PORTFOLIO: brian dieterle | 2012
architecture | marketing | business development
I am proud to be a part of a profession that honors thoughtful design, enc o u r a g e s c r e a t i v i t y, f o s t e r s p a r t n e r s h i p , d e m a n d s a t t e n t i o n t o d e t a i l s , a n d finally awards us all with the outcome. The profession is full of challenges, everyday challenges that make it worth pursuing for a lifetime. I am passion-
bout
ate about this profession, I love this profession - I love ARCHITECTURE.
I have a Bachelor of Arts degree in Communication, a minor in Business, and have recently completed my Master of Architecture degree. I have industry
experience leading the marketing and business development efforts for a very well-respected 50-person architecture firm, working as a member of a large marketing team, and supporting architectural design and drafting teams. I
thoroughly enjoy what I do. My goal is to continue to provide exceptional service and continue to learn at a progressive and exciting design firm.
M o s t S i n c e r e l y,
Brian M. Dieterle 615 Kipling Street, #5 H o u s t o n , Te x a s 7 7 0 0 6 m o b i l e : 6 1 4 . 6 3 8 .7 8 9 2 dieterle_brian@yahoo.com w w w. i s s u u . c o m / b r i a n d i e t e r l e
eveal
“CULINARY ARTS” THE CHALLENGE: Design downtown culinary arts institute. THE SOLUTION: Preparing amazing food is more than the simple act of cooking it. The planning, preparation, and presentation of food can be equated to the art of composing music, or painting, or sculpture, or dance. Why shut this experience out to the public? I chose to begin with a “typical building” characterized by a primarily impervious façade. I then proceeded to slice, extract, and ultimately reveal portions of it to establish a visual connection between the inside and out and to create an urban space for human interaction in the area in-between. This design approach allows the academy to be an active tenant of the city and invite the public to experience t h e e n e r g y, a r t , a n d s c i e n c e o f c r e a t i n g m a g n i f i c e n t f o o d . A l t h o u g h t h i s s t u d y s a t i s f i e s t h e p r o g r a m o f a c u l i n a r y a c a d e m y, t h e i d e a o f r e v e a l i n g t h e u r b a n b u i l d i n g can be incorporated into almost any building type. By doing so, we can expose the general public to the incredible activities that are going on around them in their c i t y e v e r y d a y. TO O L S + M AT E R I A L S : A U TO C A D, R H I N O , S K E T C H U P, P H OTO S H O P, I L L U S T R ATO R , I N D E S I G N , B A S S W O O D, M D F, C H I P B O A R D
slicing a typical building invites public a view into the inner workings of the culinary institute
slicing a building
context model
plans and sections through the site
presence on main street
section model
shell-shaped stair
character of adjacencies
views in front of church
sketch of proposal
before and after circulation
model of finished stair
section through stair
before and after view of facade
context “STUDIES IN ROME”
THE CHALLENGE: Propose an intervention to a piazza in Rome. THE SOLUTION: All s i t e s h a v e l a y e r s o f h i s t o r y. I n R o m e , t h i s p a l i m p s e s t i s d e e p a n d i s c h e r i s h e d b y t h e p e o p l e w h o c a l l t h e c i t y t h e i r h o m e . D u r i n g m y t i m e s t u d y i n g i n I t a l y, I e x p l o r e d how an under-utilized piazza could function more effectively and add to the pedestrian experience. Piazza della Madelena is located a short distance north of Piazza d e l l a R o t u n d a , h o m e o f t h e Pa n t h e o n , o n e o f R o m e ’s m o s t v i s i t e d s i t e s . A f t e r r e searching the history of the area, having conversations with local architects, and o b s e r v i n g t h e b e h a v i o r o f p e d e s t r i a n s a t d i f f e r e n t t i m e s o f t h e d a y, i t w a s c l e a r t h a t a simple design could have a great impact. Santa Maria della Madelena, a Rococo (meaning “stone shell”) church often went unnoticed. My design intervention was the integration of a shell-shaped stone stair using a lower layer of basalt and top layer of travertine, to the facade of the church. The stair would disperse pedestrian t r a f f i c m o r e e v e n l y t o a n d f r o m t h e Pa n t h e o n , m o v e t h e c i r c u l a t i o n p a t h a w a y f r o m the church to offer a better view of the facade, and offer afternoon shaded seating t o t o u r i s t s a n d t h e p e o p l e o f R o m e . TO O L S + M AT E R I A L S : I N K , V E L L U M , C O N S T R U CT I O N PA P E R , C H I P B O A R D, P H OTO G R A P H Y
structured “ C O M M U N I TY F O O D ” THE CHALLENGE: Create a place for food trucks to park and people to relax, eat, and interact. THE SOLUTION: The city of Houston is the home to many food trucks. This project explores how a near empty site in the Heights neighborhood could be transformed into a station that offers people a place to go for a dynamic array of food, relax in the sun or shade, and spend time with others or alone. The form of the pavilion was d e s i g n e d b a s e d o n t h e s u n ’s p a t h t o m a x i m i z e s u m m e r s h a d e a n d w i n t e r s u n t o m a k e t h e pavilion comfortable year-around. The structural support and upper stair was designed to be thin to allow the summer breeze to flow effortlessly beneath the shaded portion of the pavilion, enhancing customer comfort. The food trucks, as well as a double decker food bus, became critical components of the design intention, program, and composition. The trucks interject into the pavilion to create a zone of vehicle and pedestrian interact i o n . T h e f o o d s e r v i c e v e h i c l e s “ s t i t c h ” t h e s i t e t o g e t h e r b o t h h o r i z o n t a l l y a n d v e r t i c a l l y. TO O L S + M AT E R I A L S : A U TO C A D, S K E T C H U P, I L L U S T R ATO R , P H OTO S H O P, LA S E R C U TT E R , B A S S W O O D, M U S I C W I R E , C H I P B O A R D
upper level
secondary structure
primary structure
ground level
wrapping structure organized by walls used for seating
+
=
summer sun + winter sun = overlap shading
plan of station
+
=
unoccupied + occupied = larger groups top
+
=
zone for people + zone for trucks = zone for interaction
connection “ G AT H E R I N G P L A C E � THE CHALLENGE: Abstract study of additive and subtractive design. THE SOLUTION: A gathering space connects people to other people. When exploring the idea of designing a place for gathering, I discovered that the form itself could be based on connections, both simple and complex. The abstract model combines the concepts of additive and subtractive design method. The object reads as a simple subtractive form when viewed on one side and an unexpectedly complex form when viewed on t h e o t h e r, w h i c h g r a d u a l l y b e c o m e s a d d i t i v e . A h a n d - d r a w n e x p l o d e d a x o n o m e t r i c graphically represents the interconnection of all parts of the design. Precise mea surements and attention to detail during construction were critical for all connect i o n s t o m e e t p r o p e r l y. T h e f i n a l s t a g e o f t h e p r o j e c t w a s t o p r o p o s e , t h r o u g h s i m p l e design decisions, how the abstract object could function as an occupiable place. The gathering space model uses the same concept of connection, but is modified to create several layers from which people experience the space, and most importantly o t h e r p e o p l e , f r o m v a r i o u s v a n t a g e p o i n t s . TO O L S + M AT E R I A L S : TA B L E S AW, B A S S W O O D, PA P E R , G R A P H I T E , F O A M I N S U LAT I O N
final connection model and study model modules
hand-drawn exploded axonometric
zone of additive and subtractive design, primary and tertiary gathering space
additive side
subtractive side
initial study of disordered versus ordered smoke
camera setup and final empty enclosure
example study one
example study two
fan pushing smoke through enclosure
interchangeable plates slide into enclosure
T H E C H A L L E N G E : I n d e p e n d e n t s t u d y o f o r d e r v e r s u s d i s o r d e r. T H E S O L U T I O N : B r i c k , steel, stone, wood, glass, concrete, smoke. All popular building components except for one. My exploration of smoke as a viable building material began with the study of the random movements of smoke in an open room. The results of this simple analysis were chaotic yet beautiful. Next, I designed a container to create order out of the disorder to the smoke. The enclosure was composed of wood, acrylic , a light, interchangeable acrylic shelves with cut patterns, and a variable speed fan to gently push the smoke through the voids in the shelves. The results were captured on video and show complex patterns of swirling smoke that later became predictable based on shelf position, shelf cut pattern, and fan speed. This study generated i n t r i g u i n g v i s u a l s t h a t c o u l d b e c r e a t i v e l y i n t e g r a t e d i n t o t h e b u i l d i n g w o r l d . Fo r example, a partition can be constructed with two layers of transparent material and i n j e c t e d w i t h s m o k e t o c r e a t e p r i v a c y o r d i f f u s e l i g h t . TO O L S + M AT E R I A L S : D I G I TA L V I D E O , D I G I TA L P H OTO G R A P H Y, Q U I C K T I M E P R O , A U TO C A D, I L L U S T R ATO R , LA S E R C U TT E R , S M O K E , L I G H T, W O O D, A C R Y L I C , C O M P U T E R FA N
xploration
“SMOKE�
navigate “VALLEY AIRPORT” THE CHALLENGE: Designing a regional airport for the small town of Bozeman, Montana. THE SOLUTION: The community is situated in a valley surrounded by mount a i n s . T h e a i r p o r t ’s a r c h i t e c t u r e r e s p o n d s t o t h e u p l i f t o f t h e h i l l s b u t d o e s n o t t r y to compete with the surroundings. Instead, the elevations and plans for the building are kept subtle to sit low in the valley and hint at the rolling hills surrounding it. The airport connects the world to the town, college, and ski industry and trains and buses connect the airport to the area. Local materials are used including pine b e e t l e k i l l e d l u m b e r, w h i c h i s a b u n d a n t i n t h e a r e a . S p e c i a l a t t e n t i o n t o t h e s u m m e r ’s h e a t a n d w i n t e r ’s c o l d w a s c o n s i d e r e d w h e n p l a n n i n g t h e s h a d i n g a n d g r e e n roof with native plants. Exploration of daylighting techniques brings light into all spaces of the building through louvered ceilings and clerestories that wash walls with natural light. My goal was to design an airport that enjoyable to be in, easy to navigate, function well for airport operations, and respect the region in which it was b u i l t . TO O L S + M AT E R I A L S : A U TO C A D, S K E T C H U P, V R AY, I L L U S T R ATO R , P H OTO S H O P, M U S E U M B O A R D, F O A M C O R E , B A S S W O O D
day-lit entry lobby
rise of roof allows for clerestory windows, plane access from the second level, high ceilings in waiting area
first, second, roof levels
day-lit entry lobby
roof fins filter direct light
roof and structure model
ntegrate
“ T O W E R” THE CHALLENGE: Design an abstract tower using the ideas of cadence and overlap. THE SOLUTION: A “tower” is simply defined as a structure or building higher than it is wide. Although accurate, the definition does not mention the importance of a t o w e r a s a c o n t r i b u t i n g f a c t o r t o t h e s e n s e o f a c i t y. A t o w e r c a n d o m i n a t e a c i t y ’s s k y l i n e o r s t r e e t s c a p e o r c o m p l e t e l y b l e n d in. The design applies the concepts of cadence and overlap. R e p e t i t i v e p l a n e s s l o t o n t o a n L- s h a p e d s p i n e , w h i l e a d e l i c a t e vertical skin overlaps the exterior to create a sense of lightness a n d t r a n s p a r e n c y. I v i s i t e d a n u m b e r o f l a r g e a n d s m a l l J a p a nese cities a year prior and was interested in how the architecture was often times very simple forms invaded with complex graphics. The graphite two-point perspective with acetone transfer illustrates how this tower may be integrated into a s i m i l a r J a p a n e s e c i t y. I c h o s e t o t r a n s f e r p o r t i o n s o f t h e d i s placed building to create an abstract reading of how my tower might begin to be plastered with signs, graphics, and lights of t h e l o c a l c u l t u r e . TO O L S + M AT E R I A L S : B A S S W O O D, G R A P H I T E , A C E TO N E T R A N S F E R , PA P E R
hand-drawn perspective and acetone transfer
cadence model with planes slotted on spine, constructed without glue
tower with overlapping skin
section diagram of relationship of building and site
final overlap model
site with bayou to the south and warehouse district to the north
canopy of the station extends to provide shades outdoor seating in the summer
diagram illustrating assembly and section of station
station elevation
plan of station
public station with more private offices for rail operations and art pavilion administration
art pavilion provides space for neighborhood artists to display work
T H E C H A L L E N G E : T h e Te x a s H i g h - S p e e d R a i l p r o j e c t w i l l c o n n e c t t h e m a j o r c i t i e s o f i n Te x a s . E a c h c i t y w i l l h a v e a r a i l s t a t i o n t h a t acts as a place for arrival and departure and will be a marquee for t h e c i t y. T H E S O L U T I O N : H o u s t o n ’s s t a t i o n i s l o c a t e d i m m e d i a t e l y north of downtown and has the opportunity to re-activate the adjac e n t H i s t o r i c F i f t h Wa r d . D i r e c t l y n o r t h o f t h e s i t e i s a n e c l e c t i c m i x of early twentieth century warehouses being used as studios for artists and businesses. The narrow streets and comfortable human scale makes the area an ideal spot to be recaptured by the pedestrian from a car-centric city with the introduction of restaurants, shops, and galleries. The project illustrates the idea of mixing old a n d n e w. T h e s t e e l a n d c h a n n e l g l a s s o f t h e s t a t i o n i s a b e a c o n f o r “the new” and its clear organization and cadence is a metaphor for the preciseness of a rail schedule. This metaphor is continued onto the site, where the preciseness of time has less of effect on our day-to-day lives. A park and art gallery was designed to connect the site to the neighborhood. The channel glass of the art pavilions is the same material as the station, but is curved to express t h e l e s s r i g i d e f f e c t s o f t i m e o n t h e p r o g r a m . TO O L S + M AT E R I A L S : A U TO C A D, S K E T C H U P, V R AY, I L L U S T R ATO R , P H OTO S H O P
ransport
“ H I G H - S P E E D R A I L”
educate “ N AT U R A L LY A D V A N C E D ” THE CHALLENGE: Design a technically advanced school with compressed earth blocks to fit the context of downtown Albuquerque, New Mexico. THE SOLUTION: I am fascinated b y t h e A m e r i c a n S o u t h w e s t . I a m e n a m o u r e d b y t h e r i c h h i s t o r y, t h e u n i q u e n e s s o f t h e sense of place, the enchantment of the land, the people who once inhabited the land, and the people who now call it home. Albuquerque is a city with a reputation of being o b s c u r e . I n r e a l i t y, i t i s a f u n c t i o n a l c i t y o f o v e r a h a l f m i l l i o n i n d i v i d u a l s n e s t e d i n t h e northern region of the Chihuahuan Desert, which is hugged by the Sandia Mountains to the east and Rio Grande River to the west. Despite its storied past of native American settlements, Spanish influences from the south, and American influences from the east, t h e d e v e l o p m e n t o f t h e u r b a n c e n t e r h a s a l w a y s b e e n a s t r u g g l e a n d s t i l l i s t o d a y. I i n v e s t i g a t e d t h e h i s t o r y o f t h e c i t y ’s u r b a n c e n t e r a n d t h e r e g i o n ’s v e r n a c u l a r a r c h i t e c t u r a l t o d e v e l o p a n e w d i r e c t i o n f o r a r c h i t e c t u r e i n t h e c i t y. I p u s h e d t o e x p l o i t t h e i n h e r e n t strengths of the past architecture, while inventing new ways to address building in the southwest. I believe both old and new technologies can drive buildings into advanced places for human interaction.
Central Avenue entry SCIENCE O R G A N I Z AT I O N S
M AT H E M AT I C S
C O M M U N I TY
S T E M E D U C AT I O N
STEM CENTER
TECHNOLOGY
COMPANIES
ENGINEERING
seasonal wind study
shade study
opening a solid facade
making a large building small
program considerations
CENTRA 4
L AVENU E
SW
5 1
NW
7 6
8 10
11
3RD ST REET
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13
2
14
12 20 A
15
3
18 19 16 21
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courtyard
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ADAPTIVE REUSE 24
VERNACULAR/HISTORIC INFLUENCE
NEW DIRECTION FOR ARCHITECTURE
S I T E / C L I M AT E S P E C I F I C
IN ALBUQUERQUE
L E A D I N G C E N T E R F O R S T E M E D U C AT I O N
NEW CONSTRUCTION
GOLD A VENUE SW
INTRODUCE NEW TECHNOLOGY
design intent
stack ventilation
community exhibit hall
AZP CORTEN CLAD STEEL
LOAD BEARING COMPRESSED EARTH BLOCK
C O N C R E T E F L O O R S L A B S A N D W A L K W AY S T E E L C O L U M N S T O S U P P O R T W A L K W AY
LOAD BEARING COMPRESSED EARTH BLOCK
2ND ST REET
operable vent
NW
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“ N AT U R A L LY A D V A N C E D �
continued
Albuquerque has been an important city in the advancement of science and t e c h n o l o g y. B a s e d o n t h e c u r r e n t n a t i o n a l t r e n d t o s t r e n g t h e n h o w s c i e n c e , t e c h n o l o g y, e n g i n e e r i n g a n d m a t h ( S T E M ) a r e t a u g h t i n o u r s c h o o l s , I proposed exploring the design of a center dedicated to hands-on community based science education in the urban center of Albuquerque. My intent was to design a building that embraced the ideas of science-based education, one that fosters partnership with the community and local corporations and organizations, a building that reflects, but does not imitate, past architecture, and finally a building that becomes a part of a greater solution to reenergize downtown Albuquerque by infilling a vacant site and repurposing a n e g l e c t e d n e i g h b o r i n g b u i l d i n g . TO O L S + M AT E R I A L S : A U TO C A D, C L I M AT E C O N S U LTA N T 5 . 1 , S K E T C H U P, P H OTO S H O P, I L L U S T R ATO R , I N D E S I G N
I s k e t c h f o r m a n y d i f f e r e n t r e a s o n s . S o m e t i m e s i t ’s t o b e t t e r u n d e r s t a n d a n i d e a in my head. Sometimes its to capture an important concept that I see, and sometimes I sketch because I don’ t particularly understand something. Regardless of the reason, I always learn something new with ever sketch, no matter how simple or complex the drawing. These are simple examples of why I sketch. CHICAGO A PA RT M E N T ( u p p e r l e f t ) : T h i s 3 0 - s e c o n d a b s t r a c t s k e t c h c a t c h e s t h e e s s e n c e o f t h i s t w o - t o w e r a p a r t m e n t a s I f l o a t e d b y o n t h e r i v e r. T h e c u r v e d b a l c o n i e s c r e a t e d a r h y t h m t h a t I d e c i d e d t o c a p t u r e i n d i f f e r e n t l e v e l s o f d e t a i l . A G E N TA R I O HOUSE (lower left): This house is perched on different levels of earth next to the Mediterranean Sea. I chose to sketch this particular house to remind myself that not all sites are flat and excitement can be added to any design project by using t h e n a t u r a l o r d e s i g n e d l a y e r s o f a p l a c e . S TAT I C M OT I O N ( u p p e r r i g h t ) : I w a s intrigued by the immense curved shells hiding the relatively rectangular buildings u n d e r n e a t h a t R e n z o P i a n o ’s Pa r c o d e l l a M u s i c a i n R o m e . T h i s f o u r m i n u t e s k e t c h a t t e m p t s t o c a p t u r e t h i s r e l a t i o n s h i p a n d i l l u s t r a t e h o w, f r o m a d i s t a n c e , t h e s t r u c t u r e s a r e b e n d i n g , b u t w h e n a p p r o a c h e d m o r e c l o s e l y, t h e b u i l d i n g s b e h i n d a r e s t r a i g h t a n d m o t i o n l e s s . C H A OT I C G AT H E R I N G ( l o w e r r i g h t ) : T h i s t w o m i n u t e sketch is based on a painting located in the Basilica di San Lorenzo in Florence, I t a l y. T h e p a i n t i n g f e a t u r e d a b u s t l i n g c r o w d o f a n a n c i e n t p i a z z a . I c h o s e t o capture this activity with quick sketchy lines and added additional weight to two i n d i v i d u a l s I n o t i c e d w e r e f o c u s e d o n o n e a n o t h e r.
ketchbook
“WHY I SKETCH”
photography 1 “ F R A N K L I N P A R K C O N S E R V AT O R Y ” L o c a t e d i n C o l u m b u s , O h i o , t h e F r a n k l i n Pa r k C o n s e r v a t o r y s i t s a s t h e p r e m i e r structure on the 88 acre urban park. I photographed this building on a brilliant summer day and timed the photo shoot in the early afternoon to capture the b e s t c o n t r a s t f o r b o t h t h e b u i l d i n g ’s g l a s s c o n s t r u c t i o n a n d s u r r o u n d i n g l a n d scaping. This photograph has been published in The AIA Guide to Columbus a n d Tr a d i t i o n a l B u i l d i n g M a g a z i n e .
photography
“ W E S T C O TT H O U S E � T h i s p h o t o g r a p h f r o m t h e s e c o n d f l o o r o f t h e We s t c o t t H o u s e , d e s i g n e d b y Frank Lloyd Wright, highlights the original skylight. There were two specific c h a l l e n g e s w h i l e s h o o t i n g t h i s p h o t o . F i r s t , i n o r d e r t o c a p t u r e t h i s v i e w, I placed my camera on a mini tripod six inches off the floor and against a wall. S e c o n d l y, o n c e I h a d m y e x p o s u r e s e t , I w a s p a t i e n t f o r t h e p r o p e r l i g h t i n g since the natural light through the skylight was constantly changing. The result is a picture that truly captures the complete essence of the space.
“A D D I T I O N A L P H O T O G R A P H Y ” E PA L O B B Y: T h i s l o b b y s p a c e w a s d e s i g n e d f o r t h e E n v i r o n m e n t a l P r o t e c t i o n A g e n c y and is located in a newly renovated historic department store building. At one mil lion square feet, the building houses many tenants and was one of the largest LEED C e r t i f i e d G o l d r e n o v a t i o n s i n t h e c o u n t r y. T h e m o s t c h a l l e n g i n g a s p e c t o f t h i s p h o t o shoot was the tight space. I chose to shoot along the length of the open space to make the image feel larger and less compact than it really is and take advantage of the warm light. MADISON HALL: Madison Hall is located on the Columbus State Community College campus. I planned this shoot at dusk to take advantage of the glow of the center atrium. Due to the dense landscaping and a nearby parking lot, many pictures of this building have been taken directly from the front, which do not capture the depth and layers of the structure. Careful placement of the camera and e x p o s u r e c r e a t e d t h i s p h o t o g r a p h t h a t c a p t u r e s m a n y o f t h e b u i l d i n g ’s k e y e l e m e n t s . M A R Y E . B A B C O C K L I B R A R Y: I n o r d e r t o c a p t u r e t h i s a n d m a n y o t h e r p h o t o s i n t h e l i b r a r y, I u s e d a 1 8 m m l e n s a n d w a s s h o o t i n g t i g h t a g a i n s t w a l l s . U s i n g t h i s t e c h n i q u e and the right camera placement, I was able to make these small rooms look larger than they really are. The Licking County Library uses the interior and exterior photog r a p h s I t o o k o n t h i s p h o t o s h o o t f o r t h e i r o n l i n e l i b r a r y t o u r.
photography 3
BRIAN DIETERLE 615 Kipling Street, #5 H o u s t o n , Te x a s 7 7 0 0 6 m o b i l e : 6 1 4 . 6 3 8 .7 8 9 2 dieterle_brian@yahoo.com w w w. i s s u u . c o m / b r i a n d i e t e r l e