Andrew Kotleski A r c h i t e c t u r e
P o r t f o l i o
E : a ko t l e s k i 9 5 3 @ g . r w u . e d u
T. 4 1 3 . 4 4 6 . 8 5 4 1
Brief Profile: Andrew Kotleski
I graduated in May 2013 with a Bachelor’s of Science of architecture and am a candidate for my Masters of Architecture from Roger Williams, in May 2015. I am proficient in modern architecture computer programs: Rhinosaurous 3d, Autodesk Revit (Building Information Models, Integrated Project Delivery Methods), AutoCAD 2015, Google Sketch Up Pro, Final Cut Pro and Adobe Creative Suite. I have interned at 3SIX0 Architecture in Providence, RI and worked at the University Student Accessiblity Services, learning essential office tasks, such as answering phones and taking messages, etc. In addition to my architectural and computer skills, I grew up with a wrench in my hand; learning skills in carpentry, metal fabrication, machining, mechanical and automotive repair. I have learned to translate these hands-on skills and the confidence they give me into effective design: quickly and effectively creating models, seeing problems and practical solutions for my projects. My building and mechanical knowledge and strong work ethic will allow me to work alongside you quickly and efficiently and contribute to your design and construction projects. During my free time, I enjoy flying 1940’s yellow Piper cubs. I have been a private pilot since August 2013. In my 2011 spring semester, I studied abroad in Italy, traveling and studying urban design. My travels created a passion for other cultures and their art and architecture; I have taken what I have learned abroad and, now, translate these ideas into my design projects. If you would like to contact me, my phone number is 413-446-8541, and my email is akotleski953@g.rwu.edu.
Table of Contents
5
Mount Auburn Cemetery Crematorium and Funerary Chapel Watertown, MA, Fall 2014
9
Charged Conditions, Stockholm Public Library Addition Stockholm, Sweden, Fall 2013
13
Artist Studio Complex Watertown, MA, Spring 2014
15
Generation Y Shipping Container Retail Complex Watertown, MA, Spring 2014
17
Linden Place: Center for Rhode Island Slave Studies Bristol, RI, Spring 2013
19
Design of Structures II: Sculpture Idea II Fall, 2013
20
Additional Work: Sculptures and Photographs
Study Abroad: Florence Diagram
4
Mount Auburn Cemetery Crematorium and Funerary Chapel Watertown, MA, Fall 2014
EXIT
STORAGE MECHANICAL
MEDITATION CHAPEL REFLECTING POOL
ADA RESTROOM
ADA RESTROOM
PREP ROOM
CHORUS/MUSIC AREA
REFLECTION GARDEN
GARAGE
ENTRY PROCESSING ROOM
URN STORAGE
WALK-IN-REFRIGERATOR
PROCESSING CENTER
RETORT
RETORT
COMMITTAL ROOM
GARDEN
“ (207-208, Garces-Foley) Funerary rituals are becoming fragmented as society changes and develops. The Funeral service consists of many car stops to the funeral parlor, the religious facility and then to the cemetery. Nothing separates the funerary rituals of today from daily rituals of driving to work, to school, to the store. How can we redefine the rituals of death to celebrate the deceased, but also guide the living on a path of grieving and eventually a link back to society? As the world population grows rapidly, the amount of the deceased rises as well. Primarily in Urban areas there is a lack of burial space and options like natural burial and cremation are becoming more popular. . New York City, London, Boston, Stockholm, and many more cities are nearing there capacity of cemetery space. Some cemeteries are resorting to digging up older graves and reselling plots, others are burying the dead on top of each other in a single plot some ten deep. Many communities and countries are looking for alternative solutions to respond to the lack of burial space and the increasing population.
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Death is inevitable. Architecture has the duty of representing the threshold between two phases of human existence: Life and its end. Acting as the device, architecture transmits the natural world’s attributes and values to the human beings. Finding closure and returning to society following a loss is not easy, architecture acts as a backdrop for the funeral rituals and guides mourners on a path of grieving and then back to society. By redefining the rituals of death, a new environment can be proposed that will better celebrate life and help overcome the grieving after a great loss. In the United States, funeral customs are changing due to weakling of traditional religion. The numbers of funerals held in Christian churches is rapidly declining and people are preferring to have funerals at places affiliated with cemeteries. There is a shift from mentioning the resurrection of the body shifting to the living with religious pray and worship playing a lesser role. “The funeral is one of the many sacred American Traditions that is failing in an age of secularism and radical individualism… there is concern that without a connection to place, community, and religion people are left bereft of the resources to face death effectively.
SMALL CHAPEL
ENTRY/LOBBY
ADA RESTROOM
CHANGING ROOM
ADA RESTROOM
ADA RESTROOM
J.T. CLOSET
RECEPTION
STORAGE
SALES SHOW ROOM SALES MANAGER
EXIT
ATRIUM
STAFF ROOM
MANAGER'S OFFICE
ADA RESTROOM
ADA RESTROOM
CHANGING ROOM
MECHANICAL
PARKING
NEWELY WEDS FOOD INC.
EXISTING CEMETERY GREENHOUSE
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
5
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Opposite Left: Images of Greenhouse, Cemetery, and Benton Brute Concrete. Opposite Right: Proposed site plan. Opposite Bottom: Section Elevation
Crematorium
Top: Processional montages. Above: Longitudional Sections, Creamtorium, Burials and Chapel Right: Chapel Section Elevation
6
The first part of the procession is an entry/exit portico that covers a public area for separate parties to gather before or after a funeral. From the portico one can proceed on into the crematorium or to the chapel. Directly adjacent to the portico is a new cemetery addition with in-ground cellar burials for both traditional burial and cremation. A datum is established at the height of the portico that is at the same height of the ground plane at the top of the site. The relation between the grade and below grade displays a symbol associated with burial and funeral processions. This datum defines a line of which the proposed architecture are designed vertical and straight below the line and metaphorically reaches upward and outward towards the sky and world beyond. Since cremation is not a common burial method in New England, the crematorium
7
was to be a “side image” to the funeral chapel. The chapel was situated at the far end of the site on the North-East side of the site. Used as an architectural buffer, the crematorium is a long linear element used to “cap” and end the cemetery. Beyond the new crematorium is a horizon of industrial factory buildings and industrial machinery. Therefore, the crematorium blocks the industrial scene from the mourning process and keep a greater separation from the outside world. The crematorium is organized with the entrance from the portico, and then into a small ceremony room (chapel), later proceeding to the committal and exiting to the North-East under the portico near the Chapel.
Below: 1/8”=1’ Model Image Opposite: 1/8”=1’ Model Images
8
Charged Conditons: Additon to Stockholm Public Library Stockholm, Sweden, Fall 2013
0"
N TA GA EN OD
'40
N GE VA EA SV
The Public Library in Stockholm, Sweden by Erik Gunnar Asplund has been the main library of the city since its completion in 1928. Given the population growth that Stockholm is experiencing there is a fundamentalneed for expansion with new programs that are more relevant and in agreement with the needsof today. It is clear that modifying Asplund’s building is not an option. The new building will be seperate from Asplunds Library, but incoorporate many of Asplunds design ideas. Seperating the two buildings is a plaza that responds to the urban context. On the existing site there is a plaza, the new addition will maintain the plaza idea opening up and responding to the hill beyond the sit rather than opening to the street. Passer-bys will walk by and out of there own curriosty investigate to discover the space seperating the new building from the Library and emphasizing one to admire the remaining Ridge of Stockholms history.
39' - 2"
'50
0"
38' - 5"
51' - 2"
BUS STOP
N TA GA HA
- 0"
BUS STOP
40'
BUS STOP
BUS STOP
SHOPPING CENTER
52' - 2"
45'
- 0"
45' - 3"
50'
- 0"
N GE VA EA SV
N TA GA EN OD
STOCKHOLM PUBLIC LIBRARY
'55
0"
GUTTER
MECHANICAL
60' - 0"
36' - 4"
PLAZA
58' - 11"
51' - 7"
AN AT SG RD VA RK MA
51' - 7" STONE PAVERS
ATRIUM AND RECESSED GARDEN
SKYLIGHTS
ANNEX 2
43' - 4"
ANNEX 1 N TA GA EN LD GY
65' - 0"
WATER‐FALL HILL WATER COLLECTION RUN OFF 0"
70' - 0"
ANNEX 3
35' -
75' - 0" 80' - 0" 85' - 0"
50' -
0"
0" '40
55' -
60' - 0"
65' - 0"
70' - 0"
0"
75' - 0"
80' -
90' - 0"
95' - 0"
100' - 0"
105' - 0"
' - 0" 110
110' - 0"
115' -
0"
75 '-
OVERLOOK
85' - 0"
69' - 8"
45'
0"
- 0"
90' - 0" 95' - 0"
100' - 0" 105' - 0"
POND
0" 80 '0"
85' 90 '-
- 0"
10 0'
95 ' - 0"
0"
10 5'
- 0"
11 0'
- 0"
42' - 4"
11 5'
- 0"
OBSERVATORIELUNDEN HILL
- 0"
120' - 0"
128' - 11"
12 5'
68' - 5"
- 0"
50' - 9"
90' - 1" ' - 0" 130
124' - 11"
36' - 6" 132' - 10"
40'
- 0"
54' - 4"
130' - 0"
- 0" 95'
' - 0" 100
' - 0" 105
' - 0" 110
' - 0" 115
' - 0" 120
' - 0" 125
' - 0" 130
OBSERVATORIELUNDEN
125' - 5"
90'
85'
- 0"
80'
- 0"
75'
- 0"
- 0"
65'
- 0"
- 0"
135' - 6"
120' - 9"
70'
108' - 1"
9
60'
- 0"
'55
50'
0"
- 0"
45' - 0"
- 0"
125' - 0"
12 0'
97' - 11"
' - 0" 135
6
Opposite Top Right: Stockholm Public Libray Entrance; Site Aerial; Concept Montage. Opposite Bottom Left: 1/16� Model with diagram overlay showing circulation paths to site. Opposite Bottom Right: Site Plan. Above: Circulation Diagram, Plaza Diagram, Service Diagram Right: Ground Floor Plan with imediate site context.
10
11
Opposite Left: Assembly Study Model, Scale: 1/2”=1’0”
HOT AIR VENTILATION
Opposite Right: Facade Assembly Axon
PASSIVE COOLING
Right: Montage of plaza space between the Stockholm Library and the new Library.
SOLAR RADIATION
Below: Building Section with diagrams showong heating, ventilating, solar gains and vegitation.
VEGITATED AREA
12
Artist Studios
Watertown, MA, Spring 2014
Artist studios protrude out from the hill continuing the landscape and framing views to the river. These “framed views” can only be seen from inside the studio and community space. A continuation of the path system leads visitors from the Arsenal campus down a ramp gradually blocking all the surrounding context except the sky above. Visitors walk through the community space viewing the gallery of artist studios and small courtyards that offer views to nature and art. Courtyards are positioned opposite the studios allow for light to come and to provide spaces for artists to display their artwork. At the same time, one can approach from the parking lot area to a plaza above the building where the studio roofs continue the grass out over the hill and artists can display there artwork. At the other end, the visitors gradually return the arsenal campus through another ramp up. The ramps are lined with large narrow steel plates that get taller as one gets closer to the artist studio spaces. Steel is the primary material choice offering an industrial feel and yet still humizing the materials as it ages and transforms, as nature does.
13
Above: 1/16,” 1/8,” and 1/4” scale models Middle: Professional Montages Below: Longitudional Section
14
Generation Y Shipping Container Retail Center Watertown, MA, Spring 2014
The shipping container retail complex is three stories with overlapping spaces of program creating unique visual connections. Trees block the parking garage from the visitors and in the center plaza is a sunken garden of plantings with bridges connecting across the site. The proposal will be constructed using shipping containers, which interest’s generation y because it is reusing and recycling materials. The new retail complex will use over lapping of containers to create spaces between the individual retail elements. Millennials will be able to walk into separate but connected exterior spaces in which they could relax and enjoy a coffee socializing with friends. Within each space one could see various retail elements surrounding the exterior spaces. Each space contains different programmatic elements to draw millennials to different spaces, each space acting as a unique place to “hang out.” 960 sq. ft.
480 sq. ft.
320 sq. ft.
480 sq. ft.
320 sq. ft.
960 sq. ft.
640 sq. ft.
640 sq. ft.
480 sq. ft.
480 sq. ft.
320 sq. ft.
320 sq. ft.
160 sq. ft.
800 sq. ft.
480 sq. ft.
1280 sq. ft.
1920 sq. ft.
1280 sq. ft.
640 sq. ft.
480 sq. ft.
960 sq. ft.
640 sq. ft.
640 sq. ft.
640 sq. ft.
320 sq. ft.
960 sq. ft.
1920 sq. ft.
1280 sq. ft.
960 sq. ft.
640 sq. ft.
1280 sq. ft.
960 sq. ft.
1120 sq. ft.
960 sq. ft.
1280 sq. ft.
1280 sq. ft.
640 sq. ft.
Services
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Food
Retail
15
Opposite Top: Layout variations of different shipping containers and possible exterior spaces, colored in green. Opposite Middle: Site plan Opposite Bottom: Longitudional Section Elevation through site, showing container layout with existing context in background. Right: Exploded Axon showing the site design, containers, circulation and connection to parking garage. Below: Section through retail complex, connection to parking garage and new site marsh area
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
16
Ballroom Center for Slave Studies Museumop: Section
Linden Place Center for Slave Studies Bristol, RI, Spring 2013
Linden Place was built in 1810 for the Dewolf family in Bristol, Rhode Island. The DeWolfs were the largest slave trading family in the United States, acquiring much of their family fortune by purchasing, selling and trading more than 10,000 human beings into slavery. The DeWolfs greatly impacted the economy of not only the United States of America, but also the local economy of Bristol, Rhode Island by funding many of the community’s developments. This proposed Linden Place Center for Slave Studies must examine Bristol’s strong history in the slave trade. Most importantly, the community must not ignore the history of slavery and its role in Bristol. The addition is a long linear form standing tall next to Linden Place using rough board form concrete and “dirty” core-ten panels to contrast the clean white façade. Connection between the new and the old occur at Linden Place’s foundation, a strong symbolic connection to the ground and a link to the past. Guests, enter the slavery museum from the basement level proceeding downward walking by an old tree that has survived since the house was built. The idea for saving the tree is a symbol of life and a witness of the past. Programmatically, the museum is mostly underground and the Center for Slave Studies is raised off the ground focusing the view towards the Bristol Harbor. The museum starts in the darkness and ends in the light, reflecting on the dark past and focusing on a lightened and better future. At the same time, an existing ballrom/wedding building in the existing program is included in the new program in the rear of the garden. 17
Elevation
Top: Elevation Section Above: Photo Montage of Museum Right: Photo Montage of Linden Place basement Opposite Top Left: Photo Montage from Hope Street, both before and after. Opposite Top Right: Program Diagram Opposite Bottom: Ground Site Plan
18
12
Additional Work: Sculpture Idea II
Design of Structures II, Fall 2013, Andrew Kotleski & Amanda O’Malley
19
Additional Work
Opposite: Park Sculpture Model, 1/2”=1’-0” Right: Sculpture Studies, Steel and Concrete Far Right: Photograph 1 of 8, Florence Though the Eyes of a Bike
20
Andrew Kotleski A r c h i t e c t u r e
P o r t f o l i o
E : a ko t l e s k i 9 5 3 @ g . r w u . e d u
T. 4 1 3 . 4 4 6 . 8 5 4 1