JOSEPH PERRY K n o w l t o n S chool of A rchitectur e D e si g n P o rtfolio 2 0 1 2 - 2 0 15
Q U A L I F I C AT I O N S 01
NEO-NEO GOTHIC S t u d i o Cr use 02
COLUMBUS SHAMBHALA CENTER S t u d i o G o uld 12
K N O W LT O N A N A LY S I S & C O U RT YA R D R E D E S I G N C o n st r u c tion B lostien 20
S I L E N C E C O N TA I N E R S t u d i o G o uld 26
PIXEL CLOUD S t u d i o Wilke 32
THREE ROOMS S t u d i o E skenazi 40
E D U C AT I O N The Knowlton School of Architecture at The Ohio State University // Columbus, Ohio Bachelor of Science in Architecture 2012 - Present Columbus State Community College // Columbus, Ohio Associate of Science in Architecture 2009 - 2011
WORK Knowlton School of Architecture // Columbus, Ohio Fabrication Lab Assistant; I help students with construction techniques and advice, as well as, ensuring their methods are performed safely. 2014 - Present Jeni’s Splendid Ice Creams // Grandview, Ohio Shift Leader; I manage the shop when a manager isn’t present. 2010 - Present Utrecht Art Supplies // Columbus, Ohio Associate; I advised customers on materials, media and techniques for their projects. 2012 - 2013 OHSAA // Delaware, Ohio Baseball Umpire; I determined the outcome of every situation and control the game. 2007 - 2011
WORKSHOPS Peter Trummer: The City as an Aggregated Figure // Autumn 2013 Tom Wiscombe: Involuted Figures and Black Holes // Spring 2015
SKILLS Hand Drawing, Model Building, Organization Computer // Maya, 3DS Max, Google SketchUp, Rhino TopMod, FormZ, Revit, AutoCAD, Illustrator, PhotoShop, InDesign, Unity, Mudbox, Blender, Cinema 4D, Unreal Engine 4. Fabrication // Laser Cutting, 3-Axis CNC Mill, 5-Axis CNC Mill, Wood Shop Basics
I N F O R M AT I O N Joseph Perry Email // jmperry4@gmail.com Phone // 1.614.364.3113
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NEO-NEO GOTHIC
AUTUMN 2014
4TH YEAR
STUDIO CRUSE
Neo-Neo Gothic is a university dormatory project that is located on the Univerisity of C h i c a g o ’s N o r t h E a s t c o r n e r o f c a m p u s . T h e project acts as a gateway between old residential homes on the East, civic buildings to the N o r t h a n d U C ’s m a i n c a m p u s t o t h e S o u t h . T h e Neo-Neo Gothic Dormatory create an interesting space on the side of campus that was mostly inactive and often ignored by the students. The idea of Neo-Neo Gothic branches from the earlier architectural elements from the Southern part of campus. Often the older architecture will create landscape space by orientation of architectural mass. Neo-Neo Gothic implements those similar ideas by creating a set of design rules for each building. These rules are followed specifically to create interesting space inside and outside the given site. The four dormatory buildings each have 100 rooms, comprised of apartments, single, and double rooms. Each dormatory also has a kitchen and commons spaces shared by the residents. Although separate, the four dormat o r y b u i l d i n g s c o n n e c t o n t h e g r o u n d f l o o r. The majority of public activities is assigned to the ground floor and first floor of the dorm a t o r y, t h i s a l l o w s f o r d i s t r i b u t e d p r o g r a m that is private and public.
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The distinction of each object was important for identification of space. By creating difference the project becomes a series of working archotec tural objects.
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Study Models
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G round Floor Isometric
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Dormatory Isometric
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COLUMBUS SHAMBHALA CENTER
SPRING 2014
3RD YEAR
STUDIO GOULD
My design for the Columbus Shambhala Center arrived from a series of masses that relate to how a building, like the meditation center, could be influenced by the site. Choices were made to express how a building could be more cohesive to what exist around and inside it. By raising the building I offered an undisrupted landscape that allows for usable outdoor space underneath. The mass formed as if it were ripped right out of the landscape, providing the pedestrian paths to continue under the building. Program on the inside is situated to create zones of meditation, hospitality and administration. The meditation zone is structurally separated from the other zones to keep it private and a slight bend allows the meditation to have views of the Autobahn Center located in the Lower Scioto. The separation acts as a space for secondary egress, only to be used by m e m b e r s o f t h e S h a m b h a l a C e n t e r. T h e h o s p i tality zone is located in between the administration and meditation zones. The administration zone is located on the east edge and offers a primary entrance to potential memb e r s o f p a s s e r s b y.
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Br e w e r y D is tr ic t
W Whittier St C&O RR Sc io to A u d u b o n M e tr o Pa r k
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M a ie r Pl
Audubon
L o w e r Sc io to Pa r k
Sc io to Riv e r
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The stragey I implemented when making study models was to develop a model that was focused on the design of the ground and the architecture. It was important to maintain a float to suggest the building was part of a recent departure from the Earth and maintained aesthtic connection.
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+4’
+20’
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Plans
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+26’
+40’
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Entrance Kitchen Dining Living Area
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Children's Area Main Meditation Post Meditation Administration
09 Art Gallery Lobby 10 Double Room 11 Single Room
12 Library 1st Floor 13 Library Reading Area 14 Art Center
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K N O W LT O N A N A LY S I S & C O U RT YA R D REDESIGN
AUTUMN 2013
3RD YEAR
BLOSTIEN
For this project, I was tasked to reimagine that South courtyard at the Knowlton School of Architecture. The current court yard acts as a secondary entrance from the parking garage and sees a fair amount of foot traffic but it also provides seating and shade for the students of the campus and architecture school. My design is a reinterpatation of the curtain wall. I began by researching into the drive-in movie theater and was interested in the activity of bringing students together, through entertainment, outside and with a group of people. However, I wanted the screen to be multi-purposeful and transform into a South facade contemporary billboard for students. It would provide them with important information about the school and keep them informed on currents events and schedule.
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1/2” Steel Formwork
1” dia. Steel Rebar
1” dia. Steel Rebar Concrete Ceiling Poured Concrete 24” dia. Column 1/2” Column Tie for Formwork
Formwork Steel Bracing Poured Concrete 24” dia. Column
1” dia. Steel Rebar
Formwork Steel Bracing Formwork Steel Ties Formwork Wood Bracing
Concrete Wall
Isometrics
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sA
Plan A
pA
Section A
This begins the redesigning phase of the South courtyard at Knowlton Hall. By understanding how Knowlton Hall was constructed we could understand how to implement changes successfully. 23
co l u m n
ceiling
co l u m n f i b er floor
column
glass fiber
g l ass f ib er
Perspective Sections
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gr ound
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SILENCE C O N TA I N E R
SPRING 2014
3RD YEAR
STUDIO GOULD
The Silence Container was a smaller project that would become a precedent to the Columb u s S h a m b h a l a C e n t e r. We w e r e g i v e n a c u b e of any dimension, as long as we kept 1:1 ratio and asked to modify it based on a set of particular ideas. This idea of sensual deformation originated with the Silence Container and would become an idea that would follow into t h e C o l u m b u s S h a b h a l a C e n t e r. To b e g i n , I h a d s t u d i e d m a n y s m a l l e r s p a c e s that were only responible for being a place to reflect. This meant that the space was empty until a person activated it and made the space theirs. I had began with a 12’ by 12’ cube, of course, and developed an idea that would retain the cube form in any given perspective but made modifications to the cube as if it were a soft body object. This meant I could p u s h i n t h e c o r n e r s , l i k e a p i e c e o f c l a y, t o create an interesting exterior that would also influence the interior volume. All this modifying is done with a rotation to maintain a percise axis, as well as, create an interior that would force someones vision to the top. This amalgamation of ideas would allow someone to experience a space more interestingly by t o u c h i n g , h e a r i n g , a n d s e e i n g i t d i f f e r e n t l y.
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Cube
Sound
Sight
Push
The models on the right where constructed as study models. Before com pletion it took two different phases and a few different types of materials. In the end, the final result took bits and pieces from each to create an appropriate form. Diagram below, illustrates the transformation that occured from beginning Cube phase to ending Silence Container. The result of pushes, vertical pulls and small punched openings results in a container that allows for a visitor to experience three types senses with in the container. 28
Study Models
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Section A
sC
sC
sB
sB
sA
sA
Plan A
Section B 30
Plan B
pB
pB
pA
pA Section C
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PIXEL CLOUD
SPRING 2013
2ND YEAR
STUDIO WILKE
The Pixel Cloud was an installation project influenced by a consuming habit of playing video games. I began the process of development by analyzing video games that I had played since I was a kid, beginning in the e a r l y 9 0 ’s . T h e C l o u d w o u l d g o t h r o u g h a series of changes based on graphical power of the early pixelated games such as Mario or Sonic and evolve into games today that are much more smooth with high polygon counts, like Crysis or the Call of Duty series. Using such games as a precedent meant the Pixel Cloud needed to relate to each of these different eras of gaming. The outer most region of the Cloud is made up of complex shapes that require a high quality mesh to achieve. The interior is pixelated [like Minecraft] and is a physical reminder that the new games today are influenced heavily by the games made in the past and you can still see t h o s e i n f l u e n c e s t o d a y. The project program is simple and requires that this chamber hold a collection. A collection, of course, is assorted video games. The Cloud would act in a fictional zero gravity space and float.
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The intention of this installation was to be able to make a cloud that could be inhabited. The interior volume had to be appropiately sized to accomadate the presence of a person and the exterior volume was meant to seem as though it was in motion in order to intrige the people around it. The phases to the right capture each adjustment until a final shape was chosen [above]. UPPER: The design of the interior portion of the Pixel Cloud comes from past video games that were pixelated and lower in resolution. Despite the fidelity of current games now, the past plays an important precedent. LOWER : The arrows represent the tension and compression being applied to the Pixel Cloud. The forces are a relation of the influence that the interior pixels have on the exterior, smooth mesh. 35
North Section
South Section
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Final Model
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THREE ROOMS
4TH YEAR
SPRING 2015
STUDIO ESKENAZI
The Three Rooms project was a study of scale and how the different types of representation of a precedent could result in its own munipul a t i o n . We h a d d e t e r m i n e d t h a t w e w o u l d u s e only orthographic drawings, like plans and sections, to form a universal diagram and eventually a composition. With the design of the Perm Musuem, I had to focus of how parts were being distributed with in the plans. Things such as stairs, doors, windows, and the structure were important to the scale of the project. I realized quickly that the parts, although similar, each h a d a p a r t i c u l a r s i z e f o r e a c h f l o o r. The diagram and composition became astractions of the Perm Musuem which dealt with the distribution of parts with in a boundary and these parts came in different sizes. The Three Rooms would be an extension of the composition using the same rules and language to munipulate scale.
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The intial precedent was a catalyst for the three rooms project. It began as an investgation into the architects use of scale and how it is munipu lated throughout the project. The first phase was to develope a diagram from orthographic drawings, specifically the plans. The plans were to be scaled to the same size in order to recognize difference of scale with in parts of the building. Phase two was to abstract the diagram further and create a composition.
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sA
sB
Plan A
Individual elements of the project became sensitive to scale. Those elements consisted of architectural forms and non architectural forms such as overall mass, poche thickness, a ladder, plus columns, a door, an aperture, interior wall textures (fur).
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pA
Section A
pA
Section B
Sections
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