Gabe Yingst_PORTFOLIO

2021 - 2023

ACADEMIC WORKS 001

PORTFOLIO

gabriel yingst

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Hello!

My name is Gabe, I’m an Architecture Student at Iowa State University. Via my education, I have learned architecture is a multi-faceted profession encompassing many unique opportunities. A structure’s design has enough reach to do great harm or good. One must be versatile and adaptable. I am passionate about how the buildings we inhabit affect our well-being. As much as we shape buildings, they shape us.

I am a curious person, constantly trying to understand the world around me. Making me easily coachable. I have spent most of my life working in different construction trades. My experience has taught me the value of hard work and discipline. I am always eager to work hands-on with issues. I believe that all problems present an opportunity for growth. I also work great with others. Truly listening and having empathy allows for the most effective communication.

I am a creative person, I enjoy hands-on activities such as sketching, rendering, and building. I am always eager to refine my skills. I’m extremely interested in people and where they come from. I feel most fulfilled traveling to new places and learning about different cultures. I spend most of my time outdoors doing physical activities. I will always strive to be open-minded and excited about new opportunities.

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Gabriel Yingst ARCHITECTURE STUDENT

Mobile: (515) 971 9962 Email: gkyingst@iastate.edu Instagram: gabe.yingst

Education Woodward-Granger High School | Woodward

2015 - 2019

Des Moines Area Community College | Des Moines

2018 - 2019

Iowa State University | Ames 2019 - present

Experience Providence Finish Carpentry | Woodward, IA 2016 - 2017 Learned finish carpentry, trim, install doors, and build stairs.

Mike Hupp Construction | Perry, IA 2018 - 2018 Assisted in demolition and rebuilding a home, skills learned included framing, drywall, and roofing.

The Plumbing Company | Urbandale, IA Operated skid loaders along with other heavy equipment. Was involved with roughed in plumbing and finish plumbing. Learned how to properly use most power tools.

2019 - 2020

Wasabi | Ames, IA 2020 - 2021 Prepared all foods on the line including sushi. Was also involved in food prep.

Original Appearance Manufacturing | Ames, IA 2021 - present Cut, trim, and sand precision-molded quick covers for rusted vehicles.

Gabe’s Lawn & Landscape | Ames, IA 2022 - present Self owned business. Managed over 20 clients needs ranging from mowing, landscaping, and design services.

Software Skills Photoshop Illustrator Indesign Rhino Grasshopper Revit Lumion 3

BISON PAVILION TYPE: LANDSCAPE ARCHITECTURE SITE: WINTERSET, IOWA

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Project Description The Bison Pavilion, located outside Winterset, Iowa, in the Holliwell River Valley, is a repurposed structure designed to serve as an observation shelter for a proposed Bison Paddock.

The pavilion seamlessly blends with the surrounding landscape by reusing materials from a preexisting corn crib and barn on the site.

Situated above a prairie grass field where bison graze, the pavilion’s roof slope mirrors the hill’s natural grade, allowing it to harmonize with the land. Inside, visitors have two options: a corridor leading to the land or a series of shoots to the observation area. The pavilion’s façade, inspired by the corn crib’s design, promotes ventilation. This design ensured the preservation of corn and prevented mold formation.

The Bison Pavilion’s purpose goes beyond providing an observation experience. It aims to restore balance to the native ecosystem by advocating for the reintroduction of bison. Bison grazing behaviors benefit the land, allowing plants to grow back healthier, while their hooves aerate the soil and distribute seeds.

The project aims to raise awareness about the significance of these majestic animals in restoring the native ecosystem’s health and promoting sustainable land management practices. It serves as a reminder of the intricate interdependencies between wildlife, landscapes, and human communities and highlights the importance of preserving and coexisting with the natural world.

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FOUNDATION INTERIOR SLATS INTERIOR DOORS CRIB LADDER FRAMING CRIB DOORS CORN CRIB ROOF

Exploded Iso Diagram of Corn Crib.

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Material Culture The barn and corn crib are utilitarian in nature. These structures are found everywhere throughout the Midwest. Although their construction is not unique, they bear the mark of the time. They carry a sense of tradition and a way of life.

The structures bring the observer closer to the land and the community they feed.

The materials used to construct the barn and corn crib were determined by Access, Affordability, and Durability.

Framing/Siding: The wood used to build the barn and corn crib was sourced from Washington. The wood arrived by train to Winterset and was moved to site South East.

Wood was a popular building material at the time of construction. Pine was most likely used because of its abundance and workability. The aesthetic of the material was optional while the structural soundness was the main focus.

Roof: The roof of both structures are made up of galvanized steel. The steel most likely came from a steel mill transported by trains. Galvanized steel is used for most modern-day barns and corn cribs because of its lifespan and durability. Although the price was expensive up front, the roof would pay for itself by protecting countless crop yields. Underneath the steel roof are remnants of the previous shingle roof. Shingles were more desirable in some cases because they were waterproof and would sweat far less than steel roofs.

Concrete: Concrete was commonly used for foundations. One of the desired qualities of concrete is its versatility for custom jobs.

The farmer was most likely doing most of the labor. This included formWWing, mixing, placement, and finishing.

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Exploded Iso of Bison Pavilion.

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Elevation Drawings of Bison Pavilion.

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Observation Area

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Hallway Leading to Field

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MUSEUM X

TYPE: MUSEUM ARCHITECTURE SITE: LINCOLN PARK, CHICAGO

LA 211 401 ARCH BISON PAVILION MUSEUM TYPE: LANDSCAPE ARCHITECTURE TYPE: MUSEUM GALLARY SITE: IOWA SITE:WINTERSET, LINCOLN PARK, CHICAGO

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Project Description Museum X is located in Chicago, Illinois, along the East shore of the North Pond in Lincoln Park. Spanning 30,000 square feet, this museum features historical and contemporary art galleries, showcasing artifacts that confront uncomfortable truths and examine the influence of violence on our physical environment.

The design emphasizes distinct areas for public and private collections, ensuring a clear front and back of house. With attention to structure and lighting, the museum creates an immersive experience for visitors to engage with the exhibits.

Rather than glorifying violence, Museum X provides a space to explore unresolved issues and the forgotten remnants of systemic problems.

Its minimalist exterior, marked by a contrasting monolithic tower, captures attention. Inside, visitors journey through light-filled galleries with wood accents, gradually descending into deeper levels where controlled lighting and disturbed concrete surfaces convey a sense of unease.

The linear museum experience encompasses four main galleries, each presenting a distinct narrative. As visitors progress through the final gallery, they are greeted by a release of light from the tower’s top, symbolizing hope and transcendence.

Museum X aims to prompt reflection and dialogue, ensuring that unsettling aspects of human history are not forgotten. It challenges visitors to confront uncomfortable truths and explore a deeper understanding of the impact of violence on society.

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Exterior Concept Sketches

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First Proposal for Museum

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Experimental Concrete Casts

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Gallery Concept Sketches

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Courtyard Exterior Sketch

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East / West Elevations

Sections of Galleries

Exhibit #3

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Exhibit #4

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Transition to Tower

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Perspective of Eastern Entrance

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ISTANBUL

TYPE: CITY STUDY SITE: ISTANBUL, TURKEY

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Drawing Exploring Form, Density, and Stratification of Istanbul

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Project Description This project is a research-focused studio that cross-references the histories, fiction, and physical artifacts of Istanbul. We studied the city’s cosmologies and mythologies, its cultural and spatial layers, pockets, overlaps and hybridities, disruptions, and regime changes throughout its history. Finding evidence within urban and architectural scale artifacts as well as its literature. Identifying a loose thread to pull on in the physical and fictional fabric of the city. The project uses drawings and models to uncover what is latent and discover what is possible. Using tools to make visible what is invisible. Giving voice to stories that are present but unheard through an architectural idiom.

Istanbul is an ancient city that rests on two continents. The architectural landscape is built layer upon layer of pre-existing empires. It feels like a tear in time that never truly heals.

Its scars cover the landscape. It is ever past, ever present, and ever future. After traveling to Istanbul, I realized many complexities about the city I would not have otherwise.

The first project in this exploration focuses on the ambiguous border between ground and built environments, shedding light on the ancient ruins that lie beneath the city’s surface. Through drawings and models, the project exposes the hidden layers of Istanbul’s architectural history.

The second project delves into the diverse lives of people living in the same place. While much of the city’s activities unfold on its streets, this project delves into the private lives of its inhabitants, unearthing the stories and experiences that often go unheard.

The third project centers around the Suleyumaniye Complex as a significant node within the urban fabric. Exploring its influence on the surrounding environment, the project investigates the complex’s role in shaping the city’s cultural and spatial dynamics.

The final project zooms out to an urban scale, focusing on an archaeology site that carves into and under the plinth of the Suleyumaniye Mosque. This threshold becomes a powerful metaphor, representing the intersection between the past and present, where layers of history and contemporary life converge.

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Model Concept Sketch

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Memories from Istanbul / Model Sketch

10 8 Research Notes on History and Architectural Landscape 10 Mapping the Different Typologies of Istanbul

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Model Derived from Initial Drawing

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Exposing Aqueucts Beneath Istanbul

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Illuding to the Interiority of Istanbul

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Model Exploring Interior of City

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Labrynth Hidden Beyond the Facades

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Suleyumaniye Location in White

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Photo of Approach to Suleyumaniye

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Suleyumaniye Represented as Node in Circuit Board

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Sections Exposing Gradation Change of Suleyumaniye Complex

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7’ Model of Stores Built Into Suleyumaniye Foundation

Mock Up Entrance to Final Project

Section Sketch of Architectural Intervention.

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Concept Threshold Drawing, Door is Elevated Above Worn Marble

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Model Exploring Entrance of Site

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Ancient Steps Entering Escavated Site

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Urban Scale Detail

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Interior Perspective of Threshold

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Transition Inside Escavation

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UTILITARIAN CHURCH TYPE: EXPERIMENTAL DRAWING SITE: AMES, IOWA

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Project Description The site of this project is a Utilitarian Church in Ames, Iowa. The prompt for this class was to create a singular drawing while having access to plans, perspectives, and elevations. Once a week, for three hours, we continued to develop these drawings. The goal was to create an experimental drawing that revealed or abstracted the site through the line’s contingency.

The church is communicated through the plan rather than materials. I found myself drawn to the volumes that made up the sanctuary. The curved walls, natural light, and oculus were powerful elements that created a sense of intention. The space felt nondescript and pure. It did not appear to be affiliated with any particular religion but felt spiritual. I began my analysis of the space through quick gestural drawings. In some cases, gestural drawings capture the essence of space better than literal interpretations. Literal interpretations can have beautiful qualities; they often sacrifice emotive qualities. Spirituality already has metaphysical qualities that cannot be defined literally. So I needed to approach this project by abstracting forms to allude to a greater sense of being. An exploration of the spaces that exist beyond our limited perspectives.

Rather than working on a single detailed drawing all semester, it was more important to ideate and experiment until I captured the desired elements that felt true. Working on a single drawing for more than a couple of days is difficult. I feel compelled to complete numerous iterations of the same subject to truly understand the physical and sensed space. In each class, I would draw something completely different to avoid definitions. My final drawing is the culmination of all of these gestural exercises. I began by transferring edited prints of the church into a composition that allowed interpretation. From there, I used a series of volumes to create dimensionality. This dimensionality inferred the depth of the 2D plans. I then used graphite and charcoal to establish atmospheric qualities.

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Gestural Drawing of Sanctuary

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Final Drawing

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