Nathan Keibler, Selected Works by Nathan Keibler

Nathan Keibler Rice School of Architecture Selected Works, 2010 - 2016

Contents Resume Academic Work Taut Crinkle Transmitted Publics: Soundworm Format: KBR Redevelopment Pliable: Soft Containers Variegated Edge: Social Housing for Mexico City

6 30 44 58 64

Professional Work Miami Design District Museum of Contemporary Art, Chicago Casa de Mont

76 86 104

Nathan Keibler c a rg o c o l l e c t i ve. com /keibler | keibler n @gm ail. com | 941. 204. 0379

E D U C AT I O N Rice University, Bachelor of Architecture

May 2016

Rice University, Bachelor of Arts in Architectural Studies, Magna Cum Laude

May 2014

EXPERIENCE PLAT Journal, Managing Editor

Sept. 2015 - May 2016

Independent architectural journal published by students. Tasks included coordinating team meetings + production/printing schedule for PLAT 5.0: License, recipient of Graham Foundation grant.

Johnston Marklee, Design Intern

Sept. 2014 - June 2015

Casa de Mont - Residential, DD Phase Produced numerous, large physical model studies for building massing, soffit / roof / ceiling detailing, and light studies, as well as presentation plan / section drawings and renderings for client meetings and public lectures. Images recently featured in GA Houses 146. Museum of Contemporary Art Chicago - Cultural, SD + DD Phase Physical model studies, presentation drawings and images addressing building circulation, programmatic organization, and restaurant redesign. Additionally, intensive study of current museum program sf distribution to address deficiences / seek out moments with potential for improved museum experience. Miami Design District - Cultural, DD Phase Produced physical model studies specifically addressing design of building facade, as well as drawings + renderings for correspondence with developer. Intensive study of material options for facade / exterior walkways.

Schaum/Shieh Architects, Design Intern

Summer 2013 + 2014

Specific tasks included production of physical models and presentation images for client meetings + design competitions for Taichung Cultural Center, local galleries, a music venue and various residential projects, all in either SD or DD Phase.

Rice Gallery, Production Intern, Humanities Research Fellow

Responsibilities include researching incoming artists, helping with installation and de-installation and designing promotional graphics to market installations to both the campus and city of Houston.

Sept. 2012 - present

AWA R DS Margaret Everson-Fossi Award

May 2016

Awarded to fifth year/graduate students on the basis of the best design project for the options studios during this academic year.

Texas Architectural Foundation Charles Lamar + Verda McKittrick Scholarship

May 2015

Competitive statewide scholarship; nominated by the Rice School of Architecture.

John Maeda Award

March 2015

Award given by John Maeda to Soundworm for excellence in collaborative design.

Henry Adams (AIA) School Certificate

May 2014

Awarded to the two top-ranked graduating students in recognition of scholastic achievement, character, and promise of professional ability.

Mini-Charrette Design Competitions

May 2013 + Jan. 2014

1st Prize for “Mind the Pit” (2013) and “Soundworm” (2014). Interdisciplinary design competition held within Rice University. Soundworm granted $6,000.00 to be physically realized.

Mary Ellen Hale Lovett Traveling Fellowship

Summer 2013 + 2014

Awarded to undergraduate students in Architecture for travel based on proposals evaluated by the faculty.

Chillman Prize

May 2014

Prize awarded on the basis of an outstanding portfolio submitted in application for admission to fifth year.

R E F E R E N C E S (available upon request) Andrew Colopy, Assistant Professor andrew.colopy@rice.edu

Jesús Vassallo, Assistant Professor jesus.vassallo@rice.edu

Sharon Johnston, Principal, JML sharonj@johnstonmarklee.com

Sarah Whiting, Dean sarah.whiting@rice.edu

SKILLS Proficient in Adobe Creative Suite, Rhinoceros 5 + V-Ray, Microsoft Office Suite, Physical Model Making. Competent in AutoCAD, ArcGIS, Grasshopper.

Taut Crinkle ARCH 601 / Prof. Andrew Colopy / Live-Work Dormitory This project stems from an interest in the ambiguity of the many parties at play within this single building at Cornell Tech on Roosevelt Island: Cornell University, Israeli Technology Institute, collaborations between students and working professionals and, finally, programs geared towards the general public. It engages the potentials of a form that projects both a whole and its parts in a synthetic way.

CAFE

SEATING

OUTDOOR SEATING

LOBBY

AUDITORIUM

Site Plan

Early Conceptual Diagrams

The study began through experiments involving the interaction of lines. A group of nodes (the meeting place of the endpoints of two different lines) is dispersed to create a loose center. These nodes are stitched together by a series of lines that create a collection of lobes or petals. The control points that define each line can collapse upon each other (in the same way that the nodes collapse the endpoints of lines) to close the gap between them. This collapsed line winds and reconfigures the interior, shifting the conception of a center within each shape. Doing so, the exterior definition of parts becomes blurred. What reads as one from the outside could actually be a series of three identifiable spaces within.

OPEN WORK AREA

CONFERENCE ROOMS

OPEN WORK AREA

KITCHEN/ DINING

OPEN WORK AREA

CONFERENCE ROOMS

GALLERY

OPEN WORK AREA

Second Floor

Fourth Floor

DORM

DORM DORM

DORM

SEATING

DORM

KITCHEN KITCHEN

OPEN WORK AREA

DORM

DINING

DORM

Third Floor

Fifth Floor

Each shape is treated as a kind of datum that is copied vertically to create a floor to floor height of 14 feet. Between each datum, the nodes of each shape can shift along X, Y, and Z axes to create a more or less extreme pinch between lobes. What was two parts on one floor can now shift to one part on a floor above.

SpectraFiber Envelope

Steel Armatures

Glazing

Building Structure

Assembly

Exterior View

In response to the studio prompt, the project engages plastic as a material through the use of SpectraFiber, a semitranslucent woven sheet of polyethylene fibers that, considering its weight and thinness, is up to ten times stronger than steel. The sheets are clamped into a series of vertical armatures that are strung between each floor plate and hung outside of the main structure/ glazing of the building. Each sheet measures roughly 10â&#x20AC;&#x2122; x 14â&#x20AC;&#x2122; and is crinkled and coated with an epoxy resin to hold its form. Because the collection of armatures is open to the elements, it is subject to expansion and contraction.

Context Plan

Deep Wall Section

Column Mullion Insulated Glass Unit Envelope Armature Insulation Concrete Envelope Armature Building Envelope HVAC Ceiling Panels

Building Envelope

Envelope Armature

Insulated Glass Unit

Plan Detail

Section Detail

The aim here is to take advantage of the inherent weakness of plastic as a material. Since the crinkled fabric is only partially stiffened by the epoxy resin, it still retains the ability to deform in response to the movement of the armatures supporting it.

14’

3’

11’

3’

11’

70’

3’

11’

3’

11’

14’

1.5’ 6’

Wall Section

Model Photo - Ground Floor, Open Work Area + Cafe

Collage - Second Floor, Open Work Area + Split Staircase

Model Photo - Ground Floor, Auditorium

Collage - Ground Floor, Auditorium

Model Photo - Third Floor, Open Work Area

Collage - Fourth Floor, Open Work Area

Residence Work Public

Residence Kitchen/Lounge Gallery Cafe Lobby Auditorium Open Work Area Open Oﬃce Conference Private Flex Oﬃce Garage

Program

Structure

Circulation

Collage - Fifth Floor, Dormitory

North Elevation

East Elevation

South Elevation

Southeast Elevation

Model Photo - Facade Fragment

Model Photo - North Facade Removed

Model Photo - South Facade

Collage - Exterior View from Center of Campus

Model Photo

Transmitted Publics: Soundworm RSA Mini-Charrette / Rice Public Art Installation This project is the result of an interdisciplinary collaboration between students at the Schools of Architecture, Engineering, Visual Arts, Anthropology and Art History, which took place during the Spring 2014 Mini-Charrette, a weekend-long design competition held every semester at the Rice School of Architecture. Soundworm aims to facilitate communication and create a new public by capturing sound.

Early Conceptual Diagrams

This project is designed to create a unique auditory experience. Historically, the modern notion of public has been strongly associated with verbal discourse. The work of German sociologist Jurgen Habermas defined the public sphere as the realm of social life in which public opinion is formed; it provides guaranteed access to all citizens and the freedom to assemble and express opinions. This public sphere is represented by newspapers, magazines, radio, television and other non-material media. However, a public exists firstly and foremostly in a spatial dimension, as the physical space in which discourse - in other words, verbal exchange - occurs.

Public Presentation degree of cut on the top

N/A

45°

material specifications

connection number

#01

#03

#05

#07

#09

#11

#13

#15

material: used steel pipe (from APEX steel yard) greater than 36 ksi pipe linear length: 117 feet 8.625 inches outside diameter,

angle list 01-N/A 02-90° 03-90° 04-90° 05-90° 06-90° 07-90° 08-90° 09-90° 10-90° 11-90° 12-90° 13-90° 14-90° 15-90° 16-N/A

pipe dimensions: 8 inches inside diameter

schedule 40 thickness (.322 inches)

surface area: 237 square feet

for connections #1 and #15, please see page 11

connection number

#02

#04

#06

#08

#10

#12

#14

#16

degree of cut on the bottom

45°

N/A

length of piece rotation between end cuts (clockwise) rotation between bottom cut and plasma cut (clockwise)

notes: there are just four lengths two are irregular and cause the diagonals

7’ 8-5/8”

7’ 2-5/8”

10’ 3-1/4”

7’ 2-5/8”

7’ 8-5/8”

7’ 2-5/8”

7’ 7’ 7’ 7’ 7’ 7’ 8-5/8” 6-15/64” 8-5/8” 6-15/64” 8-5/8” 2-5/8”

7’ 8-5/8”

0°

-45°

0°

-45°

0°

-90°

0°

90°

75°

0°

145°

0°

75°

0°

N/A

0°

N/A

0°

N/A

90°

N/A

0°

N/A

0°

Code: International Building Code 2006 with City of Houston amendments Dead Load: Materials shown on drawings Live Load: 100 plf on pipes Wind Load: Basic Wind Speed 110 mph (3-second gust), Exposure B

Cut Sheet

Sound, the primary medium of public discourse, is therefore part of the legacy of public more than any other sensory quality. It has large, easily dispersible spatial implications and can play out in virtually any condition. Sounds provide anonymous insight to the activities of others and, when layered on top of each other, a symphony of noise is produced. The act of walking through the structure creates an awareness of the totality of the campus community, the composition oscillating between the different recordings depending on volume levels.

Pipe Delivery + Sanding

7’ 9”

26’ 9”

16 O

13 7’ 3”

N M

11 14

H K

F B

D E

06 02 A

05 01 Axonometric Drawing

Two publics are created, one whose voices are collected and another which gathers to hear it. Five sound collection spots are placed across the campus and then transmitted to speakers placed within the Soundworm, informing the larger public. These spots are not permanent and the recording devices can be moved to create a different collection of sounds, emphasizing the numerous and diverse compositions that can be created across campus.

Early Structural Tests

Construction Process

4’ 6”

11’

8’

BOTTOM LEVEL- DECOMPOSED GRANITE TOTAL AREA: 17 square feet DEPTH: 1.5” TOTAL VOLUME: 8.5 cubic feet

note: resting legs of the structure are placed in the center of their granite beds.

TOP LEVEL- GRAY GRAVEL TOTAL AREA: 17 square feet DEPTH: 2” TOTAL VOLUME: 10.6 cubic feet TOTAL PERIMETER: 84 feet

8’

2’

inner loop

metal strip barrier (holds gravel back from grass)

ry ato bor

Foundation / Gravel Bed Details

d roa anderson hall

fondren library

Site Plan

capped ending A

45° cuts but degree of rotation of pipe between cuts specified on schedule

plasma cut, 6” diameter circle at center of piece

angled cut (degree specified on schedule)

note: the plasma cuts occur on the following pieces: B, F, H, J, M cuts should be made in the center of each of the piece

6”

plasma cut

actual cut

opening design

screws into the pipe Cut Sheet

Wire Threading Process

2’

speaker blue foam, 1” thick

steel pipe

grass

metal barrier

wires

PVC pipe

wires trenched to library basement

1/4 1/4

2” 1.5”

wiring

screws

speaker cap Exploded Diagram

Section Detail

Welding Process

Trenching Wire to Fondren Library

scrap steel from the rest of project (45 degree cut) leave steel unpainted microphone

H E? T RM

AND D IG IT AL

OU. DOE RY ST EA HE H

N A

I C

E? TH

UBLIC LOOK L IK

TH E

EAR ARE AC RO SS

TH E

PH YS

ORANGE PIPE.

P ES A DO

UH YO

IG E B TH IN THE G IN

T HA .W

A HE

E IS O

graphic printed on self adheive plastic two layers of clear plexi

U YO

SAME

Y ACKNOWLED REL GE RA S

YI SA

E TH

N HEAR YO CA U

R O W

OUNDS OF THIS R ES OO TH M . TO CA N NE IN THI SM S GO OM EN T U

N O

G IN

O Y

IN THE RED A R

EX IS

NGER

CH A ES STR IS FA LI EO PUBLIC SPACE. ST ITAL AL NC E LT DIG TE H ET AT RE ALHALL A V T M S . S RO OM MF R E TE LIC” M EA PUB “ N AL

C A

EP HY SI

IC REALM IN T E PUBL H

Raspberry Pi + Microphone Graphic

Microphone Assembly

pcb

AMP pcb Rx

AMP

pcb

AMP pcb

diďŹ&#x20AC;erent locations, must be on campus with ethernet port

library basement

inside the worm behind the steel caps

Sound Transmission Diagram

Team Meeting

Gantry

Paint Application

Microphone placed in campus recreation center

Microphone placed in dormitory commons

Microphone placed in campus coffeehouse

Opening Reception

As we become more immersed in non-material media, the notion of public begins to collapse. This project utilizes digital means to exceed the immediate confines of the sculptureâ&#x20AC;&#x2122;s physical realm and instigate new forms of engagement with public art.

Format: KBR Redevelopment ARCH 301 / Prof. JesĂşs Vassallo / Master Plan This proposal for the redevelopment of a 130 acre brownfield site in Houston, Texas starts by considering the organization of a standard suburban block of single family units. Typically, the block is wrapped by two public thoroughfares: the street and the sidewalk. The current configuration of the block allows for an obvious gradient of public to private from the edge of the lot abutting the street (front yard) to the edge farthest from the street (backyard). The possibility for an insular lifestyle is facilitated by the erection of fences and the sparse placement of windows typically seen in many pre-fabricated suburban homes today.

Study of traditional facades Early Conceptual Diagram

Standard Suburban Block

Public/Private Gradient Distribution

“Harvest” of Varied Scales

Public/Private Gradient Re-distribution

A condition results in which public accessibility is limited to a certain kind of frontality. The accessibility dwindles more and more as one travels to the back of the lot. The only form of communication each unit has with the public thoroughfares and each other is usually confined to what it said through one façade. Interaction is confined to a two dimensional screen.

Collage - Single Family Unit Block

Smallest Grain - Single Family Unit Block

The project begins by wrapping the public screen (previously limited to a flattened frontality) around the entire unit in a radial organization. The most private realm of each unit (in this case, the backyard) is interiorized by means of an exterior courtyard condition. The traditional gradient of public to private is challenged.

Model Photo - Single Family Unit Block

One of the public thoroughfares (the sidewalk that previously sat solely along the outer edges of the block) is then woven within. A pedestrian promenade is created as a means of allowing the public to engage the newly wrapped facades and shifted units.

Aerial View of Development

The blocks are oriented in strips, providing a clear means to order the site. Within each strip, adjacent blocks can be grouped together to allow for the possibility of placing larger programs. In a way, they can be cleared, harvested, and sprinkled with 9 larger grains. A clear hierarchy of scale exists from a single family living unit as small as 1,500 square feet to a commercial one as large as 115,000. Each scale is assigned certain programmatic possibilities according to what the size of the unit can accommodate.

TAXONOMY OF GRAIN

AREA OF EACH OF UNIT: TAXONOMY FORM 1500 sf

Taxonomy of Scale

5000 sf

17,000 sf

40,000-100,000 sf

COMMERCIAL OFFICE

COMMUNITY CENTER URBAN PARK

PROGRAMMATIC POSSIBILITIES: SINGLE FAMILY HOUSING

RESIDENTIAL TOWER PUBLIC DOMES

Taxonomy of Form

Much in the same way that there is a taxonomy of scale, there is a taxonomy of formal differentiation for the site. Formal variation between blocks conveys the notion that different architects and developers could play a role in the development of the site as a means of preventing the possibility for a kind of dystopic repetition of selfsimilar units if it were to fall into the hands of one developer or one architect. A certain degree of interpretation and freedom is granted in the formal possibilities that can play out but very specific restrictions and rules are in place (i.e. that each unit must take on a radial organization and have the outlined relationship to the sidewalk and street) to prevent any disorder.

Middle Grain - Residential Towers - Publicly Programmed Domes

Middle Grain - Residential Towers - Apartments

Middle Grain - Residential Towers - Lobbies

Collage - Residential Tower Block

Large Grain - Office Park

Collage - Office Park

Largest Grain - Grocery Store

Collage - Northeast Corner of Development

Phase 1: 502 units, 3.69 units /acre

Phase 4: 1091 units, 8.02 units/acre

Phase 2: 722 units, 5.31 units /acre

Phase 5: 1271 units, 9.35 units/acre

Phase 3: 911 units, 6.70 units /acre

Phase 6: 1851 units, 13.61 units /acre

Model Photos

The resulting master plan strives to sample the differently scaled grains evenly within a strip so that each can sustain itself (economically and compositionally) as successive strips are remediated and developed during the phasing process of the project.

Pliable: Soft Containers ARCH 523 / Prof. Dawn Finley / Design Seminar Pliable is a material based design seminar. The course investigates issues of communication and engagement in architecture through the design and physical production of small-object types, or models, using manual and machine techniques of sewing construction. Bags are interactive, soft, containers that enable the direct, isolated exploration of architectural issues: enclosure, organization, program, representation, site, and structure.

21.50”

1.5

2.5

8.5

6.5

7.5

4.5

5.5

3.5

11.00”

16.5

15.5

14.5

13.5

12.5

11.5

10 10.5 22

“Single Blank” Drawing for Spatial Bag Type

Bags produced in the seminar serve both as models for architectural design speculation as well as material objects that organize and communicate with immediacy. Fabrication techniques and materiality were in the seminar, while design complexity was minimized in order to focus on precise architectural questions. Students borrowed techniques and procedures from manual and machine sewing – a tradition of fabrication outside of the discipline – to attain a pure understanding of design processes (concept through construction). The seminar posited that in–depth inquiries of fabrication practices outside of architecture are worth closer examination.

21.50”

“Quadruplicate” Spatial Bag Type

19.00”

12.00”

15.00”

11.00”

“Quadruplicate Blank” Drawing for Spatial Bag Type

Axonometric Drawing

â&#x20AC;&#x153;Graphicâ&#x20AC;? Bag Type

Basic and advanced sewing techniques were implemented to join and shape two-dimensional fabric surfaces into three dimensional form, including pleating, gathering, and smocking. Monochromatic and dichromatic (patterned) fabrics were carefully selected and compared iteratively for their potential influence on a bagâ&#x20AC;&#x2122;s organization and representation.

Axonometric Drawing

â&#x20AC;&#x153;Shapeâ&#x20AC;? Bag Type

By engaging textiles and methods of sewing construction, the seminar intended not simply to simulate 19th and early 20th century craft processes, but to seek out alternative influences that shape current disciplinary sensibilities in architecture. The seminar was organized by 3 bag design projects (spatial, graphic and shape), supplemented with sewing workshops, presentation prompts, and readings.

“Shape” Bag Animation Stills

Variegated Edge: Open Structure for Affordable Vertical Housing ARCH 602 / Profs. Tatiana Bilbao + Ian Searcy / Social Housing in Mexico City This project for social housing in the center of Mexico City reflects on the cityâ&#x20AC;&#x2122;s ability to provide for a mix of formal / institutional structures and more informal / casual occupations of its urban fabric. A stipulation of the studio was to include an open air structure that would allow for residents to informally expand their livable space into once they had acquired enough capital to do so. This proposal orients the open frame along its exterior edge. Here, the expansion of each unit is given an outward expression on the buildingâ&#x20AC;&#x2122;s facade. Its architecture offers a means for upward economic growth to manifest itself in both a visual and physical manner.

Model Photo

Accessibility to the assigned site is extremely limited. It is almost entirely swallowed by the block and provides very little street frontage. Most social housing developments in Mexico today involve a partnership between Infonavit, the largest mortgage lender in Latin America, and developers, who will only invest if the proposal can secure them an overall profit of 30% or higher. The studio experimented extensively with financial spreadsheets as students were encouraged to think as critically with numbers as they would with built form.

+ Infonavit

+ Developer

Architect

+ Contractor

Landowner: Parking Lot Operator

+ Residential Tenants

+ Open Air Market Vendors (Tianguis)

Parking Lot

Given the siteâ&#x20AC;&#x2122;s constraints and the lack of formal commercial activity occurring within the assigned neighborhood (a factor that is essential to securing the involvement of a developer in these types of developments), this project proposes a unique financial scheme that removes the developer from the equation, thus eliminating the need for a 30% profit. It proposes a new type of financial collaboration between Infonavit, an architect, and the current landowner (a parking lot operator).

TOTAL PROJECT COST

$3,720,161.67

LAND Total Land Cost Payment to Landowner Total Land Area Maximum Possible Built Area Total Built Area Land Cost per sqm

Minimum sqm 30 42.5 62.5

$997,666.67 2,246 1,797 8,680 115

CONSTRUCTION Residential

INFONAVIT REGULATION Unit Type “Economica” “Popular” “Tradicional”

$1,895,062.50

Max Cost in USD $14,561.06 $24,671.28 $43,174.72

Total Area Cost /sqm

4,300 $404.44 $1,739,092.00

Total Area Cost /sqm

1,700 $342.21 $581,757.00

Total Area Cost /sqm

720 $134.40 $96,768.00

Total Area Cost /sqm

1,960 $155.55 $304,878.00

Sub-total Parking Sub-total Commercial Sub-total Open Structure Sub-total Total Construction Cost

$2,722,495.00

TOTAL PROJECT REVENUE Total Profit Percentage of Profit

$3,728,375.00 $8,213.33 0.22%

RESIDENTIAL Residential Unit Type A Type B Type C Sub-total revenue

Total Built Area Expandable Potential Built Cost Potential (sqm) Area (sqm) Factor Area 38 $15,368.72 25 0.66 63 38 $15,368.72 15 0.39 53 50 $20,222.00 25 0.50 75

Land Price

Total Number Asking Price Cost / unit of Units

$7,241.13 $26,498.60 $6,091.74 $23,793.71 $8,620.39 $32,731.14

42 49 7

Revenue

$38,700.00 $1,625,400.00 $36,750.00 $1,800,750.00 $43,175.00 $302,225.00 $3,728,375.00

Currently, the site exists as a parking lot. The cost of land, which is typically paid for through the developer’s initial investment, is replaced with a significantly lower payment given to the current landowner, which will fund his/her business for two years during the process of construction. The amount saved in this new equation allows for the selling price of each unit to be within the ranges defined by Infonavit.

Ground Floor - Open Air Market

Conceptual Diagrams

The new development will provide the landowner with a better parking lot and enable him/her to charge higher fees, as well as profit from the rent he/she would charge to the new commercial tenants that will occupy the open air market above. A collection of 98 residential units in seven floors will be situated above the market, providing a captive audience for the stand owners below. The building mass is lifted to open the ground below via structural CMU shear walls. The horseshoe form of the development allows for a collective interior within and permits twoway ventilation for the residential units.

Typical Residential Floor - Given

Typical Residential Floor - Partially Expanded

CMU Shear Walls Concrete Slab Interior Stud Walls

Reinforced Concrete Beams Channels

Exterior Walls Concrete Pour Metal Decking

Corrugated Plastic Sheet Ceiling Joists Ceiling Panels

Floor Joists

Expansion Series

Model Photo - Exterior Walkways

Unit A - Given

Unit A - Expanded Option 1

Unit A - Expanded Option 2

Unit B - Given

Unit B - Expanded Option 1

Unit B - Expanded Option 2

Unit C - Given

Unit C - Expanded Option 1

Unit C - Expanded Option 2

Model Photo - 1/4â&#x20AC;? Fragment

Site Plan

Model Photo - 1/4â&#x20AC;? Fragment

Section Perspective - Details

Section Perspective

Miami Design District Johnston Marklee / Design Intern / September 2014 - June 2015 The Miami Design District is a proposed development consisting of high-end retail spaces, galleries, offices, and restaurants, within a landscape of trees and outdoor sculpture in the post-industrial neighborhood of Buena Vista, Miami. Johnston Markleeâ&#x20AC;&#x2122;s proposal includes the design of a facade which will inscribe Paradise Plaza, one of the primary anchors to a new pedestrian promenade that will run the length of the four-block development. Founded on the concepts of the Rationalist movement in Italy, the design employs classical elements reinterpreted through the use of modern materials. The concave column grid that forms an arcade is constructed using a highly reflective metal which mirrors and multiplies the light and the trees of the plaza. The upper tier of the facade frames the rooftop landscape beyond, visually connecting the reflected forest between courtyard and sky.

Site Plan

Rendered View

Model Photos

Model Photo

Collage

COLUMN EDGE 6” 6”

24”

24” HSS 12X12 TBD

6” 24”

EDGE OF VAULT ABOVE EDGE OF BEAM ABOVE GLASS GUARDRAIL

Column Detail Option 1 COLUMN EDGE 12”

6” 6”

24”

24” W 14X233 PER STRL.

6” 24”

EDGE OF VAULT ABOVE EDGE OF BEAM ABOVE GLASS GUARDRAIL

Column Detail Option 2 COLUMN EDGE

13-3/4”

6” 6”

24”

24” W 14X233 PER STRL.

6”

EDGE OF VAULT ABOVE

24”

EDGE OF BEAM ABOVE

GLASS GUARDRAIL

Column Detail Option 3

BRUSHED METAL

CUBIC PATTERN TILE POLISHED METAL

BACK PAINTED GLASS

BRUSHED METAL

EXTERIOR TERRAZZO

Material Study - Arcade Exterior

BRUSHED METAL

CUBIC PATTERN TILES

BLUE PAINTED METAL

BACK PAINTED GLASS

BACK PAINTED GLASS EXTERIOR TERRAZZO

Material Study - Arcade Interior

Rendered View - Towards Plaza

Rendered View - Towards Connection

Rendered View - Eastern Connection

Museum of Contemporary Art, Chicago Johnston Marklee / Design Intern / September 2014 - June 2015 The Museum of Contemporary Art Chicago is one of the nationâ&#x20AC;&#x2122;s leading institutions devoted to the exhibition and exploration of contemporary art and the contemporary creative process. Located in the heart of downtown Chicago, the MCA occupies a unique open parkscape in the city which links the pedestrian thoroughfare of Michigan Avenue to Lake Michigan. The building, designed by Josef P. Kleihues in 1996, provides voluminous galleries in which to exhibit and explore contemporary art. However, the demands for flexibility of space and increased cultural programming services have exceeded the capacity of the facility as designed. As the institution expands, the current building must adapt to reflect the institutionâ&#x20AC;&#x2122;s vital role within the local and international contemporary art community. This study summarizes the deficiencies in the existing building and proposes an improved museum experience that speaks to the vision of deepening audience engagement while furthering artist activation.

Study Model

Museum

Sculpture Garden

Plinth

Plaza

Exploded Axonometric Drawing

Kitchen Receiving Class Room

Meeting Art Art Art Room Storage Storage Storage

Theater Theater Lobby Store

Existing First Floor

Kitchen

Art Art Art Storage Storage Storage

Receiving

Restaurant

Theater

Theater Lobby

Connection Store

Proposed First Floor

Axonometric - Ceiling Studies

Collage - View through Lobby to Restaurant

Wormâ&#x20AC;&#x2122;s Eye View - Ceiling Studies

Collage - View into Restaurant

Cafe

Atrium

Gallery

Lobby Store

Gallery

Existing Second Floor

Engagement Zone

Gallery

Atrium

Gallery

Lobby

Gallery

Coat

Proposed Second Floor

Collage - View to Atrium from Museum Lobby

Conference

Mechanical

Fourth Floor +55'-0"

Lobby

Vestibule

Fourth Floor +42'-0"

Atrium

Museum Lobby

Third Floor +29'-0"

Cafe

Second Floor +16'-0"

Art Storage

Kitchen

First Floor +0'-0"

Theater Mechanical Basement -16'-0"

Existing Section

Conference

Fifth Floor +55'-0"

Mechanical Vestibule

Lobby Fourth Floor +42'-0"

West Gallery

Third Floor +29'-0"

Atrium

Museum Lobby

Second Floor +16'-0"

Storefront

East Education Engagement Zone

Art Storage

Kitchen

First Floor +0'-0"

Theater Mechanical Basement -16'-0"

Proposed Section

Collage - Potential Use of Engagement Zone

Office

Storage

Gallery Offices Gallery

Gallery

Gallery Gallery Gallery Gallery

Lobby

Gallery

Office Gallery

Gallery

Existing Third Floor

Existing Fourth Floor

Education Wing

Gallery Offices Gallery

Gallery

Gallery Gallery Gallery Gallery

Lobby

West Gallery

Gallery Gallery

Proposed Third Floor

Gallery

Proposed Fourth Floor

Collage - View to Staircase + Third Floor Gallery

Collage - View to West Gallery

Collage - View to Education Wing

Existing Sculpture Garden

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Proposed Sculpture Garden

Existing Sculpture Garden

Proposed Sculpture Garden

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Collage - View from Sculpture Garden

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Collage - View from Plaza

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Casa de Mont Johnston Marklee / Design Intern / September 2014 - June 2015 The Amalfi Residence is a private single-family home situated on a hillside in the Pacific Palisades neighborhood of West Los Angeles. Borrowing from elements of Georgian architecture and 19th century French chateaus, its exterior features a highly ordered stone facade and gabled roof. The project offers a modern take on this architectural style through its curvature and open floor plan. To accommodate the client’s extensive contemporary art collection, it “splits” in plan to allow for a large private gallery space on the first floor. A sculpted soffit winds throughout each public space in the house, mirroring the curvature of the building’s footprint and emphasizing the extents of each room in an otherwise open and fluid floor plan.

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Model Photo

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Section Drawings

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Model Photo

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Section Drawing

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Interior Rendering - View to Entrance

Interior Rendering - View to Private Gallery

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Interior Rendering - View to Living Room

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Ground Floor

Interior Rendering - View to Atrium

Second Floor

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Interior Rendering - View to Kitchen

Interior Rendering - Top of Staircase, View to Atrium

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Interior Rendering - View to Family Room

Interior Rendering - View to Dining Room

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Interior Rendering - View to Private Gallery

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Physical Model - Facade Studies

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Exterior Rendering

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Fragment Model - Facade

Fragment Model - Plan View

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Model Photo - View to Kitchen from Porch

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Model Photo - View to Kitchen from Hallway

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Model Photo - North Facade

Model Photo - South Facade

Model Photo - East Facade

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Model Photo - West Facade

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Model Photo - View to Private Gallery

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Model Photo - View to Kitchen from Porch

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Thank you! cargocollective.com/keibler | keiblern@gmail.com | 941.204.0379

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