ARCHITECTURE PORTFOLIO
Jeffrey Klynsma
Iowa State University 2014 | 2017
Jeffrey Klynsma
712.490.2115 klynsmaj@gmail.com 05.Sept.1996 Sioux City, Iowa
Hello! This portfolio highlights some of the projects that have played influential roles in my development as an architect. These projects have helped me to better understand my personal design process, develop my own beliefs about what I believe architecture should be, and become an overall better designer. I believe that function and form play an equally important role in architecture. To me, architecture exists to serve those who use it, thus should be designed to meet those specific needs. In addition, a beautifully aesthetic building can be provoking and convicting. My goal as an architect is to design beautiful, convicting architecture that serves its users as well as possible.
Personal Skills
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Leadership
Architectural Drafting
Relations
Freehand Drawing
Construction
Modeling
Achievements BWBR Competition Finalist, April 2017 Technical Skills Adobe Photoshop
Autodesk AutoCAD
Sketchup
Adobe Illustrator
Autodesk Revit
Maxwell Render
Adobe InDesign
Rhinoceros
Microsoft Office Suite
Extracurricular Experience The Navigators Ministry Leadership Community Fall 2015 - present 5-Week Cross-Cultural Immersion in Beijing, China Summer 2016 Education
Work Experience Iowa State University Dining Ames, Iowa Fall 2014 - Fall 2016 Holland’s Lawn Care Sioux City, Iowa Summer 2016 Chick-Fil-A
Iowa State University Ames, Iowa May 2019 Architecture Western Iowa Tech Sioux City, Iowa
Sioux City, Iowa Fall 2012 - Summer 2016 Hyatt Regency Engineering Dept. Jacksonville, Florida Summer 2015 Connelly Development
Spring 2013 - Spring 2014
Sioux City, Iowa
General Education [H.S.]
Summer 2014
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CONTENTS Fog Funnel
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San Francisco, California | Spring 2017 Designed with Evan Harrison
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Two X Two
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Food Hub
Ames, Iowa | Spring 2016 Designed with ISU Class of 2019
Minneapolis, Minnesota | Spring 2016 Independent work
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Parks Library
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Sensory Observatory
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Ames, Iowa | Spring 2015 Independent work
Ames, Iowa | Fall 2016 Independent work
Gliding Club and Performance Center Ames, Iowa | Fall 2016 Independent work
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Fog Funnel 1132 Washington St., San Francisco, California ARCH 302 | Spring 2017 Prof. Leslie Forehand Designed in collaboration with Evan Harrison Like the rest of California, San Francisco has suffered from an ongoing drought crisis for years. Despite the drought, a daily phenomena in San Francisco is the dense fog that comes into the bay from the ocean. This project, as defined by the brief, calls for students to design a mesh or fabric which is able to collect the tiny water particles in the daily fog, applying the result to a mid-rise, mixed-use residential complex. Located on Nob Hill in between an upper-end neighborhood and a Chinese neighborhood, the project site will replace the 12,000 square foot playground and basketball court which is currently owned by the neighboring Betty Ong Rec Center. Fog Funnel seeks to practically apply our fog-harvesting system as we create a complex which responds to the neighboring recreational center and the park being replaced.
BWBR Competition Finalist, April 2017
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As an extension of MIT’s fog harvesting research in Chile, the semester began with hands-on investigation and experimentation with various methods of harvesting the fog’s water droplets. After researching various materials and weave patterns in collaboration with my partner Evan Harrison, we found the properties of copper allow for a weave to attract water particles and, if woven correctly effectively shed the water for collection. Our experimentation then began by creating 3” x 3” samples of various wire meshes, each having different porosities or different wire thicknesses. We simulated fog by spraying water through a fan (so as to create tiny particles) and examining how they collected on each sample (see top left). The test results showed that two major factors for collecting and shedding water were a greater surface area and a more dense porosity level. For our final
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sample, we decided on a 26 gauge wire weave spaced at 10 mm. Knowing copper would produce a protective patina over time, we patinated a portion of our final 10” x 10” sample to compare how fog would be collected. We discovered in this second test that, because of the extra oxygen in the copper from its patination, water runs off much more effectively after the patination process has occurred (see screenshots below). However, we also became aware that copper would enter the water supply as this process occurred more. Harrison and I furthered our research by creating a 1/2”:1” mockup of our panelized mesh system (see photographs on page 8). This mock-up allowed for us to explore water run-off on sloped surfaces and to design a connection detail which would minimally penetrate the mesh weave (page 8, left column, row 2).
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After we came to our conclusion on our fog-harvesting research, Harrison and I conducted a brief mapping study of the 8 blocks surrounding our site block to find what materials were used for the foundations, facades, and roofs of the surrounding buildings (see above), The buildings which we found most interesting were ones which used a finished wood facade. Our final wood louver system rooted from this research. Moving into massing, Harrison and I wanted our building to actively apply the fog-harvesting research we had concluded. Our massing places two buildings on opposite ends of the site, one on the North end along the street and one on the South end in the back. As the floors rise, each floor plan rotates approximately 2.5 degrees towards the opposing building (see plans on page
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10). The floor-to-floor plan rotation creates a two-mass funnel. As the fog rolls in from the west, the two masses funnel the fog in between the buildings, where the panelized copper system harvests the fog’s water droplets (copper represented below by white trace paper). The buildings use skip-stop elevators, allowing access to three twostory lofts every other floor (see plans and sections on pages 10 and 11). Utilizing two-story lofts allows for narrow housing units (18’ wide) while maximizing square footage and the amount of natural lighting for every unit. Simultaneously, the loft openings in each apartment promotes the buildings’ floor-to-floor rotation (see interior render on page 12).
Section Perspective
Section Cut
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Concluding our project, the Fog Funnel still needed a mixeduse program. Simultaneously, the problem of copper runoff entering the water supply discovered in our initial mesh research still remained and needed a solution. As stated before, Fog Funnel sits next to the Betty Ong Rec Center and replaces its playground and basketball court. Conscious of this, I designed a topographic park feature in between the two buildings. This feature was designed by projecting the grid created by the rotating floors onto the ground (see photographs on next pages). Wanting to be mindful of the recreation center, Harrison and I conceptualized a “Nutrition Shop,” a snack bar which would provide healthy and nutritious snacks as a compliment to the recreation center for its users. Within this mixed-use concept, Harrison discovered a process called rhizofiltration. The soil uses this process as a means of purifying impurities (such as copper run-off) out of the water supply, creating clean water for the plants while simultaneously replenishing the nutrients in the soil. This discovery provided a perfect solution to our mixed-use concepts and copper run-off problem. Addressing Fog Funnel’s structural overhang created by the rotating floors, Harrison and I looked to Bjarke Ingles Group’s Vancouver Tower. Along a twisting edge of the building, BIG created a “walking column” system, where the columns are slightly offset from floor to floor, allowing each floor to step out slightly, transferring loads laterally. Harrison and I took this concept and designed a walking shear wall system (see page 13 middle row), where the walls still rest on top of each other, rotating only slightly with the rotation of each floor. Harrison and I collaborated on nearly every design detail throughout the entire project, from the initial fog-harvesting studies through the massing down to the programming. In the copper collection stage, Harrison and I collaboratively researched and tested the copper mesh, and I designed the connection detail and constructed the physical 1/2”:1” mockup. We both participated in gathering info and creating our abstracted mapping study on page 9, and collaboratively designed and built our initial massing model. I created the digital model seen in the plans, sections, and renders, and I post-processed the plans and sections (Harrison postprocessed the renderings and created the diagrams on this page). Additionally, I designed and constructed the 1/8”:1’ scale physical model seen on the following pages (the white site model was constructed by the studio as a whole), while Harrison created the structural model on page 13.
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Two X Two College of Design | Reiman Gardens, Ames, Iowa ARCH 202 | Spring 2016 Second Year Studio Collaborative Designed with ISU Architecture class of 2019 Two X Two was a studio-wide design-build project based off of SHoP Architect’s “Dunescape.” After researching the College of Design atrium’s usage as a public space, each of the 5 second-year studio sections designed a 5’ x 20’ strip. The sections collaborated, forming the strips into one, undulating surface constructed of almost entirely 2” x 2” pieces of lumber (in addition to a few 2” x 4” pieces for structural stability). Once the surface was finalized, the entire studio broke up into teams to create and annotate construction documents, fabricate individual pieces of lumber to cut and drill, package the individual pieces based on layers, and assemble the layers into chunks to be transported and drilled together. Following Two X Two’s installment in the Design atrium, the project was transported to Iowa State University’s Reiman Gardens. Throughout the design, documentation, and construction process, I was heavily involved in documentation process, as well as part of the construction process. The documentation process included breaking up each layer (seen labeled to the right) and labeling each piece on that layer. On a separate sheet, each piece’s lengths, angles, and screw locations were dimensioned for the fabrication team. I also helped around with bundling pieces and assembling layers.
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Photo credit to ISU Daily photographer
Food Hub N 1st Ave. & N 5th St., Minneapolis, Minnesota ARCH 202 | Spring 2016 Prof. Reinaldo Correa Independent work Responding to the diverse food culture of Minneapolis, this project combines architecture with food-focused programming. Seeking to create an interactive, food-focused culture, this building’s program traces the food from growth to consumption. Using Dutch PlantLab’s indoor farming techniques, controlling environments to meet a plant’s specific needs, produce is rapidly grown in the building’s farm, located within the roof superstructure. The produce is harvested, cleaned, and transported to the ground level market where users may pick out their freshly grown vegetables. While the consumer may choose to purchase their vegetables and take them to go, shoppers may also choose to bring their produce to the on-site restaurant. The produce can be turned over to be used as ingredients for whatever menu item the customer so desires. The restaurant chefs will prepare the ingredients to the requested item, and the customer can enjoy their handselected vegetables in all its glory.
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Site Plan with overlaid Ground Plan
Derived from the three individual functions, the farm, the market, and the restaurant, the building plan is composed of three superstructure enclosures, or “pods.” Each of the pods focuses its attention on one aspect of the building’s overall function. The easternmost pod contains the stairs and elevators to the farms in the roof superstructure. This pod, the Learning Center, contains information for clients to learn about how the food is grown, the efficiency of the technology used, and the methods to prepare the produce for sale. The northernmost pod, the Market, is where the customers may see for themselves what the indoor farms can do. The user chooses their produce and brings it to the westernmost pod, the Restaurant. The food is prepared to the customer’s request and brought out for consumption upon its completion.
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Parks Library Iowa State University, Ames, Iowa DSN S 131 | Spring 2015 Prof. Nancy Thompson Independent work
One of the prerequisites for applying into the architecture program was a drawing studio, and one of the projects for said course was an on-site perspective drawing. To assist in accurately scaling the perspective to the page, we cut out frames and wove string into a 3x3 grid, creating 1� x 2� rectangles. The following fall, this drawing received recognition. The drawing was framed by the university and hung in a conference room in Beardshear hall for the academic school year.
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Sensory Observatory Brookside Park, Ames, Iowa ARCH 301 | Fall 2016 Prof. Mikesch Muecke Independent work Deviating from the typical visual observatory, this project’s brief challenges the function of an observatory. Rather than appealing to the visual sense, the sensory observatory seeks to engage the user in the surrounding environment by appealing to the visual, haptic, auditory, and even olfactory senses. Each wing is designed to focus the user’s attention on a singular aspect of the park with physical proximity, by directing visual attention, with the style of design, and with the material palette.
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The Sensory Observatory began with a study of the site as a whole. Upon the initial site visit, two of the most noticeable sensory appeals were the varying visual densities of the site and the different types of sounds throughout the park. Essentially, there were varying degrees of visual density and auditory intensity prevalent throughout the park. My studies at Brookside Park resulted in an abstraction of my findings. The undulating strips represent the visual density of the park, becoming more scattered in areas of high plant density while diminishing in visually clearer areas such as the river or fields. The intense colors, inspired by abstract expressionist painter Helen Frankenthaler, represent the audible intensity throughout the park. A busy road runs along the northern border of Brookside, while another street and a railway run along the southern border, in addition to the scattered baseball fields and parks. Meanwhile, as you explore the center of the park, the intense noises from the trains, vehicles, and people diminish and are replaced with the calm noises of rushing water and rustling leaves.
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The final design incorporated three individually designed wings which followed an overall design scheme. The organic curves of the roof structure compliment the nature which the project is encompassed by. Upon entering the observatory from the East, the user is presented with three different experiences. To the right, a wing enclosed by wooden 2” by 2” pieces of lumber guides you to the end (p18, top image). The lumber points upward as the roof structure opens up, directing the user’s senses upward to the sights, smells, and sounds of the trees. The middle wing cantilevers over the hillside, protruding out
of the trees and over the river. The structural Cor-Ten steel truss-like system reflects the train bridge, which the wing points downstream towards (p18, middle image). This directs the user’s focus to the trains that barrel through several times an hour all day long. The final wing on the left cuts through the hillside, emerging out of the bottom at the water’s edge (p18, bottom image). As the organic stainless steel and frosted glass structure opens up, the grade descends another 3’ 6” under the water level, engaging the user’s visual, auditory, and haptic senses.
Section Cut
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Section Perspective
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Gliding Club and Performance Center Moore Memorial Park, Ames, Iowa ARCH 301 | Fall 2016 Prof. Mikesch Muecke Independent work While combining two entirely unique and seemingly unrelated functions into a single building may seem pointless, impossible, or just plain odd, this project brief had us consolidate an Otto Lilienthal-inspired gliding club with a Chamber Musician Performance Center. The layout must accommodate for the necessary functions of the Gliding Club - a workshop, runway, and classrooms - and of the Chamber musicians - 8 individual practice rooms, storage, and a performance auditorium which seats 50. Furthermore, keeping with the semester theme of ‘Landscape and Architecture,’ the project should engage the surrounding landscape in some way.
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Inspired by the massing of the Sensory Observatory project (see p14), the Gliding Club and Performance Center is made up of separate wings which converge upon each other on one end and extrude away from each other on the other. The initial design, seen through the sketches and section perspective on this page, revolves around the carefully designed performance hall’s sarcophagus-shape. With the exception of the extruding cantilever, which provides a runway for the gliders, the building attempts to engage the landscape with its angled walls and windows. Essentially, the building is as if it’s jammed into the landscape, while the performance center and cantilever protrude outwards.
Section Perspective
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In an effort to simplify the Center from the initial iteration’s complex angles, the building was redesigned using a set of two grids which lay at a 45 degree angle to one another (see p24, top left). This grid repeated itself at different scales in both plan and section, following the same grid vertically as it did horizontally. Cubic masses were formed from these horizontal and vertical grids. Then, so as to prevent the large building from dominating the site, the masses were angled downward in the x- and y- directions making the landscape appear as though it was consuming or overtaking the building. Based on the function of each mass, each volume was then designed to have a certain aesthetic quality. The monumental, orange, concrete entry promotes the intersection of the functions while the green steel frame glass atrium focuses on transparency to promote the other masses. The cross-braced cantilever compliments the structure of the glider frame, and the grid-following panelized concrete emphasizes the boldness of the musicians and their instruments.
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Section Perspective
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Thank You for your Consideration klynsmaj@gmail.com 712.490.2115