Miller, Cale calemiller.cm@gmail.com 402.641.7198
table of contents
3-5
Cmyskape organization type professor email
9-12
organization type professor email
14-16
6-8
Academic Independent Anthony Morey Anthony@aplusd.org
Live / Work
13
Personal Personal NA NA
Telephone Museum
organization Academic type Independent professor Guillermo Yanguez Bergantino email yanguez.berlin@gmail.com
17-19
Cmyskraper organization type professor email
Academic Independent Anthony Morey Anthony@aplusd.org
Three for Three organization Academic type Group Project with Adrian Silva professor Nolan Golgert email s-ngolger1@unl.edu
skin, then bones organization Professional type Team project manager Jennifer Honebrink email jhonebrink@alleypoyner.com
3
Cmyskape organization type role completed duration
Academic Independent Design/Documentation 2017 7 weeks
The project prompt was to construct 45” x 64” site model that employed three classifications of built objects that each employed meaningful color and patterning: Landscape, Circulation, and Object. The generation of the three classes was rooted in using formal manipulations and operations, narratives, and conceptual drawing techniques.
opposite: vignette Action based words (rotate, array, sweep, mirror...), and forms (cube, sphere, ellipsoid, plane...), require interpretation particular to the individual. Color compositions are analyzed through the architectural lenses of plan and section and deciphered into a formative language. The utilization of both form and color / graphic as generative creates a resultant dialog that is unanticipated yet highly rich in terms of creating designer specific context and narrative. No specific avenue of design was prioritized over the other, narrative informed form, from inspired drawing, and drawings guide writing. There were no other parameters for this project other than the three classifications of constructs must appear in the final site model. The end result is a physical manifestation of the designer’s own mental context that refers to itself to produce further narrative.
above: process diagram The diagram captures the potential of drawings to retroactively inform overall design. Axonometric and plan drawings are subdivided into sections, organized in sequence, and interlaced. From either side a recognizable drawing is presented, but viewed straight the two drawings are indiscernible and a third drawing is generated. The technique highlights the moments of spontaneous overlap, and the subsequent generation of contextually relative content not premeditated by the designer.
above: narrative mock up Narratives were generated in a similar way as form, color, and patterning. By implementing operative rule sets while writing obstacles were presented that allowed the designer to react versus strictly create. Examples of those rule sets include character limits, letter limits, alliteration.
above: final model isometrics The final model was composed of four super-objects or “islands” that serve as the base.
right: final model photo Image of the final model installed in the College of Architecture gallery. The final model consisted of four large freestanding islands that hosted the other objects. Each island had a unique topography that included objects that created a ground cover condition and larger objects that created a canopy. The islands were connected by above ground tunnels and below grade pathways. Floating above the islands were black mesh objects that transported smaller objects within.
6
Cmyskraper organization type role completed duration
Academic Independent Design/Documentation 2017 5 weeks
This project builds directly off of the previous, asking how to contextually situate, program, and formally design a building appropriate within the manifestation of imagination. The final design selects, positions, and represents 16 unique program to further the ideas presented in the narratives, objects, colors, and drawings of the previous project; CMYsKape.
above: program vignettes Vignettes were used as a design tool to fantasize possible program and formal combinations. Vignettes targeted the previous classifications of built objects: landscape, circulation, and skin.
right: final axonometric Building design was divided into three classifications: program, circulation, and skin. The design of each was subjected to the same generative restriction: preexisting objects, graphics and rule sets from the site model should be used as much as appropriate. Using the existing dialect present in the site model, the new architectural object can speak to context, create a dialog, and further explore the questions posed by the physical context model.
B’ 76'-10"
36'-0"
6'-0"
54'-4"
41 '-0 "
18 '-5 "
A’ 35 '-1 1"
6'-0"
33'-0"
55'-4"
A
B 20’
50’
100’
OBSERVATORY / MUSEUM SKI SLOPE above: first floor plan CONDO The final first floor plan includes a ski slope and
The observatory. With each successive floor plan more program are added to the architectural object. The inter relations between program also move from strictly formal gestures to conceptual questions about adjacencies and appropriateness.
right: section
section illustrates the formal relationship between the final architectural object and the previous objects from the site. Formally, the architecture strives to employ the same proportions and composition between forms as elements from the site model.
A
B
C
D
E
F
G
H
ROOF PLAN CUT HEIGHT: 444’ 10
FLOOR PLAN 5 CUT HEIGHT: 384’ 9
8
FLOOR PLAN 4 CUT HEIGHT: 309’ 7
6
FLOOR PLAN 3 CUT HEIGHT: 194’
6 5
4
3
FLOOR PLAN 2 CUT HEIGHT: 84’
2
1
FLOOR PLAN 1 CUT HEIGHT: 4’ AND 54’ 20’
50’
100’
I
J
K
L
M
B’
A
A’
B
20’
50’
100’
INDOOR BUNGEE JUMP INDOOR SCUBA MONESTARY CLIMBING GYM JAIL
above: third floor plan The third floor plan incorporates a climbing gym, bungee jump, monastery, and jail. This portion of the project has heavy vertical circulation to invoke themes of the site objects with long stems that generated the ground cover and canopy. The selection of programs on the third level initiates questions of appropriateness through the programmatic adjacencies.
right: fourth floor plan The fourth floor plan incorporates a skate-park, orphanage, and a basketball court. The program was situated onto pre-existing objects and composed to create a horizontal plane reminiscent of the various canopy objects from the site plan.
286'-2"
107'-10"
37'-4"
116'-0"
46'-6"
126'-10"
13'-5"
20’
50’
ORPHANAGE BASKETBALL COURT SKATEPARK
100’
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Live / Work organization type role completed duration
Personal Independent Design/Documentation 2017 5 weeks
This project uses a previous studio brief for a live work space as the basis for design. Previously, the program and architecture were prescribed by a randomly received hobby. This iteration explores formal characteristics associated with the act of making 2D tessellations and subsequent operations that can translate 2D tessellations into 3D space. After creating a space through formal operations was a hobby ascribed to the project.
above: 2D tesselation matrix This project began by questioning the strict boundary between conventional live work programs. What is the resultant of blurring programmatic divisions and what logic should be used to create an architectural language? 2D tessellations were the system used to explore mixing programs. Tessellations were generated systematically based on rule sets, represented by the value shift in the matrix above. Different rule sets explored different formal characteristics and if forms lent to unique spatial results.
right: 3D form study matrix 2D tessellations were made into 3D forms by aligning the vertex of two independent tessellations and lofting the border. Once a unit was created from tessellations additional 3D operations were performed attempting to move beyond a direct relationship to one that is more spatial and ambiguous. Operations include “shelling”, “sweeping”, and “lofting”.
initial mass
initial mass + supplemental massing
initial mass + accentuated core
initial mass + unifying screen
above: massing diagram
right: first floor plan
The initial massing was the result of sweeping a tessellation along the edge of an arrayed tessellation. The mass presented several opportunities that evoked important ideas present in 2D tessellations and how tessellations mix spatial arrangements and have multiple relationships to the external environment.
The initial mass has a large flue that prompted the development of interior as a live work space for a ceramic maker. The prominent entry serves as entrance to the ceramic studio and shop while the recessed entry serves the residential program. The flue doubles as open air loft for the ceramic maker.
Additional volumes and forms were added to compliment the overall form and interior spaces of the live work space.
It is around the accentuated core and flue that the connection between work and live programs are most apparent. An open air loft and stair is intertwined around the flue and serves to create a retreat that can allow the user to reflect on both life and work.
above: cross section The flue is the focal point that unites both programs and encourages a balance between living and working. For work, it provides the hobbyist with a place to fire ceramics and receive an ample amount of passive daylighting. For home, it provides a secluded loft that provides ample space to reflect and observe. From the flue the hobbyist is able to make connections between all the branches of life and pursue balance.
above: section Promenade was utilized to delineate between the live and work programs. All major circulation was contained to a singular artery that doubles back on itself and provides both compression and release. Points of compression and relief were considered in strategic ways to evoke certain emotions moving through the space
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Three for Three organization Academic type Group Project with Adrian Silva role Design/Fabrication/Documentation completed 2018 duration 8 weeks
Three for Three was a project completed in collaboration with the Joslyn Art Museum for the “Art of Seating” Exhibit. Product design students were given a stipend to aid in production of a full scale prototype to be displayed in conjunction with “The Art of Seating”. Using the stipend as a design prompt this project explores three chairs fabricated from readily available building materials and simple hand tools.
above: seating matrix A formal language was created to insure a likeness of the final objects and a consistent relationship to the human body. The formal language establishes an anthropomorphic relationship that suggests sitting, but the lack of resolution suggests playfulness allowing the user to ask how to sit creating a spatial question that encourages exploration.
top right: putty chair This chair utilizes commercially available wooden dowels and colored silicone. The silicone works as a fastener that seals a three face butt joint. Food coloring was used to color the joints creating further contrast between materials. center right: bedliner chair This chair utilizes commercially available rigid insulation foam with truck bed sealant. The chair behaves inversely to the typical mold-cast relationship by creating an exoskeleton over the foam. bottom right: pegboard chair
seating matrix: Cale Miller photos and edits: Cale Miller
The chair utilizes commercially available pegboard and spray foam insulation. The holes of the pegboard allow for a stress free expansion of the foam. The foam acts as an adhesive, keeping the panels intact. Aesthetically, the consistency of the pegboard serves as backdrop for the inconsistency of the weeping foam.
14
Telephone Museum organization type role completed duration
Academic Independent Design/Documentation 2016 6 weeks
The telephone museum in Lincoln, NE is a volunteer run museum that is facing relocation. The telephone museum chronicles an important chapter in the city’s story of development. In order to keep the telephone museum within Lincoln’s historic telegraph district, this project proposes a retrofit of an adjacent warehouse building.
above: dissection image The design framework for this project was inspired by the dissection of a rotary phone. Most notable of rotary telephones is the overwhelming sense of tactility and connection. Yet, when the phone is dissected all tactile elements join at the circuit board. Never intended to be seen or interacted with, it is the invisible element that connects human to machine and human to human. How can architectural intervention perform as a catalyst for connection like the telephone?
right: site map The original telephone museum is indicated by the grey building outline. The proposed location is indicated in blue. It was important to the client that the museum stay within the telegraph district. By relocating within the telegraph district the museum satisfies not only the client and pays homage to the city’s history, but allows for an allocation of community space this neighborhood lacks.
above: first floor plan The first floor includes museum and public programs. Museum specific programs include public reception, museum administrative reception, and a loading dock. Public program includes a black box theater, resource archive, gift ship, and cafe. The south exterior is contained beneath a large overhang to allow flexible seasonal uses.
LEVEL 1 LOBBY BLACK BOX ARCHIVE GIFT SHOP RESTAURANT LOADING DOCK / STORAGE STAFF
above: second floor plan
LEVEL 1
The second floor contains exclusively museum LOBBY program. Programs include areas for permanent BLACK BOX ARCHIVE display, flexible display, workshop space,GIFT andSHOP administrative offices. The flexible gallery is RESTAURANT DOCK / designed to have a built in LOADING overhead STORAGE organizational system that attaches to the STAFF over head structural system of the second floor. The display system is a rotation of the structural grid creating a unique geometry within the museum and differentiates space.
LEVEL 2 MUSEUM WORKSHOP OFFICES
above: section This section illustrates the division of private and public program. The double height museum entrance on the north end introduces users to the overhead display system seen throughout the rest of the museum.
right: gallery render Interior perspective of the main gallery space. All display panels are suspended from the overhead system while larger objects are displayed on the unobstructed floor space.
17
skin, then bones organization type role completed expected completion
Professional Team Design Architect ongoing fall 2022
530 West Broadway was originally a series of four commercial buildings built around the start of the 20th century. In 1976 the four buildings were combined into a singular first floor commercial space, covering up the historic storefronts and removing the possibility of mixed use on the upper floors. This project seeks to uncover the historic building elements to return a mixed use building to downtown Council Bluffs, Iowa.
KAN
ESVI
LLE
TT SCO
above: site map Council Bluffs’ downtown has changed significantly over the last 50 years. 530 West Broadway was one of many buildings that historically served as a northern boundary to Council Bluff ’s downtown. With many of the adjacent properties demolished, restoring 530 West Broadway to its former condition is the first step of a multi staged development plan to bring activity back to downtown Council Bluffs. The above diagram mixes the current site with historic photos to illustrate the goal for the renovation.
point-cloud matrix: Cale Miller site diagram: Cale Miller
BLVD
ST
right: point cloud matrix After removal of the top coat of non-historic material added in the 1970’s the design team was able to accurately assess the existing condition of the historic elements. Much of the building’s structure was warped, inconsistent, and indeterminable in how it related between bays and floors. In order to capture all the imperfections and nuances of the building a point-cloud scanner was utilized to assemble a model to be used in the place of accurate existing drawings. Orange points represent the previous location of the scanner and blue represents current location. The selected views are all areas containing specific moments discovered through scanning not contained in existing drawings.
above: first floor plan
right: second floor plan
This drawing is overlaid over the information gained from a point-cloud scanner. The walls represented with a opaque white hatch represent the existing structure walls ands structure to be maintained while walls with no fill represent new construction.
This drawing is overlaid over the information gained from a point-cloud scanner. The walls represented with a opaque white hatch represent the existing structure walls ands structure to be maintained while walls with no fill represent new construction.
In order to be eligible for historic tax credits, much of the interior needs to be kept in a condition associated within the period of significance identified in the nomination. This is reflected in the design by layouts in the southern bays that can be efficiently modified in the future to create retail space.
In order to be eligible for historic tax credits, much of the interior needs to be kept in a condition associated within the period of significance identified in the nomination. In the southern central unit layouts, the design team was able to come up with a solution that maintained interior walls while improving the layout.
first floor plan design: Jennifer Honebrink, Alex Turner, and Cale Miller second floor plan design: Jennifer Honebrink, Alex Turner, and Cale Miller first floor plan hybrid drawing: Cale Miller second floor plan hybrid drawing: Cale Miller
above: exterior render Once completed, 530 West Broadway will have four commercial spaces accessible off of Broadway street. Two of those commercial spaces will be live work units that will help integrate local makers back into downtown Council Bluffs. Accessible from Scott Street the north half of the building contains amenity space for the 19 apartments contained on the upper levels. exterior render: Cale Miller
Miller, Cale calemiller.cm@gmail.com 402.641.7198