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

6 8 0 1 2 1 s t Av e N E

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

J a d e M e i n t s

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

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

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

p a s s i o n

d e s i g n

pg01

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

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

d r i v e . . .

p a s s i o n

w i t h

pg03

prologue

pg04

prologue

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

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

art unbiased connect ion

influences

St. Peter’s Basil ica, Rome, Italy International Dance Theater, OKC, OklahomaHome, Oklahoma

Brick Memorial, Island

connect ion paradox sensit ive

influences

High Line, NYC, New YorkSeattle Civic Square, Seattle, Washington

Seattle Civic Square, Seattle, WashingtonInternational Dance Theater, OKC, Oklahoma

“You use a glass

mirror to see your face;

you use works of art to

see your soul”

George Bernard Shaw

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

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

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

What g ives a pro ject

soul?

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

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

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

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

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

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

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

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

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

pg09

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

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

progression from lower to higher forms of life

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

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

Exposure: John Womack [Arch Design Studio IV]

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

Courtesy of: La Red

unbiased

e m o t i o n

Exposure: Michael Rabens [Renaissance and Baroque]

emotion: driving force of predilection derive:

inspired by an experience Rome, Italy: crossed

off my list of places to see development: ability to

see how far people have come religion: enlighten-

ment Baroque: emotional involvement in a complete

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

the grand scheme of things detail: allowing you the

feeling of accomplishment space: appreciation of

your surroundings light: never should be disregarded,

always integrated awe: leaving, unable to describe

the experience endeavor: accumulation of a group’s

efforts to create monumentality baldacchino: signifi-

cance unbiased: respecting the views and thoughts

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

ciology: observing your surrounding environment and

taking that experience with you culture: learning from

those who are different than you process: integral part

of knowing where you now versus where you started

St. Peter’s Basilica: my pilgrimage appreciate:

never taking any experience for granted

pg29

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

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

connection

beforeSketch_ 1st year

Exposure: Suzanne Bilbeisi [Studio I_ Stillwater, OK]

pg33

afterSketch_6th year

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

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

people interacting...

pg35

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

Exposure: Tom Spector [Comprehensive Studio]

paradox

pg59

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

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

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

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

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

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

our society through time, and I enjoyed the connection.

My further admiration for the park continued as I walked along

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

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

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

me a sense of departure from the urban chaos.

h i g h _ l i n e

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

1. Integrate into the contextual fabric of Seattle

2. activate the area as a destination point

3. foster the unique culture of the area

4. design the spaces to evolve to meet future needs

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

6. educate the public in sustainability

pg61

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

sensitive

acknowledge how

people

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

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

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

CIRCULATION

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

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

pg71

acknowledge how

people

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

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• Demonstratedachievercommittedtohighqualityjobperformance.• BackgroundinarchitecturaldesignanddraftingcombinedwithbasicSpanishlanguageskills.• Reliablewithoutstandingorganizationalskills.• Skilledatlearningnewconceptsquicklywhileworkingwellunderpressure.• ComputertraininginMSword,PowerPoint,GoogleSketchUp,Photoshop, AutoCAD,Cinema4D,3DMax,InDesign.• Independentandexperiencedtraveler.

Bachelor of Architecture Design OklahomaStateUniversity,Stillwater,OklahomaMinor in Spanish, Architecture Studies: History and Theory

Completion of Urban USA and Europe Field StudiesOklahomaStateUniversity;NewYork/WashingtonD.C.,Europe

Completion of Language and Architecture ProgramIES;Barcelona,Spain

GraduatedMay2011

2010

2008

Architectural Intern Callison,Seattle,WA 2011-Present• Organizeddeadlinesforseveralprojectsatatime,completing theminatimelymanner.• Acceptedtaskseagerlywithawillingnesstolearn.• Workedwithfellowteammatestoensurethecompletionofprojects, bothgraphicallyandtechnically.

Architectural Intern LongRangeFacilitiesPlanning,Stillwater,OK 2009-2011• Successfullycompletedconstructiondocuments.• Activelyinvolvedwithcommitteesandtheirdecisions.• Workedalongsidetheconstructionmanagertocomplete punchlistsandattendsitevisits.• Assistedinteriordesignerswithdesignrelatedissuesas wellasexecutinggraphicpresentations.• EngagedwiththebidandCMARprocesses.• Undertookextensivesustainabilityresearch.CateringCowboyDiningServices,Stillwater,OK 2007-2009• Workedwellinlargegroupswhilecommunicatingeffectively tofinishthetaskathand.• Dependableandconsistentwhileexemplifyingorganizationalskills.• Preciseandthoroughwhilequicklyattendingtoresponsibilities.

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

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

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

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

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

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

Marianne Williamson