ARCHITECTURAL PORTFOLIO n0. 1 COLTON RIEBE
COLTON RIEBE Architectual Staff Phone: 208.993.0867 EMAIL: criebe20@gmail.com
EXPERIENCE
References
BRIGHT BLACK ARCHITECTURE
chere LeClair
204 Graves Trail, Suite B Bozeman, MT 59718 (406).624.0040 Architectural Staff: September 2018 - September 2020
Professor / Mentor at Montana State University School of Architecture Email: cleclair@montana.edu Phone: 406.539.3191
While working as an architectural staff I was exposed to all facets of the design process, from schematic design, to final construction documentation. Working with Bright black gave me opportunities to work on a wide variety of project typologies and locations ranging from a mixed-use high-rise in San Francisco and large scale commercial buildings, to single family residences.
Linked-in: https://www.linkedin.com/in/colton-riebe/
JH CONSTRUCTION 234 S California St Dillon, MT 59715 (406).925.1570 Part Time Contracting: 2019-2020 Working for JH Construction gave me a variety of experience in the building industry, varying from roofing to finish and electrical work. This experience allowed me to better understand the feasibility and build-ability of projects in a hands on environment.
Marissa Fhur Principal of Bright Black Architecture Email: marissaf@brightblackdesign.com Phone: 406.570.2514
John Hawkins Owner of JH Construction Email: jhconst@msn.com Phone: 406.925.1570
PROFICIENCIES CWG ARCHITECTS 650 Power St, Helena, MT 59601 (406).443.2340 Summer internship: May 2018 - August 2018
MODELING: REVIT SKETCHUP AUTOCAD RHINO GRASSHOPPER
RENDERING: LUMION ENSCAPE VRAY
POST- PRODUCTION: PHOTOSHOP INDESIGN ILLUSTRATOR
As an Intern with CWG I was given the opportunity to experience all aspects of the field of architecture but emphasized the early and late stages of the building and design process, including client and bid meetings, Coordination with consultants, design development, construction documents, construction administration and site visits. Overall this experience taught me a significant amount about the process of the profession.
Greater Rocky Mountain Stone 2887 Jackrabbit Ln, Bozeman, MT 59718 (406).388.832 Mason Assistant: May 2016 - September 2016 Working under Greater Rocky Mountain Stone I learned the intricacies of working with stone veneers and its applications. As a mason assistant, I assisted in the preparation of surfaces and construction of stone veneer. Through this experience I grew an appreciation of masonry and the detailing and work that goes into its construction.
Teaching assistant Montana State University Teaching Assistant: Fall 2016 Graduate Teaching Assistant: January 2020 - December 2020 While working as a TA I taught for ARCH151 Introduction to design, ARCH253 Building Construction I, and LS121 Reasoning and Reality. These positions required me to guide class discussions, review student projects, and grade assignments. This experience helped me develop leadership and mentoring skills, and a development of clear communication and presenting skills.
EDUCATION beaverhead county high school Dillon, MT
High School Diploma CLIMATE MODELING: E-QUEST SEPHIRA CLIMATE CONSULTANT
Montana State University Bozeman, MT
Bachelors in Environmental Design: Spring 2018 Masters of Architecture: Fall 2020
Lori Lawson Employer / Professor / Mentor Email: lori.lawson.bozeman@gmail.com Phone: 406.539.0700
Project 1: Re-center
Project 2: Super ellipse
Project 3: Project 4: PRODUCTIVE INVASIVENESS Woodlawn
Miscellaneous projects & illustrations
p1: “re-center” Graduate thesis
PROCESS
COLLAGE
CONCEPTUAL STRING MODELS Meditation facilitates a withdraw of ones-self from our distressing external environment, refuge from our modern ways of living, and a repose from personal stress. Meditation allows us to transition from our hectic conditions into a space of intimacy, introspection, reflection, serenity and tranquility. Meditation can begin to address the negative physiological effects of our Urban environments, develop mindful resiliency, alleviate personal stress and begin to mend our subconscious thought into empathy, understanding, and self realization. This understanding of a meditative refuge in the human consciousness becomes important in how we design in our urban spaces and in communities with high environmental stress. In providing spaces for refuge in affected communities we facilitate a disconnection with stresses in our environments, personal lives to allow for a healthy reconnection with ourselves and our communities. Located in South Chicago, this project challenges and critically examines our built urban environment to create a space of refuge that utilizes principals of meditation to heal the negative environmental stresses of living in the urban space, and creates an asset for surrounding affected communities.
Catalyst diagram
“Exterior cradle” diagram
“Interior cradle” diagram
“Denial & reward” diagram
Perspective section
p2: “super ellipse” Performing arts center
Final physical model
Conceptual design sketches
North section
Located in the heart of the Montana State University campus, This performing arts center served as a celebration of the performing arts, not only on campus, but the region. This design intended to reflect the school of musics philosophy for bold and inspiring music by integrating strong and bold elements in the design. A super ellipse structure was built around the performance space to cradle and cherish the performance inside. The boldness of the ellipse, along with the glass “Vail� exterior, creates levels of interest that reinforce the precession of the circulation from the street, into the main space, and up into the super ellipse performance center. By utilizing translucence of the exterior the hope is for a creation of a cultural beacon that acknowledges the school of musics prominence and helps draw in pedestrian circulation to interact with the school. The program includes office spaces, practice spaces, classrooms, choir and ensemble space, black-box theater, and a large lobby space directly under the ellipse for fundraising and events. These spaces were designed to create a quality education experience for the students, an inspiring place for staff, room for growth and sustainability for administrators, and a cultural asset for the region.
p3: “PRODUCTIVE INVASIVENESS” 2019 COTE SUBMISSION
ASSEMBILY EXPERTISE
COST
THERMAL MASS
STRENTH TO WEIGHT
CARBON FOOTPRINT
SIZE
DESIRED AESTHETIC
R-VALUE
FIRE RATING
SOURCING DISTANCE
MATERIAL SELECTION
STEEL
CONCRETE
FLY ASH CONCRETE
STONE
LUMBER
RAW TIMBER
RECICLED TIMBER
CLT
GLULAM
SIP’S
WOOD TRUSS
RAMMED EARTH
BRICKS
CMU
TENSILE
SUPERIOR
NEUTRAL
LIKELY USED
INFERIOR
NEUTRAL
N/A
NOT USED
AREAS OF IMPORTANCE
HYDRONIC CONVERTERS
FAN COIL
AIR-WATER INDUCTION
MULTI ZONE
CAV
VAV INDUCTION
VAV
HVAC SYSTEM SELECTION
FIRST COST
MINIMIZE COST AND ENERGY CONSUMPTION
CONTROL OF AIR VELOCITY AND QUALITY
Sustainability INDIVIDUAL CONTROL OVER TEMP.
SYSTEM NOISE
Environment
Improves
Eco Relationship
Improves
Stewardship
Invasive species
Encourages
Of
EDUCATION VISUAL OBSTRUCTION
h
WORKSHOP
L FU CT PA IM
oug Thr
RIVER ACTIVITY Stewardship
TRAIL USE
Encourages
Perception
Invasive Storage
Shifts
Through
Passive Experience
Shif ts
Art
Produces
Dye Manufacturing
Through
Active
FLOOR TO FLOOR HEIGHT e
Viewed in
FLOOR SPACE USED
En
ha
Exhibit
PROGRAM
Meaningful
nc
TOURISM
FLEXIBILITY
FOREST SEVICE
tes era
Gen
EXHIBIT H
OFFICE FI
Biomass
Revenue
MAINTENANCE
Invasive Pigments
Provides
Invasive Collection
Ecology
Heats
Improves
CHIMNEY AVOIDANCE
Diagrams
Building
Native Species
Enhance
SPEED OF CONSTRUCTION
Local ecology
In nature, invasive is typically considered to be a negative connotation to the environment. Invasive plants challenge and damage native ecology and dramatically shift the natural process of nature. In a way aren’t we invasive to our natural landscape? We often disrupt the natural systems of our environment and impose our own destructive way of living upon it. But much like this project we can find ways to understand our impacts and address the benefit we can give to the environment in which we live. Sometimes architecture isn’t about the building itself, but the benefit it facilitates through the process it provides and the experience associated with it. The hope is that an Interpretive center can serve as a place to reflect on the ways in which we can provide this benefit to our surroundings and in turn make ways in which we can live mutually with ourselves and our natural environment. Programatically, this building serves as a place where gathered invasive plants throughout the state are manufactured into a product of benefit: invasive plant dyes. The byproduct of these plants are then pellitized into biomasses that help heat the building. This takes something that once harmful to the local ecosystems, and turns it into a economic and cultural benefit. The process of this manufacturing system is extruded through the building for the public can interact with to understand invasive plants effects on ecology, developing an understanding of not only invasive plants impact on the surrounding ecosystems, but also our own. Through this process, a net-zero solution was developed to create this interpretative center that challenges the perception of invasive, and catalysis a healing of our relationship with our natural landscapes.
ADVANTAGIOUS
NG AGI T ST A O B
NUTRAL
P DRO
OFF ISSUE
s2
s1
s3
FLOOR PLAN 1/16” = 1’ - 0”
N
Form diagrams
GLULAM POST AND BEAM MAIN STRUCTUR
RAMMED EARTH WALL LATERAL
CLT ROOF LATERAL CLT ROOF LATERAL
CROSS BRACE LATERAL
GLULAM POST AND BEAM MAIN STRUCTURE
CLT ROOF LATERAL
RAMMED EARTH WALL LATERAL
RAMMED EARTH WALL LATERAL
FIRE SEPERATION 2HR
Structural diagram
workshop f-1 occupancy: 10
storge mech s-1 occupancy: 3 occupancy: 5 office b occupancy: 20
THERMAL INSULATION (SEASONALITY) mech / service occupancy: 5
exhibit / presentation a-3 occupancy: 417
Egress / building Type diagram
earth tube
TEMPERED
ear th
FULLY TREATED
at
e
er
ng
ha
exc
Systems diagram
tub
he
th
ce
ear
ur
so FULLY TREATED
ground
source
heat ex
change r
e
tub
nd
ou
gr SEASONALLY TREATED
DRAIN- TO CISTERN
CONCRETE COPING 2" GROWING MEDIUM
10" RIGID INSULATION MOISTURE BARRIER MTL FASCIA WOOD PANEL
SOLAR ROOF ASSEMBLY R-VALUE: 49
MTL. FLASHING
2" DRAINAGE MATERIAL GEOTEXTILE FILTER
MOISTURE BARRIER
1" DRAINAGE LAYER
OVERFLOW SCUPPER ROOF DRAINAGE
ROOT BARRIER
24" DEEP CLT STRUCTURE ACOUSTIC CEILING
2' - 4"
SPACIAL CONTRIBUTION
RELIANCE
SEASONALITY
EMBODIED ENERGY
PERFORMANCE
SIZE
COST / CONSTRUCTABILITY
SITE CAPABILITY
SITE IMPACT
PASSIVE AND ACTIVE STRATEGIES DECISION MATRIX
MOISTURE BARRIER
TREATED BLOCKING
SCREED BEDDING 7" RIGID INSULATION
THERMAL MASSES OPERABLE WINDOW
13" POLYISO RIGID INSULATION REBAR 5/8" GYPSUM
2' - 2"
12" DEEP GLULAM BEAM
12" DEEP GLULAM STRUCTURE
CONCRETE LENTIL
WALL ASSEMBILY R-VALUE: 33
ROOF ASSEMBILY R-VALUE: 56
THERMAL STORAGE SIP WALL ASSEMBLY Y
ALUMINUM PICTURE FRAME WINDOW
BEETLE KILL WOOD SIDING AUTOMATED WINDOW FOLDING ARM
SHADING MTL. TRACK TIE BACK
OPERABLE AWNING
INVASIVE PLANT STORAGE SYSTEM
NATURAL VENTILATION
LOW-E GLAZING SYSTEM
GLULAM COLUMN
EVAPORATIVE COOLING
8' - 2"
HIGH PERFORMANCE GLAZING
WALL ASSEMBLY R-VALUE: 30
<INTERIOR>
<EXTERIOR>
EARTH COUPLE
EXPANSION JOINT TYP.
EXPANSION JOINT TYP.
EARTH TUBES
HEATING / COOLING VENTT 4" FINISHED FLY ASH CONCRETE FLOOR
HEATING / COOLING VENTT 4" FINISHED FLY ASH CONCRETE FLOOR ACTIVE ROCK STORAGE 5" PERIMETER INSULATION
WIND 5" PERIMETER INSULATION 4" FLY ASH CONCRETE FLOOR THERMAL LABYRINTH
HYDRO
4" FLY ASH CONCRETE FLOOR THERMAL LABYRINTH 5" RIGID INSULATION 4" FLY ASH CONCRETE FLOOR
0' - 6"
1' - 5"
SUPER INSULATION
10" RAMMED EARTH WALL AIR GAP MEMBRANE POROUS CONCRETE WALKWAY Y GRAVEL
CONCRETE FOUNDATION 3/4" PROTECTION BOARD / WEATHERPROOF BARRIER GRAVEL
4" RIGID INSULATION
24" O.C. REBAR SPACING WEATHERPROOF BARRIER
GEOTHERMAL
3/4" PROTECTION BOARD 2" SAND 10" GRAVEL
GROUND SOURCE HEAT
FLOOR ASSEMBILY R-VALUE: 48
THERMAL LABRYNTH
BIOMASS EARTH TUBE
4" FLY ASH CONCRETE FLOOR 4" RIGID INSULATION
IDEAL
DESIREABLE
NUTRAL
WEATHERPROOF BARRIER
N/A
3/4" PROTECTION BOARD 2" SAND 10" GRAVEL
LIKELY USED
NUTRAL
NOT USED
COUPLEING
FLOOR ASSEMBILY R-VALUE: 48
DRAIN
p4:Woodlawnâ&#x20AC;? Community development
Wall construction
Roof construction Woodlawn is a very closely interwoven community in South Chicago. This community has had a challenging history of redlining and has since then struggled to uphold its strong community fabric. This is in part to do with a mass exodus of its populous, leaving many of the buildings within Woodlawn vacant, eventually to be torn down into empty lots. This saturation of vacant lots has encouraged the University of Chicago to the north to begin a gentrification of the community. The concerns of this gentrification provoked local community leaders to fight against it to preserve its own community identity. It was identified that Woodlawn needed to cultivate its own economic stability, create jobs that retain the population, and develop a strong sense of identity that stands out from other surrounding communities. As a response, this project utilizes emerging technology to create large impact and benefit to the community. The design of a multi layered skin system was developed to revalue existing buildings. This skin would utilize PV fabric and insulative systems to allow for an application to endangered buildings around the community. In doing so this temporal mobile skin system could incubate the interior space, and incentivise incentivise the building use. In doing so the hope is for the character of Woodlawn would be protected and preserved. Diagnostic feedback via led systems would also allow for interaction with the facade and an understanding of the building systems within. This system could also be used as a stand alone solution to create temporal incubation centers in unused warehouse spaces around the community, encouraging local entrepreneurship and business start-Ups.
Diagnostic facade
Facade application
Interior incubator application
Miscellaneous projects
Instillation finalist
Lower level This project was designed with the intent to re activate neglected spaces around a central void-space in Cheever hall at Montana State University. The design process primarily utilized VR and Parametric technology to uncover patterns and experiences that would assist in the overall design. The two major areas of interest were in the lower covered courtyard which experienced major circulation flow throughout the day, and the second floor interior space that acts as a “heart” of the interior building activity, housing study spaces, classrooms, and meeting spaces. For the lower level, it was acknowledged that a pause space was needed for students to gather in-between classes. To accommodate this, a parametric deigned surface would allow for “eddies” and sitting spaces in the courtyard area. This parametric surface would extend towards the sky, interacting with the interior “fish bowl” area adjacent to the classroom spaces. Tis installation would interact with this space by creating unique and dynamic lighting patterns throughout the day with its fluid convex and concave surfaces. These surfaces would also help refract diffused light into the study spaces withinThe hope is for an intriguing installation that facilitates moments of pause and draws people into the interior-spaces of Chever hall.
Upper level
Harmonica
TOP COVER
TOP REED PLATE
BODY COVER FASTENERS REED PLATE FASTENERS
BOTTOM REED PLATE
BOTTOM COVER This Instrument Design Allowed For An Exploration Of Materials And Tectonics In Acoustic Design. This Finished Product Was Derived From The Process Of Working With Acoustical Requirements Of The Instrument And Limitations Of Materiality. Early On I Was Interested In Challenging The Assembly Of A Traditional Harmonica, Creating Pieces Entirely Out Of Wood Instead Of Synthetic Material Like Todays Harmonicas. Early In The Process I Also Became Fastened With The Characteristic Of The Assembly Of Nested Components, Detailing Out Delicate Material Connections, Creating A Simple And Delicate Design Language. The Harmonica Is Consisted Of A Series Of Nested Components: The Body, (2) Reed Plates, (4) Screws Connecting The Reed-plates To The Body, (2) Hand Carved Covers, And (2) Bolts Connecting The Covers With The Assembly. Since Most Harmonicas Are Typically Not Wooden, There Was Many Challenges To Overcome Firstly, The Covers Were Carefully Designed To Ensure Proper Acoustic Properties by CNCing Grooves In The Bottom Sides Of The Covers. This Allowed For Air To Properly Escape From The Body, To The Reed Plates And Through The Groves In The Covers, Allowing It To Exit The assembly And Ensuring Proper Note Resonance.
Illustrations
THANK YOU