TREVOR M KNEBEL
SELECTED WORKS 2016
CON T EN TS
R E SUM E
2
MATE R I A L EMBOD I M E N T
3
C A RV I N G TH E B LO C K
19
A TR ACE D L A N D S C A P E
37
MOD UL A R M O U N TA I N
59
ME D I ATI ON T H RO U GH L AY ERIN G
67
DECONS TRU C T I N G T H E M ON OLIT H
75
MATE R I A L POT E N T I A L
83
E XPE R I M E NT I N G ME D I U M S
89
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TREVOR M . K NE BE L
160 Transit Street Apt. 2, Providence RI 02906 - tmknebel@gmail.com - 607- 427-1361
ACADEMIC RHODE ISLAND SCHOOL OF DESIGN
september 2013 - may 2016
master of architecture
HOBART COLLEGE
bachelor of art in architectural studies minor in studio art
graduated may 2010
DANISH INSTITUTE FOR STUDY ABROAD
focused on scandinavian architecture, industrial and sustainable design
fall 2009
EXPERIENCE DESIGN INTERN - CBT ARCHITECTS
june 2015 - aug. 2015
design and execution of drawings for Wooburn Library addition completion of schematic phase for design proposal coordintated with principle architects and consultants
DESIGN INTERN - KYLA COBURN DESIGNS june 2014 - aug. 2014 drafted AutoCad construction drawings and 3D model of church drafted design interventions for condo apartments researched city code requirements composed project presentation for city hall review
JOURNEYMAN - MILES AND MAY FURNITURE WORKS
june 2010 - aug. 2013
WOODSHOP TECHNICIAN - HWS COLLEGES
sept. 2011 - may 2013
BUILDING ASSISTANT - THE CRACKER FACTORY
june 2010 - aug. 2013
apprenticed for two years learning wood and metal fabrication graduated to journeyman in charge of furniture production and custom work assist with internship projects maintain and improved woodshop and machinery lead woodshop certification for all studios manage woodshop assistants
assisting with the renovation of a 19th century factory 65,000 sqf of manufacturing facilities, artists studios, and gallery space
SKILLS AUTO CAD, REVIT, ADOBE SUITE, SKETCHUP, V-RAY, RHINOCEROS, GRASSHOPPER, DIVA-ENVIRONMENTAL ANALYSIS, HAND DRAFTING, MODEL MAKING, LASER CUTTING, 3D PRINTING, ADVANCED WOODWORKING, ADVANCED METALWORKING
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MAT ERIAL EMBOD IMEN T
3
FULCRUM
RELIGION
MARKET CIVIC
POLITICS
EDUCATION
ANCIENT AGORA
MATERIAL CULTURE Fragmented mosaics of the Athenian Agora offer insight into the way Greeks define space. In Greek houses the mosaic decorated the floor of the symposium which acted as a forum through which politics were discussed. The symposium established democracy giving the individual the power to reguate society in the Ancient Agora. The part shaped the whole, while the whole acted a fulcrum of society. How do intimate spaces regulate public spaces? how does the individual regulate the whole in a fragmented past?
How do intimate spaces regulate public spaces? How does the individual regulate the whole in a fragmented past?
OMEGA HOUSE
MOSAIC FLOOR
GEOMETERY
DETAIL
TOOLS
MOSAIC
TOOLS
6 TESSERAE NUCLEUS
500 B.C.
300 B.C.
500 B.C.
300 B.C.
200 B.C.
200 B.C.
200 A.D.
200 A.D.
ATHENS PLAN
200 A.D.
MATERIAL EMBODIMENT An understanding of the part regulating the whole 200 B.C. informed a new mosaic that displays the layering of time on each individual tile.
BOUNDARY STONES
300 B.C.
how can the mosaic embody the history of a place? 500 B.C. how can scalar relationships be explored through the mosaic?
HOUSE OF 12 GODS
7 PUBLIC ASSEMBLY
SITE: Syntagma Square, Athens, Greece PROGRAM: Future Museum WEST ELEVATION
8 MINUTE SPACE EAST ELEVATION
2 HOUR SPACE
SECTION A
SECTION A
SECTION A SECTION A A
B
SECTION B
SECTION BB SECTION 2 HOUR SPACE The viewer can feel the haptic qualities of the space. The coolness of the concrete, the sheltering of the solid walls and the discovery of the embedded artifacts.
11
SECTION B
24 HOUR SPACE
HOUR SPACE 24 HOUR SPACE 24 HOUR SPACESPACE N
N
N
PLAN
PLAN PLAN
PLAN
PLAN PLAN
PLAN
PLAN
JUNE SHADOW STUDY
SHADOW JUNE STUDY SHADOW JUNE STUDY SHADOW STUDY STUDY YW 6 AM
9 am 9 am 9 am 9 am 9 am
4 pm
9 AM
9 am 9 am
12 PM
3 PM
9 am12 pm 12 pm 12 pm 12 912am pm12 pm 2 pm pm 2 pm
24 HOUR SPACE A viewer is subjected to the temporal character of 12 pm the space. The artifacts are projected by sunlight onto the floor of the inner-most space, creating the new mosaic.
2 pm
6 PM
2 pm 2 pm
JUNE SHADOW STUDY 24 pm 4 pm 4 pm 4 pm pm 2 pm
4
4 pm
12
SECTION 3
SECTION 1
SECTION 1 3
4
SECTION 1
SECTION 4
3
4 SECTION 2
SECTION 2 This intervention challenges the traditional presentation of the artifact in a museum. It gives the artifact to the public. It repositions the viewer to experience the artifact of the floor mosaic in untraditional ways. The layers reveal the embedded artifacts and reorient the viewer to the work.
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SECTION 2
MOMENTS
SECTION 1
SECTION 3
SECTION 1 2 3
SECTION 3 SECTION 2
SECTION 4
SECTION 4
SECTION 4
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2 MINUTE SPACE The local and the tourist crossing Syntagma Square in Athens, Greece experience the artifacts through visual perception.
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A travel model was made to be presented to be presented to the University of Patras in Athens, Greece.
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C ARVIN G T HE BLOC K
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SOUTH BOSTON EAST BOSTON
SEAPORT DISTRICT
SITE
FORT POINT
BICYCLE
BICYCLE HUBWAY
STATION
ON- STREET
SITE ACCESSIBILITY
OFF STREET
NO SITE ACCESSIBILIY
FERRY
SUBWAY STATION ROUTE
STATION ROUTE
22
SITE ANALYSIS: KNITTING OF STREET AND VOIDS through the mapping of the connecting layers of streets and buildings surrounding the site a sectional condition is found. The site is layered with two distinct elevations, one at the site and another at Summer Street.
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SITE: Fort Point, Boston PROGRAM: Mixed use- 250 unit housing, market, boat house, rec-center, community gather. I conceived of the proposal as an armature for connection between the historic district of Fort Point and Boston’s Financial district. The monolith is displaced and carved to create a layering of space that provides moments of compression and expansion as you move through the site. The proposal has integrated public space within its layers that provide a variety of vantage points of both the city and the public arena. The housing proposal becomes an extension of the connection and creates a dialogue between the individual and the city. The embedded structural bearing walls define space and direct secondary movement. 25
1BR
1ST FLOOR
2 BR
5TH FLOOR
3 BR
9TH FLOOR
RESIDENTIAL FLOOR: hallways connect to views of the Financial District and Fort Point. GROUND FLOOR: assembly space, coffee house, restaurant, public meeting space, recreational docks
28
The shifting of the three volumes demanded a structural analysis of the building. A system of bearing walls were developed that cut through the building to support and continued through the site. The structural grain define secondary movement through the building and site. 29
VERTICAL CIRCULATION
HORIZONTAL CIRCULATION
BEARING WALLS
FLOOR PLATES
PUBLIC SPACE
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View from South Boston
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View towards Downtown Boston
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Urban Connection to Finantial District
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Approach from Fort Point
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A T RACED L AN D S C APE
37
Spontaneity was found in the rubbing of a boulder. The graphite navigates the border and the space (in)between. A map of the 8 foot boulder was made to be used as blueprint for constructing spatial relationships.
39
A (re)tracing of the boulder was made through the action of carving. The tonal values of a portion of the rubbing were assigned a depth, creating an imagined topography. The wooden boulder was casted into a contiguous material to obscure the landscape of the wood. The layering blurs the identity and perception of depth.
41
Space was introduced into the material study of landscape through the subjection of heat and time. The passageways trace the cliff of the boulder and inhabit (in)between.
43
As I move my body traces the landscape. Time slows as I ascend the crevasse. Distances compress and expand. I refocus my sights and navigate deeper. The ground begins to rise and swallow me. The further I navigate the more imbedded I become. I am sheltered but held vulnerable. 45
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MOVEMENT THROUGH THRESHOLDS the ground and enclosure prescribe each other. The ground is impressed and directs, while the enclosure collects. The imagined landscape is animated over time. Erosion reveals a geometric collection of enclosures. 49
SITE: Imagined Landscape PROGRAM: Museum of Natural History The museum is embedded into the landscape. Movement through the museum reveals a series of geometric enclosures that display objects from the natural world. The sectional condition of the project allows for the discovery of new vantage points in the museum.
53
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MOD UL AR MOUN TAIN
59
3’ 5’ 8’
A spine ancors the moutain and is rotated 45 degrees to create a spacial valley. 3’ 5’ 8’
16’
16’
CONCEPTUAL FRAMEWORK The Graduate Show is conceived as an Architectural Mountain that is composed of modules along an L-shaped spine. This aggregation of work creates a spatial wall to observe the collection of works completed over the course of thesis year.
62
3’-6”
3’
2’-6” 1’ 2’
2’
2’-6” 3’
4’ 3’
2’-6” 2’-6”
2’
3’ 4’
2’-6”
2’
8’
modularity and construction
3D work
63
2D work
typical units
Students have to choose to work in teams of 2 - 4 on a 4’ wide panel depending on their size demands. The students can then choose their individual component that meets their desired dimensions. The options are all provided on th accompanied drawings, which are composed of a 4’ x 8’ sheet of plywood.
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Final installation of work
66
ME D I AT ION T HROUGH L AY ERIN G
67
THE INNERMOST SPACE: MEDIATION THROUGH LAYERING Oku, or “innermost area” is an important aspect of Japanese culture and it is evident in the way they construct architecture. I am interested in spatial layering and how it can reveal and create intermediate spaces around a core. I am studying the set of elements that mediate the connection of the inner and the outer through layering. Experiential layering is translated to visual layering in the form of collage. Collage allows me to create a sense of depth in my drawings through the building up of materials. It has become a vehicle for developing new spatial relationships outside of site observation.
newspaper, found paper, tape, ink
37” x 73.5”
70
D E CON S T RUCT IN G T HE MON OLIT H
75
CRGS ANALYSIS Tadoa Ando’s CRGS initially appears to be a simple monolithic structure because of its solidness and simple orthogonal geometry. A closer analysis reveals two hyperbolic paraboloids that touch in the center of a complex system of internal courtyards.
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PLAN OBLIQUE
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ROTATING TO REVEAL Rotations along spatial thresholds reveal interior circulation and courtyards. The geometry of the hyperbolic parabola can be understood as a simple vector in section.
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I took sections along all 127 rays of the ruled surfaces and rotate them to the ground. This process exposed the section where the two ruled surfaces meet and define the interior courtyard.
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M AT ERIAL POET ICS AN D CRAFT
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ELABORATED JOINERY The Analization of a Japanese extension joint shows how structure and surface can lengthen space. In between these connections allows for moments of pause.
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86
Moments of pause became opportunities for objects to rest. This compartment was designed to hold unitarian objects. The joinery of the compartment was redefined as the extension of the stick through the plane.
87
MAT ERIAL POT EN T IAL
89
12”
4”
4” 1-3/4”
12”
21-3/4”
FABRICATION pendant fold lines 1/2” chamfer
91
SHEET METAL POTENTIAL Sheet metal has the potential to be structural and is easily customizable. Through the process of folding and cutting, structure is created and waste is eliminated. the legs are made from a single piece of sheet metal. Using a series of folds and one cut, a friction fit leg is achieved. The precision of the fold reduces the need for mechanical fasteners. 92
12”
6”
RICATION hardware
2”
12”
1”
7”
fold lines
fold lines
93
DESIGN FOR PRODUCTION The fold gives sheet metal structure and intention. This simple industrial process gives the pendant light a memory of how it was made. The hand applied patina gives the piece authorship of the maker. This product is designed to be ready for production. 94
EX PERIMEN T IN G MED IUMS
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KAWAI KONJIRO HOUSE intersecting planes surrounding an open hearth oku defines space 97
KAWAI KONJIRO HOUSE dark wooden floors creak windows open to the garden warm light filters through 98
RYOANJI TEMPLE
rain trickling down the rock garden collects capturing the soul 99
SAWGAWA ART MUSEUM
cold, white concrete slabs capturing reflected light the water animates 100
ANALOG REPRESENTATION How does the haptic change the way we perceive space? Can two dimensional space capture our three dimensional reality? Through the use of tone, value, and proportion our perceptions of space can be challenged.
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102
ARTICULATING BODY Through observation one can see below the surface of a thing. The articulation of the body identifies muscle and bone; the tensile and compressional structure of the body. These forces are reflective of our presence in space.
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CAPTURING MOVEMENT Sedimentation follows direction. The stroke and center of gravity determined the equilibrium of the work. This collection of watercolor embodies the energy and movement of life.
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