Sean W. Kelly
WORKS
2010-2012
WORKS 2010-2012 Masters Final Project 2012: Frame and Matter: Six Floors of God Knows What at the California Building
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Graduate Design Studio III: Tsukiji Fish Market: Preservation and the Daily Spectacle
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Graduate Design Studio II: The New Media Art Center @ The Soap Factory
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Sean W. Kelly 3139 Girard Avenue South Apt. 6 Minneapolis, MN 55408 kell0856@umn.edu 763.232.9645
I am seeking to achieve a position that would allow me to gain experience in the field of architecture. This position should challenge and advance my skills as an initial step in my anticipated career.
EDUCATION
University of Minnesota, Twin Cities 2012 Master of Architecture 2007 B.A. Architecture 2007 minor, Spanish Studies RELEVANT EXPERIENCE
Blacksmith Apprentice, 1999 - Present Architectural Iron Inc, 2201 California st. NE, suite 123 Minneapolis, MN custom metal fabrication, furniture design and mild construction reference: 612.781.4482 ADDITIONAL EXPERIENCE
Underground Utility Locator, 2009 Consolidated Utility Services Inc. 7237 University Ave NE Fridley, MN Painter, summers 2005-2011 Huges and Faust Decorating, 1958 Princeton Ave St. Paul, MN Manager of Valet Operations, 2006-2008 Class A valet, 120 North 4th st. Minneapolis, MN SOFTWARE PROFICIENCIES AND SKILLS
adobeCS Ps, Id, Ai, autodesk autoCAD, Revit and 3ds Max. physical modeling, sketch up, hand sketching, conceptual drawing strong fabrication history. VOLUNTEER
Intro to Drawing Teaching Assistant, Fall 2011 instructed students after a four week summer preperation course. c.l.u.e.s. 797 east 7th st, St. Paul, Minnesota, 2006 translated and conducted employment search, mock interviews, and consultations with latino community members. AWARDS
2012 2012 2011 2011
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College of Design Thesis Award Candidate AIA St. Paul Fellowship Minnesota Society of Architects Fellowship May Ohrbeck Painter Fellowship
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Frame and Matter:
Six Floors of God Knows what at the California Building
Sean W. Kelly Masters Final Project 2012
Found Condition:
This is a place of production. The art and artifacts being produced behind gypsum walls are tested against all surfaces from within the corridor. Hung from ceilings, mounted on walls and positioned along the floor like furniture, this art commands little more attention than the communal piano or sofa. This is not gallery. It is overflow storage mixed with purposeful display for the one day per month in which the public is encouraged to engage the “6 floors of God knows what� at the California Building. Sean W. Kelly Masters Final Project 20122
California Building Construction History
1914
Timber Frame
1918
Concrete Frame
1950
Steel Frame
2012
Steel truss
NE Minneapolis Arts District
The California Building Company
NE Central Ave
NE Marshall St
NE Lowry Ave
Northrup King Building Casket Arts Building California Building Grainbelt Studios Architectural Antiques Building Thorp Building & Central Business Center Q.arma Building Van Buren Building Keg House Waterbury Building Crown Center
150 Artists 100 Artists 80 Artists 30 Artists 20 Artists 20 Artists 15 Artists 12 Artists 10 Artists 5 Artists 3 Artists
NE Broadway Ave
Sean W. Kelly Masters Final Project 2012
Intervention Strategy:
There exists a spatial attitude within the California Building which is considered valuable. Through subtractive and additive architectural processes, existing spatial characteristics may be extracted or revealed to engage a broader public. The introduction of cinema will parallel these architectural processes as a means to increase programmatic scale. Finally, through the expansion of the existing material pallet and the introduction of a foreign material logic, a more deliberate relationship between varying programs may be established.
Sean W. Kelly Masters Final Project 20122
Material Intrusion:
To counter the manipulations and extensions of the existing material logic of the California Building, the introduction of a new material system is necessary. The new material logic is supported by a system of light weight open web steel joists which extend out of and latch onto the existing concrete frame. As a framework for film and art, this structural logic extends out from within the media gallery, through the outdoor cinema and into the landscape of the drive-in theater. Where specified, screens for projection will be attached to this framework.
Material Extraction:
Much like the programmatic additions and revelations, the existing and new material conditions of the California Building engage in overlap. On the interior, existing oak plank flooring is peeled up and shaped into seating and vertical circulation that is required for the interior cinema space discussed earlier. Simultaneously, the planking is allowed to spill out and expand horizontally to form what will be the seating and circulation associated with the exposed cinema.
Sean W. Kelly Masters Final Project 20122
The California Drive-In
The architectural intervention in and out of the California Building is defined by a series of three public cinemas. The most additive of these is the drive-in theater which has a profound effect on the existing landscape. The most subtractive is the interior cinema which is formed by carving out existing structure, skin and space. The last cinema spans between the two previously defined and is exposed. A secondary intervention takes the form of media arts gallery and exists within the carved out atrium above the interior theater. The gallery supports both media projections and may function as an armature for physical art
Sean W. Kelly Masters Final Project 2012
Tsukiji Fish Market:
Preservation and the Daily Spectacle The inevitable relocation of the Tsukiji Fish Market to the Toyosu site will present the city of Tokyo with a massive abandoned industrial urban-scape. The $2.1 Billion price tag of the current market location guarantees that urban developers will buy land and will build vertically. The most important issues concerning the future of the Tsukiji site revolve around architectural and urban preservation. As an important force in Japanese culture and in the progression of Tokyo as an urban mega city, Tsukiji deserves to be recognized as a site worthy or architectural preservation. 15
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Tsukiji Daily Cycle
10pm
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Sean W. Kelly GDIII 20112
Vacating Tsukiji:
Although difficult to imagine, the more than 50,000 people who work within the Tsukiji Fish Market daily will vacate. Various vehicles, lifts, jacks, crates, pallets and other usable equipment will leave as well. An exercise that proved to be of significant value was to render the site as vacant, post relocation. Sean W. Kelly GDIII 20112
Time Perception, or the Ineluctable Aging of Material in Architecture. Murielle Hladik Preservation of Matter As a result of the described premise, the primary purpose of this work is of a Historical effort. Opposite from western priorities, in which to preserve something architecturally too often means to freeze it in its current state, Japanese understandings of preservation depend heavily on degradation over time. Further more, different structures may require different preservation techniques. Murielle Hladik describes three primary concerns regarding the process of historic preservation in Japanese culture: “Two objects can be found to be different phases of one and the same object if: (a) The form of that abject remains spatio-temporally continuous throughout the two phases and the interval (if any) between them. Or (b) the parts of that same object remain spatiotemporally continuous throughout the same period. Or (c) the matter of that object remains spatio-temporally continuous throughout that period.� Preservation of Form
Preservation of the Part
Urban Chaya (Tea House) The Part: This is the structure furthest east; no architect has claimed this building, it has been turned over to the masses. Encouraged to act upon the building physically, local residents and passers by may repair, modify, in fill, excavate and alter this building as they see fit. Programmatically devoted to the merchant, this building may house tea shops, portable food carts, and various other small scale commercial entities. The Matter: Located centrally, this building is left to decompose. Architecturally, it is isolated and access to this structure is not clear. Its program is as open as the decaying roof and offers isolation in an otherwise frantic city. The Form: Acted upon in the most contemporary of mind sets, the building to the west maintains its original form at all times. Housing controlled gallery spaces, this structure depends on the introduction of new, contemporary materials as a way to provide a conditioned space for the display of art works.
Sean W. Kelly GDIII 2011
Intervention Strategy:
Located centrally, this building is left to decompose. Architecturally, it is isolated and access to this structure is not clear. Its program is as open as the decaying roof and offers isolation in an otherwise frantic city. In this instance, existing trash and perishables have been removed while larger equipment and infrastructure has been left. Informal tea platforms have been introduced into this chaya as a way to promote social interaction and inhabitation.
Sean W. Kelly GDIII 20112
Sean W. Kelly GDIII 2011
Sean W. Kelly GDIII 2011
The New Media Art Center @ The Soap Factory
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56”
16.5”
80” 43.2”
110P
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11P
110P
72”
72”
245P
80”
267P
80”
103P
A-2 RESTAURANT
2550 SF 7 NET SF-365P
4817 SF 15 NET SF-250P
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80P
1548 SF 20 NET SF-60P
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96” 16”
18 8”
72” 96” 8.8”
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548P
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2935 SF 7 NET SF-419P
44”
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A-3 PUBLIC GALLERY TICKETING GENERAL ASSEMBLY
57”
40”
68”
204P
160”
4935 SF 15 NET SF-329-P
61”
25”
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M GIFT SHOP
2000 SF 30 NET SF-66P
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19 44P
33P
164P
40”
125P
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4935 SF 20 GROSS SF-250P
1791 SF 20 NET SF-80P
44P
125P
40P 8”
40”
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A-3 SPECIAL EVENT GALLERY
B CLASSROOM
3936 SF 30 GROSS SF-132P
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B EDUCATION UNDEFINED
40P
A-3 GALLERY
1791 SF 20 NET SF-80P
14
40”
40P
B CLASSROOM
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30P
B SCREENING
212P
36P
A-3 PUBLIC GALLERY GENERAL ASSEMBLY
2190 SF 30 GROSS SF-73P
30P
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267P
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1800 SF 20 NET SF-90P
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1800 SF 300 GROSS SF-6P
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182P
11 80”
72”
6”
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125P
1548 SF 20 NET SF-60P
2550 SF 7 NET SF-364P
A F.2
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48P
B CLASSROOM/SCREENING ROOM
3300 SF 30 GROSS SF-110P
B CLASSROOM
A-3 GENERAL ASSEMBLY
A-3 LIBRARY
2274 SF 200 GROSS SF-22P
267P
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216P
36.4”
2.2”
4400 SF 20 GROSS SF-220P
56”
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B GALLERY AND STUDIO OFFICES
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2609 SF FIXED-150P
B GALLERY AND STUDIO OFFICES 4400 SF 20 GROSS SF-220P
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30P
82P
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3300 SF 20 GROSS SF-165P
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2609 SF FIXED-150P
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75P
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80”
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55P
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3300 SF 20 GROSS SF-165P
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1150 SF 200 GROSS SF-6P
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4453 SF 30 GROSS SF-150P
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172P
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M HIGH END ELECTRONICS STORE
40”
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75P
172P
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54”
51.6”
40” 34.4”
15”
5452 SF 30 GROSS SF-180P
40”
M HIGH END ELECTRONICS STORE
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Sean W. Kelly GDII 2010-11
Premise
Located along the Saint Anthony Main Street corridor, the Soap Factory represents one of the few privately owned properties between 6th Ave SE and Hennepin Ave. Currently dedicated to the arts and programed to support local artists, the Minneapolis Soap Factory has the potential to become a catalyst for urban activity and renewal in this area. The following proposal acquires the vacant lot to the south of the Soap Factory and introduces a New Media Arts Center (MAC) to the St. Anthony Main Street district. The new MAC is composed of numerous programs including: controlled and uncontrolled art galleries, a cinema, educational community outreach programs, artist studios, a high end electronic store and a restaurant, along with other associated programs totaling 130k sf. This particular project was focused on the inherent need of the program to have spaces of complete darkness and the relationship this played in spatial organization and material choices.
Sean W. Kelly GDII 2010-11
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
152’
145’
138’
120’ 113’
101’ 100’
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Site Cast Ledger Beam 12” Hollow Core Plank 1/2” Dowel 1” Steel Embed Plate 1” Steel Plate Outrigger 3/4” Steel Cable Tension Truss Compression Strutt Spider Assembly Glass Filled Metal Fabric Panel Clear Profilit, Thermally Broken skylight HSS 2 x 2 Thermally Broken Glazing Support Water Proof Membrane Vapor Retarder
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCT
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9 Site Cast Ledger Beam 12” Hollow Core Plank 1/2” Dowel 1” Steel Embed Plate 1” Steel Plate Outrigger 3/4” Steel Cable Tension Truss Compression Strutt Spider Assembly Glass Filled Metal Fabric Panel Clear Profilit, Thermally Broken HSS 2 x 2 Thermally Broken Glazing Support Water Proof Membrane Vapor Retarder Rigid Foam Insulation Expansion Anchors Steel Grate/Drain Poly Slip Plate 60mil Steel Stud/Z Furring Keeper Strip Bent Metal Flashing
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13 14 15 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Sean W. Kelly GDII 2010-11
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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Daylighting
Although crude in its construction, the full scale 3’ x 3’ crushed glass filled building panel proved invaluable in the overall design process. A steel angel frame and heavy gage welded steel mesh give the panel its rigidity. The finished surface is made of a finer woven steel mesh and stainless steel sheet metal, which covers the structural frame. As built, the panel weighs 95lbs.
Sean W. Kelly GDII 2010-11
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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1 1/2” x 3/4 “ Steel Tube Frame 1/4” Steel Plate-Welded Threaded Clevis-3/8” opening Threaded Insert-Welded Metal Fabric-1/4” O.C. Openings Steel Wire Support Ties 6” Bolt Spider Assembly Self Drilling Screws-Counter Sunk
Sean W. Kelly GDII 2010-11
Artificial Lighting and Projection
Although built early in the design, the crushed glass filled prototype panel performs well under a range of natural and artificial light conditions. For testing purposes the panel was filled half with opaque white glass and half with translucent teal glass. I will describe the images from left to right as they were photographed. 1. Direct Sunlight Backlit 2. Backlit overcast 3. Equal intensity led backlighting on both the white and tea. 4. Large scale projection onto the white surface only. Sean W. Kelly GDII 2010-11
This academic portfolio represents works completed between 2010 and 2012 within the College of Design at the University of Minnesota Twin Cities. Three projects have been selected, edited and formated to best showcase conceptual and graphic priorities of each project. An interest in the already built environment, interpretations of architectural preservation and a graphic technique of rendering through the photography of physical models links the three projects.