LANDON MOORE / Design Portfolio

Spring 2012Jean-Paul Viguier et AssocisParis / FranceArchitectural Intern

Summer 2008 - Summer 2011Kansas University Endowment AssociationUniversity of Kansas / Lawrence / KansasStudent Manager of Annual Giving Call Center

Spring 2007 - Summer 2008Home DetailLawrence / KansasPainter

Winter 2004 - Winter 2006Bi-Lo CountrymartWarrensburg / MissouriSacker, Stocker, Teller

Spring 2007 - Spring 2012University of KansasLawrence / KansasMaster of Architecture

Fall 2011 - Spring 2012Ecole Nationale Suprieure DArchitectureParis Val De SeineParis / France

Summer 2010Architecture and Urban Design Study AbroadItaly

Fall 2006University of Central MissouriWarrensburg / MissouriComputer Aided Design and Drafting

Fall 2002 - Spring 2006Warrensburg High SchoolWarrensburg / Missouri

Landon Moore1644 Middlepark DriveDayton, OH 45414

660.238.2900kulandon@gmail.com

References

Bruce JohnsonProfessor of ArchitectureUniversity of Kansas913.940.9801terra@ku.edu

Peter Pran, FAIA, MNALDesign PartnerPeter Pran + H Architects LLC155 Fifth Avenue, 3rd floorNew York, NY 10010main phone 646 480 3170fax 646 480 3181cell phone 206 953 5237ppran@ppran-h.com

/ EXPERIENCE / / EDUCATION /

/ RECOGNITION / / SKILLS /

KU GPA 3.40Studio GPA 3.54Goldwin Goldsmith ScholarshipDonald Ewart Memorial ScholarshipHollis & Miller ScholarshipEFCO Scholarship

Advanced

AutoCADGoogle SketchUpKerkytheaAdobe PhotoshopAdobe IllustratorAdobe InDesignAdobe After EffectsMicrosoft WordMicrosoft ExcelMicrosoft PowerPointPC

Intermediate

3ds Max designRevit ArchitectureRhino+Grasshopper plug-inV-RayiMoviemodel buildingsketchingMac

PROFESSIONAL EXPERIENCE

EDUCATIONAL EXPERIENCE

Jean-Paul Viguier et AssocisParis / France

Tour MajungaLa dfense / Paris / France

Ecole Nationale Suprieure DArchitectureParis Val De Seine

Paris / FranceEuropan 11 / Clermont-Ferrand Masterplan

5th Year

Tour Ariane Roof-Top AdditionLa dfense / Paris / France

Europan 11 / Clermont-FerrandCommercial Center & Mediatheque Options

5th Year

MANUAL EXPERIENCE

University of KansasLawrence / Kansas

New Orleans Center for Film StudiesNew Orleans / Louisiana

4th Year

Re-DuxDesign-Build

3rd Year

Deployable ApparatusDesign-Build

1st Year

Sketches

The Tour Majunga is a brand new 42-sto-ry building under construction in the La dfense district of Paris, France. The Tow-er consists of three strips in plan that off-set and create folds in the dynamic facade. The south facade provides loggia space for each floor allowing for workers to be more productive. Simple environmental design strategies were used such as a double-glazed south facade, loggias, and opper-able blinds. The base of the tower consists of different levels of vegetation adjacent to the cafe and restaurant that provide public space for the employees and local residents.

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render by lautre image / Jean Paul Viguier et Associs

TOUR MAJUNGA

The Tour Ariane addition was to be a meeting room added to the top of a 36-story tower in the La dfense district of Paris, France. In less than a month we designed a one-room glass-box equipped with a kitchenette and a bathroom with the meeting rooms view directed toward the city-center. The facade consisted of panels from the clients neighboring tower the Tour Majunga to save money and visually connect the two towers.

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TOUR ARIANE ADDITION

Objective / To design an eco-quarter masterplan for a site in Europe. Site / The site in Cler-mont-Ferrand, France was chosen for being a uniqe brown-field site with great opportunity for redevelopment. Solution / The site was nearly a blank slate after a majority of the factories were leveled. All that remained was extremely poor social-housing and two old factories. It was important to connect the local inhabitants to the city while improving their quality of life. A new green-path swashed through the site connecting the city and volcano beyond to the farms in the valley. The path brought a new tramway line as well as pedistrian and bike paths as well as open public space for the locals to grow their crops, mingle, and connect with the old city. Social housing was upgraded and three different types of housing were created for different types of inhabitants. The housing had to respect local conditions such as the sun, wind, and local vegetation while directing itself towards views of the city and volcanoes. The existing road and adjacent commercial center was upgraded and expanded to create a main street effect with dense shopping and living that is typical throughout France. One factory was convereted into a mediatheque for local learning. The other factory was converted into a small museum of the history of the site as well as a location for the locals to build green technologies for the site and elseware. This enabled local inhabitants to have jobs using their existing knowledge and to teach others about green technology applications.

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CLERMONT-FERRAND, FRANCE MASTERPLAN

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Individually, two versions of the commercial center and mediatheque were created to de-scribe ways in which our masterplan could be applied. The idea was to create a dense com-mercial center with top-floor living-space.

Version one consisted of surrounding the commercial area with public space while raising the buildings on pilotis so that views throughout the space would be unobstruct-ed. The public space allowed local shop-pers, workers, and inhabitants to mingle throughout the day. A colorful pattern of slats partnered with a grey-tone created a new signage while respecting the dark tones of the volcanic rock used throughout the city.

Version two was similar to version one but created unobstructed gallery space around each of the commercial buildings. Slid-ing slats created dynamic shading for each individual using the space and allowed for unobstructed glass curtain-walls to al-low for natural light, views, and ventilation.

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CLERMONT-FERRAND, FRANCE COMMERCIAL CENTER & MEDIATHEQUE

VERSION 1

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CLERMONT-FERRAND, FRANCE COMMERCIAL CENTER & MEDIATHEQUE

VERSION 2

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Sliding slats provide adjustable shading that is color-coded to create a unique form of wayfinding and signage.

The loggias provide circulation and shading.

Large graphics provide a unique signage instead of cluttering the roads with signs.

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Objective / To design a film insti-tute in New Orleans, Louisiana for ei-ther the Warehouse District, the Maga-zine District, or the Bywater District.

Site / The Warehouse District was chosen for its proximity with local residents at work and at home, touristic sites, and schools.

Solution / The New Orleans Center for Film Studies was intended to merge the study of film with entertainment by creating a program that allows an array of people to mix throughout the day. Firstly, the idea was to design the public building from the ground, up; and the private build-ing from the sky, down. Secondly, the building needed to respect the social and environmental elements of New Orleans.

The building started by extruding the build-ing in the shape of the site to local building heights. The building was then deconstrcuted and pieces were carved away in respect of ver-nacular methods for social and environmen-tal conditions. The rain-screen facade was designed using vivid colors to represent the dynamic and colorful nature of New Orleans.

The interior program contains elements needed for the institute to be functional all day and night. A corner-cafe draws pass-ers-by as well as local businessmen. Open shop space, gallery space, learning rooms, and mediatheques bring in day-time stu-dents. A screening room, black-box the-ater, traditional theater, and a roof-top movie projector paired with a restaurant combine to create night-time entertainment for all.

New Orleans Color TV Static+

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NEW ORLEANS CENTER FOR FILM STUDIES

performance/entertainment

atrium/circulation/gallery

learning/production

restaurant/bar

performance/movie theater

black box soundstage/theater

green screen production space

atrium/circulation/gallery

administration

post production editing

media library

classrooms

construction space

corner site

extruded

split by atrium

organized program

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north

south

administration

post production editing

media library

classrooms

construction space

split by atrium

organized program

glazing

hex head boltconnects the exterior wall sandwich, rainscreen, and insulation/column sandwich together

concrete block wall

sheathing

insulation

vapor barrier

metal lath

rough coat

brown coat

finish coatrainscreen

column

concrete floor

metal decking

I-beam open web steel joist

green roof materials

vapor membrane

drainage

vapor membrane

I-beam

sound absorbing ceiling

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Wall Section

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redux (r-dks) adj.Brought back; returned. Used post positively. - Merriam-Websters Online Dictionary 2009

If this project were to have a name redux would be a fitting candidate this is an exercise in using reclaimed/brought back materials that would in all likelihood find their way into landfills across America. Our precedents included products available from companies such as Modern Cabana, Kithaus, and Modern Shed all prefabricated kits/spaces designed for the backyard. With these products customers have the choice of assembling the kit themselves or hiring a contractor. All of the examples we examined were expandable and considered as outbuildings linked to the primary structure by walkways and other landscape features. All of the precedents utilized a range of programs: i.e., a guesthouse, a pool house, a workshop, an art studio, etc.

Our prototype is 100 square feet and was conceived as a series of flat and L-Shaped components (floor, roof and walls). For academic purposes we chose to locate the unit behind the 1954 Snower House in Kansas City by Marcel Breuer. This example of fine Fifties Modernism was chosen over typical suburban homes as a means of focus-ing on the abstract patterning that is apparent in its use of plain and patterned concrete block, wood siding and De Stijl based window infill conditions. The prototype attempts to draw on pattern as a precise piecemeal fitting together of found materials that often re-quire overlap and stagger in order to function as structure or skin. We also found this type of pattern as more closely approximating the notion of suburban transformation over time, where boats, pools, porches, sheds, landscape features, etc., were placed in the back and side yards of homes in order to provide the owner greater functionality or with a sense that their home was one of a kind and where a street once homogeneous becomes episodic.

The artist Louis Nevelson states with reference to her use of scrap and found ma-terial, But when I fell in love with black, it contained all color. It wasnt a negation of col-orI have seen things that were transferred into black that took on just greatness. I dont want to use a lesser word. For Nevelson, the black paint transforms former discarded frag-ments into a powerful whole. Our prototype operates on a simple variation of this theme as the black paint renders the patterned and reverse mounted vinyl siding and modulated wood trim, into a mostly autonomous box that is then fractured by a transformational west wall paving the way toward a more random interior patterning of modular panels and sky-lights. Our choice of utilizing a rotated full length-dressing mirror concludes the desire to reference/bring back/redux the original house in as many patterned ways as possible.M

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RE-DUX DESIGN/BUILD

Architecture 409: Materials/Costs

Reclaimed Materials1x4s- 2/2x2s- 50/2x4s- 60/2x8s- 122x10s- 1.5/4x4s- 5Heavy Timber Moving Blocks- 8I-Joists- 8Vinyl Billboard Sheeting- 2OSB- 250 sq ft./Plywood- 400 sq ft./ Particle Board - 1 large sheetRoofing Felt - 2 RollsExotic Hardwood - 100 sq ft.Hollow Core Doors- 5/Windows- 2Vinyl Siding- 330 sq ft.Skylights - 2Electrical Conduit- 30Cable Routing Overhead Track- 12Cinder Blocks - 8Full Length Mirror - 1Screws/WashersHinges- 5 setsDoor Hardware (1 handle set, 1 deadbolt)

Purchased MaterialsFraming NailsSheathing NailsStaplesBrad NailsNuts & Bolts $120Door $40Sealant/Paint $90Lighting $82 $332 Total

$332 or $3.32 per square foot (labor not included)

Architecture 409: Team

Bruce A. Johnson Critic

Aaron Aday, Alex Augustin, Dani Boyd, Lindsay Brisko, Kristin Doner, Raymond Dwyer, Fritz Helbert, Lauren Kimball, Andrew Krivanek, Landon Moore, Ryan Otterson, Bryan Pendzinski, Claire Ryan, Kathleen Sis, Abigail Steck, Brad

Thaw, Margaret Walck

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R.xx roof componentsW.xx all componentsF.xx floor componentsD.xx deck componentsM.xx miscellaneous parts

W.01 floor trimW.02 interior sheathingW.03 studsW.04 exterior sheathingW.05 vapor shield (billboard canvas)W.06 primary trimW.07 vinyl claddingW.08 secondary trimW.09 operable slatted wall

M.01 cross-bracingM.02 display boardsM.03 doorM.04 ladderM.05 screen systemM.06 primary trim

F.01 screen-wall thresholdF.02 floor modulation patternF.03 OBS flooring stripsF.04 sheathingF.05 structural joistsF.06 intermediate stairF.07 supporting timbers

D.01 exterior sheathingD.02 flooring trimD.03 deck flooringD.04 structural porch members

R.01 track-lightingR.02 skylight bafflesR.03 ceiling screenR.04 roof joistsR.05 exterior plywood sheathingR.06 felt membraneR.07 skylights (two sizes)R.08 corrugated plastic roofingR.09 occupiable roof deck

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Objective / To create a deployable ap-paratus derived from precedence stud-ies of the De Stijl artist Piet Mon-drian and architect Le Corbusier.

Site / Three sites around Lawrence, Kan-sas were chosen individually by each group with at least one site being on campus and one site being sloped.

Solution / As a small group, we derived this final design through a process of abstrac-tion. Starting with a Mondrian painting, abstracting its essence, and transforming it into a three-dimensional form, we were able to create a human-scale, deployable appa-ratus. During this project we manipulated how we typically perceive the landscape through natural phenomena. We used the play of light and shadow on frosted glass to create blurred and silhouetted views of the site. The addition of mirrors created views very similar to reality leaving the viewer won-dering if its real or not. This feeling was enhanced since the frames of frosted glass and mirror could be omitted during assem-bly. The apparatus would be deployed at each site and assembled according to the sites conditions. Legs were added to adapt to sloping conditions, pieces were left out to frame particular views, and mir-rors were rotated to direct views. Lastly, a six-foot tall camera obscura was created to allow viewers an additional view of distort-ed reality. A camera obscura is a primitive camera that acts like our eyes do, drawing in light from its surroundings and project-ing an image upside down on a screen.M

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DEPLOYABLE APPARATUS

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camera obscura reflectivity translucency

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SKETCHES

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Landon MooreUniversity of Kansas

1644 Middlepark Dr.Dayton, OH 45414

660 238 2900kulandon@gmail.com