Selected Works | John M. Wightman by John Wightman

SELECTED WORKS JOHN WIGHTMAN

JOHN WIGHTMAN Architectural Designer | Artist Rochester, New York 315 - 879 - 8542

johnwigh@buffalo.edu johnwightmanarc@gmail.com

EXPERIENCE 2017- Present Teaching Assistant ARC 101 Studio | Coordinated by Matt Hume & Karen Tashjian | University at Buffalo, B/A+P Sculpting the freshman class through rigorous design practice, as well as assisting students with full scale construction and documents.

Graphic Illustrator | Artist

EDUCATION 2015 - 2018 Master of Architecture Situated Technologies Research Group School of Architecture + Planning | University at Buffalo, SUNY

Master of Fine Arts Media Arts Production Department of Media Study | University at Buffalo, SUNY

Freelance | Independent Constructing compelling images for clients, including visualizations for B/a+p Hayes Hall, the Garlapo residence and the redesign of the Buffalo outer harbor.

2015 - 2017 Design & Research Assistant Joyce Hwang Day to day responsibilities included design development, documents and representational drawings. Other responsibilities included the full scale construction of Bower Project

Co-Coordinator | Assistant Thesis | OSTINATO: A Sonorous Investigation & Intervention In fulfillment for the Master of Architecture + Master of Fine Arts degrees Chair: Laura Garofalo | Committee: Jason Geistweidt, Matthew Hume

2010 - 2015 Bachelor of Science in Architecture School of Architecture + Planning | University at Buffalo, SUNY Cum Laude Study Abroad | Ireland | Summer 2013

Bachelor of Art General Studio Department of Visual Studies | University at Buffalo, SUNY Cum Laude

SKILLS

Media Workshops | Coordinated with Nick Bruscia | School of Architecture + Planning Responsible for design and coordination of semester workshops in Graphics and 3D Models. Tutorials included program demonstrations for Photoshop, Rhino 5 and Vray

2014 Intern Bergmann Associates, Inc. Responsible for design development, drawing documentation and representation for UB Architecture Hayes Hall, Rochester Bus stations and Wegman’s facilities

2012 - 2016 Technician Fabrication Lab | University at Buffalo, School of Architecture + Planning Responsible for day to day editing and programming files for 3-Axis CNC router, laser cutters, and FDM 3D printing.

AWARDS

Adobe Photoshop CC

Vray

Adobe Illustrator CC

AutoCAD

Adobe InDesign CC

Arduino | C++

Adobe Premiere CC

Audacity

Rhino 6

Sketching

Grasshopper

Model Making

2016

2014

Second Place AquaShell

Second Place Vibrato

IFAI Fabric Structures Design Challenge

City | Life Senior Design Competition

2015 Dean Scholarship Recipient School of Architecture + Planning

Second Place Overall

GRoW Home Department of Energy Solar Decathlon Deconstruction Team

Main Exhibition Tubular ‘City of Night’ Art Festival

2013 Honorable Mention Urban Plexus ARA- Home 2049 International Competition

Curriculum Vitae | Index

AquaShell

(5)

Crescendo

(13)

Ostinato

(23)

Slider Shingle

(33)

Tubular

(43)

Vibrato

(51)

Olympic Pool Stadium | Community Hub Masten Park | Buffalo, New York Second Place 2016 IFAI Design Competition

Reflection Space Teaching Assistant | Project Coordinator

Sonorous Investigation & Intervention Thesis

Architectural Shingle Ceramics Workshop | Boston Valley Terracotta

Gestalt | Spatial Installation Silo City | Buffalo, New York Main Exhibition at 2014 â&#x20AC;&#x2DC;City of Nightâ&#x20AC;&#x2122; festival

Social Housing Complex | Theatre Space Elmwood Ave | Buffalo, New York Second Place 2013 City/Life Design Competition

Visualizations

(61) Garlapo Residence | HUME Projects, LLC. Hayes Hall Renovations | B/A+P Buffalo Outer Harbor | South Buffalo Common Council

Rendered West Exterior Elevation

Selected Works : AquaShell

AquaShell Olympic Pool Stadium | Community Hub Masten Park | Buffalo, New York ARC 605 | N. Bruscia Fall 2015

A gridshell stadium designed to house an Olympicsize pool. An extension of the natural environment generates a hub for the surrounding community.

From an extensive study of gridshell designs, AquaShell relies on the combination of two systems to create a natural space for housing an Olympic pool. Through the use of a bending-active structure, the gridshell hosts a parasitic ETFE paneling system to protect its program from external conditions. The space establishes a quality of lightness through its structure, yet contains the structural properties for the size of the stadium. The proposal confers a relationship between materiality and site by facilitating an extension of the natural environment. Through the bending and shaping of wood, metal and glazing, the form finds elegance among a contrasting garden of crimson maples. In doing so, the program blends into the existing site conditions to create a hub for the surrounding neighborhood to gather at.

Awarded Second Place in the 2016 IFAI Design Challenge Project showcased at the 2016 IFAI Expo Published in Intersight 19 | Buffalo/School of Arch. & Planning 5

ETFE Pillows

ETFE Rail System

Lathe Clamp

Lathe 04

Lathe 03

Lathe 02

Lathe 01

Isometric diagram of gridshell components

Selected Works : AquaShell

The gridshell organization follows a traditional construction technique. The first layer of construction is lathed 2x6 wood, that run parallel. A second layer of wooden lathes are stacked on top of that, running perpendicular to form the grid. Once the first two lathes are established, a third and fourth set of lathes are attached for extra strength, all of which follow the same pattern. Once the lathes are in place, each intersection is allocated with a special clamp. These clamps house a special connection for a rail where ETFE pillows can be attached. This clads the gridshell from external conditions, but also provides a more complex form. The ETFE pattern can be associated with a â&#x20AC;&#x2DC;rippling waterâ&#x20AC;&#x2122; pattern across the structure.

Grasshopper script of gridshell construction

In order to understand the formal conditions of organization, a grasshopper script was developed to further construct the form in three-dimensional space. The script starts with a surface split into boundary points. At each of these boundaries a curve is developed to a mirrored point. Once the curve has been established, it can be used as a guide for the lathes to follow. Interestingly, the grasshopper script allows for complete control over the gridshell components. From this master script, the lathe sizes, locations, spread of intersection, and so on, can be uniquely transformed and manipulated with a few sliders. This gives total control of a complex form with a few simple navigational tools.

Interior view of the competition pool

Selected Works : AquaShell

Rendered first floor plan

Selected Works : AquaShell

Masten Park in east Buffalo, NY offered a unique location for AquaShell’s proposal. Located in a neglected area in the city, it serves as a central point for all primary schools in Buffalo to use as a competitive facility. Masten Park acts as the only green space for the surrounding residential neighborhood. Aquashell acknowledges this attribute and celebrates it as a feature for the building’s site plan. To minimize its footprint and maximize the existing park space, the building’s floor plates are embedded into the site’s topography to help conceal itself. Each floor plate steps back with the topography so that all the building’s amenities are stacked near the highest elevation of the park. This opens up the competition pool at its lowest elevation, awarding users with a feeling of lightness. This aids inhabitants with a connection to the natural world, while celebrating the materiality of the structure.

Graphic longitudinal section

To further complement the buildings form, a Japanese maple garden is planted in the surrounding context. With the gridshell’s natural color, the dark Japanese maple give a stark contrast to the site that help tie the inhabitants to the buildings materiality The elegance of a swimmer’s technique and form can be recognized in the building’s section. At the pool’s midpoint, an inflection point transfers a swooping motion that actuates a larger space over the competition pool. This allows for a spectator to have a direct relationship with the water, yet still be contained from external conditions. In order to carry this relationship with the water, all circulation to the pool house is pushed to the perimeters of the gridshell, bisected by a boardform concrete wall. This gives structure to the spectating benches and establishes circulation cores to connect inhabitants to each level.

Detail of aeolian harps

Selected Works : Crescendo

Crescendo Reflection Space Silo City | Buffalo, New York Wood Reflection Space Exhibition | Spring 2017 ARC 101 | Teaching Assistant | Project Coordinator Studio Coordinators: Matthew Hume, Karen Tashjian Teaching Assistant Team:

Project Team:

Randy Fernando David Heaton Quincy Koczka Kenzie McNamara Rachel Mordaunt Andres Santandreu Brandon Stone Kimberly Taracena Kevin Turner John Wightman

Alfred Cai Jonathon Harris Madison Hawes Tom He Carter Laramee Andrew Mulder Conor O’dwyer Michael Pawlak Nathan Roukous Mira Shami

A full-scale design|build, utilizes sound as an architectural medium, to attract and embody participants on a formally neglected site. Crescendo acts as a mediator between the public and Buffalo’s famous grain elevators. The project performs as a beacon for the public to utilize as a meditation space within the neglected conditions of the surrounding context. Using sound as an architectural medium, the proposal exploits an aeolian harp mechanism triggered by the wind. The public’s participation can be accompanied by a soothing sound that entices users but fosters focus during states of contemplation. Part of a series of ten installations, each proposal finds its own place amongst the walking trails at Silo City. The projects portray their own theme to contemplation, creating unique and individual forms. The built work studio rigorously brings students from conceptual initiation, design development to full scale construction. Published in Buffalo Rising on May 18, 2017

Southern Facade of Crescendo

Selected Works : Crescendo

Initial conceptual idea

Aggregation of conceptual idea

Full systematic aggregation of concept

Conceptual study model 01

Conceptual study model 02

Conceptual study model 03

Conceptual initiation began with the study of a precedent developed during the fall semester of 2016. The Interlock consists of 3 components: a board, a sheet and dowel. All three must meet to lock together, and cannot fall apart when positioned. The freshman faculty team, consisting of ten assistants and two coordinators, selected ten of the most promising interlocks to be studied conceptually for Reflection Space. Students were tasked with dissecting the interlock through a series of collage drawings and physical models. As first year students, the initial conceptual approaches allow students to explore independently but bring their ideas together to refine as a group. Eventually student arrived on one physical idea that would transform itself to the final build. Utilizing the mast from their designated interlock, students introduced a bench or seat for reflection intersected by the formal condition portrayed in the interlock. Due to the form of the interlock, manipulations in gradual increases and decreases in the structure were studied. Applying this logic to the aesthetics and function of the project, the surrounding context inspired students to study sound as a architectural medium. The definition of Crescendo is a gradual increase in loudness or intensity. Working iteratively, students were tasked to find ways of implementing sound through intangeable forces at Silo City. 15

Typical Module Construction

01 Harp Bridge System 5_1/4” Dowels @ 2” length (1” exposed) 1/2” Bridge blocking | Drilled holes for harp string

02 Air Intake Cavity

02 03

1’-0” Cavity from 1/2” wood board Angled channel at 45° for Venturi effect

03 Cantilevered Wind Dent

1/2” Wood board @ 1’-0” wide| Length varied to height of mast component Lenth varied to height of mast component |Tapered sides to laminate

04 Aeolian Harp 35 Gauge fishing line at 2’ Lengths 5 Strings, attached to harp bridge on both sides of mast

05 Tongue/Board + Mast Connection 05

1” dowel OC to hollow mast component 4_1/2” dowels on either side of tongue/board

06 Hollow Mast Component 1/2” board with a 2x4 backer for structure 1/4” dowels tapped and glued every 8” | Flush cut

07 Laminated Tongue/Board 1/2” Wood board @ 1’-0” wide| Length varied to height of mast component 1/4” dowel diagrid 2” wide 07

08 Air Exhaust Cavity 1’-0” Cavity from 1/2” wood board | 3’6” from bench Flush to male foundational mast connection

09 Male/Female Mast Connection 4x4 A frame extented top | 1/2” recess for bench connection 3_1” Dowels at 2-1/2” (1” exposed) OC to extension

11 10

10 Lateral Structural System 20_ 1/4” turnbuckle system | diagonally braced 1/8” Galvanized Cable

11 Bench + Tongue/Board Connection M-cut applied to bottom laminate board | C-cut applied to top laminate board 2_1/4” dowel OC to bench

12 Foundation 2_2x10 Pressure treated | Varied length to modules 6_ 1” Dowel connection to masts

13 Buried Blocking System 2x4 Offset blocking to each neighboring module Cut to fit as a waffle connection

14 Foundational Taper 2’ Taper to end of 2x10 Start of taper is same length of module height OC to mast

13 12

Selected Works : Crescendo

The conversation regarding the conceptual sound component accelerated after research into musical instruments was conducted. It wasn’t until an examination into aeolian harps, that student determined that the project could function by the prevailing winds on the site. An aeolian harp is a stringed instrument that produces noise when air passes through it. Students tested and built mock ups of aeolian harps relative to the conceptual physical iterations they had produced. By keeping the masts hollow, the harp’s sound resonants in the chamber. The sound is carried through an air intake to an exhaust where it concentrates around a vistor’s ear. During this phase, it was imperative the team complete a comprehensive construction document set. This would ensure that students understood how all the components of the project would come together. Overseeing the entire document set, each drawing went through countless iterations until a final set was established. In total, there were approximately 80 drawings to the set. Referencing the Construction documents and final models, the full scale structure was constructed and dry-fit off site. Organized into sections, the structure was disassembled and transported to Silo City. Each segment was placed into the site and constructed until all components were attached. A final exhibition of the projects was hosted for the public to experience the project. 1/4” Final Basswood Model

Selected Works : Crescendo

Crescendo one year after on site installation

Selected Works : Crescendo

Detail of Ostinatoâ&#x20AC;&#x2122;s aeolian harps system

Selected Works : Ostinato

Through the lens of a mediated architectural installation, the research examines how sound creates, organizes and alters space. The Sublime is defined adjectivally, ‘of such excellence, grandeur, or beauty as to inspire great admiration or awe.’ It is also interpreted archaically as something that elevates to a high degree of moral, spiritual purity or excellence. By touching on sublimity through the experience of space, it presents the opportunity to create something greater than ourselves. If architecture and media are becoming an expanding field; can sound be used as an experience to engage the sublime? Architecture unlike any other discipline, is ‘concretized in vision’ (Eisenman). Therefore, the introduction of an intangible force (like sound) staged by the coordination of a system, could probe the way it affects a person physiologically, psychologically, cognitively and behaviorally. By rendering an installation for a participant, one’s process of participation can manipulate sound within space to create an overall sublimity for that individual. By mediating the project through an interaction, it would allow the user to define their own experience rather than an authoritative guide. Self-reflection is revealed through the journey of perception.

Full publication available on Proquest, LLC.

Perspective photograph from 5â&#x20AC;&#x2122;-0â&#x20AC;? chime elevation

tha ect

Selected Works : Ostinato

eded iewew ebev vi b n ca an ahtat c h t t ct t bjejec nnoob a a atete CCrerea

tha ct bje

ate Cre

ct bje

ate Cre

tha

be can

ed iew

r de un t i s t to

bje

o the plit

r de un t i s t to

b t to

je ob

t th

r er de nitdun u s t stio t toct jeocbje b oe tlhiteth plSitp

v be

the lit

o an

d we vie

o an

ed iew

v be

d ied pccieup u c oce o be b toct to t jec je obe ob tuhteth t Cu C

ied up occ

jec ob

e Pip

the

i ect rrsm e t int fo theec altobj t jecna ob Fi

Final arduino solenoid assembly

Selected Works : Ostinato

In order to determine how sound alters space; space must be cataloged as ways of utilizing sound. A historical approach of classification illustrated in Sculpture in the Expanded Field by Rosalind Krauss provides a unique insight in classifying space relative to a field. From Krauss’ classification, sonorous space was cataloged into 3 spaces. The cataloged sonorous spaces use Steven Feld’s notion of acoustemology as way to theorize sound as a way of knowing. From an going process of participation and repetition, an individual’s perception is challenged to engage the sublime. Sound is ubiquitous. It is everywhere, and nowhere. Therefore, can repetition be used as a vehicle through which the sublime is engaged? Ostinato attempts to answer this by utilzing technology as a mediator to space and the participant. A spatial field of vertically suspended galvanized steel chimes, host a 5V solenoid charged by an electrical current. Each solenoid is connected to an arduino assembly where they can be programed with code to perform a desired action. Ostinato, which means a continually repeated phrase or rhythm, always performs a ‘base state’ repetition of sound that people in the space can listen for. However, the system is actuated by a social/behavioral process of participation. Sensors in the space create ‘territories’ of repetition for participants to trigger. Participants trigger the territories by the movement of their bodies within space. Once triggered, the base state changes to a new state of repetition to be played. These terroritories all host different sounds of repetition. After performing its new state, if the space registers no movement, the system returns to its ‘base state.’ Snippet of final code | Written in conjunction with Jason Geistweidt

Selected Works : Ostinato

M.Arch/MFA defense | Ostinato | May 8th, 2018

Selected Works : Ostinato

Ostinato expresses engagement with the sublime from multiple platforms. Some of the users feel a meditative state while searching for aural repetition. They find comfort in keeping themselves involved in the physical repetition of the field. In particular, other users feel a sense of consternation within the space. These individuals are searching for a new aural repetition only for it to change. Individuality plays a major role in their experience of the space. In large, most participants feel they are transported in the space and that their perceptions are engaging in new ways of experiencing. Towards a new application, one could utilize the system for use to treat medically ill patients. A meditative chamber of sorts could help calm patients by assisting with self reflection. Other applications can imply a chamber be used for torture or maltreatment. The sublime stretches from a spectrum of tranquil to terror. The code and system are left open ended for this aspect. What potentially actuates the system can be changed and manipulated per design. For example, instead of the movement of bodies in space triggering repetition, weather data could generate the repetition. Moreover, an app that users download could be used to program, write and upload their individual ideas for use of the system. Since media and technology actuate the system, countless possibilities can be created to explore new states of repetition. Ostinato is about experience and its engagment with the sublime. 31

Potential shingle aggregation across a surface

Selected Works : Slider Shingle

Slider Shingle Universal Application Architectural Shingle 2017 Architectural Ceramic Assemblies Workshop Boston Valley Terracotta Shingle design and research Laura Garofalo | University at Buffalo Omar Khan | University at Buffalo

An architectural shingle that focuses on bioclimatic performance and complex aggregation for ecological relationships.

The Architectural Ceramic Assemblies Workshop (ACAW) hosted by Boston Valley Terracotta aims for large-scale application, experimentation, and research in ceramics through the collaboration of interdisciplinary teams. From Omar Khan, “If for the modernist architect greater communication between inside and outside was a design imperative, for the contemporary architect, it has to be a more controlled mitigation of this connection. Factors like climate change, energy conservation, security and safety have mad the ‘outside’ less predictable. As a result, the skin of architecture whether it’s a facade, wall, screen or furniture, needs to be adaptive to better mitigate these changes.” Focusing on this statement, the slider shingle dissects the typical characteristics of an architectural shingle and disseminates them into its own category, where it can be reimagined for architectural assemblies.

Y-Shift

(-X,Y) Z=1

(X,Y) Z=0

10” +1

4”

10”

Y-Shift Constraint

4”

X-Shift Constraint

X- Shift Constraint

4”

X-Shift

(-X,-Y) Z=3

Slider shingle quadrant organization | Plan

4”

Y-Shift Constraint

(X,-Y) Z=2

Selected Works : Slider Shingle

In order to answer the call for bioclimatic performances, the shingle design needed to break the conventional mold of traditional shingles. The idea needed to consider a way to mitigate ecological responsibilities as well as meet our interests to pattern making and parquet deformations. The slider shingle exploits traditional terracotta shingles through a controlled tranformation in the Z- axis. In plan, a typical rectangle is divided in 4 quadrants. Each quadrant steps up relative to neighboring quadrants on the same shingle. This controlled alteration allows neighboring shingles to rest on the shingles above, below and next it. Bioclimatically, the transformation allows for cavity openings in any organization (stack, running, parametric) that disperses solar gain by creating a passive cooling complex. Since each shingle can cohesively lap, the quadrants provides a 10”x4” flat surface to allow for a ‘slide’ of the shingle in the X and Y-axis. This slide can allot for an open aggregation to apply itself as a way of organizing the shingles across a surface.

Four shingle aggregation at maximum overlap

4 shingle aggregation diagram

Selected Works : Slider Shingle

Aggregation of shingle overlap

Exposed face (solar) of shingle aggregation

Air opening of shingle aggregation

Air movement through shingle aggregation

Deformation matrix of curves utilizing stack and running assemblies

Selected Works : Slider Shingle

Once the design was established, it’s organization was tested in all quadrants to reassure its aggregation. Each shingle has the ability to shift 10” in the X-axis and 4” in the Y-axis. Since the slide allows for for a flexible assemblage, a pattern deformation could be used as a ‘rail,’ to which a point is assigned (typically at the shingles pins in quadrant [X,Y]). An intense study of curves and points were placed on a running and stack organization to investigate and test patterns that could potentially be generated. Patterns started at every angle from horizontal to vertical.

Grasshopper script of parametric attraction

To help create a more complex deformation, a Grasshopper script was developed that would use attraction to curves and points on a surface. The script inputs the shingle geometry (capable of rotating each shingle in the Z-axis if desired) and aggregates that geometry across a grid/surface. A pattern is then placed, either through a series of cuves, or set of points. The attraction can be manipulated to move closer or farther from the curves, giving complete control to the designer. Therefore, a logic to pattern making and expression can be associated to the aggregation of the shingle.

Full scale mock up of slider shingles JW|arc

Selected Works : Slider Shingle

Boston Valley Terracotta used a slipcast method to create the full scale shingles. To do so, a negative plaster mould of the shingle is created. This mould is situated with a reservoir for the slip to be poured. A liquid clay is poured through the reservoir where it forms layers inside the cavity. Eventually, the cast dries and it is removed for firing. Once fired, a glazing of the shingle can be implemented. Due to its complex shape and due to the workshops investigative nature, an experimental method of glazing was applied to each shingle. Choosing a glazing color, each shingle was layed flat and a glazing application was allowed to pool down each of the shingles surfaces. This application created a unique layering of the glazing producing a rustic aesthetic. After the shingles arrived to the three day workshop, a small mock up was built to host the full scale shingles. Each shingle was arranged to represent a maximum and minimum in the overlap. Speculative developments of the design would investigate how to manipulate the shingle aggregation across curved surfaces, turn corners and to applied in more ubiquitous ways. 41

Reflected ceiling plan Tubular Spectogram drawing ofof final audio sample

Selected Works : Tubular

Tubular Gestalt | Spatial Installation RECYCLE Exhibition Silo City | Buffalo, New York Spring 2014 Mentor: Reinhard Reitzenstein Permanent Installation

Reflecting on the current ‘garbage vortex’ accumulating in the pacific, the reuse of recycled materials can embellish neglected space.

Silo City functioned as a major industrial hub in Buffalo’s rich history. Abandoned for many years, the towering grain elevators offer an unique abandoned space to help develop artistic and architectural concepts. Tubular is an extension of an on going study/expression intended to reinterpret neglected space. Reflecting on the current issues with trash and recycled material, Tubular employs cardboard tubing to reimagine the harsh conditions within the malt house at Silo City. Each tube is suspended from fishing line across a grid within the space. The gestalt surface reflects the motion of waves as it is actuated by the cross breeze that flows through the building. In turn, this creates a new space that is invigorating to inhabitants.

Featured as part of main exhibit at 2014 ‘City of Night’ Festival 43

West Elevation of installation from Malt House window

36 Inches

Varies

Selected Works : Tubular

Diagramatic plan and axonometric of Tubular’s organization

Tubular is established across a 10”x10” grid, twenty-eight rows long and ten rows wide . Every intersection includes one of a 2”, 3” , 4” or 6” diameter tube that never deviate from 36” in length. The surface utilizes a manual method of dispersion, where the lowest end of the gestalt surface hosts the 2” to 3” tubes. Gradually as the surface increases in its vertical height, the 4” to 6” tubes are dispersed into the grid. Each of the tubes were saved and collected across a period of three months. Local vendors, including recycling centers, carpeting stores and large chain depot stores helped by donating the tubes, saving them from being tossed out. Each tube is composed of two drilled holes to produce a minimalist attachment for the fishing line to feed through. Each fishing line contains a varied length due to the gestalt surface. Precedents such as Michael Heiser’s Double Negative were collected to establish how individual parts could be used in a system to create a collective. This organized collective is something that is perceived as more than its individual nature. Moreover, intangeable forces help actuate each individual piece which in turn, keeps the collective in a kinetic state. 45

Selected Works : Tubular

Exterior view of outdoor theatre space

Selected Works : Vibrato

Vibrato Social Housing Complex | Theater Space Elmwood Ave | Buffalo, New York ARC 403 | J. Song Fall 2015 Partner: Michael Tuzzo

Residential architecture serves both resident and public. An extension of the sidewalk blurs the dividing threshold between public and private.

Vibrato is a social housing complex that creates an extension of the sidewalk to invite the public onto the site. Bringing the public onto the site gives the mid-block location the excitement of a corner site. To attract the community, the architecture encloses an outdoor public theatre that rests below the residential housing. The dynamic relationship between performer and spectator of the theatre can be laced with the relationship between public and resident. In a theatre, both the performer and the spectator are on display for each other. As a result there is a blurred division between the two, and there is no black and white separation between performer and spectator. Vibrato presents that the separation between public and resident in social housing has a similar relationship, in that the threshold dividing the two cannot be cleanly defined. As such, this turns the relationship into a progression to personify the division between the two. The interior threshold is dissolved from public to private while creating a connection between resident and public.

Awarded Second Place in the 2013 City/Life Design Competition

Project published on ilikearchitecture.net

View of residential facade from Elmwood Ave

Proposed midblock site | Elmwood Ave.

Match footprint to existing context

Embed parking below grade

Curve form to preserve view to church

Split first floor to create a corner condition

Slope grade for outdoor theatre space

Shift floors for access, to maximize view

Pull for public terrace, private unit windows

Interior view of typical unit

Selected Works : Vibrato

The entire ground plane of the project is dedicated to public and resident experience. The passerby is invited down into the terrace space where they can be seated to enjoy a show being performed from either the public terrace on the ground plane, or on the semipublic terraces that surround above. The architecture that houses the residents sits above and wraps around the terrace space. The original form of the building was that of a traditional quarter-circle amphitheater. The building sits as if it were pulling away from the street, granting a visual gesture towards the neighboring church. Each floor that is stacked has a softer bend than the floor below. As a result, the building progresses towards the street as it grows taller. This creates progression in the form, as well as provides shading from the more vertical summer sun.

On the floors above the ground plane, the bedrooms are placed along Elmwood Ave. By placing the public theatre on the interior of the site, the architecture is reversing the orientation of the building allowing the public program to face a new public front. This grants the residential units an adjacency to the old public front. If the public spaces were to remain along the street, the community would pass by without notice. By extending the sidewalk and creating a new public front inside the site, the public is pulled into the space by the void left by the shift in the storefront typology. Along with the bedrooms, the rest of the program in the levels above is located along a series of bands that spread along the curve of the building. In order from the street side of the building are the bedrooms, bathrooms, service space, corridor, shared semi-public space, and then the outdoor terrace balcony.

PRACTICE AREA LOBBY LOBBY

LOBBY

KITCHEN

LOUNGE

BAND/ORCHESTRA BAND/ORCHESTRA ASSEMBLY ASSEMBLYSPACE SPACE

BAND/ORCHESTRA ASSEMBLY SPACE

EGRESS GREENSPACE

TERRACED TERRACED PUBLIC PUBLIC THEATRE THEATRE

LESSON LESSONROOMS ROOMS

10 10

00 55

TERRACED PUBLIC THEATRE

LESSON ROOMS

50 50 20 20

Ground floor plan | Terraced public theatre

NORTH NORTH

10 10

00 55

50 50 20 20

Third floor plan | Residential units

NORTH NORTH

Sectional model at 1/4” = 1’-0”

Selected Works : Vibrato

Construction axon of vertical fin connection

The street façade has a very different appearance than the theatre facade. In plan, each floor has its own sequence of razor blade shaped protrusions that extend out and away from the curve of the building. Each tooth of the blade is aligned with the structural walls of the building that radiate from the north eastern corner of the site. These structural walls divide each individual bedroom in the plan, as well as bookend each push and pull on the opposite face of the building. The protrusions on the street façade provide for each bedroom a 2clear glass view to the south. This same facade is screened by fixed wooden louvres. The louvres hang exposed along the street facade of the building covering the west and southwest glazing, and the exposed concrete slab that rests below each floor. To provide a passive system of cooling, 3 the glazing contains small swinging glass windows near the ceiling to force warm air out of the building when necessary. Moreover, designed into the concrete floor are ‘wind intakes’ that allow for a natural breeze to blow up under the glazing wall. An operable panel allows for the intakes to open and close for inhabitant comfort. 57

Sectional model at 1/32” = 1’-0”

Selected Works : Vibrato

Selected Works : Visualizations

Selected Works : Visualizations

Hayes Hall Renovation First Floor Periodical Room University at Buffalo, South Campus | Amherst, New York Modular shelving | Slatted ceiling School of Architecture + Planning Rhino 5 | Vray | Photoshop 63

Buffalo Outer Harbor Butterfly Trail Outer Harbor | Buffalo, New York South Buffalo Common Council Photoshop

Buffalo Outer Harbor Great Lawn Outer Harbor | Buffalo, New York South Buffalo Common Council Photoshop

Selected Works : Visualizations

Buffalo Outer Harbor Boardwalk Taxi Boats Outer Harbor | Buffalo, New York South Buffalo Common Council Photoshop

To view a more comprehensive portfolio of work, please contact me at: 315 - 879 - 8542 johnwigh@buffalo.edu johnwightmanarc@gmail.com

THANK YOU