cale miller portfolio
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CMYsKape
CMYsKraper
telephone museum retrofit
puddin’ and the GRUMBLE
[RE] CYCLE
three chairs for three hundred dollars
resume
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CMYsKape spring 2017
CMYsKape challenges one’s own assumptions towards the meaning of the word context. Is the word context strictly informative or can it be generative? Is context something that exists only in the built environment or as designers do we each carry our own predispositions or “context” that affect how we see the world and design? 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. No specific avenue 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.
CM Y S KA P E
using linguistic operations to generate context
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NARRATIVE 2
using linguistic operations to generate context
A Different Perspective x2
“I will never understand others’ fondness for the islands”0 Miriam glared down atop the artificial awning hundreds of feet above the island.1
Below, Miriam observed pariahs rejoicing the return of a native laborer and a foreign structure.2 No doubt the native was sent as a purveyor of archaic structural values.3 Various groups around the established islands endangered their lives to retrieve forgotten architectonic vessels with the hope to issue a new age of urban exuberance.4 Miriam hung close to the window.0 “What contorted rationale did the islanders possess for the perpetual abnegation of life on The Canopy?”1 The Canopy was created to harbor the islanders in the time of high tides.2 Since origin, The Canopy transmuted into the metropolis of the urban frontier.3
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A region designed to exist outside the potential for natural calamity, a sanctuary for all islanders.4 The earth had been all but phased out it seemed.0 She turned from the window, wondering to what end islanders would continue to withhold.1 In that instance Miriam mulled over her life and the one she once had.2 The disconnect she felt was greater than tangible displacement, it was the failed promise of utopia sold as The Canopy.3 What was the benefit of living in the complex other than protection from the surging tides?4 Self truth?0 At least a greater sense of fulfillment, right?1 Miriam began to focus, scrutinize.2 Skimming the room over Miriam understood at last.3 “Conspicuous consumption is a false prophet.”v
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object library The initial parameters for generation; Landscape, Object, Circulation require interpretation particular to the individual. Through the use of action based words (rotate, array, sweep, mirror...), and forms (cube, sphere, ellipsoid, plane...), personal context is created. I
urban
Urban layers investigates t stitched drawings. Axonome subdivided into sections, orga interlaced. From either side presented, but viewed stra indiscernible and a third d technique highlights the overlap, and the subsequent relative content not prem
CM Y S KA P E
layers
the generative potential of etric and plan drawings are anized in sequence, and finally e a recognizable drawing is aight the two drawings are drawing is generated. The moments of spontaneous t generation of contextually meditated by the designer.
graphic library Independent color / graphic 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.
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CMYsKraper spring 2017
This project builds directly off of the previous, asking how to contextually situate, program, and formally design a building that is appropriate within the physical manifestation of personal imagination. 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 should be used as much as appropriate. Using the existing dialect present in the model, the new architectural object can speak to context, create a dialog, and further explore the questions posed by the physical context model. The final architecture contains 16 unique programs, radically unrelated at the surface, but were selected, positioned, and graphically presented to further the ideas presented in the narratives, objects, colors, and drawings of the previous project; CMYsKape.
C Y K A E
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axonometric
286'-2"
107'-10"
37'-4"
116'-0"
46'-6"
126'-10"
13'-5"
20’
50’
100’
ORPHANAGE BASKETBALL COURT SKATEPARK
fourth floor plan
C Y K A E
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’
OBSERVATORY / MUSEUM SKI SLOPE first floor plan CONDO
100’
M S R P R
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B
C
D
E
F
G
H
ROOF PLAN CUT HEIGHT: 444’ 10
FLOOR PLAN 5 CUT HEIGHT: 384’ 9
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FLOOR PLAN 4 CUT HEIGHT: 309’ 7
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FLOOR PLAN 3 CUT HEIGHT: 194’
6 5
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FLOOR PLAN 2 CUT HEIGHT: 84’
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FLOOR PLAN 1 CUT HEIGHT: 4’ AND 54’ 20’
50’
axonometric
100’
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C Y K A E
monastery / rock gym
observatory
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TELEPHONE MUSEUM fall 2016
The telephone museum in Lincoln, NE is a volunteer run museum that is facing relocation due to a redevelopment plan that does not include the museum within the site. 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.
The design framework for this project was inspired by a rotary phone. Most notable of rotary telephones is the overwhelming sense of tactility and connection. The handle was designed to be cradled by the hand, the dial was meant to be spun by finger, and hanging up the phone was a motion of intention. 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? The telephone museum retrofit is programmed to provide the existing community a space for connection and exchange. The design proposal acts like the rotary telephone, creating a multi use visible community center that is meant to be engaged like the tactical elements of the rotary phone, while also creating a secluded museum space that behaves like the secluded circuit board.
T L P O E
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MUSEUM RECEPTION
RESTROOM RESTROOM
BLACK BOX
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STORAGE LOADING DOCK PUBLIC ARCHIVE
GIFT SHOP
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CAFE
HOLDING AREA
OFFICE LOBBY
TRASH
first floor The first floor includes museum specific and public programs. Museum specific programs include 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.
TIMELINE DISPLAY
PERMANENT DISPLAY
PERMANENT DISPLAY
RESTROOM
WORKSHOP / STORAGE
OFFICE
OFFICE
OFFICE FLEXIBLE DISPLAY
OFFICE
CONFERENCE ROOM
second floor The second floor contains exclusively museum program. Programs include areas for permanent display, flexible display, workshop space, and administrative offices. The flexible gallery is designed to
have a to the display unique
built in overhead organizational system that attaches over head structural system of the second floor. The system is rotation of the structural grid creating a geometry within the museum and differentiate space.
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[RE]CYCLE fall 2015
PARK[ing] day is an annual open source event that allows citizens, designers, and environmental activists to collaborate, transforming parking stalls into temporary public spaces. The goal of PARK[ing] DAY is to call attention to the high amount of space in urban fabric that is designated to cars specifically, and that only a fraction of urban outdoor space is allocated for a broader range of public needs. The interventions aim to leave as small of an impact on the environment as possible, therefore promotes the use of reused , recycled, or recyclable materials. [RE]CYCLE aimed to create a public furniture installation that did not have a clearly identified user group, yet was still comfortable and engaging. [RE]CYCLE is a gradient of varying ergonomic experience within a singular form. By providing a gradient of options [RE]CYCLE instigated engagement and playfulness by encouraging users to discover and evaluate levels of comfort as well as understand the potential of unconventional materials
team: landon beard ashley hendrickson megan peterson rameen sahoo
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form The installation was designed to limit user exposure to open traffic. As the separate units within the installation approach an upright potion, a J-curve is created by creating tables with the intention upright seats could utilized for outdoor dinning. The angle of rotation for J-curve was chosen to frame the existing view of flowers, tree, and other vegetation.
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fabrication [RE]CYCLE utilized old bike tubes and OSB sheets. The fabrication logic was the result of multiple constraints. The team was responsible for transporting and installing recycle in 1 hour. The design was segmented into contained units that required no on site fabrication. The exposed dove-tail edge allows the tire tubes to be woven into place without further modification. The panels are connected with wooden planks placed strategically to operate as a failsafe in the event of tire failure during use.
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Puddin’ and the GRUMBLE fall 2015
Architects aspire to set the stage for life through the thoughtful employment of architectural design. The metropolis itself is the greatest stage, full of urban actors. Architects have always been involved in set design; using objects, form and space to contribute and create narrative for urban actors. Designing for objects and spaces within plays is a microcosm of the urban stage. The theatrical stage however allows architects the benefit of fantasy, prompting a chance to tackle issues outside vernacular architecture. Puddin’ and the Grumble was a collaborative project between the Hixon-Lied College and the College of Architecture. The play is a visual opportunity to spur discussion about issues surrounding childhood hunger within the Lincoln community. The main character ‘Puddin’ is a fifth grade student plagued by The Grumble character, a personification of her hunger. The set pieces were designed to signal the emergence and dominance of The Grumble in key scenes. The necessity for concealment of the set pieces, their multiple deployments, and limited foresight into actor interaction acted as parameters leading to the design of inflatable set pieces.
team: drew doyle eric mason ryan miller danny ortega john round shanna satra
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fabrication The construction of inflatable architecture challenges standard production skills. This prompted the development of a production process that was continually refined through exploratory prototyping. Clay was used to make the initial form. Allowed to cure, the form was subdivided into panels. Panels were numbered along edges and copied onto trace paper. Once copied panels were scanned, scaled, and printed. Panels were transfered onto nylon and reassembled to create an inflatable shell object.
BATTE
RY
P U DD I N
FAN
AIR
form How should someone interact with an object given the dynamic of a specific scene? What is the tone of the moment and how can the appearance of object lend to furthering the narrative? The scene called for a struggle between the protagonist and antagonist. With no scene choreography written, the form adopted a character generated from positioning of appendages. Appendages were positioned to ensure no matter how the inflatable deployed a variety of spatial conditions would emerge.
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process review
client r
reviews
P U DD I N
final production
C
COUNTERSINK
D S GN
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STEP 8: use the serrated hand saw and straight edge to cut out all of the “F” pieces
A
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F:
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8” X 4”
THREE CHAIRS THREE HUNDRED DOLLARS ongoing
This project is an exploration of the potential of mundane readily available materials to make one-off chairs. The series exists on a gradient of necessary skill and equipment required to produce, where skill and equipment required are proportional. Each chair has an accompanying set of free instructions to encourage recreation, though the processes and materials guarantee a bespoke creation. Making is equal parts craft as it is technical knowledge of processes and equipment. The series of chairs attempt to shift the emphasis from technical to craft. When the responsibility and results of making are shifted onto the individual a connection to the resulting object is created. By forging a connection between an object made of cheap materials and the individual we instigate a conversation about how consumers traditionally ascribe value. Craft does not exclude inconsistency and variation. Where manufactured objects can be made consistently within a certain tolerance, hand made objects have the opportunity to be expressive of the maker. The series of chairs all have opportunity to showcase traces of human agency as the maker learns how to work and manipulate materials. Intending a material learning curve to take place during the fabrication, the resulting object itself is an artifact that showcases growth and learning.
partner: adrian silva
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series To create unanimity throughout the series, each chair uses two classes of materials: regulating and expressive. The regulating material should be utilized in a way that agrees with the inherent material properties. The expressive materials should be utilized to contrast the regulating material and have variable material properties that are themselves made visible by the fabricator.
for
The generation of form was material logic and heterogene of intended materials and the understand potential formal l was created to insure a liken consistent relationship to th variance allows distinctio
rm
s guided by two parameters: eity. A large working knowledge eir limits had to be known to limitations. A formal language ness of the final objects and a he human body. Permission of ons between each chair.
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play While the project explores a series of questions, the prior questions are not spatial. Using the formal language previously established, the series is given a character of playfulness. The formal language establishes an anthropomorphic relationship that suggests sitting, but the playfulness makes the user ask how to sit creating a spatial question that encourages exploration.
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pegboard \ spray foam The chair utilizes commercially available pegboard and spray foam insulation. The two materials compliment each other in both aesthetics and tectonics. Structurally, the holes of the pegboard allow a stress free expansion of the foam inside the form. Aesthetically, the consistency of the pegboard serves as backdrop for the inconsistency of the weeping foam.
rigid insulation \ t
This chair utilizes commerc foam with truck bed sealant. to the typical mold-cast r exoskeleton over the foam. A designs, this chair conceal beneath the regulating mater moments are
truck bed sealant
cially available rigid insulation . The chair behaves inversely relationship by creating an Alternative to the other two ls the expressive material rial. As a result, the expressive e more subtle.
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wood dowel \ silicone This chair utilizes commercially available wooden dowels and colored silicone. The typical tolerances associated with mechanical fasteners and tools do no allow for intricate assembly within the project budget or goals. The silicone works as a mechanical fastener that seals a three face butt joint. To visually contrast the dowels the silicone was saturated with food coloring.
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CALE MILLER I believe that architecture has the power to create positive exchanges through exploration and exploitation of both form and active systems. It is my desire to pursue effervescence in all scales of spatial design while solving the concerns of the shared environment.
REFERENCES 2 0 1 9 P R F L O
O T O I
Anthony Morey PROFESSOR tony@tonymorey.com Ellen Donnelly PROFESSOR / FIELD DAY edonnelly2@unl.edu Nolan Golgert PROFESSOR s-ngolger1@unl.edu Marc Maxey PROFESSOR / FIELD DAY mmaxey2@unl.edu Rumiko Handa FACULTY RESEARCH rhanda1@unl.edu
CONTACT Email cale1miller@gmail.com Phone 402-641-7198
EDUCATION 2014 – 2019
University of Nebraska Lincoln Bachelors of Science in Design - Architecture Landscape Architecture Minor Product Design Minor Cumulative GPA: 3.69
INVOLVEMENT 2014 – present
William H Thompson Scholar
2015
Park[ing] Day
2015 – 2016
Collaborative set design with Hixon-Lied
2016
Frank Woods Telephone Museum Branding
2016 – present
UNL College of Architecture Ambassador
2016 – present
UNL College of Architecture Peer Mentor
2017 – present
Tau Sigma Delta Honors Organization
2018
Nomination of the Nebraska School for the Deaf as a historic district on the National Register of Historic Places
2018 - present
Faculty research assistant
2018 - present
Collaboration with the Joslyn Art Museum
EXPERIENCE 2018 - present
Architectural intern at FIELD DAY physical modeling, iterative design, construction drawings
APPLICABLE SKILLS
Rhinoceros 5 Microsoft Office Adobe Illustrator Scale Model Building Adobe Photoshop Arduino Adobe InDesign arcGIS Revit Wood and Metal Fabrication
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