David Heaton Portfolio by David Heaton

D AV I D H E AT O N

Grad+Under_Portfolio 2 0 1 0 - P R E S E N T

t : 6 1 5 . 2 9 3 . 4 5 0 4 e:davidhea@buffalo.edu

RELATED WORK EXPERIENCE INTERACTIVE LIGHTING INSTALLATION ARTIST July 2015 - October 2015 Won a c ompe ti ti on , wi th a partn e r, S an dra H u e z o, to de si g n an d bu i l d an i n t e r a c t iv e l ig h t in g i n stal l ati on c al l e d Li g h t Wal k f or th e 201 5 UN E S CO Ci ty of Li g h t F e sti v al i n J e n a , G e r m a n y . P roje c t was spon sore d by Carl Z e i ss G mBH an d f e sti v al c u rate d by Be rl i n P u b l ic A r t L a b . Ou r i n stal l ati on attrac te d ov e r 1 , 000 v i si tors.

FRESHMAN DESIGN STUDIO T.A. @ SUNY BUFFALO August 2014 - December 2014; August 2016 - May 2017 M e n tore d F re sh man arc h i te c tu re stu de n ts i n arc h i te c tu ral de si g n f u n dame n t a l s

TEACHING ASSISTANT @ BAUHAUS UNIVERSITÄT WEIMAR October 2015 - February 2016

David Heaton

A ssi ste d i n l e adi n g an arc h i te c tu ral stu di o de al i n g wi th woode n ac ti v e be n d in g s t r u c t u r e s

RESEARCH ASSISTANT @ RIGIDIZED METALS RESEARCH GROUP January 2014 -

March 2015

R e se arc h e d stru c tu ral possi bl i ti e s of te xtu re d, th i n g au g e me tal s th rou g h p a r a m e t r ic d e s ig n

ARCHITECTURAL INTERN @ ADAM SOKOL ARCHITECTURE PRACTICE January 2014 - December 2014

ARCHITECTURAL DESIGNER + INTERACTION DESIGNER www.davidheatondesign.com

Produ c e d 3 D mode l s, re n de rs, an d ph y si c al mode l s f or de si g n an d de v e l op m e n t o f p r o j e c t s

DESIGN INTERN @ VA OFFICE OF CONSTRUCTION June 2012 - August 2012 C re ate d sc h e mati c ﬂ oor pl an s f or a 5 0, 000 sq. f t. c l i n i c re n ov ati on

LAB TECHNICIAN @ B/FAB DIGITAL FABRICATION LAB

PROFILE

August 2013 - December 2014 O pe rate d l ase rc u tte rs, 3 D pri n te rs, an d assi ste d stu de n ts i n di g i tal f abri c at io n p r o c e s s e s

An energetic architectural / interaction designer with a passion for visualizing architecture, investigating the complex interactions of people and space, and researching material behaviors and their possible applications to the ﬁeld of architecture.

ACADEMIC ASSISTANT @ SUNY BUFFALO CAMPUS LIVING September 2011 - May 2013 Org an i z e d ov e r 3 0 on an d of f c ampu s prog rams to addre ss th e n e e ds of the r e s id e n t s

SITE MANAGER @ HABITAT FOR HUMANITY July 2010/2011 - August 2010/2011 L e d f e l l ow stu de n ts i n th e c on stru c ti on of a wood f rame , af f ordabl e h ome

CONTACT

EDUCATION M.SC OF MEDIA ARCHITECTURE @ BAUHAUS UNIVERSITÄT WEIMAR

615-293-4504

March 2015 - June 2017

MASTERS OF ARCHITECTURE @ UNIVERISTY AT BUFFALO 5174 Woodway Ct, Hamburg, NY davidheatondesign.com davidhea@buffalo.edu

August 2014 - June 2017, GPA 3.9

BACHELOR’S OF ARCHITECTURE @ UNIVERISTY AT BUFFALO Graduated May 2014 - GPA 3.83 Summa Cum Laude Hon ors Col l e g e S c h ol ar, A c ke rs S c h ol ar Su mme r S tu dy A broad, Barc e l on a, S u mme r 201 3

SKILLS ARC. VISUALIZATION PHOTOSHOP GRASSHOPPER RHINO 5.0 AUTOCAD LUMION 3D VRAY 3.0 INDESIGN ILLUSTRATOR SKETCHUP OFFICE SUITE

LANGUAGES

DESIGN ACTIVITIES 2017

Received the ARCC/ The King Student Medal for Excellence in Architecture Environment Research Received AIA Henry Adams Fund Certiﬁcate of Merit for highest GPA Finalist in the Amsterdam Light Festival with partner Tim Ung Project Light Walk to be published in a book, “Interactive Installation Art & Design” by Artpower Int. Co-ran a grasshopper workshop for graduate students at the University at Buffalo

2016

Won 1st Place in Arcbazzar Residential Design Competition for luxury guest home Finalist in the Take Part/Make Art Pavilion Design Competition for MCASB in Santa Barbara, CA Project Light Walk published in a book, “‘What Urban Media Art Can Do – Why When Where and How?” Project Light Walk was pulished in several online sites such as Design Boom, Inhabitat, and City-Visions as well as in the German newspaper, Die Welt

2015

- Drawing Entitled “Artiﬁcial Life” published on site Drawing Architecture and received Honorary Mention in Morpholio Eye-Time Competition

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2013

- Published Design Project, Cycles II in Buffalo Intersight Journal of Student Work - Shortlisted in City/Life Competition

2012

- 1st Place Ranch Gate Arcbazzar Competition

“Drawing Against Gravity” published in archisketchbook.com as well as Buffalo Intersight Visualization published for Niagora by Jordan Geiger in Columbia University ARPA online journal, Issue 1 Visualization published for a new Downtown Stadium with Brad Wales on Cover of Artvoice (local news) Visualization published Project 3xLP, under Chris Romano and Nick Bruscia in Texas Architect Magazine Guest Critic for Freshman and Junior Final Reviews at University at Buffalo Ran several architectural visualization workshops for fellow undergraduate students

SCHOLARSHIPS + AWARDS ENGLISH FLUENT SPANISH BASIC FRENCH BASIC GERMAN

Walmart National Community Scholarship Town of Hamburg Lions Club Scholarship American Institute of Architects Scholarship 2010 Joanne Champion Granger Scholarship

Best Buy Children’s FDN Scholarship U.F.C.W Local Union Scholarship (3) Cellion and Barnes Scholarship Peter P. Tyczll Memorial Scholarship

S.J. Grottonelli Scholarship Daniel Acker Scholarship Alex Patterson Scholarship Dean’s Scholarship

RESEARCH & INSTALLATIONS

L I G H T W A L K Summer 2015 Sponsor: Carl-Zeiss e.G, BMBF Partner: Sandra Linton Huezo Programming: Hassibulah Sahibzada Program: Interactive Light Installation ‘Light Walk’ is a project designed for the UNESCO 2015 International Year of Light Festival. Located in the passages leading into the Carl Zeiss eG, it is an interactive light installation which aims to encourage the use of multiple passages by displaying the data of the people’s presence from each passage around the courtyard into the main passage, containing the visualization. By placing sensors in each of the walkways, the movement of the user is tracked and then shown as a ‘data ghost’ of light through a 3D light matrix. Users in the main passage will experience an augmented reality as they see their own data being visualized, as well as the presence of those in other passages. This will create a trans-local experience by allowing the presence of multiple users in the courtyard to be superimposed in one space. During the night, LED/spot lights will be used to attract users towards the installation and the Sonnenhof courtyard, an otherwise dark area.

Budget: 13,000.00 Euro

User walks past sensors or camera which detect his/her presence.

Sensors relays signal to a computer which is connected to a DMX controller. The controller sends signals to the LEDs.

LED’s light up according to the presence of a person in the main passage and tracked ares in the public space

Visitors outside of the installation are tracked and their presence is transposed into the passage. These visitors are visualized as light “data ghists” and can be seen in the passage as well.

“Towards a Lively Architecture” Spring 2017 Thesis Chair: Nicholas Bruscia Thesis Committee: Omar Khan

The field of responsive architecture has explored many avenues of response including media screens, light sensitive facades and reactive wall systems, but has not extensively addressed tectonics as a vehicle for response. This thesis addresses issues of response through the exploration of delicate, branching, aggregate structures that inherently embody notions of “Liveliness”.

Using the specific bending radii to determine length and spacing, a system was developed that combined both regular and unique elements The main support portion of the structure is created from all the same unit type. The full bending radius of the strip was not utilized so as to allow for reverberating movement to occur Once the general location of the opening was determined it was necessary to begin to lay an underlying geometric construction of how the two tier system would morph to open In order to accommodate an opening in the structure variable elements were introduced that shortened and came together based on each strips bending radius

Using wood for its embedded tensile properties, models were developed that explore varying “precarious” branching typologies that are conducive to response. Liveliness was first looked at through the application of forces to the system and understanding how the transfer of forces begins to animate the structures. Light, shadow, overlap of materials, and opacity were also explored for their potential to register a visual liveliness and alter our perception of space. Using the gained knowledge from the model studies and simulations, a full scale immersive installation was built that embodies liveliness through its branching tectonics that explore part to whole relationships as well as the use of light and density to affect visual perception. The goal of the research is to question typical notions of response through the development of a new lively tectonic that changes the way we perceive space. By perceiving space as living, we begin to give it more value and develop a new sense of empathy in architecture.

Received the ARCC/ The King Student Medal for Excellence in Architecture Environment Research

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N Y L O N _ 6 Fall 2014 Situated Technologies Research Group Studio: Fidelity vs. Tolerance Prof. Nicholas Bruscia Program: Material Research This work was carried out in my first semester of the Situated Technologies Research Group. This research looked at kinetic properties of Nylon 6 filaments (fishing line) when braided and heated. This simple material when heated acts as an actuator lifting over 100 times its own weight without decay. This research applied the new found properties of Nylong 6 as a post-tensioning element in a bending wood volumetric system. Through research in wood behavior and bending analysis, a module was developed and from there a volumetric system was created. This system acts as a light diffuser and a kinetic, responsive system actively dividing space.

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HEAT GUN TEMP: 100-1200 DEGREES

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1000 DEGREE CHANGE OF 5/16” NYLON ACTUATOR

#214 ZINC SCREW EYES 14/16” 80LB NYLON 6 FISHING LINE

LAMINATED 1/32” BIRCHPLYWOOD

BLACK-OXIDE ALLOY STEEL SOCKET HEAD CAP SCREW, 4-40 THREAD, 1"

PLEXI 1/16” THICK TWISTED 90° CONNECTION 2 1/2” LENGTH #214 ZINC SCREW EYES 14/16”

ALUMINUM FEMALE THREADED ROUND STANDOFF, 1/4" OD, 7/8" LENGTH, 4-40 LAMINATED 1/32” BIRCHPLYWOOD 2X LAYERS 80LB NYLON 6 FISHING LINE

BLACK-OXIDE ALLOY STEEL SOCKET HEAD CAP SCREW, 4-40 THREAD, 1"

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LAMINATED 1/32” BIRCHPLYWOOD 2X LAYERS PLEXI 1/16” THICK TWISTED 90° CONNECTION 2 1/2” LENGTH ALUMINUM FEMALE THREADED ROUND STANDOFF, 1/4" OD, 7/8" LENGTH, 4-40

N1 N2 BLACK-OXIDE ALLOY STEEL SOCKET HEAD CAP SCREW, 4-40 THREAD, 1" #214 ZINC SCREW EYES 14/16” 80LB NYLON 6 FISHING LINE

80LB NYLON 6 FISHING LINE Aluminum Female Threaded Round Standoﬀ, 1/4" Od, 7/8" Length, 4-40

PLEXI 1/16” THICK TWISTED 90° CONNECTION 2 1/2” LENGTH

BLACK-OXIDE ALLOY STEEL SOCKET HEAD CAP SCREW, 4-40 THREAD, 1" #214 ZINC SCREW EYES 14/16” LAMINATED 1/32” BIRCHPLYWOOD 2X LAYERS

CO-ROBOTICS Spring 2014 Prof. Mike Silver Material Cultures Research Group Seminar: Co-Robotics in Masonry Program: Robot Along with 12 other students, this robot was developed in a research seminar and studio led by Mike Silver. The concept was to have explore the possibilities of robots coexisting with human skilled workers on the construction site. This robot would be able to work between architect and masons to retrieve and deliver specific bricks to a mason for construction. This robot can be a quadroped or switch to bipedal mode to climb ladders and traverse the construction site. Role: Design and Fabrication of complex connection elements interfacing between electronics and the physical framework.

TIMBER_SPINE Summer 2015 Class: Digitaler Holtzbau Prof. Mischa Proll Program: Pavillion TIMER SPINE is a parametric pavilion designed by David Heaton and Sandra Huezo as an exploration in creating a free form structure that consists of no metal hardware connections. The project was approached first as a material study of timber laths. The design originated from an interlocking bending wood system, using the curvature of wood and its resulting force in order to define shape and transfer loads efficiently. All connections are 5-axis slotted connections to reduce the use of hardware. Rigid, continuous â&#x20AC;&#x2DC;spinesâ&#x20AC;&#x2122; are used as connective elements for the bending system as well as to delineate and frame the overall form and dimensions of the structure. Two corners of the pavilion are lifted through a rotation in the central spine to allow for entry on two ends of the structure. Because of the lifted corners, there is a straight, open passage through the pavilion. The spine splits at near the center in order to define a space for a bar and serving area to be used during the 2015 Summary.

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72 x 72 SPRUCE 9MM BENDING WOOD PLYWOOD SYSTEM PARTS: A1, A3, A5

1.5MM C. STEEL (3X) LAYERS 72 x 72 SPRUCE JOINED BEAM

9MM BENDING WOOD PLYWOOD SYSTEM PARTS: A2, A4, A6

M10 SS BOLTS TYP. 9MM BENDING WOOD PLYWOOD SYSTEM PARTS: B1, B2, B4, B6,B8 72 x 72 SPRUCE

9MM BENDING WOOD PLYWOOD SYSTEM PARTS: B3, B5, B7

1.5MM C. STEEL (3X) LAYERS M10 SS BOLTS TYP.

10MM DIA. WOOD DOWEL RODS 6.5MM PLYWOOD LAYERED DOUBLY CURVED BEAM

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Winter 2016 Die Neue Techtonic des Digitalen Holtzbau Professor: Mischa Proll Partner: Filipa Novakovic Program: Research Pavilion

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Project C2W4 is a parametric exploration Investigating a new bending active wooden tectonic system. This comes as a result of a new overall paradigm shift in architectural building technologies as a result of digital fabrication and planning tools. Project C2W4 uses self similar units or â&#x20AC;&#x153;stripsâ&#x20AC;? of wood to create interlocking modules. These modules are then woven together creating pre-stressed clusters. By having each unit contain prestressed elements that are interdependent upon one another the overall system Is a truly woven system that transfers forces dynamically. Through parametric planning it is then possible to adapt the global form of the new tectonic through localized minute changes. This new tectonic system allows for greater spans and the ability to form doubly curved surfaces using a thin light weight material. Using this new techtonic system a lightweight, active bending structure was designed for the burning man festival.

PARAMETERS

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Unit: The base unit is a regular arc with 8 points. The position of the points and the distances between them depend on how the units and then the modules interconnect. Module: The first step is to connect two units to each other in opposit directions. The module is not prestressed yet, since the distances between the two points are the same on both units. Pattern: The module is then prestressed with another module, interlocking it at the same time. The module is then arrayed further weaving into the overall system where each unit is fully interconnected to the units around it. From 2D to 3D: The final step in the exploration of our pattern was to replicate the behavior of the wood from the physical world to the digital realm. The first step to take was to force the digital pattern into a 3D interweaving version of itself. In our physical tests, it was concluded that by using self-similar strips the twisting of the wood elements forced local regions of the pattern to mimic a sine curve in the unit aggregation. Once we were able to create this through a manipulation of the original point grid system and additional Z coordinates for further steps we could focus on local manipulations of the system. This introduction of local manipulation allows us to alter the stresses and behaviors in the pattern, thus effecting the form in localized regions due the relationship from 2D to 3D weaving. Shading device: A shading concept was developed for the new techtonic system. Using only the interstitial spaces of structure as our design site the concept of weaving from the structural system was brought forwarded and reimagined differently as woven fabric for a shading device concept.

P A R Q U E T Spring 2015 Professor: Nicholas Bruscia Drawing Transformation Analysis

This was an exercise in rule set analysis and conveying those rule sets through descriptive drawing.

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PARQUET TRANSFORMATION 3D

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PARQUET TRANSFORMATION 3D: AXONOMETRIC

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PARQUET TRANSFORMATION 3D: SIDE ELEVEATION

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3D TRANSFORMATION CENTER POINT IS MOVED OUT ON NORMAL AXIS BY LENGTH OF ORIGINAL CENTER LINES

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PARQUET TRANSFORMATION ANALYSIS + TRANSFORMATION

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TRANSFORMATION 3: RULE ROTATE BY 357, UNTIL 60 DEGREE CYCLE WHILE SCALING 1/15. AT 60 DEGREE CYCLE, ROTATE BY 3 DEGREES AND SCALE BY 1.1. SURPASSING ORIGINAL SIZE. NO NODE CONNECTION CHANGE

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RULE CHANGE: ROTATION FROM 357 TO 3 TO 6 SCALE CHANGE FROM 1/20 DECREASE TO SCALE BY 1.1 INCREASE ROTATE CONNECTION NODES TO THE RIGHT

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Fall 2012/Spring 2013 UB Small Built Works Professor: Brad Wales Program: Outdoor Projection Towers Front Yard is the culmination of a year long course called Small Built Works taught by architect Brad Wales. This course started by designing multimedia projection structures that would project media art on the face of the Burchfield Penney Art Center in Buffalo. Several designs were developed in the first semester of the course and presented to the board of trustees at the Burchfield. One design was chosen from the class to move forward to design development. In order for construction budgets to be set, an RFP package was assembled by the class in order to get price quotes on the installation of the media equipment required in the towers. Construction of the final tower design took place over the summer of 2013, resulting in a permanent art installation lining the high traffic Elmwood Avenue in Buffalo, NY.

UB DEPARTMENT OF ARCHITECTURE S M A L L

B U I L T

W O R K S

BRAD WALES R.A.

BRAD WALES H

164 Allen St.

Buffalo, NY 14201 716.866.9665 bawales@buffalo.edu

BURCHFIELD PENNEY 1300 ELMWOOD AVE. BUFFALO, NY

project: date:

2.14.13

drawn by: UB SMALL BUILT WORKS checked by: BAW

Fall 2013 Rigidized Metal Fabrication Workshop This project was developed during a design charette hosted by rigidized metals in which a project was designed, fabricated, and assembled in two days. The concept was to create a panelized surface in which a single panel unit was able to intuitively handle a corner condition i.e. ceiling to wall, wall to wall etc., a common problem that parametrically designed surfaces face. Utilizing scalar shifts and faceted surfaces, a single unit was developed that could be aggregated into a global system addressing the issues of changing surface orientation. We then developed the system parametrically and from that model, created fabrication drawings. We were then walked through the fabrication process while our unit panels were being made. Our project was manufactured through an industrial fabrication process. Taking the fabricated panels, we assembled a localized corner condition of our global form.

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Spring 2014 Professors:

Nicholas Bruscia Chris Romano

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Research Assistants: Phil Gusmano David Heaton Dan Vrana Program: Material Research Role: 3D modeling and Visualization

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Project 3xLP, the winning submission to the TEXFAB SKIN competition, is a continuation of design research on the structural properties of textured stainless steel sheeting, which typically is used for skinning and other non-structural purposes. The team conducted performative analyses of the material, and verified the results through full-scale prototyping. Structural studies relied on scale shifts that began with molecular composition and culminated with large-sale geometric systems. The work provides evidence of the adaptability, rigidity, and high performance of thin-gauge, textured metals; it establishes the groundwork for new structurally-based design possibilities using sheet steel. The current prototype is seen as a continuation of project 2XmT which looked at the relationship between structure and appearance through a performative analysis of textured stainless steel. While project 2XmT was a proofof-concept, our latest large-scale prototype; project 3xLP builds in more direct visual porosity, a greater degree of geometric variation, and preliminary details toward incorporating glazing and enclosure. The addition of glazing however would potentially close the system, requiring a strategy for venting strong winds vertically and in some cases, horizontally through the structure.

s(2) v1

s(2)

v2 v3

v3_ra

v3 v3

v2 n v1

v3_ra

n v2

n v3_ra

v1 v3

v3_ra

s(2)

v2 s(2)

s(2) v3

v1 v3

09.22.2013 / 5:30pm

09.22.2013 / 6:00pm

09.22.2013 / 6:30pm

09.22.2013 / 7:00pm

16'-4 1/2"

D 92 F

3'-2 1/2"

2'- 9/16"

89 88

C_E

3'-6"

+10'-6"

Course

E (To

1'-9"

87 86 85

C_D +8'-9"

Connection Detail (A-N) Direction Notation (T = Section cut, top; B = Plan cut, bottom)

N 44

Bolt Head Typical Stainless Steel (4LB, 1RL, Plain)

42 41

Hardware Specifications: 10-24 SS Button head socket cap screw, 3/8" length Hex nut w/ tooth washer

C_C

+7'-0"

C_B

+5'-3"

C_A

+3'-6"

40 39

10'-6"

71 70 69 68

+1'-9"

67 66

Course

s B,

C, D

(Middl

18'-2 5/8"

24 23 22 C

101

21 20

19 F

100

98 97

C_E +10-6”

96 95 94 93

C_D +8-9”

f_e

C_C +7-0”

F I

f_d

C_B +5-3”

f_c

C_A +3-6”

50 49

f_b

48 47

+1-9”

f_a

G F

Course

A (Ba

front panels: 4LB texture

se)

assembly by course

E 9 F

C_E +10-6”

C_D +8-9”

6 5

b_e

4 3 2

C_C +7-0”

b_d

C_B +5-3”

b_c

C_A +3-6”

b_b

+1-9” b_a

Tabs

Cou

(To rse E

back panels: 1RL texture Course

s B,

Course 17' -

" 10 5/8

C, D

A (Ba

(Middl

assembly by texture

C_E +10-6” C_D +8-9”

se)

m_e

C_C +7-0” m_d C_B +5-3” m_c C_A +3-6” m_b

+1-9”

Return

middle panels: plain stainless

assembly by stress/strain

C5 RADIUS 3' - 6 1/2"

HEIGHT: 10' - 7" COURSES: 03 - 07

2' - 9 1/4"

PANELS: 45

C3 RADIUS 4' - 5 1/4"

3' - 1 3/4"

Nicholas Bruscia Chris Romano

Research Assistants: Phillip Gusmano David Heaton Yibo Jiao Daniel Vrana

HEIGHT: 12' - 2 1/2"

C2 RADIUS 4' - 11 3/4"

COURSES: 02 - 06 BAYS: 02 - 09 PANELS: 45

C1 RADIUS 5' - 7"

1 HEIGHT: 15' - 8"

COURSES: 01 - 06

BAYS: 02 - 10

PANELS: 60

Program:

C4 RADIUS 3' - 11 3/4"

BAYS: 01 - 08

3' - 5 1/2"

Spring 2016 Professors:

1' - 8"

C6 RADIUS 3' - 2 1/4"

2' - 1 1/2"

BASE SHELL

2' - 5 3/4"

17' - 2 1/4"

AFFINE_SHELLS

1' - 6 1/2"

TOP RADIUS 2' - 7 1/2"

C7 RADIUS 2' - 10 3/4"

12 6

Windscreen

11 7

Affine Shells is a cluster of three conically-shaped windscreens designed to soften the intense winds outside the main entry of a newly constructed office building in downtown Buffalo. The simple form and arrangement of the screens is born out the clientâ&#x20AC;&#x2122;s desire to avoid constructing a wall that would block the view between the street and the main entry of the building. Three shell structures were cut from a larger conic form, and were designed to be placed on the site where wind intensities were greatest and were widened, shortened, or extended using the principles of affine transformation. More precisely, taller shells that require additional curvature or shorter but narrower shells can be easily output from the master conic form for efficient fabrication, since identically sized panels occur on each shell, albeit in different locations. This design system made it possible to quickly coordinate the dimensional offsets and scalar relationships that determine the subtle variation from shell to-shell, and the series of panel types that are shared between them.

MAXIMUM SHEET SIZE FULL PENETRATION WELD AT SEAM

SHELL SURFACES SMALL (TOP) , MEDIUM (MIDDLE), LARGE (BOTTOM)

COMPOSITE SHELL

PANELS WEAVE BETWEEN VERTICAL STRUCTURE AND ARE PUNCTURED BY HORIZONTAL STRUCTURE

PANELS: 8 + 1 UNIQUE PANELS: 3 AREA PER PANEL: 2.92 SF

PANELS: 25 + 3 UNIQUE PANELS: 4 AREA PER PANEL: 3.30 SF

PANELS: 25 3 UNIQUE PANELS: 4 AREA PER PANEL: 4.57 SF

PANELS: 25 + 3 UNIQUE PANELS: 4 AREA PER PANEL: 5.58 SF

SHELL FOUNDATION FEET AT THE BOTTOM OF EACH VERTICAL PLATE

VERTICAL STRUCTURE DIMENSION A < B DARK SHADE SHOWS OVERLAP BETWEEN PANEL AND VERTICAL

PANELS: 25 + 3 UNIQUE PANELS: 4 AREA PER PANEL: 6.73 SF

PANELS: 17 + 2 UNIQUE PANELS: 4 AREA PER PANEL: 9.77 SF

PANELS: 9 + 1 UNIQUE PANELS: 3 AREA PER PANEL: 9.77 SF

Role: 3D Modeling, Visualization,Prototyping, Drafting

1: Composite conceptual exploded drawing

SHELL PANELS PANELS BROKEN UP BY COURSING WITH OVERLAY FOR EACH SHELL

PANEL UNROLLS PANEL UNROLLS SHOWING SCALING OF GEOMETRY FROM BOTTOM TO TOP

SHELL STRUCTURE VERTICAL AND HORIZONTAL BROKEN WAFFLE STRUCTURE

Panels (Grade +14’ - 7”)

Horizontals (Grade +2’ - 2 3/4”)

Verticals (Grade +0’ - 6”)

CORE STUDIOS

LIVING Fall 2010 Professors:

WALL

Chris Romano, Nick Bruscia, Matt Hume, Shadi Nazarian

Group Members: Hanna Ihrke, Daniel Boyle, Vadim Fedorishin, Andrew Kim, Amanda Mumford Program:

Micro Habitation

A single cut was made into a 6’ x 6’ x 8’ cube. The mass was then shifted to allow for programming, light, and functionality. A conic system was developed to create an incision into the original volume, which creates a dynamic and bold form both on the interior and exterior. Using a single end point in space, two cones were inscribed into the original volume and then broken apart to redefine the cube as a unit that can potentially house six people. The conic segment that was separated from the original mass was pulled back along a slanted cylindrical surface and hinged upward to create an entrance, sleeping spaces and circulation path through the structure. Movement is guided by curved entries and surfaces unique to the project. The project was then built at 1:1 scale within the studios. Emphasis was placed on the ability for the structure to return to the shape of the original uncut volume for transportation purposes. The finished micro habitat was then packaged and transported to Griffith’s Sculpture park where it was assembled in modules and remained as public art installation for two years.

B C

1. Aerial View

2. Left Elevation

4. Inside Section C

3. Inside Section A

3. Front Elevation

R . A . M . P Fall 2013 Professor: Brad Wales Program: Urban Housing Located in the Allentown district of Buffalo, NY, Project R.A.M.P [Residential Accessible Market Place] addresses the residential and commercial needs of the area through the creation of a live/ work community. The Allentown region heavily promotes an active street life through locally owned shops, bars, and other small venues. The area supports local business entrepreneurs. However, Allentown lacks healthy food options that are within walking distance of the large residential population. R.A.M.P addresses the need for healthy food options and promotes the local economy by providing a healthy, locally grown foods market that also serves as a location for residential units; each having its own space to launch a small business. In order to provide a fully accessible market with each residential unit having a storefront, a 1:20 accessible ramp is used to bridge the threshold of the public walkway into the business and residential space. The project allows for the public market experience to co-exist with housing while maintaining privacy for residential units. The result is a curvilinear arcade-like pathway that gently carves out dynamic spaces of varying heights and areas that accommodates multiple scales of local businesses.

1:20 Ramp on Site

Small Businesses or Entrepreneurship Placed on Ramp

1:20 Ramp Fit on Site

Aggregation of Shops or Stores on Ramp

Aggregation of Living Spaces

Unit and Store Aggregation

SUPPORT of local farms and small businesses in community

REDUCE car use in the area more frequent on foot trips not big weekly shopping trips trips every 2-3 days

ACCESS to local cal fresh food 3 mi2 residential that would area that ser erved v be served

SUSTAINABLE food & infrastructure rain water catchment

local materials

PATRONS in supermarket are free advertising for small business in market arcade

ENCOURAGE street front presence and pedestrians increase foot traffic of patrons

HOUSING for entrepreneurs

store

flat

store

flat

CNSTR. TECH. Fall 2012 Professor: Annette Lecuyer

STEEL CURTAIN Spring 2013 Professor: Brian Carter Program: Architectur _Office Conceptual Strategy

Project Steel Curtain rethinks the way an architecture office can engage with the surrounding community. Major pedestrian pathways cut diagonally through the site connecting the office and surrounding creative businesses. Public programs such as a digital fabrication shop coupled with a cafe and small gallery activate the pedestrian pathways and act as public destinations. The placement of the office circulation along the same axis emphasizes the created pedestrian cuts. This is further referenced by two circulation stairs that cut through the entire office. Steel Curtainâ&#x20AC;&#x2122;s circulation ties together the ground floor public program with the architecture office to allow for more frequent public engagement.

Structure

Facade

The structural grid of the building responds to the conceptual cuts by aligning the main column structure along the central circulation and uses this anchoring point to support the periphery. Services

Washington St.

Second Floor

East Mohawk St.

Site Plan + First Floor

Main Center Structure

Vertical Columns

Horizontal Columns

Sub-

Third Floor

-Structure (Roof Joists)

Fourth Floor

Compiled Structure Peel

Exterior Facade

Atrium in center creates stack effect to aid in ventilation. This is aided by mechanical ventilation

Tall ceilings allow for hot air to rise above worker inhabited space

Conditioned air is delivered to workers via raised floor. Each worker can adjust direction of raised floor openings to suit user needs

HVAC Distribution

Longitudinal Section

es 71 d eg re Sum

m er

Sun

Building fresh air intake on top of vertical chase

Roof Assembly: Poured concrete on metal roof deck (typ.) gravel topping with potted planters

Center Stair Cut: Acts as passive stack venitlation assisted by mechanical air exhaust at ceiling level

Raised Floor Assembly: 1’4” raised floor contains horizontal air distribution Hydronic Heating Coils along perimeter glazing

Glazing Assembley: Double paned glass ceiling to floor with air space insulation

Facade Assembley: Perforated Steel Panels with custom perforations based on light requirements of inner spaces. Diffuses light on interior to prevent glare Attached at caps of concrete slabs via 6” steel connection rod on bolted steel plate

Tensile Steel Cables: Pinned at roof steel beam and connect through floors of right side to support hanging floor frame

Performance Section

Win

un er S

ree

deg

F R A G M E N TAT I O N Fall 2013 Professor: Stephanie Vito Partner: Hanna Ihrke Program: Federal Prison Based on research conducted, 61% of all offenders become repeat offenders and incur increasing costs to the prison system due to two major reasons: a lack of positive interactions and programs within the prisons, and the perception the public has of prisoners. This results in prisoners having a disdain towards society upon release, and society reciprocating the attitude by not providing jobs to prisoners that have finished their sentence. In order to address these issues, the prison focuses on rehabilitation through integration with the surrounding community. Situated on the border of the U.S and Canada, this Fragmentation aims to blend prisoners and society through visual connections and economic exchange facilitated by an multi-leveled, intertwining circulation surrounding a public market complex run by prisoners. The angular market complex houses a public market, car shop, doctors office, educational facilities, wood/metal shop, and a hydroponic farm. The prison becomes an economic destination for the surrounding area and provides prisoners with jobs and skills while helping the public through the sale of lower costs goods and services. This economic bridge between the public and the prisoner is extended through a cross-border bridge that is zoned to create a future economic development site for the Canadian border.

Exploded Axon

INHERENT MOTION Spring 2011 Professor: Michael Rogers Program: Theater A bundle was created through the compilation of of found objects. The bundle was then cut, and the cut cu was explored for its spatial al qualities. The drawing dra awi w ng of the bundle evoked the ideas of movement move ve eme m nt and the tracing of movement. Giving the th he materials m terials a ma sense of motion otion was the source idea ide dea for model mo ode el explorations ation ns addressing the line, plane, p an pl a e, and nd d mass. mas ass. s. The program prog gram of a theater theatterr was introduced intro odu d ce c d and an nd sited on n the historical historica call context of Fort ca For o t Niagara. a. The original origin nal a ideas of the t e bundle and previous th pre evious design exercises exe erc r ises were werre translated t an tr a slated into a system s stem sy where the st stru structure r cture delineates deline ne eat a es space, responds resp re s onds to the programmatic program mmatic elements ts of of the theater, th hea ate t r, and references the historical historical contextt of o the site. sitite. e. A pair pa of rails form a continuous track, k interweavinterwe weav we a av ing throughout thro th r ughout the space, spa pace, that define the e theaterâ&#x20AC;&#x2122;s theate th erâ&#x20AC;&#x2122; râ&#x20AC;&#x2122;ss global and and interior forms. s This system creates crea ate tes floors thatt transform t ansform to walls, tr wallls ls, and flip to become me other spaces. the ceiling and an nd then go on to define de s s. This dynamic structure Th str tructure creates a visual visual experience in which whi hich the user can ca visually trace the the h tracks of throughout the building builildi d ng as one moves mo ut the the space. The pair of rails ra ailils cut an incision incissio ion in the earth bringing the user use er down and then the hen over the walls defining an elevated ed entrance to the the h theater. Thiss procession ocession references reference es the historicall siege siege of Fort Niagara. gara.

PERPETUITY Fall 2011 Professor: Matthew Zinski Program: Residential Home form

UN Studio’s the Mobius House uses the ideas of time space and continuous circulation to create a 24 hour “life cycle.” Taking these ideas, the spaces in Perpetuality, a residential project, were then rearranged to create a continuous circulation following the use of the spaces throughout the day.

t.v. room

bedroom living room

kitchen

bathroom studio

studio

24 hour life cycle

Delaware Park was then given to the studio as a site for the transformation. The site sits in between three main roads or “cycles of time.” The speeds and passage of time from the roads influence the layout of the transformed spaces A continuous, open floor plan emphasizes the idea of a endless 24 hour life cycle. An exterior facade of strip windows creates a representation of time that delineate interior spaces.

division of space

time through light delineates space

kitchen studio studio kitchen

bathroom kitchen

living room

bedroom

bathroom

floor plans

RESENSITIZE Summer 2013: Study Abroad Professors: Dennis Maher, Nerea Feliz Program: Tourist Resentization Center The tourist experience is primarily a visual one. Part of what many tourists desire is to challenge their senses and experience new things in a way they have never experienced anything before. This includes using more than just their sense of sight. However, urban tourism doesnâ&#x20AC;&#x2122;t always foster the use of the other senses. The aim of this project is to address passive tourism through a direct intervention that forces occupants to touch their surroundings, be put off balance, and experience the architecture with a sense of uneasiness that challenges them to be hyper aware of their surroundings. This Tourist Resentization Center operates as a tourist spectacle. Its erratic exterior form draws the tourists to it due to its irregular nature. Once the tourists begins to traverse the organic pathways of the structure, they encounter soft, squishy floors, branches blocking their way, spikes of sharp wood deterring them from some spaces, delicate bone structures that slow people down and cause them to move about and examine the environment with care, thin viscous like nerves create porous entries an exits that force occupants to take steps into the unknown in order to move forward. Floors give way to the weight of people, causing them to reach out and tactilely grab on to their surrounding for support. Heavy stone disintegrates into thin structures that support nothing, but allow people to move between them. Soft hair like spaces provide walls and floors that hide its surroundings, blocking all that is seen yet allows people to move about unhindered until the material hardens and crashes through buildings of the plaza. Each space within the structure challenges senses in different ways and encourages them to interact with their surroundings and begin to see small details and understand the physical effects that each material can have on them. Through this intense challenging of the touristâ&#x20AC;&#x2122; senses created by an extreme material experience, it is hoped that after such an experience people will slow down and experience their surroundings through a different lens and notice small details that materials provide in their everyday world.

COMPETITIONS

GUEST_HOUSE Summer 2015 Competition: 1st Place Program: Residential Home This project sits at a corner junction of the property bringing in from one direction and cleanly transitioning the user into the rear of the property. There are two main sections of the program. The bottom mass is a garage and the top contains the guest living quarters. The two programs were stacked on top of each other and then rotated to allow for a visual transition as well as create more flexible living and entertainment space for the building. The rotation provides a covered sitting and relaxing area for both the apartment and for the pool area below, allowing multiple parties to enjoy the space. The below garage opens into the wet bar and grill area under the overhang. At this rotation point the user transitions from arriving at home to enjoying the environment. This space can be closed through sliding doors or can be opened up allow for a clear transition to the fire pit patio and the pool area. The guest quarters have a spacious master bedroom that opens up to a private covered outdoor patio. The clean horizontal lines of the design allow it blend into the environment and extend out to the horizon. The material palette is based off the grey tones found in the existing house and introduces wooden elements as a natural accent material to the house.

Spring 2015 Program: Facade Renovation Competition Partners: Micaela Barker, David Heaton Drawing inspiration from the restaurant’s interior, SPACE BETWEEN THE LINES intends to develop the Steer’s street presence by modernizing the existing materiality and encouraging universal access for those approaching from the street scape. Rather than a large scale design renovation which would disrupt the Steer’s existing dynamic, this proposal attempts to rebrand in an economically conscious way. Other than a reconfiguring of the vestibule in order to facilitate a more comfortable threshold, only minimal additions will be made to the facade. Strips of dark, rustic wood create a vertical pulse along the exterior that are reminiscent of the existing rhythm of the brick pillars currently lining the Steer. Our proposal also attempts to reveal the original brick as well as to add modern exterior lighting in order to create a safe an inviting restaurant entrance. Furthermore, we are expanding the size of the windows of the first floor to allow more light into the space.

SHEET METAL PLANTER WOODEN SLAT CLADDING FOR PLANTER EXTENDED ENTRANCE LANDING FLOOR TO CEILING OPPERABLE WINDOWS

MAIN ENTRANCE SIGN STRUCTURE WOODEN SLAT CLADDING FOR BUILDING WOODEN SLAT CLADDING FOR ROOF OF VESTIBULE WOODEN SLAT CLADDING FOR ROOF OF VESTIBULE LARGE VESTIBULE WINDOW WITH SCREENING INTERIOR EXISTING WALL NEW BUILT VESTIBULE WALL: BRICK EXTERIOR VESTIBULE GLASS DOORS PLANTERS WITH YEAR ROUND PLANTS 1:20 SLOPE TO ENTRANCE FLOOR TO CEILING OPERABLE WINDOWS OVERHANGING WOOD SLAT SUN-SHADING VERTICAL WOOD SLATS ON METAL PLANTER

OVERHANGING POST SUPER-STRUCTURE GLASS COVERING ON SUN SHADING TO PREVENT ICICLE BUILD UP IN WINTER LOW LYING OUTDOOR PLANTERS POST SUPER-STRUCTURE

OVERHANGING POST SUPER-STRUCTURE NOTE: DURING SUMMER CANVAS SUNSHADING CANT BE RETRACTABLE IN BETWEEN BAYS

OUTDOOR SEATING

GROUND FLOOR PLAN N

4’

8’

16’

CARIBBEAN_VILLA SPRING 2017 Partner: Randy Fernando Program: Residential Competition The concept for the Caribbean Beach House is to frame beautiful views and create a flow through the whole project that reinforces the quiet ocean view. From the moment you enter the space, glass walls orient your view through the main shared area across the pool and out to the ocean. The plan is oriented in such a way that each suite and shared space has access to the pool, their own private view out to the ocean, and privacy. While each suite has privacy they are all interconnected by a roof plane bringing a sense of unity to the project. Each space is afforded an ocean view by allowing the walls facing the ocean to be made of clear Nana walls while the privacy walls are solid and all oriented to frame the ocean view and make each suite feel like its own luxury private villa. Ecology and materials were deeply considered when designing this project. Each space is set up to allow for the glass walls to open up and take advantage of a cool sea cross breeze. This will allow for the owner to mitigate power consumption, but more importantly to create a comfortable environment for the occupants. These glass walls can be made private with simple draped curtains as shown in some of the visualizations. The main space is also set up to allow for the use of the ocean cross breeze. Furthermore, the roof plane that connects all of the spaces has been made in such a way to collect rainwater and direct them to the gravel area in front of the edge suites. Here the gravel is layered to allow for natural filtration of the rain water as it moves to the cistern.

ARCHITECTURAL VISUALIZATIONS

S T A D I U M Summer 2014 Urban Master Plan and Visualization Architect: Brad Wales with David Heaton This project was spearheaded by Buffalo, NY architect Brad Wales as an architecture activist project. This undertaking was meant to provide a comprehensive and well throughout master plan to keep the Buffalo Bills NFL team in Buffalo, NY, correct past planning mistakes, and create an idea for a project that would act as a catalyst for urban development in the downtown area. This image appeared on the cover of Artvoice. My main role in the project was 3d modeling and visualization.

LONG_RESIDENCE Summer 2014 Program: Apartment Renovation Architect: Adam Sokol Intern: David Heaton Beginning with the owner’s stated preference for a home with abundant natural light, the name of this project was adapted from that of a famous Beijing garden. The idea of “perfect brightness” was developed whereby ambient lighting could change from warm to cool white, depending on the season, time of day, and outdoor lighting conditions. The light is “concentrated” at the center in two twisting, shell-shaped feature walls, drawing visitors in from the entry. Further, working from the ’s second preference — to eliminate clutter and create a suitable environment to display an art collection — it was decided that all interior walls would be clad in folding wood doors, 132 in total, that would essentially make all them transformable: when open, bookshelves, storage areas, televisions and headboards would be revealed; when closed, all would be concealed, leaving only a simple space forming a serene, museum-like backdrop for the artworks. Role: 3d modeling and visualization, parametric image based pattern generation

H I M A L A Y A S Spring 2014 Program: Museum Architect: Adam Sokol Intern: David Heaton The Himalayas Museum was designed to be situated within the existing Himalayas Centre designed by Arata Isozaki. As a “found” space — a raw unfinished concrete interior with soaring 15m ceilings — it had a particular power and resonance with the field of contemporary art. Thus it was decided that, rather than obscuring this construction, three “rocks” housing the museum’s tripartite program of contemporary art, classical art, and education, could be situated within the existing structure, thereby creating a tension between new and old, inside and outside, raw and refined. Role: 3d Visualizations

Summer 2014 Program: Commercial Storefront Renovation Architect: Adam Sokol Intern: David Heaton This historical photo of the James Brother’s general store was used as the inspiration for an imagined and idealized period storefront. Research was done to collect images of other retail storefronts typical of the region during this time period. A composite collage was created, matching the dimensions of the actual storefronts, using raw material both from the original location and elsewhere. The collage represents a hypothetical yet alternative reality of what might have existed in Medina in 1867. The collage incorporates an approximate architectural representation of the facade that would have been found on this building and others nearby. The “architectural” collage is printed on the inside surface of the outer glass layer using grey ceramic frit dot matrix pattern. This printing process is inert and protected from the weather and will not fade. The graphics will reference the original facade design, but at the same time look forward to a new chapter in Medina’s history. Vistors will simultaneously experience the original facade design, remnants of the twentieth-century reconstruction, construction technology. From afar, the collage graphics are legible as a whole. As one approaches the building, the collage dissolves into a dot pattern and one sees through the dots into the space beyond. Role: Collage, Visualizations, Parametric Pattern

V I S UA L I Z AT I O N S 2011-Present 3D Visualizations

This is a collection of visualizations done for unrepresented projects in the portfolio. This includes visualizations done for competitions, clients, and personal projects. Each represents a careful attention to detail and the play of light in the image. Each image is meant to convey a certain mood and not simply present architecture, but also the feeling architecture can convey. Typical work flow consists of modeling in Rhino, rendering with Vray, and post production in Adobe Photoshop. Lumion is also used on a case by case basis.