3. EVERYONE HAS A STORY
From stacking Lincoln Logs in my basement to
sitting on my grandfathers lap as a child watch-
ing him draft, it now seems as if my future was set
in stone. So when the time came to decide on a
major in my senior year of high school, archi-
tecture was my first choice. In fact, architecture
was my only choice, with nothing else even close
behind it. So when my letter of approval came in
the mail from Penn State in November of 2000, I
remember being excited and relieved because I
didn’t have a backup plan.
I received my Bachelor of Architecture in May of
2006 from the Pennsylvania State University. The
following month, I was hired by Eckles Architecture
as an intern architect. I had the opportunity to
work on projects of various scales. From hand
sketching schematics to detailing sections in the
construction phase, I quickly realized that success-
ful architecture doesn’t happen overnight. It is a
race filled with mountains and valleys and takes
true perseverance to make it to the finish line.
While much of my stay at Eckles was defined
by teamwork, I was blessed to be given my own
project just months into my career. I fell in love
with the early stages of design. Listening to a cli-
ent share their vision of the future made me realize
I had chosen the right path. Taking their ideas and
turning it into something tangible they can see and
feel is an incredible experience.
While at Eckles, I also spent time working on
feasibility studies and proposal presentations. You
only get one shot at a first impression. I joined the
marketing team about half way through my stay
with hopes of bringing in future work. The truth is
architecture isn’t just a pretty picture. It's a busi-
ness in which the night owl and the early bird gets
the worm. I was inspired by our principals ability
to manage so many projects at once.
Eckles equipped me with a well rounded knowl-
edge of the field. From the transition to new
software, researching new codes, and receiving a
client’s wish to go in a new direction, it is easy to
see that remaining flexible is vital for anyone work-
ing in this environment.
In June of 2009, I was the one making the
changes. I was offered a position at Perkins East-
man in Pittsburgh and packed my bags. I went
from creating spaces for children to learn and grow
to designing towers that keep the elderly young
at heart. Our team of over 20 people worked on
drawings for a 21 story senior living facility on
the Upper West Side of Manhattan. I have a new
appreciation for how important every inch is in
New York City. I was excited to be shutting down
Photoshop for presentations and opening up Revit
to draw structural grids and elevator cores. Pretty
renderings will sell you a project but they won’t
support the weight of a tower. I gained valuable
experience cutting wall sections and researching
code for the Manhattan project. I looked forward
to the project managers returning from their
meetings in New York to give us feedback on our
progress. Communication played a vital role in
keeping a project of that size on track.
Perkins Eastman made me realize how proud I am
to be in this profession. From their office, to their
award winning intranet and beautiful projects, any-
one would benefit from being a part of their team.
Looking back, it's easy to see how different the
design cultures were going from Eckles to Perkins.
However, they did shared a common bond. The
end product was always worthy of the time and
effort they invested into it.
2
5. Site plan along 106th Avenue
Northeast view of the Care Center
Resident Floor Lobby
SCHEMATICS
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6. The first floor plan shows the elevators and stairs as the central core of the building.
They are flanked by lobby space including an aviary, bistro, and gift shop. Concrete
columns laid out in a grid are utilized as this towers main structural element.
The north facade boasts a front entry set apart from the brick by a series of aluminum
panels. As you look up from the entrance, you begin to see the unique detail of each
resident window. The care center brings about a sense of playfulness to the block by
splashing its exterior with a variety of vibrant colors.
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7. Second Floor Plan Resident Floor Plan
Exterior Bistro Wall Section
Resident Floor Lounge
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9. 03JAMES M. BURKE FIELD
Fox Chapel, Pennsylvania
Eckles Architecture & Engineering
8
Fox Chapel High School chose Eckles Architecture to redesign their
football field. Over a dozen options were created with numerous
variations to each design. The final product boldly implements the
school colors as well as their logo in the end zone. The detailing of
the new field resembles those seen at the college level.
14. The Highland House, located in New Castle,
was a feasibility study created to see if the
client could afford to build a new facility. The
study required professional renderings for
a site plan and elevations. It also included
floor plans that would alleviate current issues
within the layout of the existing building.
09THE HIGHLAND HOUSE
New Castle, Pennsylvania
Eckles Architecture & Engineering
1113
16. THESIS STATEMENT
The problem lies in architecture’s ability to respond
to the needs of it’s culture. As people and their
needs adjust, so should the buildings they occupy.
The interesting thing about humans beings is that
many of their needs remain the same. Although
many are blessed with food, shelter, and an educa-
tion, millions of people aren’t so fortunate.
After returning home from my study abroad it be-
came evident that the Italian and American cultures
differed. While I could pinpoint many differences,
the focal point of this project begins to look at
how religious space has lost its grip on the urban
environment. Strolling through Rome, it is easy to
see the importance of religious space. It defines
every part of the ancient world and the majority of
the spaces encompass this religious entity.
One of the fundamental aspects of religious space
is its outreach to those in need. Returning home
to New Castle, Pennsylvania, I began to see how
separated society is from religious space. Because
it’s not strategically placed, religious space is losing
ground in impacting lives in a positive way. More
often than not, religious space manifests a certain
randomness in terms of its location and respon-
siveness to the public. While many see religious
space as just a space of intimacy, a churches most
important role in society is reaching out to those
who are in need.
My project is located in New Castle Pennsylvania.
New Castle remains an abandoned post-industrial-
ized city just north of Pittsburgh. The Rescue Mis-
sion sits along the Neshannock creek in the heart of
town. The building is clearly labeled and defined as
a religious space surrounded by an urban fabric.
New Castle began redeveloping a few years ago
and has completely overlooked the mission. This
project will take a closer look at how other programs
can begin to interact with the existing presence of a
viable mission. Because there is a stigma attached
to places like rescue missions, this thesis explores if
this perception can be altered by creating interac-
tion between the client and its urban environment.
The projects suggests a religious space that begins
to unravel the mission with its surrounding, but
providing enough distance to allow a sure recovery
for its client.
Finally, it will provide downtown New Castle with a
recognizable landmark encouraging the population
to begin renovating in the area. Bringing in new
programs to the mission will provide job opportuni-
ties for the clients as well as a filter back into the
community. The building will be approximately
50,000 square feet, large enough to be recognizable
but small enough to remain a part of its context.
How can one attempt to create a religious architec-
ture that also allows provision for those in urgent
need?
Can this architecture also provide ways for the
rehabilitated to have a positive impact on the urban
community?
Will the integration of urban programs into the mis-
sion have a positive impact on its clients?
How does one urbanize a religious space?
COMMUNICATION
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17.
18. CONCEPTThe previous page depicts initial sketches for the
Rescue Mission. The main theme of this project is to
provide space of interaction for those seeking to get
back on their feet as well as the every day consumer.
A ribbon that supports this concept begins to take
shape physically providing space for both programs.
The site is a narrow strip of land that runs
It begins to take shape structurally announcing
to the community that this Rescue Mission can
successfully provide shelter and offer courses for
rehabilitation as well as generate a buzz downtown
for those interested in grabbing a cup of coffee and
reading the Saturday paper.
adjacent to the Neshannock Creek. The existing build-
ing is a box that sits next to a small plot of land with a
few trees planted. Early concepts take this “park” and
explode it into the new facility. With the park and build-
ing distinctly separate, the new layout joins the two to
blur the lines of interior and exterior. The ribbon seen in
previous sketches doesn’t just remain conceptual.
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19. The linear site offers great opportunity to utilize natural
ventilation. On hot summer days, the large swinging
doors, that make up the commercial/retail space on
the first floor, can open to allow for the breeze over the
creek to enter the building. Also, the reflective pool near
the west end of the Rescue Mission would become an
attractive water feature for anyone visiting downtown.
Study model giving shape to the Rescue Mission
Sectional sketches show the thinking process of
positioning each program. The intent is for this building
to be a funnel from the 4th floor to the 1st floor. Rescue
mission residents can live on the top floor, go to chapel
on the third, meditate in the second floor garden, and
dine in a first floor cafe. Each floor represents a step of
healing back into the public.
Similar to the growth of a tree, the process of healing
can be a slow one. Large concrete planters with a
glass wall revealing the root system not only create a
powerful statement inside the space, but also provide
structural support. These trees, along with the 2nd floor
garden, provide an interior get-away for residents and
cafe-goers. You can also see the garden begin slope
downward to the creek below.
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20. Ribbon-like structure landing over the reflecting pool.
Final model showing the glass shell surrounding the structural ribbon.
View of the first floor swinging walls and second floor
garden running along the creek.
19
MODELING
21. The cafes and commercial space on the first floor, along
with the reflecting pool and outdoor seating along the creek,
provide a much needed attraction to the downtown area. The
clean lines of the glass enclosure and the large steel columns
contrast the colorful trees and plants inside the building.
There is a tension created between the permanance of the
metal and the growing, vibrant, vegetation.
The building becomes the symbol of the journey from death to
life, offering a place to heal, worship, socialize, and work.
Structural planters revealing root system along lobby entrance
View of lit reflecting pool at night
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22. Final Model [2’ wide x 5’ long]
Glass facade along Croton Avenue
highlighting the fourth floor resident windows
Walkway along the Neshannock Creek just
below the second floor garden
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23. Section through reflecting pool showing glass enclosure and steel roof
Long section showing the first floor cafes, second floor
garden, third floor chapel, and 4th floor resident housing
22
PENCIL
DRAWINGS
24. Partial first floor plan showing the cafes, large planters, and swinging doors
Partial fourth floor plan of the resident housing
23
26. I can honestly say that his passion for the history of
architecture was contagious. I believe I would have
stayed a tourist in Rome if it werent for his desire to
show us how to make it home.
Through all of the lectures, tours, and site visits
while living there, it became evidently clear to
me how the built form has gone through various
changes over the years. Although the materials and
methods have evolved, architecture still remains the
backbone that supports such a thriving culture.
There are a variety of things that I brought home
with me from traveling overseas. Many of which
I couldn’t fold up and place in my carry-on. One
of the greatest lessons I learned from my studies
in Rome was the reality that there is nothing new
under the sun. It can be a heavy burden to try and
be original as an artist or architect. This city has
proved to me that there is always something from
the site, the culture, or even the generation before
to pull from in terms of creating a respectful piece of
architecture.
Instead of being pressured to be original, I now
focus on being observant. I believe successful
architecture is made when context and creativity
collide. Whether its to a road, a piece of literature,
or a way of thinking, the design process is always a
response. This revelation has freed me from being
frozen by indecision. I am thankful for the many
layers of the ancient world that taught me so many
lessons on life and design.
The first step to understanding the art of architec-
ture isn’t to sign up for a college credit, but to buy
a pair of hard-bottom oxfords, a sketchbook, and a
plane ticket to Rome.
In 2005, during my fourth year of study, I had the
privilege of traveling to and learning from one of
the most beautiful cities in the world, Rome, Italy.
The ancient Romans, known for being advanced in
numerous aspects of living, paved the way for gen-
erations to come in terms of architecture. Not only
did they excel in creating materials for building but
they also pushed construction to a new limit. They
played a major role in the advancement of roads,
aqueducts, theatres, bridges, baths, and arenas.
The city boasts a legacy of design development that
has lasted thousand of years.
From January through May of that year, I was
purposeful in soaking up as much of antiquity as
humanly possible. I consider myself blessed to
have walked the ancient roads and rest beneath the
trees of a city that has astonished the world since
its inception. To take on such a task alone seemed
daunting to say the least. Enter Mr. Allan Ceen, a
true adventurer and acknowledged expert on the
history of Rome.
Our first assignment under Mr. Ceen was to use
a map handed out in class to find our way to his
studio in the heart of the city. The project proved
to us that the only way to truly experience a new
place was to get lost in it. I seemed to experience
more of the city than anyone else that day because
I got lost twice and showed up 30 minutes late to his
lecture. Mr. Ceen guided us through every facet of
the changing city challenging us to know the pope,
architect, and intent of every building, sculpture and
fountain along the way.
O B S E R V A T I O N
E X P E R I E N C E
25
28. Our last assignment while in Rome was a charette
focusing on a triangular plot of land south of the
Colosseum. The site was between a large hospital
and Via Claudia, the road that ran next to one of
Rome’s ancient walls. I realized during our first site
visit that this green space was fairly unused by the
surrounding community. The building would need to
become a destination as well as being sensitive to
keeping as much of the park as possible.
The building consists of commercial and retail space
on the 1st floor, an extension of the park onto
the 2nd floor, and a rooftop street flanked by houses
and terraces on the 3rd floor. The circulation
remained on the exterior of the building adjacent to
the ancient wall offering views of different heights.
Also, the outdoor steps would frame the view north,
to the Colosseum.
By extending the park into the 2nd floor it would be
as if the original site still existed. This would be-
come a quiet space utilized by the 1st floor shopper
and third floor residents. It would be filled with an
array of local plants from all over the city. It’s easy
to see that commercial and retail space is a high
commodity in Rome. The 1st floor would open up
for markets to sell fresh fruit and vegetables. The
markets would be easily accesible from both sides
of the building. With filled parking spaces all around
the site, it would become an easy place to shop
before heading home from work.
Finally, the top floor would become its own Roman
street offering more places to live in the city. With
varied heights and terraces, this street above the
street would fit right into the Roman cityscape.
Section of building between the ancient wall and the park
27
30. The plans on the previous page, were studies giv-
ing a small amount of detail to the unfolding of the
mixed-use studio project. The first floor, typical
of the Roman culture, consists of commercial and
retail space. The second floor would become an
extension of the park, which is a valuable piece
of green space in the city. The top floor would
become houses and terraces that ran on opposite
sides of a quiet “street above the streets”.
The footprint of the building would remain small
and would mirror the ancient wall. The circulation
from the park to the rooftop housing was placed
on the exterior of the building giving various views
to the sacred wall across the street.
Sectional model with a view of the rooftop street and housing.
Long Section of commercial space, garden, and rooftop housing.
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