design portfolio 2013
knowlton school of Architecture
anthony v gagliardi
INTRODUCTION Architecture is a cultural endeavor. It is a rich combination of history, economics, business, sociology, art, philosophy, and numerous other disciplines. While engaging in the past, architecture simultaneously remains connected with current financial situations, societal orders, and aesthetic movements. In this way the cartography of culture can be read through the representation of the built world. As new technologies are introduced and society progresses as a whole, attempts to represent culture become increasingly complex. Therefore, the transdisciplinary nature of architecture looks toward collaboration in order to develop holistic understandings and accurate manifestations. This compilation exhibits my experimentation and speculation towards the ability of architecture to organize diverse approaches, design spatial solutions, and represent culture.
archi-TYPAL pastiche Hybrid Representations
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The Book / The Drawing 8 Icons and Model 10 Another Dimension 12
POROUS REMEDIATION Island Strategy 16 Site Strategy 18 Water Systems 20
sEVEN courtyards The Olympic Village 24 The District 26 The Unit 28
TRANSPARENT MONUMENT Social Marketplace 32 Circulation and Section 34 Perspective 36
ketchup catwalk Pattern 40 Process and Fabrication 42
venice biennale: Field of Dreams The Exhibition 46
Study Abroad Sketches 50 2
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ARCHI-TYPAL PASTICHE INSTRUCTOR: TEAM: TERM:
LISA TILDER ANTHONY GAGLIARDI, PATRICK HERRON LINDSAY MITCHELL, JONATHAN RIEKE SPRING 2012, 10 WEEKS
Archi-Typal Pastiche examines the representation of nature through multiple lenses. Rather than strictly observing architectural projects, the research expands to art, literary works, movements, and phenomena. By widening the perspective it engenders atypical graphic techniques to accurately express the amalgamation of disciplines. Common mediums, such as drawing, modeling, and photography, were attempted and eclipsed in search for more accurate yet speculative forms. The result was a collection of representations that juxtapose art and literature; science and technology; architecture and culture.
HYBRID: CONTORTED PERSPECTIVE Routes are dictated through the model, plots are peeled away, and textures are added in an experimentation that looks to enhance and overwhelm visual intake. It is a speculation in the representation, understanding, and “drawing� of spatial organizations.
VIGNETTES: INFERRED MOMENTS
Remnants of art, literature, technology and science are introduced to the vignettes in order to infuse the architecture with an atmosphere and a culture. This begins to allow the work to position itself in the relative constructs of historical discourse. The resulting images are therefore not images at all, but rather still theatrics representative of the strange relationships between the plots and their identities as individual parts to the whole. 6
ARCHI-TYPAL PASTICHE: HYBRID REPRESENTATIONS
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THE BOOK / THE DRAWING
An “encyclopedia of nature,” attempts to inventory its many forms and seeks to reduce complexity. Using the stereotypical gable roof house as a critical lens, manipulations from nature can be read while simultaneously creating a field of blurred realities when the projects are combined.
Ancient of Days
London, UK William Blake, 1757-1827
Continuous Monument Florence, Italy Superstudio 1969
Entropic Landscape Robert Smithson 1970
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ARCHI-TYPAL PASTICHE: THE BOOK / THE DRAWING
Blake was a poet, painter and print maker. Although he was not well known in his lifetime, his work now ranks among some of the most important in the Romantic Age. His work touches on a variety of mystic and philosophical topics. The painting seen here (Angel of the Revelation) represents his ability to create a tactile essence of divine moments both historical and biblical. The vibrant colours allow for the images to develop a strong sense of reality that draws the viewer into the experience and feeling of the painting.
Wrapping the world in a gridded superstructure, the Continuous Monument questions 20th century modernist doctrines and the developing idea of utopia. Modern architecture was too machine-like and bland. “It is indifferent to topography what exists, it claims the superiority of mental construction over reality,” said Rem Koolhaas. A critique on glabalization, Superstudio was worried about the growth of megastructures and the stripping away of local culture
“Like Humpty Dumpty sat on the wall...all the king’s horses and all the king’s men couldn’t put Humpty Dumpty back together again. There is a tendency to treat closed systems in such a way...I’d like to mention another mistake...the Slaton Sea in California...[a] thirty mile lake was created by [an] engineering mistake, and whole cities were inundated, the railroad was also submerged, and there were attempts to try to fight back this deluge, but to no avail...one mistake begets another mistake...[which] are all curiously exciting.”- RS
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ARCHI-TYPAL PASTICHE: ICONS AND MODEL
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PHOTOGRAPHY
Through arrangement and documentation, photography provides the possibility of an infinite set of layouts which include, density, program, and color.
ICHNOGRAPHIA
Experimental plan meant to augment reality through distortions of perspective, texture, and adjacency.
IMPLEMENTATION
Can a heterogeneous assembly of icons create a whole? Can it be vernacular? And can it bring about a common identity?
ANOTHER DIMENSION
Nesting four of the routes through the model, the knot is of particular interest. Application of digital modeling and rapid prototyping technology grants the capability to explore and understand how increasingly complex spatial configurations interact. 12
ARCHI-TYPAL PASTICHE: ANOTHER DIMENSION
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WASTE MANAGEMENT Sewage System
Septic Tanks
WASTE MANAGEMENT
WATER MANAGEMENT
Sewage System
Sewer Systems
60%
60%
40%
49%
Septic Tanks
Cistern Collection
40%
51%
WATER MANAGEMENT Sewer Systems
Percent of coral reef effected by waste pollution 49%
Cistern Collection
Coral Reef 485 sq. km.
Percent of coral Coralreef Reef effected485 by waste sq. km. pollution
St. Croix 207 sq. km.
St. Croix 207 sq. km. 51%
60%
60%
Unitedhave States Virgin Islands have been The United States VirginThe Islands been fined more than fined more than
40%
40% St. Thomas 83 sq. km. St. John’s 52 sq. km.
$10,200,000 $10,200,000 for polluting the Caribbean Sea and the surrounding for polluting the Caribbean Sea and Coral Reef over the past over 20 years St. John’s the surrounding Coral Reef the St. Thomas 83 sq. km.
52 sq. km.
POROUS REMEDIATION INSTRUCTOR: TEAM: TERM:
KAREN LEWIS ANTHONY GAGLIARDI, JENNA BOLINA, BRIAN KOEHLER WINTER 2011, 10 WEEKS
past 20 years
The project works to solve an environmental issue which exists across the US Virgin Islands. Failing septic and sewage systems have polluted the beaches, water, and surrounding coral reef and caused irreparable damage. Implementing a landscape system which collects, cleans, and reuses contaminated groundwater through bioremediation processes creates a selfsustaining system reproducible at many scales. A series of open-aired bars contain marine program and emphasize the connection between interior and exterior; research areas and research specimens.
East End Marine Park, Robin’s Bay
Altona Lagoon, Christiansted
Sugar Beach, Christiansted
Krause Lagoon, South Central
Implemented Reservoir, Mountain Valley
Hams Bay, Northwest
57 381 3,3 3,
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6 ,49 99 1 3 , 1
Anna’s Hope Village 0 73 702
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East End
2/25/2011: Break in Sewer line causes evacuations in Anna’s Hope Village
74 1,5
21 1,4
95 1,6 66 1,4
06 1,0 9 95
12 1,2
Christiansted Southcentral
Buck Island Reef National Monument
2/5/2011: Residents are advised not to swim in the harbor because of high pollution levels
Sion Farm
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Sandy Point National Wildlife Refuge
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Southwest
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Northcentral
Fredricksted
Project Site: Salt River Bay National Park
Northwest
ISLAND STRATEGY
Although employed as a marine biology campus, the rehabilitating techniques are applicable to a diversity of programs and scales across the island. The system takes advantage of gravity, water filtration processes, and bioremediation pools in order to minimize the environmental impact.
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POROUS REMEDIATION: ISLAND STRATEGY
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LANDSCAPE PROGRAM
The landscape program combines with the bar structures to offer a multitude of opportunities to the students, faculty, and public. Included on site are recreational areas, bioremediation zones, public parks, commercial harbors, and exterior classrooms. Within the the bars are laboratories, theatre, housing, library, and cafe.
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POROUS REMEDIATION: SITE STRATEGY
WATER FILTRATION
Water travels through a filtration system where it is purified, used by the campus, and re-cleaned before entering back into the bay.
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POROUS REMEDIATION: WATER SYSTEMS
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SEVEN COURTYARDS INSTRUCTOR: TEAM: TERM:
ROBERT LIVESEY ANTHONY GAGLIARDI AUTUMN 2011, 10 WEEKS
With the introduction of seven courtyards into an integrated park system, the project attempts to solve the divided Olympic site in Rio de Janeiro by developing a “porous” megastructure. At certain points the seemingly hard edge of the project opens into a system of interconnected open public forums, culminating at the “city center.” Enclosing the courtyards are stadiums, piazzas, apartments, shops, and businesses. With the housing raised above the retail and commercial programs it creates the opportunity to cap the supplemental ground parking with green space, offering the residents their own elevated semi-private courtyards.
THE OLYMPIC VILLAGE
Outside of the structure is a large public park that fosters inlets, bike and walking paths, beaches, and open fields. On the interior, a chain of parks occupy two levels fusing all programs together and creating an encompassing city within a city.
SITE SECTION
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SEVEN COURTYARDS: THE OLYMPIC VILLAGE
SCALE = 1:1500
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DISTRICT GROUND PLAN
The layered district is the heart of the village and centers around a park incorporating tiered green space and a lake. Plazas and retail shops surround the park to further activate the space. 26
SEVEN COURTYARDS: THE DISTRICT
DISTRICT HOUSING PLAN
Above the retail and commercial programs are housing apartments that support one to three bedroom units. Each has a view of the grand park, district, or bay with access to its own private elevated courtyard. 27
ESTCODE
ESTCODE
SEMI-PRIVATE COURTYARDS
ESTCODE
ESTCODE
ESTCODE
HOUSING CIRCULATION
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
HOUSING
THREE-BEDROOM UNIT
ESTCODE
ESTCODE
COMMERCIAL
ESTCODE
ESTCODE
ESTCODE
ESTCODE
GROUND CIRCULATION
TWO-BEDROOM UNIT
ESTCODE
ESTCODE
PARKING 28
SEVEN COURTYARDS: THE UNIT
ONE-BEDROOM UNIT 29
TRANSPARENT MONUMENT INSTRUCTORS: TEAM: TERM LENGTH:
LISA TILDER, BEATRICE BRUSCOLI ANTHONY GAGLIARDI, JOE BROOKOVER, JIAJUN REN SPRING 2011, 2 WEEKS
Lost connection to the city, unfit program, and grandiose scale has contributed to the abandonment of Giuseppe Samoná ‘s design of the 1978 Popular Theatre of Sciacca. The Transparent Monument attempts to revitalize Samoná’s vision by enhancing his initial design. Dematerialization of the original central rectangle while maintaining the adjacent geometries, creates a civic space and strong axis that link into existing public parks throughout the city. An urban promenade funnels pedestrians to the site where governmental programs and a metropolitan market are interwoven. By combining government processes with public recreation and circulation patterns, integral political transparencies are established and opportunities for community involvement are produced.
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PROGRAM
OUTER SHELL
Civic program (grey) is mixed with public recreation (magenta) to develop a stronger relationship between community and government. The interstitial space becomes an open-aired social marketplace.
SamonĂĄ ‘s original design acts as a shell within which the civic and recreational program inhabit.
MARKETPLACE
The central zone is activated by the cross-pollination of the two programs and their circulation patterns. It connects into a larger public promenade through the city of Sciacca and allows for a diverse set of activities. 32
TRANSPARENT MONUMENT: SOCIAL MARKETPLACE
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CIRCULATION
Pedestrians are attracted off of the main axis that connects city and sea into a continuous route up and through the building.
SECTION
A series of volumes attach to the continuous circualtion path within the outer shell of the structure. Citizens and government officials use the same route, as civic meeting rooms occur alongside public theatres.
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TRANSPARENT MONUMENT: CIRCULATION AND SECTION
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ARCHI-TYPAL PASTICHE: PERSPECTIVE
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KETCHUP CATWALK INSTRUCTOR: TEAM: TERM:
BART OVERLY ANTHONY GAGLIARDI, JENNA BOLINO JULIUS CAVANDY, MELISSA POEPPELMAN SPRING 2010, 10 WEEKS
Six overlapping patterns combine to generate an interactive curtain wall composed entirely of ketchup cups. Passing pedestrians convert the ordinarily static screen into a continuously changing surface by its reaction to changes in pressure and light. The surface takes advantage of the site by transforming the ordinary walkway into a theatrical event; one where every move is magnified and observed by the audience below. Two sets of elliptical patterns highlight a pair of designated views, playing up Knowlton Hall’s voyeuristic atmosphere and making the act of viewing an interactive experience throughout the whole building. The surface gives the walkway a transparent interiority and acknowledges it as corridor, stage, and room.
PATTERN
A hexagonal pattern utilizes three sizes of ketchup cups and allows for an infinite number of combinations
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KETCHUP CATWALK: PATTERN
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PROCESS AND FABRICATION
The design of the surface is inspired most significantly by music and athletic sport. In each, the formalization and representation of motion and sound were experimented with in order to better understand materiality (i.e. the material itself and the materialization of a non-physical object).
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KETCHUP CATWALK: PROCESS AND FABRICATION
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VENICE BIENNALE: FIELD OF DREAMS INSTRUCTORS: TEAM: TERM LENGTH:
JEFF KIPNIS, JOSE OUBRERIE, STEPHEN TURK JAKE HAGGMARK, RYAN PALIDER, TIMOTHY COUSINO, ANTOINETTE DELVILLANO, MEGAN DIXON, RYAN DOCKEN, JOHN DURDA JR., JOHN YURCHYK, NORMAN AI, JEFF ANDERSON, ANTHONY GAGLIARDI, JOSH KUHR, DANIEL LEONE, SAMUEL LUDWIG, EMMA SILVERBLATT, SANDEEPSINGH SISODIA, JOE TWELMEYER SPRING 2012, 20 WEEKS
“IV: Variation: A Field of Dreams wherein the erotics - the passions, perversions, and spectacles of Ancient Rome - so perfectly frozen by Piranesi’s etchings are reanimated as a morality play for contemporary architecture. - dedicated to Le Corbusier and John Hejduk” - Kipnis, Oubrerie, Turk
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THE SEMINAR
My Contribution: I assisted with research throughout the Biennale seminar. The drawings to the right are graphic experimentations I completed, derived from Hejduk’s “Victims”
THE MODEL
My Contribution: I assisted with the construction and packaging of the “Field of Dreams” model over the course of the summer.
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FIELD OF DREAMS: THE EXHIBITION
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STUDY ABROAD INSTRUCTOR: LOCATIONS: TERM:
JACKIE GARGUS, LISA TILDER, BEATRICE BRUSCOLI AUSTRIA, CZECH REPUBLIC, FRANCE, GERMANY, GREECE, ITALY, SWITZERLAND SPRING - SUMMER 2011, 17 WEEKS
Sketching is an essential art to understanding spatial relationships. On each study abroad trip, I have kept a sketchbook in order to document the excessive amounts of information. This has helped me to better understand the built world and its surrounding context. It develops a working knowledge of formal organizations that can then be practiced throughout the entire design process.
VILLA SCHWOB
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STUDY ABROAD: SKETCHES
PERGAMONMUSEUM
GOETHEANUM
SECESSION BUILDING
LOOSHAUS NOTRE DAME DU HAUT MERCEDES-BENZ MUSEUM FRED AND GINGER
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JOSEF ALBERS
AM STEINHOF CHURCH
AM STEINHOF CHURCH
DUTCH EMBASSY
LOOS CHAIR
AM STEINHOF CHURCH
ANTONIUS CHURCH
BARGELO
DAVID
POSTPARKASSE
PAZZI CHAPEL
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STAATSGALERIE
VILLA GUILIA
UFA CINEMA
RICOLA STORAGE CENTER
NEW NATIONAL GALLERY
KARL-MARX-HOF
STUDY ABROAD: DETAILS
POSTPARKASSE 51
anthony vINCENT gagliardi 42 East 14th Avenue Columbus, Ohio 43201 anthonyvgagliardi@gmail.com (440) 223-5321
Educational Background 2008 - 2013
Knowlton School of Architecture, The Ohio State University Bachelor of Science in Architecture with Minor in General Business Magna Cum Laude; GPA: 3.836 Venice Biennale 2012: Common Ground Participated on a team for Field of Dreams by Jeff Kipnis, Jose Oubrerie, and Stephen Turk Study Abroad China, Europe, London, Italy, Barcelona
Awards and Honors 2012 - 2013
SPHINX Senior Class Honorary Member of the 106th Class of SPHINX, Ohio State’s oldest honorary; 24 in a class of 11,000 seniors
2012
Honors and Distinction in Research Archi-Typal Pastiche; with Patrick Herron, Lindsay Mitchell, and Jonathan Rieke
2011
Knowlton School of Architecture Gui Competition Porous Remediation; Honorable Mention; with Jenna Bolino and Brian Koehler
2009 - 2011
Knowlton School of Architecture Website Student Gallery Student work selected for display: Autumn 2009, Spring 2010, Winter 2011, Spring 2012
Academic Service 2011 - 2012
President
American Institute of Architecture Students
Instituted programs, networking events, and monthly meetings Directed the planning, design, and program of the Beaux Arts Ball Doubled the organization’s funds through fundraising events and donations
Vice President
SERVitecture
Managed community design/build projects including a greenhouse for an elementary school Inaugurated the Knowlton School of Architecture Fashion Schau to raise money for charities
Community Involvement 2012 -
Homeless Families Foundation Dowd Center Founded the first annual Giving Tree Program
2008 -
Habitat for Humanity Coordinated biannual Habitat for Humanity trips to: Baltimore, MD, Chicago, IL, Charleston, SC
2008 - 2011
Relay for Life Led a team of fifteen for the 2009 and 2010 Ohio State Relay for Life Collaborated in raising over $60,000; Youth Coordinator; Parma Relay for Life
Professional Experience 2012 -
WSA Studio
Columbus, Ohio
Completed construction documents for Vectra and PNC interior renovations
2009 - 2011
Kaczmar Architects Incorporated Worked on the schematic design team for the Cleveland Clinic Lutheran Hospital Provided construction documents for the Louis Stokes Cleveland Department of Veteran Affairs
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