ZACHARY DIETRICH Selected Projects 2024-2026
Masters of Architecture | Masters of Science in Historic Preservation University of Pennsylvania
CONTENT 1 TÓ NAAZNILÍ The Water Flows Again
2 PAVILION COLLABORATIVE A Gathering Space for Students
3 PLANETARIO GALILEI A Planetarium for the Galileo Museum
FONDAZIONE STAMPALIA QUERINI | Venice, Italy | Canon EOS R100
TÓ NAAZNILÍ THE WATER FLOWS AGAIN Spring 2025 - Architectural Design VI Instructor: Derek Hoeferlin Gallup, New Mexico
The San Juan River, flowing through the arid landscapes of the American Southwest, forms the northern boundary of the Navajo Nation. For the Diné people, it has long been more than a geographic marker—it is a source of life, supporting agriculture, livestock, drinking water, and spiritual traditions rooted in Navajo cosmology. The river embodies continuity, balance, and the deep connection between people and land. Yet this vital lifeline has suffered from decades of exploitation. After World War II, the U.S. demand for uranium fueled extensive mining on Navajo lands. Workers labored without protection, and abandoned mines were left to contaminate the environment. The result has been widespread pollution of soil and water, severing essential ties between the Diné and their homeland. Today nearly 30% of residents on the Navajo reservation lack access to clean, safe drinking water—a lasting consequence of environmental injustice. In response, this proposal envisions architecture as a tool for healing and empowerment. This proposal establishes a community-based facility where the Navajo can monitor and study their environment, fostering research, education, and dialogue. Beyond technical repair, it seeks to restore cultural continuity and reaffirm the Diné worldview—one that honors interdependence among land, water, and people. This space represents a step toward environmental justice, resilience, and the renewal of the sacred relationship between the Diné and their ancestral homeland.
NAVAJO NATION AND THE SAN JUAN RIVER BASIN The Navajo Nation, the largest Native American reservation in the United States, spans parts of northeastern Arizona, northwestern New Mexico, and southeastern Utah. One of the major rivers flowing through this region is the San Juan River, a vital tributary of the Colorado River that has historically provided water for agriculture, livestock, and communities within the Navajo Nation. Despite its proximity to such water sources, many Navajo communities still face significant challenges accessing clean drinking water. Decades of underinvestment in infrastructure, combined with contamination from abandoned uranium mines and limited water rights, have left thousands of Navajo homes without running water. Residents often rely on hauling water over long distances, a situation that underscores the persistent environmental and social injustices facing the Nation. Bellow is an abstracted model that shows the topography of the land around the San Juan River and it’s transition into Lake Powell, the largest man-made dam in the region. Taking inspiration from the bucket wheel excavators that look like earth crawling monsters, spatial abstractions float over the sharp terrain and canyons displaying a sculptural aspect made from metal rods that are delicately connected with metal wire. Although intended to create a spatial topography, much of it looks untouchable with its delicate attention to the surrounding elements similar to that of Lightning Field by Walter De Maria.
AIR, EARTH, AND WATER The study model shown to the left is composed of three conceptual layers: air, earth, and water. This layered system served as the foundation for the final tower-like proposal, which materially echoes the abandoned mines of the Moab mountain range in Utah. The top layer, representing “air,” illustrates a vernacular architectural form designed to gradually decay back into the landscape. Beneath it lies the “earth” layer, which introduces a spatial system located below the primary living area. The lowest section of the model represents an abstraction of an underground aquifer—conceived both as a potential water source and as a possible space for scientific research.
A PHYSICAL CONNECTION TO THE NATURAL LAND This 1/32” = 1’-0” section model illustrates the structure’s physical connection to the natural landscape. The model highlights the Navajo people’s sacred and spiritual relationship with the land, which is deeply intertwined with their history, identity, and traditions. By grounding the proposed space within the natural environment, the design creates an opportunity to preserve the legacy of previous generations while strengthening cultural continuity. Because the identity of the Navajo people is inseparable from their connection to the land, this physical relationship allows the space to foster and restore the traditions and connections that have sustained their community for generations.
WASTE
POWER
ENVELOPE
WATER
GREEN FACADE + ROOF
SUBGRADE
LIVING AREA
ROOF GARDEN
CONNECTING BACK TO THE LAND The space features an open floor plan organized around a central spiral staircase. Entry into the living area occurs on the eastern side of the tower, honoring Navajo traditions that associate the east with creation and spiritual renewal. In Navajo culture, hogans are always oriented to face the rising sun, a direction rich in symbolic meaning. The east signifies beginnings, the cycle of life, and harmony with nature. This orientation welcomes the first light of day into the space, supporting morning rituals and ceremonies that foster a deep connection to the Earth and the sacred order of the universe. Rooted in the philosophy of Hózhó—which emphasizes balance, beauty, and well-being—this design reflects the Navajo commitment to living in alignment with both natural and spiritual forces. The bedroom is positioned on the western side of the living area, continuing the traditional spatial organization of a Navajo hogan, in which orientation and cardinal directions play essential cultural and ceremonial roles. This placement not only respects customary building practices but also reinforces the narrative of the home as a protective, grounding environment. At the center of the structure lies a sudatory, or steam chamber, an element deeply rooted in Navajo healing traditions. Designed to release warm steam that permeates the surrounding spaces, the sudatory acts as both a physical and symbolic heart of the dwelling. Its presence invites moments of introspection, purification, and renewal, offering residents an opportunity to reconnect with spiritual teachings and ancestral rituals. By integrating this central feature into the home, the design promotes a holistic understanding of wellness—one that intertwines physical restoration with cultural continuity and the reaffirmation of identity.
PAVILION COLLABORATIVE A GATHERING SPACE FOR STUDENTS Sumer 2026 - Elements Instructor: Daniel Markiewicz, Sonia Flamberg Philadelphia Pennsylvania
This project proposes a pavilion situated within one of the University of Pennsylvania’s campus commons, drawing inspiration from Frank Gehry’s Winton Guest House and Adolf Loos’s Villa Müller. The design combines Gehry’s use of plan-driven geometries with Loos’s emphasis on section, spatial hierarchy, and variations in height to organize both form and program. The pavilion’s separated, sculptural geometries establish a sequence of distinct spaces, further defined by subtle changes in ground elevation. A shell-like timber roof structure was then created to allow for more a common relationship to be enhabited as well as provide some shaded outdoor spaces. The final design incorporates a café and study space, a public restroom, and a sunken auditorium, creating a range of social, individual, and communal spaces within a cohesive architectural composition. Gravel paths are incorporated into the pavilion’s surroundings, providing more direct routes through the commons while connecting the pavilion to the larger campus landscape. Flexible outdoor seating is also distributed around the pavilion, encouraging informal gathering and extending the communal character of the interior spaces into the surrounding landscape. ELEVATION RENDERING
INTIAL PLAN COMBINATION The project was first initiated by taking a look at two plans and combing them into a hybrid approach. Gehry’s Winton Guest House (Left) utilizes a deconstructive approach to plan through different geometries to decide program. Adolf Loos’ Villa Müller (Right) utilizes more of a sectional approach, deciding programtic layout through various height variations. The hybrid plan takes the geometries from Gehry’s plan and further highlights the central circulation premise of Loos’ plan.
Western Red Cedar
2
1
Red Painted Aluminum Window Frame
Aluminum Cladding Hardwood Flooring
3
Foundation
FLOOR PLAN
N
1. Cafe 2. Restrooms 3. Auditorium
SECTION
ARIAL AXON
PERSPECTIVE
PLANETARIO GALILEI A PLANETARIUM FOR THE GALILEO MUSEUM Fall 2024 - Architectural Design V Instructors: Patrick Hatheway, Kelly Murphy, Aaron Shump, Shavari Mhatre Florence, Italy
This studio project was completed as a trio with me and two of my classmates. Florence, Italy, is a city rich in architectural and art history, dating back to the early fifteenth century with the rise of the Renaissance style. Among the individuals whose work we still study today is the famous astronomer and physicist Galileo Galilei, whose discoveries and observations greatly influenced our understanding of the universe and the relationship between humanity and the natural world. Situated along the Arno River is a museum dedicated to his achievements, preserving and displaying the uniquely crafted scientific instruments that reflect the technological and intellectual advancements of his time. However, a question arises: how could one add more spaces to this museum while respecting the historical significance of the existing collection and surrounding urban fabric? This proposal addresses the question in a circular and symbolic manner, drawing inspiration from Galileo’s fascination with the universe. It creates a space that offers a harmonic metaphor for the inhabitant’s journey, symbolizing the act of circulating around the center of the universe while remaining grounded on Earth. A planetarium is central to achieving this vision, as its spherical shape allows for the surrounding programs to spiral upward through the building. The circulation becomes an important part of the architecture, guiding visitors through the building while reflecting the orbital paths of celestial bodies and the movement of the universe. In this way, the addition is not simply an extension of the existing museum, but rather a new architectural experience that connects Galileo’s scientific legacy with a contemporary interpretation of space, movement, and discovery.
PROJECT DEVELOPMENT AND SITE CONTEXT Settled along the Arno River, the Museo Galileo blends into the surrounding tourist gems of the Uffizi and the Palazzo Vecchio making it a primary destination for foreigners to gather and appreciate the countless achievements of the Renaissance. Just across the museum lays a parking lot with two major ways of car circulation that allow delivery trucks to move in and out accordingly. Along with being a primary meeting point for automobile transportation, this lot is also a major point of dispersion for individuals leaving the Uffizi and heading over to the beautiful views of the river. Starting off by gathering a handful of objects from the Museo Galileo, the idea of keeping the detailed proportionality of the objects, but scaling their functions came into play with the creation of a mobile sun powered shading device. This would then be set as a base for our initial massing iteration that consisted of various shading mechanisms.
INITIAL MASSING ITERATION
N
SITE PLAN
MATERIALITY AND FACADE INTENT The final façade system draws its primary inspiration from the orbital rings of the Aristotelian Planetarium currently on display at the museum. These intricate celestial mechanisms informed both the geometry and the layered composition of the exterior. The choice to construct the façade in copper, along with selectively incorporating complementary materials throughout the remainder of the building envelope, reinforces the concept of movement and interlacing pathways. This material strategy also creates a deliberate contrast with Florence’s historic palette of red brick and terracotta, allowing the new structure to both acknowledge and subtly challenge the architectural language of the city. The result is a facade that weaves past and present together, echoing the precision of ancient scientific instruments while embracing the expressive potential of contemporary design.
Uffizi, Galileo, Palazzo and Ponte Vecchio Parks Planetario Galilei
SITE ELEVATION
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
THIRD FLOOR
OUR RELATIONSHIP WITH THE CENTER OF THE UNIVERSE The final design of the museum’s extension creates a carefully orchestrated experience centered around its main attraction— the planetarium. Approaching the building, visitors are welcomed by two sweeping, curved corridors supported by triangular frames, which converge toward the entrance in a gesture that feels both monumental and inviting. Once inside, visitors are guided downward into a subgrade gallery space, where curated exhibitions immerse them in the broader narrative of science and exploration. As they ascend through the building, the journey unfolds gradually, revealing a layered sequence of programs: additional exhibition halls, state-of-the-art preservation and restoration laboratories, and a series of observation decks that connect the interior experience with the surrounding landscape. Rising at the heart of it all, the planetarium becomes both a physical and symbolic destination, drawing visitors upward and inward. More than just an architectural extension, this design operates as a metaphorical journey—an ascent that mirrors the intellectual leaps of discovery made by Galileo Galilei. By combining research spaces with public exhibition and moments of reflection, the extension positions the museum as not only a guardian of knowledge but also as a living environment where past discoveries inspire future exploration. In all, the proposal seeks to modernize the medieval urban fabric while maintaining a dialogue with Florence’s historic character, allowing the new structure to feel both connected to its surroundings and distinct in its expression.