Architectural Portfolio - V.5 5.12.2021 by Anthony Rabiola

ACADEMIC | PROFESSIONAL ARCHITECTURAL SELECTION

PORTFOLIO VOL 5 04 . 2021

| 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

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, golf Architectural Interests

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

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 -

WILMAR COMMUNITY HUB

ANNUITY HARVEST

RALPH RAPSON TRAVELLING FELLOWSHIP ‘21 | PERSONAL

HYPERLOCAL WOOD SAUNA | ACADEMIC

- Page 32 -

- Page 36 -

INFORMED BY SOUND

COLD FORM

THESIS PROJECT | ACADEMIC

ECCENTRIC MATERIAL STUDY | ACADEMIC

- Page 44 -

- Page 48 -

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 got to work on the schematic 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.

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.

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

Exploded Axonometric Diagram 6

LINE

A HOUSE FOR KANDINSKY | COMPREHENSIVE STUDIO ACADEMIC

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

GYPSY JAZZ

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

NEW WAVE

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

DOWNTEMPO

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

MODAL JAZZ

PATIO

DECK KITCHEN STUDIO CLOSET

BED

LIVING ENTRY PORCH

FIRST FLOOR PLAN

BALCONY

SECOND FLOOR PLAN

DESIGNING WITH THE CLIENT 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. After reading the artist's book "Point and Line to Plane" I took to learning his methods and painted my own versions of Kandinsky in order to embrace his style. Using points, lines and planes, I constructed artwork using specific music to drive pieces. In much the same way as I treated the paintings, I took to modeling small maquettes which grew to resemble architecture. From these exercises I learned to harness Kandinsky's concept to "paint for painting's sake" in order to construct "architecture for architecture's sake". Kandinsky's home faces Rapson's retreat in order to pay homage to their connection through tenure at the Bauhaus. The large northern windows allow for diffused lighting; ideal for painting 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 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

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.

7 A601.1 15' - 3"

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

C.1 2

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

11 RISERS AT 6.45"

7 A602.1

3' - 6"

3' - 0"

SF-01

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

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

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

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

11 TREADS AT 11"

3 A601.1

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

A600.1

STEEL PLATE FINS - SEE STRUCT.

3' - 6" T.O. GUARDRAIL

3' - 6"

3' - 0"

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

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

AP-14

Pantries

OWNER SUPPLIED

WW-AP-BUN-3-A

Coffee Brewer

Coffee AM

AP-15

Community Bar - 4th floor

OWNER SUPPLIED

WW-AP-EVE-1409-A

Espresso Machine

-Is Manufacturer-

Bunn Eversys

Brewer

E4M Espresso M

WP J

USB

? J

4TH FLOOR PLAN N.T.S. 22

USB

ICB-DV

Stainless Steel

*** 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

B US J

USB USB

AP-13 AP-6

AP-3 AP-2

AP-4

AP-1

AP-5

USB

AP-7 AP-14

USB

Machine

Final Model: Basswood, acrylic, and cardboard

ANATOMY OF INFRASTRUCTURE | GEOMETRIC LIVING ACADEMIC

GEOMETRIC LIVING Tasked with defining what a Vertical Urban Food Factory is, this project developed around the precedents of agricultural infrastructure and modular industrial complexes. Early interest in the grain elevator (a historic Minnesotan typology) and its simple, yet highly functional, geometry lead me to develop a modular approach to the factory. To building in flexibility to the typical factory typology, 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 ever-evolving building. Becher & Becher - Grain Silos (1998)

Typical Upper Level

Ground Level

Typical Lower Level

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”

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.

WILMAR COMMUNITY HUB| RALPH RAPSON TRAVELLING FELLOWSHIP ‘21 PERSONAL

Street Elevation

Front Entry

Auditorium View

3 4

14 5

FIRST FLOOR PLAN

1. Main Entry 2. Lounge 3. Sound Room 4. Auditorium 5. Mechanical/Electrical 6. Kitchen 7. Classroom

8. Women’s Restroom 9. Men’s Restroom 10. Medical Reception & Exam Rooms 11. Nursery 12. Playground 13. Four Seasons Canopy 14. Stage

A SHARED EMBELLISHED MEMORY

Ella Ave. NE

r Lake

19 years after it's founding, Willmar was introduced to the railroads in order to stimulate the agricultural economy of the town. The trains were the primary driver to Willmar's successes and it plays a large part in the history of the entire county of Kandiyohi. It is also the thing my Mother remembers most about her childhood.

Willma

Dolso

Rail Ro

n St. SE

Given a program for a community health hub, I chose a site close to the train tracks to embrace the sounds of the trains in my design and use them as a shared community perception of comfort. The large atrium volume faces the tracks to showcase them as they come through the town and the noises from them are softly piped throughout the building. The building provides several meeting places as well as a daycare facility, kitchen, outdoor venue and medical facility.

. SE

Paciﬁc Ave

Benson

Ave. SW

ld Ave. SW

Litchﬁe

3rd St.

2nd St. SE

1st St.

Ave. SW

2nd St.

Becker

4th St.

As a sustainable objective, the building reuses parts of a previously demolished 100 year old dry cleaners building as the main structure to imagine what it could have been had it not been destroyed. The pieces that are taken apart, are reused in gabion walls demarcating the site

4th St.

5th St.

6th St.

. SW

Trott Ave

CR 41

Cloquet Forest Fire Tower, Tony Rabiola 2017

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

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.

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

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

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

INFORMED BY SOUND | THESIS PROJECT ACADEMIC

SOUND + SPACE This project follows the lineage of experimental composers and spatial compositions in which technology plays a dramatic influencing role. As music evolves with the 21st century, musicians have become much more technologically adept. The line which separates the audio engineer and the musician has been permanently blurred if not erased from the proliferation in affordable audio technology. These recent developments in music culture has lead to composers to move beyond typical conventions of performing and writing compositions to leveraging their immersive environment as an instrument. Informed by Sound explores the aptitude of an architectural design methodology focused on sound which is deployed across several sites. The architecture responds to, and ultimately is informed by, the contextual sounds found on these sites; leveraging the environment for it's natural music as modern composers would. Early studies sought to become proof of this thesis by modeling wearable sound objects with active speakers which spatialize sound at the scale of the human body. The wearable objects isolate the sense of hearing in the user and induce focus on the auditory sensations present in the equipment. The exercise brought forth a diagram explaining the concept. Architects have a duty to understand scale of their abstract conceptions in order to begin formalizing their designs. The question "what is the scale of sound" lead me to ponder scale in sound as a collection of limits/thresholds. Scale limit here is defined as being where something ends; whether it be the edge of a column or the point where you cannot hear sounds any longer. This idea of scale in sound has served as the basis for the architectural design methodology. Whether sounds need to be amplified may lead to an active intervention whereas a sound which needs to be dampened may need to have a passive intervention (think: thick insulation on a highway facade) 46

ACOUSTIC HORIZON

THESIS DIAGRAM

Liminal Space

ACOUSTIC ARENA

Sound Environment

Interface Interface

Procession

Visitor

At the center of the diagram is a sound environment. This is the targeted experience for the visitor to listen to on each site. These sound experiences are new and novel perceptions that are not regularly heard. Outside of the sound environment is the interface which serves as the primary passive or active architecture of the project and interprets the sound environment to the user. These two components comprise the Acoustic Arena. Outside the Acoustic Arena is the Acoustic Horizon which contains leftover and abundant sounds. Although the sounds here are not particularly interesting at the Acoustic Horizon it is important to acknowledge them because the space between the Acoustic Horizon and the Acoustic Arena is what is called the Liminal Space which must be traversed to enter the Acoustic Arena. The Procession is the secondary architecture of the project which serves as a palette cleanser for the ear to prepare visitors for new sound experiences. From this diagram, I set out to design a series of sound follys around Minneapolis 47

Yudof Hall

East River Park

way

University Medical C W.H.

W.H.

+714’ +730’

Row House Winter Hazard (WH)

Row Team Dock Row T ea

m Lan

West Riv er

+850’

Parkway

MISSISSIPPI RIVER INTERVENTION For the sake of saving spreads, I will only include one of the follys: The Mississippi River intervention. The acoustic arena in this lovation is a series of submerged volumes at differing elevations. The interface the sound environment underwater are hydrophones attached to the submerged volumes which pick up sounds from aquatic life and the movement of the river. The procession is an undulating rampway which slowly reduces ambient sounds from the liminal space as it replaces them with sounds from under the river.

The form was defined by identifying points and subsequently developing a grasshopper script along the pathway to create bulbous faceted forms of varying degrees. Bathymetric data from the US Marine Corps helped to locate where the points needed to be in order to submerge the volumes at different elevations. During the final presentation walkthrough videos were shown with spatial audio modeling to showcase what it would sound like traversing the space. You can find them at this link: https://youtu.be/mVXO1HLfJzE

COLD FORM | ECCENTRIC MATERIAL STUDY ACADEMIC

Rendered speculation, Tony Rabiola 2018

Emergent Results

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.

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.

Diagram by Brad Githens

Light Diffusion Data

PICTURE

LIGHT BRACKET

No.

LIGHT BRACKET

No.

% LIGHT DIFFUSION

N/A

5.3

0.6

16.5

25%

0.7

43%

20%

0.9

35.3

54%

0.5

1.3

0.9

6.3

10%

5.6

1.3

6.6

10%

5.5

9.2

14%

0.5

6.9

10%

14.1

21%

5.9

7.6

12%

0.7

6.3

10%

8.9

14%

1.4

1.1

6.5

10%

2.3

6.6

10%

6.3

10%

0.1

5.9

17.3

26%

5.9

8.3

13%

0.9

1.2

1.7

1.9

7.7

12%

0.9

2.9

1.3

0.6

2.9

0.5

0.6

42.8

65%

13.7

21%

1.6

0.9

% LIGHT SALT TYPE DIFFUSION

No.

CNTRL

65.8

100%

NONE

25.8

39%

28.3

% LIGHT SALT TYPE DIFFUSION

PICTURE

LIGHT BRACKET

No.

LIGHT BRACKET

No.

0.6

5.2

0.7

1.3

0.9

5.2

1.3

6.5

10%

5.6

0.6

5.5

1.3

6.9

10%

0.5

7.6

12%

0.4

8.9

14%

0.7

6.5

10%

0.2

0.1

5.9

0.2

8.3

13%

0.1

1.7

0.4

0.9

0.1

0.6

0.1

0.6

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

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

0.9

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

small ice cream salt, and kosher salt. 57