JAMES REYNOLDSJames R ReynoldsArchitectural design portfolio

Florida A&M University

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A Firm for an Architect...

Community Design Center

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New Construction for Historic Fabric

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Chicago Tribune Tower Competition

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The Duality of Gentrification

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Religion & Philosophy Library

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ARCHITECTURE FIRMfor WARO KISHI & ASSOCIATES

SITE:Abandoned coke bottling facilityTallahassee, FL

Project goals:

Reflect image of firm

Respect site context

Redevelop existing building

The architecture firm Waro Kishi & Associates has decided to open a branch office in Tallahassee Florida. The site they chose houses an abandoned, but historical struc-ture of great importance to the local area. Recognizing the significance of the Coca Cola Building as an identifier of the neighborhood, it will be reused and renovated as a part of the design. Increasing the density and vitality of the neighborhood will be done with shops and retail at street level with leased retail spaces.

RECYCLED RETAIL: Minimum 4 leased spaces Retail has separate entry to public exterior space Accessibility to spaces

ARCHITECTS OFFICE: Reception Large conference Small conference Copier/plotter/printing Storage Kitchenette/lounge Principal offices Business offices Open working spaces

The main concept for the bottling plant renovation was to create a community connected sustainable building.

For the architecture firm, I wanted to capture the spirit of Waro Kishi’s distinct style of architecture, while remaining contextual to the climactic necessities of a Florida site.

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1 Architect’s Offices (private)2 Smaller offices (open)3 Storage Area - Plotters4 Bathrooms5 Break Room - Kitchen6 Large Conference7 Small Conference7 Small Conference8 Principal Architect’s Office9 Reception10 Terrace Garden11 Rooftop Garden12 Deli13 Record Store14 Clothing Store14 Clothing Store15 Rooftop Green House16 Co-op Grocery store17 Pavillion area

East Coke Plant East Kishi Firm

West Coke Plant West Kishi Firm

North Elevation

South Elevation

POETRY CENTERfor Florida A&M University

For a campus as religiously diverse as FAMU, the design for its spiritual poetry center must also be as diverse in order to meet the needs of the student body. Due to this consideration, an ini-tial religion to draw ideas from was rejected and a more human-istic approach to the design was acquired. The philosophical and spiritual beliefs of each student are different, so having a building that is inwardly focused was optimal to metaphorically capture the nature of personal reflection.

This idea of self dependence and inward strength manifests itself in a circular design, with main rooms and passages radiat-ing from the central point -- a courtyard. This emptiness in the middle of the design can be taken as a metaphor for the void one must fill with religion or philosophy. The organic nature of spacial sequencing from this main point; stacks of rooms jetting out from this emptiness, help better connect the architecture to the spiritual and philosophical identity and context of the the spiritual and philosophical identity and context of the library’s program. A deconstructed islamic dome to some, a large cathedral like space with clerestory windows, or a tome of existential thought -- this is the humanistic approach to building something special for many without compromising the identity of the user.

This is the humanistic approach to building something special for many without compromising the identity of the user

INTROSPECTIONInternally focusedSubjectiveReflective

REPETITIONUnderstated patternSubliminal circulationSubliminal circulationComplexity

ORGANICISMSculpturalNaturalEarth Integrated

First Floor & Site Plan(below grade)

Proximity

Utility

Campus

Nature?

Exterior poetry

Classrooms

Reception

Community Design Studio An Extention of Florida A&M University

A community design center has the responsibility of not only being a well-designed building, but must be an inspiring building. A community design center should be something that can indicate resourceful and environmentally conscious building practices to the community, while practices to the community, while capturing the spirit of architecture in an easily accessable way.

My initial site analysis indicated that an important feature of the site is the existing vegetation, specifical-ly two large pine trees that are grouped in moderately sized groves. By taking those important spaces, and creating retaining walls around them, it creates a stage for nature them, it creates a stage for nature to be admired. It is this idea of land-scape being something that is built and altered by humans that is core to healing the scars created by building on the earth instead of in the earth.

My idea is to promote sustainable and natural building techniques within the community by creating a building that inspires and instructs.

Community connectivity

Sustainable Design

Instructive

Inspiring

A community design center has the responsibility of not only being a well-designed building, but must be an inspiring building. A community design center should be something that can indicate resourceful and environmentally conscious building practices to the community, while

Program:Studio space for faculty/student designers

Classroom space with a projectorSmall computer lab area

Display area for design work

Community needs:Natural vegetation grown in gardens for use in communityShowcase a wide array of sustainable practices -Deciduous eastern shading -Calculated southern overhangs -Earth sheltering for insulation and aesthetics -Underground courtyard avoids noise pollution nearby -Storm water re-routing to provide irrigationProvide a place to experience successful architecture

Design pinup

1 Design pinup space2 Classroom area3 Design studio4 Computer space5 Exterior underground patio6 Parking area77 Viewing tower

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Native plant species:A PineB MagnoliaC Pignut HickoryD HollyE Red CedarF Live OakF Live Oak

earth sheltered building

viewing tower

Native planters (for community use)

parking

Patio at Night

Interior Office

ROOF MATERIAL 1A - Earth 2A - Gravel mix 3A - Protective membrane 4A - Styrofoam 5A - Butyl membrane 6A - ConcreteWALL MATERIAL 1B - Earth 2B - Hard vapor barrier 3B - Styrofoam 4B - Vapor membrane 5B - ConcreteSLAB MATERIALSLAB MATERIAL 1C - Concrete footing 2C - Gravel Infill 3C - Hard vapor barrier 4C - Styrofoam 5C - Vapor membrane 6C - Concrete slab

North Elevation

South Elevation

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Downtown Tallahassee ProjectA mixed use midrise for historic downtown Tallahassee

The Challenge of designing for a historical context is the shackles it seems to bind you in as a designer. One could make the mistake of merely incorporating widely used el-ements and reappointing them to a new building -- architectural mim-icry; or disregard the surroundings and its rich environment -- architec-tural disrespect. My goal is to find something contextually deeper than blindly following historicism as a crutch, and keeping a progressive mindset towards the use of new technology, allowing for innovation and efficiency.

FORM

MATERIALS

STAINABILITY

URBAN PLANNING

“Architecture is a continuing dialogue between generations, which creates an environment across time.”---Vincent Scully”

FORMcentralization is a common motif in the historical streetscapes. I utilized

centralization on the eastern facade to give a clearly marked entry into the courtyard.

Horizontal Datum lines break up the heights of most of the surrounding

FORMHorizontal Datum lines break up the heights of most of the surrounding

buildings. A 32’ heightline on both sides of the lot strongly indicated I should also provide some sort of response. I opted to put a 30’ setback at that height to maintain the integrity of existing context. This provided space for a garden balcony, and allows daylighting into the courtyard.

A centralized ornamentation is also subtly used in the surrounding context.

FORM

A centralized ornamentation is also subtly used in the surrounding context. Some are very meek, while others are quite boisterous. I used a bold wrought iron cotton flower above the courtyard entrance to help tie the more decorated Jefferson street to the less ornamental Monroe street.

Arches, being a main theme of my building, are a subtle evolution of the rounded and arching elements on both streets. By creating a bolder mouthpiece for the form, I’ve re-appointed the existing arches into a more contextual urban framework. FORM

the existing arches into a more contextual urban framework. FORM

FORMMATERIALS

SUSTAINABILITYURBAN PLANNING

MATERIALS The materials of the surrounding buildings revealed a somewhat masterful use of brick in some areas, creating an honest aesthetic of craftsmanship anyone could ap-preciate. This honesty in materials I took to be the main focus of my design, but I could not use bricks in the same way as successfully, so I reappointed the idea with more modern materials. My final design is a vertical grid work of deep red steel col-umns interjected into brick and glass curtain walls that create a modern cage con-taining brick and glazed windows. By maintaining an honest materiality apparent from the outside, I feel I’ve given a respectful nod to the historical context, while using modern building methods and maximizing transparency within the facades. This transparency allows the occupants to view the historical setting while respectfully fit-ting within it.

SUSTAINABILITY

Sustainably, I tried to create an extremely progressive building within the shell of a somewhat conservative one. The sustainable technologies I employed were as fol-lows: Green roofing systems, on site water collection and use, and a solar array that doubles as an overhang on the southernand western facades. While the green roof uses thermal massing to keep the cooling load down on the building, the gravel substrate will filter and channel rainwater into an underground tank that will store it for use as a substitute in watering the gardens and flushing toilets within the building. This, coupled with the parabolic solar arrays, will create a monumental increase in the buildings self-reliance to create power. By making solar arraysparabolic, the efficiency is increased while shading the windows from direct sunlight. parabolic, the efficiency is increased while shading the windows from direct sunlight. The square footage of the building façade the panels will cover is 3000 square feet. Using conservative math estimates, I calculated a minimum of 54000kWh produced in a year. This power will be used by an efficient HVAC system that will pull cool shaded air from the courtyard of the building intothe upper office floors of the building.

URBAN DESIGN In terms of city planning, the building code and zoning of the city were heavily re-garded during the design process to create a building that meets fire code, and ADA accessibility requirements. The real things I considered heavily during my design weren’t what was written down as rules, but what would be written as the future of Tal-lahassee. Due to the massive expansion of the city into suburban areas, the urban core remains as a ghost town when all of the congressmen and lawyers go home on the weekends. By creating mixed use buildings, business and consumers are attracted back into town. It isn’t the task of one building to fix, but a successful building can be the model for future progress. It is with these lofty goals in mind that I was pushed into trying to excel in the first three categories listed to create a space that could attract occupants into the area. A building with lofty rooftop gardens overlooking classical views of the capitol building, as well as creating a place for outdoor concerts, views into parades, and a natural escape during the workday.

Courtyard

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1- stairwell/elevator core2 - Washroom core3 - Bike racks

Retail A

Retail B

Retail C

7th floor

6th floor (western roof terrace)

4th and 5th floor

Main entry

Solar array

Typical section

East Elevation North Elevation

West Elevation South Elevation

The year is 2012, and it has been 90 years since the competition that resulted in the existing Chicago Tribune tower. Over the course of 90 years, architecture has changed from the simple pragmatic modernism of the Bauhaus into the pro-gressive sustainability of today. Rooted deeply in the ideal of energy independeeply in the ideal of energy indepen-dence, the new design for the tower en-capsulates the spirit of building method-ologies that will prevail in the future of Chicago, the USA, and the world.

DESIGN INTENT

Chicago Tribune TowerVisionary Architecture Project

Environmental Synergy

Roof GardenVerticle Turbines

Wind Channels for updrafts solar paneling

Southern balcony gardens Horizontal Turbines Ruin Garden Ruin Garden

As the design evolved, the opportunity for creating a more modular building envelope that can be flexable on a bold circulatory structure presented itself. My inten-tion to showcase the future of architecture by creating a futuristic, captivating, and synergistic use of sustain-able techniques on a large scale was finally realized.

Rotating subfloors capture vertical and horizontal wind loads from the channels created by tall valleys of build-ing facades compartmentalized by streets. Southern overhangs shade the interiors from direct sunlight, and circulation through the building is handeled through a central elevator/stair/structural core.

At night, small LED lights on the tip of each turbine blade could be activated, creating a rotation of color and light that would become an iconic piece of the streetscape for commuters and locals. More important-ly, the building will provide a precedent for more build-ings to be created with the environmental context as a main design focus.

WEST ELEVATIONWEST ELEVATION

SOUTH ELEVATIONSOUTH ELEVATIONSOUTH ELEVATION

HUMAN RIGHTS CENTER ATLANTACentennial Olmpic Park, Atlanta Georgia

Drainage Issues

Compartmentalization

Connection

A Message

SITE

URBAN

HUMAN

DESIGN

When designing a MUSEUM FOR HUMAN RIGHTS in Atlanta Georgia, one must ask: what can the architecture say about the building’s purpose?

The client wanted the building to offer informa-tion in a highly customized and digital way, integrat-ing the occupants of the building into the subject matter. It is this integration between subject/object, the duality of point and purpose, that was my chief inspiration.

“Leave the land no worse than you found it.”- Malcolm Wells

Dialogue between man and earth:Conceptually, the building will be integrated into the steep slope Conceptually, the building will be integrated into the steep slope on the Northern end of the site, creating an earth sheltered build-ing that acts as a background to the flamboyant context. The watershed of the large expanses of turf grass will be captured by an irrigation system within the building, providing resources for the expansive green wall that is within. The site will be xeriscaped, which will also aid in this issue. The Northern face of the building is a massive grid of window panels, allowing the entire building to a massive grid of window panels, allowing the entire building to have the airy feel of a massive, naturally lit atrium. By allowing the building to be integrated with the earth, the design solves a major site problem while creating abuilding that invokes a connection to nature. This connection,

being something that every human feels to some extent, will be an important piece of the environment of the museum.

Dialogue with cultural context:The Location of the site, being such a prominent corner, has the opportunity to create an intense visual experience. That opportu-nity for lavish decorum I opted to replace with a large wall that will create an interface with the surrounding context.

The wall will be created using 25’ x 25’ panels of reused curtain walls from abandoned factory bulidings that can be recycled. The reused pieces of urban fabric will create a narrow, shaded hallway of urban building facades for people moving into the courtyard. The intention of which is to create a sort of visual wall to hide the phony, touristic nature of the park from the homeless-ness nearby. As one moves through the hallway experience, openings in the outter skin of the wall reveal glimpses to the areas openings in the outter skin of the wall reveal glimpses to the areas north of the site, the ending conclusion being the juxtaposition of two contrasting environments. The proximity of extreme poverty in such a rich area is realized.

SITE PERSPECTIVE

SECTION A-A

SIGNAGE

EXTERIOR EVENT

ATRIUM

OFFICE

JAMES R REYNOLDSEDUCATIONAssociates of Science in Construction TechnologyAUTOCAD Foundations CertificationFlorida State College at JacksonvilleGraduation February 2010 -- GPA 3.4

Bachelors of Architectural StudiesFlorida A&M UniversityFlorida A&M UniversityGraduation May 2013 -- GPA 3.95

EXPERIENCEHistoric Preservation InternPrince William Forest Park

Triangle VirginiaSummer 2012

Dispute and Permitting InternClay County Public WorksClay County Public Works

Orange Park FloridaWinter 2009

JAMES R REYNOLDSJAMES ROBERT REYNOLDS IILEED GREEN ASSOCIATE

Rhodes+Brito design scholarship winnerFAMU AIAS Historian

NOMAS

CONTACT12422 Berry Patch WayJacksonville Florida32225

(904) 465-6908

wrong side

please flip me over