. . . p r e c i s i o n
p o e t i c s . . .
...in architecture & design works by alex gryger
shared stories: a house, a subway, a nightclub. -southwest corner -disassembled -interior light & shadow -street, morning, rain -building sections/apt stair -courtyard, bar, night -collaged city drawing -writing on the wall sections -the party wall
p. p. p. p. p. p. p. p. p.
04 05 06 07 08 09 10 11 11
mappings
p. 12
-masked figure maps -the ritual -dancer #1 -mapping the cocoons
landscapes p. p. p. p.
12 13 14 15
-water-kindergarten -succession house
for construction
p. 28
-indie house -210 lnp pool house -rock slide house
p. 28 p. 32 p. 38
resume
p. 42
p. 16 p. 16 p. 19
re-constructions
p. 20
-largo argentina -library | cemetery
p. 20 p. 24
design as precision poetics p. 26
copyright 2013 alex gryger ...index...
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SHARED STORIES (2006-2011) -1017 Jackson Ave, Hunter’s Point, Queens, NY. Located at the corner of Vernon Boulevard and Jackson Avenue. -Fragments of the former Long Island City Savings Bank Building to remain. Shared Stories proposes an architectural metaphor for New York City, itself, through the mapping of three programs, A House, A Subway, and A Nightclub onto a single site in Hunter’s Point, Queens. Structured like the films of Andrei Tarkovsky, the story lines of these three spatial characters, along with the site’s remaining fragments of the historic Long Island City Savings Bank Building, overlap, intertwine, and blur within the project’s physically defined space while its inhabitants interact as neighbors sharing common sensory experiences of the building through the critically detailed “Party Wall,” which frames the architectural moments where sights, sounds, textures, lights and shadows pass between adjacent programs. These sensations, interlopers within each program’s experiential narratives, provide one’s primary encounter with the building, and, in turn, they are filtered through memory to find reference and context. As the sensations lead one to recall past experiences, the inherently creative embodied mind, as proposed by Lakoff and Johnson (1), reassembles the memories with the present to direct future reactions to the building and its occupation. Mapping the past and the present together reveals relationships and possibilities that might otherwise remain unnoticed.
Jackson Ave & Vernon Blvd
Shared Stories: Southwest Corner (2010)
Disassembled: A House, A Subway, A Nightclub (2010)
1. Lakoff, George, and Mark Johnson. Philosophy in the Flesh: the Embodied Mind and Its Challenge to Western Thought. New York: Basic Books, 1999. Print.
...shared stories...
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...shared stories...
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storyboard #1: street, morning, rain From the Courtyard Looking In
Entries & Openings: Play of Light & Shadow ...shared stories...
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building sections at the apartment stair
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storyboard #6: courtyard, bar, night
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7:11:00 PM
7:10:50 PM
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SHARED STORIES: A MOMENT IN THE STAIRWELL AT LAST LIGHT
the party wall, apartment side
scale 1/2"=1'-0"
With a hand on the smooth steel handrail
the man walks across the landing past the edge of the righthand stairwell wall and out of the fading daylight.
He descends into the filtered shadows of the stairwell
and metallic tones mix with the distant sound of rattling glass with each of his downward steps. Light projects into the stairwell through slots in the the exposed concrete wall. Pausing momentarily at the third slot, the man glimpses the shadowed profile of a woman standing beyond the wall. He turns away at the bottom of the steps, facing the old brick arch
lightness darkness sound
collaged city drawing
touch (body)
ambient projected glaring filtered filtered shadow metallic tone metallic tone metallic tone clanking glass clanking glass clanking glass background music passing traffic passing traffic hard soft smooth textured edge/groove warm cool air movement
the party wall, nightclub side
the writing on the wall sections detail ...shared stories...
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...shared stories...
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7:10:35 PM
7:10:30 PM
7:10:25 PM
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7:10:25 PM
7:10:20 PM
and continues downward on the steel stairs.
ambien projecte glarin filtere filtere shadow metallic ton metallic ton metallic ton clanking gla clanking gla clanking gla background musi passing traffi passing traffi har so smoot texture edge/groov warm coo air movemen
“THE AGENCY OF MAPPING” In his essay, “The Agency of Mapping,” James Corner explains that: “The function of mapping is less to mirror reality than to engender the reshaping of the worlds in people live…As a creative practice…its agency lies in neither reproduction nor imposition but rather in uncovering realities previously unseen or unimagined, even across seemingly exhausted grounds. Thus, mapping unfolds potential: it re-makes territory over and over again, each time with new and diverse consequences.” (1) As an architect I inherently react to a design problem through the act of drawing and, since first reading James Corner’s essay, I have adopted the process of Mapping into my own methodology for its endless usefulness in making sense of the world. Through the translation of multiple layers of complex influences ranging from time and space, to activity, to the environment, into the abstract visual/spatial language of drawing, ideas are reordered into a clear field that reveals the previously unseen. Through Mapping the design solution is found, naturally, within the conditions of the problem rather than imposed by the preconceived notions of the designer.
red mask mapping ii
MAPPING SEQUENCES IN TIME (2010-2011) The Mapping in Time drawings trace the shifting movements of dancers and performance artists at work to explore their body-space-time relationships in an act of “search and discovery” (2) meant to find material inspiration for transposition into architectural expression. By recording the subjects’ transformations and progressions of physical action as a compressed drawing in a single frame, the mapping provides an altered point-of-view that allows one to see time in a way that one is unable to experience first hand, and reveals the otherwise nearly imperceptible construction of space by continuous bodily movement throughout an interval of performance. 1. Corner, James. “The Agency of Mapping.” Mappings. Ed, Denis Cosgrove. Reaktion Books, London, 1999. p. 213. 2. Donald Wall, “Gordon Matta-Clark’s Building Dissections,” An Interview by Donald Wall Reprinted from Arts Magazine, May 1976, pp. 74-79
red (yellow) mask mapping iv ...mappings...
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“the ritual” mapping Michael Alan’s Living Installation ...mappings...
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dancer #1
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mapping the Cocoon Project by Sherry Aliberti
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LANDSCAPES Every landscape tells a story. The word “topography” comes from topos, place, and graphy, writing, and its attentive measure reveals the plots and subplots, intertwined timelines ranging in length from short stories to epic novels, that tell of the beginnings, ends, and renewals of all the inhabitations of any given site over time that collectively establish its sense of place. Read together, this weave of narratives frames each cohabiting system of the site with a sense of purpose, cultural relevance, and value. The survey of a landscape at a single instance in time cannot adequately describe this full range. Using this redefinition, the Landscape Projects take form out of the desire to explore new ways of making an Architecture of Topographies, or Landscape Stories, which interconnect the narratives of a proposed architectural space with the existing narratives found in the site, blurring the experiential boundary that typically separates landscape and architecture, natural and manmade, inside and outside. The projects are meant to embody an organizational logic and architectural language that speak to the building’s interdependency upon social and environmental systems extending far beyond its interior and vice versa. No longer should buildings be designed with such self-occupation as to deny the experiences of the exterior world except when timidly framed beyond plate glass.
WATER-KINDERGARTEN (2004) Born out of diagrams that analyze and network topographical traits by mapping the flow of water down the sloping, rocky site, the building responds to the landscape, rather than imposing upon it, which maintains the interconnection between child and nature that is key to its program, a “Froebel Kindergarten.” Through the use of a tectonic of imbricated plates allowed to “flow” across the site, forming streams and pooling against the rock outcroppings, the building behaves like the land while maintaining a unique identity. Walking the stepped and terraced hallways of the school, one experiences the threshold where the building enters the site and the site enters the building.
water-kindergarten: interior landscape ...landscapes...
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ground plan ...landscapes...
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SUCCESSION HOUSE (2006) Succession is the process by new systems in a landscape flourish, replacing others in decline.
downhill flow diagram
section-elevation
Travel south to a city surrounded by water where the Succession House rests upon four concrete foundation walls, perpendicular to the street, that support three structural bays of framing, a modern re-interpretation of a local housing type. Its two fully enclosed outer bays, containing the house’s bedrooms and bathrooms, flank a central breezeway that provides cross ventilation through the entire house and holds the kitchen and living space. A butterfly roof covers the entire structure, draining rainfall inwards: a tectonic reminder of the city’s tenuous relation to water. With the exception of the foundation, the house is constructed entirely of non-toxic materials chosen for their ability to decompose within decades rather than centuries when abandoned…
succession house: schematic diagram
…Imagine that at an unknown future date, the city is now inescapably threatened by water and the Succession House sits abandoned in the emptied urban landscape. The stage is set for it to enter the second stage of its design life. The wood siding, peeled open in places by wind damage, reveals stores of native plant seeds. Some of them are scattered to the surrounding ground, beginning the re-establishment of indigenous marshlands. Others, newly exposed to moisture take root within the wall cavities of the house, their outward growing root system further compromising the integrity of the envelope. Meanwhile, the butterfly roof continues to drain cycles of rainfall inward. Eventually the valley seam fails and water seeps through into the bearing structure. Now it is only a matter of time before the roof collapses inward on the house and once fully exposed to the weather, the walls and floor structure follow soon thereafter. Meant to stand for longer, the concrete foundation walls remain, providing stability and containment to the debris as succession of the landscape continues to overtake the structure, returning its components to the earth.
tectonic site diagram
northeast view ...landscapes...
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unit assembly diagram ...landscapes...
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plan at modern street level & section/elevations
RE-CONSTRUCTIONS “Even masterful architects do not invent architectural realities; they rather reveal what exists and what are the natural potentials of the given condition or what the situation calls for. Alvaro Siza, one of the finest architects of our time in combining a sense of tradition with a unique personal expression, puts it sharply, ‘Architects don’t invent anything, they transform reality.’” (1) Neither following the strict rules of historicism, nor relying on a tabula rasa, the Re-Construction Projects approach architecture as the evolution of pre-existing site conditions and precedents. They begin with observation and research of the site to determine the inherent value of its physical and cultural attributes towards the new proposal. Certain features of continued importance are saved and incorporated and repurposed into the new construction. Others, irrelevant or obsolete, are cleared and replaced entirely by the Re-Constructions. Transformation is the life of the city.
1. Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. John Wiley & Sons Ltd. 2009. p. 16
largo argentina panorama
LARGO ARGENTINA “…in addition to their other functions, passage structures were aids to urban navigation, to comprehending a city’s fabric…” (1) This design for a visitors’ center and gallery proposes a new piece of passage architecture for the City of Rome that connects space and time, providing a way for pedestrians to know the Largo Argentina Archaeological Site within the city’s greater urban fabric by replacing the existing experientially impenetrable boundary between the modern street level and the lower excavated temples. Working under the premise that Rome can be continually updated and reinvented through the reconfiguration of its spatial prototypes and typologies, the design solution is a Re-Construction based on the urban stair sequence that ascends the Gianicolo Hill from Trastevere to San Pietro in Montorio including the piazza in front of the church and the Tempietto courtyard, an apt model for urban navigation across a change in elevation. By identifying the elements of the sequence as purely spatial components, it became possible to re-assemble them at the Largo Argentina into a new experiential narrative of architectural intervals of movement and rest. It draws the pedestrian through the Medieval Loggia at the site’s southeast corner and descends through the visitors’ center to a courtyard at the level of the temples: a place of repose that steps upward to the street offering informal public seating and an impromptu urban amphitheater. Moving from the courtyard at the ancient level, the formal passage continues as it rises out of the excavation through a visually open gallery that sets the works on display in context with shifting views of the site and its surrounds of modern Rome. 1. MacDonald, William L. The Architecture of the Roman Empire Vol. II: An Urban Appraisal. Yale University Press, 1986. p. 108.
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re-constructed urban spatial fragments
re-constructed urban fragments joined with site
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LIBRARY | CEMETERY (2004) While researching the history of the project site, a sliver of Manhattan on Lafayette between Bond and Great Jones, and its relationship to the surrounding neighborhood’s changing urban fabric through layers of time, I learned of its proximity to New York’s historic Marble Cemetery, a cultural and architectural artifact embedded in the modern city. One enters the cemetery from Second Avenue through a long, narrow alley that slips between two brick buildings. At the alley’s end, this processional passageway opens to a walled courtyard of lawn and trees buried in the center of the block. Inside, carved plaques mounted in the stone walls memorialize and record the names and location of those interred in the field of marble vaults below. Then, with the research completed and my attention turned to the design problem at hand, I realized that the Library, specifically an archive for the history of New York City, serves a parallel function to the cemetery, to contain and preserve the record of the past. At that point, the architectural form came naturally as a “re-construction” of the research. To enter the Library, one walks north-south along two rough-cast walls that shade and shelter the site from the street, reminiscent of the brick party walls that create the alleyway entrance to the Marble cemetery. At the mid-point of the site, a gap between these walls reveals an east-west footbridge spanning across the library’s sunken entry court and exterior public space. To the north, a building mass of offices, reading rooms and classrooms rises from the earth. Two and a half stories overhead, the floor of the auditorium crosses the space, giving shelter to the volume of the courtyard. To the south, the library’s stacks, contained in a crystalline box, descend into the depths of the site. Its double-curtain wall façade acts to filter diffused light downward and wraps the structure in an atmosphere of silence. Upon entering the archive, the design completely reveals itself through the slip-joint articulation of the cast concrete floors into the supporting steel frame, suggesting the idea of the preserved artifact embedded in a modern context.
library entry court
stack space detail study ...re-constructions...
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library east elevation
southeast corner
stack space detail (joined)
stack space detail (displaced) ...re-constructions...
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Precision Poetics is a layered and nuanced approach to Architecture and design that responds to the complexities and interconnections of a networked world and builds upon the lineage of architectural history with the conviction that as an art form, Architecture must address the needs of the culture it faces with its essential and unique properties of form, space, order and time in the built, inhabited environment lest it will become lost in the sea of media noise. In a scientific age where neuroscience is at the forefront of the ever-developing conception of the human condition, Precision Poetics looks to cognitive spatial metaphors as conceptual prototypes for the creation of architectural spaces conceived for an embodied mind. In a world facing challenges of climate and natural resource, Precision Poetics means to propose alternatives to the established metaphors that structure Western attitudes towards human interaction with the environment.
2. And by the implications of embodied mind theory, “The environment is not an ‘other’ to us. It is not a collection of things that we encounter. Rather, it is part of our being. It is the locus of our existence and identity. We cannot and do not exist apart from it.” (6) Thus in the face of environmental challenges, I want to create Architecture based upon new spatial metaphors that question commonly held notions about our interaction with the ecological systems around us and reframe our thinking about climate and resources by providing settings for new or altered perceptions. I dream of buildings like Domenico’s House in Tarkovksy’s film Nostalghia, where it rains inside, through the roof, and it is beautiful. I dream of buildings with patterns of inhabitation that change with the annual seasons. I believe that an Architect must refine a set of working practices suited to his or her larger conceptual goals in the design of buildings.
To These Ends: I believe that the practice of Architecture must be approached first and foremost with knowledge of its history and its essential and unique potentials as a specific field of art.
yellow mask map detail
1. The primary purpose of Architecture lies in its ability to establish places out of chaos (the separation of the sacred and the profane, the founding of an axis mundi, etc) that express ideas through form, space, order, and the passage of time, all at the scale of the activities of human life. 2. To fully achieve this ideal, Architecture must also strive towards poetics, well-defined by Bachelard, who wrote, “The poetic image is a sudden salience on the surface of the psyche.” (1) A poetic architectural experience should elicit a complex personal reaction that blends reason, emotion, and creative thought to foster an individual understanding of and a relationship with the work of the designer. While “the essential newness of the poetic image” (2) eludes definition in purely rational terms, the creation of the poetic image must nonetheless be executed with precision for the sake of clarity and the preservation of the mark of the artist’s hand upon the work.
1. I hold the art of drawing as the Architect’s primary method of communication. I construct drawings that I refer to as mappings, which tell narratives of space using layers of information addressing multiple viewpoints and the passage of time. In a complex, information-dense world, many things go unnoticed at first pass, but mapping has the ability to reveal initially unseen architectural possibilities within a situation through patient analysis and critique. And it is through revealing these hidden possibilities that the Architect can transform reality. (7) 2. In the quest for Architecture that redefines our relationship with the surrounding environment, I practice a method of landscape that dissolves the common division between inside and outside. Landscape must extend into Architecture and Architecture must extend into the landscape.
palladio
3. Architectural poetics are given precision and clarity through a language of formal, spatial, and experiential dialectics. A curve gains importance when placed against a rectangle. Planes strengthen volumes. (3) The presence of shadows elevates the experience of light. The warmth of wood contrasts the chill of stone. (4)
shared stories
3. During the earliest steps of the design process, I approach every building site with critical review to determine which of its existing elements can be reused, which can be reconfigured, reframed or moved, and which must be removed entirely. This does two things. First, it creates buildings that exist in a scale of time greater than their own and creates architectural narratives tied to history. Second, it reuses and recycles physical resources. The form of reuse and reconfiguration may be radical. This is not preservation. This is Re-Construction. -Alex Gryger, January 2011 Works Cited:
I believe that an Architect must build upon the meaning and cultural history of the field to define his or her conceptual approach to the practice for the contemporary age. 1. I think that the forefront of understanding the human condition lies in knowledge of the function of the mind discovered through current empirical research in the field of neuroscience (cognitive science). Modern science has discredited models of philosophy that assume the mind as an entity all its own and instead supports embodied mind theory, which states that cognition is inseparable from the body and that bodily experience shapes all thought. Consequently, the mind expresses abstract concepts through a vast array of spatially and physically oriented metaphors. (5) For Architecture, awareness of the cognitive metaphor provides a vast library of resources to draw upon in the creation of the poetic.
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scarpa
1. Bachelard, Gaston. The Poetics of Space. Beacon Press, Boston, Mass. 1964. p. XV 2. ibid. p. XXIV 3. Curtis, William J. R. Le Corbusier: Ideas and Forms. London: Phaidon, 2001. p. 8 4. Zumthor, Peter. Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhäuser, 2006. Print. 5. Lakoff, George, and Mark Johnson. Philosophy in the Flesh: the Embodied Mind and Its Challenge to Western Thought. New York: Basic Books, 1999. Print. 6. ibid. p. 567 7. “Architects don’t invent anything, they transform reality.” Alvaro Siza
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untitled mapping
FOR CONSTRUCTION | “INDIE HOUSE,” 2009-2011 RIVERDALE, BRONX, NY Work on the 6000 SF “Indie House,” built circa 1900, began with thorough documentation of its existing conditions and an evaluation of the ability of its program to meet the needs of contemporary dwelling, which led to sensitive design alterations throughout aimed at preserving the existing fabric wherever possible. Additional considerations included feasibility studies for the upgrade of existing mechanical systems to high-efficiency alternatives, the installation of solar panels, and improvements to the building’s thermal shell. As Designer on the project, I was fully responsible for the creation of all proposed modifications and the completion of a full set of RFB drawings. Michael Lewis Architects P.C. Unbuilt
proposed south elevation ...for construction...
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1st floor construction plan for contractor pricing ...for construction...
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indie house throughout the year
interior line rendering & drawings ...for construction...
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drawing sheet for bid alternate details: restoration of existing west porch solarium ...for construction...
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FOR CONSTRUCTION | 210 LNP POOL HOUSE, 2010-2012 WATER MILL, NY Something of a landmark in my career, The 210 LNP Pool House Project, which also includes modifications to the existing summer estate house and a new swimming pool and landscaping created in collaboration with LaGuardia Landscape Architects, is the first project where I was fully present for every step of the process from the first meeting with the clients to the walk-through at substantial completion. The project began in 2010 during which time I was positioned as Designer and had full responsibility from initial design through construction documents. During the course of the project, I was recognized for my organizational skills and precise attention to detail and was promoted to Project Manager with the charge of guiding the project the rest of the way through construction. The experience was immensely educational for me and under my observation it was even finished on time, though just barely, two days before the clients arrived for Memorial Day Weekend. Michael Lewis Architects P.C. in collaboration with LaGuardia Landscape Architects and Planners. Completed 2012
design development site plan ...for construction...
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design rendering: pool house & reflection ...for construction...
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construction documents: pool house detailed lateral section
construction documents: pool house detailed cross section
construction documents: exterior carpentry detail
...for construction...
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...for construction...
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2/21/12: view from new main house deck
5/17/12: exterior at substantial completion
2/12/12: pool house vaulted interior framing
5/17/12: interior at substantial completion ...for construction...
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construction observation 5/17/12: pool house at substantial completion ...for construction...
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FOR CONSTRUCTION | ROCK SLIDE HOUSE, 2012 WARWICK, NY Perched halfway up a wooded mountainside in Warwick, NY, on a building site characterized by its sweeping valley views and anchored on its northwest corner by a scree of rock in a hollow at the base of a crumbling shale cliff, the project’s main physical challenge was to sensitively integrate a three-bedroom dwelling into this complex terrain. As Project Manager and Designer, I responded to this design problem by developing the Rock Slide House’s parti as a series of volumes stepping down along the slope to create a multi-leveled interior landscape reflecting the dynamic exterior setting and to define a carefully terraced massing that conformed to the strict building height requirements of Warwick’s “Ridgeline Overlay District” zoning. Michael Lewis Architects P.C. Unbuilt
design development site plan ...for construction...
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design development concept rendering ...for construction...
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building section
design development interior rendering ...for construction...
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entry level plan ...for construction...
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RESUME & EXPERIENCE
SELECTED PROJECTS
EDUCATION & PROFESSIONAL DEVELOPMENT • • •
2005
D.R. FURNITURE DESIGN, NY, NY
Architecture Agency - Assistant & Designer
2005
PERCH CAFE, BROOKLYN, NY
Architecture Agency - Assistant & Designer
2005
FARM OFFICE & OUTBUILDINGS, BEDFORD, NY
Architecture Agency - Assistant & Designer
2005
ARTISTS’ RETREAT, VT
Architecture Agency - Assistant & Designer
2006
CLOX PAPER PRODUCT DESIGN
Anthony Caradonna, RA - Assistant & Designer
2006
SHARED STORIES THESIS PROJECT
Pratt Institute School of Architecture - Senior Student
2007
CADILLAC CENTRE URBAN PROPOSAL DETROIT, MI
Anthony Caradonna, RA - Assistant & Designer
Designer, 2006-2010: Accomplishments as Designer include the creation of full design and RFB drawings for the renovation of a Riverdale Estate, NYC, 2009, and the collaboration with LaGuardia Landscape Architects to redesign the grounds of a Long Island summer residence, 2010. Took initiative to develop new office drawing standards utilizing Vectorworks BIM features to increase efficiency in document production.
2007
BAR VELOCE AT IFC PROPOSAL, NY, NY
Anthony Caradonna, RA - Assistant & Designer
2007
BAR SOLEX, NY, NY
Anthony Caradonna, RA - Assistant & Designer
2007
BROOKE RD RESIDENCE, BRONXVILLE, NY
Michael Lewis Architects PC - Assistant & Designer
Anthony Caradonna, RA: New York, NY
2007
BEECHDALE RD RESIDENCE, DOBBS FERRY, NY
Michael Lewis Architects PC - Assistant & Designer
Freelance Design and Research Assistant, 2006 to 2009 Assisted with the research, development, and prototype fabrication of 3-dimensional architectural and interior design products constructed from paper and cardboard.
2007
PALISADE RD MODULAR HOUSE, RYE, NY
Michael Lewis Architects PC - Assistant & Designer
2008
BRITE AVE RESIDENCE, SCARSDALE, NY
Michael Lewis Architects PC - Assistant & Designer
2008
GREENACRES AVE RESIDENCE, SCARSDALE, NY
Michael Lewis Architects PC - Assistant & Designer
2009
INDIE HOUSE RESTORATION, RIVERDALE, NY
Michael Lewis Architects PC - Project Manager & Designer
2009
GRACE LUTHERAN TERRACE, SCARSDALE, NY
Michael Lewis Architects PC - Project Manager & Designer
2010
GRACE LUTHERAN COMMUNITY CENTER, SCARSDALE, NY
Michael Lewis Architects PC - Project Manager & Designer
2010
210 LNP POOL HOUSE, SOUTHAMPTON, NY
Michael Lewis Architects PC - Project Manager & Designer
Bachelor of Architecture, with Highest Honors, Pratt Institute, May 2007 NCARB IDP completed November 2011 NYS Registered ARE Candidate, November 2011 to Present
PROFESSIONAL EXPERIENCE •
Michael Lewis Architects: Dobbs Ferry, NY Project Manager, 2010 to Present: Promoted to Project Manager for recognition of clear organizational skills and exacting attention to detail. Assumed responsibility for coordinating the firm’s largest projects through all phases of service with particular focus on managing rapid flow information during construction observation.
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Architecture Agency, Beth Weinstein, RA: New York, NY Full-time design assistant, Summer 2005 Designed and created bid drawings with 2D and 3D digital techniques for a set of custom furniture pieces, including a free-form cast resin coffee table. Assisted with office promotional materials.
ACADEMIC EXPERIENCE •
Pratt Institute School of Architecture: Teaching Assistant for Prof. Jonas Coersmeier, Arch Design 101, Fall 2005 & Spring 2006.
ABILITIES • • •
Meticulous drawing and modeling skills in both digital and physical media. Expert level Vectorworks including 3D modeling, 2D/3D hybrid objects, and BIM. Experienced with AutoCAD since Version R12. Adept with Adobe Creative Suite and Microsoft Office programs. Independent-minded fast learner with a natural aptitude for spatial and technical design reinforced by a strong background in architectural history and theory.
ACHIEVEMENTS • • • • •
2007 AIA Henry Adams Certificate recipient for academic excellence at Pratt Institute. 2007 Pratt Circle Award Recipient, with Highest Honors. Thesis project, Shared Stories, selected for presentation during the annual Pratt Institute “Prize Jury” event. 2005 AIA Brooklyn Chapter Student Honor Grant recipient. Student work published in issues 9 through 12 of Pratt Institute’s annual publication “InProcess” ...resume...
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In Collaboration With LaGuardia Landscape Architects 2010
MAPLE AVE RESTORATION, HASTINGS-ON-HUDSON, NY
Michael Lewis Architects PC - Project Manager & Designer
2010
LOCKWOOD RD RESIDENCE, SCARSDALE, NY
Michael Lewis Architects PC - Project Manager & Construction Administrator
2010
NICHOLS DR RESIDENCE, HASTINGS-ON-HUDSON, NY
Michael Lewis Architects PC - Project Manager & Construction Administrator
2011
MODULAR HOUSE RESEARCH
Michael Lewis Architects PC - Project Manager
2011
WHATEVER TAKES SHAPE
Bushwick Open Studios - Contributing Artist
2011
COCOON PROJECT
Sherry Aliberti, Artist - Participating Artist
2012
ROCK SLIDE HOUSE, WARWICK, NY
Michael Lewis Architects PC - Project Manager & Designer
2012
GLAZER RESIDENCE, NY, NY
Michael Lewis Architects PC - Project Manager & Construction Administrator
...resume...
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