portfolio of professional and academic work 2005-2010
tyler selby M. Arch I University of Kansas 2010 816.885.6862 tylerselby@me.com
Concise Resume University of Kansas Lawrence, KS
Education
School of Architecture, Urban Planning and Design Master of Architecture I May 2010 École Spéciale d’Architecture Paris, FR Study Abroad Experience, Fall 2009
IDP 792 Hours Experience
ODBC Paris, France Odile Decq Benoit Cornette Architects Urbanistes Architectural Design Intern Fall 2009
Tyler SElby
Duke University
I am ready to explore a profession that, faced with our current Talent Identification Program University of Kansas Campus Courses: Architecture (4 terms) Product Design (2 terms) economy, is navigating many challenges and changes and as Instructor 2008 - 2009 a result asks more from everyone involved. The practice of Teaching Assistant 2007 architecture is expanding in its scope of responsibilities to provide Private Swimming Lessons great environments that connect with the people, communities and Owner, Instructor 2003 - 2006 society it serves. I am interested in a firm that not only promotes sustainability within their projects but has taken an active role to Windsboro Waves Swim Club Head Coach 2003 - 2004 promote its economic viability and sustainability as a business. I believe in taking initiative, adaptability, consistent performance and Rhinocerous 4.0 Software an expanding scope for realizing complete design solutions. I look forward to expanding my understanding in architecture that performs in reality. Previous professional experience includes design competitions and design development. I wish to build further experience in these areas of practice and expand into additional areas that I have yet to explore to the same degree. Further professional development interests include gaining experience in every part of the practice, from realizing the actual construction of a project, to securing projects and clients and exploring new income methods within an architectural practice.
Grasshopper, T-Splines, V-Ray, Maxwell Render
3D Studio Max MaxScript, Mental Ray, VRay
Sketchup 7 Maya 2010 Revit 2010 AutoCad 2010 ArchiCad 14 Processing Adobe Suite CS5 Photoshop, Illustrator, InDesign, After Effects, Premier Pro, Dreamweaver
Microsoft Office 2007 Word, Excel, PowerPoint, Outlook
Windows 7 OSX 10.6
QUICKLOOK
Languages
Opposite Page
English (native USA) French (proficiency)
1 Company Headquarters reconnecting to the land it extracts from 2 Music Center, itself a central stage for performance 3 Social Housing is personal while remaining the same 4 1850s brick warehouse transformed into a center for Independent Film 5 Park turned residential towers 6 Single Family Housing finding difference within repetition 7 Thresholds of land, water and sky create rich experiences in the exploration of maritime culture 8 Office Towers dissolving at both ends 9 A homage to Salvador Dali 10 An Urban Development Proposal breaking from the past to create a new vision for Warsaw 11 Hotel as gateway to a city, a gateway to beyond the city
contact information
Tyler Selby 2844 SW Carlton Dr Lees Summit Mo 64082 816.885.6862 tylerselby@me.com
Academic rigor
Professional agility
Portfolio of work
Seven projects have been chosen for this portfolio; five projects completed in design studios at the University of Kansas and two competitions completed while an intern for Odile Decq. The projects chosen have influenced my development as a designer that provide solutions to connect with our contemporary culture and engage with the people using them. Each project is rooted in a process that explores what is possible within each project assigned. I approach the design of each project by contemplating its connection and value to those that will use the spaces. Within each project I search for latent opportunities that remain hidden to others but can add tremendous value to a design proposal. Each project reflects a commitment between design intentions and the people that will use them, giving purpose to design strategies to insure each project aims beyond the materials that could be used to construct each project. Behind the formal resolution is a design process that includes many different strategies, rules, systems, algorithms and sometimes an excel spreadsheet to develop design separately from being directly tied to its form. I have explored many different methods to ensure the process is unrestricted and exists to serves the unique characteristics of each design challenge. As design methods have expanded and developed my most recent projects have incorporated several dynamic organization systems and have allowed for high levels of flexibility to exist throughout the design of the project. I continue to explore design methods and systems that utilize dynamic solutions that actively adapt to changing conditions and allow for the project to continue to adapt to the environment after construction has been completed.
University of Kansas School of Architecture, Planning and Design
Odile Decq & benoit cornette Architects Urbanistes
Lawrence, Kansas 2004-2010
Paris, France Aug -Dec 2009
Rigor makes use of methods and strategies for developing, assembling and executing a design to formal resolution. During my time in school I have pursued opportunity and the limits of design to maximize the academic environment for questioning the foundations of design and architecture.
With determination to realize original design intent, details were coordinated with agility to develop them into the design solution. I proved valuable in my ability to take on complex problems using flexible negotiation of my focus on several different parts of the project and tasks with the design team to realize a project through a shared interest in achievement.
The work presented does not attempt to explain design process, but serves as an introduction to initiate further discussion. I hope that I may pique your interest enough to initiate the opportunity to expand upon how I can contribute my potential as a new asset to the agency.
I enjoyed the challenging, creative and international collaborative of people that shared with me similar levels of high energy and ambitions.
PROFESSIONAL PROJECTS SELECTED
Typology
Location
Designed
1 CONSTRUCTION DU SIEGE SOCIAL
Company Headquarters
St. Malo, France
Fall 2009
2 PENTANIA
Housing Development
Lille, France
Fall 2009
3 CITY OF LIGHT
Urban Development
CBD, Warsaw, Poland
Spring 2010
4 XYZ + T
Independent Film Center
DUMBO, Brooklyn, NY
Spring 2009
5 BUOYANT PERCEPTIONS
Maritime Museum
Northerly Island, Chicago, IL
Fall 2008
6 ROCKING THE GRID
CBGB Music Center
SOHO, Manhattan, NY
Fall 2007
Dali Residence
Cadaques, Spain
Fall 2007
ACADEMIC PROJECTS SELECTED
7 HOME CLIFF HOME
Spreads per Project
Complete project index at end of portfolio
portfolio forward / Tylerselby@me.com / 816.885.6862
1
CONSTRUCTION DU SIEGE SOCIAL Company headquarters St. Malo, France Agency of Odile Decq & Benoit Cornette
Fall 2009 Design Competition CLIENT Groupe Roullier AREA 11,100 m2 (119,600 ft 2) STATUS Second Stage of Competition; feasibility study Design Team Odile Decq, Valeria Cetraro, Christian Engles, Tyler Selby
view - rue de hochelaga
An invited design competition, the corporation of Groupe Roullier requested a design for a new headquarters to be located within their existing industrial park in St. Malo, France. Delivery Access Parking Garage
The conference rooms, restaurant and museum integrate within the terrain. The spaces located within the landscape allow interaction between the interior company and the exterior public to transpire.
Parking Access
ES
TI ILI
The design consists of two formal elements, 1. Rectilinear, five story office spaces 2. A free flowing landscape to enclose offices, a restaurant, conference rooms, an exhibition museum, research facilities and greenhouses.
ION UCT
C fA
View 1
View 1
PROD
ENTRY
a
ag
el
h oc
View 2
eh
Ru
eD
View 2
Rai
l
FUTURE EXPANSION
N Rue Franklin Roosevelt sITE pLAN 1:1000
ENTRY
eXISTING hEADQUARTERS
Rue Franklin Roosevelt
Company Headquarters / Odbc / Tylerselby@me.com / 816 885 6862
Contribution
Personal involvement in the project focused on executing and representing the forms that were being created through drawings and study models. Modeling was performed in Rhino and included many design iterations which helped fellow designers on the team visualize the project as a whole as we worked on the different elements of the project in 2D. Other tasks included creating day lighting studies and creating the final 3D model to be rendered by Labtop.
view - rue franklin roosevelt
production facilities
hospitality exchange
Through the main entrances a perpendicular path for circulation connects the old headquarters, the production facilities and the spaces located in the new headquarters.
hospitality exchange
work
work research
research
Space Diagram ground level
ground level
Along the street a patterned glass facade forms a shared circulation space between the four office towers. The central gallery also provides access to the support spaces between buildings two and three.
old headquarters
1:1000
elevation D - rue franklin roosevelt
Space Diagram +1 Level
+1 Level
1:750
1:1000
Section A - office towers and Multi-Use spaces
Company Headquarters / Odbc / Tylerselby@me.com / 816 885 6862 / Company Headquarters
2
Collective Apartments
Pentania Housing development
The concept for the social housing blocks is to create visual variety using three different apartment types in different configurations within each six story building. Strict regulations and restrictions for social housing in France guided the development of three apartment modules that would be identical in plan but versatile to allow for many different floor plate configurations to be achieved without the structure or vertical ducts deviating from a single design that remained identical on every floor of the building.
Lille, France Agency of Odile Decq & Benoit Cornette Fall 2009 Design Competition, Winner CLIENT Fonciere Logèment, Cirmad AREA 10,500 m2 (113,000 ft 2) STATUS Competition Winner, construction to begin Fall 2010 Design team Odile Decq, Gilles Ghery, Olivier Bacin,Tyler Selby
Three apartment modules were developed, a single bedroom apartment, a two bedroom apartment, and a three bedroom apartment. I was personally assigned to develop and then standardize the three different floor plan modules, I begin laying out each apartment floor plan. I worked on developing the three plans to satisfy all the logistical, formal and code restrictions that were required.
View of Collective Apartments along the street
A housing competition for Lille, France, the project includes five social housing blocks, seventeen single family houses, underground parking and a shared green space in the center.
Contribution I was personally involved in the entire process beginning with concept development to the delivery of competition boards to the client. While I contributed in every part of the project, I was responsible for developing the floor plans of the collective apartments and the final resolution of the form for the individual houses.
The multilingual working environment allowed me to improve my communications skills and my ability to accurately interpret other’s design intentions and to represent my own work using a variety of methods that did not hinge on having a shared language to communicate.
This project allowed me to gain experience in the complete design competition process. I worked in a tight group setting with the design lead of Odile Decq and two other designers. The environment was structured so each of us could submit new ideas and solutions to any problem on the project. Competition Winner
Collective Housing +1 Level
Construction to begin Fall 2010
1:200
Increasing Accessibility
Collective Housing - Ground Floor Cropped view of Entry Spaces 1:100
Problem The central trash collection room required two points of entry with different floor heights. Trash collectors required access at the street level (0 cm) and the residents accessed the space slightly higher (+60 cm). Typically, this is solved by a set of steps to descend to street level before accessing the trash bins. Solution Split the room to accommodate both needs of access, keeping residents at their ground floor level (+60 cm), and the trash containers stay at street level. With a depressed trash container the resident’s are only required to lift objects 50 cm off the floor to clear the lip to dispose of their waste. Accessibility A slight alteration to the angle of the trash containers allowed ample space for both wheelchairs and trash cans to navigate in and out of the room with ease. design review Odile Decq recognized this intervention as something that they had never seen or thought of for a trash collection room. It was a new solution to a passively accepted problem. Peter Bahlman remarked I had “become more French than the French.” Housing Development / ODBC / Tylerselby@me.com / 816.885.6862
INDIVIDUAL HOUSES I was was responsible responsiblefor forthe the exterior exterior form form of the of the houses. houses.
Initial form study
Evolving through an evolving dialog of critique with Odile Decq, design was a process of refinement equally influenced by what was said and what wasn’t said to determine focus and direction. A form was developed to allow each house to be recognized individually while also cooperating with neighboring houses, clustered, to create a cohesive form that contributed to the site plan. The final design allows each facade to be recognized individually while also forming a repeatable pattern, and a cohesive street front.
View of Individual houses along the street
Personal Courtyards The design for the individual houses focuses inwards to place a private courtyard in each home because shared walls between neighboring houses severely limit the ability to have exterior windows. An established central courtyard floor plan and clustered arrangement of houses became a starting point for designing the final exterior form.
Section AA
1:200
Individual House, Three Bedroom LAYOUT Ground Floor 1:200
Individual House, Three Bedroom LAYOUT +1 Level 1:200
Housing Development / ODBC / Tylerselby@me.com / 816.885.6862
3
City of light Urban centre Development Central Warsaw, Poland University of Kansas
Spring 2010 Proposal for mayor of warsaw AREA 861,109 m2 (9,268,910 ft 2) STUDIO CRITIC Wojciech Lesnikowski Design Team Tyler Selby, Bob Defries, Michele Aldrich
Working at the urban scale of a Soviet created mega block, design followed a typological and formal investigation for development of a new, hyper-use “city center” for the heart of central Warsaw. Large scale concepts are inspired by the historical idea of Grande Visions that utilize larger than life concepts; such as Baron Haussmann and Napoleon III’s will to transform the streets of Paris into a series of grand boulevards.
A single, unified vision informed the design programmatically and formally to create specific areas within the site that would be intensified with defined functions and density to create a highly active center. Each building’s unique identity communicates both semiotically and symbolically creating multi-directional dialogs between buildings on the site and the people of Warsaw.
Warsaw City Centre / Tylerselby@me.com / 816.885.6862
Site and Individual Building Development
C A A
F
F
B D
B
C
F
C
B E
D
E
A
D
E
1 Existing Site
2 Site Use Parameters
A Warsaw Centralna Rail Station; currently in a state of disrepair, in need of
A Continuous pedestrian passage with grand boulevard that extends
replacement B Palace of Culture; Built 1955, originally known as the Joseph Stalin Palace of Culture and Science
into city. B Vertical element to screen the pedestrian view from full exposure of the Soviet tower.
C Previously Soviet parade grounds, currently used as car park
C Iconic statements provide beacon to city.
D Museum of Modern Art, currently under construction
D Corner “gateway”
E Public Park
E Low profile form to give symmetry and space for interior plaza space.
F Context, mix of high rise and old scale
F Residential tower in the park
3 Typological Interpretation
TRAIN STATION Connecting end Destinations.
RETAIL GALLERY
Moving to encounter Resistance.
4 Site Parameters become
5 Resulting in proposed Design Typologies
A Continuous path for movement.
Interface for connecting grande with pedestrian scale
HOTEL
Representing rail and retail as single experience, bringing city to the edge of the train platform.
HYBRID CONTINUOUS LIFE LINE
A
Becoming guest, becoming more.
Gateway to the city
building as medium for communication
ICON SUBLIME LIGHTHOUSE
B
OFFICE TOWER
Screening element to shade city from full exposure of soviet tower
Solid porosity to open up ground level for pedestrian experience
SCREEN / BACKGROUND
C
Creating enclosure for the open plaza within the site
contrasting the retail gallery to provide all inclusive retail experience
AUTONOMASSING CONTAINER
D
to create a space for the exhibition of fashion and design
museum as inter-connector to surrounding buildings of related functions instead of secluded archive
CONNECTOR DUAL USE CORRIDOR HYBRID
E
HYBRID UNNATURAL GROWTH
F
Assemblage of Individual Pieces
DEPARTMENT STORE
(facade) Forming (amorphous) Mass
Fashion MUSEUM
Iconic node for concentration of connections
RESIDENTIAL TOWER
Becoming Singular
(indiv. residents buy into single identity of object as condo tower, single object as condo tower becomes individually identifiable with each)
PUBLIC PARK
provide a transparently crystalline tower for living in the city
incorporate without loss of existing quality
Tower in the park tower is the park park gains enclosed spaces under green landscape for expanded capabilities for warsaw’s long winters
Warsaw City Centre / Tylerselby@me.com / 816.885.6862
mass Towers High-rise Office Space
Economies of Difference rooftop wind turbine
. Tower Disappears
Rigid Environments
3.3m
5m
5m
Four identical towers equal saving time and money but it comes at the expense of visual character. Maximizing the economy of difference meant breaking down the tower to the last divisible unit, the office space module. Using the repetition of the office module, difference would be achieved throughout the towers.
4 Towers x 59 Floors AREA TOTAL 389,400 m2 (4,191,467 ft 2) HEIGHT 280 m
The generic quality allows the office towers to function as rows of towers that together act as a screen to blend in with the urban context while also obscuring view of the Soviet tower to become a backdrop for the other hotel and residential towers on the site. Individual office spaces remain personally identifiable from a distance while remaining anonymously part of the total composition for everyone else.
Single Office Module
x62
11n 6n
Floor Plate Configurations
.
. Interior assemblage of modules
open lobby increased daylight
.
.
The mirrored finish reflects the sky to disappear into the clouds.
Dynamic Environments
Tower Dissolves
central core
.
Tower Dissolves
sky offices
Dynamic Environments
Tower Disappears
sky lounge
Rigid Environments
x62
Floor Plate grid
The tower’s form dissolved to create an open ground plane for pedestrian movement.
The Facade Office Space Companies can expand organically based on need and availability of adjacent modules both vertically and horizontally. An office that primarily provides work for other offices within the tower could imagine a vertical thread of adjacent modules that act as a vein through the tower.
Exterior Facade of panels
Three different panels are used to reflect the interior form and combine to form different qualities of reflection and transparency. A clear glass panel is used starting at the base of the tower. Building up the tower, clear panels are replaced with tinted panels that are replaced with reflective panels further up the building facades.
Warsaw City Centre / Tylerselby@me.com / 816.885.6862
park towers High-rise residential condos 2 Towers TOWER A - 96 Floors TOWER B - 112 Floors Retail/ Offices 7 FLOORS 10 FLOORS Apartments 33 FLOORS 38 FLOORS Luxury Condos 43 FLOORS 52 FLOORS
corner inn Hotel
The interior atrium opens to put the city on display for hotel guests and displays activities taking place inside the hotel.
65 Floors, 15 “Lily Pads” AREA 97,350 m2 (1,047,867 ft 2) HEIGHT 270 m
82,680 m2 (889,960 ft 2) 96,680 m2 (1,040,655 ft 2) AREA TOTAL 179,360 m2 (1,930,615 ft 2) HEIGHT 335 m 392 m
Sharing the Green
Tower is the Park
Working from the typology of the residential tower that was required to exist within a large urban park, the design became a question of how the two typologies could accentuate the other instead of competing for land and visibility. A two-way gradient was created uses difference and repetition to integrate the park and tower into a single form. The use of two gradients ensure each of the two programs are in the process of becoming the other alowing the design to go beyond placing a tower within a beautiful park.
to Central Train Station and Retail Shopping Gallery
LED video surface covers the interior curve of the hotel’s facade
bands of stainless steel reflects the led video surface
Urban Gateway Opening up the corner at the pedestrian level resulted in a hotel that is formed by a tower of two legs; one contains the hotel and the other one provides support. As an urban gateway and iconic marker, the hotel has several functions beyond providing a place to call home for the night. The hotel forms a node that connects both the city of Warsaw and visitors to the city.
Support leg that allows linear movement
1 Surface transformation
2 Distribution of Program
1 The tower allows the park to have a strong vertical orienting device to attract people from all over the city extending the visual cues of the park beyond the directly adjacent buildings and streets.
3 mutually added Value
to underground metro and parking
to Public Transportation street trams, busses, taxi
to City
2 As a result of overlapping the park’s surface with the high rise tower, the design takes advantage of the mixed uses on the site to create opportunities for the two different typologies to adding value to both of the site’s functions. 3 Lastly, the park benefits from the residential towers because each resident is directly invested in keeping their backyard enjoyable, safe and clean; relieving a burden that the city currently is completely responsible for.
Interior Atrium “Lily Pad Colonies” Platforms fill the hotel’s atrium space with an arrangement of floor plates that could be developed into the different types of spaces for gathering and social occasions within a hotel. A “lily pad” is found every four floors, gradually becoming larger as the event spaces are placed higher in the tower. Each four floor section forms a “colony” with a single center gathering space with four floors of hotel rooms surrounding and overlooking the space.
Warsaw City Centre / Tylerselby@me.com / 816.885.6862
4
xyz + t Independent Film Center Dumbo, Brooklyn, New York University of Kansas
Spring 2009 Building Reuse AREA 5618 m2 (60,476 ft 2) STUDIO CRITICS Robert Riccardi, Dominique Davison
The study of film led to an investigation into the nature of time as an ordering system and foundation for creating an experience through a series of events. During initial conceptual research clarity was found through an analysis of the film Slumdog Millionaire (2009, Oscar Winner) Studying the film in relation to time, the three characters weave through a non linear series of events as the movie jumps between characters and different events in each of their lives. This study allowed insight into my own studies of perception, time and space to find clarity to formulate an internal understanding of the different natures of time and events that exist both within and completely outside of time. Contrasting time as a linear series of events a Moment, in which time stands still, creating a situation where the past, present and future were all collapsed into a single point. Behind the single point lies the experience, using a physical object to give life to a moment. For example the cinematic story requires the simple medium of film to be projected. These objects are often not representative of the incredible experience performed. Experience in the Film Center would be achieved by creating an infrastructure where opportunities for making, viewing and learning about film would occur. The project site, located between the Manhattan and Brooklyn bridges in Dumbo, would provide the setting to tell the story of development for the design of the Film Center as well as the adjacent park.
INDEPENDENT FILM CENTER / Tylerselby@me.com / 816.885.6862
Prepared Assembly
Spaces in Motion
Operating within the existing timber structure and masonry walls, floor levels are pushed and pulled vertically at points located in the structural matrix creating ramps that provide circulation and interaction between the floor levels. Floor levels connect vertically throughout different areas of the building; connecting spaces with similar or connected uses to provide building occupants convenience when these spaces are used in conjunction with or in a series of tasks.
Distinct experiences are possible from a mixture of circulation options that transgress through interdepartmental spaces. Each purposeful visit to the Film Center provides opportunity for the interaction with other functions of the building.
Existing matrix of Timber structure
Theater 2 - On Screen audience Cut out from the brick facade, a large window is positioned at the same location of the theater’s screen which exists behind the facade. Inside, visitors waiting for the feature film can watch the live action taking place in the street. People in the street take part in a live cinema that preludes the actual film. During the film the connection is severed, the screen, black out curtains and speakers slide in place to enclose the theater.
INDEPENDENT FILM CENTER / Tylerselby@me.com / 816.885.6862
View through the film center’s plaza
view from east river of park and film center
Day, Southern facade Film center Plaza
Night, screen for outdoor theater Film center Park 1 Sloped Facade redirects the sun and warmth to the public plaza below.
2 Passive Chimney effect creates buffer of fresh circulating air between facade and glazing
Facade in undeployed, folded position in plaza
Facade in deployed position, unfolded in the park’s bay 3 Sloped Angle of the facade provides protection from the sun during summer months. Layered relationship facilitates passive heating in the winter and passive cooling in the summer.
West Elevation of Folded Facade
Passive Facade Section Diagram
Facade Deployed into Park Sliding out, the curtain facade reveals itself: a screen for the viewing film in the park. The panels, created as independent pieces, link at hinged spines to create a series of panels. Exceeding in flexibility, single points of contact glide along an overhead rail. The surface, a perforated screen interwoven with elastic material ensures a taut surface in any folded position. Steel members within the screen provide an infrastructure to hold the bolt-inplace speaker systems, PV panels and LED Video panels.
Guided through a single rail, the panels are divided into a train of structural elements enabling mobility of screen facade to deploy into the park for films. top connection detail
INDEPENDENT FILM CENTER / Tylerselby@me.com / 816.885.6862
5
Buoyant Perceptions Maritime Museum Northerly Island, Chicago, Illinois University of Kansas
Fall 2008 MCA Steel Competition AREA 6223 m2 (66,990 ft 2) STUDIO CRITIC Richard Farnan
The Maritime Museum uses thresholds derived from maritime and museum culture. The thresholds allow for perceived breaks in space which encourage looking anew to create a total maritime museum experience that connects the maritime culture with each visitor’s culture.
air
above
Vertical Threshold of museum
exhibition space “inside”
water
Entry Lobby “outside”
below
Program as threshold
3 exhibition air space
Burnham Park Harbor
The threshold creates a crossing over into a space conceived as different but is placed within the bay to connect with maritime culture.
Entry Lobby
“inside” water
4
Maritime culture resides adjacently between land and water; water and air. In between, exists the vessel, which relies on laws of buoyancy to remain carefully balanced within both air and water.
2
Northerly IslanD
The exhibition space disconnects from reality to create an experience that’s focused on deriving knowledge from artifacts of the past. A threshold adjusts focus and perception as one enters the exhibition space. Visitors adjust to the museum’s space in an attempt to connect to a culture that may be foreign to that of the visitor. The exhibition spaces’s threshold creates a false disconnect when in reality it is a part of the water’s surface within the harbor of sailboats.
above
“outside” below Support Spaces
Horizontal Threshold of maritime
1
A dialog between land, water and air formally becomes four main open spaces; two interior and two exterior. restaurant
offices
classes
exhibition space “inside”
research
delivery docks
Entry Lobby “outside”
museum‘s entrance
maritime museum / Tylerselby@me.com / 816.885.6862
TO W 3
ER
EXHIBITION GALLERY exterior skin
structure
2
LOBBY
OPEN DECK
4
1
formal elements
Boats On Display
1 2 3 4
Two openings in the elevated deck allow for a boat to be installed in the lobby and a larger boat to be installed above the exhibition space. The remaining exhibition space is column free and open to be developed by the museum’s curator.
Support spaces within the tower
THRESHOLD SPACES Entry Lobby, Event Space deck Exhibition Space
Tower spaces
TO W
ER
LOBBY
EXHIBITION GALLERY
5 Restaurant 6 Auditorium 7 Classroom 8 Coat Check TO 9 Front Desk W ER 10 OFFICES 11 Restoration Lab OPEN DECK 12 Research Library Library vertically links classrooms and restoration lab
LOBBY
EXHIBITION GALLERY
TO W TO W
ER
LOBBY
ER
EXHIBITION GALLERY
LOBBY
OPEN DECK
EXHIBITION GALLERY
5 TO W TO W
ER
ER
EXHIBITION GALLERY
LOBBY
OPEN DECK
LOBBY
6
EXHIBITION GALLERY
3 TO W
7
to G
aller
ER
8
LOBBY
y
9
XHIBITION GALLERY
4
11 2
1
open deck, overlooked by tower of classrooms, restaurant and offices
Interior of lobby reveals the second facade OF SUPPORT TOWER
above; isometric section Threshold + Tower Spaces
maritime museum / Tylerselby@me.com / 816.885.6862
6
Rocking the Grid CBGB Music Center
Lafyette and Housten, Manhattan, New York University of Kansas
Fall 2007 Renewal of the CBGB AREA 3990 m2 (42,948 ft 2) STUDIO CRITICS Peter Pran, Rene Diaz
The design process began with the question of how interaction between the public and privately owned spaces could overcome the typical disconnect and create a shared space between people within the SoHo area as well as those inhabiting the Music Center. Given such a highly visible location, the design for the CBGB Music Center utilized the power of projection to connect with the people of Manhattan. The building’s facade recedes from the limits of the site to dissolve the threshold as a clear line to create a shared space between the Music Center’s interior and the streets surrounding it. The experience of a building begins long before actually entering inside the building’s envelope.
^ ^
Typical Facade Exterior envelope wraps disconnected interior spaces.
Expanded Facade Lobby provides shared space to connect public street with private spaces inside.
^ ^ ^ ^
Distributed Facade Lobby space is distributed into adjoining spaces to directly connect street and inner building spaces. Both street and interior form a single, shared space that does not require a third intermediary space.
Openness The street flows into the building allowing the ground floor to extend into public space creating a gradient that distributes “entry” that is similar to sound, perceptual and unique to each person.
Music Center / Tylerselby@me.com / 816.885.6862
The tower complete building
The Marquee
central tower
1 Creates enclosure for ground level.
2 Provides practice spaces and artist lounge.
3 Active communication to engage public.
Updated ad for Maxell, original c.1979
The distribution of sound occurs along a smooth gradient across space. The music center extends the experience beyond the building footprint to encourage a shared experience with an extended audience of spectators. WORK
PARTITIONED OFFICE SPACE
LEVEL 6
WORK
OPEN OFFICE SPACE
LEVEL 5
BAR + RESTAURANT
LEVEL 4
DINE PRACTICE
ARTIST’S TERRACE
PERFORM
AUDITORIUM 500 SEATS
CONNECT SECTION
PRACTICE ROOM
AUDITORIUM LOBBY
MERCHANDISE SHOP
ARTIST GALLERY
LEVEL 3
LEVEL 2
RR
LEVEL 1
PROGRAM DISTRIBUTION
26
8
8
25
15
26 16 26
15
5
14
5
5
(Shaded Area)
15 13 LEVEL 3 LEARN
LEVEL 6 WORK
10
12
25
8 5
11
24
7
5
21
22 23
LEVEL 2 WATCH
8
LEVEL 5 WORK
9
20
8
19
5
17 18
Elevation
LEVEL 1 ENTER
LEVEL 4 EAT
1 LOBBY 2 CAFE 3 GALLERY 4 BOOKSTORE 5 STORAGE 6 ELEVATORS 7 ESCALATORS 8 RESTROOMS 9 EVENT RESTROOMS 10 AUDITORIUM LOBBY 11 AUDITORIUM 12 BACKSTAGE 13 RAMP TO STUDIO 14 RECORDING STUDIO 15 CLASSROOMS 16 TERRACE 17 RESTAURANT LOBBY 18 BAR AREA 19 DINING AREA 20 KITCHEN 21 OFFICE LOBBY 22 RECEPTIONIST’S DESK 23 WAITING AREA 24 WORKSPACE 25 CONFERENCE ROOM 26 EXECUTIVE OFFICE FIRESTAIRS OPEN TO BELOW GREEN SPACE
Music Center / Tylerselby@me.com / 816.885.6862
7
Spending most of his youth in Cadaques, Spain, Dali always remained close to the sea and a Spanish cliff side was chosen for the site which had similar qualities to the cliffs Dali included in his paintings.
home cliff home Dali Residence Cadaques, Spain University of Kansas
Fall 2007 Home for a star competition AREA 464 m2 (5000 ft 2) STUDIO CRITIC Peter Pran
On approach, the house is very simple and unimposing.
With a design concept of a house melting into the sea the form was achieved through multiple physical models. Ultimately, the form was decided by the nature of melting clay after subjecting a bar of the material perched upon a found piece of concrete. After fiften minutes in the oven the clay bar melted into the desired form.
Melting Clay
master Bedroom
The house’s three floors transition from public spaces at the top where the entrance is and becomes private as the floors reach toward the sea. A mutated box frame gives stability to the cantilevered structure. The glass facade screens out the sun by using glazing that appears opaque to the light waves.
Hearth and EAting area
Dali believed we should use “the spontaneous method of irrational knowledge based on the critical and systematic objectifications of delirious associations and interpretations...” He proposed a tourism of sanity into the realm of paranoia; a state of delirium that eventually lead to Surrealism.
1. Top LEVEL
-1. Middle LEVEL
-2. Bottom LEVEL
Section
DALI HOME /Tylerselby@me.com / 816.885.6862
Project Index 2005 - 2010 by studio
by scale
a, f-s, U-V University of Kansas SCHOOL OF ARCHITECTURE, PLANNING AND DESIGN
Sm
b-d Odile Decq Benoit Cornette Architects Urbanistes E
École Spéciale d’Architecture
t
personal Project
Med
(1000-10,000 ft2)
A
City of light
k
Spring 2010 LOCATION Central Warsaw, Poland Studio Critic Wojciech Lesnikowski Design Team Tyler Selby, Bob Defries, Michele Aldrich
Spring 2007 Location Downtown Lawrence, Kansas STUDIO CRITIC Richard Farnan
Housing development m
Construction du siege social Company Headquarters
n
gathering upon rooftops
Ad-Hoc Based Social Gathering Surface
xyz + t
o
p
q
Rooftop Social Spaces Pedestrian Bridge Basketball Courts
Extruded columns
54,000 ft2
Fall 2006 LOCATION KU Campus, Lawrence, Kansas STUDIO CRITIC Steve Padget
s
by location lille, FR housing development
On-site escape
Guest House for Visiting Professors Chicago, IL Maritime Museum
Spring 2006 LOCATION KU Campus, Lawrence, Kansas STUDIO CRITIC Anne Patterson Design Team Tyler Selby, Jodie Schiro t
NYC Music Center Film Center
Divergent, Convergent lines Coffee Table
Neighborhood Co-OP
st. Malo, FR Corporate Headquarters
Warsaw, PL City Centre
Winter 2006 PERSONAL PROJECT u
The wallflower
MULTI FUNCTION PRODUCT Fall 2005 MODES Steps, Chair or Table MATERIAL 2’x4’x 3/4” MDF Sheet (1) STUDIO CRITIC Bruce Johnson Design Team Tyler Selby, Jodie Schiro
Rocking the Grid CBGB Music Center
v
double stacked articulation Sculpture Re Fabrication
projects listed in reverse chronological order
12,000 ft2
Fall 2006 Location KU Campus, Lawrence, Kansas STUDIO CRITIC Steve Padget
Calculated visibility
Fall 2007 LOCATION Lafyette and Housten, Manhattan, New York STUDIO CRITICS Peter Pran, Rene Diaz
exposed Critique Public Jury Space
Buoyant Perceptions
Spring 2008 LOCATION East Lawrence, Kansas STUDIO CRITICS Nils Gore
Grocery Store Hotel
Box sizes and space totals do not include buildings within Warsaw City Centre project because of the shear scale and low resolution of interior space development relative to all of the other projects within my body of work.
Pickup game space
Basketball Courts + Canopy
Sustainable Grocery Store Pre-Engineered Building Systems
j
Spring 2007 LOCATION 10 th and Iowa Street, Lawrence, Kansas STUDIO CRITIC Richard Farnan
Retail
Fall 2006 LOCATION Marvin Grove, Lawrence, Kansas STUDIO CRITIC Steve Padget
Parking Garage Facade + Building Sign age
i
Infrastructure
Campus link
Spring 2009 LOCATION Dumbo, Brooklyn, New York Studio Critics Robert Riccardi, Dominique Davison
Fall 2008 LOCATION 1018 Baltimore, Kansas City, Missouri STUDIO CRITIC Richard Farnan
194,000 ft2
Classics Museum
Maritime Museum
h
119,000 ft2
Weaving Wall 1
Independent Film Center
Fall 2008 LOCATION Northerly Island, Chicago, Illinois STUDIO CRITIC Richard Farnan
Residential Tower Social Housing Single Family Housing Guest House Artist’s Home
124,000 ft2
Pedestrian Bridge
r g
Housing
Office Towers Corporate Headquarters Lobby Space
Partition investigation
Fall 2009 LOCATION 2nd Arrr. Paris, France Studio Critics Isabel Herrault, Wojciech Lesnikowski Design Team Tyler Selby, Eudora Tan, Antoine Fichaux f
Office Space
Fashion Museum Film Center Maritime Museum Music Center Library Classics Museum Jury Space
Spring 2007 STUDIO CRITIC Richard Farnan
Fall 2009 LOCATION St. Malo, France Design Team Odile Decq, Valeria Cetraro, Christian Engles, Tyler Selby e
Weaving Wall 2
Cultural
Spring 2007 STUDIO CRITIC Richard Farnan
Multi-Use Building Redevelopment
D
1 project 9.3 Million ft2
Partition investigation
Paris nord Est
Fall 2009 LOCATION 19 th Arrr. Paris, France Collaboration with OMA Design Team Odile Decq, Christian Engles, Tyler Selby Focus Design Development of Entrance Spaces
Literary exposure Branch Library
Pentania
Fall 2009 LOCATION Lille, France Design Team Odile Decq, Gilles Ghery, Olivier Bacin,Tyler Selby
home cliff home Dali Residence Fall 2007 Location Cadaques, Spain STUDIO CRITIC Peter Pran
l
c
4 projects 359,000 ft2
(1mil ft2+)
by type Urban Centre Development
B
XL
(50,000-150,000 ft2)
5 projects 113,000 ft2
6 projects 29,000 ft2
by PROJECT
Lg
(10,000-50,000 ft2)
Lawrence, KS 7 Projects M. Arch I University of Kansas
Paris, FR Rooftop Gathering Spaces Office lobby space Kansas City, MO Parking garage facade
Cadaques, Spain Dali’s Home
Student of ESA Intern for ODBC
Fall 2005 SCALE MODEL 1:12 Sculpture Seventh Decade Garden IX-X by Louise Nevelson STUDIO CRITIC Bruce Johnson
Project index / Tylerselby@me.com / 816.885.6862
Contents contain the work of Tyler Selby. Comprising seven projects, this portfolio includes work performed while pursuing the M.Arch I at the University of Kansas and design competitions completed while an intern for the agency of Odile Decq in Paris last fall. Each project varies in scale but never in ambition. Ambitious investigation allows for the exposure of previously dormant opportunites that become engrained in the design strategy of each project. Tyler currently searches for the opportunity to further his understanding of the profession of architecture, including the entire process of a practice, and contribute to the success of a collaborative work environment.