Architectural Portfolio - V.4 02.2020

ACADEMIC | PROFESSIONAL ARCHITECTURAL SELECTION

PORTFOLIO VOL 4 02 . 2020

| TONY RABIOLA

ANTHONY THOMAS RABIOLA CURRICULUM VITAE

tonytrabiola@gmail.com || anthony.rabiola@rsparch.com 952-393-4792

Born and raised in Minnesota, I'm a hardworking, unrestrained individual. My formal education and work ethic has taught me that there is no limit to the achievements one can strive for. It is my goal to learn as much as I possibly can in my lifetime and achieve success at all costs. When approaching design, whether it is detail or concept; revisions or clean slate, remarkable results are expected.

"Don't ever turn down a job because it's beneath you."

- Julia Morgan (1872 - 1957)

HIGHER EDUCATION

PROFESSIONAL EXPERIENCE

University of Minnesota - Twin Cities Minneapolis, Minnesota | 09.2012 - 05.2016

RSP Architects Minneapolis, Minnesota | 01.2016 | Current Employer

Bachelors of Design in Architecture (4x) Deans list honor

Minor: Business Management Carlson School of Management

University of Minnesota - Twin Cities Minneapolis, Minnesota | 09.2016 - 05.2019 | Ongoing

University of Minnesota Minneapolis, Minnesota | 09.2017 - 1.2019

Graduate Studio Teaching Assistant Helped cultivate a studio culture and played a part in shaping critical thinking/design skills for first year graduate students.

Professional Practice Teaching Assistant Helped Renee Cheng in teaching her course by giving lectures, preparing slides, and managing technology resources for the course.

Masters of Architecture

Tau Sigma Delta National Architectural Honor Society Minneapolis, Minnesota | 04.2018 - Indefinite

Member

PROFICIENT SKILLS

PERSONAL INTERESTS

3D Modeling, 2D Drafting & Scripting

Hobbies

Rhinoceros 6.0 with Grasshopper, Autodesk: Revit Architecture, AutoCAD, 3DS Max, Sketchup, Microsoft Office Digital Imaging & Rendering

Music production, guitar, painting, drawing, furniture design, typography, philosophy, entrepreneurship, investing Architectural Interests

Adobe: Photoshop, Illustrator, InDesign, Lightroom, V-Ray, and Lumion Physical Modeling Lasercutting, 3D printing, foam cutting, concrete & plaster casting, basswood handcrafting, wood working

2

Architect Performed a variety of duties including, drafting, documenting, submittals, attending client meetings, project management and design. Served vital roles in various project teams on over 25 different projects.

Architectural theory: postmodernism, deconstructivism, modernism, sound & architecture Prefabrication/modularity The Bauhaus Acoustics

|| PROJECTS ||

LINE

GOLF FACILITY

A HOUSE FOR KANDINSKY

UNIVERSITY OF MINNESOTA | PROFESSIONAL

COMPREHENSIVE STUDIO |ACADEMIC

- Page 4 -

- Page 8 -

WEWORK

ANATOMY OF INFRASTRUCTURE

COWORKING SPACES | PROFESSIONAL

GEOMETRIC LIVING | ACADEMIC

- Page 16 -

- Page 24 -

HANGING PLANE PAVILION

ANNUITY HARVEST

DOWNTOWN MINNEAPOLIS PAVILION | PROFESSIONAL

HYPERLOCAL WOOD SAUNA | ACADEMIC

- Page 34 -

- Page 38 -

CASINO DESIGN

COLD FORM

MINNESOTA CASINO DESIGN | PROFESSIONAL

ECCENTRIC MATERIAL STUDY | ACADEMIC

- Page 46 -

- Page 50 -

3

GOLF FACILITY | UNIVERSITY OF MINNESOTA PROFESSIONAL

YEAR ‘ROUND PRACTICE The Minnesota Gopher's golf teams have been out of luck when it comes to practicing in the winter, until now. From 2016-2019 I have had chances to intermittently work on parts of the design and construction documents for the much needed University of Minnesota John Mooty Golf Center.

The exterior facade materials consist of precast concrete, v-seam corrugated metal, and wooden Prodema panels. The wood panels are revealed much like the core of a golf ball is revealed as sections are cut away.

2

The facility includes 6 hitting bays equipped with state-ofthe-art trackman technology as well as a chipping bay with elevated artificial turf. Players can use the facility all year long. The building is sited at the University's Les Bolstad Golf Course behind the driving range curtain.

N

Site Plan

0’

50’

100’

200’

1. Precast Concrete Chipping & Putting Facility 2. V-Seam Corrugated Metal & Prodema Paneling 3. Entry Vestibule 4. Concrete Curbing & Floor Slab

1

2

3

4

Exploded Axonometric Diagram 6

LINE

A HOUSE FOR KANDINSKY | COMPREHENSIVE STUDIO ACADEMIC

NORTH NORTHELEVATION ELEVATION | 1/4” = 1’-0”

EASTEAST ELEVATION ELEVATION | 1/4” = 1’-0”

SOUTH ELEVATION | 1/4” = 1’-0” SOUTH ELEVATION

WEST ELEVATION WEST ELEVATION | 1/4” = 1’-0”

APPROACHING PLANE

The house for Kandinsky was a project inspired by both Ralph Rapson's Glass Cabin in Amery Wisconsin and my interest in the Bauhaus arts. Kandinsky's home faces Rapson's retreat in order to pay homage to their connection through tenure at the Bauhaus. Formally, Kandinsky's house takes on a chaotic shape of fragmented geometry, however, the interior space is spacious and connected. No doors separate the interior space with the exception of one half bathroom on the first floor. A large art studio space occupies a two story volume on the main floor to accommodate the artist as he feels the need to rearrange the space.

The idea was derived from Kandinsky's concept to "paint for painting's sake" in order to construct "architecture for architecture's sake". In this regard the project follows postmodern notions.

The studio was a part of a comprehensive effort to detail and structure our projects. In conformance with the original concept, the structure happens where it needs to happen; for structure's sake.

DETAIL | N.T.S.

HOUSE FOR KANDINSKY | BASSWOOD, BOOK PAGES, P.E.T. 1/8” = 1’-0”

WEWORK | COWORKING SPACES PROFESSIONAL

18

Beginning in summer of 2018, I took on the role of overseeing client relations and production of the Twin Cities WeWork projects at RSP Architects. With a small team of two, we finished 46,000ft 2 of WeWork coworking space in Uptown, Minneapolis and proceeded to pick up several other WeWork projects afterwards. One ongoing project is under construction in the North Loop, Minneapolis and another several projects are in feasibility studies in Arizona and Texas.

One of the core design components of any WeWork space is their central "communicating stair". This bridge between floors is the big design move in any WeWork space, and in Uptown the stair was purely created from steel. Each steel slat pictured to the left measures out to be 4"W, 1/2" Th, 20'-0"L and weights approximately 400lb. Each slat functions as a hanging column from the middle floor slab; each component field welded.

19

7 A601.1 15' - 3"

5

4TH FLOOR STAIR PLAN 3/8" = 1'-0"

C.1 2

1

A600.1

A600.1

STEEL PLATE FINS - SEE STRUCT.

SF-01

TYP.

1 3' - 0"

A602.1

3' - 6"

SF-01

151' - 7 1/2" A.F.F. 5TH FLOOR

151' - 7 1/2" A.F.F. 5TH FLOOR

11 RISERS AT 6.45"

7 A602.1

3' - 6"

3' - 0"

SF-01

6'-6 1/4" AFF

6'-6 1/4" AFF

SF-01 SF-01

6' - 6 1/4"

SPRINKLER PIPE LOCATION TO BE COORDINATED WITH FIRE PROTECTION CONTRACTOR SF-01

STEEL STRUCTURE, SEE STRUCTURAL 3' - 0"

SF-01

139' - 1 1/2" A.F.F. 4TH FLOOR

3

STAIR SECTIONS N.T.S. 20

STAIR SECTION - SOUTH STRINGER 3/8" = 1'-0"

4 A602.1

11" MIN

139' - 1 1/2" A.F.F. 4TH FLOOR

2

STAIR SECTION - WEST LANDIN 3/8" = 1'-0"

3 3/4" O.C. TYP. 1/2" WIDTH

11 TREADS AT 11"

3 A601.1

4

5TH FLOOR STAIR PLAN 3/8" = 1'-0"

2

3

A600.1

A600.1

STEEL PLATE FINS - SEE STRUCT.

3' - 6" T.O. GUARDRAIL

3' - 6"

3' - 0"

NG

3' - 0" T.O. HANDRAIL

STEEL PLATE FINS - SEE STRUCT.

1 A602.1

151' - 7 1/2" A.F.F. 5TH FLOOR 8 A602.1

5 A602.1

6 A602.1

1' - 0"

3' - 6"

3' - 0"

6 1/2" TYP.

TYP.

3' - 6"

1/2" 11" MIN

3' - 0"

6' - 6 1/4" T.O. LANDING

12 RISERS AT 6.45"

3' - 0"

SF-01

139' - 1 1/2" A.F.F. 4TH FLOOR

BALUSTERS TO ALIGN WITH FINS AROUND PERIMETER OF STAIR

1

STAIR SECTION - NORTH STRINGER 3/8" = 1'-0"

21

AP-14

Pantries

OWNER SUPPLIED

2

WW-AP-BUN-3-A

Coffee Brewer

Coffee AM

AP-15

Community Bar - 4th floor

OWNER SUPPLIED

1

WW-AP-EVE-1409-A

Espresso Machine

-Is Manufacturer-

Bunn Eversys

Brewer

E4M Espresso M

WP J

J

J

USB

USB

USB

USB

USB

?

J

J

4TH FLOOR PLAN N.T.S. 22

USB

ICB-DV

Stainless Steel

H

*** FURNISHED BY WEWORK ***

e'4m

Silver

22" W x 27.9" D x 23.6" H

*** FURNISHED BY WEWORK ***

Bunn Infusion Series Coffee Caddy

US B

USB

WP

USB

B US J

J

USB USB

USB USB

AP-13 AP-6

AP-3 AP-2

AP-4

AP-1

AP-5

USB

USB

USB

USB

USB

USB

USB

AP-7 AP-14

J

P

USB

USB

USB

1

USB

Machine

23

Final Model: Basswood, acrylic, and cardboard

ANATOMY OF INFRASTRUCTURE | GEOMETRIC LIVING ACADEMIC

GEOMETRIC LIVING Fascinated by the metabolism movement, Paolo Soleri, and agricultural infrastructure, my second year graduate studio project situates the human scale inside a modular superstructure.

My infrastructural focus was on the grain elevator and its simple, yet highly functional, geometry. However, in an effort to break away from robust static structure, I adopted a modular approach to both structure and program. The building grows both upwards and downwards from continuous expansion & excavation. Each floor plate is derived from a spatial need of a specific square footage.

Using an equilateral triangle as the module, each unit contains approximately 230 square feet of space. Each floor slab can contain a maximum of 38 units for a max total of 8,740 square feet.

Floor plates are structured around three "cores" paralleling the structure and organization of a dicot root structure. The cores provide egress, material transportation and lateral stability for the overall structure and users.

The tectonics of the structure is exposed through the outriggers protruding from each core. A faceted skin shows where floor plates are inconsistent between levels.

Being that the building grows overtime, zoning codes will shift and change, speculating changes in program for an everevolving building.

26

Becher & Becher - Grain Silos (1998)

Typical Upper Level

Ground Level

Typical Lower Level

27

D

28

Scale: 1” = 100’-0”

ST. CROIX MINNEAPOLIS

Midtown Greenway

Vertical Urban Food Factory

Elevation above sea level: 830’-0”

Ely Pit Head Winding Engine

Duluth Harbor Aerial Lift Bridge

Duluth Works Blast Furnace

St. Croix Sawmill

Minneapolis Grain Elevator

St. Anthony Dam

X ELY

DULUTH

Elevation above sea level: 1,427’-0”

Elevation above sea level: 702’-0”

29

30

230 SF

A diagram illustrating the maximum total units of each floor plate.

Cores are represented in red. Units can be added or removed based on evolving square footage needs.

31

BUILDING GROWTH

2020

2050

32

Next Gen.

0

2XXX 33

HANGING PLANE PAVILION | DOWNTOWN MINNEAPOLIS PAVILION PROFESSIONAL

LIGHT WEIGHT METAL ROOF

11'

9' -

STEEL TENSION CABLES

LIGHT WEIGHT CONCRETE STAGE

ELEVATION - FLOATING CANTILEVER 3/32" = 1'-0"

UTILIZE EXISTING STRUCTURE FOR NEW STRUCTURE

4 1

MINIMUM 1/4" THICK TEMPERED GLASS

EAD G

PTFE COATED GLASS CLOTH FOR TENSILE STRUCTURE

9' - 2"

7' - 2"

REMOVEABLE METAL STANCHION

RECESSED CAN LIGHTS ALONG EDGES

STANCHION FOOTING BELOW CONCRETE PAVERS

10"

WOOD LOOK METAL PANEL

SECTION - FLOATING CANTILEVER 3/32" = 1'-0"

STEEL TENSION MEMBERS METAL STUD

HARNESSING EXISTING CONDITIONS FIRE TREATED PLYWOOD SUBSTRATE

TH ROOF DETAIL CONCEPT 1 1/2" = 1'-0"

Designed for an undisclosed client, the hanging plane pavilion HOLLOW STEEL TUBE STRUCTURE is located in the heart of Minneapolis on the prominent RECESSED CAN DOWNLIGHT Nicollet Mall. The client involved wished to have a presence on theWOOD newly renovated mall to spur attention and attraction LOOK METAL PANEL towards their businss.

The pavilion was to be a place for employees to hold meetings during summer months and concerts during off hours. The space was designed accordingly using a stanchion pole system to accomodate large swaths of people attending a concert or speaker during mildly aggresive weather.

December 23, 2016

A4 Project No.: 6263.303.35

The concept was evolved around the vision of a floating cloud which sought to protect critical infrastructure sitting just 2'-0" below grade. By utilizing an existing structure beyond the pavilion, we were able to cantilever out a substantial amount to hang the plane.

Contributed to design and conceptual detailing at RSP Architects

G STEEL TURE

EXISTING BUILDING

EVERING STEEL TURE

EXPOSED STEEL STRUCTURE

EXISTING METAL SCREEN WALL

STEEL TENSION CABLES

ELEVATION - FLOATING CANTILEVER

9' - 2"

16'

q ft. covered y - 157 people

LIGHT WEIGHT METAL ROOF

LIGHT WEIGHT CONCRETE STAGE

3/32" = 1'-0"

UTILIZE EXISTING STRUCTURE FOR NEW STRUCTURE

4 1

MINIMUM 1/4" THICK TEMPERED GLASS

36

PTFE COATED GLASS CLOTH FOR TENSILE STRUCTURE

7' - 2" WOOD LOOK METAL PANEL

9' - 2"

EAD G

RECESSED CAN LIGHTS ALONG EDGES

REMOVEABLE METAL STANCHION STANCHION FOOTING

11' - 10"

PANES BETWEEN TURAL TUBES

EXISTING STEEL STRUCTURE

7' - 2"

CANTILEVERING STEEL STRUCTURE

16' - 0"

GLASS PANES BETWEEN STRUCTURAL TUBES

1100 sq ft. covered Capacity - 157 people

67' - 3" 13' - 5"

ELEVA

3/32" = 1'

OVERHEAD BUILDING SOFFIT 3433 sq ft. covered Capacity - 490 people

SECTI

3/32" = 1'

NORTH PLAN

ROOF

1/16" = 1'-0"

1 1/2" = 1

RSP Architects Ltd. 1220 Marshall Street NE Minneapolis, MN 55413-1036 612.677.7100 main 612.677.7499 fax www.rsparch.com

Option 1 - Floating Cantilever

WORKOrder: ORDER: 1085736 - PAVILION PREDESIGN OPTIONS 12.21.16 Work 1085736 - Pavilion Predesign Options

37

Cloquet Forest Fire Tower, Tony Rabiola 2017

ANNUITY HARVEST | HYPERLOCAL WOOD SAUNA ACADEMIC PROJECT BY TONY RABIOLA & TREVOR KINNARD

40

Details by Trevor Kinnard

HYPERLOCAL AXE CRAFT Hyperlocal Axe Craft, a collaborative project alongside Trevor Kinnard, takes place in private forests for undisclosed clients.

All wood used in construction is sourced from the land that it resides on. Using portable mills and winch lines, the wood is harvested in projection lines leading to a target tree. This selective thinning of the forest allows for responsible forest management while simultaneously exploiting renewable materials for architecture.

The first structure realized from the business model is a hanging sauna situated in an enclosure inspired by annual time cycles.

The outerwalls of the structure map out the months of the year and are to be stockpiled with cordwood. The volume of these spaces is enough wood to burn for an entire day to keep the sauna powered. Being that it takes one year for wood to air dry after being milled, the boxes correspond to the drying cycle.

The sauna is hung from a beam structure permeating the overall complex. As the months move along and wood is consumed, the sauna follows - perpetually consuming and heating.

41

N

Scale 1/64” = 1’-0” Site Plan Site Plan done by Trevor Kinnard and Tony Rabiola

42

Sight Lines Winch Lines

02 May

03 Jun

04 Jul

06 Sep

05 Aug

07 Oct

01 Apr

12 Mar

11 Feb

10 Jan

09 Dec

08 Nov

Floor plan with monthly annotation

Window placements

Month

25 24 09 08

North East Elevation North East 1/4" = 1'-0"

South East South East Elevation 1/4" = 1'-0"

NorthWest West North

1/4" = 1'-0"

26 23 10 07

27 22 11 06

28 21 12 05

29 20 13 04

30 19 14 03

31 18 15 02

32 17 16 01

Elevation

South West South West Elevation 1/4" = 1'-0"

Elevations and Plan done by Tony Rabiola

43

44

1/4” = 1’-0” Final model done by Tony Rabiola, base and final touches by Trevor Kinnard

45

CASINO DESIGN | MINNESOTA CASINO DESIGN PROFESSIONAL

48

My design work on a Minnesotan casino is currently under construction. The work consisted of major renovations to all entryways and the exterior skin which was spurred on by a large addition to the hotel wing. The project, to me, was about studying the psychology of gambling as stated by Bill Friedman and then breaking all the rules that were subsequently made in his book "Stripping Las Vegas". Instead I approached the design with intent to follow in the footsteps of Steve Wynn's designer: Roger Thomas. Entrancing users and inviting them in with stimulating effects was a key part of the design. A provocative use of ziggaraut-esque form insinuates the "religion" of vices which resides in gambling facilities.

Contributed heavily to design and helped with construction drawings at RSP Architects

49

COLD FORM | ECCENTRIC MATERIAL STUDY ACADEMIC

Rendered speculation, Tony Rabiola 2018

Emergent Results

52

Cold Form was a collaboration between Isabella Finney, Brad Githens and I which observes transcalar time intervals through traditional Minnesota materials; ice and salt. Ice has a significant history in Minnesota in ice harvesting. While Ice has a capacity to extend time by refrigeration, salt has the decaying effect of shortening ice's lifespan. These materials, which are often at odds with one another, are used to create a form-work by first rendering the ice with the aid of salt. The icy form-work is then cast with hot melt adhesive (H.M.A.) yielding uncontrollable results.

Speculation of a large scale art installation inspired by James Turrel & Matthew Barney works. Image produced by Tony Rabiola.

53

Contour Mapping

Small Grain Salt

Medium Grain Salt

Large Grain Salt

(Kosher)

(Small Ice Cream)

(Large Ice Cream)

Diagram by Brad Githens

Three different sized salt grains were used with varying results. The silhouettes pictured above are a collection of tests, outlined in plan and elevation view to determine the different qualities the salts yielded. The results aided in our ability to determine the quality of light that would diffuse from the type of salt used in the melt.

The diagram on the following page represents a mapping of one ice cubes melt cycle. While the salt was only placed in the central "channels", additional saline solution melted additional patterns in the surface.

54

Diagram by Brad Githens

55

Light Diffusion Data

56

PICTURE

LIGHT BRACKET

No.

FC

LIGHT BRACKET

No.

FC

% LIGHT DIFFUSION

N/A

5

19

5.3

8%

K

2

38

0.6

1%

S

3

20

16.5

25%

S

2

39

0.7

1%

43%

L

3

21

13

20%

S

2

40

0.9

1%

35.3

54%

L

3

22

0.5

1%

K

2

41

1.3

2%

4

0.9

1%

K

1

23

6.3

10%

L

3

42

5.6

9%

5

1.3

2%

L

3

24

6.6

10%

L

2

43

5.5

8%

6

9.2

14%

S

2

25

0.5

1%

K

2

44

6.9

10%

7

14.1

21%

L

3

26

5.9

9%

L

3

45

7.6

12%

8

0.7

1%

K

1

27

6.3

10%

K

2

46

8.9

14%

9

1.4

2%

K

1

28

1.1

2%

K

3

47

6.5

10%

10

2.3

3%

K

2

29

6.6

10%

S

1

48

6

9%

11

6.3

10%

S

2

30

0.1

0%

K

3

49

5.9

9%

12

17.3

26%

L

3

31

5.9

9%

K

2

50

8.3

13%

13

0.9

1%

K

1

32

1.2

2%

K

2

51

1.7

3%

14

1.9

3%

K

1

33

7.7

12%

L

1

52

0.9

1%

15

2.9

4%

S

2

34

1.3

2%

K

2

53

0.6

1%

16

2.9

4%

K

1

35

0.5

1%

K

3

54

0.6

1%

17

42.8

65%

S

2

36

2

3%

S

2

55

1

2%

18

13.7

21%

L

2

37

1.6

2%

L

1

56

0.9

1%

% LIGHT SALT TYPE DIFFUSION

No.

FC

CNTRL

65.8

100%

NONE

1

25.8

39%

2

28.3

3

% LIGHT SALT TYPE DIFFUSION

PICTURE

LIGHT BRACKET

No.

FC

LIGHT BRACKET

No.

FC

K

2

38

0.6

1%

K

1

57

5.2

8%

S

2

S

2

39

0.7

1%

K

2

58

1.3

2%

S

3

S

2

40

0.9

1%

K

3

59

5.2

8%

S

2

K

2

41

1.3

2%

S

3

60

6.5

10%

S

2

L

3

42

5.6

9%

L

2

61

0.6

1%

L

2

L

2

43

5.5

8%

S

3

62

1.3

2%

L

2

K

2

44

6.9

10%

S

2

63

0.5

1%

L

1

L

3

45

7.6

12%

S

2

64

0.4

1%

L

2

K

2

46

8.9

14%

S

2

65

0.7

1%

L

3

K

3

47

6.5

10%

S

2

66

0.2

0%

L

2

S

1

48

6

9%

S

2

67

0.1

0%

L

1

K

3

49

5.9

9%

S

2

68

0.2

0%

L

1

K

2

50

8.3

13%

S

2

69

0.1

0%

L

1

K

2

51

1.7

3%

S

1

70

0.4

1%

L

3

L

1

52

0.9

1%

S

2

71

0.1

0%

L

1

K

2

53

0.6

1%

S

2

72

0.1

0%

L

1

K

3

54

0.6

1%

S

2

ALT TYPE PICTURE

% LIGHT SALT TYPE DIFFUSION

PICTURE

% LIGHT SALT TYPE DIFFUSION

PICTURE

LIGHT BRACKET

0% The73footcandle readout in the second columnXwas

gathered via a light meter and benchmarked on a S

2

55

1

2%

S

1

control.

After testing each glue cube, we placed 0% X 74 each into a bracket from darkest to lightest in order to set up our final model. We also recorded the

L

1

56

0.9

1%

S

2

0% X 75 different types of salt used: large ice cream salt,

small ice cream salt, and kosher salt.

57