connor a. brindza architecture portfolio by Connor Brindza

CAB

CONNOR ANTHONY BRINDZA UNDERGRADUATE ARCHITECTURE PORTFOLIO

2336 VICTOR STREET, CINCINNATI, OH, 45219, USA CONNORBRINDZA@GMAIL.COM 440.376.0127

A selection of work from my undergraduate studies at the University of Cincinnati and my cooperative education semesters. This work represents my understanding of the design process as it developed. The purpose of this document is to share my own views on the possibilities of architecture through the design solutions presented, and to display my skills in graphic representation through both digital and analog processes.

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100 EQUALS 1

CLIFTON LITERARY CENTER

ISTANBUL MODERN CLOCKTOWER

06 // I.M. TOWER

05 // CLC

SILICON VALLEY LOBBY

04 // 100 = 1

03 // LOBBY

POOLHAUS

02 // POOLHAUS

01 // ISCC

INTERNATIONAL STUDIES CENTER OF CINCINNATI

INTERNATIONAL STUDIES CENTER OF CIN MIXED USE // CINCINNATI, OH // DAAP // SPRING

The International Studies Center of Cincinnati is a large-scale housing serving the University of Cincinnati and its surrounding community. It of a steep hill which also serves as a divide between the southern edge low income, non-university housing. The site occupies the southeaste and acts as a gateway to any visitors coming from the highway (dire or from downtown (directly south). The program offers an opportunit division between the university and its surrounding residents by mi housing facility for visiting academics with new affordable housing an ISCC includes studios, fabrication labs, and amenity facilities for re and local resident housing, large gallery and auditorium spaces, and a

UC MAIN CAMPUS

ISCC NON-UNIVERSITY HOUSING

ARCH 3001 // REBECCA WILLIAMSON

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

NCINNATI 2014

g and research center t is located at the peak e of UCâ&#x20AC;&#x2122;s campus and ern border of campus ectly east of the site) ty to break the urban ixing a research and nd a public park. The esearchers, university a public park.

The broad range of program elements were categorized into three groups: public, semi-public, and private. Each category became its own mass; the public containing the auditorium, gallery, and reception; the semi-public containing the research facilities and amenities; and the private consisting solely of the housing, which was split into two bars. The masses were then shifted away from the street based on their category-public remaining flush with the site edge, private being set back the furthest (Fig. 01). The resulting geometry was then broken down into planar elements (Fig. 02). The north and south edges of each mass became a vertical plane which was projected onto the site twice (Fig. 03). The intersections of the planes became defining edges for volumetric elements in the park (Fig. 04).

01 // ISCC 02 // POOLHAUS

FIG. 01 // MASSES ARE SETBACK FROM THE STREET BASED ON PRIVACY

03 // LOBBY

FIG. 02 // PLANAR ELEMENTS ARE EXTRACTED FROM THE N & S EDGES 04 // 100 = 1 05 // CLC

FIG. 04 // INTERSECTIONS OF PLANES ARE USED AS EDGES FOR ELEMENTS IN THE PARK AND EXTRUDED

PUBLIC // GALLERY, AUDITORIUM, RECEPTION

SEMI PUBLIC // RESEARCH STUDIOS, LAB, HOUSING AMENITIES

PRIVATE // MIXED HOUSING

06 // I.M. TOWER

FIG. 03 // PLANES ARE PROJECTED ONTO THE SITE FROM THE BUILDING EDGE AND THE EASTERN SITE EDGE

RENDERED SITE PLAN

LONGITUDINAL SECTION

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

STUDIOS

FABRICATION & COMPUTING

OPEN GALLERY

RESIDENT AMENITIES

AUDITORIUM RECEPTION

STREET LEVEL PLAN

CROSS SECTION @ INTERIOR COURTYARD

The interior courtyard is a response to the drastically sloping site. Splitting the housing provided a way to enter at each end of the site and allowed direct southern light to reach all of the apartment units. The remaining space became the resident courtyard, allowing direct access to amenities from either housing block.

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

SECTION PERSPECTIVE @ SOUTH FACADE

The south facade is a product of the units and the park. Units were configured based on a standard depth which allowed maximum daylighting. Each bedroom was then given its own double glazed, operable, balcony, which was extruded out from the facade. The remainder of the facade was glazed and paneled at a ratio of approximately 2:3. The projected planes used to design the park were scaled down and used to set the distances that each facade element was extruded to: glazing at the base, followed by the panels, balcony interior and balcony extrusion end.

ONE BEDROOM XL

TYPICAL HOUSING UNIT PLANS

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

CONTINUOUS PLUMBING CORE

STUDIO LOFTED UNIT

STUDIO UNIT

ONE BEDROOM UNIT BEDROOM BALCONIES

POOLHAUS

PRIVATE SPA // FORT ANCIENT, OH // DAAP // SU

The Poolhaus is a private spa facility located in a secluded grove on t Miami River. Its program includes two swimming pools of varying s pool, changing and shower facilities. Meant for no more than ten spa is thought of as an intimate retreat, immersing those who visit each section. The open-air complex is carved into the ground as a m This visual and auditory separation is only partial, however; connect selectively obscured, but not broken.

ARCH 2002 // MELANIE SWICK

03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

02 // POOLHAUS

the bank of the Little size, a sauna, plunge users at a time, this in the experience of means of separation. tions with nature are

01 // ISCC

UMMER 2013

Drawing was the critical design tool for this project. It became an investigation in itself which produced close to 100 drawings. The loose, layered quality of the media used proved to be essential for evoking the experiential and emotional qualities of the project.

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

LARGE POOL

SECTION @ LARGE POOL

The program is grouped into three experiences and organized along a linear sequence. Visitors are confronted by the pavilions upon arrival, whose profiles peak over the walls of the facility during the approach. After dropping their belongings in the first pavilion, the small pool is revealed to the visitors. A short swim there is followed by a descent into the next section-the sauna and plunge pool. A reflective steam in the sauna ends with an immediate dip into the ice cold plunge pool. Visitors then ascend back up to another pavilion with showers and the large pool. The remainder of the day is spent here, swimming and looking out onto the river. The shifts in depth of each section occur based on the level of intimacy of each experience and signify the shift from one experience to another. The most private elements (the sauna and plunge pool) are the deepest elements, while the introductory elements (changing and small pool) are only slightly removed from the surroundings.

01 // ISCC 02 // POOLHAUS 03 // LOBBY

PLUNGE POOL

SAUNA

SMALL POOL

CHANGING &SHOWER

04 // 100 = 1

SHOWER

05 // CLC 06 // I.M. TOWER

SECTION @PLUNGE POOL

SECTION @ CHANGING & SHOWER

ENTRANCE TO SMALL POOL

The presence of the pavilions, shifts in section and in plan all tie back into the manipulation of visual connections. Connections with nature and between sections of the Poolhaus itself are obscured to create intrigue and pull the visitor through the sequence. Only by moving around the next corner does the visitor get to experience what is there.

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1

FLOOR MATERIAL DENOTES TRANSITIONAL SPACES

05 // CLC 06 // I.M. TOWER

PLUNGE POOL

SILICON VALLEY LOBBY WORKPLACE // CUPERTINO, CA // STUDIOS // SUMMER 2014

This lobby was part of a larger office renovation for a technology company in Cupertino, California. It is both the main entrance and cafe for the building and includes seating, a kitchen and a sign-in kiosk. I joined the team during the design phase, helping to form the sculptural elements which separate the program. It was my first investigation in 3d printing, which became essential for quickly visualizing the complex forms of the pieces. I was also responsible for renderings of the proposal and assisted in the construction documents and administration. It is currently under construction.

STUDIOS ARCHITECTURE

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

100 EQUALS 1 MATERIAL STUDY // CINCINNATI, OH // DAAP // SPRING 2012

An investigation into materials and drawing. A base component that could connect or weave into itself was chosen and then multiplied. One hundred standard office badge clips were woven together into one entirely new object. A new understanding of the component was gained through its inherent method of connection-the repetition of the badge clip produced an intricate pattern of the sawtooth clips and metal buttons and an incredible depth in the layers of plastic loops. The completed object was then translated into two dimensions through a series of figure ground studies. These spray paint studies isolated the properties of the object-its layering, profile, and transparency-and further blurred the identity of its component. They resulted in the full transformation of the one hundred objects into one.

SAID 103 // WHITNEY HAMAKER

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

CLIFTON LITERARY CENTER URBAN INFILL // CINCINNATI, OH // DAAP // FALL 2012

The Clifton Literary Center is a branch library and media center in the historic Gaslight district of Cincinnati. It is located at a prominent corner of the district’s main business street and across from the dense Burnett Woods city park and acts as an icon within the homogenous urban context. The quiet, serene quality beneath the trees in Burnett Woods is re-presented through the CLC’s folding canopy, which houses stacks, computer labs, lecture space, reading space, children’s recreation and offices.

ARCH 2001 // TOM BIBLE

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

CANOPY PEAKS AT CORNER OF ADJACENT BLDGS.

SKYLIGHT OPENINGS IN CANOPY

MEZZANINE READING ROOM

CANOPY STEEL TRUSS SYSTEM

CUTS IN FLOOR PLATE TO BRING LIGHT INTO LOWER LEVEL

BEARING WALL OUTDOOR RECREATION SPACE BOOK STACKS

The canopy is a product of the program layout in the CLC. Each of its peaks refer to one of the major program elements. Skylights are peeled open to bring light in through the canopy to the mezzanine and main level. The main levelâ&#x20AC;&#x2122;s floor plate is also cut back, bringing light into the lower level from the exterior on the north and south sides and from the skylights located above the east and west sides. The existing buildings are met by battered stone bearing walls that hold the main floor plates. The separate structural grid supporting the canopy cuts through and segments the bearing wall, bringing order to the free plan and identifying the edges of program spaces.

01 // ISCC

02 // POOLHAUS

01. MEZZANINE READING ROOM

03 // LOBBY 04 // 100 = 1

02 05 // CLC

03. LECTURE HALL & EVENT SPACE 04. COMPUTER LAB 04

07 06 07

07 05. STAFF OFFICES 07 05

06. CHILDREN’S CLASSROOM & OUTDOOR RECREATION 07. BOOK STACKS

06 // I.M. TOWER

02. KITCHEN

BURNETT WOODS PARK

LUDLOW AVE BUSINESS DISTRICT

LONGITUDINAL SITE SECTION PERSPECTIVE

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

RESIDENTIAL

MEZZANINE READING ROOM STAIRS TO LOWER LEVEL OUTDOOR RECREATION SPACE ENTRANCE @ LUDLOW AVENUE

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

ISTANBUL MODERN CLOCKTOWER CULTURAL ICON // ISTANBUL, TURKEY // DAAP // FALL 2014

A six-week project following a two-month study abroad in France, Switzerland, and Turkey. An architectural object was inserted into a site visited abroad and was programmed to solve that siteâ&#x20AC;&#x2122;s specific problems. The Istanbul Modern Clocktower functions as a wayfinding tool and cultural symbol for the Istanbul Modern Art Museum and its surrounding area. The museum is expanding rapidly into the adjacent buildings and is located directly at the edge of the Bosphorus River between the KarakĂśy ferry terminal and Taksim Square. It should be a cultural landmark for the city of Istanbul-attracting as many crowds as the famous mosques of the Golden Horn-but falls short. Super massive cruise ships have begun docking directly along the river campus, hiding the museum and obscuring its ideal location. Unable to cut through the museum campus, the cruise ship passengers are also forced to travel to/from the main street via the extensively long and unmarked boardwalk. The I.M. Clocktower is an iconic answer to these new problems. ARCH 4001 // HENRY HILDEBRANDT

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

FIG. 01 // CRUISE SHIPS AS COMPARED TO SURROUNDING BUILDINGS AND TOPOGRAPHY

FIG. 02 // UNDERDEVELOPED INDUSTRIAL ARTS DISTRICT; LOST TOURISTS

FIG. 03 // EXISTING PARKING LOT, I.M. CAMPUS; I.M. BRANDING REFERENCED IN TOWER

The Istanbul Modern Campus (and the surrounding industrial arts district) is literally in the shadow of the cruise ships which dock along its river edge (Fig. 01). Although ranging in size, these ships can be over 1000 feet long and 250 feet tall. At 50 feet tall, Istanbul Modern loses its prominent location along the Bosphorus and its significance as a major cultural institution. The surrounding district, located between the I.M. campus and the Karaköy ferry terminal (Fig. 04), suffers a similar fate; what should be a thriving industrial arts district with Istanbul Modern as its node is instead lacking development and organization (Fig. 02). The campus needs a visible symbol so that it can take its place alongside Istanbul’s many cultural monuments.

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

FIG. 04 // CONTEXT & ELEVATION MAP; STRATEGY FOR IDENTIFYING TOWER HEIGHT

TOWER BASE STUDIES CAMPUS PLAN STUDIES TOWER ELEVATION STUDIES

Cruise ship tourists are given no more than 48 hours to explore Istanbul but have no clear path for traveling to and from the ships and few instructions or tips on a city which can be chaotic when compared to western standards. As it stands now, the path to and from the ships is unmarked and can stretch over a thousand feet along the boardwalk before exiting into a street. The center of I.M’s campus is currently a parking lot (Fig. 03). By clearing it out and transforming it into a sculpture garden, a new path can be cut through the (now unified) campus and adjacent park that will give tourists direct access to the main street and public transportation and serving as a symbol which will guide them back to the ships. The I.M. Clocktower therefore functions as a traditional European clocktower-located along the edge of a large public space and signifying a cultural node. It’s form was molded by the already iconic Istanbul skyline and the composition of its Ottoman minarets. The tower is therefore representative of Istanbul’s location along the border of Europe and Asia and its unique mix of culture.

NEW SCULPTURE GARDEN TO REPLACE EXISTING PARKING LOT

MAIN STREET & PUBLIC TRANSPORTATION

I.M. CAMPUS BUILDINGS

01 // ISCC

EXISTING PARK & HISTORIC BUILDINGS

02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

ELEVATED WALKWAYS OVER EXISTING BUILDING

NEW ENTRANCES MARKED BY RED PATHWAYS

NEW BOARDWALK PATH FOR CRUISE SHIP TOURISTS

I.M. MAIN MUSEUM

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1

06 // I.M. TOWER

SOUTH ELEVATION

05 // CLC

1 4 0 2

PNEUMATIC LIFT TO WALKWAY; CAPACITY 15

VIEWING PLATFORM FOR SCULPTURE GARDEN

ELEVATED WALKWAYS TO MAIN STREET

The base of the I.M. Clocktower grants a shift in scale from its presence on the Istanbul skyline. It provides vertical circulation to the elevated walkways and a viewing platform for the entire campus. The shift in scale from pedestrian to contextual is represented in the structure by a material shift from poured concrete to steel framing. The shift is visible through the semi-transparent red acrylic skin, grounding the tower visually and structurally with a solid base. The iconic red skin builds upon the existing branding for Istanbul Modern and the Turkish flag (Fig. 03), and also allows the tower to be lit from the inside at night.

DETAIL @ TOWER BASE

01 // ISCC 02 // POOLHAUS 03 // LOBBY

RED ACRYLIC GLASS SKIN 04 // 100 = 1

CONCRETE STRUCTURAL SLAB GLASS HANDRAIL CHANNEL

05 // CLC

STEEL SUPPORT STRUTS FOR SKIN

06 // I.M. TOWER

OPENING IN STRUCTURE TO FRAME TIME PROJECTION SUPPORTS FOR TOWER “BACLCONIES”

STEEL STRUCTURE ANCHORED INTO CONCRETE BASE

POURED CONCRETE BASE

SECTION @ ELEVATED WALKWAY, TYP. TOWER STRUCTURE

01 // ISCC 02 // POOLHAUS 03 // LOBBY 04 // 100 = 1 05 // CLC 06 // I.M. TOWER

CAB

CONNOR ANTHONY BRINDZA UNDERGRADUATE ARCHITECTURE PORTFOLIO

2336 VICTOR STREET, CINCINNATI, OH, 45219, USA CONNORBRINDZA@GMAIL.COM 440.376.0127