1045MC portfolio

ƌŝĂŶ >ŽĐŬLJĞĂƌ Ͷ &ŽƵŶĚ WůĂĐĞƐ /Ŷ :ƵŶĞ ŽĨ ϮϬϬϳ / ĂƌƌŝǀĞĚ ŝŶ &ŝŶůĂŶĚ͕ ǁŝƚŚ Ă ďĂĐŬƉĂĐŬ͕ Ă ĨŽůĚŝŶŐ ďŝĐLJĐůĞ ŝŶ Ă ƐƵŝƚĐĂƐĞ͕ ĂŶĚ Ă ĮƐƞƵů ŽĨ ŵĂƉ ƐĞŐŵĞŶƚƐ ŽŶ ϴΘϭͬϮdžϭϭ ŝŶĐŚ ƐŚĞĞƚƐ ƉƌŝŶƚĞĚ ĨƌŽŵ ƚŚĞ ŝƚLJ ŽĨ ,ĞůƐŝŶŬŝ ǁĞď ƐŝƚĞ ƐŚŽǁŝŶŐ Ă ϮϬŬŵ ďŝŬĞ ƌŽƵƚĞ ƚŽ ŵLJ ĂƉĂƌƚŵĞŶƚ͘ / ĨŽƵŶĚ Ă ƋƵŝĞƚ ĐŽƌŶĞƌ ŽƵƚƐŝĚĞ ƚŚĞ ƚĞƌŵŝŶĂů͕ ĂƐƐĞŵďůĞĚ ŵLJ ďŝŬĞ ĂŶĚ ƌŽĚĞ Žī ŝŶƚŽ ƚŚĞ ƵŶŬŶŽǁŶ͕ ƚŚĞ ƐƵŝƚĐĂƐĞ ŶŽǁ Ă ƚƌĂŝůĞƌ ĨŽůͲ ůŽǁŝŶŐ ďĞŚŝŶĚ ǁŝƚŚ ŵLJ ŐĞĂƌ͘ /ƚ ǁĂƐ ƌĂŝŶŝŶŐ͕ ďƵƚ ŚĂǀŝŶŐ ďŝŬĞĚ ƚŚƌŽƵŐŚ Ăůů ƐŽƌƚƐ ŽĨ ǁĞĂƚŚĞƌ ŝŶ ƚŚĞ ƉĂƐƚ / ǁĂƐ ŶŽƚ ǁŽƌƌŝĞĚ ŵƵĐŚ ĂďŽƵƚ ŝƚ͖ ŵLJ ƌŽƵƚĞ ŵĂƉƐ͕ ŚŽǁĞǀĞƌ͕ ;ůĂƐĞƌũĞƚ ƉƌŝŶƚĞĚ ŽŶ ďŝŽͲ ĚĞŐƌĂĚĂďůĞ ƉĂƉĞƌͿ ƋƵŝĐŬůLJ ĚŝƐŝŶƚĞŐƌĂƚĞĚ͘ ŶĚ ƐƚŽƉƉŝŶŐ ĞǀĞƌLJ ƋƵĂƌƚĞƌ ŵŝůĞ ƚŽ ĮŐƵƌĞ ŽƵƚ ƚŚĞ ŶĞdžƚ ƚƵƌŶ ǁĂƐ ŶŽ ĨƵŶ ĞŝƚŚĞƌ͘ dŚĞ ƐƵŐŐĞƐƚĞĚ ƌŽƵƚĞ ƐŚŽƌƚůLJ ůĞĚ ŵĞ ŝŶƚŽ Ă ƌĞŐŝŽŶĂů ƉĂƌŬ͕ ĮůůĞĚ ǁŝƚŚ ƚƌĂŝůƐ ŝŶ Ăůů ĚŝƌĞĐƟŽŶƐ͘ dŚĞƌĞ ǁĂƐ ŶŽ ŚŽƉĞ ǁŚĂƚƐŽĞǀĞƌ ƚŚĂƚ / ǁŽƵůĚ ĮŶĚ ŵLJ ǁĂLJ ŽƵƚ ŽŶ ƚŚĞ ĐŽƌƌĞĐƚ ƉĂƚŚ͘ dŚŽƌŽƵŐŚůLJ ůŽƐƚ͕ ƐƚĂŶĚŝŶŐ ŝŶ ƚŚĞ ƌĂŝŶ ĂŶĚ ƐƚĂƌŝŶŐ ǁŽĞĨƵůůLJ Ăƚ ŵLJ ĐŝƚLJ ǁŝĚĞ ŵĂƉ͕ Ă ƉĂƐƐĞƌďLJ ƐƚŽƉƉĞĚ ĂŶĚ ŚĞůƉĞĚ ŵĞ ĮŶĚ ŵLJ ǁĂLJ ƚŽ ƚŚĞ ŶĞĂƌďLJ ƌŝŶŐ ŚŝŐŚǁĂLJ ĂŶĚ ĂŶ ĞĂƐLJ ƚŽ ĨŽůůŽǁ ƉĂƚŚ ĂůŽŶŐƐŝĚĞ ŝƚ͘ DLJ ƚƌŽƵďůĞƐ ĨŽƌ ƚŚĞ ĚĂLJ ǁĞƌĞ /HFWXUH +DOO 7HFKQLFDO 8QLYHUVLW\ RI +HOVLQNL ŶŽƚ ŽǀĞƌ͕ ŚŽǁĞǀĞƌ͘ ůƚŚŽƵŐŚ $OYDU $DOWR $UFKLWHFW ƚŚĞ ƌĞŶƚĂů ĂŐĞŶĐLJ ŚĂĚ ĂŶ ŽĨͲ ĮĐĞ ŝŵŵĞĚŝĂƚĞůLJ ĂĚũĂĐĞŶƚ ƚŽ ŵLJ ĂƉĂƌƚŵĞŶƚ͕ ŬĞLJƐ ǁĞƌĞ ŽŶůLJ ĂǀĂŝůĂďůĞ ĨƌŽŵ ƚŚĞ ĚŽǁŶƚŽǁŶ ,ĞůƐŝŶŬŝ ŽĸĐĞ ƚĞŶ ŬŝůŽŵĞͲ ƚĞƌƐ ĂǁĂLJ͘ / ŚĂĚ ĂƌƌĂŶŐĞĚ ĨŽƌ Ă ĨĞůůŽǁ ƐƚƵĚĞŶƚ ƚŽ ƉŝĐŬ ŵŝŶĞ ƵƉ ĂůŽŶŐ ǁŝƚŚ ŚŝƐ ǁŚĞŶ ŚĞ ĂƌͲ ƌŝǀĞĚ ĞĂƌůŝĞƌ ŝŶ ƚŚĞ ĚĂLJ͕ ďƵƚ ŚĞ ǁĂƐ ŶŽǁŚĞƌĞ ƚŽ ďĞ ĨŽƵŶĚ͘ EĞĂƌŝŶŐ ĚĂƌŬ͕ / ĮŶĂůůLJ ĚĞĐŝĚĞĚ ƚŽ ƚƌĂǀĞů ŽŶǁĂƌĚ Ă ĨĞǁ ŬŝůŽŵĞƚĞƌƐ ƚŽ ƚŚĞ ƵŶŝǀĞƌƐŝƚLJ ĐĂŵƉƵƐ ǁŚĞƌĞ / ŵŝŐŚƚ͕ ŚŽƉĞĨƵůůLJ͕ ĮŶĚ Śŝŵ Žƌ ŽƚŚĞƌ ĨƌŝĞŶĚƐ ĂŶĚ Ăƚ ůĞĂƐƚ Ă ŇŽŽƌ ƚŽ ƐůĞĞƉ ŽŶ͘ dŚĞ dĞĐŚŶŝĐĂů hŶŝǀĞƌƐŝƚLJ ŽĨ ,ĞůƐŝŶŬŝ ŝƐ ƐŝƚĞĚ ŽŶ Ă ůŽǀĞůLJ ƉĞŶŝŶƐƵůĂ ĂĐƌŽƐƐ ĨƌŽŵ ƚŚĞ ĐŝƚLJ ĐĞŶƚĞƌ͘ ĞƐŝŐŶĞĚ ďLJ ůǀĂƌ ĂůƚŽ ŝŶ ƚŚĞ ŵŝĚ ƚǁĞŶƟĞƚŚ ĐĞŶƚƵƌLJ͕ / ĂƌƌŝǀĞĚ ĚƵƌŝŶŐ ƐƵŵŵĞƌ ďƌĞĂŬ ǁŝƚŚ ƚŚĞ ĐĂŵƉƵƐ ĞŵƉƚLJ ĂŶĚ ƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞ ďƵŝůĚŝŶŐ ƐĞĐƵƌĞůLJ ůŽĐŬĞĚ͘ &ŽƌƚƵͲ ŶĂƚĞůLJ / ŵĞƚ Ă ĐŽƵƉůĞ ŽĨ ĞůĞĐƚƌŝĐĂů ĞŶŐŝŶĞĞƌŝŶŐ ŐƌĂĚ ƐƚƵĚĞŶƚƐ ĂŶĚ͕ ŝŵƉƌĞƐƐŝŶŐ ƚŚĞŵ ǁŝƚŚ ŵLJ ĞůĞĐƚƌŽŶŝĐƐ ďĂĐŬŐƌŽƵŶĚ ǁŝƚŚ E ^ ͕ ŵLJ ĨŽůĚŝŶŐ ďŝĐLJĐůĞ ;ĂŶĚ ĂĐĐŽŵƉĂŶLJŝŶŐ ƐƵŝƚĐĂƐĞ ŝŶ ƚŽǁͿ͕ ĂŶĚ ĐŚŽŝĐĞ ŽĨ &ŝŶůĂŶĚ ĂƐ Ă ƉůĂĐĞ ƚŽ ůĞĂƌŶ ŵLJ ŶĞǁ ĐĂƌĞĞƌ ŝŶ ƌĐŚŝƚĞĐƚƵƌĞ͕ ƚŚĞLJ ǁĞƌĞ ŐƌĂĐŝŽƵƐ ĞŶŽƵŐŚ ƚŽ ŚĞůƉ ŵĞ ĐŽŶƚĂĐƚ ƚŚĞ ƌŝŐŚƚ ƉĞŽƉůĞ ĂŶĚ ŐĞƚ ŵĞ ŚŽŵĞ ĨŽƌ ƚŚĞ ŶŝŐŚƚ͘ dŚƵƐ / ďĞŐĂŶ Ă ƚŚƌĞĞ ŵŽŶƚŚ ƐƚƵĚLJ ĂďƌŽĂĚ ƉƌŽŐƌĂŵ ŝŶ &ŝŶůĂŶĚ ĂƐ ƉĂƌƚ ŽĨ ŵLJ DĂƐƚĞƌƐ ŝŶ ƌĐŚŝƚĞĐƚƵƌĞ Ăƚ ƚŚĞ hŶŝǀĞƌƐŝƚLJ ŽĨ KƌĞŐŽŶ͘ ,ĞůƐŝŶŬŝ ƚƵƌŶĞĚ ŽƵƚ ƚŽ ďĞ ƚŚĞ ƉĞƌĨĞĐƚ ƉůĂĐĞ ĨŽƌ ǁŚĂƚ / ĐĂŵĞ ƚŽ ĐĂůů ͞ďŝĐLJĐůĞͲĂƌĐŚŝƚĞĐƚƵƌĞ ƚŽƵƌŝƐŵ͕͟ ǁŝƚŚ ŝƚƐ ĚĞŶƐĞ ĨĂďƌŝĐ ŽĨ ďĞĂƵƟĨƵů ďƵŝůĚŝŶŐƐ ĂŶĚ ĞdžĐĞƉƟŽŶĂů ŶĞƚǁŽƌŬ ŽĨ ĐLJĐůŝŶŐ ƉĂƚŚƐ͘ KŶ Ă ďŝĐLJĐůĞ ŝƚ ŝƐ ƉŽƐƐŝďůĞ ƚŽ ĞdžƉůŽƌĞ ůĂƌŐĞ ƵƌďĂŶ ĂƌĞĂƐ Ăƚ Ă ƉĂĐĞ ǁŚŝĐŚ ƐƟůů ĂůůŽǁƐ LJŽƵ ƚŽ ƉĂƵƐĞ ĂŶĚ ƐĞĞ͘ zŽƵ ŝŶƚĞƌĂĐƚ ǁŝƚŚ ƚŚĞ ĞŶǀŝƌŽŶŵĞŶƚ ŝŶ Ă ǁĂLJ ƚŚĂƚ LJŽƵ ĚŽ ŶŽƚ ĨƌŽŵ ĂŶ ĂƵƚŽ Žƌ ďƵƐ͘ ŶĚ LJŽƵ ĐŽŵĞ ƚŽ ŬŶŽǁ ƚŚĞ ƵƌďĂŶ ůĂŶĚƐĐĂƉĞ ǁĞůů͕ ĨŽůůŽǁŝŶŐ ŽďƐĐƵƌĞ ƉĂƚŚƐ ĂŶĚ ƉĂLJŝŶŐ ĚĞƚĂŝůĞĚ ĂƚͲ ƚĞŶƟŽŶ ƚŽ LJŽƵƌ ŶĂǀŝŐĂƟŽŶ͘ 9LLNNLQ .LUNNR -.00 $UFKLWHFWV

DLJ ŵŽƐƚ ƐƵĐĐĞƐƐĨƵů ĚĂLJ ǁĂƐ ƚŚĞ ŽŶĞ ŝŶ ǁŚŝĐŚ / ƌŽĚĞ ĂĐƌŽƐƐ ƚŚĞ ĐŝƚLJ ƚŽ sŝŝŬŬŝ ŝŶ ƐĞĂƌĐŚ ŽĨ Ă ĐŚƵƌĐŚ ƌĞĐĞŶƚůLJ ĐŽŶƐƚƌƵĐƚĞĚ ďLJ ƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞ Įƌŵ ŽĨ :<DD͘ / ŚĂĚ ŚĞĂƌĚ ŽĨ ŝƚƐ ŵŽĚĞƌŶ ĂƉƉƌŽĂĐŚ ƚŽ &ŝŶŶŝƐŚ ǀĞƌŶĂĐƵůĂƌ͕ ƚŚĞ ĞdžƚĞƌŝŽƌ ŽĨ ƐŽŌ ŐƌĞLJ ƵŶƚƌĞĂƚĞĚ ƐŚŝŶͲ ŐůĞƐ ĂŶĚ ƚŚĞ ŝŶƚĞƌŝŽƌ ŝŶ ǁĂƌŵ &ŝŶŶŝƐŚ Įƌ͘ /ƚ ǁĂƐ ŽŶ ŵLJ ǁĂLJ ƚŚĞƌĞ ƚŚĂƚ / ŚĂƉƉĞŶĞĚ ĂĐƌŽƐƐ ǁŚĂƚ ďĞĐĂŵĞ ŵLJ ĨĂǀŽƌŝƚĞ ďƵŝůĚŝŶŐ ŽĨ ƚŚĞ ƐƵŵŵĞƌ͘ / ƌĞĐŽŐŶŝnjĞĚ ŝƚ ĂƐ ƚŚĞ ŶĞǁ hŶŝǀĞƌƐŝƚLJ ŽĨ ,ĞůƐŝŶŬŝ dĞĐŚͲ ŶŝĐĂů >ŝďƌĂƌLJ ǁŚŝĐŚ ŚĂĚ ďĞĞŶ ƉƌĞƐĞŶƚĞĚ ŝŶ Ă ůĞĐƚƵƌĞ ƚŚĞ ƉƌĞǀŝͲ ŽƵƐ ǁĞĞŬ ďLJ ŝƚƐ ĂƌĐŚŝƚĞĐƚ͕ WĞŶƫ <ĂƌĞŽũĂ͕ ŽĨ Z<Ͳ,ŽƵƐĞ͘ ǀŝďƌĂŶƚͲďůƵĞ ƐƚĂŶĚŝŶŐͲĐLJůŝŶĚĞƌ ǁŝƚŚ Ă ƋƵĂƌƚĞƌͲƐĞĐƟŽŶ ǁĞĚŐĞ ĐƵƚ ĂǁĂLJ ƌĞǀĞĂůŝŶŐ ƚŚĞ ŝŶƚĞƌŝŽƌ͕ ƚŚŝƐ ďƵŝůĚŝŶŐ ĞƉŝƚŽŵŝnjĞƐ ŵŽĚͲ

9LLNNL 7HFKQLFDO /LEUDU\ $5. +RXVH $UFKLWHFWV

ĞƌŶ͕ ŚŝŐŚͲƉĞƌĨŽƌŵĂŶĐĞ ĚĞƐŝŐŶ͘ 'ƌĂƉŚŝĐ ŝŶ ŝƚƐ ƵƐĞ ŽĨ ĐŽůŽƌ ĂŶĚ ŐĞŽŵĞƚƌŝĐ ĨŽƌŵ͕ ŝƚ ŝƐ Ă ďƵŝůĚŝŶŐ ŽĨ ƚŚĞ ƉƌĞƐĞŶƚ LJĞƚ ĂĐŬŶŽǁůĞĚŐĞƐ ƚŚĞ ƐŝŵƉůŝĐŝƚLJ ŽĨ ĞĂƌůLJ ϮϬƚŚ ĐĞŶƚƵƌLJ &ŝŶŶŝƐŚ ŵŽĚĞƌŶŝƐŵ͘ dŚĞ ƐŵŽŽƚŚ ďůƵĞ ŝŶŶĞƌ ƐƵƌĨĂĐĞ ŽĨ ƚŚĞ ĚŽƵďůĞ ǁĂůů ĨĂĕĂĚĞ ŐůŽǁƐ ƚŚƌŽƵŐŚ ƚŚĞ ĞdžƚĞƌŝŽƌ͘ tŚĞƌĞ ƐůŝĐĞĚ ŽƉĞŶ͕ ƚŚĞ ĞdžƉŽƐĞĚ ŝŶƚĞƌŝŽƌ ŝƐ ƚĞdžƚƵƌĞĚ ǁŝƚŚ ŚŽƌŝnjŽŶƚĂů ƐŽůĂƌ ůŽƵǀĞƌƐ͘ dŚĞ ŵĂŝŶ ĞŶƚƌĂŶĐĞ Ăƚ ƚŚĞ ĐĞŶƚĞƌ ŽĨ ƚŚĞ ĐƵƚͲĂǁĂLJ ǁĞĚŐĞ ŽƉĞŶƐ ŝŶƚŽ Ă ƚŚƌĞĞ ƐƚŽƌLJ ĂƚƌŝƵŵ ǁŚĞƌĞ ƚǁŽ ĐŚĂƐŵƐ ůĞĂĚ ŽƵƚǁĂƌĚ͕ ĚŝǀŝĚŝŶŐ ƚŚĞ ƌĞŵĂŝŶĚĞƌ ŽĨ ƚŚĞ ĐŽƌĞ ĂŶĚ ĞŶĚŝŶŐ ŝŶ ŐĂƌĚĞŶ ƌŽŽŵƐ ŝŶƐĞƌƚĞĚ ŝŶƚŽ ƚŚĞ ĚŽƵďůĞ ǁĂůůĞĚ ƉĞƌŝŵĞƚĞƌ͘

,QWHULRU $WULXP 9LLNNL 7HFKQLFDO /LEUDU\

/ ǁĂƐ ƉƌŽĨŽƵŶĚůLJ ŝŵƉƌĞƐƐĞĚ ǁŝƚŚ ƚŚŝƐ ďƵŝůĚŝŶŐ͘ /ƚ ǁĂƐ ƐƚƌŝŬŝŶŐůLJ ŵŽĚĞƌŶ ĂŶĚ ďĞĂƵƟͲ ĨƵů ǁŝƚŚŽƵƚ ďĞŝŶŐ ŐĂƌŝƐŚ Žƌ ďƵƐLJ͘ dŚĞ ĂƌĐŚŝƚĞĐƚƐ ƉĂŝĚ Ă ŐƌĞĂƚ ĚĞĂů ŽĨ ĂƩĞŶƟŽŶ ƚŽ ŝƚƐ ŚŝŐŚͲƉĞƌĨŽƌŵĂŶĐĞ ĚĞƐŝŐŶ͕ ƐŽ ŝŵƉŽƌƚĂŶƚ ŝŶ ƚŚĞ ůŽŶŐ &ŝŶŶŝƐŚ ǁŝŶƚĞƌ ĂŶĚ ǁŝƚŚ ƚŚĞ ĐŽƵŶͲ ƚƌLJ͛Ɛ ĐŽŶĐĞƌŶƐ ĂďŽƵƚ ĚĞƉĞŶͲ ĚĞŶĐĞ ŽŶ ĨŽƌĞŝŐŶ ĞŶĞƌŐLJ͘ dŚĞ ŝŶƚĞƌŝŽƌ ǁĂƐ ĨĂƐĐŝŶĂƟŶŐ͕ ǁĂůŬŝŶŐ Ă ĮŶĞ ůŝŶĞ ďĞƚǁĞĞŶ ŝŶƚƌŝŐƵŝŶŐ ĐŽŵƉůĞdžŝƚLJ ĂŶĚ ĐŽŶĨƵƐŝŶŐ ǁĂLJͲĮŶĚŝŶŐ͘

ƵƌŝŶŐ ŵLJ ƟŵĞ ŝŶ &ŝŶůĂŶĚ ĂŶĚ /ƚĂůLJ ;ƚŚĞ ŽƚŚĞƌ ƐƚƵĚLJ ĂďƌŽĂĚ / ƉĂƌƟĐŝƉĂƚĞĚ ŝŶ ǁŚŝůĞ ĐŽŵƉůĞƟŶŐ ŵLJ ŵĂƐƚĞƌ͛Ɛ ĚĞŐƌĞĞͿ / ĨŽƵŶĚ ŵĂŶLJ ƉůĂĐĞƐ ǁŚŽƐĞ ĐŚĂƌĂĐƚĞƌ ƌĞŵĂŝŶĞĚ ǁŝƚŚ ŵĞ ǁŚĞŶ / ƌĞͲ ƚƵƌŶĞĚ ŚŽŵĞ͗ ƌŝŬ ƌLJŐŐŵĂŶ͛Ɛ ZĞƐƵƌƌĞĐƟŽŶ ŚĂƉĞů͕ 'ŝĂŶĐĂƌůŽ ĚĞ ĂƌůŽ͛Ɛ ŽůůĞŐŝŽ ĚĞů ŽůůĞ͕ ĂƌůŽ ^ĐĂƌƉĂ͛Ɛ ĂƐƚĞů sĞĐĐŚŝŽ͘ dŚĞƐĞ ĂƌĞ ƉůĂĐĞƐ / ǁĂŶƚ ƚŽ ďĞ ŝŶ͖ ƚŚĞƐĞ ĂƌĞ ǁŚĂƚ / ƐƚƌŝǀĞ ƚŽ ĐƌĞͲ ĂƚĞ͘

([WHULRU VXQVKDGHV 9LLNNL 7HFKQLFDO /LEUDU\

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The Centrolinead My interest in perspective drawing led me to discover the centrolinead in a 1920 Pencil Points Magazine article. A drafting instrument invented in 1814 by British mathematician and architect Peter Nicholson, the centrolinead had three arms, two of which were held against alignment pins mounted on the edge of the drawing board and the third used for drawing. By adjusting the distance between the pin placement and the width of the angle between the two alignment arms, lines could be drawn precisely converging at an arbitrarily distant vanishing point.

Simple and useful, centrolineads disappeared in the mid 20th century along with hand-drawn architectural perspective as art, and are now virtually unknown and unobtainable. I decided to construct a one, approaching it as a Direct Digital Manufacturing project. This image is based on a 3D Rhino model of the instrument head used to direct a CNC milling machine to fabricate a first prototype. I am currently in the process of redesigning the instrument head in AutoDesk Inventor, creating arms, and coaxing a fabricator.

Thurman Street Environmental Cooperative Master of Archtecture Thesis Project

Thurman Street Environmental Cooperative Master of Architecture Thesis Project My Masters of Architecture Thesis Project at the University of Oregon addressed environmental and sustainable design issues by expanding an existing, historic structure and repurposing it as a district wide utility supplier and incorporating a Museum of Sustainability.

The 1920’s shoe factory, located in Portland, Oregon’s historic Slabtown neighborhood, represented the best in high performance factory design in its day. A cast concrete exterior wall and supported heavy timber beams spanning a high-ceiling, daylite production space with a single row of additional wood columns through the center. The factory exterior was functional but pleasing, reminiscent of the Greek Revival style. The site, originally across the street from A.E. Doyle’s World Forestry Center and the 1905 Lewis and Clark Exposition grounds, remains a quiet neighborhood of multi-family apartments, detached homes, and retail shops. The adjacent Thurman Street is famous for its local character, as well as the home of author Ursula Le Guin and subject her book, Blue Moon Over Thurman Street, depicting her daily walks along it.

The district utility would provide electric power, heat, and water recycling to the neighborhood district, sized to allow economy of scale in generation yet minimizing the cost of energy transmission. The Museum of Sustainability provides a interactive destination for students and visitors to learn about sustainable living and the energy demands of our built environment.

To maintain the neighborhood character while providing a new destination and focus to it, my design sought to enhance the existing concrete facade with simple, modernist forms. I maintained the rhythm of the original structure, breaking the original form to identify the building entrance, and pulling back from it to create a open space and garden pool. Portions of the facade columns were incorporated into the interior space and the museum pathways woven through them. The museum circulation itself reflected the flow of water through the environment, first leading visitors upward to the top and then allowing them to percolate downward through the museum exhibits and utility machinery spaces.

Parametric Design Studies Algorithmic Solar Shades

Palazzetto dello Sport Per Luigi Nervi

Parametric Design Studies These two design studies demonstrate the use of algorithmic and parametric design processes. Executed in Rhino and Grasshopper, a 3D modelling program and its companion programming tool, it is possible to quickly iterate over design alternatives to evaluate them both aesthetically and quantitatively.

The top example shows the development of a model of Per Luigi Nervi’s Palazzetto dello Sport built for the 1960 Olympics in Rome, Italy. Executed in modular concrete forms, the structural ribs of the roof dome lead lines of force outward to the edges and mate with buttresses leading to the ground. The image to the upper left shows the “parameters” used to control the model generation in the form of circles defining the size of building elements and, in red, a curve segment defining both the shape of and extents of the woven dome form.

Given additional numeric parameters defining the number of perimeter buttresses and woven levels in the dome, a complete model of the building structure is generated. An interior view of the final structure, shown at the upper right, matches well to the interior photograph below it (photo from Ada Louis Huxtable’s history of Nervi’s work). Most interesting here is that any of these parameters — building dimensions, dome shape, or number of buttresses — may be altered and the effects immediately evaluated.

The bottom example shows a paired set of translucent solar screens pierced using algorithmically placed openings, to be fabricated using computer controlled tooling.

From the left, the first image shows the Rhino model of a single panel tile with holes placed. The next diagram shows how the translucent panels create changing light patterns as the angle of sunlight changes. A matrix of vectors directed back thru the panels to the sun is used to quantitatively analyze the amount of solar radiation passing the panels. Finally, a animated rendering shows the generated light patterns.

Haapa Koulu School Competition Espoo, Finland Studio Design Project

Haapa Koulu School Competition In the summer of 2007, I participated in a study abroad program in Helsinki, Finland, studying the powerful modern architecture there and creating a competition entry for a K-12 school in nearby Espoo. This was a group project, with three members on my team. The six competition boards are presented along the bottom edge of the page and two of the interior images enlarged at the top edge.

“Haapa Koulu” is Finnish for “Aspen School”; Espoo is historically known for its Aspen Groves. Architect Eliel Saarinen’s home, Hvittrask, was located in Espoo, and a close friend of his was artist Akseli Gallen-Kallela who wove the Finnish Flame motif into many of his textile patterns, which we incorporated into the hook shaped form of the youth center on the front of the building.

Backstage Theater Portland, Oregon Studio Design Project

Backstage Theater Studio The Backstage Theater Studio project involved the design of a theater production facility located near the eastern end of Portland’s Hawthorne Bridge. In addition to the theater itself, set construction facilities and rehearsal spaces were included such that theater companies needing additional construction or storage space could rent facilities.

In keeping with the concept of providing theatrical production and rehearsal facilities, I desired that in addition to viewing a particular show on stage, visitors would be able to see the workings of the theater normally hidden from view. Thus the itself was designed as a “box within a box”, with viewing access to the production facilities and walkways provided to allow touring of the backstage and theatrical lighting facilities as well.

Tattoo Removal Parlor for Architects without Borders/Oregon Lorraine Guthrie, Architect

Tattoo Removal Parlor Outside In is a Portland, Oregon, charity providing medical and food needs to lowincome residents. One of their most popular services is tattoo removal using a small laser instrument.

Architects Without Borders is an another small charity I am involved in which supplies design services to communities in need throughout the world. They supported Outside Inâ&#x20AC;&#x2122;s project to remodel and convert an existing bathroom into a new tattoo removal clinic space.

Design work was provided by Portland architect, Lorraine Guthrie. I was asked to create views to show the space for fundraising events. In this image, because it was difficult to find an acceptable viewpoint in the long, narrow, overlapping room arrangement, I chose to present a perspective plan which accurately represented the spaces yet retained a certain â&#x20AC;&#x153;quirkinessâ&#x20AC;? I thought representative of the essential character of tattoos and subsequent difficulty of their removal.

Italian Sketchbook

Italian Sketchbook Travel pen and pencil sketches made while studying abroad in Italy during the spring of 2008. Clockwise from the upper left are the skyline of Ubisaglia (a hilltown in the Marchè region), stonework detail above the door to the Church of Santa Maria in Macerata, a view of the Brunelleschi’s Duomo in Florence from the Piazza della Santissima Annunziatta, and the cloister of the Abbadia di Fiastra (an abbey and park in the Marchè).

Banana Warehouse Measured Drawings, Pencil and Marker Eugene, Oregon

Banana Warehouse Measured Drawings This drawing assignment required consuming large quantities of coffee at the Beanery Coffee house in downtown Eugene, Oregon, while studying and measuring the historic railway warehouse building it was located within. My drawings for this project were in pencil on Rives BFK paper. Color was added to the elevation drawing using Copic markers.

Smoke Sauna Kiljava, Finland

Ricci Museum Macerata, Italy

Bay Study for 1 Ankeny Square Portland, Oregon Haapa Koulu School Espoo, Finland

Ricci Museum of Modern Art Macerata, Italy

Models Model making has to be one of the primary activities that drew me to architectural design. A process that I have enjoyed since a youth building model railroads, here are a few final models I have built for various projects, including one of the Haapa Koulu School in Finland; the Ricci Museum in Macerata Italy (Study abroad program, Spring 2008); a bay study for 1 Ankeny Square; and a model of an existing smoke sauna near Kiljava, Finland. I am honored to say that the Smoke Sauna model was accessioned into the collection of the Finnish Museum of Architecture in Helsinki.

Brian Lockyear â&#x20AC;&#x201D; www.lockyeardesign.com

Brian E. Lockyear 3045 NW Thurman St. Portland, Oregon 97210

LockyearDesign.com 503-662-2515 brian@lockyeardesign.com

Summary Objective: to solve challenging problems with technical and aesthetic elegance.

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B.S. Electronics and Computer Engineering, Oregon State University, Corvallis, Oregon

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Electronics Engineer, NASA, Mountain View, California 8

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Community Architects Without Borders, Technical Support Committee. p:ear, artist volunteer in Portland homeless youth support program.

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