Andrew Homick anmic@upenn.edu homick462@gmail.com + 484.547.9181 Philadelphia, PA
Education University of Pennsylvania M.ARCH Candidate Savannah College of Art and Design BFA Architecture Northampton Area Community College Architecture Program
School of Design School of Architecture
Philadelphia. PA 2016 - Present Savannah, GA 2013 - 2016 Bethlehem, PA 2012 - 2013
Awards & Honors PennDesign Scholarship Magna Cume Laude Dean’s List SCAD Academic Honors Scholarship SCAD Achievement Honor Scholarship SCAD Student Opportunity Scholarship SCAD Student Incentive Scholarship Certificate of ParticipationService Learning Award
UPENN Philadelphia, PA SCAD Savannah, GA Maintained a 3.5 or higher Grade Point Average Based on commendable activities, accomplishments, and/or portfolio One of Four selected to participate in Architectural Design Studio VI while enrolled in Architectural Design Studio II.
2016 - Present 2016 2012 - Present 2013 - Present 2013 - Present 2013 - Present 2013 - Present 2013
Extracurricular Baroque Topologies Embodied Evolution 2015 Savannah College of Art and Design Savannah College of Art and Design Seeing, Thinking, Drawing Workshop Northampton Area Community College
Assisted Andrew Saunders in setup, floorplans, photoshop renders Assisted planning, setup, worked Body Armor Design Competition (L)ABnormal Digital Fabrication Club Assisted Teaching Digital Tutorials in Rhino, Maya, Z-Brush Hands-on Drawing workshop conducted by Frank Ching AIAS Member
2016 2015 2014 - 2015 2014 - 2015 2014 2013
A short film produced and edited by Tanner Scarr, following my process of design during my senior Architecture Project http://www.tannerscarr.com/film/#/the-creative-process/ Facebook announcement- First Look at what's coming to The Grille on Laurel in Lake Forest, II this Fall. https://www.facebook.com/marcus.lemonis/posts/1016909718327219
2016
Architecture Student- Digital Visualizer / 3D- Renderings. Two large scale designs that have been approved to be built. Construction is under way. Fabrication, Graphic Application, Installation, Sign Assembly, Wallpaper, Wood Working, Printing, and Painting.
2015 - 2016
Publications The Creative Process Marcus Lemonis
2015
Work Experience Precise Graphix , PA
Precise Graphix , PA
Skills Computer Skills
Social Media Freehand
Adobe: Photoshop, Illustrator, InDesign, PremierePro, After Effects Autodesk: AutoCad, Revit, Maya, 3DS Max, ReCap 360 Pro, ReMake, 123D Make, Rhinoceros 5,Z-Brush, Keyshot, Maxwell Studio, Grasshopper, Meshmixer, Simplify 3D Pepakura Designer, Sketchup, ArchiCad Microsoft: Word, Excel, PowerPoint Audience Development, Brand Awareness, Brand Marketing, Creativity, Editing, Generate Interest, Facebook, Instagram, YouTube. Sketching, Drawing, 3D Printing, Painting, Ink, Watercolor, Prismacolor.
2009 - 2013
KITBASHING is a practice whereby a new model is created by taking separate objects and modeling them together to form something new and unreconizable.
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DIAMOND CUTTING
consists of cutting off the peaks, cutting the poche, and undercutting. similar to the way a diamond is cut, it is shaped for the client and ready to be polished.
CLAY POLISHING the topological structure of poloshing the surface ing up the edges.
Located in Lacoste, France, this design creates a series of independent objects that are primarily hidden and slightly revealed through the openings and passageways of the limestone quarry. This project reimagines the Lacoste quarry as a working space for traveling artists. The esoteric location of the site is a perfect entry to the even more mysterious objects found within. The Misfit Studios are a series of 3D printed objects that completely go against traditional construction methods. These models consist of several detailed 3D printed panels that can be assembled without the use of hardware. The 3D printed panels would be fabricated off-site and transported to the location by vehicles. Utilizing this technology to the fullest allows for the ability to produce integrated architectural elements. These integrated components consist of structure, furniture, desks, and shelving all in one instance. The object's mass becomes perched on a distinct ground object that acts as a water bladder as well as the entry into the studio.
is an operation which alters of the modelit has the effect while sharpening and clean-
SURFACE ARTICULATION is a method of styling the joints of the surface. this reveals how the parts fit into the whole by emphasizing each part seperately.
The use of 3D printing can create many complex figures, being confined only by a person’s imagination. Using the digital design and fabrication technologies we know, we can help settle the argument between matter and environment to entirely change the way we design and construct our built world. At the core of these visions lies the want to affect our bodies and the things around us.
06 CRITIC : Scott Singeisen
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STUDIO 01
STUDIO 02
STUDIO 03
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STUDIO 01
INTEGRADED 3D PRINTED SYSTEMS SHELVES
SINK
CHAIR
MODULAR 3D PRINTED COMPONENTS
DESK
STUDIO 02
INTEGRADED 3D PRINTED SYSTEMS SHELVES
SINK
CHAIR
MODULAR 3D PRINTED COMPONENTS
DESK
STUDIO 03
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INTEGRADED 3D PRINTED SYSTEMS SHELVES
SINK
CHAIR
DESK
MODULAR 3D PRINTED COMPONENTS
3D-SECTION
FLOOR PLAN 01_MAIN ENTRY 02_INTEGRATED SHELVING 03_INTEGRATED SOFA 04_INTEGRATED DESK
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05_INTEGRATED SINK 06_STAIR 07_GROUND OBJECT
2FT
4FT
6FT
8FT
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07
02 05
01
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INCLINED FLOOR PLAN 152 SQ. FT
LONGITUDINAL SECTION 2FT
4FT
6FT
TRANSVERSE SECTION 2FT
8FT
4FT
6FT
8FT
STUDIO 01
3D-SECTION
FLOOR PLAN 01_MAIN ENTRY 02_INTEGRATED SHELVING 03_INTEGRATED SOFA 04_INTEGRATED DESK
05_INTEGRATED SINK 06_STAIR 07_GROUND OBJECT
2FT
4FT
6FT
8FT
04 02
02
07 05 03
01
06
INCLINED FLOOR PLAN 147 SQ. FT
LONGITUDINAL SECTION 2FT
4FT
6FT
TRANSVERSE SECTION 2FT
8FT
4FT
6FT
8FT
STUDIO 02
3D-SECTION
FLOOR PLAN 06
01_MAIN ENTRY 02_INTEGRATED SOFA 03_INTEGRATED DESK
04_INTEGRATED SINK 05_ADA ACCESSIBLE RAMP 06_GROUND OBJECT
2FT
4FT
6FT
8FT
02
04 03
01
05
INCLINED FLOOR PLAN 154 SQ. FT
LONGITUDINAL SECTION 2FT
STUDIO 03
4FT
6FT
8FT
TRANSVERSE SECTION 2FT
4FT
6FT
8FT
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3D PRINTED MODEL
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The programmatic functions of the site will adopt the highlands nature as a prominent location for human rejuvenation. The hillside acts as a buffer between the low density residential buildings to the east, and the highly dense urban environments to the west. This proposal demonstrates an idea for establishing the hillside as a functional nexus of healthy activity as well as an otherworldly experience. CRITIC : Matthew Dudzik
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2ND FLOOR
1ST FLOOR 10
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01_WOMANS SHOWERS 02_LOCKER ROOM 03_MENS SHOWERS 04_FIRE EXIT 05_STAIRS 06_ELEVATOR 07_TOWEL RACK 08_REFLECTION AREA
09_COLD POOL 10_HOT POOL 11_WOMANS RESTROOM 12_MENS RESTROOM 13_CARDIO ROOM 14_CARDIO TRAINING ROOM 15_GYM
CONDITIONING: high comfort by radiant heating/cooling
FRESH AIR: ventilation of fresh air for the people [ not for space ]
EAST ELEVATION 3/32” - 1’-0”
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01_MAIN ENTRY 02_WAITING AREA 03_RECEPTION DESK 04_ELEVATOR 05_STAIRS 06_KITCHEN 07_FREEZER 08_CAFE
09_SITTING AREA 10_RESTROOM 11_HAIR SALON 12_MANICURE / PEDICURE ROOM 13_MASSAGE ROOM 14_SPA BED 15_MASSAGE ROOM 16_SUPPLY ROOM
WINTER: closed shell minimal infiltration
SUMMER: open shell cross ventilation
NORTH ELEVATION 40
THREE DIMENSIONAL SECTION
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40
3/32” - 1’-0”
Sculpting form through new found techniques, using top of the line software re like Z-Brush, Maya, Rhino, and Meshmixer.
Kitbashing originated from the hobby or plastic model building. It involves taking individual objects from seperate model kits and arranging them in a way to produce a whole that is unusual and otherworldly.
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Deep in the heart of Buckhead Heights, rests a perfect location for the newly designed culinary arts school. “Le Cordon Bleu� [meaning blue ribbon] is rich with history and heritage. They strive for excellence in quality education in the culinary arts industry. This design proposal of the new Atlanta-based campus sets a new mile marker for top quality education. The goal was to create the most functional and aesthetically pleasing building to attract only the most dedicated students. Le cordon blue not only teaches how to make top quality food, but the presentation of food is the first necessity. This facilities facade uses aspects of everyday cooking essentials to create a very dynamic design that is physically pleasing to the human eye. It incorporates cookie cutter entry ways with precise apertures for natural diffused daylighting. It utilizes design strands to represent the perfection of pastry techniques. The heart of the culinary arts school showcases a beautiful atrium for in between class hangouts. The use of materials were specifically chosen to benefit the safety of the students in their quest for a culinary arts degree. Concrete, stone cladding and ceramic tile were all chosen because of their fire safety ratings. Le Cordon Bleu is always edging out their competition. Now they have one of the best facilities designed for pure excellence to go along with the best culinary arts programs in the world. CRITIC : Huy Ngo
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FIRE EGRESS STAIRS life safety egress
optional geothermal heat pump
fresh air at each floor
52’-00” 40’-00”
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MAIN FLOOR
20’-00”
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PARKING - LEVEL 2
00’-00”
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PARKING - LEVEL 1
-18’-00”
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FOUNDATION
-36’-00”
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ROOF LEVEL TOP FLOOR
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ELEVATOR CORES ada
CONDITIONING: high comfort by radiant heating/cooling
foundation heat exchange
FRESH AIR: ventilation of fresh air for the people [ not for space ]
NATURAL LIGHT: diffused into building through atrium
SUMMER: open shell cross ventilation
LONGITUDINAL SECTION 30ft
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60ft
90ft
01_PARKING ENTRANCE 02_RAMP TO 2ND LEVEL 03_ELEVATOR CORE : (A) 04_STAIR : (A) 05_ELEVATOR CORE : (B) 06_STAIR : (B) 07_ELEVATOR CORE : (C) 08_STAIR : (C) 09_PARKING EXIT
01_MAIN ENTRY : (A) 02_ATTRIUM 03_ELEVATOR CORE : (A) 04_STAIR : (A) 05_DEMONSTRATION KITCHENS 06_MAIN ENTRY : (B) 07_EXIBITION ROOM 08_MAIN ENTRY : (C) 09_ELEVATOR CORE : (B) 10_STAIR : (B) 11_SKILL KITCHENS 12_STORAGE / FREEZER ROOM
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13_ELEVATOR CORE : (C) 14_STAIR : (C) 15_MAIN ENTRY : (D) 16_WOMANS RESTROOM 17_MENS RESTROOM 18_AUDITORIUM
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MAIN FLOOR - ENTRY
PARKING - LEVEL 1 30ft
01_STREET ACCESS STAIR 02_OUTSIDE PLAZA 03_ELEVATOR CORE : (A) 04_STAIR : (A) 05_ELEVATOR CORE : (B) 06_STAIR : (B) 07_ELEVATOR CORE : (C) 08_STAIR : (C) 09_RAMP TO LEVEL 1 10_PLAZA / PARKING ENTRANCE 11_PLAZA / PARKING ENTRANCE
60ft
01_ELEVATOR CORE: (A) 02_STAIR : (A) 03_LECTURE ROOMS 04_COMPUTER LAB 05_ADMINISTRATIVE OFFICES 06_STAIR : (B) 07_ELEVATOR CORE : (B) 08_ROOFTOP PLAZA :(A) 09_RESTAURANT 10_RESTAURANT ENTRY 11_ROOFTOP PLAZA : (B) 12_STAIR : (C)
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30ft
90ft
60ft
90ft
13_ELEVATOR CORE : (C) 14_SKILL KITCHEN 15_WOMENS RESTROOM 16_MENS RESTROOM 17_ROOFTOP PLAZA : (C)
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PARKING - LEVEL 2 30ft
52’-00” 40’-00”
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MAIN FLOOR
20’-00”
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PARKING - LEVEL 2
00’-00”
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PARKING - LEVEL 1
-18’-00”
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FOUNDATION
-36’-00”
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ROOF LEVEL TOP FLOOR
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60ft
TOP FLOOR - 2ND LEVEL 90ft
30ft
60ft
90ft
TRANSVERSE SECTION 30ft
60ft
90ft
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This course consisted of several projects that focused on the ability to coordinate the design, fabrication, and installation of architectural object and ground. These ideas showcased the understanding of investigating theory and practice of digital fabrication for architecture. It tested the unique uses of software and applying it to the architectural discourse. CRITIC : Jean Jaminet
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DIGITAL MODEL
SHADOW PROJECTION
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PHYSICAL MODEL
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"Blurosity� arrives at the thought of falsifying one's visual perception. What does it mean to see a blur? Is it the distortion of reality that makes it so appealing? Or is it the idea of what we perceive as normal, actually truly obscured." Digital architectural design has the ability to change the way we look at reality. Pushing the boundaries and entering new realms of fabrication that to most seemed nearly impossible ten years ago. A combination of curiosity and blurry vision help drive the meaning and making of this project. Blurosity is not only on the verge of creating blurred architecture but also allowing its viewers to look at it, question it and interpret it in their individual way. The keyword is movement. Traveling around, in and out of the pavilion, allows for the structure to seem distorted and skewed. This design utilizes over 50,000 individually 3d printed components that are transparent in nature. The more the transparent material is overlaid and elevated, creates a sense of distorted depth. The components can also be set in a place, with new robotic technology, where the idea of human construction is unnecessary. The use of 3D printing can create many complex figures, being confined only by a person's imagination. Digital design and 3D printing technologies can help settle an argument between matter and surrounding conditions to totally change the way we design and construct our built world. At the core of these visions lie the need to incorporate our bodies with the things around us, creating a new strain of intelligence that will deepen the relationship between the objects we use and which we live in. CRITICS: Danielle Willems & Ezio Blasetti
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Precarious Logic is an orchestrated jumble that converses with its surrounding wilderness, less as an imposition and more as a co-inhabitation. Unstructured and erratic at a glance, a careful study begins to undo the logic of arrangement of super modules composed of smaller serialized components. With a logic at every tier of the part to whole process, in aggregation the pavilion begins to have an organic growth. The composition of chaos is central to Precarious Logic where super modules connect to one another in different ways to diversify expansion. The component itself is a compilation of a few selected items from Russel Wright’s American Modern Collection. The underside is imprinted by the arc of the sugar bowl, the sides pressed in by his gravy boat, its legs squared off by the angle of the spout of the modern pitcher. The logic of the literal curve translations personate Russel Wright’s graceful composition while showing its own interest as an appropriated domestic object with utilitarian use, a display for his objects. A basis for the project lies in its negative spaces. On a smaller scale, the fundamental part is itself the negative of Russel Wright’s objects. On a larger scale, the hollow enclosure of the pavilion is the source of inhabitation. Finally, somewhere in the middle, the natural environment of the scape finds its moment of integration in the cavities of the super component and the material porosities. The negated territories of the dense pavilion make ambiguous its intrusion in its marked space. CRITIC : Miroslava Brooks DESIGN TEAM: Uroosa Ijaz Prince Langley Jinah Oh
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01_PITCHER
02_COVERED SUGAR BOWL
04_GRAVY
03_SUGAR BOWL
RUSSEL WRIGHT ARTIFACTS
8”
9”
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EVOLUTION
ASSEMBLY LOGIC
01_AGGREGATION
02_AGGREGATION
03_AGGREGATION
04_AGGREGATION
05_AGGREGATION
06_AGGREGATION
07_AGGREGATION
08_AGGREGATION
09_AGGREGATION
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FABRICATION PROCESS
LOCAL
GLOBAL
WHOLE 02
PART 02
AXONOMETRIC
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This design for the new Russel Wright galleries at Manitoga utilizes a new building strategy that exists in two states of the human mind; recognized and unrecognized. It is the confliction between these binary opposites that produce a new architectural language that is strange and otherworldly, a mirrored opposite of Russel Wrights themed formal and informal designs. It is the ambiguity between formal and informal, as well as recognized and unrecognized; that engages the core concept of behind this design. Kitbashing, a technique used by designers in the 1970’s, became a dexterity in the emergence of digital special effects. A design tactic that involves using parts from multiple model building kits and arranging them together in an unexpected disposition. It is an exploration of organization, exploitation, and transformation that embody a new approach to architectural form finding. The galleries at Manitoga are composed of two separate and distinct groups of objects that further push the expression of Russel Wrights design philosophy. One group of objects highlight Wrights American Modern Collection, while the other symbolizes his love for nature; A mere representation of inside and outside objects. It is the collision of these items that begin to challenge and reinterpret Russel Wrights theory on inside and outside living Considering the symmetrical aspects of the American Modern collection, the design ofthe galleries incorporates a mirrored geometry that reflects the location of the existing RusselWright house. The current house attempts to blend into the landscape, purposely blurring the lines between indoor and outdoor living. It is the role of kitbashing that seeks to explore these conditions further, through experimentation of part to whole relationships that begin to blur the familiar in an unfamiliar way. It challenges the idea of what is inside, versus what is outside to create a space that is more meaningful, a design that possesses visceral qualities that are absorbed through all the senses. CRITIC : Miroslava Brooks
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AMERICAN MODERN : TEAPOT
AMERICAN MODERN : CUP
AMERICAN MODERN : BOWL
NATURE : CRYSTAL FORMATION
NATURE : PINECONE
NATURE : ROSE
NATURE : SQUIRREL
NATURE : BIRD 01
NATURE : BIRD 02
AMERICAN MODERN : PITCHER
EXPLODED AXONOMETRIC
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05 ENTRY LEVEL : 1/8” = 1’ 04 01 _ ENTRY 02_ LOBBY 03_ LEFT WING STAIR 04_ MENS RESTROOM 05_ ELEVATOR 06_ WOMENS RESTROOM 07_ RIGHT WING STAIR
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LOWER LEVEL : 1/8” = 1’ 06 01 _ LEFT WING LOOKOUT 02_ LOWER LEFT GALLERY 03_ INSTALATION 04_ LEFT WING STAIR 05_ INSTALATION 06_ ELEVATOR 07_ INSTALATION 08_ RIGHT WING STAIR 09_INSTALATION 10_LOWER RIGHT GALLERY 11_ RIGHT WING LOOKOUT
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UPPER LEVEL : 1/8” = 1’
01 _ LEFT MAIN GALLERY 02_ LEFT WING STAIR 03_ RIGHT WING STAIR
04 _ RIGHT MAIN GALLERY 05_ ELEVATOR 06_ ADA ACCESSIBILITY
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3D PRINTED MODEL
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Owned by Marcus Lemonis, entrepreneur and host of CNBC’s hit reality series, The Profit, and Kathy and Jimmy Govas, The 181 Grille is in the process of getting this interior renovation. The 181 Grille is a modern restaurant and bar that combines a fun, unique, atmosphere with great food and wonderful service. As well as the bars new uplift, the restaurant is featuring a recently expanded menu, an updated space and top-notch service. Private event space or whole-house events available. My role in the development of this project included a developed Rhinoceros model, designing the space, and rendering the final submitted images.
181 EAST LAUREL AVENUE LAKE FOREST, IL PRECISE GRAPHIX STUDIO EMMAUS,PA DESIGN TEAM: MATTHEW CASTIGLIA DEAN LYDEN
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