kourtney | TIMMONS

DESIGN PORTFOLIO

02 | 03

KOURTNEY MICHAEL TIMMONS

Ball State University

The College of Architecture and Planning

ADDRESS

203 North 8th Avenue | Beech Grove, IN | 46107

PHONE

[ 317 ] 213 - 2278

EMAIL

kmtimmons@bsu.edu

infablue1448@gmail.com

TABLE OF CONTENTS

re GEN Center: Welcome pavilion on Shute’s Folly island (Janice Shimizu) - Cripe Competition

Outdoor Classroom: Snorkeling pavilion in Turtle Cove (Janice Shimizu)

Flow Kinetics: Culinary institute and boutique hotel in Indy (Andrea Swartz) - Estopinal Competition

Urban Estuary: Wastewater management facility in Muncie (Andrea Swartz)

Lakeview Cabin: Small wood cabin for campers in Seymour (Timothy Gray)

511 West Main: Design/build ecoRehab renovation in Muncie (Jonathan Spodek)

Sustain - Tech: Green workforce training center in Indy (Bob Koester)

Patterned Facade: Digital fabrication moiré pattern screen (Dustin Headley)

Organic Envelope: Bus station pavilion on urban streetscape (Dustin Headley)

Paul Rudolph: Mid-century designer research board (Deborah Middleton)

Crow’s Nest: Beach house camping structure on east coast (Dan Woodfin)

TABLE OF CONTENTS 06 | 13

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26 | 29

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32 | 35

36 | 39

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[ SFRC | Shute’s Folly reGen Center ] Fall 2012

“A welcome pavilion that incorporates a variety of regenerative techniques and integration with the landscape of an eroding island“

re GEN CENTER

06 | 07

The island of Shute’s Folly yields an excess of complications rendering it nearly impossible to build on in its current state. Even before the initial design process comes to fruition ideas, techniques, and opportunities to sustain and regenerate the island must be addressed. Taking into account all negative influences, erosion of the shorelines becomes the key element to address.

Simplifying the design solution into three clear concepts allows the client to fully comprehend the context, concepts, and process of design. The first concept is “reGenerate” or the idea of introducing manmade installations around the island that will over time allow the island to initiate this natural regenerative cycle on its own. Specifically three installations are mentioned: the Sand Berm, Artificial Reef, and Storm Fencing.

Creating a sand berm out of dredged slurry specifically located on the back barrier of the island is the first step to rebuilding the islands first defense against erosion, its shoreline. Without a prominent shoreline on both fronts, Shute’s Folly yields itself to the whims of the ocean current, increasing the need for it to imitate an ideal barrier island model. An artificial reef simply breaks the waves prematurely as to calm the water as it approaches the beach of Shute’s Folly. This artificial reef could be made up of a series of recycled shipping containers stacked up roughly four-hundred and fifty feet off the shoreline. The most important installation would be a series of storm fencing located throughout the island to capture sand as waves pass over them. These could simply be a field of wooden stakes thoughtfully arranged in a grid.

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The idea of “reEnforce” encapsulates the idea of a system of vegetated roots providing the support and structure a beach needs to hold the sand and sediment in place. The final concept of “reNourish” has to do with a factor of time and seeing the results of the work of the prior concepts. The sand berm naturally disperses to the flanks of the island, shoreline heights are refortified due to the wooden stakes, and local fauna and beach grasses are added to stabilize the new sediment.

This technique of storm fencing has the opportunity to merge with design and become more than just a practical device. Arranged in an organic configuration along the shoreline, the wooden stakes morph into a series of orthogonal lines creating a gradient field of “Organic to Rigid”. This architectonic provides the link between the visitor’s center and other structures around the island and the actual land management strategies that are sustaining the life of Shute’s Folly.

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[ TCSP | Turtle Cove Snorkeling Pavilion ] Fall 2012

“An outdoor classroom for the appreciation and preservation of the endangered sea turtle and other wildlife along the Coral Reef”

OUTDOOR CLASSROOM

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To relate with the environment the structure needed to create a sense of emerging out of the water. Looking at natural structures that form a sense of enclosure the idea of linking the “Inside” with the “Outside” became key. To achieve this series of interlocking and undulating planes were used to form circulation paths, walls, and seating. These converging planes create a holistic organic landscape that merges with its environment. Taking precedents like Snohetta’s Wild reindeer Center Pavilion and SHoP’s Dunescape made it clear the beauty and capabilities of wood would be most appropriate the Turtle Cove Snorkeling Pavilion.

Located a couple of miles off the coast of St. Thomas, U.S. Virgin Islands, lies Turtle Cove. The fortified shape of the cove allows sea turtles to raise their young before they venture off into the harsh wild. Turtle Cove is a wildlife preserve and houses hundreds of rare coral reef species. Not permitted to build on land, Turtle Cove rests on the water like many of the tour boats that visit each day to minimize its environmental footprint. It acts as an outdoor classroom for the appreciation and preservation of the endangered sea turtle and other wildlife along the coral reef as well as a resting spot for snorkelers.

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[ GSC | Georgia Street Center ] Spring 2012

“Fluid energy sculpts static structure to create a new identity as a festival thoroughfare”

FLOW KINETICS

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All urban areas must accommodate and celebrate wind flow and pedestrian circulation. For this project, fluid energy sculpts static structure to create a new identity as a festival thoroughfare. This concept of flow (air and people) is celebrated at an urban scale through a special chasm formally shaped to enhance and deflect seasonal wind patterns and pedestrian flow through the site. The architecture also responds to air flow, tectonically enhancing natural ventilation and reflecting the environment through active kinetic facades and integrated site development.

Hierarchy in layers of Concept:

• Responding to FLOW (Human Circulation and Wind Movement) primarily in Chasm• Representing FLOW by Activating the Facades• Designing for FLOW throughout the rest of The building • Channeling FLOW for social interactions

Fronting the newly developed Georgia Street in Downtown Indianapolis and located on Pan Am Plaza sits two urban towers. One containing a Culinary Institute and fine dining, the other a boutique hotel that allows users to fully interact with the urban environment. The orientation of the towers attracts people into the plaza

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[ MSLC | Muncie’s Sustainable Living Center ] Spring2012

“Estuary: a natural marine ecosystem that results from two different bodies of water combining to create one of nature’s most productive and nutritious habitats”

URBAN ESTUARY

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The intent of Muncie’s Urban Estuary is to provide a rich community center that emphasizes the renewal of urban growth along Walnut Street as well as focuses on the process of waste water management. To achieve this goal the program took on the form of an estuary: a natural marine ecosystem that results from two very different bodies of water (salt water and fresh water) combining to create one of nature’s most productive and nutritious habitats. The correlation to the program is the site’s uncanny relationship to Muncie’s urban fabric. A dichotomy of dense urban storefronts on North Walnut and barren industrial factories to the south. Acting as a buffer that absorbs the beneficial ‘nutrients’ from each opposing side combined into one centrally located rich Urban Estuary.

Not only do these two unique masses intersect to form a grand atrium space, but also reflect the characteristics of their parent precedents in scale, construction methods, economy, use, and in some cases material selection. Although similar in form they create a new identity to Walnut’s dilapidated street front. The western mass with a wooden rain screen is dedicated to retail leasing to encourage urban growth along Walnut Street; the north of the site is left open to allow for future construction.

The natural waste-water management process is located in the atrium at the intersection of the two masses. It is organic in shape and caries it’s form to the exterior courtyard to the south and journeys into the small micro-climate on the east of the site characterized by the storm-water run-off pond and dense tree foliage.

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This project called for a wood-framed cabin located on the side of a sloping wooded hillside in Seymour, Indiana. In able to accommodate up to ten campers at once in just 600 sf, it was essential to have a smart layout and minimize wasted space. Working in a small group of three we each were responsible for different areas of schematic design through construction documents. I personally created the 3D model and nested the building to send to the CNC router as well as an intense involvement in the physical model assemblage. In regards to the construction documents, I enjoyed the privilege of handling all elevation drawings in AutoCad.

[ CTW | Cabin In The Woods ] Spring 2012

LAKEVIEW CABIN “A small cabin for seasonal campers composed of wood and ingenuity”

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[ DBER | Design/Build Eco Rehab ] Fall 2012

511 WEST MAIN“The greenest building is the one that is already built”

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The 511 West Main Street house is a local rehabilitation project located in the western historic district of downtown Muncie, Indiana. Working with professor Jonathan Spodek in groups of three, the students were responsible for their own renovations and installations throughout the house although many helped on other projects. The renovations included adding a front and back porch, and an installation along the newly developed kitchen wall. The process began by gathering recycled framing lumber in the dumpster removed during the demolition phase. After stripping all nails out along with all other prep work we were finally able to use this wood for the kitchen installation.

After destroying several saws we discovered the wood to be a very beautiful old growth white oak common to Muncie during the house’s origin. After planing and jointing the wood it allowed us to cut the wood to the same dimension and glue it into one surface. Along with glue, tension rods were added for extra support as some of the members would span long lengths. The wood provides the horizontal element and the metal the vertical. Using steel allowed us to gain experience with several new tools including steel grinders, buffers, polishers, grinders, and how to use a welder. After holes were drilled to screw into wood, the metal was prepped to add several coats of paint. Wood ledger boards were made to attach the wood bench and shelves to the framing and several coats of wood veneer were added.

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[ GWTC | Green Workforce Training Center ] Fall 2011

“A prominent datum strengthens a community in an urban context”

SUSTAIN - TECH

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The Green Workforce Training Center is located in between Meridian and Illinois street in downtown Indianapolis. Its purpose is to provide seminars to train individuals in the areas of sustainability and green design. While providing rolling landscapes that crawl up the building, an outdoor public community amphitheater, and a wooded micro-climate with specific areas intended for rainwater and storm water run-off collection, the building itself is be a shining model of sustainable techniques. Amidst the modular scheme of the building towers a series of canvases along the datum each with their specific height and length. Each one is placed in respect to the program of the rooms below to maximize solar heat gain and block solar radiation when necessary. The canvases on the north facilitate natural vegetation for shading and on the south they have a series of photovoltaic panels. The gradual sloping vegetated ramps mirror these parabolic curves to integrate the site.

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[ UCBP | Urban Context Bus Pavilion ] Fall 2010[ MPS | Moiré Pattern Screen ] Fall 2010

PATTERNED FAçADE“Unique exploration into the design and articulation of Moiré Patterns”

Using 3D modeling software to create a series of decorated planes that when aligned within a frame creates a Moiré pattern. The

biggest factor with this project is creating a field of depth and how the project changes completely as the eye

moves by. To create this great undulating pattern a series of curved lines were laid out in both the X

and Y plane. Each line was assigned a different diameter of circle to give the visual effect

of pushing and pulling. Once the circles were laid out and a Moiré surface

was created, it was important to have the appropriate

spacing between panels. The Moiré effect would not work if the panels were too close or too far away so a sense of balance was established. To hold these panels in place two distinct forms of joinery were used: a box joint and a Mortise and Tenon joint. The Box joint is commonly used in wood-crafting to join corners at right angles. The Mortise and Tenon joint is also used in the same fashion, but seemed even more appropriate in this situation it was possible to connect the panels in the middle of the frame.

[ UCBP | Urban Context Bus Pavilion ] Fall 2010

ORGANIC ENVELOPE“Unique exploration into the design and articulation of Moiré Patterns” “Using undulating ribbed members to create seating and a sense of enclosure with a strong interaction with light”

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In an attempt to define a streetscape in an urban city block, it was also required that it take on a natural organic flow that contrasted its office building counterparts. Referencing precedents such as SHoP’s Dunescape and Calatrava’s famous bus pavilion it became apparent to use a series of interacting ribs that form overhead and wall enclosures as well as morph into seating. This undulating form dynamically changes as your perspective within the piece changes. The rib structure could be made out of pre-fabricated steel or some type of carbon fiber. As the eye moves throughout the piece a wonderful series of shadows dance along the structure varying throughout the day.

[ BHCS | Beach House Camping Structure ] Fall 2010

CROW’S NESTPAUL RUDOLPH

SUPPORTINGIMAGE

1918 - 1982

Paul Rudolph didn’t see the need to be complex in his design process and often preferred letting his drawings do the work rather than getting in an intellectual debate of opinions. He loved to draw and even developed his own style of drawing that he believed most effectively rendered the quality of the space. It was a one-point perspective with a section cut in the foreground that allowed for differential line weights and materiality to shine through in three dimensions. His meticulously hand rendered drawings not only acted as presentation tools, but also allowed him to critique his strengths and weaknesses to achieve the most meaningful and complete design solution. He argued that it is impossible to truly determine the character of the building and its ultimate nature through countless sections, plans, elevations and models, but that in the imagination one could deter-mine the true scope of the project.

Being mentored by Walter Gropius at his time in Harvard, he began his career designing in the modern International Style where one can find examples in his Florida houses. He questioned their aesthetical and functional attributes and how they interacted with light and later changed to what is known as the Brutalist Style. Although this style has a bad reputation and seen as displeasing to some, Rudolph’s approach to design and his thorough examinations are unmistakable.

Rudolph was considered a Late-Modernist designer. He developed a sense of architectural design and a few design principles early in his career that he surprisingly stuck with all the way to the end of his career with very slight modifications. He would be the first to say that his two most important features in design were: the internal control of Light and Space and the external influ-ence the structure has on its surrounding context. Within these baseline thoughts were branches that did not revise his original philosophy, but rather sensibly expanded his ideas to respond to the realities and opportunities that presented themselves between varying commissions.

Adapting to the landscape and the context was very important to his design. He felt that if these were left out the project was just simply a building. He introduced the idea that the structures should take their neighbors into consideration and can relate to them by being sympathetic to their form language or intentionally contrasting them through: scale, proportions, materials, and aesthetic characteristics. The internal function dictated both the exterior and interior appearance of the building, as well as the complexity of shapes, structure, light interaction, and visual dynamics were all dependent on the artistic ability of the designer to create an elegant envelope.

Born on October 23, 1918 in Elkton Kentucky to Reverand Keenar Rudolph and Eurye Rudolph. Hoped to have followed in his father’s footsteps, Paul decided to go to Alabama Polytechnic Institute to study architecture where he received his Bachelor’s Degree in Architecture. Paul later followed a friends suggestion and moved to Sarasota, Florida in 1941 to work for Ralph Twitchell. He entered into the navy at the beginning of World War II where he was in charge of ship building for four years.

After the navy he went back to Harvard Graduate School of Design to receive his Masters Degree where he was directly influenced by Walter Gropius. He opened up a couple of offices on the east coast and was offered a teaching position at Yale University. As his work became more famous he was offered larger jobs and was covered in the media. He proceeded to design large structures across the country and world for the next four decades until his death on August 8th, 1997. He died of Mesothelioma caused by asbestos likely from his work in the navy ship yard.

Paul Rudolph’s career began when he entered the navy and was in charge of building ship houses. He then progressed to designing a small community centers like the Jewett’s Art Center, a housing complex, and the Greeley Memorial Library. Surprisingly, he was also given the commission to design the U.S. Jordanian Embassy Project in the mid 1950’s.

Rudolph worked on a series of homes in the late 1950’s, throughout the 1960’s, and even into the 1970’s. These resi-dences were typically confined to the Sarasota, Florida region where he worked in an architectural office under Ralph Twitchell. Some of these residences include the Milam Resi-dence (top right image), the Bass residence, the Deering resi-dence, and the Deane residence. Each one was typically very unique, a far cry from the rationalist structures being built during this time from Mies van der Rohe and Le Corbusier.

Jewett Art Center 1958

Sarasota High School1958

Parcell Residence 1971

Greeley Memorial Library 1957

Deering Residence 1958

Temple Street Parking Garage 1963

Burroughs Wellcome Headquarters 1972

Yale University Art and Architecture Building 1964 Endo Laboratories 1967Callahan Residence 1965

Southeastern Massuchusetts Technological Institute 1972 Lower Manhattan Expressway 1972Lower Manhattan Expressway 1972Burroughs Wellcome Headquarters 1972

Bass Residence 1970

Deane Residence 1970

The Concourse Complexs 1981Wisma Dharmala Sakti 1988 Orange County Government Center 1971

Southeastern Massuchusetts Technological Institute 1972

Milam Residence 1961

The Colonnade Condominium 1987

The Lippo Center 1988

Yale University Art and Architecture Building 1964

Greeley Memorial Library 1957

Sarasota High School 1958

Deering Residence1958

Yale Art and Architecture

1964Jewett Art Center

1958

Callahan Residence

1965

Temple Street Parking

Garage 1963

Endo Laboratories

1967

Bass Residence 1970

Deane Residence 1970

Parcell Residence 1971

Orange County Government Center 1971

Buroughs Wellcome

Center 1972

Lower Manhattan

Expressway 1972

Southeastern Massuchusetts Technological Institute 1972 The Concourse

Comples 1981

Wisma Dharmala Sakti 1988

Milam Residence 1961

1974

1976

1978

1980

1982

1984

1986

1960

Also while he was in Sarasota he designed a couple of schools like the Sarasota High School (directly left) and a couple of architecture offices.

After his career progressed and his notoriety increased he began getting larger and larger commissions, mainly for com-mercial buildings. After accepting the position as Dean of Architecture at Yale University he designed the architecture building itself, something he was very proud of. He had a wide variety of work after this including: parking garages, govern-ment centers, college campus buildings, housing complexes and apartment buildings, and proposals for entire transit com-missions. A few of many of his major works include the Con-course Complex 1981, the Collonade Cominium 1987, the Lippo Centre 1988, and the Wisma Dharmala Sakti 1988. All are large high rise sky scrapers and have a very unique facade.

Significant Works

Design Process

Concepts and Ideas

[ BHCS | Beach House Camping Structure ] Fall 2010

CROW’S NEST“Skeletal structure for a hot humid environment”

PAUL RUDOLPH

SUPPORTINGIMAGE

1918 - 1982

Paul Rudolph didn’t see the need to be complex in his design process and often preferred letting his drawings do the work rather than getting in an intellectual debate of opinions. He loved to draw and even developed his own style of drawing that he believed most effectively rendered the quality of the space. It was a one-point perspective with a section cut in the foreground that allowed for differential line weights and materiality to shine through in three dimensions. His meticulously hand rendered drawings not only acted as presentation tools, but also allowed him to critique his strengths and weaknesses to achieve the most meaningful and complete design solution. He argued that it is impossible to truly determine the character of the building and its ultimate nature through countless sections, plans, elevations and models, but that in the imagination one could deter-mine the true scope of the project.

Being mentored by Walter Gropius at his time in Harvard, he began his career designing in the modern International Style where one can find examples in his Florida houses. He questioned their aesthetical and functional attributes and how they interacted with light and later changed to what is known as the Brutalist Style. Although this style has a bad reputation and seen as displeasing to some, Rudolph’s approach to design and his thorough examinations are unmistakable.

Rudolph was considered a Late-Modernist designer. He developed a sense of architectural design and a few design principles early in his career that he surprisingly stuck with all the way to the end of his career with very slight modifications. He would be the first to say that his two most important features in design were: the internal control of Light and Space and the external influ-ence the structure has on its surrounding context. Within these baseline thoughts were branches that did not revise his original philosophy, but rather sensibly expanded his ideas to respond to the realities and opportunities that presented themselves between varying commissions.

Adapting to the landscape and the context was very important to his design. He felt that if these were left out the project was just simply a building. He introduced the idea that the structures should take their neighbors into consideration and can relate to them by being sympathetic to their form language or intentionally contrasting them through: scale, proportions, materials, and aesthetic characteristics. The internal function dictated both the exterior and interior appearance of the building, as well as the complexity of shapes, structure, light interaction, and visual dynamics were all dependent on the artistic ability of the designer to create an elegant envelope.

Born on October 23, 1918 in Elkton Kentucky to Reverand Keenar Rudolph and Eurye Rudolph. Hoped to have followed in his father’s footsteps, Paul decided to go to Alabama Polytechnic Institute to study architecture where he received his Bachelor’s Degree in Architecture. Paul later followed a friends suggestion and moved to Sarasota, Florida in 1941 to work for Ralph Twitchell. He entered into the navy at the beginning of World War II where he was in charge of ship building for four years.

After the navy he went back to Harvard Graduate School of Design to receive his Masters Degree where he was directly influenced by Walter Gropius. He opened up a couple of offices on the east coast and was offered a teaching position at Yale University. As his work became more famous he was offered larger jobs and was covered in the media. He proceeded to design large structures across the country and world for the next four decades until his death on August 8th, 1997. He died of Mesothelioma caused by asbestos likely from his work in the navy ship yard.

Paul Rudolph’s career began when he entered the navy and was in charge of building ship houses. He then progressed to designing a small community centers like the Jewett’s Art Center, a housing complex, and the Greeley Memorial Library. Surprisingly, he was also given the commission to design the U.S. Jordanian Embassy Project in the mid 1950’s.

Rudolph worked on a series of homes in the late 1950’s, throughout the 1960’s, and even into the 1970’s. These resi-dences were typically confined to the Sarasota, Florida region where he worked in an architectural office under Ralph Twitchell. Some of these residences include the Milam Resi-dence (top right image), the Bass residence, the Deering resi-dence, and the Deane residence. Each one was typically very unique, a far cry from the rationalist structures being built during this time from Mies van der Rohe and Le Corbusier.

Jewett Art Center 1958

Sarasota High School1958

Parcell Residence 1971

Greeley Memorial Library 1957

Deering Residence 1958

Temple Street Parking Garage 1963

Burroughs Wellcome Headquarters 1972

Yale University Art and Architecture Building 1964 Endo Laboratories 1967Callahan Residence 1965

Southeastern Massuchusetts Technological Institute 1972 Lower Manhattan Expressway 1972Lower Manhattan Expressway 1972Burroughs Wellcome Headquarters 1972

Bass Residence 1970

Deane Residence 1970

The Concourse Complexs 1981Wisma Dharmala Sakti 1988 Orange County Government Center 1971

Southeastern Massuchusetts Technological Institute 1972

Milam Residence 1961

The Colonnade Condominium 1987

The Lippo Center 1988

Yale University Art and Architecture Building 1964

Greeley Memorial Library 1957

Sarasota High School 1958

Deering Residence1958

Yale Art and Architecture

1964Jewett Art Center

1958

Callahan Residence

1965

Temple Street Parking

Garage 1963

Endo Laboratories

1967

Bass Residence 1970

Deane Residence 1970

Parcell Residence 1971

Orange County Government Center 1971

Buroughs Wellcome

Center 1972

Lower Manhattan

Expressway 1972

Southeastern Massuchusetts Technological Institute 1972 The Concourse

Comples 1981

Wisma Dharmala Sakti 1988

Milam Residence 1961

1974

1976

1978

1980

1982

1984

1986

1960

Also while he was in Sarasota he designed a couple of schools like the Sarasota High School (directly left) and a couple of architecture offices.

After his career progressed and his notoriety increased he began getting larger and larger commissions, mainly for com-mercial buildings. After accepting the position as Dean of Architecture at Yale University he designed the architecture building itself, something he was very proud of. He had a wide variety of work after this including: parking garages, govern-ment centers, college campus buildings, housing complexes and apartment buildings, and proposals for entire transit com-missions. A few of many of his major works include the Con-course Complex 1981, the Collonade Cominium 1987, the Lippo Centre 1988, and the Wisma Dharmala Sakti 1988. All are large high rise sky scrapers and have a very unique facade.

Significant Works

Design Process

Concepts and Ideas

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Kourtney Timmons203 North 8th Avenue Beech Grove, Indiana 46107 Objective: To acquire outstanding scholarly insight and experience for the profession of architecture

Education Ball State University – Bachelors of Architecture, anticipated completion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 2013

- Cumulative GPA: 3.35- Finalist in Cripe Competition - Dean’s List Fall of 2012

Beech Grove High School – Academic Honors Diploma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 2009

College OrganizationsAASHE Association for the Advancement of Sustainability in Higher Education

- Member at Ball State University College of Architecture and Planning United States Green Building Council

- Member of Emerging Green Builders

Work ExperienceFront Desk Clerk, Candlewood Suites, Indianapolis, IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Summer 2011 – 2012

- Learned to concurrently accomodate numerous guest’s affairs - Politely met their requests and insured their satisfaction

- Attended to laundry and janitorial responsibilities - Checked guests into and out of rooms

Head Cashier, Beech Grove Meat Market, Beech Grove, IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Summer 2009- Assisted customers with charisma and professional demeanor - Stocked inventory and did janitorial duties

Entrepreneur of Lawn Care Services, Beech Grove, IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Summers 2006 – 2008 - Personally tended to several lawns weekly - Learned basics of landscape maintenance

Technical SkillsProficient with: - Rhinoceros 4.0 - V-Ray plugin for Rhinoceros - Google SketchUp 8.0 - Adobe CS5 Photoshop - Adobe CS5 InDesign - Adobe CS5 Illustrator

Currently learning AutoCAD and Revit software.Skilled in complexities of woodshop projects as well as 2D laser printing and model assembly

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(317) 213-2278 kmtimmons@bsu.edu

Communication Skills Prepares holistic presentations both graphically and orally Studied four years of German in high school and can comprehend and respond to basic conversation Preliminary studies of Japanese language and culture

Personal Interests Musical abilities include:

- Ten years of self-taught piano- Six years of Trumpet with school band (marching, ensemble, and pep) - Five years of church choir

Track and Field events:- Pole vaulting, Long jump, and JV 100 and 200

Personal Travel:- Extensive travel of 15 U.S. states ranging from both coasts and both national borders- Visits to Canada, Western Mexico, Yucatan Peninsula, Bahamas, and Western Caribbean

Educational Travel:

- Chicago, Illinois (Crown Hall, Illinois Institute of Technology, Oak Park, Robie House, Unity Temple, Millenium Park)

- St. Louis, Missouri (Wainwright Building, St. Louis Union Station, St. Louis Arch, Pulitizer Foundation for the Arts)

- Montreal, Canada (Quartier des Spectacles, Habitat 67, Palais des Congres, Caisse des Depots et Placements)

- Ottawa, Canada (National Gallery of Canada, Canadian War Museum, Canadian Museum of Civilization)

- Toronto, Canada (Allen Lambert Galleria, Toronto City Hall, Toronto Reference Library, Royal Ontario Museum)

- New York, New York (Time Square, Empire State, Chrysler Building, Grand Central Station, Rockefeler Center, Museum of Modern Art, Freedom Tower, Hearst Tower, Central Park, Guggenheim Museum, High Line)

- Los Angeles, California (Museum of the Holocaust, LACMA, Hollyhock House, Daly Genik Office, Morphosis Office, Getty Museum, Disney Concert Hall, Cal Trans Building, Cathedral of Los Angeles, Bradbury Building, Gamble House)

Above average computer literacy and pervasive desire to learn more