

3

4

5

6

// LEGEND1. Main Floor Plan2. Structural and Formal Diagram3. Detail Wall Section

1 2

3

13

// LEGEND1. Primary Circulation2. Caldarium3. Tepidarium4. Plunging Pools5. Exterior Rendering

1 2

3 4

5

DRURY UNIVERSITY CENTER FOR PERFORMING ARTSFACILITATING ARTISTIC GROWTH AND COMMUNITYTEAM: NATHANIEL DEASONARCH320 - JASON HAINLINE - SP1O

PROBLEMThe interest for this semester was to design a performing arts theatre and educational addition for a series of 4 sites on Drury University’s campus. This structure would house a 700 seat theatre that would serve both the university’s needs as well as a venue for off-Broadway shows. The educational component would serve all of the performing arts departments as well as a black box theatre.

CONCEPTA formal response to allow students, visitors and performing groups to abstractly experience the idea of making art forms “come alive” and be experienced throughout all of the spaces of the structure.

To accomplish this, I pursued the creation of a multi-dimensional, sensory experience from a singular (planular) dimension (Similar to the experience of a propagator (a musician or thespian) interpreting a piece of sheet music or script to an audience or space). By blurring two dimensional and three dimensional perceptions through the use of solids, voids, or graphics (all following the issues of the Plastic Number) , one can create an experience similar to that of an illusionist painting, which ultimately begins to correlate the common traditions of spatial ambiguity that are entangled in both architectural and theatrical histories. In other words, this makes a space that is capable of being understood in two or more possible senses or ways, similar to the theatre experience itself.

PROGRAMMATIC REQS.1. Main Seating Area2. Balcony Seating3. Support / Offi ces4. Storage5. Classrooms6. Fly / Loading Dock7. Summer Theatre8. Box Offi ce 1

15

// LEGEND1. Corridor Rendering2. Site Plan3. Conceptual Sketch4. Conceptual Sketch

2

3

4

s srr

s

r

r

s

1

2

3

4

5

6

17

// LEGEND1. Building Axon2. Expl. Struc. Axon3. Corridor Elevation 14. Corridor Elevation 25. EW Building Section6. NS Building Section7. Entrance Rendering8. Theatre Rendering9. Summer Theatre10. Space Frame 11. Exterior Rendering

7 8

9 10

11

EYEBEAM : SPRINGFIELDA MULTI-USE HIGHRISE HOUSING A DIGITAL COLLECTIVETEAM: NATHANIEL DEASONARCH519 - GERARD NADEAU - FA11

PROBLEMThe task for this semester was to produce a comprehensive design for a speculative high-rise, light industrial loft building comprising apprx. 100,000 sf in the Center City District of Springfi eld, on Water St. between N Main and S Campbell. The program includes a leasable and residential focus for digital arts, as well as entertainment and leasable components.

CONCEPTWhile the process of urban gentrifi cation has created an infl ux of diverse user populations in a typologically dominated environment, this has also created a sense of disconnect from the innovation of the existing urban fabric .Conceptually, this project upholds the ideologies of the technologically-empowered client and the ways that they wish to integrate functions in new and innovative ways. In this light, this high-rise structure departs from the perfunctory element of typologically supportive formalism and tectonics, focuses on the holistic interaction and integration of the inhabitative programs, and the mutability of the building volume according to its relationship with the physiological, built and natural environments.

CONTEXTThe existing urban condition of Spring-fi eld is made up of many independent one and two story retail, restaurant and gallery spaces. The proposal, through the application of program and public space attempts to group many of these outlets into one collective community to service the artists and visitors. each separate part of the program should be autonomous and have its own identity,but also be able to adapt and change as the surrounding functions do as well. In this sense, the boundaries of function and program begin to blur and become indistinct. The space is discovered, not told and creates the most interactive and emotional impact on the user.

PROGRAMMATIC REQS.1. Residences2. Leasable Studios3. Exhbition Space4. Club/Restaurant5. Bookstore6. Fabrication Shop7. Video/Audio Studio

1

1/16” METAL FLASHING

1/2” PLYWOOD SHEATHING- FULLY GLUED AND SCREWED INTO STEEL ARMETURE

HIGH TEMPERATURE ICE AND WATER SHIELD

FULLY ADHERED EPDM

MILLED 2500 X 1500 mm. CORTEN STEEL COMPOSITE PANEL - SHELL / WEATHER SCREEN

ANEL, STEEL STEM

FLAT SEAM ZINC ROOF

PLASTIC DRAINAGE SHEET (VENTILATION SHEET)

HIGH TEMPERATURE ICE AND WATER SHIELD

1/2” PLYWOOD ROOF AND PARAPET SHEATING-SCREW DIRECTLY INTO 1” STEEL DECKING AND INTO STEEL PURLIN STRUCTURE. STAGGER SCREWS AS REQUIRED

DOUBLE 2X4 HEADER

CAVITY CAP FACE UP AT EDGE ANGLE

EXHAST DUCT

STEEL CAVITY BARRIER & SECONDARY FLOOR SUPPORT

OUTSIDE PANEL GLASS OF DOUBLE SKIN CURTAIN WALL

STEEL TENSION CHORD AND EXTERIOR SECONDARY FLOOR SUPPORT

SUPPLY DUCT

4” AIR CAVITY TO ALLOW FOR ROLLER BLINDS IF NEEDED

FLOOR SUPPLY & SEATED WINDOW DETAIL

1’-0” CONCRETE POST-TENSIONED SLAB (TWO-WAY FLAT PLATE)

1/16” METAL FLASHING

DOUBLE SKIN SUPPLY STRUCTURE - METAL DUCTWORK HIDDEN WITHIN INTERIOR STUD WALL- SUPPORTED BY COMPRESSION CABLE AND ENCLOSED BY EXTERIOR GRADE SHEATHING CLADWITH CORRUGATED ALUMINUM

1SQFT. RECTIFIED TILE

GALVANIZED TUBE-STEEL CW SHOE & SILL PLATE

1/16” METAL FLASHING

1’-0” SLAB EDGE

SOLID PLASTIC CW PANEL

6” METAL CANOPY/PARAPET EDGE

ROOF STEM

WALL

AND TION)

IFIER)

AUST

SKIN)

KING

CTURE

PORT

HE IPE NOLTS

WAY STEM)

STEM

JOINT

SLAB

ATION

19

// LEGEND1. Exhibition Render2. Birdseye View3. Site Plan4. Detail Wall Section

2

3

4

west elevation, 1”: 16’-0”

1”: 16’-0” section b, 1”: 16’-0”

1”: 16’-0” section d, 1”: 16’-0”

ation, 1”: 16’-0”

vation, 1”: 16’-0” east elevation, 1”: 16’-0”

west elevation, 1”: 16’-0”

two-way fl at platecolumn system

exploded structural axon

1 2 3

4

21

// LEGEND1. Exploded Axon2. Cross Sections3. Structural Analysis4. Elevations and Sections5. Exhibition Render6. Exterior Render7. Exterior Render8. Exterior Render9. Atrium Render

5 6 7

8 9

MISCELLANEOUSGRAPHIC DESIGN, BRANDING, PRECEDENT STUDIES, SKETCHES, PHOTOGRAPHY, ETC.TEAM: NATHANIEL DEASONFA07 S SP12

TO:

FROM:

ABSTRACT:

1234 quelquefois st.ontario, canada 0166-9983

nathaniel j. deasonlead designer654-995-0023

ndeason@gfxshmfx.com

whowhatwherehow

1234 quelquefois st.ontario, canada 0166-9983

nathaniel j. deasonlead designer654-995-0023

ndeason@gfxshmfx.com

whowhatwherehow

TO:

FROM:

ABSTRACT:

1234 quelquefois st.

ontario, canada 0166-9983

west coast culture logo design

using loose paint aesthetics, the letter ‘g’ is transformed into a definitive visual that emphasizes a free work environment that is personi-fied in the chosen name.

it is available in a b/w contrastas well as a variety of color scales.

1234 quelquefois st. / ontario, canada / 0166-99831234 quelquefois st. / ontario, canada / 0166-9983

27

FILTERED MIXED WITH STANDARD PAINT ADDED PIGMENTS ADJUSTED Ph APPLIEDSOLD RECYCLED

GREAT FOR USE ON: Wood, metal, wicker, plastic, pottery, concrete and more. Use for window trim, molding, furniture, lamps, doors and planters.

COVERAGE:Approximately 70 square feet per quart. Coverage varies based on color, surface porosity, and method of application.

SURFACE PREPARATION: Clean surface well removing all dirt, grease, oil, and dust with a mild detergent. Rinse thoroughly and allow to dry. Remove visible rust with a wire brush, sandpaper, or scraper. Sand surface with 220 grit sandpaper. For best adhesion, lightly sand new or bare wood or previously painted surfaces. Remove dust with a tack cloth. Use primer on chipped surfaces, new wood, meal, or rusted surfaces to improve hide, adhesion and durability.

what was once a one-color, limited-use product is now available in numerous grades, colors and percentages of post-consumer content

CAUTIONS:Use only with adequate ventilation. To avoid overexposure, open windows and doors or use other means to ensure fresh air entry during application and drying. If you experience eye watering, headaches, or dizziness, increase fresh air, or wear respiratory protection (NIOSH approved) or leave the area. Avoid contact with eyes and skin. Wash hands after using. Keep container closed when not in use. Do not transfer contents to other containers for storage. FIRST AID: In case of eye contact, flush thoroughly with large amounts of water. Get medical attention if irritation persists. If swallowed, get medical attention immediately. WARNING: This product contains a chemical known to the State of California to cause birth defects or other reproductive harm.

DO NOT TAKE INTERNALLY. KEEP OUT OF REACH OF CHILDREN.

APPLICATION DIRECTIONS: Use only in well-ventilated areas. Use drop cloths or newspapers to protect surrounding areas from potential spills and drips. Drips can be cleaned with soap and water within 20 minutes. Use at temperatures between 50 and 85 degrees fahrenheit. DO NOT apply in direct sunlight. For best results do not use in humid conditions, as high humidity will increase dry time and decrease gloss. Use can opener or screwdriver to pry lid from paint can. Stir paint thoroughly using a flat paddle. Move paddle in a lifting motion from the bottom of the can. For best results use a high quality nylon or polyester bristle brush. Test paint for compatibility in an inconspicuous area. Apply 2 thin coats for best performance and coverage. DO NOT apply paint in heavy coats. Thinning is not recommended. Dries to the touch in 30-60 minutes. Can be handled after 2 hours. Recoat after 6 hours. Splatters and spills can be cleaned with warm water and mild detergent within 20 minutes. If paint has dried, use paint thinner to remove. Brushes may be cleaned with mild detergent and warm water within 20 minutes of use.

CONTACT INFORMATIONTo contact, purchase or supply paint, please reach us at:

8-BIT Recycled Paint, a subsidary of BEHR Paints528 Weston Rd.Santa Barbara, CA 45702-1082

Phone517-828-0909

Emaileightbit@behrpaints.com

Product of USAProducED AND BOTTLED BY VEDEMMIA VINEYARDS & WINES

PAINT CAN LABEL

WINE BOTTLE LABEL WINE BOTTLE LABEL

29metroplismmetrmmetroplisoplis

THE COMPLETE ORIGINAL CUTFRITZ LANG'S 1927 MASTERPIECE

NOW WITH 25 MINUTES OF LOST FOOTAGE

SINIS VOLORA nos nobitincti DES ETUR SED QUE NUM DOLORIA NIST LABORRUMQUIS et placepr ECTUR, tes quae SERUM ALIQUO VIT ADIST, OD ESERCHILITA CON RERFEROVID ET ENESCIM nulloribus, UT EATUS EARUM ILLUPTAT volupta conecte VEREPRENT ARCIDENT AUT ALIQUID ET ESECTUR, te nos simi, NIMENESSIT aut occatem poribust, ut quam solum sam, nost, ommolup taquamenit LICIDEMPED MOS PE CON PORESCIISTIS QUAS CONSENDAM, te mos nobitam EVELECTEM FUGIA

dolupiet as DUCILICTUR SITATEMOLOr aut accus CON CON PED ETUS NOS QUAM SUM EATUR ad ulparcit ex et UNT AUT FUGITA ADITATEM FUGA. Ut omnihil INIS ET, QUIAE num neceperia ASSIT QUIA IPIET DOLORIB eaquatectur

METROPOLIS MOVIE POSTER DEFING GRAPHICS POSTER

FIRST & CALVARY CIRCULATION ANALYSIS

FIRST & CALVARY STRUCTURAL ANALYSIS

FIRST & CALVARY STRUCTURAL ANALYSIS

31

PARIS TILT-SHIFT

SALONICA CITY VIEW

CAPITAL DETAIL

OLYMPIC VELODROME

OLYMPIAPARK BLUE MOSQUE VERT. PANORAMIC

33

SHERAF WALLS

NAPFLIO BAY VIEW

LOUVRE ENTRANCE MYSTRAS KEEP