Issuu

BEKY GOETZKE

portfolio 2024 • syracuse university school of architecture

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queer space/clear space fall 2022 • professor richard rosa

patterns of death fall 2023 • professors li han and hu yan in collaboration with sophia martino

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espuma spring 2022 • professor julie larsen in collaboration with tj farley

the omen

spring 2023 • professors amber bartosh and vanessa lastrucci in collaboration with lal aktas and david anderson

analysis of first unitarian church of rochester fall 2023 • professor hannibal newsom in collaboration with kalin mcmahon

archipelagone spring 2022 • professor julie larsen in collaboration with tj farley

new americans pavilion summer 2022 • professor david shanks

architectural media: scopophobia and doors fall 2023 • professor edgar rodriguez

TABLE F CNTENTS 2

BEKY GOETZKE ragoetzk@syr.edu • issuu.com/bgoetzke EDUCATION Syracuse University • School of Architecture • Bachelor of Architecture Expected May 2025 GPA 3.84 • Dean’s List (7 Semesters) • Architecture Leadership Scholarship • Renee Crown Honors Program

Syracuse Abroad London Spring 2023 Studied and surveyed architecture across London, Madrid, Amsterdam, and Copenhagen

RELATED EXPERIENCE Serena Sturm Architects/Nell’s Woodland • St. Charles, IL/ Ottawa, IL • Architectural Intern Summer 2023 Researched industry standards and contemporary precedents to create proposal for a signage solution for a public plaza project; presented concept to City of St. Charles Developed and designed website, logo, and related graphic standards for Nell’s Woodland Drafted and created Rhino models and preliminary construction documents for Nell's Woodland Grounds Storage Shed and Small Vehicles Garage

Professor David Shanks/ Syracuse Office of Undergraduate Research and Creative Engagement • Syracuse, NY • Research Assistant/Architectural Intern Summer 2022 Constructed and aided in design of wrap-around bench and clerestory infill as water mitigation strategy at Salt City Harvest Farm in Kirkville, NY Drafted construction documents of bench design Researched design-build education methodologies

EMPLOYMENT Free People • Oakbrook Terrace, IL • Stylist May - August 2023, November 2023 - January 2024 Greeted and engaged with customers to assist with merchandise selection and sales transactions at the highest earning store in the state Managed fitting rooms and maintained visual standards across store Assisted in Visual Merchandising operations by dressing mannequins and designing product displays

Syracuse University • Structures II (ARC 311) Undergraduate Program Assistant Fall 2023 Lead two hour-long recitation sections each week, guiding students through example exam questions to further understanding of structures concepts Held weekly office hours sessions to aid students in their proficiency in the ARC 311 course material

LEADERSHIP Architecture Ambassador Spring 2021 - Present

Nell's Woodland Stewardship Ambassador Summer 2023 - Present

Architecture Peer Advisor Spring 2021 - Spring 2023

Peer Advising Co-Coordinator Spring 2021 - Spring 2022

SKILLS Digital Rhinoceros • Adobe Creative Suite • V Ray • Enscape • ARCGIS • QGIS • Climate Studio • Microsoft Office • Zoom • Conceptboard

Physical & Fabrication Laser Cutting • Cricut • CNC • 3D Printing • Woodworking • Masonry • Museum Board • Paper • Acrylic • Wood • Chipboard • Foam Core • Hand sketching and drafting

queer space/clear space, located on the site of Palazzo Farnese, further conceptualizes the idea of a “museum of architecture” as a museum of queer space and posits the following thesis: what happens

when the margins that have slipped by and hidden in plain sight become not only visible, but sacred? Courtonne’s French Hôtel serves as the basis for this investigation; by inverting the center and margin, the historically marginalized queer population is not only revealed to those who it was invisible to or ignored by, but celebrated. Further investigations into Aaron Betsky and Beatriz Colomina’s theory lead to a defining of queer space as a type not only

identified by its occupants, but also by its phenomenology. Transparency, reflection, liminality, voyeurism, open public spaces for occupancy by all with hidden areas for those who know about them/can find them are all characteristics and qualities which define and identify architectures as “queer.” additionally, formal analysis, adaptation, and appropriation of a Miesian and Wrightian language to produce an intentionally conflated and at times confusing spatial condition to place the general public into and make them aware of the queer experience via architecture

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which relies on two interwoven sequences: the “queer” museum and the normative public. The museum sequence is hidden within the public, revealed in overlapping interstitial moments to create awareness of its existence, but still hiding in plain sight. queer space/clear space relies on its resistance of clear dichotomies to represent the spatial and conceptual goals of other queer spaces. The socio-political issue at

architecture houses the spaces of self-identity and its formation, historically favoring normative notions of existence and orientation.

the center of the project is not one that can be reduced to a black and white diagram of us/them. The disorientation of moving through the world as a member of a community that is treated as an “other,” whether that community is accepted or not is formally symbolized in plan; there is never truly a place of solace or rest, someone is always watching/ observing/emphasizing one’s “otherness”. The project investigates the queer no longer slipping past, hiding between, and instead reclaiming/redefining/absorbing the spaces of them (normative).

queer space/clear space fall 2022 • professor richard rosa made with Rhinoceros, V Ray, Adobe Illustrator, Adobe Photoshop

what happens when the margins that have slipped by and hidden in plain sight become not only visible, but sacred?

ground floor plan 6

third floor plan 0’

32’

64’

128’

0’

32’

64’

128’

as mentioned previously, formal analysis of Courtonne’s French Hôtel inspired the formal investigation of the museum of queer space. by inverting the center and margin, the historically marginalized queer population is not only revealed to those who it was invisible to or ignored by, but celebrated. the above diagram illustrates the identification of spaces for "the other" in the French Hôtel, the inversion and overlapping of ownership of the identified marginalized spaces, and the transformation of these forms through a Miesian and Wrightian lens to create spaces of forced awareness and understanding of the broader queer architectural experience.

roof plan 7

diagram of dual sequence: margin vs center

0’

8’

16’

32’

patterns of death proposes an architectural foreshadowing of the untimely demise of four different pop musicians in the final year of their lives. rather than accepting pop culture's fatal focus on these tragedies, we co-opted popular aesthetic practices to explore an imagined narrative of how these artists might have lived in their closing moments. what began as experimentation with color, evolved into an investigation of the power of pattern to communicate and foreshadow narratives, while also decorating space. this project explored the last moments of the lives of Prince, Amy Winehouse, Mozart, and Buddy Holly. these unexpected deaths allowed us to design and represent what is believed to be their last days alive through patterns alluding to their physical, mental, and emotional states; all of which manifest in the architectures shown in this multifamily home. patterning became the integral heart of this project, as it showcased hidden details related to their deaths to allow the viewer to get a glimpse of how their last moments would appear in an artistic manner. more specifically, Prince's unit foreshadows death through a pattern of distortion, ice patterns and iridescent materials allude to the fatal plane crash that killed Buddy Holly in his unit, pixelation recreates a feeling of

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drunkenness in Amy Winehouse's unit (she passed away due to alcohol poisoning), and subtly deteriorating musical elements foreshadow Mozart's unexpected death due to liver failure. along with exploring these pop-culture tragedies, pop architecture aesthetics were also explored through the design of the facade of this multi-family house. taking inspiration from postmodern pop architectures as well as the vernacular architectures around the given site in Syracuse, NY, patterning is also displayed on the exterior through its decorative elements. the final production included both the 4'x4' "drawdel" depicting the interior at 1:20 scale and the 1:50 model of the house itself; all of the furniture and exterior finishings were inspired by either real living conditions of the musicians or found architectural references.

patterns of death fall 2023 • professors li han and hu yan in collaboration with sophia martino

made with Rhinoceros, Adobe Illustrator, Cricut, Laser Cutting, mixed media collage techniques, woodworking

completed as part of the final systems course of the Syracuse Architecure undergraduate curriculum, Advanced Building Systems, the analysis of Louis Kahn's First Unitarian Church of Rochester was conducted as a group of two over the course of the fall semester. a comprehensive analysis of the building, including site and soil conditions, foundation, structure, exterior enclosure, environmental conditioning and interior finishings, was compiled into a book at the conclusion of the semester. a 1/4" scale detail model of a section of the building was also made to demonstrate an extensive understanding of the architectural techniques and decisions employed by Kahn to meet both his and the congregation's desires for the project.

this analytical research project; including analysis of construction details pertaining to enclosure, structure, and environmental conditioning and production of the 1/4" scale detail model.

an almost forensic architectural analysis of the building was required in order to understand its complexities, partially due to an incomplete construction drawing set (used to analyze and understand the building) and in part due to the fact that almost all of the building systems were embedded into the walls of the church to comply with Kahn's opinions on materiality and the expression of it. the following selected works represent a portion of my personal contribution to

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analysis of first unitarian church of rochester fall 2023 • professor hannibal newsom in collaboration with kalin mcmahon

made with Rhinoceros, Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Laser Cutting, mixed media collage techniques,

HVAC System Overview 1/16”=1’-0”

First Unitarian Church uses a highly complex HVAC system to mechanically condition the interior. This system is embedded into the wall construction to keep it hidden from occupants. The concealment of the HVAC system is in line with Kahn’s desire to eliminate visual clutter and to maintain a focus on the spatial qualities and phenomenology of the created interior spaces. While the embedding of this system achieves Kahn’s goal of eliminating visual clutter, it also was difficult to construct. Ductwork had to be built first so it could be hidden in the walls and floors. Also, a significant amount of the CMU in the sanctuary auditorium space is custom for this project in order to encase the ducts perfectly. Custom mill work was also required to create the return chases for the classroom spaces that are hidden in the door frames .

RETURN CHANNEL SUPPLY CHANNEL

AIR CHAMBER

BASEMENT CIRCULATION ZONE

Exterior Wall Section Details

SLATE COPING

1/4”=1’-0” & 1/2”=1’-0”

The exterior wall of First Unitarian Church appears to be a load-bearing mass wall enclosure system due to the fact that it is constructed out of masonry. As discussed in the structure section of this book, the brick masonry facade is not actually structural and is simply facing. Rather than acting like a traditional mass masonry wall, the brick component of the enclosure system operates more similarly to a curtain wall; the brick is structurally disengaged from the rest of the building and can support itself. While Kahn did not draw the specific construction details of this curtain wall system, hints of its existence are shown in the wall detail to the right. Kahn specified for areas of the CMU wall behind the brick layer to be solid infill with mortar. This creates what is called a “bond beam,” it operates similarly to a concrete beam and provides a more rigid structural element to tie the brick curtain wall back to. The brick wall needs to be tied back to the structure to resist lateral (wind) loads, like a traditional curtain wall. Again, these anchor points were not outlined by Kahn in the typical wall details for the original construction drawing set, but based on other masonry curtain wall system details, we have proposed where a steel plate likely is in the wall construction to anchor the wall to the rest of the building for lateral support.

FLASHING

SLATE COPING FLASHING

8” CMU

1” INSULATION & AIR SPACE 4” BRICK

1” INSULATION & AIR SPACE 1” SLATE 4” BRICK 1” SLATE

W.P. MEMBRANE

W.P. MEMBRANE SOLID FILL CMU BOND BEAM* STEEL PLATE*

SOLID FILL CMU BOND BEAM* 4” CMU

STEEL PLATE*

4” INSULATION & AIR SPACE 4” BRICK

The brick curtain wall operates as such because it is structurally independent from the rest of First Unitarian Church; it is able to support its own weight and only has lateral loads exerted onto itself. To resist said lateral loads, the curtain wall is likely anchored to the primary structure of the building with a bond beam/steel plate system as shown above. A steel plate is attached to a “bond beam,” in this instance multiple solid-fill CMU, which then connects to and is embedded in the masonry curtain wall. This construction technique helps resist lateral load that the masonry curtain wall would otherwise not be able to combat on its own.

4” CMU 4” INSULATION & AIR SPACE BUILT-IN BENCH 4” BRICK FLASHING

HTG DUCT

2” RIGID INSULATION

BUILT-IN BENCH FLASHING

6” GRAVEL VAPOR BARRIER

HTG DUCT

2” RIGID INSULATION 6” GRAVEL VAPOR BARRIER

archipelagone, located in Cocoa Beach, FL, is a partially temporary educational and recreational center along the coast of the Banana River. The project also aims to address the worsening environmental conditions in Cocoa Beach via its materiality in tandem with mechanical and passive systems; the project functions as a machine of nature. As climate change and global warning continue to produce stronger weather patterns, the Cocoa Beach area experiences stronger hurricanes and larger storm surges, threatening its residents, flora, fauna, and coast line due to dangerous waves and rising sea levels. The mangrove forests local to the region are a crucial barrier; their strong root systems break storm surge waves, which can reach upwards of 10 ft. The mangrove population is under threat by harmful algae brought to the Banana River through runoff from northern Florida and the Cape Canaveral area as well as by kayakers (a popular recreational activity in the area) disturbing mangrove root systems when tides are low. By protecting and growing the mangrove forests, archipelagone protects the coastline and its inhabitants.

loess clay, which when disolved into water kills the aforementioned harmful algae; the clay exists in two forms in the project: dried and dried with glaze. The dried clay comprises the mangrove protection islands; a temporary support and protection system that will promote mangrove growth and disolve with the help of water agitation from kayak travel, thus cleaning the water over time. Glazed elements are permanent, housing classrooms and laboratories to teach visitors about the environmental concerns the area faces. The organization of the islands in plan creates currents on purpose to encourage the dissolution of the temporary structures of archipelagone.

Archipelagone is constructed from yellow

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archipelagone

spring 2022 • professor julie larsen in collaboration with tj farley

made with Rhinoceros, Adobe Illustrator, Adobe Photoshop, air-dry clay

archipelagone site plan phase one 1/32”=1’=0”

present day

archipelagone site plan phase two 1/32”=1’=0”

archipelagone site plan phase three 1/32”=1’=0”

2027

2032

archipelagone mangrove classroom plan 1/4”=1’=0”

New Americans Pavilion, located at Salt City Harvest Farm in Kirkville, NY, was designed by ASDF, architecture practice of Professors David Shanks and Aurelie Frolet of Syracuse University School of Architecture. As a SOURCE Grant recipient in Summer 2022, I worked collaboratively with Professor Shanks to design and build a bench and new clerestory enclosure for the pavilion.

polycarbonate panels, hand cut to size, and again installed by myself under the supervision and guidance of Professor Shanks.

The bench and its design were calibrated to waterproof the edge between the concrete slab and the cold and dry storage spaces of the pavilion, as well as to provide seating and temporary storage/weighing space for the farmers. Two mock-ups of the initial bench design were produced to test stability, seat dimensions, refine masonry skills, and to finalize the aesthetics of the final product. After the construction details were finalized, we laid a CMU wall around the pavilion, constructed and water sealed all timber elements of the design, and installed the bench frames onto the waterproofed CMU/timber base. We also mitigated water seepage into the cold and dry storage areas by designing and installing a new enclosure system along the clerestory gap of the pavilion’s two roofs. The gap was filled by clear

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new americans pavilion summer 2023 • professor david shanks

made with Rhinoceros, Adobe Illustrator, woodworking, masonry, other on-site construction techniques

CORRUGATED STEEL ROOFING

6”

2 x 4 PURLIN @ 16” O.C. 2 x 12 RAFTER @ 16” O.C.

2 x 8 BLOCKING

3-PLY 2 x 12 BEAM CLOSURE STRIP ATTACHED w/ 2” FASTENER WITH COMPRESSABLE WASHER

ICE & WATER SHIELD

12 87 ”

CORRUGATED PLASTIC PANEL

1/2” PLYWOOD 1X3 SQ. EDGE BOARDS W/ 3/16” SPACE BTWN. ATTACH W/ CONCEALED HEAD TRIM SCREWS

19 12 ”

32”

3/8” CARRIAGE BOLT HOT DIP GALV. W/ NUT & WASHER COUNTERBORE 1 1/16” DIA. AT 9/16 DEPTH

1X3 BATTEN 16X8X8 CMU BLOCK W/ 3/8” TYPE-S MORTAR JOINT

3” 2116

CORRUGATED METAL ROOFING

19 1/2” 2X4 W/ 4.7º CUT 9 3/4” FROM LEFT

SIMPSON STRONG-TIE 2”X2” BRACKET

SILL PLATE

15 5/8” 2X4 VERTICAL KICKER

15 3/4” 1/2” PLYWOOD SIDING

48”

ALIGN

18”

2-PLY 2 x 12 RAFTER 14 3/4” 1X3 BATTEN

FROST LINE

Scopophobia: the fear of being watched. One would expect architecture, with its almost nauseating attention to the gradient between public and private spaces, to be able to eradicate this uneasy feeling we experience. Solid walls, windowless rooms, secluded areas are only a few examples of how architecture creates privacy, or at least the sensation of it. This “documentary” describes the counterargument of this phenomenon of privacy; an architecture that imposes publicity via surveillance to the point of occupant performance, specifically through the Visiting Critic Studio in Slocum Hall. the stage is one of the most public spaces one encounters. From the moment one steps upon a stage, they are watched— infinitely visible from every seat in the house, every movement carefully appreciated or scrutinized, unable to escape watchful eyes until they reach the wings. Stages, theaters, and auditoriums are architectures of spectatorship; so is the studio space in question. With the ability to be observed through the atrium and from above, the studio itself becomes an imposed stage with any passerby who dares to watch becoming an audience member. The architectural transparency of the

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space creates viewing zones, like an auditorium or theater box, all of which are prime locations to watch the performance unfolding, sometimes unbeknownst to the actors themselves. On this imposed stage, any action becomes a performance. Cutting paper, reading an email, checking your phone are all observed by the audience of onlookers. This stage also has no wings, no place to escape from the spectators of Slocum Hall, nowhere to prepare for the next act of the play. The film tells the narrative of the imposed stage through the narrative of the production of a play. The documentary adapts the contents of the archive into five “scenes”: setting the stage, the audience (whose existence imposes the stage), the performance (where typical routines are transformed into a precious act), the cast (unaware and unfamiliar with the stage imposed on them), and awareness (the aftermath once the cast gains consciousness to the unwelcome performance thrust upon them). "day through doors," a preliminary exercise, retells one's daily sequence through the thresholds they encounter, challenging the architectural discipline's default of understanding travel linearly.

architectural media: scopophobia and doors fall 2023 • professor edgar rodriguez

made with Adobe Illustrator, Adobe Photoshop, Adobe Premiere Pro

espuma intends to collect and store clean

water for the Uros people who reside on Lake Titicaca in Peru/Bolivia while also acting as an archive of the endemic species and totora reed plant of the region. Through thorough analysis of the site, we discovered that the lake’s water contains toxic levels of lead and mercury; these pollutants primarily are caused by sewage run-off from the urban center Puno, Peru which lies along the lake’s northwestern shore. The lake is also home to around a dozen endemic species; we took a particular interest in the Titicaca Water Frog and Titicaca Grebe (a species of duck) because of their primary restriction to the bounds of the lake’s water. The water level of the lake fluctuates dramatically throughout the year due to the heavy rainfall in the region. The lake is also affected by the El Nino wind and associated weather patterns which can cause the water level to drop by at least 6 feet in a given year. The lake water and the totora reed plant are also a critical resource of the Uros community. The Uros people live on floating islands constructed out of the totora reed plant, which is in danger because of the polluted lake water and steadily declining water level. These islands need to be replaced

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every twenty years, but the circulatory platform made of dried totora reeds needs to be replaced every two weeks because it begins to rot due to constant contact with the water of the lake. The Uros people also use the water of Lake Titicaca as potable water daily because they have little to no access to a purified water source due to the remote location of their community. The project proposes a system of water

collection vessels and an archive to address the ecological and cultural concerns of the site, and to educate the public about the site specific challenges that the project wishes to respond to.

espuma

spring 2022 • professor julie larsen in collaboration with tj farley

made with Rhinoceros, Adobe Illustrator, Adobe Photoshop, wire sculpture, spray foam sculpture

espuma

longitudinal section 1/8”=1’-0”

2022

fresh foam; 179.5 m

2072

deteriorated; 175.6 m

2122

foam reapplication; 171.3 m

espuma

plan & boat traffic 1/16”=1’-0”

Baynard House, once voted the ugliest building in the City of London, ought to be even uglier. the omen proposes a remedy to London's tumultuous and dependent relationship with the Thames as destination for waste disposal. for centuries, the Thames has held the reputation of being polluted with sewage and other human-produced waste; while sewage no longer plagues its waters, garbage and mircoplastics litter the Thames with no regulations in place to curtail how much rubbish enters the river. with hundreds of species calling the Thames home, this waste problem is incredibly troubling since it is beginning to change the shape of the riverbank and bed as it accumulates.

the omen also proposes the use of an enzyme-based chemical recycling process which allows for different types of plastic to be broken down, recycled, and reused together which previously wasn't possible. the chemical process of enzyme recycling takes place on the primary facade (pictured to the right). processed recyclables are shredded and sent to silicone pouches which house the enzyme recycling reaction. by putting this process on display on the facade, as well as showcasing ecological and recycling data collected from the Thames on the opposite facade, passersby are forced to be aware of their affect on the world around them and the processes that can be more widely adopted as solutions to a potential dystopian ecological doom.

in an imagined future, the omen transforms Baynard House into a new home for ecological data and collected waste from the Thames. a recycling facility is fitted into the existing building, but also opens itself as a museum dedicated to the waste treatment and recycling process. museum visitors gain entry with a recyclable item, they then follow their "ticket" as it is recycled at the facility, learning more about recycling and the impact of their behavior on London's ecosystem in the process.

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the omen spring 2023 • professors amber bartosh and vanessa lastrucci in collaboration with lal aktas and david anderson

made with Rhinoceros, V-Ray, Adobe Illustrator, Adobe Photoshop, Adobe Premiere Pro

plastic recycling process sorting machinery washing

friction washer OCC screening separates old corrugated cardboard (OCC) from mixed recyclables, achieved by passing material over a rotating disc system

collected & brought to Baynard House

cardboard

heat, kinetic energy, and pressure wash plastic of contaminants

export to external facility

shredding

metals

magnetic & eddy current separator

sorting

separates ferrous and non-ferrous metals from recyclables using various currents to repel and attract objects

recyclable

enzyme cells

mixed recycling

mixed plastic

biodegradable

glass

non-recyclable

trommel

cylindrical drums with holes that allow finer materials to fall through as the trommel rotates

ballistic separator two oscillating paddles work in a way to move rigid waste items to one end and flexible items (Paper, card) to the other allowing glass and finer materials to fall through mesh below

manual sorting helps remove any waste/non-recycleable and large items that were collected from the sorting and washing process

washing

biodegraded

dried

friction washer

heat, kinetic energy, and pressure wash plastic of contaminants

research develops methods to recycle

compacting sent to storage cells

research lab

research optimizes process

export to market biodegraded/recycled in the future

museum sequence sorting machinery washing

each sequence follows the process of how one's "ticket" is recycled; you only see the sorting, cleaning, and processing apparatus and process for the type of item brought in, encouraging more visits to the museum to experience all sequences and raise environmental score

friction washer OCC screening

separates old corrugated cardboard (OCC) from mixed recyclables, achieved by passing material over a rotating disc system

gain entry by bringing recyclable item to Baynard House

human visitors

sorting

heat, kinetic energy, and pressure wash plastic of contaminants

cardboard cleaned, crushed, export to external facility

metals

magnetic & eddy current separator

separates ferrous and non-ferrous metals from recyclables using various currents to repel and attract objects

shredding

with some samples sent to

types 4, 5, 6; 7

to one of seven sequences based on type of recyclable brought as "ticket"

mixed plastic

types 1 & 2

glass

type 3

enzyme cells

trommel

manual sorting helps remove any waste/non-recycleable and large items that were collected from the sorting and washing process

washing

research lab

research optimizes process

biodegraded

dried friction washer

heat, kinetic energy, and pressure wash plastic of contaminants

research develops methods to recycle

compacting sent to storage cells

export to market biodegraded/ recycled in the future shown environmental score (also displayed on facade) and personal data (only shown to viewer)

project project project project project project project project project project project project project project project project project project project project project project project project project project project project project project project project

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research laboratory plastic sorting & recycling glass sorting & recycling

metal sorting & recycling cardboard sorting & recycling bioreactor operation pipes museum, labor, & research facility entrance data visualization facade human conveyor belts and pipes SORTING CORE mixed recycling entrance bioreactor facade for chemical recycling

data archive cardboard, metal, & glass archive

project title plastic shredding & archive

year/professor/collaborator