cale miller work sample
CMYsKape
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CMYsKraper
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?
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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
NARRATIVE 2
using linguistic operations to generate context
using linguistic operations to generate context
A Different Perspective
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“I will never understand others’ fondness for the islands”0 Miriam glared down atop the artificial awning hundreds of feet above the island.1
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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 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.”4
CM Y S KA P E
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CM Y S KA P E
object library
urban layers
graphic 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 layers investigates the generative potential of stitched drawings. Axonometric and plan drawings are subdivided into sections, organized in sequence, and finally 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.
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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CM Y S KA P E
CMYsKraper spring 2017
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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
M S R P R
A R C H
fourth floor plan S R 2 1
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axonometric
first floor plan
C Y K A E
M S R P R
A
B
C
D
E
F
G
H
I
J
K
L
M
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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C Y K A E
6
FLOOR PLAN 3 CUT HEIGHT: 194’
6 5
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monastery / rock gym
3
FLOOR PLAN 2 CUT HEIGHT: 84’
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1
FLOOR PLAN 1 CUT HEIGHT: 4’ AND 54’ 20’
50’
axonometric
100’
observatory
M S R P R
THREE CHAIRS THREE HUNDRED DOLLARS partner: adrian silva 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.
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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.
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series
form
play
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.
The generation of form was guided by two parameters: material logic and heterogeneity. A large working knowledge of intended materials and their limits had to be known to understand potential formal limitations. A formal language was created to insure a likeness of the final objects and a consistent relationship to the human body. Permission of variance allows distinctions between each chair.
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
rigid insulation \ truck bed sealant
wood dowel \ silicone
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.
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. Alternative to the other two designs, this chair conceals the expressive material beneath the regulating material. As a result, the expressive moments are more subtle.
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
EDUCATION
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.
INVOLVEMENT
WO R K S A MP L E
University of Nebraska Lincoln Bachelors of Science in Design - Architecture Landscape Architecture Minor Product Design Minor Cumulative GPA: 3.69
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
Marc Maxey PROFESSOR / FIELD DAY mmaxey2@unl.edu
2018 - present
Collaboration with the Joslyn Art Museum
Rumiko Handa FACULTY RESEARCH rhanda1@unl.edu
EXPERIENCE
REFERENCES 2 0 1 9
2014 – 2019
Anthony Morey PROFESSOR tony@tonymorey.com Ellen Donnelly PROFESSOR / FIELD DAY edonnelly2@unl.edu Nolan Golgert PROFESSOR s-ngolger1@unl.edu
2018 - present
CONTACT Email cale1miller@gmail.com Phone 402-641-7198
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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