SKYE RUOZZI
CORE DESIGN 4
skruozzi@gmail.com EDUCATION 2005 - 2007 BArch
Drexel Univ. School of Architecture Philadelphia, Pennsylvania
2007 Aalto University Helsinki Summer School Wood in Construction & Arch. Helsinki, Finland 2011 - 2015 BArch
ADVANCED DESIGN20
Pratt Inst. School of Architecture Brooklyn, New York
EMPLOYMENT Sease & Associates PC Harrisonburg, Virginia
2006 Architectural Intern
INTEGRATIVE DESIGN44
2008 Schade & Bolender Architects LLP Architectural Intern Philadelphia, Pennsylvania 2009 - present Designer
International Design Clinic Philadelphia, PA // La Paz, Bolivia
2010 - 2011 Phila. Mural Arts Restored Spaces Philadelphia, Pennsylvania Teaching Artst
DESIGN + BUILD84
2011 - 2014 Transformative Art Collective Architectural Designer Philadelphia, Pennsylvania 2014 - present Architect-in-Training
Studio i d i // MuNYC Brooklyn, New York
OTHER WORK114
CORE DESIGN jointed TALE 6 pronating LANDSCAPE 12
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jointed TALE
joinery & vocabulary
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We wander inside RIFTs of soil, descending downward in settled sediment and layered time. We enter a doorway cut in a silent slab face. Two routes depart, split by decision’s EDGE, each path bearing a lonely trail. We divide, following serpentine circuits winding upwards. My stolid footsteps beat in ISOLAT[E]ion, on the oscillating passage, catching occasional glimpses of tidal water reflecting from below. I emerge in a final room, floating between contrary forces, being pulled at once upward toward lighted sky and downward through LAYERed interjections, recalling where we earlier stood together. I follow the sound of a splash to an angular opening PIERCEd in the floor. VOIDing all fear, I jump, knowing that this will not be the last time.
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Oscillations of the layers pierce rifts. Are these drifting layers the edges of isolation? Avoid such. A void suspending...
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six joint types combined to create a nine-inch by nine-inch cube that opens with a story of ascent and descent
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pronating LANDSCAPE
the dividing membrane between earth and sky containing impressions of the passage of time and treads of passage
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*collage text exerpts from Kierkegaard’s Diary of a Seducer
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The orogeny generates an undulating terrain as it responds to the pressures beneath the surface, forming rifts and dunes.
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3-tiered piscina [pool] situated in and above the largest rift of landscape, offering voyeuristic connections.
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ADVANCED DESIGN artist RESIDENCE 22 urban LIBARY 34
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artist RESIDENCE
for sculptor Antony Gormley
section scale: 1/16” = 1’-0” 22
critic: Andrew Lyon at Wave Hill, Riverdale, Bronx, New york City
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structure projects triangular grid of shadows, morphing throughout the day
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urban LIBRARY critic: Livio Dimitriu
a vault for knowledge
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Chrystie Street & Broome Street, Manhattan
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KEY PUBLIC
SERVICE
CROSS-OVER
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INTEGRATIVE DESIGN graduate DORMITORY 46 university BOATHOUSE 61 well SPRING 70
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critic: Sal Tranchina graduate DORMITORY core // access Grand Avenue, Brooklyn, NY
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INSULATING
THIN WALL STONE PANELS
ANCHORS
[RIGID] MOISTURE TOLERANT INSULATION
EXTERIOR GRADE SHEATHING
BACK-UP WALL
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BEDROOM APARTMENT STUDY
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ATRIUM STREET SERVICES
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strata
te erritory 4500sf rear yard
rou o tes
15000sf/level
12000sf/level
situ i ations (55) two bedroom one bathroom apartments [800sf ea]
(55) private balconies
entr
LAUNDRY
VERTICAL TRA AVEEL LOUNGE
mail boxes [80sf ] laundry [250sf ]
APA P RTMENT
BALCONY
MAIL student lounge [4250sf ]
circulation mechanical bike storage compactor etc[4250sf ]
PORT of entry
P PARKING
(10) parking space (can occupy rear yard) [171sf ea]
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CAFE
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OVERFLOW
RECHARGE
12,000 gallon cistern
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PASSIVE SUNLIGHT AND AIR VENITLATION
TYPICAL SECTION
RAINWATER COLLECTION SYSTEM
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critic: Ezra Ardolino Spuyten Duyvil Creek, Manhattan
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university BOATHOUSE rowing : aerating surface
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TENSION
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COMPRESSION
CONTRACTION 1
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The design of the “boat shed” was created based on the stroke sequence and the rowing notation of the body in motion. The rowers start with the ‘contraction,’ durng which their feet are locked and their upper body is pivoted inward. Through contraction, the compression force is applied through water as the rowers are trying to maneuver. Next is a period when rowers rest with the notation of ‘expansion.’ Through expansion the tension force is held accountable And that is when the rowers bring back their oars back to where it once started.
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GEOTHERMAL HEAT EXCHANGE
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well SPRING
critics: Richard Sarrach & Erik Gheniou team: Martin Dowdy & Kory Forde showcase for the New Brooklyn Economy
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24 HOURS DINING / VENDING
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DISPLA
OUTISDE SIDE
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500 SQ FT PRODUCTION 100 SQ FT OFFICE / CLASSROOM 350 SQ FT RETAIL
DISPLA
NI SIDE
CORRIDOR
RETAIL OFFICE / CLASSROOM STUDIO / PRODUCTION 500 SQ FT PRODUCTION
LONG-TERM OPEN STUDIO
300 SQ FT RETAIL
800-900 SQ FT
/ RETAIL
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DESIGN + BUILD deFORM REform 86 EGG CHAMBER 98 mantis GARDEN102 lifesize LOTUS106 Bread Love GREENHOUSE110
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critic: Mark Parsons robotic incremental forming design-build
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deFORM REform copper pavilion , Brooklyn Navy Yard
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chainlinkGREEN chainlinkGREEN is a system of construction designed to realize urban gardens, shade canopies, parks, benches and other urban, social condensers using only materials common to an abandoned lot, including chainlink fencing, standard 90°, steel pipe, rubble, reclaimed lumber, and concrete debris. chainlinkGREEN’s distinct geometry and aesthetic is borne from three concerns: (a) to develop an efficient, 3-dimensional structural system using only the 90° angles common to chain link fencing, (b) to realize
Scott Shall, Aaron Fleury, Skye Ruozzi 2010 - 2011 a construction system that is simple to build beauty within a very simple palette – without the aid of expensive tools or trained creating a work that is affordable, accessiprofessionals, and (c) to offer an intensely ble and at home in most urban settings. elastic environment that is capable of accommodating the wide variety of programs, materials and uses needed by our urban environments. . chainlinkGREEN’s light weight, easily constructed structure realized through a simple distortion of the common fence typology, offers great utility, elasticity, and
The International Design Clinic, Mural Arts Program of Philadelphia, The Guild, Philadelphia School System, Philadelphia Water Department, and the Northern Liberties Neighborhood Association EXHIBITIONS include: "Uneven Growth: Tactical Urbanism for Expanding Megacities", at the Museum of Modern Art (MoMA), November 22, 2014 May 10, 2015; “Beyond the Paint,” Pennsylvania Academy Of The Fine Arts (PAFA), Philadelphia, PA (2013); “Spontaneous Interventions: Design Actions For The Common Good,” Chicago Cultural Center, Chicago, Illinois and Governor’s Island, New York City, NY (2013); “Interventi Spontanei: Riciclo, Partecipazione, Temporanetta**,” **Università degli Studi di Genova (University Of Genoa), Genoa, Italy.(2012) and "Spontaneous Interventions: Design Actions for the Common Good," the official U.S. presentation in the U.S. Pavilion at the 13th International Architecture Exhibition at La Biennale di Venezia (August 27 to November 25, 2012).
vendingEDUCATION In the summer of 2010, the IDC, with Bolivian non-profit partner Creativo Cultural Espacio, began a collaborative design effort with kids working on the streets of La Paz in order to generate new, street-based versions of education that more adequately fit the unique lifestyle of these children. Unlike current school systems, which demand the kids choose between working (and thus eating) or pursuing their education, the IDC’s street-based educational system is designed in a manner that allows each child to pursue learning in a manner congruent with their schedule, circumstances, lifestyle, experiences, and interests. Installed within the Bolivian streetscape over the course of several years, these small, simple event- and space-making devices were designed to provoke, measure and react to the responses of both the children and others who might one day occupy, possess, or evolve a street-based educational system.
International Design Clinic 2010 - 2015 vendingEDUCATION is rooted upon the potentials (in terms of architecture, distribution, mutability, transportability, and programmatic elasticity) and costs (financial and personnel for the educator, time and travel for the learner) offered by the existing network of vending architectures within the Bolivian streetscape, using these attributes to virally propagate at five scales: VENDINGeducation EXTRA SMALL uses postcards to introduce, using indigenous marketing techniques, key educational concepts and core skill sets at very little cost to either the educator or learner, VENDINGeducation SMALL distills education into components that can fit within the small boxes carried by the Lustrabota, or Shoe-Shine Boys, of La Paz, creating micro-educational events throughout the city,
PARTNERSHIPS: The International Design Clinic, Lawrence Technological University, Temple University, the Universidad Catolica Boliviana, Gustu, Creativo Cultural Espacio and Teatro Trono. VENDINGeducation MEDIUM, adjusts education to the module of the handcart, offering more predictable and detailed educational events throughout the week, and VENDINGeducation LARGE, creates micro-schools within the architecture of the vending booth, offering a light-duty center of education within key neighborhoods. As these event-spaces propagate, the costs and potentials of each overlap, creating a networked series of educational opportunities and architectures that are hardwired to the rigors of life on the street. Already this evolution has resulted in the creation of several classroom-scaled assets: the El Alto Makerspace, which brings metal-, wood- and fabric-working equipment, as well as a small-scale CNC router, and the educational and vocational opportunities thereby realized to the citizens of the fringe settlement of El Alto; park-in-a-Cart, which uses a mobile park platform to create social condensers in fringe settlements and realize playful, arts-based educational opportunities and the Mobile Cantina and Culinary Institute, which celebrates native Bolivian agriculture and local methods of cooking through various pop-up educational initiatives, including free cooking workshops, community kitchens, and street-festivals.
PARK-IN-A-CART
EGG CHAMBER
Gaetan Spurgin, Skye Ruozzi, David Wade Brann 2011 - present
Standing nearly 17 feet tall, the Egg Chamber is a hand-rolled steel frame egg with over 320 small speakers. A 7.1 surround sound system boasts beautiful HD recordings of various natural soundscapes as well as pieces commissioned by acclaimed sound designers and live performances. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Curabitur sodales ligula in libero. Sed dignissim lacinia nunc. Curabitur tortor. Pellentesque nibh. Aenean quam. In scelerisque sem at dolor. Maecenas mattis. Sed convallis tristique sem. Proin ut ligula vel nunc egestas porttitor. Morbi lectus risus, iaculis vel, suscipit quis, luctus non, massa. Fusce ac turpis quis ligula lacinia aliquet. Mauris ipsum. Nulla metus metus, ullamcorper vel, tincidunt sed, euismod in, nibh. Quisque volutpat condimentum velit. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Nam nec ante. Sed lacinia, urna non tincidunt mattis, tortor neque adipiscing diam, a cursus ipsum ante quis turpis. Nulla facilisi. Ut fringilla. Suspendisse potenti. Nunc feugiat mi a tellus consequat imperdiet. Vestibulum sapien. Proin quam. Etiam ultrices. Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam.
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TITLE Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Curabitur sodales ligula in libero. Sed dignissim lacinia nunc. Curabitur tortor. Pellentesque nibh. Aenean quam. In scelerisque sem at dolor. Maecenas mattis. Sed convallis tristique sem. Proin ut ligula vel nunc egestas porttitor. Morbi lectus risus, iaculis vel, suscipit quis, luctus non, massa. Fusce ac turpis quis ligula lacinia aliquet. Mauris ipsum. Nulla metus metus, ullamcorper vel, tincidunt sed, euismod in, nibh. Quisque volutpat condimentum velit. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Nam nec ante. Sed lacinia, urna non tincidunt mattis, tortor neque adipiscing diam, a cursus ipsum ante quis turpis. Nulla facilisi. Ut fringilla. Suspendisse potenti. Nunc feugiat mi a tellus consequat imperdiet. Vestibulum sapien. Proin quam. Etiam ultrices. Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam.
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The traveling installation is designed as a place for mediation and immersion. The seating area is made of a bouncy mesh material that suspends the visitors above several large sub woofers that vibrate (much like a trampoline, but with restricted movement.) Thanks to a grant from the Philadelphia Experiment in 2013, the Egg Chamber’s fresh face features virture names on each of 320 speakers and additional seating and weather-resistant coverings.
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MANTIS GARDEN PROJECT
Transformative Art Collective 2011 - present
The Mantis sculptures are hand-crafted, each destined to a specific events, festivals or celebrations. Each Mantis is freely decorated by event patrons and community members. Each Mantis gains its own identity that reflects the mood and atmosphere of each gathering .
The Mantis Garden Project is a community-driven art initiative. The Project harnesses the power of the creative process to express the artistic potential inherent in all communities.
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+ grant recipient at Philadelphia Experiment Summer Festival : Ramblewood, Maryland : 2012,2013 + live painting at Painted Bride Art Center : Philadelphia, Pennsylvania : 2012 + live painting at Playa del Fuego : Odessa, Delaware : 2012 Spring + live painting at Country Club : Catskills, New York : 2012 + exhibited at Burning Man : Black Rock City, Nevada : 2012 : FERTILITY 2.0 (pictured) + live painting at FIGMENT : Governor’s Island, New York City : 2012 + live painting at Free Form Arts : Salem, New Jersey : 2012, 2013 + grant recipient at Transformus : Deerfields, North Carolina : 2012, 2013 + live painting at St. Christopher’s Hospital, Philadelphia : Oncology Prom + exhibited at Be the Strange : 2013, Return to Roots : 2013 Radical Inclusion, NYC : 2013
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LIFESIZE LOTUS
Pollen Nation, Black Rock City 2014
Inspired by a childhood puzzle toy, this scaled-up version was a surprise gift for my father, a mathematics fanatic. Living at Pollen Nation for the duration of Burning Man 2014, this installation allowed citizens to experience the possibilities of repeated geometry to generate form.
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BREAD LOVE GREENHOUSE
Bedford-Stuyvesant, Brooklyn, New York
designed by Skye Ruozzi / construction by Skye Ruozzi + owner, Lloyd Porter
The Greenhouse occupies a portion of the courtyard to the carriage house of the Stuyvesant Mansion. This grand manor now hosts community organizations, acupuncture, and a local bakery. detail
The Greenhouse provides not only a place for growing plants, but a space for the local community to mingle and children to interact with agriculture and culinary arts.
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nightime lighting
Hand-rolled curves customize steel piping to shape the roof line into an icon and gutter for rainwater 111 reclamation for the interior plant growth. Tension cables give added stability and a dash of color.
The double-insulated Greenhouse hosts an aquaponics setup by Oko Farms, cycling rainwater through the fish tank to fertilize the plants.
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OTHER WORK projection MAIL116
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projection MAIL
uniting systems in the public sphere
International Design Clinic various locations, 2009 - present Publics Stimulus Packages is an open-ended series of exhibitions (ACTS) and conversations (TALKS) intended to question and expand the relevance of this infrastructure to other sites, publics and spheres. ACT I of this series, Projection Mail: Uniting Systems in the Public Sphere, employs hundreds of PROJECTION MAILboxes [SMALL], a $3 projection system with a range of over 10’-0”, to offer patrons a myriad of perspectives on the aforementioned work. The size and weight of these projectors, as well as the nature of the projected image, allows patrons to cultivate new overlaps between these perspectives and their own, convergences which both reflect and rearticulate the relationship between the work, those viewing it, and, invariably, those responsible for re-creating it. So that this movement might expand to include publics, spaces and time periods not offered by any single exhibition, patrons to both the physical space of the gallery and a parallel online event are invited to propose alternative venues for the work by “stealing” one or more of the boxes and taking it to (what they believe to be) a more suitable location. Once repositioned on a new site, the PROJECTION MAILbox [SMALL] uses simple graphic mechanisms to clearly communicate its intent to the now-expanded body of contributors, stimulating them to [re]position the work into unknown contexts, [re]project the image onto unanticipated surfaces, [re]purpose the box (through graffiti or the substitution of images) to new ends and [re]present their movements, insights and photos to a growing body of online contributors. The trans-personal experience thereby created brings together acts of transition and alienation, fantasy and translation, compelling those engaging the work to trade the position of voyeur (gawking at another, exotic experience) for one that is more personal (building one’s awareness of ‘projecting’ onto a foreign culture offering), interactive (interaction between the given image and the creative potential of the spectator) and expressive (specifically related to their own experience as it relates to the Indian experience). The translation of the work thus becomes both relational to the original context and self-relational, creating a critical awareness of one’s own position vis-à-vis the site of the observed. In so doing, Projection Mail, like the work that proceeded it, offers not a project, but an infrastructure through which others might stimulate a new set of negotiations between the structures offered by our work in India and those inherent within new sites, programs, and publics.
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