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ANDREW SPILLER Undergraduate Architectural Works


ANDREW SPILLER 828.989.0975

Education

spiller.16@osu.edu

issuu.com/andrewspiller

Columbus, OH

The Ohio State University

Bachelor of Science in Architecture with Honors, Magna Cum Laude, With Honors Research Distinction, Minor in City and Regional Planning Graduated May 2017 Dean’s List, Trustees Scholarship Coursework: Honors Research Studio Studio Design, Architectural History and Theory, Planning Socially Just Cities, Innovative City Design, Graphics and Representations, Construction, Systems, Structures, Architectural Study abroads in Europe

Sycamore High School

Cincinnati, OH Graduated May 2013 Coursework: Architecture I, Architecture II, AP Physics C, AP Calculus AB, AP Psychology, AP US Government, Applied Engineering, Drafting I

Experience

Job Captain | Intern Architect

Prime AE Group - Columbus, OH August 2017 - Present Performed conceptual design and visioning for projects Prepared construction documents including drawings and details Worked on military buildings such as Hangars, Dormitories, Offices, Chapels, etc.

Architectural Design Intern

The Neighborhood Design Center - Columbus, OH August 2016 - July 2017 Performed conceptual design and visioning for projects Held client meetings and presentations Focused primarily on storefront and interior renovations

Software

AutoCAD ArchCAD Adobe Illustrator Adobe Photoshop Adobe Indesign Adobe Premiere AML Software ARCMAP - GIS Microsoft Office Revit Rhinoceros 5 Scanners VRAY

Fabrication

CNC Lathe CNC 3-Axis Mill 3D Print file set up Standard Shop Equipment (bandsaw, table saw, etc.) Skilled in building and assembling computers

Skilled in computer aided drafting, traditional drafting techniques, and hand drawing Classically trained in French Horn

Digital Library Student Administrative Assistant The Ohio State University - Columbus, OH February 2015 - December 2016 Recorded Baumer Lecture Series Produced and edited guest lecture videos on Knowlton Youtube page Curated student work archive submission and historical archive

Drafting I Teacher Assistant Sycamore High School - Cincinnati, OH January 2013 - May 2013 Introduced AutoCAD basics to students Taught traditional drafting techniques

Awards

Gui Competition Finalist Ohio State University 2016

Installation Competition Winner Ohio State University 2014

Affiliations

FPV Racing Club

Vice President 2015-2016

AIAS - The Ohio State University Chapter Member 2013-2017

Portfolio

issuu.com/andrewspiller

Elementary ability to speak Japanese


CONTENTS

SAN FRANCISCO HOUSE OF MUSIC

5-11

Studio Fall 2016

OBAMA PRESIDENTIAL LIBRARY

12-19

Studio Fall 2015

WEXNER ART MUSEUM

20-25

OREGON TRAIL VISITORS CENTER

26-33

PROPHETIC MONUMENT

34-43

ARTISTIC WORK

44-45

PROFESSIONAL WORK

46-47

Studio Fall 2015

Studio Spring 2016

Honors Research Studio Spring 2017

Various

The Neighborhood Design Center 2016-2017

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Andrew Spiller


SAN FRANCISCO HOUSE OF MUSIC San Francisco, CA Studio Fall 2016 Instructor - Jane Murphy

The San Francisco House of Music is located in the Golden Gate park. The house of music acts as a cultural player who must reside within a natural setting but still maintain its position amongst the nearby buildings by Herzog & De Mueron and Renzo Piano. As such it must both be technological and advanced as the nearby buildings are but also similarly maintain a connection to the park. The music hall itself is two performances. During the day the cellular program of the education wing is on display through the walls of glass with the empty concert hall acting as the monument adjacent. At night the lobby becomes the centerpiece while the concert hall becomes a silhouette against the nearby mountain. The project also deals with the battle between the monumental and human scales. The three large volumes and massive lobby operate at the monumental while the education wing and benches in the exterior portions of the building act at the human scale. The circulation and spaces react accordingly to this, with the concert halls having grand staircases and massive lobbies while the education wing has small gathering spaces with a piranesian circulation.

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Exterior Rendering

1st Floor Plan 6

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2nd Floor Plan


3rd Floor Plan

4th Floor Plan San Francisco House of Music

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Section Perspective A

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San Francisco House of Music

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Axonometric A

3 Boxes

Pushed together

Bent by surface of light

Brought down to encase light

Main Concert Hall

Chamber Hall Practice Rooms

Offices

Black Box Classrooms

Cafe

Section P

Instrument Storage Main Concert Hall Service

Dressing Rooms

Service Area

Black Box Service

Diagrams 10

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Section Perspective B

Perspective C

San Francisco House of Music 11


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OBAMA PRESIDENTIAL LIBRARY Chicago, IL Studio Fall 2015 Instructor - Ashley Schafer

A presidential library houses a mixture of program: a convention center, a hotel, a public gallery, and a variety of other exhibition spaces. Located at Wolf’s point in Chicago the library would be a cultural icon of the city. The genesis of this project was an analysis of the narrative organization in the book: Devil in the White City. The book features a variety of characters which oscillate back and forth in their points of view. When translating this to an architectural design I crafted a system which produced a variety of oscillating spaces. The building is designed on a modified nine-square grid. This grid creates all the spaces within the building. By using a grid to manage the program the design becomes focused on manipulation of modules. The modules and rules created allow for the building to be generated to form a network of interconnected and oscillating spaces. The parks are nestled within the various masses of program. The ground floor’s exterior space is open to the public and as such the private program such as the hotel is located on the upper floors. In designing a mat building governed by rules and modules the building is capable of having as diverse a program as a presidential library. The building is on the immediate water front and as such is given a lower proximity to the ground than any of the neighboring buildings. By rejecting the given typology of a tower in this district the building actually becomes more active by engaging the inhabitants of the nearby towers. They have a great view of the junction of the rivers and the complexity of the project’s layout.

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Barack Obama Presidential Library 15


Conference Center

Great Hall

Dining

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Exhibition

Barack Obama Presidential Library 17


Exhibition

Archive

Library Admin

Devil in the White City: Narrative Diagram

Devil in the White City: Narrative Diagram Part I

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B

Part II

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Part III

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Part IV

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Sectional Analysis

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Dense B C D

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Sparse

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Exhibition

Conference Center

a 2a a

2a

The diagrams for the development of the project. The plan is based off of a modified nine-square grid with the proportions of a to 2a. This same grid was implemented again at a smaller scale to dictate the exterior spaces. By retaining the same overarching system but by modifying reducing the scale to one that is of a higher resolution one is able to attain an interplay between the built and unbuilt portions of the ground. The edge of the ground plane also is notched so as to allow the entry of tour boats and access from the water.

Barack Obama Presidential Library 19


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WEXNER ART MUSEUM Columbus, OH Studio Fall 2015 Instructor - Sandhya Kochar

The Wexner Art Museum is a project located in downtown Columbus near Columbus College of Art and Design, a Church, a clothing design studio, and the Columbus Museum of Art. In an environment already rich with artistic expression and intrigue the building should be a reflection of that very nature. The building focuses on creating nine totems. These totems are amalgamations of famous works of architecture. The building itself is an exhibition of the works of famous architects. The totems are arranged to diversify and organize the program within nine totems in the front of the building all have unique programs and relationships to the building. One of them acts as circulation from the northern parking lot. One acts as a hoisting system to allow sculpture to be displayed on the upper levels. Four of them are for displaying art at upper levels. One acts as a ticket booth. One is a frame for sculptures. One includes vertical circulation. One is a chandelier signifying the entrance. Four of the totems are bundled together to form the administrative section on the north side of the building. The first floor of the building has a clerestory on the western facade which allows light into the basement gallery spaces and allows for an interaction between the viewers of the gallery and the people inhabiting the street above. The form of the plinth which the totems inhabit is informed by the church and its form.

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Elevator B-2 @ -20’

Elevator Trash Room -20’

Elevator

Janitor’s Closet -20’

Workshop -20’

Storage -10’

Storage -10’

Elevator

Auditorium -10’ Teaching Studios -10’

Open Above

Open Above

Gallery -10’ Open Above

Open Above

WC -10’

Ticket Booth -10’

Coat Check -10’ Store -10’

Lobby -10’ Open Above

-9’-6”

-9’ -8’-6” -8’

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WC -10’


Wexner Gallery and Art Center 23


Classroom +10’

Library/ Lounge +10’

Classroom +10’

Studio +10’

Classroom +10’

Education Offices +10’

Webmaster/ IT +10’

Open Below

Open Below Art Symposium +10’

Gallery +14’

Gallery +14’

Art Symposium +10’ Open Below

Open Above

Open Below

Conference Room +20’

Studio +20’ Open Above

Curator/Director’s Offices +20’

Admin Asst. +20’

Open Below

Open Below

Open Below Gallery +20’

Apartment +30’

Apartment +30’

Apartment +30’

Open Below

Open Below

Open Below

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Open Below


Totems originate from 9 square grid

Grid of totems connect to one another with walkways

East/West slit is dictated by the transept of the church. North/South slit, by the totems.

Each of the totems has a performance

Circulation through the building

East/West slit is dictated by the transept of the church. North/South slit, by the totems.

The tower is formed by the four archetypical totems fusing together

Courtyard is formed by the four surrounding totems

9 Square Grid

Hejduk

BIG

Herzog and De Meuron

OMA

The above diagrams explain the generation of the totems and the various decisions behind the design. The first diagram is of the nine-square grid. This grid is then extruded to form the totems. The totems are connected to form the highest floor. The second row discusses the taxonomy of the totems. The first totem is a combination of Hejduk’s House of Suicide and Wall House. The second totem is a combination of BIG’s Mountain Dwellings and VM Housing. The third totem is Herzog and De Meuron’s Vitrahaus and Signal Box. The fourth totem is OMA’s Kunsthalle and the Dutch Embassy in Berlin. The center diagram is of the specific program which exists in several of the totems such as framing sculpture, hoisting art, providing circulation, or providing diffuse light for viewing art. The final series of diagrams at the bottom explain the formation of the various forms within the building. The left one is of the nave of the church and how it pierces the center of the building to not deny the transept its light. The center is how the administration tower is comprised of four bundled totems. The right is how the interstitial spaces of four columns combine to create the courtyard.

Wexner Gallery and Art Center 25


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OREGON TRAIL VISITORS CENTER Tetons Mountain Range, WY Studio Spring 2016 Instructor - Karen Lewis

The Oregon Trail Visitors Center was an exploration into mapping and manipulating topography in a site along the historic Oregon trail. Analyzing various data a map was created which represented the diverse topography and sectional variation along the Oregon Trail. In addition to desigining a visitor’s center along the trail a 44 foot long model of the Oregon Trail was produced. The model was created by using milled foam, laser cut acrylics, and pins to map the topography, landmarks, and various lines in the landscape which assembled the trail. Wyoming was one of the most difficult parts of the trial to traverse. After trekking across the American landscape for months the travelers would be met by the imposing Teton mountain range. At this point the travellers would diverge into different paths to try and make it through the mountain range due to the variety of landscapes in the area. The aim of the project was to create a series of diverse sectional experiences along a hiking trail in connected by nodes of program scattered across the site. The nodes of program acted as switchbacks to guide people through their hike up the mountain. These nodes contain exhibition space for the displays of the visitor’s center, a restaurant, a gondala system, vantage points, and viewing stations to take advantage of the natural beauty of the region.

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TRAVERSING THE PATH The Oregon Trail Andrew Spiller Instructor - Karen Lewis

Andrew Spiller

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Site Plan Scale: 1’-0” = 1/64”

Plan A Scale: 1’-0” = 1/16”

Plan B Scale: 1’-0” = 1/16”

Oregon Trail Visitors Center 29


Plan C Scale: 1’-0” = 1/16”

Plan F Scale: 1’-0” = 1/16”

Plan E Plan D Scale: 1’-0” = 1/16” Scale: 1’-0” = 1/16”

Section E Scale: 1’-0” = 1/16” Section D Scale: 1’-0” = 1/16”

Section F Scale: 1’-0” = 1/16”

Section C Scale: 1’-0” = 1/16”

Section L Scale: 1’-0” = 1/16”

Section K Scale: 1’-0” = 1/16”

Section G Scale: 1’-0” = 1/16”

Section M Scale: 1’-0” = 1/16”

Section N Scale: 1’-0” = 1/16”

Section I Scale: 1’-0” = 1/16”

Section H Scale: 1’-0” = 1/16”

Trail Plan Scale: 1’-0” = 1/64”

Plan E Scale: 1’-0” = 1/16”

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Plan F Scale: 1’-0” = 1/16”

Andrew Spiller

Section E Scale: 1’-0” = 1/16”

Section F Scale: 1’-0” = 1/16”

Section J Scale: 1’-0” = 1/16”


Section L Scale: 1’-0” = 1/16”

Section K Scale: 1’-0” = 1/16”

Section G Scale: 1’-0” = 1/16”

Section H Scale: 1’-0” = 1/16”

Section M Scale: 1’-0” = 1/16”

Section N Scale: 1’-0” = 1/16”

Section I Scale: 1’-0” = 1/16”

Section J Scale: 1’-0” = 1/16”

Oregon Trail Visitors Center 31


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Plan E Plan D Scale: 1’-0” = 1/16” Scale: 1’-0” = 1/16”

Section E Scale: 1’-0” = 1/16” Section D Scale: 1’-0” = 1/16”

Plan F Scale: 1’-0” = 1/16”

Section F Scale: 1’-0” = 1/16”

Plan F Scale: 1’-0” = 1/16”

Oregon Trail Visitors Center 33 Section F Scale: 1’-0” = 1/16”


Andrew Spiller


PROPHETIC MONUMENTS Honors Research Studio 2017 Instructors - Sandhya Kochar & Dow Kimbrell

Our project creates what we call the ‘Prophetic Monument’. Part one of the research study serves to break apart existing monuments and the innate characteristics in order to discover how their constituent architectural elements are responsible for producing cultural, religious, scientific, social, political, and subconscious connections. This narrative of memory is the narrative of the monument. Part two of the research focuses on the breaking apart of monuments into fragments to form a dictionary of sorts. Once broken apart, the individual elements now divorced from their original contexts, can be redeployed to create new narrative connections. The analytical approach of parts-to-whole study in the Dictionary and Representative Samples allows us to assign meaning to the pieces, and enables individual parts to be symbolically redeployed into the making of new monuments with new meanings. The formal aesthetics of these new monuments could provoke new events, and new understandings of current or even future conditions. Unlike formal explorations that foreground shape-making and background cultural meaning, the Prophetic Monument can be first defined as what it is not. It is not an icon, not autonomous, not symbolic, not just exterior, not just formal, not platonic, not about specific events, not about nations, not about history, not about place, not about power. But a Prophetic Monument is Spatial, is Interior and Exterior, is Experiential, is Ubiquitous, is Atmospheric, is fundamentally Narrative, subverts meaning, is Multivalent, allows for a multiplicity of readings, Demands interrogation, is Collective and so on. Part three of the research and speculation takes on the territory of the Prophetic monument as being spatial. New fictions of spatiality are introduced within the fragments to create unexpected architectural fantasies that move away from monuments having uniform geometric resolution towards episodic, experiential and localized order. Part four introduces the testing grounds of the prophetic monument. It usurps old narratives to create new narratives by deploying old fictions of Archigram’s Instant City, Hilberseimer’s Vertical city, Tower of Babel, El Lissitzky’s Horizontal Skyscraper and Corbusier’s Plan Viosin to create new architectural fictions. The monument by nature is integral to the condition it provokes (the context). In our re-deployments, the monument tries to bridge the past, present, and future and prove that its inherent characteristics lie not only in the physical manifestations (objectivity) but also in its narrative and relation with people and time to produce new cultural fictions. Prophetic Monuments 35


Political:Progression Cultural: Social: Support Religious: Scientific: Structure Nature: DNA

Political: Theocratic Cultural: Event Social: Sacficial Religious: Acention Scientific: Transparent Glass Nature: Serpents

Political: Progression Cultural: Social: Directional Religious: Scientific: Construction Nature:

Political:Progression Cultural: Art Social: Religious: Scientific: Spiral Nature: DNA

Political: Cultural: Event Social: Religious: Sacficial, Sanctuary Scientific: Structural Nature:

Political: Cultural: Exhibition Social: Access to Exhibits Religious: Scientific: Double House Nature:

Political: Cultural: Understated Social: Religious: Belief Scientific: Nature: Human

Political: Cultural: Art, Ideals Social: Cooperation Religious: Scientific: Nature: Human

Political: Cultural: Column Social: Religious: Scientific: Structural Support Nature: Forest

Political: Nationalist Cultural: Exhibitional Social: Religious: Scientific: Floating Nature:

Political: Cultural: KKK Social: Tweezer Religious: Satanic Scientific: Compression Nature:

Political: Royal Cultural: Middle East Social: Doorway Religious: Scientific: Nature:

Political: Cultural: Social: Hockey Religious: Scientific: Rib Structure Nature:

Political: Cultural: Toblerone bar Social: Collection Religious: Scientific: Nature:

Political: Cultural: Marble Social: Religious: Mythology Scientific: Nature:

Political: Power, Pride Cultural: Social: Religious: Scientific: Largest Stone moved by humans Nature: Stone

Political:Dominance Cultural: Attacking Social: Husbandry Religious: Mythology Scientific: Nature: Horse

Political: Power Cultural: Social: Husbandry Religious: Mythology Scientific: Supports Nature: Horse

Political: Cultural: Right to Light Social: Equality Religious: Scientific: Perforations Nature:

Political: Cultural: Nose, Art Social: Private Outdoors Religious: Scientific: Nature:

Political: Cultural: Key stone Social: Procession Religious: Scientific: Bridge Nature:

Political: Pediment Cultural: Vestibule Social: Gate/door Religious: Scientific: Nature:

Political: Control Cultural: Ballerina Social: Religious: Islamic Scientific: Grappling Claw Nature: Moon/Floral

Political: Control Cultural: Wedding Cake Social: Religious: Christianity Scientific: Buttress Nature:

Political: Cultural: Neoclassical Social: Tomb Religious: Worship of Science Scientific: Massive Structure Nature: Platonic Geometry

Political: WWI German Hat Cultural: Art Social: Religious: Divine Scientific: Mathematical Nature:

Political: Headquarter Cultural: Classic Social: Hut Religious: Divine Scientific: Structural Nature:

Political: Announcement Cultural: Bell Social: Conregation Religious: Church Bell Scientific: Sound Nature: Mushroom Head

Political: Control Cultural: Social: Religious: Church Scientific: Load division Nature:

Political: Cultural: Classical Social: Religious: Antiquity Scientific: Nature: Human Head

Political: King Crown Cultural: Social: Religious: Center/Circular Scientific: Magazine Drum Nature:

Political: Crown Cultural: Cap Gun Rounds Social: Religious: Superstitious Scientific: Nature: Permanence

Political:Progression Cultural: Social: Roller coaster Religious: Scientific: Spiral Nature: DNA

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Political: Theocratic Cultural: Heritage Social: Religious: Worship Scientific: Nature:

Political: Cultural: Neoclassical Social: Religious: Worship of science Scientific: Nature:

Political: Cultural: Advancement Social: Container Religious: Platonic Solid Scientific: Geodesic Dome Nature: Geomtry of Nature

Political: Democratic Cultural: Classical Social: Hybridization Religious: Power Scientific: Nature: Acanthus Leaves

Political: Theocratic Cultural: Stool Social: Religious: Sacrifice Scientific: Nature:

Political: Anti-establishment Cultural: Contrapasto Social: Religious: Mythology Scientific: Nature: Human Form

Political: Democracy Cultural: Classical Social: Religious: Scientific: Nature: Human Feet

Political: Antiquity Cultural: Greek Clothing Social: Religious: Sevice to Gods Scientific: Nature: Human

Political: Democracy Cultural: Classical Social: Religious: Scientific: Nature: Human Feet

Political: Cultural: Modernism Social: Storefront Religious: Scientific: Hinges Nature:

Political: Cultural: Lipstick Social: Religious: Scientific:Vent Nature:

Political: Cultural: Kitcsch Social: Humanitarian Religious: Scientific: Rainspout Nature:

Political: Cultural: Doorstop Social: Religious: Scientific: Protection from Sun/Water Nature: Eyelids

Political:Conquer Cultural: Sacred Social: Doorway Religious: Content Scientific: Compression Nature: Rainbow

Political: Cultural: Gothic Social: Doorway Religious: Spiritual Scientific: Compression Nature:

Political: Fortress Cultural: Protection Social: Wrestling Ring Religious: Mythology Scientific: Structure Nature:

Political: Victory Cultural: Reduced Ziggurat Social: Religious: Scientific: Nature: Hill

Political: Power, Authority Cultural: Social: Religious: Holy Cross Scientific: Nature:

Political: Oligarchal Cultural: Trends Social: Religious: Apple of Eden Scientific: Technology Nature:

Political: Pinnacle Cultural:Hilt Social: Religious: Pointing upward Scientific: Pin Nature: Narwhal

Political: Strong Cultural: Social: Hut Religious: More Vertical space at center Scientific: Compression Nature:

Political: Cultural: Social: Religious: Scientific: Protection from Water Nature:

Political: Liberty Cultural: Social: Home for Military Religious: Scientific:Hendecagram Nature:

Political: Transparency Cultural: Puzzle Piece Social: Religious: Worship of Art Scientific: Tessellation Nature:

Political: Cultural: Mystery Social: Religious: Lost Gods Scientific: Glitch Nature:

Political: Central Authority Cultural:Muffin Social: Religious: Divine Scientific: Compression Nature: Onion

Political: Dominance Cultural: Social: Religious: Collection at one point Scientific: Ribbed Dome Nature:


Tower of Babel

The narrative of the Tower of Babel is reclaimed to produce a tower of prophetic monuments. The aggregate discordant fragments are now unified by their internal spatial conditions, so much so that one can travel from the grounds to reach to the skies. Prophetic Monuments 37


Instant Monument

The Instant City narrative is usurped to reclaim the territory of the ground and the city as a palimpsest of monuments. The blimp, the main protagonist, now 3D prints new prophetic monuments based on desires and exigencies of the city and the cranes destroy the old new prophetic monuments in a constant cycle of building, destroying and rebuilding. 38

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Prophetic Monuments 39


Circle World

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Plan Voisin

Lissitsky Tower

El Lissitzky’s Horizontal Skyscrapers just do not relieve congestion, but infact are ‘time capsules’. These ‘Time-Capsules’ critique the nature of the retro-active monument, to now directly releasing prophetic monuments to mark the spontaneous events as they are happening. The time capsule also has within its collection many prophetic monuments waiting to be deployed by matching content to arising events within the cities like the Plan Viosin, Rem’s Dubai, Paolo Soleri’s Arcology or Bucky’s Tetrahedron City. Prophetic Monuments 41


Pocket Monument

The prophetic monument also mines the tendency of a visitor to record the monument as a photograph. It now produces itself as a pocket monument allowing the visitor to carry the prophetic monument to match the context to create new narratives depending upon scenarios they are placed in. 42

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Observatory

Vertical City

In the Vertical City critiqued as “city with no qualities�, the prophetic monument is introduced as a catalyst to change the quality or atmosphere of the city. It also claims to proliferate similar to the vertical city, by not destroying but amplifying the quality of the ubiquitous.

Prophetic Monuments 43


Exploration in Projection: Seminar 2016

Andrew Spiller


ARTISTIC WORK

Bodies: Sean Lally Workshop 2016

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35'-1" 5'-6 1/2"

4'-0" 5'-5 3/4"

5'-7"

2'-2 3/4"

1'-5 3/4" 8"

1'-2 1/4"

1'-4 3/4"

1'-0 3/4" 5'-6"

8'-5 1/4"

1'-3"

9'-10"

1'-2 1/4"

3'-3 1/2"

2'-8 1/2" 3'-7 1/2"

Andrew Spiller

9'-10"

2'-8 1/2"

2'-8 1/2"

11 3/4"

8'-7 1/4"

2'-4 3/4" 3'-6 3/4"

3'-5 3/4" 5'-6"

0 3/4" 7'-6 1/4"

13'-4 1/4" 11'-0 3/4"

13'-8 1/4"

3'-5 3/4"

0 3/4"

6'-1 1/2"


PROFESSIONAL WORK November 2016 The Neighborhood Design Center Facade Renovation for Ohio Beer Co.

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ANDREW SPILLER

Andrew spiller portfolio  

Andrew Spiller Architectural Works from 2014-2018.

Andrew spiller portfolio  

Andrew Spiller Architectural Works from 2014-2018.

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