Justin Nemshick Portfolio Volume 3.0
This portfolio is a highlight of my career thus far at Marywood Univeristy. The projects include studies in the relationships of the design to context, form, materials, history, and program. The collection of projects to follow have remained the same in concept since they were first designed. However, I believe a project is never finished, and although I have remained true to the main concepts developed in school, the graphic representation technique and style of my projects have evolved with each volume of my portfolio in order to showcase the skills I have been working on throughout my studies.
Justin Nemshick Portfolio Volume 3.0
Additional Work and Info: http://justinnemshick.tumblr.com/ http://www.linkedin.com/pub/justin-nemshick/41/938/4a1 http://issuu.com/justinnemshick
CONTENTS
Shape Transformation An exploration
in the transformation of a shape, scale, and direction.
Painter's Delta Shelter A case study
and proposed addition for Tom Kundig's Delta Shelter.
Runner's Rest Stop A design competition for a runner rest area at Lake Scranton.
Exploding Connections A Studio Design
Build creating connection spaces.
Rare Book Museum A small studio firm design of a museum to display priceless objects in New York City.
Environmental Center A Design
Research studio aimed at an environmental center in Wilkes Barre, PA.
Shape Transformation Opinions of art, and architecture, can vary based upon the viewer. My goal in this design was to create a piece that gives a single person different opinions of an object based upon how they interact with the sculpture. By using a simple shape, the acute angle, I aimed to create something by only changing the scale and direction of this simple form. The final piece created was a shape abstractly resembling different things based upon how a person interacted with or observed the object.
Painter's Delta Shelter
top floor
middle floor
0’
10’
20’
ground floor
Tom Kundig’s Delta Shelter is a unique weekend getaway cabin. The harsh weather of the site calls for flooding conditions, which requires raising the building. This allows for a special experience as you transverse through the building, views are created extending further and further out into the Washington wilderness as you go up each floor. The 360 degree views supplied by large glass windows are not something you always want though. When the weather turns rough, large steel panels slide over the glass through the use of a pulley and gear system referred to as a “gizmo” by Kundig. For the sculpture artist’s addition I proposed, I used the same principles in the design as Kundig and the same “gizmo” to protect the space as well as allow for views of the surrounding terrain. The lower floor takes inspiration from another one of Kundig’s designs, the Chicken Point Cabin. The large door required for a sculpture artist opens with the same “gizmo” as the giant door in the Chicken Point Cabin. This supplies the artist with a connection to nature as well as a space to get works in and out of the work space.
massing sketches
0’
3’
10’
20’
south elevation
Runner's Rest Stop When in the woods there is a unique experience you feel with nature as you transverse through it. The sun shines through trees creating shadows, and the openings where light makes it through supply you with glimpses of the sky. The Runner’s Rest Stop creates an architectural experience symbolic of this experience. The locally harvested stone is symbolic of earth and acts as flooring. Connecting to the stone floor, like trees connect to the earth, is a pine wall with openings that allow light in through slats. Like trees allow light through their leaves these slats do the same, creating lighting experiences similar to running in the forest. The final symbolic gesture is the glass roof. This relates to the sky, and although it will provide direct views of the sky in the spring and summer the roof will collect leaves over the fall and winter. This once again gives the occupant the experience of and obstructed view of the sky.
a
0’
3’
12’
section a 25’
west elevation
north elevation
south elevation
Exploding Connections
First Friday in Scranton provides artists with a time to display the work they create to the local community on a temporary stage. As a part of the HF’11 studio, we dedicated the design build studio to creating a space that can easily be shipped anywhere in Scranton, hide and protect the artwork inside, and open to create a multipurpose space when needed. The program included shelves to hold art work, benches to sit and gather around, and a podium to give lectures at. The final design was the “Exploding Box.” The dimensions when closed, created a 4’x8’x8’ box. To get it to the site it broke down into 12 separate 4’x4’ pieces. This allowed shipping and site assembly to be easily accomplished by bolting the 12 pieces into 4 sections that close together as a box. The materials chosen for the box are 100% donated or recycled. The exterior skin is created with recycled bathroom patrician board, and donated environmentally friendly poplar plywood. The stud frame of the walls was constructed with locally harvested poplar 2x4’s. The footing of the structure was created out of scrap patrician board from cuts we made. Finally, all the bolts and screws were donated to the design.
To light the space at night we gathered old LED flashlights and placed them inside tubes. The tubes were the old center from the plotter paper in Marywood’s CAD lab. By putting the lights inside these tubes a glowing effect was created and it was able to light the entire space. The structure, upon use, “exploded” creating an exploded connection space for people to interact. The explosion was accomplished through a series of movements the structure was able to accomplish. By pulling each of the four pieces out a large central gathering space is created. In order to stand up, these pieces also have walls that twist and turn. When this happens the four pieces become independent, but create one common interior connection space. Each of the four spaces served different purpose. One section acted as a podium. A second section acted as a wall to display artwork. The final two sections of the structure acted as gathering spaces and had benches that acted as structural support and a place to relax. Each of these additional pieces were able to be stored within the frame work of the walls when the structure was closed for protection.
Rare Book Museum
Located in the Chelsea district of New York City, the site was on a location full of history. The site itself was Clement Clarke Moore Park and the former location of Moore’s Georgian style mansion. Clement Clarke Moore was a wealthy man in NYC and the author of The Night before Christmas. Being that the site was a park in his honor we felt it was important to honor his tradition as well as honor the precious green space the neighborhood loved. The program of the building was a Museum for the Chapin Library of Rare Books at Williams College. The main problem needing to be addressed was the flooding issues the site was prone to since Hurricane Sandy. The massing of the building went through a series of stages starting with a rectangle, which was a popular shape of the Georgian Style. It than was divided into three spaces for program purposes. Finally, it included a curved wall at the intersection of 10th and 22nd as a symbolic gesture to the turning pages of a book, which is the main item to be housed in this museum.
Straight Edge Design Bart Bajda Justin Nemshick Nick Tomasetti
10’ 0’
30’
70’
The skin of the building is a series of horizontal aluminum slats. The horizontal slats twist to allow light in where windows are. The large lobby with the curved curtain wall is constructed with a specialized structural glazing system. It is capable of spanning up to 80 feet in height while also twisting and turning, and acts as the highlight of this design. The building has a complex program and circulation scheme. The three separate buildings allow for usage of the complex at different times even when the museum is closed. The bridges allow for private connections between the three spaces. As complex as the program is visitors always end up back in the main entrance lobby where they exit through the gift shop. The building aims to achieve LEED Certification. Some of the features include solar panels on the south horizontal slats, exceptional rainwater retention systems, and fly ash concrete.
entrance lobby
10th ave elevation
west 22nd street elevation
In a design like this it is important to give back to the neighborhood. There is a park cafe, community room anyone can rent, a playground, and a park that are all public spaces. It is also important to remember local traditions and give places, like the park in the rendering, to the neighborhood to continue carrying on traditions like the annual reading of The Night before Christmas on Christmas Eve at the park.
Environmental Center
Before designing an environmental center for the Clean Water Coalition, I felt it was important to study the natural purification process water undergoes. When water carries dirt the sediment collects in lower areas as well as in corners. The studies below show sediment collects in a series of different situations. These studies were conducted by designing certain features that might be important in the site design and then melting wax with dirt to see where the dirt collects. An early design decision I made was to make the entire site an artificial wet land park. This is because wet lands are a natural purifying system of water and as sediment collects the wetland will change. The layout of the buildings, paths, and land areas within this wetland evolved through the studies below as well as the diagram to the left. The diagram to the left determined the placement of buildings, interior walls, exterior walls, and depressions in the wetland landscape. The driving factors in the diagram to the left were determined by surrounding factors of the site, including drainage, pedestrian flow, vehicular flow, the 10 year flood plain, views, and topography.
design research on sedimentation
massing studies
0’
30’ 10’
70’
section a
section b
section c
wetland diagram
Once the locations of the walls were determined, the window heights and locations were determined. The locations of windows were placed in areas that do not allow a direct view to the river. Whenever a guest looks out a window they will have a direct view to an exterior wall where vegetation in the wet land will eventually grow as sediment collects. The window heights were determined based upon program. If the program of the room calls for people standing the windows are four feet high and go up to the ceiling. If the program calls for sitting the window will go from the ground up to four feet.
The material chosen for the design was cast in place concrete. The reason for this was to insure the walls would always remain there. The Clean Water Coalition goes into places temporarily, raise awareness to clean a body of water, and then move out. In order to insure the community will not forget why the coalition was here the concrete walls will always remain within the park to remind the people they need to protect and clean this natural resource. This project was an exploration of site context, materials, programming, and relations to the human scale. In addition, it was a study of the power of memory, the abilities of water, and the connection of a city to a forgotten river.
Justin Nemshick 570.956.9572 jnemshick@m.marywood.edu http://justinnemshick.tumblr.com/ http://www.linkedin.com/pub/justin-nemshick/41/938/4a1 http://issuu.com/justinnemshick
Justin Nemshick 570.956.9572 jnemshick@m.marywood.edu