CHARLESS DRIESLER COMPREHENSIVE PORTFOLIO
WORK EXPERIENCE archivist
pratt institute june 2015 -
VOLUNTEER
teacher’s assistant
pratt institute robert brackett iii august 2015 -
grand scribe
kappa sigma fraternity january 2016 -
secretary
order of omega april 2016 -
teacher’s assistant
center for architecture july 2015
AWARDS
fred l. liebmann book award
new york society of architects november 2015
president’s list
pratt institute fall 2014 - spring 2015 - fall 2015
department archival abigail coover-hume design 101
philip lee representation 1 anthony buccellato technics robert brackett iii design 102 kyle hovenkotter representation 2 chifan wong design 201
DESIGN
LINE GRAVITAS 101 abigail coover-hume
POROUS SPECTACLE 102 robert brackett iii
HIGHER GROUNDS 201 eric wong
REPRESENTATION
GENERATIVE GEOMETRY 111 philip lee 112 kyle hovenkotter
COLOR COMPOST 211 adam dayem
DISPLAY
THE FINAL FIVE PERCENT drawing coordination
PERSPECTIVE REINVENTION model photography
LINE GRAVITAS
Mass pulls. Weight falls. Density obscures. Expand the edges of an initial condition, derive new focus, and reveal the system at a later point in time. This hand drawn exercise testified for the power of gravity, visualizing its influence in a 3D system even when restricted by two. Discovery segued into an architecture proposal for a “frozen motion� pavilion. Did removing time from the equation free the body from gravity?
DESIGN 101
POROUS SPECTACLE
Simultaneous occupation leads to conflict. Man is selfish and selfless, friendly and reserved, multifaceted and unpredictable. The only to way satisfy is to throw him at himself.
POROUS PATHWAYS SUN STUDIES THROUGH PLAN N
Informed thorough formal studies, this series of spaces for two occupants promoted constant but varying degrees of engagement. Seated in the heart of Pratt’s campus, this housing intervention argued for the value of learning from one’s equal in all phases of life.
HARD DIVISIONS ELEVATION, TRANSVERSE SECTION, REAR ELEVATION
STUDY
CURATE
REST
OCCUPANT A
OCCUPANT A
OCCUPANT A
OCCUPANT A
OCCUPANT B
OCCUPANT B
OCCUPANT B
OCCUPANT B
Watch fashion shows. Reprieve space from work (outdoor views and nook behind runway).
Fashion shows of work. Drawings of models on display.
INTENSITIES OF ENGAGEMENT PROGRAM TABLE
POROUS DIVISIONS CONSECUTIVE PLANS
DESIGN 102
EXHIBIT
N
Bulk of time and work spent here. Reading historical texts. Change environments.
Find inspiration from library of works. Rest in a quiet place.
Reprieve space from work. Meeting space for peers. Observe/curate student works.
Post photos and pieces of work. Gather friends for calm forums.
Place to rest separate from work space. Refuge from noises of the exhibition space.
Reprieve from work and socializing. Sleeping space.
HIGHER GROUNDS
Given a corner lot in the extremely dense and culturally charged region of Chinatown in Manhattan, a multi-purpose archive was to be designed. I abstracted the three main forms of interaction between people and journals into three main programs: read, write, and display. Fully divorced into three separate structures, a new ground plane was established for circulation between them elevated off of the density below. DESIGN 201
GENERATIVE GEOMETRY
All boundaries are conventions. Analytical drawing is synonymous with obscurification. The push and pull of control and creation is fertile ground for growth and discovery. Starting with technical lessons with a simple cube, and ending with investigation of OMA’s distributed house, I applied my affinity for deconstruction to any lesson I could.v
REPRESENTATION
DISTRIBUTED HOUSE MASTER BEDROOM
DISTRIBUTED HOUSE GUEST BEDROOM CHUCK DRIESLER
SCALE: 1/2” - 1’
COLOR COMPOST
What started as geometric studies and exercises in modeling evolved into an architectural proposition in the Higgins Hall Pit. Warmth, color, and image integration were at the center of this rendering series. How could an inherently unbuildable form be meshed with imagery from the built world?
REPRESENTATION
THE FINAL FIVE PERCENT Given the level of care, attention, and time dedicated to each project, I’ve maintained that matching that amount of effort in the presentation of the work is incredibly important. The organization of the pinup is critical to a deeper understanding and appreciation of the project on display.
PRESENTATION
PERSPECTIVE REINVENTION In line with the power of presentation, I’ve also maintained that photography is a critically important bridge between the model as an object and the model as an architectural proposition. While these models are not mine, my photography has given each a new character through creative composition, lighting, and of course, perspective.
PHOTOGRAPHY