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P U B L I C P L A Z A C O U R T Y A R D W I T H M A R K E T S T A L L SP U B L I C P L A Z A C O U R T Y A R D W I T H M A R K E T S T A L L S

P U B L I C G A R D E N C O U R T Y A R DP U B L I C G A R D E N C O U R T Y A R D

O L D S A N D Y B O U L E V A R DO L D S A N D Y B O U L E V A R D

L O C A L G A S T R O P U BL O C A L G A S T R O P U B

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Bent Bar Neighborhood

The Bent Bar project is designed to expand and amplify the culture and life of Portland, a city whose raison d’etre is manufacturing, and whose people desire a rich public and private environment that harkens to that manufacturing ethos.

1. Site /context/ function.

• The project is scaled and shaped to interweave with the existing lines of the surrounding city fabric (sightlines, views, surrounding buildings / building culture, and neighborhood conditions). It serves as a bridge from Portland’s existing early 20th-century Americana to its emerging urbanism.

• The panels in the facade are largely wood but punctuated by metal photovoltaic cells that have been carefully angled to capture the sun’s full power. The visual effect is reminiscent of an old Portland building with large shingles partially raised by the wind. The functional effect is both energizing and soothing, since the panels serve as shutters for the private spaces.

• The rectangular bars of the façade are bent to maximize the flow of wind through scores of four-inch-diameter silent energy harvesting turbines attached 1.5 ft off the surface of the creases. The overall visual effect of the many silent turbines is intriguing and warm. Additional power is produced through solar panels on the 8th story roof.

2. Public vs. private within the unit.

• Within each unit I split the modernist glass box public space from the more enclosed and hidden sleeping and bathing spaces. Most of the open living spaces feature a 5 foot deep garden which serves as a useful place for growing one’s own produce.

3. Public vs. private within the city.

• The residential space floats above the public space, giving it primacy and yet acknowledging its industrial foundations, comprised of exposed multi-story concrete columns from bent bars populated by hundreds of tiny, noiseless turbines.

• Viewed from the public vantage point of the city, the residential spaces are demarcated by open markets accommodating commerce and garden spaces.

4. Diversity enabled.

• Locating utilities (elevators/stairs) in the corners frees up the interior for greater variability.

• The bends add interest and diversity to the different units, maximizing value by forming non-traditional places, a broad range of apartments winding elegantly on top of one another.

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P U B L I C G A R D E N C O U R T Y A R DP U B L I C G A R D E N C O U R T Y A R D

P U B L I C P L A Z A C O U R T Y A R D W I T H M A R K E T S T A L L SP U B L I C P L A Z A C O U R T Y A R D W I T H M A R K E T S T A L L S

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H O T W A T E R T A N K H O T W A T E R T A N K

M I N I S P L I TM I N I S P L I T

I N V E R T E RI N V E R T E R

G E O T H E R M A L H E A T P U M PG E O T H E R M A L H E A T P U M P

T O G E O T H E R M A L W E L L ST O G E O T H E R M A L W E L L S

T O E L E C T R I C A L G R I DT O E L E C T R I C A L G R I D

G A R D E N T R O U G HG A R D E N T R O U G H

P H O T O V O L T A I C S H I N G L E SP H O T O V O L T A I C S H I N G L E S

M I N I A T U R E T U R B I N E SM I N I A T U R E T U R B I N E S

G E O T H E R M A L W E L L S U N D E R T H E P L A Z A

D R A I N A G E C O L L E C T E D D R A I N A G E C O L L E C T E D I N U N D E R G R O U N D T A N KI N U N D E R G R O U N D T A N K

W A T E R R E L E A S E D W A T E R R E L E A S E D I N T O P U B L I C G A R D E NI N T O P U B L I C G A R D E N

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The SX9MAC is a Nine Megawatt LNG Turbine powered locomotive with an XRG6 KURRS system (kinetic ultracapacitor recovery regenerative system).

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Unveiling late summer 2015.

http://www.davidmurphreexrg6.com/#/sx9mac/

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1. P L I N T H E X T R A C T E D

2. A R M S E X T E N D E D

B E A U X - A R T S F A C A D E H U G S P R O G R A M

3. B O U ND A R Y I S S I N U O U S

B E T W E E N S P A C E B E C O M E S OC C A S I O N A L L Y O C C U P I A B L E

4. R E A L I T Y R E A C H E S O U T T O I D E A L

5. S I N E W S O F F A C A D E D N A S T R E T C H E D

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

Books are losing their value to the rising generations. Due to this, the typology of library is in the midst of adaptation. The Seattle Central Library has an attitude of “high culture” with top-down extensions into nearby suburban branches.

Using an exact copy of the facade of the (height of culture) Garnier Opera House raised out of the ground, I established a meaning from beyond Seattle extracting from the existing Yesler Park neighborhood. In this plinth is located a community theater reminding of the grand Paris Opera. Atop the theater is a landscaped access directly to the 3rd floor and the coffee shop. Arms extend from the initial ornamental plinth to establish the bulk of the library, turn into the bar for the restau-rant at the ground floor and its coffee outpost on the 3rd floor. The proportions of the Parisian ornament are extracted and stretched as a steel and terracotta screen. The physical boundary of the interior space reaches out to this screen at key points of reflection: private reading/study spaces, staircases, and the childrens area.

The urban form establishes a restrained civic presence and logic towards the intersection at the site, a commercial scale reaching towards the Downtown center and a suburban residen-tial scale on the side of the housing.

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C I V I C P R E S E N C E C O M M E R C I A L S C A L E

P U S H O U T T O W A R D C I T Y F O R V I E W

S U B U R B S C A L E

YESLER

PARK

BRANCH

LIBRARY

E E

3.3.

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UP

EET

1 5 T H S T R E E T

F

R

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Tasked with forming a new relationship with the Aurelian Walls and the gate of Porta San Paulo, this project overlapped varying contextual systems through basic ground manipulations. The result is a grand public space juggling the monuments that trace the 3100 years at this intersection. The necessity to create a subservient space at the feet of these great monuments became apparent. By bringing in the highly functional grid of nearby Testaccio, the new piazza is tied to the context. By laying out the grid of the monuments, the overlap between these grids becomes the position of monuments in the city. The final piece of the puzzle is the space between the late 19th C train station and the Fascist, early 20th C station adjoining it. This difference in angles is proposed as a new access point to the station, now seen as a whole. This singular insertion at the site frames the gate.

The varying colors of concrete sprinkled across the site explain the layered history of the place and creates a new logic.

M O N U M E N T S I N T H E C I T Y

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This fire station was conceived out of the split nature of the fire station function: an accessible public building and as an entity needing distinct sepera-tion to perform autonomosly. The form of the building sits patiently, set back from the road following the line set by a new parking structure for commuting students to the University of Arkansas campus. Using the turning radius of the fire truck (entering into the pull through Apparatus Bay), I carved the building mass in the rear to provide views for the public of the fire trucks but no physical interaction. Establishing a “core” element for each part of the dichotomy of the fire station function. The spaces between identify a sinuous relationship between the firemen and the public through a series of surfaces that define solids and voids eventually popping out to attract people to the rooftop deck off of the busy sidewalk. Intensive 3D modeling allowed for the exploration of expressing surfaces as the relational divide between uses.

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Kent M. Johnson, Jr. 13739 Danvers Drive 610 W Lafayette St APT 303 Dallas, TX 75240 Fayetteville, AR 7201

(972) 814-2205 kmj012@uark.eduPortfolio: http://www.issuu.com/kentmjohnsonjr

K

Personal ObjectiveShort-term (1 year): -To work for and learn from a progressive architecture firm in the form of a summer internship. -Complete a competition on the side.Long-term (20 years): -Found and operate a full service architectural design firm working towards a reputation of a philosophically led architecture that touches to reality as it functions and performs consciously and effectively.

Honors

Work Chosen by Professors for display in Fay Jones School of Architecture Super Jury (2013)• New Chicago Opera

Works chosen by Professors for display in Fay Jones School of Architecture Winter Show (2012)• Parking Garage for 220+ cars with ground level retail• Master Plan for South Chicago (group project and individual project)

Work accepted into the Texas Visual Arts Association (TVAA) competition (2010) • Darth in Downtown charcoal graphite and housepaint on paper

Work Experience

Stocker Hoesterey Montenegro survey for renovation - AutoCad Summer 2013 David Murphree 3D digital production staff (XRG6) Summer 2014

Education

Fay Jones School of Architecture, University of Arkansas, Senior, Comprehensive Studio • Expected completion of B.A.-Architecture program – May 2016

Trinity Christian Academy 2008-2011 • National Art Honor Society • Advanced Placement Art (’11) • Art Work Accepted into the Texas Visual Arts Association (TVAA) Competition • Basketball (’08, ‘09, ‘10) • Writer/Photographer for “The Rock” (Literary Magazine) • Trinity Advisor (to underclassmen) • Community Service (e.g., constructed ramps for elderly; Metrocrest Social Services, etc.)

Providence Christian School of Texas 2004-2008Covenant Christian School 1999-2004

Skills • Drawing• Model Building• Adobe Illustrator / Photoshop / InDesign• Rhinoceros / Grasshopper 3D Modeling• Autodesk Maya• Autodesk AutoCad• Autodesk Revit• Communication• Construction Skills – construction of a church in Kenya

Other Interests

Art / Art Theory the City (not urbanism)

Literature & Poetry Philosophy / Architectural Theory Photography Mission Trips (three to Kenya)

Recommendations David Buege

Fay Jones Chair in Architecture at the University of Arkansas, Fay Jones School of Architecture dbuege@uark.edu 479-575-6710

Jon Millet Head of the Trinity Christian Academy Art Department

jmillet@trinitychristian.org http://www.jonathanmillet.com/ 972-412-1617Santiago Perez 21st Century ChairAssistant Professor of Integrated Practice at the University of Arkansas, Fay Jones School of Architecture

sperez@uark.edu http:://www.srplab.net 479-966-6705 David Murphree

Painter, Sculptor, Designer dvdmurphree@gmail.com http://www.davidmurphreexrg6.com/ 479-466-0637

More/official recommendations on request