S E L E C T E D W O R K S

K E V I N A T K I N S O N

K E V I N A T K I N S O NK A T K I N S @ T U L A N E . E D U8 6 0 . 9 4 4 . 5 7 8 2

7 7 3 0 Z I M P E L S T R E E TN E W O R L E A N S , L A 7 0 1 1 8

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ARDI

GRAS

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USEU

M OF

THE C

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C O N T A C T

C O N T E N T

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ROME

NADE

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M A R D I G R A S I N D I A N I N S T I T U T E

[ S P R I N G 2 0 1 4 ]

THE MARDI GRAS INDIAN INSTITUTE SERVES TO OFFER A DIVERSE AND ENIGMATIC CULTURE A PLACE TO CONGREGATE, PERFORM, AND CALL HOME. THE FORM OF THE BUILDING IS DERIVED FROM THE LAYERING OF MARDI GRAS INDIAN SUITS. THE BUILDING BECOMES MORE LAYERED AS ONE MOVES DEEPER INTO IT.

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

GATHERING AND PERFORMANCE CORE

SURFACE LAYERING

SPATIAL LAYERING

MASS VS VOID

CIRCULATION

EXHIBITION SPACE

PUBLIC SPACE

THE CENTRAL AUDITORIUM SPACE PROVIDES AN INFORMAL PLACE TO WATCH PERFORMANCES IN THE STREET, ON THE STAGE, AND IN THE STUDIO ON THE SECOND FLOOR AND OPERATES AS A PORCH FOR THE NEIGHBORHOOD, WHILE THE CONTINUOUS BRONZE CEILING CONNECTS IT WITH THE FACADE ALONG LASALLE STREET AND PROVIDES A CANOPY FOR THE SPACE. UNDULATING SCRIM PANELS DIFFUSE LIGHT THROUGH CLERESTORY WINDOWS AND INTERIOR PARTITIONS IN THE EXHIBITION SPACE.

T H E M U S E U M O F T H E C I T Y

THIS WORK ANALYZES THE DIAGRAMMATIC INFORMATION OF FAUBORG MARIGNY THAT SERVES AS A PHYSICAL REPRESENTATION OF NEW ORLEANS. ALL PROJECTS IN THIS SECTION ARE IN COLLABORATION WITH CASSIDY SELF, TSA ‘17.

[ F A L L 2 0 1 3 ]

P R O M E N A D E

THIS PROJECT ATTEMPTS TO RECONCILE THE POINTS OF ARCHITECTURE EXEMPLI-FIED IN LE CORBUSIER’S CARPENTER CENTER AND THE GIVEN SITE, KEEPING IN MIND A CONSISTENT 2:1 PROPORTIONING SYSTEM BASED ON THE JAPANESE KEN

[ S P R I N G 2 0 1 3 ]

A - W K N D [ 2 0 1 4 | 2 0 1 5 ]

A-WKND IS A THREE DAY COLLABORATION BETWEEN TULANE SCHOOL OF ARCHITECTURE AND SEVERAL DESIGN FIRMS. THE FIRST OF THE FOLLOWING PROJETS IS , AN INTERACTIVE SPATIAL EXPERIENCE MADE FROM LIGHT BY CONNECTED TO INPUT SUCH AS TWITTER, MOTION SENSORS, AND MUSIC. THE INSTALLATION INVOLVED THE USE OF AND WAS IN COLLABORATION WITH OF SAN FRANCISCO. THE SECOND IS A HEXAGONAL SUPSENDED BY WEATHER BALLOONS THAT RESPONDS TO THE DIFFER-ENCES IN WIND AND PRESSURE, IN COLLABORATION WITH OF OAKLAND, CA.

SCALE:

1=300

GIBSON

LIGHT POLE

BLUE LIGHT

TREE

L A F A Y E T T E C E M E T E R Y N O 2 [ F A L L 2 0 1 4 ]

THE LAFAYETTE CEMETERY NO. 2 SEXTON COTTAGE WAS A 2-WEEK CHARETTE TO REPLACE AN EXISTING, DILAPIDATED KEEPER’S qUARTERS THAT WILL HOUSE A PORCH, A MEETING SPACE, AN OFFICE, AND A RESTROOM. THE BUILDING INTE-GRATES THE EXISTING CEMETERY ENCLOSURE, A 9 FOOT HIGH WHITE BRICK WALL, AND INCORPORATES CEMENT, PLASTER, AND IRONWORK THAT MIMICS THE MATE-RIALITY OF THE CEMETERY. NO GLAZING IS EASILY VISIBLE FROM THE EXTERIOR.

SEXTON COTTAGE AT LAFAYETTE CEMETERY

THe design of the sexton cottage at lafayette ceme-tery utilizes the material qualities of ma-sonry units and metalwork to replicate some of the artistic themes of the tombstones and cemetery layout. It is at its core a simple masonry structure enclosed with thin metal-work, much like the tombs. the metalwork screen and roof takes on the unit of a typical CMU and operates as a place for visitors to leave flowers, gifts, etc, as a living wall. units become increasingly more filled in or extruded as one moves away from the entrance, corresponding to the degrading materials of the cemetery’s struc-ture as well as symboliz-ing the natural decay and rebirth after death.

program

solid/void

masonry vs metal

degradation

SEXTON COTTAGE AT LAFAYETTE CEMETERY

THe design of the sexton cottage at lafayette ceme-tery utilizes the material qualities of ma-sonry units and metalwork to replicate some of the artistic themes of the tombstones and cemetery layout. It is at its core a simple masonry structure enclosed with thin metal-work, much like the tombs. the metalwork screen and roof takes on the unit of a typical CMU and operates as a place for visitors to leave flowers, gifts, etc, as a living wall. units become increasingly more filled in or extruded as one moves away from the entrance, corresponding to the degrading materials of the cemetery’s struc-ture as well as symboliz-ing the natural decay and rebirth after death.

program

solid/void

masonry vs metal

degradation

SEXTON COTTAGE AT LAFAYETTE CEMETERY

THe design of the sexton cottage at lafayette ceme-tery utilizes the material qualities of ma-sonry units and metalwork to replicate some of the artistic themes of the tombstones and cemetery layout. It is at its core a simple masonry structure enclosed with thin metal-work, much like the tombs. the metalwork screen and roof takes on the unit of a typical CMU and operates as a place for visitors to leave flowers, gifts, etc, as a living wall. units become increasingly more filled in or extruded as one moves away from the entrance, corresponding to the degrading materials of the cemetery’s struc-ture as well as symboliz-ing the natural decay and rebirth after death.

program

solid/void

masonry vs metal

degradation

SEXTON COTTAGE AT LAFAYETTE CEMETERY

THe design of the sexton cottage at lafayette ceme-tery utilizes the material qualities of ma-sonry units and metalwork to replicate some of the artistic themes of the tombstones and cemetery layout. It is at its core a simple masonry structure enclosed with thin metal-work, much like the tombs. the metalwork screen and roof takes on the unit of a typical CMU and operates as a place for visitors to leave flowers, gifts, etc, as a living wall. units become increasingly more filled in or extruded as one moves away from the entrance, corresponding to the degrading materials of the cemetery’s struc-ture as well as symboliz-ing the natural decay and rebirth after death.

program

solid/void

masonry vs metal

degradation

B U I L D H A U S [ F A L L 2 0 1 4 ]

THE NEW ORELANS BUILDING ARTS INSTITUTE IS A TRADE SCHOOL FOR MASONS AND CRAFTSMEN IN THE FRERET NEIGHBORHOOD. THE C-SHAPED MASS OF THE BUILDING AND THE LARGE COVERED COURTYARD IS A MICRO-REPRESENTATION OF THE LARGER NEIGHBORHOOD FABRIC. CANTED ROOFS OFFER OPPORTUNITIES FOR LIGHT, VENTI-LATION, AND SECTIONAL HIERARCHY. A CANOPY INCORPORATES VORONOI ORGANIC CELL-INSPIRED PANELS THAT REFLECT THE TREE CANOPY OF THE ADJACENT VALENCE CEMETERY.

f i n a l m o d e l

e a s t - w e s t s e c t i o n

WATER RUNOFF BIORETENTION GLAZING STRATEGY VENTILATIONSHADING

FORMAL SERVED/SERVICEFABRICATION/EDUCATION CIRCULATION OPEN SPACE

K e v i n A t k i n s o n | T u l a n e U n i v e r s i t y M a s t e r ’ s o f A r c h i t e c t u r e C a n d i d a t e 2 0 1 7k a t k i n s @ t u l a n e . e d u | 8 6 0 9 4 4 5 7 8 2

K E V I N A T K I N S O NK A T K I N S @ T U L A N E . E D U8 6 0 . 9 4 4 . 5 7 8 2

7 7 3 0 Z I M P E L S T R E E TN E W O R L E A N S , L A 7 0 1 1 8