CHRISTIAN M SNOWDENCHRISTIAN M SNOWDEN

1601 POPE AVENUE1601 POPE AVENUERICHMOND , VA 23227RICHMOND , VA 23227

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chr issnowden012@gmai l .com chr issnowden012@gmai l .com

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Architecture is art. In order to become successful, a work of art must captivate the viewer. The problem

with most architectural design today is its inability to effectively transcend the surface of popular

taste and principles. Many contemporary architects are one sided intellectual thinkers who place

design emphasis only on the visual aesthetics of their buildings. Instead of creating mere objects of

visual attraction, architecture must convey, negotiate and project an intended meaning. The design

process tends to omit the importance of the space created within, movement within that space, and

the power of space to inspire. When surroundings are ideal, the human mind has unlimited capacity

to create, enjoy and become passionate. Architecture must go beyond its shell, and it must inspire

by moving beyond the present cultural normalcy. However, if a work of architecture is too far ahead

of its time, it becomes an example of what is not normal and thus it becomes both dated and hated.

Many architectural settings cause us to feel like outsiders in comparison to the dynamic inclusive

interaction that natural and historical settings such as Savannah have as a baseline. Architecture

is experiential and like all meaningful works of art, can serve to anchor, strengthen, or expand our

sense of connection and inspiration versus promoting alienation from others and ourselves. It is my

hope that the buildings and spaces I create will captivate the human mind and spirit, and engage

that fine line between the accepted predictability of architecture and the radical contemporary.

"You cannot simply put something new into a place. You have to absorb

what you see around you, what exists on the land, and then use that

knowledge along with contemporary thinking to interpret what you see."

Tadao Ando

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FUNDAMENTALS I

FUNDAMENTALS I I

GR APHICS FOR THE BUILDING ARTS

STUDIO I I

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STUDIO IV

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Mausoleum

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S avannah Cr ime Museum

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Bunnyfr iend Communit y Center

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S avannah Train Terminal

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S avannah Wildl i fe Refuge and Vis i tors Center

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Residences & Retai l at 602 West

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Rober t Kennedy Pharmac y Bui ld ing

Robert Kennedy Pharmacy Building Savannah, Georgia

EXTERIOR PERSPECTIVE

SAVANNAH AREASAVANNAH HISTORIC DISTRICTCOLUMBIA SQUARE WARDGARDEN PLAN (DESIGNED)SITE PLAN + DAVENPORT HOUSE

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These hand-drafted drawings were

completed during my first year of

Architecture school. The task was to

document the Robert Kennedy Pharmacy

Building, built in 1890 on Savannah’s

Broughton Street. Drawings completed

include: floor plans, north and east

elevations, a section, an isometric drawing,

interior elevation, an exterior perspective

and interior perspectives. Diagrams of

Savannah, Georgia include: the historic

district, Columbia Square Ward and the

site plan including the historic Davenport

House. In addition, I was required to

redesign the second floor plan and design

a garden plan located on the adjoining lot.

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ISOMETRIC DRAWING

NORTH ELEVATION

EAST ELEVATION

INTERIOR PERSPECTIVE

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Mausoleum Theory

1ST FLOOR PLAN2ND FLOOR PLAN2ND FLOOR PLAN (REDESIGNED)

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The design process began with a basic

kit of parts personally arranged on an

8” x 8” grid. The placement of the kit of

parts considered lines of sight as well as

geometry. Once completed, the grid was

multiplied by eight and a linear footprint

for the model was chosen. A plan-to-

section relationship was established

and a strict figure-ground design was

implemented. The structure of the model

is extremely feasible and a curtain wall of

horizontal wood strips provides the skin for

the model. The design of the base directly

coincides with the geometry of the model.

A ground level pool of water conveys a

transparent calm. The final entry is subtle

in its quiet projection. As one comes

closer, the floating stairs appear. This is a

different design vocabulary that furthers

the yearning to experience the interior of

the structure. The floating stairs signify a

transition from earth-bound experience

to a place of mystery, representing a

higher state of being. The open rhythm

of the structure allows light to direct this

experience of transcendence.

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The first attempt of the base was deemed to bulky

(pictured below). The final base design utilizes the

geometry established on trace, pictured on the next page.

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The reflecting pool directly below the main tower is

stepped on two sides to allow for a cleansing process. The

other two sides of the reflecting pool are steep to reaffirm

that there is only one direction to cleanse the soul.

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ENTRYTRANSITION OF STAIRS

GEOMETRY OF BASE >>

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DETAIL OF SKIN

PERSPECTIVE FROM BELOW

Beyond this skin contains the mausoleum space. The

wood louvers allow a specific ethereal light into the space

transforming the space into a peaceful resting place.

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PERSPECTIVE OF MODEL

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Savannah Crime MuseumSavannah, GeorgiaENTIRE MODEL

CONCEPT SKETCHES GEOMETRY OF THE SITE

TOPOGRAPHY OF SITEINITIAL BUILDING SKETCH

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The design for the Savannah Crime

Museum considers and incorporates the

‘steep’ demand the site presents. The

central concept of the museum captures

the essence of crime within its design.

The museum is sunk into the site and is

‘underground’ (similar to crime itself ). A

combination of building and site creates a

unified design. From the top of the site on

Montgomery Street, it appears as though

the landscape continues out towards

River Street. The only evidence of the

building is the museum entry. This glass

enclosure houses the circular stair that

wraps around the cylindrical glass elevator

shaft, allowing light into the building.

Also, windows line the east elevation and

south elevation along River Street. A large

projecting roof provides necessary shading,

and the trees along the east elevation filter

the light that enters the spaces through the

two story windows. Although the museum’s

architecture is a contemporary design, it

blends seamlessly with the historic factory

buildings of River Street and the historic

1920s power plant. SITE

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EXPLODED ISOMETRIC

NORTH ELEVATIONLONGITUDINAL SECTION

VIEW OF NORTH ELEVATION + ROOFVIEW OF ENTIRE BUILDINGWORM’S EYE VIEW

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Savannah Wildlife Refuge and Visitor’s CenterSavannah, GeorgiaLEVEL 1 FLOOR PLAN

LEVEL 2 FLOOR PLAN

ROOF PLAN + SITE PLAN

CONCEPT 1: VIEW ORIENTED CONCEPT 2: VIEW ORIENTED CONCEPT 3: ORGANIC MIMICRY FLOOR PLAN

SITE PLAN

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NORTH ELEVATION

SHADING DEVICE ENTRY LOBBY

The design for the Savannah Wildlife

Refuge creates equilibrium between the

site and the building. Honoring the site as

a nature and wildlife refuge, existing trees

would be maintained and incorporated

into the design. Making use of natural light

and wind helps to create a building that

needs little or no artificial energy sources.

Taking advantage of the views enhances

the wildlife experience. Thus, the shape of

the building is intended to frame views to

the marsh and beyond. The interior Nature

Center also serves to bring the outside into

the museum space, furthering the sense

of harmony with the surrounding habitat.

The Nature Center includes a long curving

aquarium built at eye level for children.

Fish and turtles native to the refuge will

occupy the low level aquarium.

LIBRARY

CAFETERIA

TRANSVERSE SECTION

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BunnyFriend Jazz and Community Center (Upper Ninth Ward) New Orleans, Louisiana

VIEW FROM GALLERY SPACE VIEW OF CENTRAL PATHWAY AND GALLERY SPACE

LONGITUDINAL SECTION

This conceptual sketch combines all known site information,

including views, sun path, wind rose, tree location, major and

minor transportation routes as well as building footprints. After

completion of the sketch, the white concept model (far left) was

constructed. After further developement the basswood model was

assembled and most closely resembles the final building form.

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After Hurricane Katrina, the area known

as Bunny Friend in the Upper Ninth

Ward was flooded six to eight feet. All

of the houses in the neighborhood had

significant water damage, and many were

simply swept off their foundations when

the floodwaters rushed through after the

levees broke. The vernacular architectural

trend in the neighborhood consists of

one and two story shotgun houses with

wood siding. The new community center

must be a beacon of hope and connection

for the entire neighborhood. Because of

its location in a flood zone just below

sea level, FEMA requires the building to

be raised a minimum of three feet. The

community center has a semi-circular

entrance and staircase. The entrance to

the center is located on the corner across

from the Bunny Friend Park. The building

includes offices for the current members

of the Neighborhood Board. There is also

a large room to hold community meetings

or gatherings. A spacious kitchen allows

for healthy cooking workshops, as well

as the ability to cook for large numbers

of people. The second level contains after

school learning spaces for children and job

training facilities for adults.

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The community center has a semi-circular entrrance and staircase. The entrance to the

community center is located on the corner across from the BunnyFriend Park. There are two

ramps that lead to the main entrance and the large meeting room. The building includes

offices for the current members of the neighborhood board. There is also a large room to

hold large community meetings or gatherings. A large kitchen allows for healthy cooking

workshops, as well as, the ability to cook for large numbers of people. The second level

contains after school learning spaces for children and job training for adults. Outside is a

performance space for jazz andcommunity productions.

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FIRST AND SECOND FLOOR PLANS (hand drawn)

SITE PLAN (hand drawn)

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The BunnyFriend Neighborhood located

in the Upper Ninth Ward is a close knit

community. The neighborhood is named

after the park, whose land was donated

by the parents of a child named Bunny

who died tragically in the early 1900s.

The park is an essental part of the

neighborhood for its playing fields,

basketball courts, playground and

concession stand allow the children to

gather.

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SOUTH ELEVATION (hand drawn)

The skin of the building is a series of wooden

louvers. The wood louvers respond to the local

wooden siding vernacular of the entire upper

ninth ward, while still adding a slightly modern

edge. This particular louver system gradually

rotates the wood from a vertical position,

towards the bottom, to an entirely horizontal

position at the top of the second floor.

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BUNNYFIREND PARK + SITE (hand drawn)

PERSPECTIVE OF ADA RAMP (hand drawn)

NORTH ELEVATION WEST ELEVATION

+>>Savannah Train Terminal

Savannah, Georgia

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LONGITUDINAL SECTION

MAIN ENTRANCE

Trustees Garden originally was 10 acres of agricultural gardens

designed by the original trustees of the Savannah settlement one

month after arriving. The cotton plant and peach tree both trace

their origins to this exact location.

^INITIAL SKETCH OF BUILDING FORM

INITIAL CONCEPTUAL SITE SKETCH ^

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The original Train Station in Savannah was located on what is now

Martin Luther King Boulevard. It was demolished to make the

entrance of Interstate 16. The current Amtrak station is located

off Louisville Road in a primarily industrial/warehouse area.

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EAST COAST RAIL LINES

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The Savannah Train Terminal would once

again establish a central transportation hub

in the city’s historic district. The terminal is

situated on Trustees Garden in the eastern

side of Savannah’s historic district. The

new train terminal design utilizes a traffic

pattern similar to an airport. Coming

down Bay Street heading east, visitors

and travelers would take the ramp that

begins to circle around the terminal.

Multiple drop- off points are covered by

the extension of the flowing and expansive

roof. After dropping off travelers, vehicles

may continue to either the underground

parking garage or towards East Broad

Street. The western side of the site has

been re-developed as an area similar to City

Market (a thriving restaurant, art gallery

and bar location on the west side of town).

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SITE PLAN

MAIN APPROACH

EAST ELEVATION

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MAIN TERMINAL

TRANSVERSE SECTION

MAIN CONCOURSE LEVEL

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TRAIN PLATFORM MAIN DROP OFF AREA

BRIDGE TO PARKING GARAGE

3-D SECTION

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The structure of the terminal consists of large spanning steel

members that rely on compression to successfully support the

massive roof. The two butterfly supports that connect to each steel

member allow for expansion and movement.

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^ EXPLODED ISOMETRIC SHOWING STRUCTURE AND ROOF SYSTEM

Residences and Retail at 602 WestAustin, Texas

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SITE PICTURES

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Austin, the capital of Texas, is a culturally

vibrant and liberal urban center. City

leaders established the goal of having

25,000 people living in the downtown

area by 2015, and have offered incentives

for residential buildings. Thus, there

has been an increase in construction

of contemporary mixed use buildings.

The current building trend in Austin is

consistent in style and materiality. The

project was to design a residential building

with retail space occupying the first level.

The site was on the corner of 6th Street and

West Avenue. The west side of the site was

bound by shoal creek. During the concept

stage I began to experiment with particular

building modules. After understanding

the way in which these building modules

interact and fit together I built a model that

began to shift and pull individual planes on

multiple levels. The next step was to add

vertical planes to divide the shifting planes

into the units. I then established a sense of

the material palate most used on similarly

sized residential and commercial buildings.

There were three main concerns during

this part of the process: privacy between

units, shading and natural ventilation.CONCEPT MODEL

RENDERING OF WEST FACADE ALONG SHOAL CREEK

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OUTDOOR LIVING15’7” x 7’6”

KITCHEN10’7” x 9’10”

LIVING15’7” x 15’4

DINING 10’7” x 13’

BATHROOM

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CLOSET BEDROOM

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3-D SECTION SHOWING TYPICAL FLOOR PLANS + PARKING GARAGE

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SECOND FLOOR PLAN (TYPICAL)

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SITE PLAN + FIRST FLOOR

EAST ELEVATIONSOUTH ELEVATION

INITIAL BUILDING ENVELOPE FINAL BUILDING ENVELOPE

The envelope defines the shape and projection of

the building. The skin went through a number of

variations, all of which incorporated Corten steel

(pre-rusted). The vertical planes helped with privacy

but originally had too much mass to allow a breeze to

penetrate. The second envelope concept incorporated

two layers that pushed and pulled to create an

interesting design. The third envelope concept

combined both of the previous concepts. This

concept incorporates a Corten mesh that occupies

the voids left by the pushing and pulling of the solid

Corten steel panels. The result allows for shading,

natural ventilation and privacy between units.

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I decided early in the process that I wanted

to highlight one of the main egress

staircases on the corner of 6th Street and

West Avenue. The staircase is enclosed in a

frosted green glass that is ‘similar’ in color to

a copper patina. At night the stairwell is lit

from within and thus makes a statement to

cars passing down 6th Street.

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BUILDING RENDERING AT CORNER OF 6TH ST AND WEST AVE