EDUCATION
The Ohio State University
AUSTIN BARNEY
dob: 07-22-1998
contact number: 937-479-4005
email: barney.97@osu.edu
location: Columbus, Ohio
www.linkedin.com/in/austinbarney1998
Master of Architecture Program
The Ohio State University
Bachelor of Arts in Film Studies
WORK EXPERIENCE
Summer internship at FMS Architects
August 2021 - May 2024
August 2017 - May 2021
May 2022 - August 2022
May 2023 - August 2023
COMPUTER SKILLS
Revit
Rhino Autocad VRay Illustrator PowerPoint Twinmotion InDesign Excel Photoshop Word Teams
ACCOMPLISHMENTS AND VOLUNTEER WORK
Accpeted in to Ohio State’s M.ARCH Program
Two Summer Internships at FMS Architects
Dean’s List: Fall 2017, Fall 2019, Spring 2020
Digital Artwork Selected for Radicant Bodies OSU Art and Technology Spring 2021
Exhibition
Hoover Reservoir Clean Up
Troy High School Football Stadium Clean Up
INTERESTS AND HOBBIES
Watiching and reviewing movies
Playing pool
Going to trivia nights
Watching sports
Painting and drawing
01
Year: 2023
Type: Commercial Role Concept and Design
Group Members Sarah Scotchie
Advisor: Ashley Schafer
This design was apart of a vertical studio that aimed to give land back to local native american tribes. We first did extensive research on native american culture and its relationship with architecture. We met with a local tribe leader who told us a story of a thread, on one end of the thread is native history, culture and stories from the past. On the other end of the thread is the present day. That thread is being stretched to its limit, with some tribe leaders believing it has already broken. This metaphor stuck out to us, and we wanted to design a center for native peoples that allowed them to recover and preserve their history and their culture. The design process began with a long rectangle acting as the string. We “broke” this rectangle into five square pieces to represent the string being broken. Then, we wrapped the volumes in a facade as a means of recovery and repair. In plan, the string seems to be breaking, but the copper facade prevents that and creates a unified form from the broken pieces. The structure contains a historic preservation center, a restaurant for native foods, an administration building, and a daycare center. The one end containing the preservation center represents the historic end of the thread, and the last building contains the daycare center, representing the present day. The strucutre uses thousands of holes in the facade to cast shadows of local earthworks to remind all users of the historic native cultures that exist.
Year: 2022
Type: Commercial
02
Role: Concept and Design
Group Members: Qiannan Wang
Advisor: Erik Herrmann (Outpost Office) and Sandhya Kochar
This studio allowed for students to experiment with different formal techniques and massing strategies. We each developed “patents” that allowed for formal changes to precedent hotel designs. Things like fragmenting, twisting, pulling, rotating etc. After these patents were developed, we chose one and began to design a hotel using it. The patent we chose began with a standard cube divided into 5 sections. The base section is the thickest, and each level gets incrementally thinner as one ascends the hotel. Not only does the relative thickness change compared to each level, the floors are slowly pulled away to allow for more and more outdoor conditions to influence different spaces. At the center of each tower, a shifting atrium peirces through the floors which allows for the weather conditions to integrate vertically. The result is a semi-conditioned group of towers that have rooms to accomodate all types of people, during all seasons. Moving from completely private rooms, to semi-shared patios, to open space to the public. Weather conditions influence the different zones of comfort, creating a spectrum of indoor, to mid-door, to outdoor spaces.
03
Salvaged Market for The Arts
Year: 2023
Type: Retail
Role: Concept and Design
Group Members: Dan Foley
Advisor: Ashley Bigham (Outpost Office)
This project was a part of an integrated studio focusing on recycling and reusing building materials. We were each allowed to choose a structure to hypothetically demolish in order to reuse the materials for a market hall in downtown Columbus. Dan Foley and I chose St. John’s Arena because we were interested in the massive trusses that spanned across the arena. We found that these trusses were large enough to occupy, and we began designing a market hall that would sell old stage props, film equipment, and art supplies. We decided it was important to provide space for performances, and inverting one truss allowed for a vertical procession which created a viewing platform at the top, and a stage at the base. The second truss crosses over the first and acts as a ramp where constituents can walk over and see the entire market. The intersection of the trusses is the focal point of the interior space and allows users to enter the basement floor, or ascend up the steps to the viewing platform. Other materials were also used from the demolished building, including seating, steps, and wood flooring.
04
The Labrynth of Desiderium
Year: 2022
Type: Cemetery
Role: Concept and Design
Group Members: Andi Moore
Advisor: Ben Wilke
This labyrinth has walls that are constructed with stacked concrete containers that either have a casket, urns, or simply memorialized plaques. The graves themselves act as the architectural condition for which the labyrinth grows and becomes more complex. The deeper each participant gets into the labyrinth, the more they become surrounded by the memories of those who have passed. The more they are unable to see their way out. As they journey inward, searching for their lost relative, they can navigate around corners and through spaces, they can often see the next part of the labyrinth, but cannot get to it. The walls of the labyrinth act as binding agents that guide the space of the participant, in nearly every direction. Scattering like an infection, the participants become not only physically lost, but emotionally lost as well. Lost with grief, surrounded by desiderium.
Fragment House 1
Year: 2022
Type: House
Role: Concept and Design
Fragment House 1 is the first house designed in a series of exprimental houses focusing on aspects of speculative design. This design goal was titled “The Sensation Project” in which five designers were selected to design a house according to just one of five words: Fragment, Decompose, Insupportable, Unending, and Unreconciled. Each designer took one of these words and designed a house with the goal of eliminating architectural perception and increasing psychological sensation while still managing to design a space that is buildable and usable. I was given fragment and designed a house using different forms of fragmentation. What started as a box slowly decayed overtime and became something unrecognizable. This exercise in speculative design allowed for me to experiment with forms and softwares while also reconciling the spaces being created.
I have been interested in drawing and painting ever since I was young. I used to sketch and doodle all the time. As I got older, I began drawing in black ink, which I found to be the most fun. When COVID hit, I began painting and painted for commision to make money during the pandemic. Outside of drawing in ink and painting, I began using my photoshop skills to create digital artwork. A collection of pieces titled “Distorted Constructs” was selected for the Radicant Bodies Spring Exhibition at Ohio State.
