Portfolio by Laura Camp

1. Laura Camp
Design Portfolio
MFA Themed Entertainment Design
Savannah College of Art and Design
BS Architecture
Georgia Institute of Technology
lacamp20@student.scad.edu
706.255.5510

2. Hand drafts scanned and edited in Photoshop CS4. 2 plans, 2 longitudinal sections, 2 transverse elevations, 1 transverse cutaway axonometric looking from the long outer yard back towards the staircase and front of the house. Designed using De Stijl stylistic properties after studying Gerrit Rietveld's Schroder House's language and using an instructor- provided client requirements list.
Georgia Tech
Fall 2010
ARCH 2011
Alice Vialard
Pencil on Bristol
Cutaway Axonometric
Longitudinal Sections
Transverse Elevations
+1 Level Plan
+0 Level Plan
Papageorgiou House Hand Drafted Orthographics

3. Part of the studio-wide site model for our Media Center at the Oxford Campus of Emory in Oxford, GA. Our concentration was on the language of the exterior of the buildings as well as the general shape of them so attention to detail was important. We achieved the detail of the model by using 4 layers of chipboard and etching or cutting out different details to pull them out or push them back. We made a total of 5 of them for the 5 studio groups and their instructors in our year all sharing the same project. There were two other buildings on the campus that two other groups made as well as another group making the actual site terrain.
Georgia Tech
Fall 2011
ARCH 3011
Minjung Maing
Lasercut chipboard
10"x5"x5"
Partnered with Kayeon Lee
Emory University Oxford, GA Campus Site Model

4. Utilizing estimated floorspace sizes abstracted into room-size boxes, I created formal model iterations within my given site to play with the arrangement of spaces around the Centre Pompidou-style staircase. My iterations toyed with the ideas of a stair that split off and went up or back down, then went all the way up and steeply came back down, or finally, that just went up and left it at that. I made a total of 14 models for this exercise, ending with two 1/16th scale chipboard schemes and the final 1/8th scale presentation model seen here. I forwent any usual design process by focusing solely on modeling to get my ideas out, with the orthographic drawings and renderings coming afterward. This process helped me understand the importance of a physical model within the design process and ultimately set up a stronger understanding of design by doing for my personal tastes. My love of physical modeling stems from this project in particular.
Georgia Tech
Fall 2011
ARCH 3011
Minjung Maing
Bristol paper, chipboard, acetate
Oxford Media Center Model

5. Plans and diagrams drawn in AutoCAD 2012 and exported and cleaned up and rendered over in Adobe
Illustrator CS5. plan, 1 transverse section, 1 longitudinal section, and 2 longitudinal elevations
Georgia Tech
Fall 2011
ARCH 3011
Minjung Maing
AutoCAD and Illustrator
Oxford Media Center Orthographics Section 1’ = 1/8”
Plans 1’ = 1/8”
1. Entry
2. Cafe
3. Mechanical
4. Auditorium
5. Bathrooms
6. Conference Rooms
7. Screening Room
8. Workshop
9. Main Gallery
10. Changing Galleries
11. Contemplation Garden
12. Gallery Storage and Preparation
13. Director’s Office
14. Staff Office
15. Library
16. Classrooms
17. Analog Studio
18. Digital Studio
15
16 16 16
18
17
+2 Floor
10 9
11
14 13
12
5 5
+1 Floor
Section 1’ = 1/8”
Plans 1’ = 1/8”
1. Entry
2. Cafe
3. Mechanical
4. Auditorium
5. Bathrooms
6. Conference Rooms
7. Screening Room
8. Workshop
9. Main Gallery
10. Changing Galleries
11. Contemplation Garden
12. Gallery Storage and Preparation
13. Director’s Office
14. Staff Office
15. Library
16. Classrooms
17. Analog Studio
18. Digital Studio
15
16 16 16
18
17
+2 Floor
10 9
11
14 13
12
5 5
+1 Floor
Elevation 1’ = 1/16”
10 9
11
14 13
12
5 5
+1 Floor
1
2
3
4
5 5
6
7
7
8
0 Floor
Elevation 1’ = 1/16”
1
2
3
4
5 5
6
7
7
8
0 Floor
GEOMETRY
STAIR GENERATES REGULATING LINES
THAT PROGRAM SPACES AND SKYLIGHTS
EXTRUDE FROM

6. 3’0”
0’0”
5’0”
10’0”
Staff
Offices
Mechanical
Lobby
Kitchen
Restaurant
High Roller Area
Staff
Offices
Security HVAC
Supply Storage
Security
Center
Loading Dock
Nature Center
IT Hub
Front
Desk
Storage
10’0”
10’0”
4’0”
0’0”
10’0”
6’0”
4’0”
2’0”
0’-6”
0’-6”
2’0” 2‘6””
5’0”
7’0”
4’0”
6’0”
9’0”
Main Floor
5’10’ 20’ 50’
PIER
C A SINO
By far the most unique program yet is a casino in Biloxi, Mississippi designed with an
ecological standpoint. This project was designed in partnership with Ann Charleston. The
program included a hotel in the long strip that also functions as a pier on top of the hotel
bar. This pier adds to the community outreach in Biloxi by creating a makeshift farmer's
market area where locally made/grown items can be bought and sold. Located in the
main casino form, the triangle serves as the fulcrum, inviting the visitors into the casino
with their choice of card tables, bars, and food service. Within the circular outcrop, slot
machines dominate, with a use of the Living Machine technology cutting through. The
circular form consists mainly of glass with stunning views out to the Back Bay of Biloxi
and it breaks the rules of standard casinos by giving visitors visual access to what day
and time it is, to keep guests staying longer for the beautiful views offered, rather than
deceiving them.
Georgia Tech
Fall 2012
ARCH 4011
Stuart Romm
Rhino and Illustrator
Orthographics designed in conjunction
with Ann Charleston and edited by Ann
Charleston. Diagrams are of my own creation.
Pier Casino Orthographics and Diagrams
Polishing System
water undergoes final polishing and treatment
then goes to reuse tank
Primary Tank Equilization Tank
Flow of Water in Living Machine
Stage 1 Tidal Flow Wetland Cells Stage 2 Tidal Flow Wetland Cells
Polishing System
Stage 2: Tidal Flow
Wetland Cells
Stage 1: Tidal Flow
Wetland Cells
Primary Tank Equalization Tank
Flow of Water in the Living Machine

7. Clockwise from top left: view inside the triangular card tablescape; slot machine floor with the living machine crossing through; birds eye view of casino and massed surrounding buildings; view from the end of the hotel bar back towards the casino; hotel bar from the inside; farmer's market on top of hotel bar pier.
Georgia Tech
Fall 2012
ARCH 4011
Stuart Romm
Rhino, 3DS Max, Photoshop
Pier Casino Atmospheric Renderings

8. As part of pre-design research, this series of diagrams was created to diagram the prefabrication process of the building.
Colors denote similar floor slab/wall slab panels, geometric forms are derived from circles, and circulation in the form of
stairs, elevators, and horizontal hallways are diagrammed.
Georgia Tech
Spring 2013
ARCH 4012
Jack Pyburn
Illustrator
Philadelphia Police Headquarters Existing Building Analysis
123’ 5”
15’ 10”
47’ 10”
15’ 10”
47’ 10”
15’ 10”
47’ 10”
60’ 2 3/8”
92’ 2 3/8”
60’ 2 3/8”
92’ 2 3/8”
49’4.75”
24’5.25” 122’4.75”
44’6”
29’4.5”
29’4.5”
399’ 5.875”
291’ 2”
39’6”
70’10 3/8” 70’10 3/8”
39’6” 39’6”
131’ 1/4”
Vertical
Stair
Vertical
Elevator
Horizontal
3rd Floor
2nd Floor
1st Floor
Lobby Floor
Basement

9. This is a model of the 1960s concrete GBQC building, the Philadelphia Police Headquarters, better known as the Roundhouse. The innovative building, using the unique Schokbeton casting system, and surrounding areas have been marked as "likely for redevelopment," with destruction of the building finalized for 2035. Our mission was to team up with graduate historic preservation students from University of Pennsylvania to provide reuse and addition possibilities to suggest to the City Planning Commission that this is a workable building and that destruction is only one option. Our model was to both be a visual copy as well as a structural copy. We used PVC as the three "cores" of the building, emulated the waffle ceiling design as well, and integrated a pull-apart wedge as well to view the inner structural precast ladder.
Georgia Tech
Spring 2013
ARCH 4012
Jack Pyburn
Chipboard, butterboard, wooden dowels, pvc
Partnered with Emily Lenke, Allison Clarke, and Marie Acalin with assistance from Trey McMillon and Weston Landis
Philadelphia Police Headquarters Site Model

10. This rendered site plan illustrates the reuse aspect of my historic preservation studio project to give new life to the Roundhouse. My reuse focused on a commercial utilization of the Roundhouse as a public zone, accessible to any who wish to come inside and experience the unique space, whereas my angular addition functioned as a private business zone, reflecting the language of the roundhouse in a polygonal dialect and angularly indicating towards prominent Philadelphia landmarks located nearby.
Georgia Tech
Spring 2013
ARCH 4012
Jack Pyburn
Revit, AutoCAD, Illustrator, Photoshop
Philadelphia Police Headquarters Reuse Site Plan

11. The first design project done in the Themed Entertainment Design Masters Program was a collaborative studio designing a stunt show in a pre-existing theater. The group decided to start from scratch with a unique storyline centered around a circus in which everything falls to chaos. Much of the design process went to writing the storyline together, then designing the rest of the project somewhat independantly. Olivia West was responsible for show treatment, Michelle Martin provided storyboarding, Catie DelleMonache worked on costumes, Virginia Berg designed props, Jeff DeBoer and Andres Hernandez created digital renderings, and I worked on the digital revit model as well as the 1'0" = 1/8" scale model.
The show takes the place of the Indiana Jones Epic Stunt Spectacular theater for a one-night-only event. The Bedlam Bros Circus is holding auditions for a new act, as their main two headliners' acts (a magician and a stunt man) are getting a bit stale. And the Ringleader gets fed up with the way he is treated by his fellow cirkies just before auditions begin and quits. Thus the unassuming, seasoned silent clown Chuckles, and his overbearing wife take over the show. The storyline follows the two main characters, the Magician Marvin "The Magnificent" Mancini, and stuntman Claude "The Human Comet." Both are vying to stay in the headlining act by continuously ramping up their stunts until chaos ensues, causing a Rube Goldberg effect of each circus member trying to save each other from one disaster after another. Then after the dust finally settles and everyone can breathe a sigh of relief, the Bedlam brothers, themselves, reveal they had been watching the entire time and find the new combination act completely enthralling. Auditions are closed, the circus performers perform their finale combination act, and it is announced the circus is here to stay.
SCAD
Fall 2014
THED 777
George Head
Designed with Jeff DeBoer, Olivia West, Michelle Martin, Catie DelleMonache, Virginia Berg, and Andres Hernandez
Bedlam Bros Best Circus In the World!
Poster by Jeff DeBoer
Preshow and Finale Storyboards by Michelle Martin
Rendering by Jeff DeBoer
Costuming by Catie DelleMonache

12. Utilizing the spacious existing site of the Indiana Jones Epic Stunt Spectacular Theater, the Circus had ample room to perform their acts. Additions of fabric swags in the Bedlam Bros signature Navy and Gold creates the timeless atmosphere of being under the Big Top while preserving the use of the exisiting light rigging and facilities. Additional columns were added to the existing structural system in order to install the acts that occur above the ring. In addition, the tech booth was relocated to the back of the theater to preserve the unobstructed view of the show and free up some additional seating for the circus' one-day-only showcase.
SCAD
Fall 2014
THED 777
George Head
1/8" = 1'0" Scale
25"x35"
Chipboard, Wooden Dowels, Balsa Wood, Ribbon, Scale figures
Bedlam Bros Best Circus In the World! Physical Model