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PORT FOLIO allan

dombroski


About Me In 2014, I graduated from the University of California, Berkeley with a Bachelor of Arts in Architecture, along side two minors in Art History as well as Urban Planning. I consider myself a designer in every aspect of the word in that I have worked in multiple niches in the larger realm of design including: architecture, interior, events, graphic, fashion and digital. In this vast array of industries, I have deduced that what separates a good designer from a great one is the ability approach every design challenge holistically and comprehensively, considering all possible design perspectives. One distinctive attribute that sets me apart from most other designers is that I integrate a crucial component that is often overlooked: human nature. Moreover, I understand the vastly complex dynamic between people and space through the multilateral intricacies of the subtle psychological relationship of the two. Understanding this comes from astutely observing how impactful design can influence people’s experiences, behaviors, and perspectives. One of the many benefits from designing events has been that I have a first hand view of how my clients interact in the spaces that I create, how they move throughout, what they respond to, which materials most captures them, and what design elements most astounds them, all on a frequent basis. It has emphasized how deeply good design is incorporated into our everyday lives. Warm Regards,

Allan Dombroski

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Event Design I Urban Dinner Party /4

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Event Design II Warehouse Wedding

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Event Design III Surrealist Ball

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Architecture Design I Potrero Hill Library

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Architecture Design II SF City Learning Center

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Floral Design I, II, & III Private Tablescapes / 5


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Event Design I Urban Dinner Party / 7


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Urban Dinner Party DESCRIPTION : Set against the harsh industrial landscape of SOMA in San Francisco, a newly opened venue named the NWBLK (New Black) was about to get its first major event — a playful, vibrant, eclectic, modern, and luxurious dinner party. The thematic inspiration for this event stemmed from the cityscape of San Francisco itself; a city known for its vibrancy, luxury, and eccentric nature intermingled with natural beauty and urban landscapes.

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Urban Dinner Party INTERIOR FLOORPLAN : The event’s urban mood unfolded in the most elegant way, mixing soft and warm materials with cold and harsh surfaces. Within the party, guests roamed amongst gorgeous lounge vignettes radiating from an elongated mirrored bar with a stunning light display dazzling above. Inside of the NWBLK, the tone was luxury set against the rough and hewn concrete and steel. Large digital paintings illuminated the NWBLK’s nave, showcasing 120 images of portraits from wellknown artists. As the space was transformed utterly from a blank concrete canvas, so to were the guests transported into a unique and luxurious setting. The floorplan design was playful inasmuch as it was concise—providing maximum amount of event flow while still creating various lounge vignettes for maximum guest comfort.

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Urban Dinner Party OUTDOOR DINNER : When guests stepped outside from their cocktail hour, they were transported yet again. It was a warm October evening in San Francisco, with the sun having just dipped beneath the western hills. Setting the tone for the evening’s dinner was a patina graffiti-painted brick wall, rising three stories above the venue’s outdoor space. The mood for the evening’s dinner was playful, urban, and eclectic. The tables were arranged in a herringbone pattern to create a frolicsome path guests would traverse across the concrete floor. Each table was comprised by a different set of chairs—chairs of various colors, materials, shapes and styles— establishing an enchanting and colorful display that mirrored the graffitied backdrop. As the night grew darker, the market lights and candles illuminated ever so softly, blanketing the guests in a warm glow and creating a magical ambiance of frivolity and elegance.

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Event Design II Warehouse Wedding / 25


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Warehouse Wedding DESCRIPTION : On the outskirts of San Francisco’s Dogpatch neighborhood—a formal industrial and naval zone—a young successful couple found the most extraordinary venue to house the perfect wedding that matched their style of opulence and luxury. This wedding, set against the backdrop of a newly refurbished warehouse, would prove to be my greatest design challenge of my career, yielding my proudest work to date. Pia and Matt were not your typical bride and groom; both young and wildly successful, they appreciated a sophisticated yet unique style. Upon my first meeting with Pia and Matt, they provided me with a single picture that captured their design taste and expectancy for their wedding—a picture of the interior cocktail lounge of the Baccarat Hotel. Jumping from this point of inspiration, I began the design process by extrapolating elements and analyzing their material makeup and composition, and then amalgamating all various pieces into a cohesive and flawless narrative.

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Warehouse Wedding ALTAR DESIGN : Undoubtedly the most important focal point of the wedding, the design execution of the wedding altar was paramount. For guests, the altar was the first impression of the evening’s festivities, setting the baseline for expectation. I approached the creation of the altar as a piece that needed to be practical in implementation but unique in design. The inspiration came from the entrance to the Baccarat Hotel in New York City, as I was amazed by its simplicity and grace. I created the altar to be an enclosed canopy comprised of 1” thick triangular glass rods suspended from ceiling, undulating in various lengths. The rods enclosed Pia and Matt in a glimmering crystalline halo, illuminated softly by strips of light lining the circumference of the altar’s truss structure. The altar was placed in the center of the ceremony, as guests sat in armless ghost chairs radiating from the altar’s base. Glorious in design and execution, the altar left guests breathless and established the mood for the ensuing level of exquisiteness that was to follow.

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Warehouse Wedding COCKTAIL RECEPTION DESIGN : As guests stepped away from the crystalline ceremony and into the adjacent room, jaws dropped as the guests were transported into a cocktail lounge of dripping in opuelence and exquisite drama. The first impression was the glimmering Rex Dining Table by Timothy Oultan, with an impressive large white marble bar lining the wall behind. Moving toward the right, the guests entered into an elongated nave, draped in champagne drape and comprised of various lounge vignettes. Here various materials harmonize together to create a cohesive and unique design aesthetic; crystal, chrome, glass, wood, velvet, and brass and coexist rhythmatically to produce a sumptuous cocktail reception that left guests with bated breath. As guests roamed between lounge vignettes within the nave, an adjacent room dubbed the Red Lounge served as a secondary cocktail reception that transported guests yet again. The Red Lounge was comprised of a secondary elongated bar, with darker masculine elements constituting an entirely different mood. Luscious midnight blue tufted velvet sofas lined the deep red draped walls, while gold chandeliers adorned the ceiling illuminated the space in soft warm light. Here, guests enjoyed passed Dom Perginon to the sound of a string quartet, as they anxiously awaited the unveiling of the next scene—dinner.

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Warehouse Wedding DINNER DESIGN : When the warehouse’s doors opened from the cocktail reception into the next room, guests found themselves walking into a dramatically different environment unlike anything they had scene previously. The reception dinner was held in a 80,000 sf hall, with vaulted steel beam ceilings stretching 30’ into the air. Black velvet drape fell from the ceiling onto the black-carpeted floor, creating a solid black box dimly lit by nearly 1000 candles in crystal votive holders. 54 mirroredtop tables blanketed the black expanse, arranged linearly and perpendicularly to one another— the effect of which made the tables to appear to be floating across the hall. The intent behind the dinner’s design was to transport the guests into an environment filled with drama and grandiose splendor. The reception dinner’s ambiance had to be completely distinct while still harmonizing with the overall wedding narrative. Rose gold loopedback chairs lined every table. Black starburst chargers rested gently in front of every chair, flanked by rose gold flatware. Vases of brass, black, copper and slate lined the table, while 42” tall glass vases rose high above the guest’s vantage point to create a billowing canopy of white floral dressed with gold and black elements; the product of which was a magnificent union of opulence and sophistication.

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Event Design III Surrealist Ball / 49


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Surrealist Ball DESCRIPTION : In 1972, Baroness Helene Marie de Rothschild held a splendid ball in her Parisian Château de Ferrières that was a spectacle to behold. Inspired by the art movement known as Surrealism, guests were requested the strict attire of “black tie, long dresses & Surrealists heads.” 44 years later, I had the great honor of recreating Baroness Rothschild’s lavish and phantasmagorical vision for an evening of unparalleled experience. Held in a warehouse venue comprised of adjacent corridors and connecting rooms, it was the perfect setting to reconstruct Rothschild’s thematic labyrinth of dreamlike vignettes. The flow of the event was simple: guests entered into a chthonic chamber filled with luscious gothic furniture and a dynamic digital projection of fire ascending the walls. Once a guest moved past hell, they would find themselves transported into a heavenly room in direct contrast with their aforementioned environment. Here, balloon cloud installations filled the ceiling, as swings flew down from the heavens wherein guests could swing through the clouds and above their counterparts. Finally, guests would enter into a recreation of Rothschild’s lavish ballroom, filled with tasteful furniture of a bygone era. Here, guests dined to live surrealist-inspired acrobatic performances, all the while being enveloped by a 16’ tall printed scrim of a Rococo ballroom—a permeable membrane that when softly lit appeared ghostly and otherworldly.

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Surrealist Ball HELL / HEAVEN / BALLROOM : Beyond the gothic furniture and dynamic fire display, “Hell” featured art installations that were beautiful inasmuch as they were eerie. One such installation was a truss structure covered with stretched black latex. Within this structure, hired artists would press their faces, hands and feet out from the void and toward a nearby guest—a stunning yet uncanny art piece that left guests in sublime awe. Moreover, I had the remarkable challenge of designing costumes worn by hired artists whom would roam from guest to guest, playing out scenes in acrobatic eerie manner—creating an altogether chthonic atmosphere that unfolded in the most beautifully dark fashion. Similarly, Heaven’s scenic vignette too had angelic creatures dressed in heavenly headpieces. As guests entered through heaven’s gate, they would find our creatures dangling high above them in swings descending from the cloud-filled ceiling. A sight to behold, these acrobatic artists flew from swing to swing in the most stunning performance to the sounds of a cello trio. The evening’s magical ambiance was only matched by the stunning Surrealist garbs and headdresses worn by every attending guest. When the narrative finally came to a close, it was undoubtedly the most creative and artistic design challenge I ever had the pleasure of crafting into reality.

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Architecture Design I Potrero Hill Library / 67


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Potrero Hill Library DESCRIPTION : The Potrero Hill Library was the final project to my first architectural studio course—a project that won me much praise and recognition. It was later featured in my college’s annual showcase of top student work. The design process was not only challenging stylistically—as I was beginning to discover my unique architectural language—yet also representationally, as this was my first major studio project presentation and a culmination of weeks of research, analyzation, design thinking, and technical abilities. I approached the Library as a project that had to be visually open and welcoming to not only to residents of Potrero Hill, but also to any onlooker or passerby. The library had to connect with not only the surrounding environment but also to the people within.

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A jagged atrium splits the core of the library in half, with the segregated sections are connected via a series of staircases traversing back and forth across the void. One side of the library is reserved for reading and typical library scholarly activities, while the other side—separated by the void—is reserved for communitydriven ventures and services.

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This type of programmatic severance served a functional purpose as well as an aesthetic one. While quieter and more solitary activities could take place on one side of the void, more boisterous and public interests could occur on the other while still visually being connected yet programmatically separated.

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Architecture Design II SF City Learning Center / 75


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SF City Learning Center DESCRIPTION : This project was my final design work in the second semester of my formal architectural training. It was an exercise focused primarily on the development of the building’s envelope and how the relationship between the outside and in, between the skin and the interstice, can become just as dynamic as the activities enclosed within. This project’s intent was to create a public/ private building that would house various educational, cultural, private, social, and civic activities with San Francisco communities serving as its focal point. I approached the design of this project on a very simple and iconic feature so inherent to the experience that creates San Francisco—its everchanging and always sporadic weather patterns. San Francisco is notorious for being unpredictable when it comes to its daily weather. While Monday could bear rain and wind, Tuesday can be warm and tranquil. Based upon this, I decided to develop a skin that could adapt and evolve just as much as its surrounding environment.

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SF City Learning Center DIAGRID DEVELOPMENT : Ultimately, I created a dynamic building structurally comprised of a continuous folding diagrid that wrapped itself around the building entirely. The skin folds and peels back on the street level to reveal itself to the public, only to bend back and twist around again to enclose the space within. What was unique about the diagrid though was the varying thickness and openness of the grid based upon programmatic necessity of light. For example, programmatic spaces such as the general auditorium and storage spaces needed less light, while spaces such as the community garden and classrooms needed ample light. The diagrid adapts and responds to the programmatic requirements of light needed based upon the everchanging San Franciscan environment.

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Floral Design I, II, & III Private Tablescapes / 85


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“Thank You.” - Allan Dombroski / 91


Design Portfolio 2016 2017