Jonathan M Warner | Undergraduate Portfolio

JONATHAN M. WARNER Undergraduate Portfolio

EDUCATION

JW

J O N AT H A N M WA R N E R

CONTACT

Pursuing a M. Arch II degree at SCI-Arc to deepen my design understanding and prepare for professional practice. I have an in-depth understanding of technological and computational design strategies as well as interests in experimental urbanism and interactive design.

I aim to explore more of these interests and develop new ones as I progress in my architectural education and professional career.

EMPLOYMENT

jmwarner518@gmail.com

ABOUT

Hanbury Summer Scholar- One of three students awarded. Provides housing and a unique learning/working experience by reaching to the best and brightest students from around the nation and abroad.

Seoul Biennale of Architecture and Urbanism - As an integral member of the student contingent, designed a series of urban speculations in Seoul, South Korea, published in a book and presented at the Seoul Biennale of Architecture and Urbanism International Studios Symposium.

Rhino3D Grasshopper Revit AutoCAD Cinema4D

VRay Illustrator Photoshop InDesign Arduino

AWARDS & RECOGNITION

https://issuu.com/jonathanwarnerarch

PROFICIENCY

SILO AR+D Charlotte, NC Research Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . [June 2017 - August 2017) Designed, produced drawings, and rendered upcoming project the firm has developed for mixed-income housing in Charlotte as well as collaboration in project, Effervesce.

UNC Charlotte School of Architecture Charlotte, NC Research Assistant . . . . . . . . . . . . . . . . . . . . . . . . . [January 2017-May 2018) Program, analyze, and research computational relationships in architecture, specifically in robotics and digital fabrication. Contributed to the planned symposium and publication Dense Emptiness.

PORTFOLIO

PUBLICATIONS Architect Magazine - May ‘18 Seoul Studio 2017 - July ‘17 Business Equality Magazine - June ‘17

University of North Carolina - Charlotte . . . . . . . . . . . . . . . . . . .(2014-2018) Charlotte, NC Bachelor of Arts in Architecture – Arts + Architecture Honors Program Cumulative GPA: 3.87 AIAS Historian (2017-2018) Hanbury Norfolk, VA Summer Scholar/Intern . . . . . . . . . . . . . . . . . . . . [June 2018 - August 2018) Awarded to a student who would provide the firm with a two-way benefit to learn from as well as provide insight into the practice of architecture.

1505 Monument Hill Rd. #2125 Charlotte, NC 28213

+1 (704) 249-0542

Southern California Institute of Architecture (SCI-Arc) . . . . (2018-2020) Los Angeles, California Masters of Architecture II Cumulative GPA: Pending

AIA Small Project Design Winner - Lead student designer responsible for designing, prototyping, fabricating, constructing, and installing the project Effervesce recognized nationally as a project that evokes memory of the lives lost at the Pulse nightclub shooting.

AIA Charlotte Divine Detail Citation Award - An award that recognizes detail in design and innovation awarded to my team for the project Effervesce.

Excellence in Critical Exploration - Awarded to an undergraduate student whose body of work is notable for the speculative nature of its methodology.

SoA First Year Design Excellence Award – One of four students recognized at the conclusion of their first year for general excellence in design studio and architectural education.

References upon request.

Arts and Architecture Honors Program Research/Travel Grant – Based on essay submission, I was awarded a financial grant to fund my research/travel for projects and other curricular activities. Awarded twice.

SELECT UNDERGRADUATE WORKS UNC Charlotte School of Architecture 2014-2018

|01-12|

EFFERVESCE

WINNER OF AIA SMALL PROJECT DESIGN COMPETITION

Reflection through dematerialization.

|13-28|

PV=NRT

STUDIO PROJECT / COTE TOP 10 COMPETITION Thermal expansion as kinetic facade and programmatic temporality.

|29-38|

INFRA-STRUCTURED WAREHOUSE

STUDIO PROJECT Exploring structural and infrastructural relationships in Dallas, TX.

|39-48|

COMPUTATIONAL DANCE

INDEPENDENT RESEARCH / HONORS THESIS Studying notations of movement through computation.

|49-62|

LIVING ON THE GROUND

SEOUL BIENNALE OF ARCHITECTURE & URBANISM Investigating stratified urban landscapes in Seoul.

01

EFFERVESCE

EFFERVESCE EFFERVESCE considers how design can reflect on the tragic event of the 2016 Orlando nightclub shooting. Rather than a monument, this memorial is an encounter and an event -- a place of interaction and contemplation.

Appearing as a filigreed and dematerializing wall, it inhabits middle of the site allowing viewers to circumnavigate the structure. The convex shape of each wall surface subtly captures space without occupying it, while the curvature establishes a focal zone within the field. Within this zone are 49 vessels suspended in the porous structure, 1 for each life lost during the shooting. Upon closer inspection, one discovers that these objects are in fact mechanisms: a plunger, siphon and wand, modeled on a simple toy bubble gun. Each bubble blown is a fleeting yet vivid reminder of a life lost, and perhaps, a moment of joy.

AWARDS AIA Small Project Design Competition Winner AIA Charlotte Divine Detail Citation Award PUBLICATIONS Small Project Practitioners Review 2017 : Renewal BEQ Magazine June 2017 : Millennial Spotlight

Promo Video

Orlando, FL In collaboration with SILO AR+D and UNC Charlotte

02

03

EFFERVESCE

Left: Section. Describes interaction between humans and bubble mechanism.

Right: Elevation. Illustrates the dematerializing effect of acrylic inserts and structural aluminum.

04

05

EFFERVESCE

Left: Photograph. Entire wall construction consisting of bent aluminum frame and clear acrylic panels. Right: Photograph. Acrylic layering effect which subtly captures space.

06

07

EFFERVESCE

Photograph. Within the bustling convention environment, Effervesce created moment of playful memory by emitting bubbles into the convention space. These bubbles created a spectacle which drew users to interact with the wall and to commemorate the lives of the people lost in the Pulse Nightclub Shooting.

08

09

EFFERVESCE

Left: Mechanism Detail. Illustrates detailed construction of bubble blowing mechanism integrated into the construction of the wall. Right: Photograph.

Interaction between user and bubble mechanism.

10

11

EFFERVESCE

Photograph. The size and placement of the bubble mechanisms provides a mode of interaction for multiple people of multiple ages at the same time. The acrylic and aluminum dual-gradient effect provides intersecting layers of fenestration which provides a ephemeral image of a person interacting with the wall on the opposite side.

12

13

PV=nRT

PV=NRT As an approach to a kinetic facade system, PV=nRT begins to speculate a kinetic facade system which relies on the Ideal Gas Law as a way to shade and provide programmatic flexibility for New Inc. headquarters in New York City.

The facade is created by combining two systems of glazing, a spider curtain wall as well as a storefront system which exists on the floors of the New Inc. Building in New York City. Each floor is comprised of six glass chambers which house 21 elastic ETFE balloons which block nearly all direct sunlight. As these chambers heat up, the change in temperature causes the gas inside of the volume to expand the balloons, filling the chamber with the ETFE shading balloons through a buoyancy effect. This system depends solely on the heat that is absorbed by the building envelope and gravity which creates a passive kinetic system.

COTE TOP 10 COMPETITION

Animation

New York, NY

14

PRESSURE LOGIC

01

02

01

PRESSURE LOGIC LOGIC PRESSURE

01

PV=nRT

01

FEW SHAPES // HIGH PRESSURE

FEW SHAPES // LOW PRESSURE

FEW SHAPES HIGH PRESSURE FEW // SHAPES // HIGH PRESSURE

FEW SHAPES LOW PRESSURE FEW // SHAPES // LOW PRESSURE 04

03

MANY SHAPES // LOW PRESSURE

MANY SHAPES // HIGH PRESSURE

MANY SHAPES LOW PRESSURE MANY // SHAPES // LOW PRESSURE

GRAVITY

15

GRAVITY

E

GRAVITY

GRAVITY

To take advantage of these properties of pressure, I defined a 4’ x 12‘ x 3’ volume in which ETFE shading device lies into. This volume will provide enough space for a ETFE balloon to expand within the static volumes and create a nearly opaque panel through color and frit patterns. This panel would then be repeated along the surface of the building in order to create a completely cohesive facade panel system.

MANY SHAPES HIGH PRESSURE MANY // SHAPES // HIGH PRESSURE

To take advantage of these properties of To take advantage of these properties of pressure,pressure, I defined Iadefined 4’ x 12‘ xa 3’ 4’ volume x 12‘ x 3’involume in which ETFE shading lies into. This which ETFEdevice shading device lies into. This volume will provide enough space forspace a volume will provide enough for a ETFE balloon to expand within the static ETFE balloon to expand within the static volumes and create a nearly volumes and createopaque a nearlypanel opaque panel through color and frit patterns.

This panelThis panel through color and frit patterns.

GRAVITY CREATES HIGHER PRESSURE would then be repeated along the surface would then be repeated along the surface of the building in order to create a comof the building in order to create a completely cohesive facade panel system. pletely cohesive facade panel system.

WEST ELEVATION

WEST ELEVATION

01

02

9AM 9AM 12PM 12PM 3PM 3PM All balloons are fallenAll toballoons bottom of are chamber fallen toallowing bottom of chamber allowing At noon, the sun begins At noon, heating theup sun balloons beginsfrom heating the up balloons from Around the3 PM, the sunAround begins3hitting PM, full sun penetration into full the sunspace penetration without into solar theheat space without solar top heat sparking the initiation top sparking of the inflation the initiation of theof the inflation of the particular point whichparticular heats up poin the gain. gain. balloons going into the balloons eveninggoing with into direct thesolar evening heatwith direct solar cantly. heat At this point the cantly. chambers At thisbp providing near complete providing shadenear to th

04

03

6PM 12PM en acade to bottom at a of chamber allowing Around 6PM, the chambers At noon, onthe thesun sunbegins spot are heating up balloons from the bers into the signifispace without solar nearly heat completely fulltop blocking sparking all solar the initiation heat gain of the inflation of the o fill up from the intense westballoons sun in the going evening. into the After evening this with direct solar heat erior space. point the sun begins to set and the balloons return to their original state.

3PM Around 3 PM, the sun begins hitting the facade at a particular point which heats up the chambers significantly. At this point the chambers begin to fill up providing near complete shade to the interior space.

6PM Around 6PM, nearly comple from the inten point the sun their original s

Left: Inflation Typology. 1. Few shapes low pressure. 2. Few shapes high pressure. 3. Many shapes low pressure. 4. Many shapes high pressure .

Right: Inflation Diagram. 1. 9AM 2. 12PM 3. 3PM 4. 6PM

16

17

PV=nRT

Building Elevation

Left: Section. Illustrates relationship between kinetic facade and users through use of inflatable space. Right: Elevation. Floor to floor relationship between inflation balloons and overall facade aesthetic.

18

19

PV=nRT

Physical Model. Model showing the building within the greater context of Bowery in the Lower East Side of Manhattan. This model specifically explores aesthetic and scalar relationship to the New Museum designed by SANAA a world renowned contemporary art museum.

20

C CHAMBER AIR CIRCULATION

07 01

ER VENTILATION //

PV=nRT

the nature of a closed glass box, there o be measures taken in order to consider ount of heat gain within the summer s. In order to ventilate hot hair out of the m a series of louvers are opened in order w air to pick up velocity and exit through rapet of the facade. This keeps the r cool and allows air to be pushed h the air purification system and back e building HVAC system.

02

R CONVECTION // winter, these louvers are used to trap ithin the chamber which creates a warm viting space towards the front of the g. This allows the balloons to still expand the chamber in the winter months.

21

OGRAM BALLOON AIR CIRCULATION

08

01

T BUFFER //

space-making balloons also begin to react imate change. In the summer these ce-making balloons are used as a buffer to p heat from inside the building from getting high. These balloons also provide a space re natural filtered air are within the building one can get the effect of being outside e inside.

02

NVECTION SPACE //

in, in the winter months the space-making oons would provide a warm and inviting ce. This space uses the convection from the t within the closed glass chamber and uses heat to expand the balloon within the ding with help of a pneumatic system.

Left: Static Chamber Air Circulation. 1. Summer cooling. 2. Winter heating.

Right: Inflatable Space Air Circulation. 1. Summer cooling. 2. Winter heating.

22

23

PV=nRT

Rendering.

Inflatable spaces provide occupants a place for thermal comfort and programmatic flexibility. These temporal spaces could house programs such as art galleries, co-working spaces, break rooms, and tailor towards specific cultural events which educate the community on contemporary art.

24

25

PV=nRT

Left: Wall section perspective. Details construction of facade retrofit showing roof and typical floor detail. Right: Wall section perspective. Details construction of facade retrofit showing soffit and ground detail.

26

27

PV=nRT

Rendering. The combination of all inflatable elements creates a flexible space that has interesting qualities of layered volumetric light and provides art galleries with temporary exhibition space.

The interaction between air and heat could change within a single museum visit making the museum just as dynamic as its art.

28

29

INFRA-STRUCTURED WAREHOUSE

INFRA-STRUCTURED WAREHOUSE Distribution centers are highly dependent on the shipping and receiving of goods through freight lines that exist within an infrastructure of a city. As a course of action on the site, the site was viewed as an extension and connection of these infrastructures to a site removed from these influences.

The building form begins to respond to trajectories of truck routes that enter the site. The form is bent to provide an axis in which pedestrians and truck routes exist upon. Program elements are aligned along this axis and allow circulation on the long side of the building. Along this axis, a surface emerges which begins to pull off the ground and become a screen on the building. This screen provides a layer of shading for the facade and begins to create public space through canopies around the building. The screen facilitates the creation of space, circulation, programmatic, elements, and emphasizes trajectory of routes through a gestural but space-making means.

Dallas, TX

30

31

INFRA-STRUCTURED WAREHOUSE

Top. Latitudinal section. Illustrates multi-leveled interaction which allows occupants to view all stages of distribution process. Bottom.

Longitudinal section. Illustrates dynamism of exterior screen which directs trucks to distribution area and provides interior of a extremely long structure facing due south.

32

33

INFRA-STRUCTURED WAREHOUSE

Left: Structural isometric. Exploded structural drawing showing all layers PARTIAL ELEVATION of steel and precast concrete construction.

Partial Elevation. Shows 1/2” Right: = 1’ - 0” relationship between warehouse worker and scale of copper aluminum screen.

34

35

INFRA-STRUCTURED WAREHOUSE

Physical Model.

Structural bay model which explores the connections between different structural elements as well as provide distinction between material choice for different programmatic spaces which exist within the warehouse volume. The warehouse is made up of 25 of these bays.

36

37

INFRA-STRUCTURED WAREHOUSE

Section Perspective. By combining different levels of warehouse space, one is able to administrate all aspects of the distribution process.

This section perspective illustrates how the warehouse is activated through products, workers and other infrastructural elements which make up a large distribution center.

38

39

COMPUTATIONAL DANCE

COMPUTATIONAL DANCE Through the medium of dance, I explored how a time-based medium could be implemented into architectural design as an interactive and dynamic component.

This research will facilitate discovery of how interactivity can be incorporated into architecture, to create a dynamism that does not exist within an existing typology, to create a time-based architecture.

In order to understand this topic more thoroughly, studies of notation of movement were implemented in order to break movement down into consistent parameters. The products of this research explore how these notations could start to hint towards an architectural product through mediums of photography, digital modeling and movement tracking.

This is an ongoing research endeavor as part of my honors thesis presentation.

Honors Thesis

Siteless

40

41

COMPUTATIONAL DANCE

Left: Isolated frames. Frames are isolated in order to understand movement of specified time interval. Right: Linear progression. Over this time interval, movements are overlapped as a linear representation of time and speed.

42

43

COMPUTATIONAL DANCE

Long exposure photographs. To collapse time into a single representation, long exposure photographs were taken in order to better understand the overall movement of my body in space through overlapping images and using light tracking to provide movement paths.

44

COMPUTATIONAL DANCE

POINT POINT POINT + POINT LINE + LINE POINT + LINE +POINT +SURFACE + LINE SURFACE ++LINE SURFACE ++LINE SURFACE + SURFACE + SURFACE In order Into order understand to understand In order how to different how understand Indifferent order parts tohow of understand parts Inmy different order body of my tointeract understand how body parts Indifferent order interact of with myto how each body understand with parts different interact each of my how parts body withdifferent each interact of my body parts withinteract each of my with bodyeach interact with each other; point, other;line point, , and other; linesurface , and point, surface are line other; used , and are point, toused surface represent other; line to represent are , and point, how used surface my line other; to how body represent , and are my point, is surface used body line how to is represent are , my and used body surface tohow isrepresent are myused body how to isrepresent my body is how my body is movingmoving through through mymoving joints myand joints through themoving and extents my the joints through extents of moving my andlimbs of my the my through joints extents to limbs create moving and my to ofthe create a my joints model through extents limbs aand model toof the my create my joints extents limbs a and model of tothe my create extents limbs a model toof create my limbs a model to create a model that illustrates that illustrates a movement that a movement illustrates sequence. that asequence. movement illustrates that sequence. aillustrates movement that asequence. movement illustratessequence. a movement sequence.

Point Point Point Point Point Point From point Fromtracking point tracking From each point ofeach mytracking joints of From myand joints point each limbs and tracking of From my islimbs tracked point joints each is tracking tracked and and of From my limbs a point joints and point each is atracked isof tracking and point my limbs is joints and each isaand tracked point of limbs my is joints and is tracked a and point limbs is and is a tracked point is and a point is createdcreated over anover interval created an interval of five over points ofan created five interval per points over second. of per created five ansecond. interval points overper ofan created five second. interval points over ofper five ansecond. interval points per of five second. points per second.

Line Line Line Line Line Line After points After are points established, are After established, points theare points After the established, points are points connected After are are the established, connected points points through are are After through established, the connected a line points points which a line are are through the which established, connected points a line arethrough which the connected points a line are through which connected a line through which a line which represents represents both a joint both represents and a joint a limb. and both represents aLimbs a limb. jointremain Limbs and both represents aremain limb. aacontinuous joint Limbs aand both continuous represents remain aaline limb. joint and Limbs aand line continuous are both aand remain limb. aare joint Limbs line aand continuous and remain a limb. are Limbs a line continuous and remain are line a continuous and are line and are represented represented as a pipe represented as on a pipe the model. on the as represented amodel.

Points pipe onPoints are the represented as then model. aare pipe connected then on Points as the connected represented a model. are pipe from then on aPoints from joint the connected asmodel. aare pipe joint then Points on from the connected aare model. joint thenPoints from connected aare joint then from connected a joint from a joint to a limb to creating a limb creating a to connection a limb a connection creating between to a alimb between connection the creating limb tothe aand limb between limb a connection the creating and joint. to the the aalimb joint. between connection and creating the thejoint. between limb a connection andthe thelimb joint. between and the thejoint. limb and the joint.

Surface Surface Surface Surface Surface Surface Lastly, Lastly, a sweeping a sweeping surface Lastly,surface aissweeping applied Lastly, is applied tosurface the a sweeping movement toLastly, the is applied movement surface a sweeping ofto each the Lastly, isofapplied limb movement each surface asugsweeping limb tois the of sugapplied each movement surface limb to the is sugofmovement applied each limb to the of sugeach movement limb sugof each limb suggestinggesting swift and swift flowing gesting and flowing movement swiftmovement and gesting over flowing swift the over movement gesting sequence. and theflowing sequence. swift over and movement gesting the flowing sequence. swift over movement and theflowing sequence. over movement the sequence. over the sequence.

SURFACE SURFACE + LINE + POINT LINE SURFACE + POINT + LINE SURFACE + POINT+ LINE SURFACE + POINT + LINE SURFACE + POINT+ LINE + POINT

+ +

+

+ + ++

++

++ + +

++

+ + ++

++

+ = =+

=+

=

=

=

MOTION TRACKING MOTION TRACKING NODES MOTION NODESTRACKING MOTION NODES ISOLATED TRACKING ISOLATED LIMB MOTION NODES MOVEMENT LIMB TRACKING MOVEMENT ISOLATED NODES MOTION LIMBTRACKING MOVEMENT ISOLATED ISOLATED NODES LIMB ISOLATED JOINT MOVEMENT ISOLATED MOVEMENT JOINT LIMB MOVEMENT ISOLATED MOVEMENT ISOLATED JOINTLIMB MOVEMENT ISOLATED COMBINED MOVEMENT COMBINED JOINT JOINT/LIMB MOVEMENT ISOLATED JOINT/LIMB MOVEMENT JOINT COMBINED MOVEMENT ISOLATED JOINT/LIMB JOINT COMBINED MOVEMENT SURFACE MOVEMENT JOINT/LIMB SURFACE AND COMBINED PIPE MOVEMENT AND TRANSLATION JOINT/LIMB PIPE SURFACE TRANSLATION COMBINED MOVEMENT AND PIPE JOINT/LIMB SURFACE TRANSLATION MOVEMENT AND INTERVAL PIPE SURFACE TRANSLATION INTERVAL CONNECTION AND CONNECTION PIPE SURFACE TRANSLATION INTERVAL AND CONNECTION PIPE TRANSLATION INTERVAL CONNECTION INTERVAL CONNECTION INTERVAL CONNECTION

45

Point, Line, and Surface. In order to understand how different parts of my body interact with each other; point, line , and surface are used to represent how my body is moving through my joints and the extents of my limbs to create a model that illustrates a movement sequence over time.

46

COMPUTATIONAL DANCE

FRAME ISOLATION

47

FRAME ISOLATION OUTLINE

FRAME ISOLATION OUTLINE3-D TIME INTERVAL

FRAMEOUTLINE ISOLATION 3-D TIME INTERVAL LOFT

OUTLINE3-D TIME INTERVAL LOFT

3-D TIME LOFT INTERVAL

LOFT

Body lofts. In order to understand the transition between movements in a sequence of choreography, a loft was applied to a series of snapshots and then modeled in such a way that it provides the rest of the frames that fill between in. These lofts also provide a sense of a movement as an object without external factors.

48

49

LIVING ON THE GROUND

LIVING ON THE GROUND How might evolutionary and conflicting behaviors in the city inform innovative and ecologically sensitive design?

Investigating the behavior of urbanism in the city of Seoul offers an extremely stratified and adaptive urban landscape. This urban fabric is often expressed through physical separation and historical isolation; for example the urban spectacles of Seoul Station and Namdaemun. Through decoding the inherent behavior, implanted artifacts exaggerate stratification while a new landscape creates ripple effects over time.

This work attempts to regenerate such disruptions and project an ever-evolving ecosystem not only of Namdaemun Market but throughout the extents of Seoul megalopolis PUBLICATION Seoul Studio 2017 EXHIBITIONS Seoul Biennale of Architecture & Urbanism International Studios Symposium UNC Charlotte School of Architecture International Studios Exhibition

Publication

Seoul, South Korea In collaboration with Doug Cao, Merrick Castillo, Chris Pope, Ibha Strestha, Brittany Bataille, & Bekim Sejdiu

50

51

LIVING ON THE GROUND

Left: Subway stratification. Illustrates multilevel stratification in Seoul subways along with human path. Right: Market stratification. Illustrates multilevel stratification in Namdaemun market along with human path.

52

53

LIVING ON THE GROUND

Aerial rendering. On an urban scale, the introduced landscape begins to morph Namdaemun Market into a economical ecology which changes the way products are produced and distributed throughout the city.

Artifacts which reflect the market provide a mode of learning about it’s rich history and fabrication.

54

55

LIVING ON THE GROUND

Left: Vertical landscape. Right: Horizontal landscape. These landscapes set up a network within Namdaemun market that provide a continued infrastructure which will facilitate contemporary growth and provide manufacturing spaces for market stalls.

56

57

LIVING ON THE GROUND

Exhibition.

The international; studios exhibition presented the work in a speculative manner by forcing viewers to sit on the floor to view the works. This speculates how multiplied grounds can even been seen within a gallery space by allowing the ground to facilitate a programmatic shift.

58

Light Wells 03

Structural Frame 04

02Interior Walls

LIVING ON THE GROUND

Mirrored Cladding 01

59

Left: Artifact construction. 1. Chrome aluminum 2. Faceted aluminum inner shell 3. Fenestration 4. Steel space-frame Right: Artifact in context. The artifacts are used to reveal history of Namdaemun market while reflecting its current conditions.

60

61

LIVING ON THE GROUND

Rendering. The mirrored artifacts not only reflect existing conditions but also define space within the flexible market street. They can provide space for exterior eating, selling of goods, as well as provide a place to learn the history of what exist around it. In contrast, they still stand as artifactual objects.

62

JONATHAN M. WARNER jmwarner518@gmail.com