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About Me I’m a third-generation stonemason turned architectural designer. My lifelong love of art, buildings, and history inform my practice. I have a deep admiration for both classical and modern methods of design and strive to incorporate tactical experience and hand drawing into everything I do. I have a passion for beauty, both in the natural and built environments, which I attribute to growing up in the historic HudsonValley. My dream as an architect is to apply my passion to making the world a better, more beautiful place.
Timothy Farina EDUCATION
The Catholic University of America | Washington, DC Bachelor of Science in Architecture May 2018
John F. Kennedy Catholic High School | Somers, NY Advanced Regents Diploma June 2014 WORK EXPERIENCE
David M. Schwarz Architects, Inc. | Washington, DC Architectural Designer Social Media Manager August 2018 - Present
McCrery Architects, LLC. | Washington, DC Architectural Intern Summer 2018
M. Farina Construction Corp. | Mahopac, NY Stonemason Summers 2012 - 2017 AWARDS & PUBLICATIONS
John Russell Pope Academic Award Washington Mid Atlantic Chapter, Institute of Classical Architecture and Art March 2019
The Classicist No. 15 Academic Portfolio Museum of the United States Supreme Court Prospect Park Entry Pavilion September 2018
AARC King Student Medal The Architectural Research Centers Consortium April 2018
Inventio Research Journal No. 2 Santiago de Compostella: Architectural Innovation and Urban Intervention April 2017 ADDITIONAL EXPERIENCE
Washington Mid Atlantic Chapter, Institute of Classical Architecture and Art Board of Directors, Young Professional Committee Co-Chair, Awards Committee March 2019 - Present
Notre-Dame de Paris Truss Project Handshouse Studio and the Catholic University of America Summer 2021
Speaker: Building Traditions in the Hudson Valley: A Mason’s Perspective timothyfarina.com timothymfarina@gmail.com
Traditional Building Conference, Boscobel July 2019
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Contents I | GROUP PROJECTS Notre-Dame de Paris Truss
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Museum of the United States Supreme Court
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Master Plan for the Center for Equal Justice
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II | INDIVIDUAL PROJECTS The Center for Equal Justice
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Condominio Tendenza
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Prospect Park Entry Pavilion
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III | PROFESSIONAL WORK Collegiate Gothic Detail Development
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Collegiate Gothic Schematic Design Elevation
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Mid-Century Modern Interiors
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IV | FIELD STUDIES Measured Drawing
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Freehand Drawing
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LEFT - Bramante's Tempietto in both hands, White Pencil on Paper. INSIDE COVER - Vignola's Doric, Ionic, and Corinthian Columns, Graphite on Paper.
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I GROUP PROJECTS
Notre-Dame de Paris Truss Notre Dame de Paris is an indisputable masterpiece of Gothic Architecture and Engineering whose image is recognizable the world over. A monument in masonry and glass is how most of the world experienced La Cathédrale prior to April 2019. The tragic fire that nearly destroyed the World Heritage Site also brought popular awareness to the lesser known, third building component of Notre-Dame: timber. The loss of Notre-Dame’s extensive and signifcant medieval timber frame greatly compromises the architectural patrimony of mankind. Contrary to popular opinion, the roof ’s materiality and means of construction are an essential part of the heritage of the Cathedral and its reconstruction is an opportunity to disseminate this knowledge to a greater audience. The dual focus of the Truss Project was academic research and tactical timber-framing experience. The exploded axon of the Cathedral’s roof structure on the following page is my individual contribution to an exhibit at the National Building Museum, and is juxtaposed with the full scale replica of truss #6 which I helped to create with Handshouse Studio.
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SECTION I | GROUP PROJECTS
NOTRE-DAME IN FLAMES The NewYork Times.
THE CHOIR SHELL Photograph from my 2019 trip.
1:100 SCALE MODEL OF TRUSS #6 White Oak.
1:100 PLAN Five individuals, 150 hours of combined effort.
LA FORÊT (CHARPENTE DE NOTRE-DAME) My contribution to the Truss #6 Exhibit, Graphite on Paper.
FULL SCALE REPLICA OF TRUSS #6 As part of the Handshouse Studio Team, Hand-HewnWhite Oak. SECTION I | GROUP PROJECTS
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Museum of the United States Supreme Court The monumental building tradition of the Nation’s Capital epitomizes the role that classical architecture has played in giving form to civic buildings in American society. When called upon to design a new museum in honor of the US Supreme Court, to occupy the last remaining site on the national mall, studying and understanding of this tradition was imperative. The watercolor analytique at left epitomizes the spirit of the design of this new Museum, executed in the Classical Tradition, for which I collaborated on a team of four during our senior year. The designs and drawings that follow are a synthesis of all of our ideas and talents, while the analytique itself is my brainchild and handiwork, composed over three weeks in AutoCAD, watercolored and line-weighted by my hand.
LEFT - DESIGN ANALYTIQUE with National Mall Elevation, Plan, Longitudinal Section, and Portico Details, Watercolor and Ink on Paper.
SECTION I | GROUP PROJECTS
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NATIONAL GALLERY OF ART John Russell Pope, 1937
NATIONAL ARCHIVES John Russell Pope, 1935
SUPREME COURT BUILDING Cass Gilbert, 1935
The form that our building takes is directly inspired by the cannon of Washington’s public buildings, three of which are represented above. The roman temple front, of which Cass Gilbert’s Supreme Court Building is a shining example, is the prominent feature of the two primary facades. On either side of the massing, apses and thermal windows recall the basilica form, which comes from the judicial courts of Ancient Rome and is notably absent among the city’s civic buildings. 14
SECTION I | GROUP PROJECTS
ABOVE - MASSING SKETCH showing the typological union of Temple Front, Grand Stair, and Basilica Motifs, Graphite on Trace. RIGHT - 1/32” SITE MODEL with the Washington Monument and Museum, Upper Right.
My notebook pages are where our concept first came into being. From the onset we were interested in concealing the form of a tholos inside of the massing as to surprise the visitor and to create something unexpected using the classical language.
Our endeavor to incorporate both th a rectangular mass was a simple ide study. The concept created an intere and interior would impart different a
The inside of the building is defined by a central rotunda with 16 columns and openings to basilicas on either side. The rotunda typology resonates in American society as symbol of important public buildings, such as the US Capitol, and is befitting of a new museum which intends to enshrine and reverence individuals who helped shape and govern our country.
CROSS SECTION OF ROTUNDA 1/32” =1’-0”
LONGITUD
he temple front and tholos forms into ea that necessitated many iterations of esting dichotomy whereby the exterior architectural expressions.
DINAL SECTION OF BASILICA 1/32” =1’-0”
The addition of a third typology, that of the Ancient Roman Basilica was a possibility to bring something unique and historically relevant to our building, all the while enriching the diversity of Washington’s classical portfolio.
SECTION I | GROUP PROJECTS
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Inside of the building, the union of basilica and rotunda forms enables the full length of the interior to be observed unobstructed.. An ambulatory along the perimeter of the rotunda serves as the transition between spaces. In the apses at either end are seated statues of the two most influential justices to have served the court, John Jay, founding father and first chief justice, and John Marshall, the fourth chief justice whose influence defined the unique role and powers of the court. 18
SECTION I | GROUP PROJECTS
ABOVE - INTERIOR RENDERING looking towards John Marshall Statuary Hall from opposite the Rotunda Columns. RIGHT - ILLUSTRATIVE SITE PLAN at 1” =50’ scale.
Stair
John Jay Statuary Hall
Gallery
Gallery
Rotunda
Entry
Stair
Elev.
John Marshall Statuary Hall
Gallery
Portico
SECTION I | GROUP PROJECTS
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Master Plan for the The Center for Equal Justice A controversial proposal for the redevelopment of the Federal Bureau of Investigation Building in Washington, DC, this master planning exercise was a carried out over two weeks with a team of three people. The primary objective was to site a new institution for the promotion of justice, which would then become the object of our semester long design studio. The planning program called for 1.5 million square feet of space, allocated to a mix of retail, office, and residential uses. Our initial sketches and calculations revealed that the program could be sited with enough remainder to carve out a public space. A survey of Washington’s public spaces revealed a wealth of European influence, but amid the abundance of landscaped areas, not many paved courtyards or plazas exist. The final master plan arrangement, visible on the next page, sites the Center for Equal justice along Pennsylvania Avenue, with pedestrian streets on either side, and a paved court opening to the city in the north.
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SECTION I | GROUP PROJECTS
MASTER PLAN CONCEPT PERSPECTIVE A paved courtyard would be unique in Washington, where landscaped public spaces abound.
AMALIENBORG PALACE Copenhagen, Denmark
LOUVRE Paris, France
GALLERIA VITTORIO EMANUELE II Milan, IT
1/64" MODEL OF EXISTING SITE With The Federal Bureau of Investigation Building.
1/64" MODEL OF PROPOSED SITE PLAN With The Center for Equal Justice at Center. SECTION I | GROUP PROJECTS
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II INDIVIDUAL PROJECTS
The Center for Equal Justice The premise for the design of the Center for Equal Justice was the foundation of a new federal institution to promote social justice around the world. The 130,000 square foot building would include an education and research center, a 1,000 seat theater, event space, restaurant, exhibition galleries, 30 apartments for visiting scholars, as well as executive, curatorial and library offices. The challenge of outfitting multiple programs within the same building required there be a strong organizing principle and clarity of circulation. My concept was to consolidate the large program areas such as the theater, stacks, and galleries in the center of the building, allowing the classrooms, offices, and events spaces to wrap the exterior, and take advantage of the natural light and views. For the apartments of the visiting scholars, I desired to create a private residential zone that did not feel as it were an afterthought to rest of the institution. I created for them a penthouse in the form of a courtyard monastery, with terraces that make use of the building setbacks.
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SECTION II | INDIVIDUAL PROJECTS
RIGHT 1/64” =1’ Main Floor Plan with Context.
North Lobby
Theater
Main Lobby
SECTION II | INDIVIDUAL PROJECTS
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ABOVE - CONCEPT SKETCHES Consolidating the large parts of the program that did not require natural light into the center of the mass allows the rest of the building to have windows on the exterior. The Change in grade front to back enabled me to embed the theater and back of house program into the section without disrupting too much of the upper floors.
Office
ABOVE - FINAL
LEFT- CONCEPT SECTION
This early section drawing became a driving force of my design process. The idea of embedding the large program components into the center of the building was begging to take shape in the stacking of the Theater, Galleries, Library, and Residential uses. The entry sequence from Pennsylvania Avenue was also a key consideration. I began exploring the idea of a grand lobby to link the public levels of the building vertically, and to serve as an event space along with the theater. The final version of this section below retains each of these initial ideas and resolves their distribution as well as the building’s relationship to the site. Dual porticos on either end mark the main entrances, while the height of the entablature represents the transition from public to private space on the upper floors. A smaller, courtyard form on the top of the building houses the apartments for visiting scholars.
Apartments
es
Stacks
Galleries
Main Lobby
North Lobby Theater
L SECTION Maintaining the basic arrangement and sequence of spaces from my original concept sketch.
SECTION II | INDIVIDUAL PROJECTS
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FACADE SKETCHES Quickly Exploring a variety of Classical Architectural Expressions.
FINAL EAST ELEVATION With ‘Triumphal Arch’ Motif at the terminus of D Street and a Beaux-Arts Inspired Sculptural Program representing Justice & Peace.
ABOVE - PENNSYLVANIA AVENUE ELEVATION with Portico inspired by the form of a Triumphal Arch and careful integration of glazing area, solid mass, and ornament.
The building’s exterior expression was inspired by the monumental building tradition of the Nation’s Capital. In the manner of the Beaux Arts period, classical elements were combined and arranged so as the evoke the great edifices of past while also endeavoring to bring a new motif to Washington: the triumphal arch. The study of massing, proportion, composition, and solid/ void ratio was carefully undertaken so as to ensure the building was an authentic representation of the classical language. Inscribed on each of the principle elevations is a quotation reflecting the Center’s mission. The primary, Pennsylvania Avenue facade features the words of Alexander Hamilton: ‘Justice is the First Duty of Society.’ SECTION II | INDIVIDUAL PROJECTS
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Residential
Retail
Convention
Carve
Offset
Dwelling Units
Condominio Tendenza An exploration of European architectural sensibilities, Condomino Tendenza is an urban infill project in Rome’s historic Trastevere neighborhood. Inspired by its cultural context, the building includes a corner cafe at street level, and proposes 12 unique dwelling units, each of which is designed as place to both live and work. The building’s form responds to the site’s physical context, aligning and offsetting where appropriate to connect to the existing urban fabric. Broken into two primary masses, the taller block visually encloses Piazza Giuditta Tavani Arquati, while the smaller block transitions back to the medieval houses remaining on the other side. The name ‘Condominio Tendenza’ refers to the Italian rationalist aesthetic that I utilized. I wanted to ground the building in an authentic Roman architectural tradition while maintaining the contemporary spriti of design, for which rationalism, inspired by traditonal proportions, seemed befitting.
UPPER LEFT - Perspective showing Neo-Rational ‘Tendenza’ architectural expression, with two-part massing that responds to the adjacent context. Overhang & Balcony
LEFT - Design Process Diagram showing the development of the massing from it’s simplest convention to the final form. SECTION II | INDIVIDUAL PROJECTS
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1 Unit
+
Open to below
1 Unit
Open to below Live/Work Upper Level
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3 Units
Micro Unit Open to below
Live/Work Upper Level
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3 Units
TYPICAL PLAN #2 Duplex Upper Level 1’=20’
+
In the upper left and lower right of this plan are the upper levels of two unique duplexes. Each duplex contains a double height living area, master suite, and separate home office. The unit at center is smaller in size and a single level.
4 Units
= Live/Work Lower Level
12 Total Units
Live/Work Lower Level
Retail at Street Level
Micro Unit Live/Work
Micro Unit
Massing Development Sketch
TYPICAL PLAN #1 Duplex Lower Level 1’=20’
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SECTION II | INDIVIDUAL PROJECTS
The upper left and upper right of this plan shows the lower level living areas of two duplexe units. The unit in the lower left corner contains a double height living area, master suite, and separate home office. The units at center and lower right are a smaller size and single level. RIGHT 1” = 20’ Ground Level Plan
Stairs and Elevator
Live/Work Lower Level
Live/Work Lower Level
Cafe
Live/Work Lower Level
Live/Work Lower Level
SECTION II | INDIVIDUAL PROJECTS
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SECTION II | INDIVIDUAL PROJECTS
Prospect Park Entry Pavillion Completed during a four week classical architecture studio in New York City, my design for a entry pavilion to Prospect Park is an integration of both Grecian and Roman architectural motifs inspired by Mckim, Mead, and White. The charette drawing at left shows my initial idea to create a central breezeway beyond the great acanthus columns Stanford White recreated from Delphi. Foreshadowing the other pavilions seen throughout the park, the design is robust, with rusticated stone walls, a clay tile roof, and monolithic Cornithian columns. In place of windows on the primary facade, apsidial niches emphasize the solidity of the side bays, while the central volume’s ratio of solid to void creates an inviting aperture though with the park can be seen and accessed. The following page shows the final realization of this design with close attention paid to the proportion and accuracy of its classical composition.
LEFT - One Hour Charette Drawing, Graphite on Paper. SECTION II | INDIVIDUAL PROJECTS
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The final realization of my Prospect Park Entry Pavilion retains all the defining features of the original esquisse. Carefully studied proportions and details embody my vision for a simple form whoes ornamental scheme engages with Stanford White’s magnificent Omphalos of Delphi columns.
SECTION II | INDIVIDUAL PROJECTS
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III PROFESSIONAL WORK
Collegiate Gothic Detail Development One of the first tasks I was given after my undergraduate studies was the development of masonry details for the third and fourth new residential colleges at Vanderbilt University. Although the firm had been working on the project nearly a decade when I became involved, the intention was to articulate each building with a unique character that referenced different historical precedents than the previous. I began a comprehensive analysis of over 400 Gothic, Tudor, Georgian, Victorian, and Dutch buildings, endeavoring to understand the nuanced style of architecture I was entrusted with creating anew. The unexpected amount of freedom and time I was given throughout the design process left me with a strong sense of authorship in the final creation. Represented on the following three pages are some of the designs which I am most proud of.
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SECTION III | PROFESSIONAL WORK
PROCESS SNAPSHOT OF ‘COLONETTE’ PORTAL My design based off of the below precedents, among others. Digital Model.
JESUS COLLEGE Oxford University
EAST PAYNE HALL Princeton University
CATHEDRAL GATEHOUSE Canterbury, England
Profile Concept Sketch
Profile Development
Final Profile 1” =1’-0”
BEFORE (GIVEN) Main entrance to Rothschild Residential College, Vanderbilt University.
East Entrance Archway One of my most significant contributions to what is now called Rothschild Residential College is the tracery archway which marks the building’s main entrance portal. The undulating stone profile that I created is an exploration of shade and shadow that embraces the hand carved nature of it’s production. 40
SECTION III | PROFESSIONAL WORK
Construction Photo
AFTER (DESIGN DEVELOPMENT) Profile and tracery design, documentation, and digital model are my original work.
Rib Profile
Architrave / Capital Profile
Base Profile
BEFORE (GIVEN) Main Gateway Portal to Residential College C, Vanderbilt University.
West Gateway Portal The gateway to the final building of Vanderbilt University’s new residential college promenade, this portal serves as a transition from the neoclassical heart of the campus into the new, fully-fledged collegiate Gothic promenade. Thus, my design incorporates pilasters and a coffered ceiling that unite classical proportions with Gothic profiles. 42
SECTION III | PROFESSIONAL WORK
Arch Profile
AFTER (DESIGN DEVELOPMENT) Pilaster, archway, and groin vault design, documentation, and digital model are my original work.
EARLY DESIGN EXPLORATION #1
This scheme explores creating an overall impression of symmetry and balance within the facade by introducing two gables and one plane change on either side of the tower.The tower massing tapers upward with a central crown and oriel.
EARLY DESIGN EXPLORAT
This scheme explores creating an asymmetrica ample buttressing, a bay window projection to and an arcade to the right.The cornice and ridg the length of the facade, emphasizing this asym
SCHEMATIC DESIGN ELEVATION Residential College C, Vanderbilt University.
Schematic Design Elevation From initial concept through schematic design, the elevations shown above represent the utilization of precedent to inform my design process. Elements from each of my initial sketches, drawn from many precedents including the ones at right, were synthesized into the schematic elevation. Worked on a team of four, my role was to oversee both massing and detail refinement.
ALLEN HALL Duke University
CROWEL
EARLY DESIGN EXPLORATION #3
TION #2
al composition with the left of the tower ge height vary along mmetry.
LL QUAD Duke U.
This scheme explores creating an asymmetrical tower, with a strong corner turret at one side, and relatively uniform massing along the length of facade. A crenelated first story to the left of the tower acts as shoulder, while corbels support a projecting bay at right.
DOBBS FERRY HS NY State
SECTION III | PROFESSIONAL WORK
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of this promotional rendering.
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MELLON HALL RENOVATION INTERIOR RENDERINGS
Located within historic Mellon Hall, one of Richard Neutra’s
SECTION III | PROFESSIONAL WORK
Mid-Century Modern Conference Room
few surviving buildings on the East coast, the conference room
did not retain any of its original architecture or documentation.
Working with two other designers to refresh the building’s public
spaces, we created the conference room in a like aesthetic to the
CONVERSATION ROOM RENDERING Saint John’s College, Annapolis.
remaining Neutra-designed public spaces. My personal role was
the detail development and documentation of the wall panels,
material selection, custom table design, as well as the production
PLAN 1/16” =1’
ATION ROOM
STUDIO THEATER
Studio Theatre
Carved out of an existing stagehouse
and dance studio, this multi-purpose
theater was handed off to me to me in
its bare bones. I designed the paneling, curtain track and pipe grid system, as
well as produced this rendering. PLAN 1/16” =1’
STAGEHOUSE FURNITURE PLAN Mellon Hall Renovation
Mellon Hall Renovation
CONVERSATION ROOM FURNITURE PLAN
STUDIO THEATER RENDERING Saint John’s College, Annapolis.
IV FIELD STUDIES Hand drawing is my foremost passion, a essential part of my creative spirit that has manifested in each period of my life and inspired me to the pursuit of architecture. Observation of my surroundings, both figural and architectural, though the act of drawing, is a transformative process that enables me to experience the physical world in a transcendent, spiritual way. Two modes of drawing are present in the pages that follow: analytic, measured drawing, and experiential, freehand drawing. I believe that the act of architecture itself is an incorporation of these two means. In my endeavos to understand the built environment through drawing, I frequently make use of both forms. Wherever I go in the world, my sketchpad helps me to record, both to paper and to memory, the buildings and objects that bring beauty to my human experience.
LEFT - Henry Bacon’s Lincoln Memorial at night, White Pencil on Paper. SECTION IV | FIELD STUDIES
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PINE BALUSTER ICAA Cast Hall, New York City
LOW LIBRARY Columbia University, NewYork City
GRAND ARMY PLAZA FOLLY Brooklyn, NewYork
MANHATTAN MUNICIPAL BUILDING New Yor
rk City
MANHATTAN MUNICIPAL BUILDING New York City
THE NEW YORK PUBLIC LIBRARY New York City
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PLACE DES VOSGES Paris, France
CHÂTEAU de COUBERTIN Saint-Rémy-lès-Chevreuse, France
PLACE DES VOSGES Paris, France
ESCALIER du PETIT TRIANON Versailles, France SECTION IV | FIELD STUDIES - FREEHAND DRAWING
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VILLA GIULIA Rome, Italy
RENWICK GALLERY Washington, DC
JESUIT CHURCH Dubrovnik, Croatia
RENWICK GALLERY Washington, DC SECTION IV | FIELD STUDIES - FREEHAND DRAWING
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UNION
PETIT TRIANON Versailles, France
PLACE DES VOSGES & SAINTE-GENVIÈVE Paris, France
N STATION Washington, DC
Afterword The pursuit of beauty has been a driving passion throughout my life. The designs and drawings exhibited here have manifested out of that passion, and are among the proudest accomplishments in my life thus far. I hope that they have been an inspiration to you and were as insightful to view as they were to create.Thank you to the friends, family, and mentors who have enabled me to reach this point.
Timothy Farina SECTION IV | FIELD STUDIES - FREEHAND DRAWING
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