Gentley Smith Bondeson Design Portfolio
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Emergency Management Institution
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Pushing Adjacencies
Brooklyn Public Library
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The Indecipherable Figure
/ECJEĂŒ?=J?A KB A=QPU
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Theology of Aesthetics
City Of Mercy - House of Grace
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Housing in Iceland
Yale Building Project
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.A@AĂŒJEJC ,K?DA
Lowell, Massachusetts
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Boundary Exploration
Strange Forms Form Strangeness
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Study of Dichotomies
Athens, Greece
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Antiparochi
Spatial Metaphors
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Demimonde | An Architectural Discourse
Korean DMZ:
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Monuments of Discourse in the DMZ
Woven Masonry
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Exploring construction methods
Drawings
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From Hand to Computer
Moukhtara Mosque
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L.E.FT Architects
2016 Vlock Building Project
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Yale School of Architecture
2017 Vlock Building Project
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Yale School of Architecture
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Model Photo: Detail
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Emergency Management Institution Pushing Adjacencies
The purpose of this design was to create a fabric in which there is a clear system but also objects that emerge. There is a central KÎ?A PD=P EO PDA PEOOQA >APSAAJ PDA BKQN LQ>HE? program, worship center, museum, auditorium and classrooms. The objects that surround the KÎ?A PEOOQA LNKRE@A ÍAT OL=?A OK PD=P @QNEJC times of emergencies the EOC can take over one modular at a time. Each public program uses the same language though distinguishes itself through the play between plan and light. The worship center has a single central light on the opposing side to the one that one enters onto. Leading the visitor towards the light through the quiet meditation space. The auditorium has large natural light wells above the stages. The museum has a serpentine plan that one is guided through long paths of light. !=?D LNKCN=I ?=HHO BKN = @EËANAJP =PIKOLDANA where the combination of plan, section and light create spaces that enhance the program within.
Instructor: Tessa Kelly Architecture Design Fall, 2016 5
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; Diagrams: movement as punctuations Opposite: top view of model 6
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The Chapel
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Model Photo
Model Photo
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Plan 11
Photograph
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/ECJEÌ?=J?A KB A=QPU Theology of Aesthetics
Throughout the academic world, though OLA?EÌ?=HHU BKN IA =N?DEPA?PQNA PDA SKN@ >A=QPU has been deemed a taboo. It is thought to be abstract, unintelligent, frivolous and fruitless. Regardless of the observations of it surrounding us constantly, controlling our commissions, and alluring our clients and even our own work; it is considered unworthy. Yet, not all believe in this engagement with beauty. Some even go as far to say that “Beauty is the word that shall >A ÌNOP e /LA?EÌ?=HHU $=JO 1NO 2KJ =HPD=O=N and Saint Bonaventure begin to engage with this topic through the lens of Christianity. Now with not only one but two debated topics could =J AJPE?EJC =NCQIAJP >A I=@A BKN PDA >AJAÌPO and possible power and relevance of beauty?
Instructor: John Hare Yale Divinity School Fall 2017 13
Disclaimer: Both the object and the essay are in perpetual progress. Though the object and the essay may seem to be in a stable state of ?KILHAPEKJ PDEO EO FQOP =J EHHQOEKJ 0DA K>FA?P EO PDA ÌNOP EPAN=PEKJ KB I=JU in a pursuit of intertwining the philosophy of beauty into the built world. Both Balthazar and Bonaventure explain the importance of beauty though PDAU @K OK EJ @EËANAJP S=UO PDAU >KPD =NCQA PDA O=IA AJ@ O=J?PEÌ?=tion and further revelation of God. Bonaventure is interested in a linear way to interact with life and the Divine. He states that beauty is found within wisdom. Thus beauty must be constrained in the same ways that wisdom is. Though within the rigidity he explains the complexity and the possibility of splendor within. Similarly, Balthazar also believes that the conclusion of beauty is a greater communion with the Divine. Though his approach is less systematic. Instead he argues a system where good and true are inseparable from Beauty which he diagnoses is the cause of academic world running from the aspiration of beauty. ... Can we study these two viewpoints and make a guideline for art? Beauty has become a commodity that no longer has form. It is simply consumed; it very rarely creates paused and wonder. We are currently only concerned with aesthetics. Designers need to asking, what is beautiful. How does art and architecture begin to explore this word and in doing so tie the physical world and the spiritual world together? From the Philosophies KB KJ=RAJPQNA =J@ =HPD=V=N = @EHQPA@ @AÌJEPEKJ IECDP >A = SKNG KB =NP that juggles truth, goodness and wisdom while at the same time retaining = IUOPANU PD=P EO =>HA PK ?KJJA?P PDA EJÌJEPA =J@ P=JCE>HA I designed an object with the intension of creating an object that began PK NALNAOAJP PDA @EËANAJP =OLA?PO BKQJ@ SEPDEJ PDAOA PDAKNEAO 0DKQCD it is extremely reductive: the object was intended to be logical yet be enveloped with mystery. To transcend time and place, to create pause for us to question its beauty and its origin. The object is meant to heighten IUOPANU =J@ ÍE?GANEJC KB PNQPD +JA I=U ?KJPAILH=PA EPO ?NA=PEKJ UAP understand its logic. One may ponder whether it is a painted rock, a BKQJ@ OA= ?NA=PQNA =J KNC=JE? KN LNK@Q?A@ K>FA?P %P EO >KPD = @AÌJEPA and logical object though it is also an object of great mystery. Could we create, within these boundaries, beauty? Object notes: in furthering the production, I would create a shape that closer resembles a stone, it would have a smoother and more voluptuous BKNI SDEHA PDA LANBKN=PEKJO SKQH@ >A PSE?A =O I=JU =J@ OECJEÌ?=JPHU smaller. From these changes, the mystery of creation would be heightened as well as a more seductive form which in combination creates a greater ability to enamor the onlooker and possible connect with the divine.
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Photograph 15
Infrastructure Diagram
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City Of Mercy - House of Grace Iceland
These words, Mercy and Grace captivated me since the introduction to this studio. So I began PDA OAIAOPAN NAOA=N?DEJC PDA @AÌJEPEKJO PK PDAOA complex words. Grace Is a word used frequently in Christian theology. Though Webster Dictionary does has = @AÌJEPEKJ PDA SKN@ EO RANU D=N@ PK PN=JOH=PA from its original Greek and Hebrew without a narrative. My best quick explanation is: Grace is when one does everything in their power to love, give blessings and favor to another who least deserves it. )AN?U S=O = OEILHAN SKN@ PK @AÌJA %P EO described as compassion or forgiveness shown towards someone whom it is within one’s power to punish or harm. Thus I began trying to design within the framework of these words. I split my project in PSK L=NPO 0DA CNKQJ@ ÍKKN =O ?EPU KB IAN?U and the apartment units as is house of grace.
Instructor: Hildigunner Sverrisdottir and Kyle Dugdale Advanced Studio Spring 2018 17
3EPDEJ PDA =L=NPIAJPO % ÌNOP S=O interested in creating grace by designing moments of pause and seclusion as well as community and energy. For instance, the entrance sequences goes from a private moment, to a moment of observation to a moment of immersion.
During my research I came across this text. “Which of these three do you think proved to be a neighbor to the man who fell into the robber’s hands? And he said “the one who ODKSA@ IAN?U PKS=N@O DEI e 0DQO IU REOEKJ BKN PDA CNKQJ@ ÍKKN S=O to be a place where each of these distinct neighbors would come and be shown mercy.
Though there is hopefully grace throughout, the most evident instance is found within the extra bedroom. Here I have designed a nearly hidden room by opening up the built in cabinets to create an additional space where one many house
Diagrams 18
Plan: Ground
Plan: Floor 2-6 19
Photographs 20
Plan: Typical ,H=J 1JEP Apartment 21
Image: Bedroom of Grace
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Image: Reading Nook
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Detail Model Photo: Interior Metal Object
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Brooklyn Public Library The Indecipherable Figure
HP Lovecraft’s imagery is one of loose conJA?PEKJO >APSAAJ SE@AHU @EËANAJP >QP IQJ@=JA objects. He is known to create “the general outHEJA KB PDA SDKHAe >QP JKP PDA K>FA?P EPOAHB 0DEO HA=RAO PDA NA=@ANcO EI=CEJ=PEKJ PK ÍE?GAN BNKI one object to the next - generating vague and uncanny connections. The Brooklyn Public Library attempts to simulate a similar experience. The exterior façade is a play between the existing building, exposed =NI=PQNAO KB PDA ÌCQNA =J@ OD=@KSU EHHQOEKJO of the shape within. The Library can be approached in three distinct ways – each has its own unique experience SEPD PDA ÌCQNA 0DEO =I>ECQEPU EO ?KJPEJQA@ within the library though the circulation of the stacks, reading rooms and large gathering places. Thus the patron can never fuller understand the object as a whole but instead as individual moments.
Instructor: Michael Szivos Architecture Design Fall, 2015
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Elevation: 00
Elevation: 01
Section Perspective: 01
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Model Photo: 00 Facade Removed
Model Photo: 01 Facade Removed
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Plan: 00
Plan: 01
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Detailed Photograph
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Strange Forms Form Strangeness Study of Dichotomies
To study curiosity and allure through form and surface.
Repelling Plane Textured Part Layering Many EĂ‹ANAJPE=PA@ Expansive Object Interior
Embracing Volume Smooth Whole Obscurity One Overlapping Contained Skin Exterior
Instructor: Peter de Bretteville Architecture Design Spring 2016 31
Rendering
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Drawing
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Model Photo: 00
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Model Photos: 01-04
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Exploded Model Photo: Rotational Section Drawdle
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Yale Building Project .A@AÌJEJC ,K?DA
Modernism eliminated the architectural discourse between the volumetric interior and exterior façade. Poche has since turned from a designed mass into the mere thickness of a wall. This house is an exploration of poche through the use of volume. This poche becomes a void in which inhabitable space resides. The house consists of an envelope that AJ?=LOQH=PAO PDNAA ÌCQNAO !=?D ÌCQNA EO articulated through a tension between desk, bed and views. Light pours down from large windows which highlight large tension rods suspending the volumes. The illuminated space bellow and between is the poche. All the communal space is programed within this tension between surface and objects. This re-imagining of poche also facilitates a discussion of the components of a modern house. The volumes exist on their own. Allowing a wide variety of living conditions to take place.
Instructor: Peter de Bretteville Architecture Design Spring 2016 37
Plan: 01
Section: 00 38
Elevation: East
Elevation: West
Elevation: North
Elevation: South
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Model Photo: 01 40
Sections: 1-4 41
Diagrammatic Plan
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Lowell, Massachusetts Boundary Exploration
In re-imagining Lowell, we began with an investigation of its reciprocal landscapes: infrastructural, demographic, cultural, and commercial. We discovered that the city is dramatically parcelized by long-standing boundaries — the highway, the train, and the canals — which converge at our site. The result is a sprawling void that disconnects the Downtown (white & wealthy), the Acre (historically immigrant), and the Highlands (mostly south-asian). We tasked our proposal with activating this void as a crossroads rather than a center, a way to bridge these disparate, yet possibly symbiotic districts and populations.
Instructor: Rosalyne Shieh Partners: Timon Covelli and Jon Molloy Architecture Design Spring, 2017 43
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Plan: AJKPEJC @EËANAJ?A KB PEIA OA=OKJ =J@ =?PEREPU 44
1. Recreational Ecology Out of a collection of insular habits (live+work) that share nothing except that which they must, grows a generative and supportive ecology of collective recreation, leisure, and stimulation.
2. Transportation Ecology Employing what were once infrastructural boundaries - train, bus, car - to produce a generation system of connection, tieing together many neighborhoods.
3. Beach Ecology Transforming a forgotten landscape into a recreational heart perpetually animated by the mixture of life.
4. Theater Ecology Occupying spaces in-between, in-side, and among, the allay imagines urban fabric as dramaturgic set, building shells as stages, interstices as foyers, and workshops as ongoing performance.
5. Commercial Ecology Once an elaborate sequence of empty parking lots, the infrastructural center of the city, its gateway, becomes an urban composition of naturalized open spaces framed by built-generative partnerships.
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1. Recreational Ecology
In the crossroads we saw the potential for democratic movement and intermixing, which would grow out of its diverse and overlapping activity. Servicing all citizens, from the informal shoe salesman to the wealthy businessman, we imagined an architectural A?KHKCU PD=P ?KQH@ AI>N=?A @EĂ‹ANAJ?A =J@ JA?AOOEPU =O LNKCN=II=PE?=HHU =J@ ĂŒJ=J?E=HHU CAJAN=PERA OL=SJEJC new hybrid typologies and public infrastructures. At the building scale, we broke apart the monolithic building envelope of the traditional mill architecture, allowing buildings to host symbiotic partnerships of disparate programs. At the district scale, we imagined the site through distinct yet overlapping zones, centered on imageable interventions which compose a living and democratic urban ecology. 46
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4. Theater Ecology 48
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3. Beach Ecology 50
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Plan Zoomed: @AJKPEJC @EËANJ?A KB PEIA OA=OKJ =J@ =?PEREPU 52
Plan: Museum, Apartments, Parking
Plan: City Entrance, Culinary School, Field
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Model Photo
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Spatial Metaphors Demimonde | An Architectural Discourse
This series of objects is a study of the realization and synthesis of philosophies into the build world. My intention was to pick seemingly disparate philosophies, reduce them down to their most basic form, then produce objects for their amalgamated manifestation. The three philosophers I chose were Deleuze, Derrida and Sloterdijk. Each one, seems to explain the world from contradicting viewpoints. 0DNKQCD IU OQLANÌ?E=H HARAH KB QJ@ANOP=J@EJC % NA@Q?A Deleuze to says the world is a continuous fold, relationships between objects are unlimited and continuous, two incongruent items that come into contact not only create an interior but also a third idem. Contrary, Derrida states that the world is constructed by the powers of an uneven binary system and objects are understood by what they are not, leaving us to assume much of what things are. $EO LDEHKOKLDU =OGO BKN QO PK ÍEL PDA >EJ=NU LKSAN structures by breaking down the social norms to create liberty...
Instructor: Daphne Agosin + Gregory Cartelli Contemporary Archit’l Discourse Spring, 2017
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Sloterdijk interprets the world as a conglomeration of ecosystems that rage in size from self (bubble) to earth (globe), stating that especially through technology, the idea of dualism is impossible and instead we live within a thick fusion of realities integrating machine, human, plant and animal. I reduce Deleuze further to the word the fold, Derrida as the breaking and Sloterdijk as the bubble.
EO?H=EIAN % QJ@ANOP=J@ PD=P IU KRANOEILHEÌ?=PEKJ KB PDAOA PDAKNEAO EJPK = REOQ=H AËA?P EO LNK>HAI=PE? *KJA PDA HAOO while working within my constraints of a designer, my original intention was to design objects that were simulacrum of two philosophies in order to promote conversations regarding the theories as well as their possible coexistence. Though through the act of designing I discovered that the world can be interpreted into all of these theories simultaneously. Even if one designs an object with a unique OAP KB ?KJOPN=EJPO HEGA OP=?GEJC O?QHLPEJC EJÍ=PEJC ÌHHEJC =J@ OK BKNPD PDA K>FA?PcO NA=@EJC EO OPEHH ÍATE>HA 0DANA EO = @EOcontinuity between the thought world and the physical world.
Does this lead us to be content with being merely inspired by theory or do we continue to pursue something else? Mark Wrigley’s in his talk called Story Time, comments that this idea of fusing theory and practice is a new phenomenon. Before Architects were free to write intellectually and design with lose but not absolute relationships. Should we try to mold a particular philosophy to our architecture or vice versa KN ?=J SA =HHKS @EËANAJP NA=@EJCO KB PDA SKNH@ PK EJBKNI our built work. Should we be instead of defending our work through philosophy simply be inspired to combine multiple disparate ideas into a single idem. How would one design within a truly multifaceted world where not even one philosophy can be read within one object.
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Concept Photo
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Athens, Greece Antiparochi
This project investigates the city fabric of Athens, currently comprised of a sea of buildings with islands of green, my design inverses this relationship by creating an agricultural landscape with insertions of pavilions of engagement, storage and productivity. The image manifesto represents the disjointed harmony of agriculture, landscape, people and buildings. There are I=JU H=UANO PD=P ?NA=PA PDA LNKFA?P 0DA ĂŒNOP are large collective spaces these range in programs from a market, a greenhouse, a church, a lawn, to a restaurant. The next layer is that of the paths and the gardening plots which are interwoven together. Lastly are the storage, engagement and productivity pavilions.
Instructor: Elia Zelia Zenghelis + Andrew Benner Advanced Architecture Studio Fall, 2017 59
Existing ruin turned into a playscape
Site Plan 60
Greenhouse and Entry from residential neighborhood.
Indoor and outdoor market with connection to the industrial neighborhood
Chapel with private garden and forest
Outdoor auditorium =J@ ĂŒAH@O BKN PDA school’s use
Trainstation connected to argricultural school
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Plan and Section: Market [partialy activated] 62
Plan and Section: Chapel [partialy activated] 63
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The Pavilions
The Chapel
The Market
The Greenhouse
Rendering: Chapel and Fields
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Rendering: North Korean Side of Rome Monument
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Korean DMZ: Monuments of Discourse in the DMZ
0DA @AIEHEP=NEVA@ VKJA EO PDA >QËAN =NA= >APSAAJ *KNPD and South Korea. This devoid site runs along the 38th parallel. The DMZ was created by twenty two nations in 1953 as part of the Korean Armistice Agreement. Presently, this 250km by 4km site is the most heavily militarized border in the world. Twenty two Monuments were proposed to be built within this vast land. Each was a curation of the vernacular of the countries’ capitals which signed the Armistice. A study of sidedness emerged from the social critique between the two countries. !=?D IKJQIAJP MQAOPEKJO @EËANAJP E@A=O BQAHA@ >U PDA unique relationship and happenings between North and South Korea. Some of which are border, placelessness, ?QHPQN=H @EËANAJ?AO IA@E= LNKL=C=J@= =J@ OQLANEKNEPU The monuments give the people of Korea a new medium and freedom to discuss their situation.
Instructor: Lisa Tilder Group: Levi Bedall, Christian Golden, Aaron Powers Spring, 2014
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Legend of DMZ Map DMZ Airport ILHEÃŒA@ )KJQIAJPO Tunnel Entrances Viewing Docks Monument Location
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Wellington, New Zealand (contributing city) The North Korean government has created a mental enslavement that obfuscates reality through their communication regulations. This monument mimics propaganda found throughout the country. It is built to question the illusions which the government creates for the people.
Top: South Elevation Bottom: North Elevation
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Rendered Section
Rome, Italy (contributing city) The Armistice divided the country without regarding division of families. Currently, there is only one location where families can visit one another while under heavy surveillance and no contact. This monument is dedicated to bringing the North and the South Koreans together in a safe environment.
Top: South Elevation Bottom: North Elevation
Rendered Section
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Bangkok, Thailand (contributing city) The sidedness of the structure creates an illusion of ownership. When a light JAA@O PK >A ÌTA@ KJA begins the journey through PDA PQJJAH 1JGJKSEJCHU PDA opposite side is also entering = PQJJAH PK ÌT PDA =@F=?AJP light. Their paths intertwine as they ascend the tower until they reach the top where they make the repairs in extremely close proximity.
Right: South Elevation Left: North Elevation Bottom Section
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Paris, France (contributing city) This monument critiques the falsity and secrecy of North Korea. The country is simply a facade; on the surface it looks normal though the core is in shambles. Similarly, this monument has two components standing above the water, though under the waters’ surface many more identical monuments have fallen.
Top: South Elevation Bottom: North Elevation
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Rendered Section
New Delhi, India (contributing city) =EHU HEBA NAĂ?A?PO EJ=>EHEPU of individuality, no personal or political freedoms are available. This monument creates a symbolic and physical freedom for the North Koreans. They walk up and stand alone facing South Korea. The enslaved become the autonomous and the free becomes the audience
Top: South Elevation Bottom: North Elevation
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Rome, Italy location: mountains
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Paris France location: water
New Delhi, India location: city
Bangkok, Thailand location: valley
Wellington, S. Africa location: roadside
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Detail Model Photo: Cube with extruding straws
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Woven Masonry Exploring construction methods
The competition began as a material study of the properties of drinking straws and turned into a surface project concerned with fabricating FKEJPO P ÌNOP PDA LNKFA?P S=O AJREOEKJA@ PK >A made solely out of straws but it soon became apparent that it would be necessary to add corrugated plastic to create regulation and rigidity. The corrugated plastic was cut in a template which had holes for the straws and notches for the joints. Our unique method of joinery created a seamless connection between the straw infused cubes as well as being durable enough for someone to sit on top of. Next we designed tactile hairs that focused on = @EËANAJP FKEJANU OUOPAI SDE?D S=O ?NA=PA@ OPN=SO KB KLPEI=H HAJCPD 0DA ÌJ=H LNKFA?P S=O = curved surface that interacted with individuals. One could sit on the structure, look through the Ì>NKQO OA?PEKJO =J@ H=U QJ@AN PDA OS=UEJC hairs.
Instructor: Sondhya Kochar Group: Levi Bedall, Kevin Jones and Hoda El-Hosseiny Spring 2011 79
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Drawings
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Visualization II Sunil Bald Fall, 2015 85
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Diagrammatic Analysis Peter Eisenman Fall, 2015 87
Rendering: City of the Future
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Disheveled Geometried Mark Gage Spring, 2015 89
Photoshop Collage: Yale Sterling Memorial Library
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Photoshop Collage: Vienna Secession Building
Disheveled Geometried Mark Gage Spring, 2015 91
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Professional Work
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Photograph by Iwan Baan
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Moukhtara Mosque L.E.FT Architects Position: Project Architect responsible for drawings, design team The design for the Amir Shakib Arslan mosque in the Wvillage of Mukhtarah, Lebanon, occupies a renovated cross vaulted space with the addition of a steel structure and a plaza in front. The slender minaret is formed of thinly sliced steel plates, angled in the direction of Makkah, and linked horizontally through a canopy to a curved wall delineating the entry to the mosque. Atop the minaret, the word Allah (God) is folded biaxially from the minaret, becoming a structural calligraphy rather than a traditional ornamental applique. Seen from one side, Allah is read as solid, from the other side, Allah is read as a void. Below, at the entry to the mosque, the word Insan (Human Being) is added to the steel plates, to create a Hegelian dialectic of God/Man, putting humanity as an integral part of the equation with God, as a reminder of the humanistic tradition of Islam. 0DA ĂŒCDP =C=EJOP BQJ@=IAJP=HEOI EO =>KRA =HH = ?QHPQN=H war of ideas, and architecture is one of its weapons.
Built, 2016 L.E.FT Architects Makram el Kadi Ziad Jameleddine Photography: Leva Saudargaite Iwan Baan
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Site Plan
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Site Plan
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Elevation/Plan
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Site Plan
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Steel Plan
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Section: 00
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Elevation: 01
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Steel Details
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Details
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Photograph by Leva Saudargaite
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Photograph by Leva Saudargaite
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Photograph by Bahaa Ghoussainy
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Photograph by Iwan Baan
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Photograph by Bahaa Ghoussainy
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Photograph by Bahaa Ghoussainy
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Photograph
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2016 Vlock Building Project Yale School of Architecture Position: Intern responsible for building The Yale School of Architecture partnered with Neighbor 3KNGO *AS $KNEVKJO @QNEJC PDA NAMQENA@ ÌNOP UA=N Jim Vlock Building Project. The task was to design and construct a house in New Haven’s economically distressed neighborhood. The project’s brief consisted of a 1,000 square foot house SEPD =J =PP=?DA@ AÎ?EAJ?U QJEP PK >A HK?=PA@ KJ = OHERAN lot. The site was located at 196 Winthrop Avenue. The desire S=O PK @AOECJ = ?KOP AÎ?EAJP ÍATE>HA =J@ >QEH@=>HA design that both invigorated and corresponded to the context. The studio began by each student designing their KSJ LNKPKPULA BKN PDA DKQOA BNKI PDKOA ÌBPU OET @AOECJO eight were chosen for further development. The class @ERE@A@ EJPK PA=IO PK >NEJC A=?D KB PDKOA AECDP EJPK = ÌJ=H proposal with construction drawings. The jury decided on the winner and the students spent from a month up to three constructing the house.
Built, 2016 Yale Adam Hopfner Kyle Bradley
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Photographs: construction: 00-01
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Photographs: Finished Exterior: 00
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Photographs: Finished Interior: 00
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Photographs: Finished Interior: 02-03
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Photograph by Haylie Chan
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2017 Vlock Building Project Yale School of Architecture Position: Teaching Fellow guiding and teaching construction The Yale School of Architecture partnered with Columbus $KQOA = JKJ LNKÌP KNC=JEV=PEKJ SEPD PDA IEOOEKJ KB providing support, shelter, and housing for the homless. This house was recognized by the Wall Street Journal as one of the best peices of architecture in 2017. The students were asked to design a 1,000 square foot home with two indiviual units, a two bedroom and a large studio. The project was tasked with the construction of the house PK >A LNAB=>NE?=PEKJ 0DA ÌNOP PSK IKJPDO PDA OPQ@AJPO constructed each component of the house in a large warehouse on Yale’s West Campus. Here everything from the walls to the cowls were constructed and assembled. 0DA H=OP IKJPD PDA DKQOA S=O =OOAI>HA@ =J@ ÌJEODA@ The role of the teaching fellow was to teach the students how to read construction drawings, how to construct wall components, how to safely use tools as well as lead I=JU ÌJEODEJC LNKFA?PO 0DA PA=?DEJC BAHHKSO CK=H S=O PK empower the students and foster their independence in the knowledge of construction.
Built, 2017 Yale Adam Hopfner Kyle Bradley Photography: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Photographed by: Haylie Chan
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Gentley Smith Bondeson gentleysmithbondeson@gmail.com 609.977.7897 Yale School of Architecture M. Arch 1 2018 0DA +DEK /P=PA 1JERANOEPU B.S. Arch 2014 137