Conner Tomasello Fifth Year Portfolio

CAT

CONNER ANTHONYUNDERGRADUATE TOMASELLO PORTFOLIO

TABLE OF CONTENTS 1 studio projects

1.1 ATL CONTEMPORARY

1.2 THE LOCAL

1.3 BHAM COWORK 2 Rural Studio

2.1 REE’S HOME

2.2 STANDARD CHAIR NO.4 3 SMALL WORKS 3.1 PAPER GALLERY 4 back matter

1.1

atl contemporarY PLACE: atlanta, georgia YEAR: fall 2019 PROFESSOR: randal vaughan

PROBLEM: How do you design a museum space in Midtown Atlanta that both meets the program requirements and begins to explore thesis topics?

PROPOSAL: Create a high-tech style museum that engages the urban fabric, utilizes the existing MARTA station, and also engages thesis ideas like building technologies and structure.

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The goal of this project is to add gallery space to the Atlanta Contemporary Arts Museum as a separate building from its existing campus in Midtown Atlanta. The site is located on an existing Marta train station and bus depot. The bus depot was not necessary to keep but the project statement required keeping access to the subterranean train station. The approach taken for this project was to create a shed of expressive structure that houses program in a glazed box that serves the museum program.

ADJACENT TOP: ISO view of building showing how it occupies site and interacts with adjacent plaza BOTTOM: Diagram showing decisions regarding form

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KEEP EXISTING STAIRS AND CREATE PLATEAUS FOR MUSEUM AND PLAZAS

PLACE SHED STRUCTURE WITH PHOTOVOLTAIC ROOF

The existing Marta station was removed and replaced with an entrance that fold up from the surface of the museum plaza. This large plaza provides both soft and hard surfaces for a variety of activities and utilizes the Marta station as a seating area for performances or a nice break.

ADJACENT TOP: Vignette of outdoor plaza showing possible activities in the space BOTTOM: Diagram showing decisions regarding form

PLACE BOX BENEATH SHED TO HOUSE PROGRAM AND UTILIZE EXISTING MARTA STATION BENEATH PLAZA

PULL BOX FACES IN AND OUT TO HOUSE PROGRAM LIFT UP PLAZA TO CREATE ENTRANCE TO MARTA STATION 9

Structure was an essential part to this project. In order to span the distances needed for the museum a Warren Truss similar to that used in Centre Pompidou was chosen and even a similar truss and saddle system was used to connect the trusses to the columns. In order to draw attention the structure even further a splayed top was chosen to connect the columns to the photovoltaic roof of the project.

Structural SYSTEMS HOLLOW CORE CONCRETE ADJACENT TOP: Short section of truss structure and how it interacts with hollow core concrete ADJACENT BOTTOM: Diagram showing array of structural systems in building OPPOSITE TOP: Elevation of large Warren Truss and column OPPOSITE BOTTOM LEFT: Long section of building showing various spaces and how circulation passes through atrium OPPOSITE BOTTOM RIGHT: Section of west wall with solar louvres and column to roof connection

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SQUARE TUBE LATERAL BRACING

LONG SPAN WARREN TRUSSES

COLUMNS WITH SCULPTED TOPS

The interior space of the museum is dominated by an atrium that contains the vertical circulation for the building as well as displays the structure and HVAC systems in the building. These pieces were left exposed to give them importance in the building as opposed to hiding them in drop ceilings or walls.

ADJACENT: Vignette of atrium space from second floor showing exposed building systems, structure, and occupant circulation

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1.2

THE LOCAL PLACE: SELMA, ALABAMA YEAR: SPRING 2019 PROFESSOR: KEVIN MOORE

PROBLEM: How do you create a space for a local business that both satisfies a dense program requirement and pays homage to the charged history of Selma?

PROPOSAL: Maximize space within each floor and recommend a plan that allows the clients to phase construction as funding is available.

Selected as Overall Winner based on a jury consisting of professors from Auburn University and Tuskegee University as well as the clients from The Local

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Beyond meeting the client’s needs with program and structure some special moves are included in this project as well. Inside the building, historic doors are hung in the rear stairwell so patrons can view history as they ascend the building. There is also shelving and wall spaces on the 2nd and 3rd floor to accommodate small artifacts and graphics about the history of the building and of Selma.

The garden portion of this building will include a butterfly roof gazebo with a slit in the middle to light the area underneath and allow water to drain into a gravel strip that cuts through the garden space. These special moments acts as highlights in the project that add intricacy to the building.

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ADJACENT: Short cross section showing vertical circulation and programmatic spaces in the building BOTTOM: Long section showing different spaces as well as the continuation from the interior of the first floor to the exterior patio area OPPOSITE: Floor plans showing existing and proposed walls as well as labeled programmatic spaces and possible activities for each floor

MUSEUM BAR

FREEZER

LOUNGE

KITCHEN COOLER

LAUNDRY

STORAGE

W D

FIRST FLOOR ACTIVITIES:

SECOND FLOOR ACTIVITIES:

THIRD FLOOR TENANTS:

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Structural issues Current: Interior load bearing walls were cored out from previous renovations and are offset from first floor columns, leading to floor sagging.

Proposal: replacement of bearing walls with column and beam construction, align structure with first floor and add stairwells to meet fire safety code.

Building systems Current: while kitchen is sprinkled, the rest of the building needs full sprinklers in order to inhabit 2nd and 3rd floor. HVAC is both inadequate and non functioning. proposal: fully sprinkle building with focus on gathering space on 1st and 2nd floor. HVAC ran through major hallways with forced air ducts.

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phase 1

1st floor // structure // outdoor patio • REPLACE DAMAGED SOUTHEAST CORNER OF BUILDING AND ADD STAIR • ALIGN AND BOLSTER STRUCTURAL COLUMNS • RENOVATE BATHROOMS TO ADA COMPLIANCE • FIT OUT KITCHEN WITH EQUIPMENT • BUILD GAZEBO AND STAGE/SHED

phase 11

2nd floor // front stairs // garden beds • ADD NORTH STAIR AND CONNECT TO EXISTING 2ND FLOOR STAIR • ADD FIRE SPRINKLER THROUGHOUT BUILDING • ADD JOISTS TO BOLSTER SECOND FLOOR • RELOCATE BATHROOMS TO EXISTING WET WALL AND MAKE ADA COMPLIANT • CONSTRUCT ADDITIONAL RESTAURANT SEATING AND BAR/LOUNGE • CONSTRUCT FIRST PHASE OF GARDEN BEDS FOR COMMUNITY GARDEN

phase 111

3rd floor // garden beds • CONSTRUCT RESIDENTIAL UNITS, UTILIZING HISTORIC WALLS WHEN POSSIBLE • CONSTRUCT LOUNGE AREA, MUSEUM SECTION, AND COMMUNAL LAUNDRY ROOM

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A series of vignettes were created for this project in order to display what sort of activities could occur within the space and who could inhabit the space. The point of these images is to display how material usage and lighting could lead to a welcoming space for all people that is without stigma.

BOTTOM: View of built-in seating and main fire stair in front dining space ADJACENT TOP: View of outdoor patio and garden space ADJACENT BOTTOM: View of second floor cafĂŠ seating and bar area OPPOSITE TOP: View down sidewalk showing how shade trees and awning improve walkability OPPOSITE BOTTOM: View of small living areas on third floor

1.3

bham cowork PLACE: birmingham, ALABAMA YEAR: Summer 2019 PROFESSOR: KEVIN MOORE + Matt hall + madeline wiley PROBLEM: How do we approach coworking spaces in an emerging city that engage the idea of work vs. play?

PROPOSAL: Create a gradient of spaces across the floor plate meant for working and playing with extremes at either end.

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The approach taken for this coworking office is to give inhabitants a gradient of spaces and experiences ranging the full spectrum of work and play.

The project builds this experience by having a classroom, lounge area, and full height atrium in the entry portion of the building. These elements are visually interesting when in use and can pull people’s attention to the building from the sidewalk. The second floor office area is where the gradient of experiences exists.

ADJACENT TOP: View of play half of gradient including meeting rooms, kitchen, and lounge area ADJACENT BOTTOM: View showing atrium stairs and work side of building which includes a mix of pre-made furniture from Herman Miller OPPOSITE: Floor plans of first floor reception and teaching areas as well as second floor showing work and play areas across floor plate

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2nd floor

1st floor 25

Another aspect to this project was a half scale model that would focus on a certain apsect of the project. The atrium space was chosen as it is both a lighting element, visual connector, and vertical circulation element. It includes a vertical green wall as well as a series of sound baffling panels that both add color as well as seperate noise pollution from the play side of the office space from the work side.

ADJACENT: Isometric view showing work and play spaces as well as how the atrium space connects the floor plates OPPOSITE LEFT: Overall shot of half scale model focused on atrium space OPPOSITE RIGHT: Detail shots of various aspects of the atrium space including green wall, sound baffle panels, and wooden community seating

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Work and play exist as a gradient across the floor, with extremes from one end to the other. Desks with storage capacity and generous tabletops exist on the north end of the building, followed by variations of desks with tighter spaces but less dividers. The working spaces transition to built-in bench seating that wraps around structure and interacts with the kitchen and conference areas. The overall experience of the environment is meant to be a light and bright place meant for focused work and purposeful relaxation. This experience is created using wood, pastels on the furniture and dividing elements, and contrasted with dark wood and upholstery on the floor elements and ceiling slats.

ADJACENT: Short section displaying different lighting conditions in the office building OPPOSITE: Long section displaying different furniture arrangements within the office and first floor spaces

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2.1

ree’s home PLACE: dodge city, ALABAMA YEAR: SPRING 2017 PROFESSOR: emily mcglohn + alex therrien collaborators: 30 third year students

PROBLEM: How do you create rural housing stock that is affordable, efficient, and dignified?

PROPOSAL: Allow 32 students in West Alabama to study the legacy of 20K Homes and produce another iteration for a local client.

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January

march

exterior Structure was completed by fall students and picked up by the With dried in status achieved, MEP and other interior work can begin. Next incoming spring students. with the foundation poured and exterior walls objective is to build interior walls as well as wire and plumb the house in framed, a solid starting point was established. immediate Objectives from anticipation for our drywall subcontractor. this point is to put up roof trusses and achieve dried in status so interior work can begin.

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April

May

making progress on the inside and outside simultaneously was the next The pressure to finish is mounting, with Pig Roast in May and an unfinished challenge. While the finishing trim and cabinets are being installed on the house everything seemed to wrap up in the last two weeks. Pouring inside, insulation and siding is being installed on the exterior. concrete, installing custom lighting, and putting on finish coats of paint were all priorities for the opening ceremony.

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For the spring semester the task teams were MEP, Exterior, Interior, and Framing. MEP was responsible for the mechanical, electrical systems, and plumbing. The responsibilities within those categories included pulling wire, installing piping, installing the breaker box, hooking the home up to water and electricity, and then installing all finishing elements like sockets, switches, and especially the toilet.

Another focused group that cropped up was the custom lighting team. The task was to create a light that had minimal penetrations in the roof that made the living room and bedroom more dignified and enjoyable places in lieu of can lights. Alpolic was used for the fin materials and under-cabinet lights were affixed to the top of the fin in order to wash light across the ceiling and down the wall as well.

ADJACENT: Various photos showing installation of PEX piping and fuse box wiring OPPOSITE TOP: Photos showing the testing, installation, and finished product of the custom fin lighting in Ree’s Home.

OPPOSITE BOTTOM: Diagram showing manufacturing and installation process for custom Alpolic fins

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cut alpolic to size

bend in half to 30°

mount under-cabinet light

mount whole assembly with carriage bolts 35

While the house was completed for Pig Roast the client was not moved in yet as there was still some cosmetic finishes to be completed.

However, for Pig Roast presentation board were created and posted in the living room and bedroom to allow visitors to get a holistic view of the work that went into Ree’s Home from both semesters. The only things not able to be completed before opening were some interior doors which were delayed by the manufacturer and metal handrails that were built the following week.

TOP: Photo of front door and kitchen area BOTTOM: Shot of living room showing presentation boards and custom light fins

Rural Studio has a standing relationship with professional photographer Timothy Hursley and he will often photograph projects after they have been occupied by the client. This was the case for Ree’s Home and Timothy Hursley is also gracious enough to allow students to use his work. It is rewarding to see the home utilized, even if it is not how we expected it. For example there was much debate over what to do with the space adjacent to the door, but Ree ultimately decided to place a day bed there.

TOP: Ree in her living room with kitchen and front door in background, shot by Timothy Hursley BOTTOM: Quarter view of Ree on her porch, shot by Timothy Hursley

2.2

standard chair no.4 PLACE: newbern, ALABAMA YEAR: SPRING 2017 PROFESSOR: steve long collaborators: jake schirmer

PROBLEM: How do you replicate a renowned chair in West Alabama with limited resources and experience?

PROPOSAL: Research historical documents and develop an approach to constructing a copy of the chair using the tools available at Rural Studio.

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A majority of the work for the chair project is researching the history, dimensions, and fabrication process of the chair. The difficulties involved with the research include conflicting accounts of how the chair could be assembled, what stains were used, and even what pieces the chair actually has. In the end, the choice was made to use light oak with a dark stain, floating tenons, and a seat that includes a butt indentation.

The next step is figuring out how to complete the chair with the limited tools available at the Rural Studio woodshop. Routers and custom jigs were the most widely utilized tools for this project. While we were performing most actions for the first time, our process was clearly laid out and helped us prevent most costly mistakes.

ADJACENT TOP: Axon diagram showing how different pieces come together with the use of floating tenons ADJACENT BOTTOM: Iterations of steam bending for the compound bend in the seat as well as the jig used to form the seat OPPOSITE LEFT: Laser cut and stained chair outlines displaying the historical dimensions of the chair OPPOSITE MIDDLE: Finished pictures of the chair in the front of the Newbern Fire Station OPPOSITE RIGHT: Close up shots of the mortise and tenon joint connections on the chair

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3.1

paper gallery PLACE: auburn, ALABAMA YEAR: fall 2017 PROFESSOR: KEVIN MOORE collaborators: eilĂ­s finnegan, preston smith, aubrey harold

PROBLEM: Given a small and misshapen gallery, how do you transforms the space to allow student work to be displayed and appreciated in a unique and specific setting?

PROPOSAL: Utilize recycled paper from the architecture printers and create a mass of paper that both diffuses light into the room and focuses light onto the student work.

Later displayed as photographs at Auburn University’s SHOWCASE 2018 and awarded for Outstanding Achievement Team Award

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This project was a gallery exhibition of boxes that contained a theme like use of perspective or colors. While most students produced boxes, myself and three other students designed and fabricated the gallery space itself. Our goal was to affect the ceiling plane in order to change the experience of the gallery. We used waste paper from plotters that are a standard 3’ wide and cut them into 2� strips. We then folded them, assembled the strips into 5’ modules, and suspended them with fishing line and duct tape. The result was a ceiling that aligned to the grid of the ceiling. The paper mass affected the light distribution heavily and also changed color depending on where the observer stood in the space.

TOP: View of the gallery with installation and finished boxes pictured BOTTOM: Diagram showing installment process from recycling to suspension

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Things we considered when designing the paper mass included how the color saturated paper and white paper interacted with each other and how you perceived the color of the mass depending on where someone stood.

The color saturated paper and the white paper face opposite ways which has the affect of changing the color and presence of the mass from one end to the other as a visitor moves through the exhibit. Finally, the use of recycled paper means that students and faculty of the architecture school can see their work hanging from the ceiling, making it more personal. Many student’s floor plans and renderings ended up in the mass.

TOP: Assembly of white paper showing monotony from one side BOTTOM: View of color saturated paper showing contrasting view and personal nature of recycled paper

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4.0

colophon Type face included in this portfolio is as follows: MONO45-Headline for intro page titles, large fonts, and numbers, Rift for diagram labels and texts, Muli for body text, and Roboto Condensed for caption headlines and text. The page size is 10� x 8� to fit photographs and digital content which lends itself to a landscape orientation. Each project is given an intro page with a full bleed image to break up the visual pattern of content pages.