Portfolio by Luke Jerome

ARCHITECTURE PORTFOLIO

LUKE JEROME SELECTED WORKS

LUKE JEROME lukemjerome@gmail.com 214.335.9300

WHO AM I?

EDUCATION

I don’t want things to just work, I want them to work well. I love mechanical watches, perfectly imperfect fountain pens, and cars that do more than get me from point A to B. I am a competitor; UNO, disc golf, studio projects, and even lighthearted arguments such as “Does pineapple belong on pizza?” or “Do plastic utensils make some food taste better?”

UNIVERSITY OF TEXAS AT AUSTIN

I enjoy community—engaging with friends, going to the movies, late-night conversations, and video games. I like thinking ahead, organizing, and planning for contingencies. These characteristics served to prepare me for my role as a natural leader with friends, classmates, and colleagues. Interacting with elegant and sophisticated design has helped shape my aesthetic philosophy—to create enduring design that works well.

2023-Present

Master of Architecture

UNIVERSITY OF TEXAS AT ARLINGTON Bachelor of Science

ARCHITECTURAL EXPERIENCE CORGAN

Summer 2023

CORGAN

Summer 2022

CORGAN

Summer 2020

Dallas, TX - Aviation Intern Dallas, TX - Aviation Intern Dallas, TX - Aviation Intern

ADDITIONAL EXPERIENCE RENAISSANCE AUDIO VIDEO

2016-Present

Dallas, TX - Lead Technician

AMAZON

2020-2021

Wilmer, TX - Learning Trainer

SKILLS

SOCIAL Instagram Issuu LinkedIn

2019-2023 Summa Cum Laude

@lukemjerome -- @lukejeromephoto issuu.com/lukemjerome/docs/portfolio linkedin.com/in/luke-m-jerome

Rhino Photohop Lumion

Revit Illustrator V-Ray

AutoCAD InDesign Enscape

SketchUp Lightroom 3D-Printing

TABLE OF CONTENTS

04. TEXAS ROWING CENTER Floating Above The Water

14. REFLECT Sit and Stay Awhile

20. EMBASSY OF NORWAY An Embassy for All to Enjoy

28. URBAN ARCHIPELAGO A Housing Concept for Rising Tides

36. ALPINE RESIDENCE An Escape From The World

42. URBAN READING ROOMS A Place To Sit and Read

50. OUTSIDE THE STUDIO Woodworking & Photography

TEXAS ROWING CENTER YEAR: FALL 2023 LOCATION: AUSTIN, TEXAS

The Texas Rowing Center is a privately owned public space floating on the Colorado River with the Hike and Bike Trail running alongside it. Over the years, Matt, the owner, has built a paddle board rental business and rowing club. The existing site has buildings scattered around from various periods of growth. I was charged with creating a new facility that incorporates Matt's business needs and keeps its place in the essential urban fabric of the Hike and Bike Trail.

LONGITUDINAL ELEVATION 05

PROJECT: TEXAS ROWING CENTER

FALL 2023

THE SITE The Rowing Center rests on the north bank of the Colorado River near MoPac Bridge and Austin High School. The Hike and Bike Trail runs next to the site and is heavily used by runners and bikers at all times of the day. 07

PROJECT: TEXAS ROWING CENTER

CIRCULATION My main objective was to unify the existing boathouses by storing all the rowing shells under one roof. Along with that, I wanted to separate the rowers from the paddle boarders to streamline traffic flow within the building. The 40ft tall tower is the main route for circulation, allowing rowers to go to the second floor gym and the public to access the cantilevered cafe at the other end of the building.

ROWERS RELAXERS

FALL 2023

LEVEL 3

LEVEL 2

LEVEL 1 09

PROJECT: TEXAS ROWING CENTER

IN SECTION A key design feature is the hanging boat storage. I found it more efficient to store all of the boats in the rafters rather than on the ground. In doing so this creates a large open space below with the boats hanging overhead like chandeliers. Storing the boats off the ground also allows for the space to be used for after-hours events such as parties, concerts, or weddings.

FALL 2023

PROJECT: TEXAS ROWING CENTER

The model has a piece of etched acrylic in front of it showing the sight lines of those experienceing the building from the Hike and Bike Trail or second floor of the building.

DIMENSIONS

W x H x D - 13in x 5.5in x 24in

THE BUILDING Basswood

BOATS

3D-Printed

SCALE

1/4in = 1ft

FALL 2023

1/32nd Model

REFLECT YEAR: FALL 2023 LOCATION: AUSTIN, TEXAS

The goal of this project was to progressively design a space using Gottfried Semper’s idea of a primitive hut. Semper’s primitive hut distilled his four essential elements of architecture into the hearth, roof, enclosure and mound. For Semper, these four elements also had corresponding material and constructional identities: ceramics & metallurgy defined the hearth, earthwork & masonry defined the mound, joinery & tectonics defined the roof, and textiles & weaving defined the enclosure. These elements were to be thought of not as “material elements or forms, but as motives or ideas.”

PROJECT: REFLECT

FALL 2023

THE SITE Located in Pease Park, the rest area is situated in a 12ft section of the retaining wall that runs along the river and sits next to the parks walking path. My intent was to create a space not initially visible from the street level, rather a place to be discovered as one walks by. 17

PROJECT: REFLECT

HEARTH

MOUND

A reflecting pool and light well that encourages one to sit and reflect while sensing the passage of time

Seemingly carved into the wall and concealed from the busy road. The site rests on a slab of limestone that is 2ft tall, matching the blocks next to it and elevating users from the stream below

“The first sign of settlement and rest after the hunt, the battle, and wandering in the desert is today, as when the first men lost paradise, the setting up of the fireplace and the lighting of the reviving, warming, and food preparing flame.” -Gottfried Semper

“Mounds were needed to make it safe from flooding and also to espy the enemy from afar.” -Gottfried Semper

FALL 2023

ROOF

ENCLOSURE

A monolithic slab of limestone (45ft x 18ft) supported by the wall and a single blade of steel on the far corner. The size of the roof provides shade throughout the entire day, critical for the harsh Texas climate

An array of Ipe wood supported by a steel frame that can appear solid or transparent based on viewing perspective

“Only the climate was a powerful enemy; a solid, warm roof was needed for protection against it. Originally this roof rose directly from the ground; only later, when combined with the protective wall, did it take on the form of a house.” -Gottfried Semper

“The enclosure, expressed in light, woven material terms, offers the hearth protection from various environmental factors... There is no need to prove in detail that the protection of the hearth against the rigors of the weather as well as against attacks by wild animals and hostile men was the primary reason for setting apart some space from the surrounding world.” -Gottfried Semper

EMBASSY OF NORWAY YEAR: FALL 2021 LOCATION: WASHINGTON, D.C. PARTNER: ARAN CULHANE

Using design knowledge from a precedent study, we were tasked with choosing a country to represent, selecting the site, and designing the embassy. The embassy’s design needed to have ties to the ideals and design language of the country. We chose Norway for its modern style and minimalist aesthetic. The site in Washington, D.C. allowed us to emulate the landscape found in Norway. Inspiration came from the Norwegian firm Snøhetta and their keyless society philosophy.

PROJECT: EMBASSY

FALL 2021

THE SITE Norway is a mountainous and scenic country; we wanted to emulate the country’s topography with the site we chose. Located along Rock Creek next to Dumbarton Bridge on Embassy Row, this site sits 60 feet above Rock Creek and was selected for its steep terrain. 23

PROJECT: EMBASSY

A KEYLESS STRUCTURE Following the ideals of the Norwegian architecture firm Snøhetta, the design goal of our building was to create an exclusive experience that would draw people in, allowing us to share more of Norway’s rich culture. Throughout Norway, there are structures and buildings with no locks and no staff; they are open to the public at all times. Snøhetta coined the term known as “keyless structure.” These “keyless structures” are strategically placed in scenic environments with the goal of connecting people with the building and the environment. We wanted to bring Snøhetta’s “keyless structure” philosophy to Washington, D.C. for everyone to experience and enjoy.

ARTWORK Encouraging visitors to explore the embassy is an important aspect of the design. However, without anything to see or experience, the design ideal fails. To encourage exploration and bring the design to life, we strategically placed art inspired by Norway in all interior and exterior spaces, thus enticing visitors to explore the embassy at their own pace and discover the vast collection of artwork on display.

TREE

BOAT

FJORD

MURAL

This abstract tree sculpture peeks out through the openings of the building, helping to remind any who see it that the building itself is embracing themes of nature. The sculpture also serves as a nod to the Norse tree of life, Yggdrasil.

This Viking long ship hangs upside down above the lobby. It is 50 feet long and is accompanied by an abstract water design on the ceiling. Every piece of art around the building expresses a different facet of nature.

One of Norway’s most notable geological features is its many fjords. The design seen is an abstraction of the Trondheim Fjord. It was created through a process of laying coordinate points along the named landmarks and locations around the fjord. Lines were then drawn between each. The resulting negative space was the design we used.

The mural entitled “The Wanderer and The Traveler” depicts an elk and a white-throated dipper; two native animals to Norway. They are found by a stream between two mountain ranges with the setting sun behind.

Just as Yggdrasil lies in the center of the cosmos between the intersection of the two realms Muspelheim and Niflheim, our tree sculpture is centrally located where our two buildings intersect.

The boat lends itself as an expression of both man and journey, so it is only fitting that it resides in the main lobby of the building where all visitors begin before reaching their destination.

The Fjord tile design can be found in the rear courtyard space of the building, past the life tree.

This mural spans three floors and can best be seen while standing on the fjord.

FALL 2021

PUBLIC VS PRIVATE The embassy’s 71,000 sf of interior space is divided into two parts: the embassy and the consulate housing. Two bridges connect the consulate housing with the office levels of the embassy for convenient circulation. All public spaces, including the visa office, outdoor space, galleries, and auditorium are all on or below ground level. The offices, conference rooms, and press room are above the ground floor to simplify security.

+03

+02

+01

-01

-02

WALKWAY

STAIRS

ELEVATOR

PROJECT: EMBASSY

The model is currently shown in its exploded form. Using the stair shafts as friction fit points, the model is able to expand the individual levels for a better view inside.

DIMENSIONS

THE EMBASSY

Laser-cut basswood and plexi-glass

Hand-twisted 16 gauge wire

TREE SCULPTURE

CARS

SCALE

THE SITE

Six 1” thick MDF sheets CNC milled

TREES

Baby’s breath & Gypsy grass

BRIDGE AND CONTEXT

WEIGHT

THE RIVER

SCALE FIGURES

W x H x D - 32in x 24in x 10in 1in/20ft 103 lbs

4 layers of colored epoxy for depth

Laser-cut mahogany basswood

3D-printed 3D-printed and spray painted with textured gray spray paint

FALL 2021

URBAN ARCHIPELAGO YEAR: FALL 2022 LOCATION: MIAMI, FLORIDA PARTNER: CINNY ZHAO

This project was a submission to Arch Out Loud: Miami Floating Housing Competition. The objective was two-fold: to create affordable housing and to design a floating housing concept that is resilient to the looming problem of sea-level rise. The program called for a minimum of 45 floating housing units and one boat slip per unit. We were encouraged to examine the neighborhoods of Little Haiti and Little River, located just west of Biscayne Bay. Wealthier people, seeking higher ground to escape the rising seas and attendant flooding, are displacing these residents. Shared amenities, both indoor and outdoor, were incorporated to connect the new housing development with the community.

PROJECT: URBAN ARCHIPELAGO

FALL 2022

THE DESIGN Urban Archipelago seeks to create an island system off the changing edge of Miami. Water, food, shelter, community, and biodiversity are sustained on the island, confronting the consequences of rising waters, while providing a future for Biscayne Bay. Water collection, both vertical and fish farming, as well as cultural, green, and liquid spaces are harbored on each island, creating a fully sustainable community. 31

PROJECT: URBAN ARCHIPELAGO

THE HOUSING UNITS Two different unit styles were developed for this floating community: an individual unit and a shared unit. The individual units include both living and sleeping spaces. The shared unit style has four individually accessible sleeping areas with a shared kitchen, living space, patio, and courtyard. The two styles were designed for single-family and multi-generational families. Additional floating islands can be added as needed, creating an urban archipelago of communities within Biscayne Bay.

INDIVIDUAL - LEVEL 01

INDIVIDUAL - LEVEL 00

SHARED - LEVEL 01

INDIVIDUAL LIVING CONCEPT SHARED LIVING CONCEPT CIRCULATION

SHARED - LEVEL 00

FALL 2022

ING

NIT

U MM

CO H

FIS

MARINA

OBSERVATION DECK

PL A

TERRACED GARDEN

ER TCH HA

0 FT

E PAC

1-3 FT

4-6 FT

7-10 FT

PROJECT: URBAN ARCHIPELAGO

FALL 2022

CONNECTION & COMMUNITY The floating structure is accessible by boat or ferry that stops at two locations on the island. The center of the structure contains several large open spaces for festivals and other cultural events for the community.

SECTION CUT FERRY PATH PERSPECTIVE LOCATIONS

ALPINE RESIDENCE YEAR: SPRING 2021 LOCATION: AUSTRIAN ALPS

This assignment involved designing a residence for one individual in an Alpine climate. The first step was envisioning a client with a unique profession to design for. A ski lift that passes through the center of the Alpine home was the only mandatory design element.

PROJECT: ALPINE RESIDENCE

RESEARCH The evolution of the building was influenced by multiple factors: the number of rooms needed, rooms specific to the clients needs, the overall shape of the building, and the environmental conditions the structure will face. After determining the size of the home, masses were created to the appropriate square footage and placed using the five building shapes.

34 5

330

SE 150

5 28

16 5

300

150

34 5

330

120

S 255

210

COURTYARD

5 10

5 28

S 195 SW

300 W 255

16 5

240

BLOCK

195 240

210

0-1 mph 1-8 mph 8-25 mph

LIGHT CONDITIONS

FIR TREE

ELK

LYNX

SPRUCE TREE

SKYLARK

WIND CONDITIONS

L-SHAPE

PINE TREE

LINEAR

FAUNA & FLORA

CONTEXTUAL CONDITIONS

U-SHAPE

SPRING 2021

65.2°

TOPOGRAPHY

SNOW

WIND

SUN

RAIN

To deal with the steep terrain, the building was built into the mountain-side.

A bridge was built on the top floor to create cover for the ski lift passenger loading point.

The building was rotated 45 degrees to make the building more aerodynamic for the powerful mountain winds.

Rotated 45 degrees, the building has a larger face towards the southern sun for heat gain in the winter

To address rainwater pooling, the roof was raised in the front of the building. This offers a sloped roof to better shed water and snow.

PROCESS The design process began by considering the major elements and factors that would negatively impact the building. The building was adapted to each of the five factors displayed on the right. The most significant change in the design progression was rotating the building 45 degrees. This caused the building to be more aerodynamic, as well as opening a large face of it to sunlight and views.

THE FINAL DESIGN

PROJECT: ALPINE RESIDENCE

LEVEL +01

LEVEL 00

13 8

LEVEL -01

0ft

20ft S

SPRING 2021

URBAN READING ROOMS YEAR: SPRING 2022 LOCATION: MEXICO CITY, MEXICO

The goal of the project was to connect Mexico City’s Paseo Por Los Libros to the street in two different locations. This was to be accomplished by creating a spatial System of Relationships where qualities of space are expressed by the definition of their boundaries by utilizing the concept of Three Spaces of the City: Outer Inner Space: plazas and other areas that are not confined by walls Inner Outer Space: courtyards or areas defined by walls but open to the air Inner Inner Space: areas not exposed to the outside elements

PROJECT: URBAN READING ROOMS

GARDEN SPACES This project’s goal was to connect the Paseo Por Los Libros to the street level incorporating garden spaces. There are several areas for pedestrians entering and exiting the book passage to rest, read, or relax. The main structure contains three garden spaces and one gallery space. A second exit leading directly to the street is surrounded by trees and foliage, creating a beautiful passageway through which individuals may enter and exit. All areas were designed as peaceful places for people who enjoy reading outdoors.

SPRING 2022

THE LOCATION The site is in Mexico City, between Zocalo Square and the Pino Suarez metro station, and resides on the southeast corner of Pino Suarez and El Salvador. Neighboring the site across the street is a museum and church. Diagonally across the street from the site sits a plaza with access to the Paseo Por Los Libros, a 1 km tunnel, linking Zocalo square to the metro station. In addition to the book passage, there are two bus stops on El Salvador that connect to La Biblioteca Nacional de Mexico, one of the largest libraries in the Americas.

Museum Church

Site Book Passage 45

PROJECT: URBAN READING ROOMS

SPRING 2022

THE DESIGN The building’s facade is comprised of vertical elements that increase in number with each floor, offering greater privacy for the higher floors. This design offers more privacy from the road and passersby, allowing each visitor to choose the most enjoyable area of the building in which to rest or read. At the center of the structure is a circular pedestrian ramp over the central courtyard. An intentional part of the design is that the ramp cannot be accessed from the central courtyard in order create an unobstructed space in the center of the building. This choice encourages pedestrians to explore the structure using the ramp. 47

PROJECT: URBAN READING ROOMS

SPRING 2022

ALIGNMENT & COURTYARDS Most buildings in Mexico City use courtyards for passive cooling and as a natural light source. In the traditional style, this building has a central courtyard. The central courtyards’ location is influenced by both the museum’s courtyard and the church’s main gathering space located across the street. The courtyard is aligned with these two areas. The second exit, leading directly to the street, is in line with the museum, giving pedestrians a view into the museum’s courtyard as they exit the tunnel.

PROJECT: OUTSIDE THE STUDIO

PECAN SERVING SPOON // 2021 50

8.5” MAPLE BOWL // 2021

2019-2024

ICELAND // 2019 51

PROJECT: OUTSIDE THE STUDIO

ARIZONA // 2022 52

UTAH // 2023

2019-2024

NEVADA // 2024 53

LUKE JEROME lukemjerome@gmail.com 214.335.9300

UT AUSTIN

ARCHITECTURE PORTFOLIO

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