Kyle Tinsmon Portfolio of Architectural design and artwork
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Office 203
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Porch 208
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8 Classroom 107
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Wall Section Scale: 3/4” = 1’-0”
project page 8
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Lobby 101
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Stair 2 108
Wall Section Scale: 3/4” = 1’-0”
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Pathway to Architecture Most adults remember the chores they did growing up. My Mother, having earned a Masters of Mathematics, found the subject to be of particular importance, so in addition to the list of daily chores I did after getting home from school, I had to do a set of math problems. Rather than standard arithmetic calisthenics, these problems almost always were accompanied with an allegory for practical application. At first I belabored the additional after school burden that none of my peers seemed to have. Then, over time, I began to respond to the story problems with story answers; the more elaborate the computative predicament the more prevalent the paths to an intriguing result. I was laying the foundation for becoming an architect. Originally, I followed the path of computer science and mathematics. After receiving my undergraduate degree, I further developed my problem-solving and collaborative skills in a real world setting. Initially hired December 1st, 2005 to solve mechanical, electrical, and computational problems at various company sites for Ryan Energy Technologies, a large oil and gas contract company, I was promoted to lead engineer in April 2006. Despite my success in the engineering field, I felt I was pursuing arithmetic without artistry. Two years later I was touring Kansas State Universities College of Architecture, Planning and Design. A facet of the curriculum that I found fascinating was the focused abstraction the program granted students towards their studio projects. The student’s individual workstations within the studios embodied goal-focused, creative chaos. I instantly was enamored with the affable, inventive professional atmosphere conducive to an architectural studio environment. I pursued my studies at KSU with fervor, including the intricacies of details and the best means by which to show them, compelling façades and how they communicate with society, the evolution of antiquated architectural genres and the drive to make them relevant, artistic interpretation of architectural works, and, finally the teamwork required to actualize a tangible structure.
Kyle Tinsmon
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flashing cornice head aluminum covering
anchor bolt
aluminum covering w6x30
wr barrier concrete 3”
concrete 3” 1
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Scale: 1 1/2” = 1’-0”
ins 4”
wr barrier
concrete column
Exterior Detail
vented membrane
vented membrane metal stud stone fastner beam ins 4”
metal stud
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moisture vent
Exterior Detail
corr steal 1/8”
corr steal 1/8”
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Scale: 1 1/2” = 1’-0”
Exterior Detail Scale: 1 1/2” = 1’-0”
metal stud stone fastner
1 w12x40 beam
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owsj depth 1’-6”
owsj depth 1’-6”
gypsum 5/8” owsj depth 1’-6”
header bracket
anchor bolt metal stud
mullion 1
double pane 1/8” glazing
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flashing
stone fastner beam 1
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Exterior Detail
6 A801
Scale: 1 1/2” = 1’-0”
Exterior Detail
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Scale: 1 1/2” = 1’-0”
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1 metal stud
1 metal stud 2x6 wood decking
double pane 1/8” glazing
sec wood support beam ins 3”
gypsum 5/8”
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Scale: 1 1/2” = 1’-0”
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footing ins
sill 1 metal stud stone fastner
owsj depth 1’-6”
Exterior Detail
gravel 4”
bracket
anchor bolt concrete 3”
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rain matt refined glass covering 5/8”
mullion
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Exterior Detail Scale: 1 1/2” = 1’-0”
footing concrete
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Exterior Detail Scale: 1 1/2” = 1’-0”
Table of Contents The Manhattan Fabrication Laboratory .............................................. Detail ............................................................. 5 The Economic Assistance Center ......................................................... Facade ........................................................... 9 The Library ....................................................................................................Evolution .....................................................11 Hand Renderings ........................................................................................ Artistry..........................................................13 Design/Build First Year Studio............................................................... Teamwork .....................................................15
Kyle Tinsmon 1615 Denison Ave, Apt. 222 Manhattan, KS 66502 316.259.9219 kyle@tinsmon.com
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The Manhattan FabLab The Manhattan Fabrication Laboratory provides equipment for public use to complete industrial projects. The architectural design builds public interaction by exhibiting completed displays and openly showing the machines within. The Fab Lab northern and eastern facades maintain the same distance from the street as its neighboring structures allowing it to make the block a cohesive whole. Along the northern facade, three sidewalk-to-roof windows provide pedestrians with views into two workshops and a display gallery. On the eastern facade, the second story projects over the entrance courtyard accommodating intimacy while enhancing curiosity for further investigation. The visual openness of the northern facade of the Fab Lab increases public interest while the recessed entrance with the courtyard produces intrigue and notability.
Process Sketch and model
Process Sketch and model
Process Sketch and model
Figure / Ground
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View from Northeast
Interior of lobby View from Southwest
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Ground Floor
Building Access
Public entrance
Industrial garage
Supply garage / Fire exit
Private entrance
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Second Floor
Axes
The north/south axis is used for the business aspect of the Fab Lab. The west/east axis is dedicated to the factory-esque portion of the building.
Circulation
The circulation is a result of the axes. Each axis is a major atery branching off into smaller, more program specific pathways. Most circulation has been integrated into the program so tertiary circulation is at a minimum.
Plywood: 1/2” Rigid Insulation: 4” Interlocking Channel: 4” Air Space: 1/2” Aluminum Honeycomb: 3/4” Oyster Sparkle Granite: 1/2”
Flashing Vented membrane Cornice head 4”: Insulation 3” min.: Concrete 1/8”: Corregated Steal
5/8 “ Gypsum Depth 1’-6”OWSJ w12x40 beam Steal Stud
The exploded structure rendering (above), taken from the eastern facade, exposes the composition of select building materials. A granite rainscreen is employed to protect the interior structure from the stresses of weather. An open web steel joist provides floor and roofing structure while permitting a permeability of the joist bay for HVAC implementation. The building’s skeleton is constructed with standard steel studs, a current and fashionable material for architectural projects.
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The Economic Assistance Center The cost of living in San Francisco, CA is high, so high in fact, if a family income is less than $100,000 annually they are placed into a low income bracket. An economic assistance center is an ideal means of introducing these families to fiscal responsibility. The center must be easily identifiable and seem approachable to its would-be affiliates. I structured the Center’s architectural design around two questions: How can I separate the program elements distinctively? How can I unite these distinctive elements into a unifying whole? In response to the first question, the design was organized by placing each programmatic group, i.e. the lobby, education outreach center, & assistance into a cubic form varying in size as per required area. Each of the like cubic forms were arranged to create six separated floors on the Southwestern façade. The Northwestern and southeastern façades are cubic landings and the Northeastern façade are large cubic spaces for communal purposes. In response to the second question, each cubic volume is incrementally placed on the façades. On the interior, they are joined via an internal walkway, structural elements, and an atrium unifying all cubic forms.
View of E.A. Center in
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First Floor Plan
Second Floor Plan
Third Floor Plan
Fourth Floor Plan
Assignment of Program Child Care Facility Assistance Agencies
Educational Outreach Lobby
Fifth Floor Plan
Sixth Floor Plan
Facade vs. Interior Modular elements Core
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The Library The introduction of digital media via the internet and the advancement of e-readers have caused libraries to lose their place on the academic pedestal as the sole source of vaunted knowledge. It is my philosophy that an architect must strive in making outdated modes of architecture relevant in an evolving world. There is still much information to be gained by visiting a library the trick is giving people a reason to go there outside of pedantic pursuits. That was the goal of this design. The building is placed atop a sunken car park and pushed towards the edge of the site. The remaining area may be used for various communal applications such as farmers markets and other public gathered events. Once there, the public will rediscover the library and all the information it contains.
Second Floor Plan
First Floor Plan
Ground Floor Plan
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Sun Protection
Zoning
Roof
Mechanical
Louver
Librarian
Tree
Public
South Elevation
Section W-E
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30� x 40�, graphite on Strathmore board on cold press
Jewish Museum Berlin This drawing won first place in the K-State 17th Annual Rendering Competition. The freehand rendering (photographed by Moreikura) captures the enveloping darkness held back by outside light through an atypically
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shaped window. The room is from the Jewish Museum in Berlin, designed by architect Daniel Liberskind. He aimed to evoke human responses through its deconstructivist form.
9” x 12”, graphite on Strathmore board on cold press
Villa dall’Ava
The drawing was created during a case study of the Villa dall’Ava, designed by Rem Koolhaas. It is an avant-garde interpretation of the tenets of the modern movement. A synthetic translation of Corbu’s pilotis is
demonstrated in the rendering of the front façade. The columns challenge the use of strict pattern, arbitrarily leaning in random directions, while maintaining their functionality as structure.
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Design-Build The goal of this design-build studio was to separate a large, previously unused area into several first year studio spaces. In 2004, a similar design-build studio created the studios first year students currently inhabit. Our project had to utilize attributes found in this first project, while acquiring an identity of its own.
Concept Analysis
In the initial stage of the project we were divided into three teams, three students each, to establish design concepts. Employing various design software each team then created a section of a full scale model. A jury of university administration was assembled to decide which project was to be selected for final development. The jury insisted that we use a combination of key elements from each design.
Detail Development
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After combining the key elements, we began the task of creating construction documents. Each member assisted in the development of various details within the design. I also created a virtual model of the wall containing all the materials required for the completion of the project. Using this documentation I was responsible for calling suppliers and procuring all materials for the last phase of the project.
Left: Three full section models. (photography by Kristen Martin) Right: Virtual model showing project assembly. (1)Concrete base (2) Steel studs and channels on base (3) Steed studs for walls (4) Plywood backing for walls and seating base, steel bar and sofit (5) Sofit and seating cover (6) Light paneling (7) Finished wood planking
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Constrution Stage Any Student without shop experience gained it that summer. I learned how to negotiate materials cost with a supplier, construct concrete form work, adhere steel studs to concrete, generate curved wood pieces employing a vacuum bag and form cut insulation foam, arc weld, and the difficulties in assembling details the way they were designed.
This opportunity gave me an a greater appreciation for the design experience as a whole as well as a deeper understanding, via the significance of detailing, as an architect.
Left and above: These pictures shows the construction of the project and my various rolls throughout. Right: The finished product. (photography by Kristen Martin)
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