John Coats // Portfolio

ARCHITECTURE + DESIGN

JOHN COATS

01VILLA 31 PLAZA 01-06 02TESLA MUSEUM 07-12

ACADEMIC

03BREAKWATER GENERATOR 13-14 04IDENTITY EXERCISE 15-18 05PHOENIX LIBRARY 19-22 06CANOE WORKSHOP 23-26 07SANTIAGO APARTMENTS

PROFESSIONAL

27-32 082400 CENTRAL 33-36 09RIVERPOINT 37-40

JOB HISTORY

OZ ARCHITECTURE Denver, Colorado | January 2020 - Present Architectural Intern

UNIVERSITY OF COLORADO BOULDER Boulder, Colorado | August 2015 - May 2016 Teaching Assistant (TA) for Junior Planning Studio Under Stacey Schulte

TRIVERS ARCHITECTURE Denver, Colorado | August 2019 - January 2020 Architectural Intern

UNIVERSITY OF COLORADO BOULDER Boulder, Colorado | January 2016 - May 2016 Teaching Assistant (TA) for Sophomore Planning Studio Under Joni Palmer

CORE STATES GROUP St. Louis, Missouri | January 2018 - August 2019 Architectural Intern MINTON HOMES LLC St. Louis, Missouri | May 2017 - January 2018 Project Manager Intern OZ ARCHITECTURE Denver, Colorado | May 2015 - August 2015 Architectural Intern EDUCATION

NAME John David Coats

BIRTH 05 | 07 | 1994

WASHINGTON UNIVERSITY in ST. LOUIS St. Louis, Missouri | Graduated 2019 Degree: Master of Architecture Candidate UNIVERSITY OF COLORADO BOULDER Boulder, Colorado | Graduated May 2016 Degree: Bachelor of Environmental Design | Specialization: Architecture

CONTACT johndcoats@gmail.com

719 338 2465

SOFTWARE LEADERSHIP ENVIRONMENTAL DESIGN PROGRAM , CU BOULDER Boulder, Colorado | August 2014 - May 2016 AND COMMUNITY Peer Leader ENGAGEMENT ENVIRONMENTAL DESIGN PROGRAM STUDENT GOVERNMENT Boulder, Colorado | January 2015 - May 2016 Class Representative | Junior and Senior STUDENT ALUMNI ASSOCIATION, CU BOULDER Boulder, Colorado | January 2014 - April 2015 Head of Advertising | Leader of Student Alumni

REVIT AutoCAD Bluebeam REVU Enscape InDesign Photoshop SketchUp Rhino 3D Illustrator V-Ray

BOY SCOUTS OF AMERICA Monument, Colorado | August 2006 - May 2012 Eagle Scout | Rank AWARDS AND DISTINCTION

DEANS LIST University of Colorado Fall 2013 | Fall 2014 | Spring 2014 | Fall 2015 SCHOLARSHIP Society of American Military Engineers 2015 Society of American Military Engineers 2017

PERSONALITY MYERS-BRIGGS PERSONALITY TYPE ENTJ | Extraversion Intuition Thinking Judging Driving Organizer. Planner. Vision Focused. Decisive.

Initiating. Conceptual. Strategic. Systematic. Assertive.

Critical. Logical. Organized. Pursues Improvement and Achievement.

//BA COLOR

//PLAZA LAYOUT

A large portion of the design is focused on the introduction of color in the structure derived from areas in Villa 31. The colors arranged on the tensile poles originate from the above photographs taken early in the design process.

The plan of the plaza is set up to create a large portion of space dedicated towards public weekend markets and events. A sports area and classroom spaces are covered with the tensile structure providing shelter year round. Trees and grasses are introduced on the edge of the plaza.

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CLASSROOM 1

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STORAGE

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CLASSROOM 2

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RESTROOM

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LOCKER ROOM

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LOUNGE

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THEATRE AREA

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SPORTS FIELD

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OPEN FOR MARKET

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5th SEMESTER M.Arch

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VILLA 31 PLAZA

INSTRUCTOR: Gustavo Cardon Geraldo Caballero

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DESIGN CHALLENGE Villa 31 is an informal settlement in downtown Buenos Aires. With hundreds of pop-up living arrangements there lacks an area for the community to organize in and adapt around. This project is a proposal for a plaza with a sports area and classroom spaces to improve the surrounding community.

Buenos Aires, Argentina

Rhino + V-Ray + Photoshop + AutoCAD

02

SECTION A

//TENSILE DETAILS These following details are comprehensive drawings that demonstrate the constructibility of the tensile structure and “gem” buildings.

Low-budget construction was intended for this final design considering the informal settlement it is designed for.

DETAIL OF END OF SECTION B

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TENSILE TETHER

DETAIL A

METAL FASCIA

CONT. TPO MEMBRANE

175x70x90 MASONRY

ROOF SHEATHING

METAL WINDOW FRAMING

SECTION C

100 mm RIGID

DOUBLE GLAZING

50 mm CONCRETE 50 mm AIR GAP 20 SHEATHING WEATHER BARRIER STEEL FRAMING BATT INSULATION AIR BARRIER GYPSUM WALLBOARD BRICK EDGE

//PLAZA SECTIONS The space created under the tensile structure has a uniform width on the short end, but the long ends create a taller canopy effect as the poles become taller towards the middle. The individual “gem” buildings are shifted towards the east end of the plaza near the busiest street corner. Pole heights are competitive with surrounding building heights.

25 mm GRAVEL DRAIN PIPE BRICK PEDESTAL

TENSILE SYSTEM | BUILDING INTERIOR

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AutoCAD + Photoshop

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//PLAZA MARKET Part of the program was the inclusion of a space for popular weekend markets. The markets are only temporary, but vital for Buenos Aires culture. The shaded plaza created the opportunity to house many market stalls during all forms of weather.

//PLAZA LIGHT //PHYSICAL MODEL Making a ďŹ nal model was important to this project to help visualize the density that support cables would create.

Between the poles and the cables there were new opportunities to move into and from underneath the shade of the canopy.

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Slits in between the sheets of tensile fabric let light ow under the canopy. Stadium seating occupies the rear of the plaza with a Brisole shading the occupants from the intense norther sun of the southern hemisphere.

Hand Modeling + Rhino + V-Ray + Photoshop

06

//INTERIOR SPACE Quality space is generated by using the cones structurally and spatially. Reflecting the cones on the roofscape create areas of refuge for visitors as well as creating new spatial situations.

A photo below demonstrates how the cones are no longer for holding soil, but also a place for people to relax and enjoy the structure.

1 Positive Output 2 Negative Output

//TESLA ENERGY CREATION A series connection from a piece of earth to the next can create an electrical current for use in the building. An experiment below demonstrates how a simple series circuit can be used in the green roof of the building.

3 Earth 4 Zinc Rod 5 Copper Wire 6 Plastic Division 6

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3 2 4

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//MUSEUM PLAN Spaces in the building are centered around unique exhibits floated around the main floor and up to the second. A tower exists on the south side of the building where office space and private areas for the function of the building are located.

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ENTRANCE

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LOBBY

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AUDITORIUM

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LIBRARY

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TICKETS

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RAMP LVL 2

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COURTYARD

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EXHIBITS

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RESTROOM

//SPACE DEVELOPMENT

B

Above is the second version to the roof assembly and column order. Each unique piece holds enough earth to generate electricity. Some of the cones remain empty to allow light and air to move into the spaces below.

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4th SEMESTER M.Arch

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TESLA MUSEUM

INSTRUCTOR: Sung Ho Kim

DESIGN CHALLENGE This museum design is focused on using a technology of Nikola Tesla’s to produce energy for a portion of the building. Exhibits in the museum focus on the achievements of the famous thinker and his work. Situated in NYC, the building will be heavily visited and seen.

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Bryant Park, NYC

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LVL 1

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SketchUp + V-Ray + Photoshop

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SECTION A

//SECTION QUALITY A ramp to the roof creates space in response to the building taking up valuable public park area. Sq-ft is added to the park by using this technique. Limiting the building to five floors allows the park to function as before as light and air still flow through the spaces. The green roof rolls all the way up the ramps and onto the top of the tower.

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SketchUp + V-Ray + Photoshop

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//MODEL TAKE AWAYS The importance of the roof cones and the view ports of the tower were realized with the model. Texture and depth are developed with the use of the cones on the entirety of the skin of the green roof and a language is created from the park ground where the cones start and all the way up to the tower where they turn in orientation.

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//INTERIOR ASSEMBLY

SECTION B

The quality of the interior is seen in the punches the cones make in the roof. Added glazing to the cones let the interior space become engulfed in the surrounding park exterior.

Interior exhibits and furniture are created with the cone shape theme.

Hand Modeling + SketchUp + V-Ray + Photoshop

12

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These drawings articulate the various paths rope will be placed inside the 4’ cubes as to promote growth of life on the hemp rope.

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CONCRETE Calcium deposits in concrete promote the growth of underwater sea life. Crustaceans and corals are able to easily grow on concrete surfaces.

HEMP ROPE Hemp is a natural material. When placed underwater muscles and oysters are able to latch onto the rope, which then promote healthier ocean water and rapid reef growth.

30’ CUBE

8th SEMESTER UG

03

BREAKWATER

INSTRUCTOR: Neal Evers

DESIGN CHALLENGE The City of Santa Monica would like to incorporate a “Land Art Generator” off of the local pier. The art piece must be environmentally friendly and produce energy for the pier in a environmentally clean way. An old breakwater sits next to the pier, and the city urges contestants to build the breakwater back up with their design.

Santa Monica, California

DISTRIBUTION BOARD

10,875 Ib each Total of 10 cubes

4’ CUBE

30’ Cube

DC/AC INVERTER

18 Ib each 1 layer covering original breakwater

4’ Cube

30’ CUBE

ROCKS

30’ CUBE

SAND MOUND PV CELLS

PV CELLS

OCEAN FLOOR

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SketchUp + V-Ray + Photoshop + Illustrator

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//PLACE The San Juan exercise started with my re-design of a floor plan for a local one family house. Playful style is used to emphasize the idea of home and place.

Locality of expressed with the furniture chosen as well as the abundant vegetation.

3rd SEMESTER M.Arch

04

IDENTITY EXERCISE INSTRUCTOR: Monica Rivera

Don Koster

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DESIGN CHALLENGE This brief exercise was based on the foundation of identity. Looking at Halifax and San Juan, two projects were produced that focused how to represent the idea of “place” in one image. The two images produced are accompanied with background information represented with a hand drawn floor plan (SJ) and drawing of local vernacular architecture (Halifax) San Juan, Puerto Rico Halifax, Nova Scotia

//ONE VIEW Through a series of three iterations I created a single view of from an apartment unit looking out. The goal was to capture “San Juan” in one image by combining architecture and surroundings. Air flows freely through the unit and brings San Juan into the space.

Hand Drawing + SketchUp + Photoshop

16

//VERNACULAR HALIFAX These small diagrams work at capturing fundamental typologies of local architecture and design to Halifax. Gabled roofs, board and batten siding, cedar shake siding, and a culture of wood burning fireplaces with chimneys are four typologies I was able to use in a single view of a building I designed next (see following page).

//CONCEPTUALIZATION One single composition was created to embody Halifax in an architectural space.

The apartment complex is placed in the Halifax harbor and contains the same four typologies as discovered previously. This building could only exist in Halifax.

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Illustrator + Hand Drawing + SketchUp + Photoshop

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//GROUNDING

//SPATIAL FLOW

Heavy walls ground the library in the sandy soil of Phoenix. The walls allow for a space underneath the main floor where people can read, relax, or just move through the space in order to get onto the trail.

The library is entered from the trail, but the entrances and building are floating just above the surface of the trail. Movement inside is based on the curved walls, which shape the spaces. Light and air move through the curved walls in between the gaps, which form in the construction of the curve. Nooks for reading are formed at every turn of the space.

OUTDOOR SEATING AREA

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RAMP LVL 1 ENTRANCE/TRAIL

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REAR LVL 1 ENTRANCE

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PARKING

GROUND FLOOR

ENTRANCE RAMP

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RESEARCH STACKS

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ENTRANCE

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COMPUTER SPACE

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LOBBY/SHOWCASE

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TEAM ROOMS

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GENERAL STACKS

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TEEN STACKS

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PERIODICALS

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CHILDREN AREA

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WC

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EMPLOYEE AREA

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LECTURE SPACE

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OFFICES

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OUTDOOR SPACE

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MEETING ROOM

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REAR WALK UP

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LEVEL 1 14 14

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2nd SEMESTER M.Arch

DESIGN CHALLENGE A neighborhood in Phoenix, Arizona is in need of a new branch library to be located in a nearby park. The library is in conjunction with a canal and walking trail. Design’s must respond to the canal and path and serve the neighborhood and the people using the trail.

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Phoenix, Arizona

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OUTDOOR SEATING AREA

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RAMP LVL 1 ENTRANCE/TRAIL

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REAR LVL 1 ENTRANCE

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PARKING

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INSTRUCTOR: ELENA CANOVAS

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AZ LIBRARY

GROUND FLOOR

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1”=16’

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AutoCAD + Illustrator

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03SPATIAL CHANGE The sections show the strength of the curved walls and the light and air they offer for the spaces inside. While walls curve through the building, they produce movement to the interior where visitors move along side the walls and can see outside onto the Phoenix landsape underneath and around the library.

SECTION A

SECTION B 1/8”=1’

SECTION C

SECTION B

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1/8”=1’

Photoshop + Rhino + Hand Modeling

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01SITE SELECTION 2nd SEMESTER M.Arch

06

WORKSHOP

INSTRUCTOR: Lavender Tessmer

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02BROAD STROKES DESIGN CHALLENGE The project involved picking something of personal interest to inspire a set of digital drawings to expand on the idea of architecture representation. The drawings above are inspired by a favorite book of mine; The Survival of the Bark Canoe. This is a design for a bark canoe craftsman’s workshop.

Wilderness Location

V-Ray + Photoshop + Illustrator

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03CLOSER LOOK

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04WORKSHOP DETAIL

V-Ray + Photoshop + Illustrator

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//FLOOR PLAN Unique angled walls create an indoor space that can be manipulated into rooms for multiple purposes. The wall angles allow sun to enter the apartment throughout the day and they help create a special atmosphere bringing the Santiago climate and light inside. Curtains are used throughout the units to change spaces into different levels of privacy with varying levels of light when desired.

1/4”=1’ TYP. UNITS 2nd AND 4th FLOOR

//SPATIAL CHANGE 3rd SEMESTER M.Arch

07

SANTIAGO

INSTRUCTOR: Emiliano Lopez

27

DESIGN CHALLENGE The project is an apartment located in the unique city of Santiago de Compostela. The apartment must fit into its surrounding historic buidlings as the city maintains a historical look and feel. Place in mind surrounds the project from begining to end.

Santiago de Compostela, Spain

The rooms are not set specifically as “family room”, “bed room”, or “living room”. The rooms are spaces that can be set with function depending on the furniture inside.

Tenants with different needs can make each room work for their purposes.

AutoCAD + Illustrator

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//INTERIOR It was important to bring the local atmosphere of Santiago inside.

A calming light and breezy interior can be felt most the year with the Santiago rain’s being readily experienced inside. Each space is unique and can be used in many ways depending on the tentant.

//ELEVATIONS Local materials of stone and wood were used to blend the building into its local context. The use of a galleria, a glass room that helps with thermal changes during the year, is a local architectural strategy they this apartment modernized for its use. Thick stone walls sit close to the glass for thermal properties used during the year. The windows can be opened wide to allow air to circulate through the building.

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SketchUp + V-Ray + Photoshop

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//TECHNICAL STUDIES Understanding the importance of comfort when designing seating and table tops helped determine the dimensions of the stools and tables that were made. To provide more functionality, the stools are able to lie down and turn into a 2-3 person bench with space to store backpacks. The desks can be pushed up to the benches in order to create a back rest for sitting persons.

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//MODELING The sections show the strength of the curved walls and the light and air they offer for the spaces inside. While walls curve through the building, they produce movement to the interior where visitors move along side the walls and can see outside onto the Phoenix landsape underneath and around the library.

SketchUp + V-Ray + Photoshop + Hand Model + 3D Printing

32

//MASSING

//FLOOR PLAN

Central Ave to the west creates a strong axis for the building to be placed against. The Central Ave axis and a neighboring building to the south form the office space into a classic L. The L Shape creates opportunity for a large amount of on-site parking and views to the mountains in the west.

Circulation within the building is based around the three stair cores and the elevator bay in the bend at the elbow. Exterior patios are worked into the lvl 2 & 3 plan so tenants have chances throughout the day for convenient breaks outdoors. Large open spans in the floor plan allow for the core + shell to be efficiently outfitted for the tenant. 

SKIN SWAP

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 







 



 

 





lvl 1

  













 



 

   







     

 

  



  

 



 



 













 



 











 





 



 

 

 



  



 

 





 













 

 



  

lvl 2

 











      





 

 



 





 

 

 



 



 



  



   

 

 

 





 

 



 

  



 

  









 











 

















 

 



 

 

 









 

 









 

 







 

       

 



 

         

 

    

 



 

 

 



  





 



















   





 

 







 



 

 

 







 





   









        

 



 





06 EXTRUDE GLAZING















 





05 REVEAL TRANSPARENCY







 

 







 



04 DOWNSHIFT FACADE





  

TER

E







 





CE

RA

TERRAC

ELE





  

 

ROOF

S CO GLAS



VATED VIEWS

OCCUPY

 

  



RNER





 



EXTEND

ENTRY





 

 

DE



 

   

 



                           

 

FACA

TRANSP ARENT





 

 







SHIFT

DOWN



 



 





03 SLIDE PLATES





 











 



02 SLICE FORM



 





01 DEFINE MASS 

   

 

A

FR

 

 

G

 

 

GLAZIN

 





 

 



S

IEW

V ME







MERGE

 





 



”

250’-0









 



250’-0”



 

 













  



 

 



 

 







BLOCKS



OFFSET

100’-0”

 

”

100’-0

  













   









//SYSTEMS & STRUCTURE OZ ARCHITECTURE

08

2400 CENTRAL

This diagram exercise explains to the client how to expect structure and systems to interact with one another through the 3 levels in the building.

HVAC units are placed on the roof behind a screen and ducts fold or turn around steel structure for air to be delivered evenly.

DESIGN CHALLENGE The client has hired OZ to create a Core + Shell office space in a traditional and “tired” office park. Two existing warehouses will be demolished for the new 50,000 sqft building that will be outfitted for one of the world’s leading tech companies.

Boulder, Colorado  



 



33

        

        







  

        

 

   

 

   

    

 



         

AutoCAD + Illustrator

34

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    

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 

 

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  

Sectionally the floor plates work together to shade patios or windows below depending on the southern sun location.

Overhangs on the first floor shade passersby from rain, sun, and snow.

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                 

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  

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  

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  

 

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 

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 

  

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  

 



    

                     



 







   

 











  

 



         

 



   









  



 

 

 

 

 

 

 



 

 



  







 



 

 

  

  

 



 

 

 





  



 



 

 

  









//SECTIONS

 

 



 







 



  



 



 



  







 

 

 







 





 











 







 







 

























 



 

 



 



 

 



 



 



 

 

 



 





 





 



 

  

  

  

  

  

  

  

  

  

  







 









 



 





 



 









 







 





  



//ELEVATIONS







































   

    



















 

    





   













































  







   

  

 



  













Elevations were oversized important for this building as the skin is made up of interlocking concrete panels. Four modules make up the facade and each module has a different width to create “play” with the facade. Between the storefront glazing and panels used in the facade, there is a wide range of variety to look for.

35

Enscape + Revit + Photoshop

 

 

 

 

  



36

//MASSING DRAWINGS | DESIGN LOGIC

The Platte River to the east creates a prominent source of views and openness unique to the site. The diagrams below show how the new massing can and bring in the Platte river to the indoors. Fenestration in the facade creates | open D E Sup I Gto N the L Oeast GIC this sense of openness and an interesting facade.

DRAWINGS

01_EXISTING

02_MAX BUILD OUT PER ZONING

03_RESPONSE TO EXISTING FACADE OPENINGS

04_CONFLUENCE RESPONSE, ENGAGE 15TH ST WITH ANGLE/VOID

01_EXISTING

02_MAX BUILD OUT PER ZONING

03_RESPONSE TO EXISTING FACADE OPENINGS

04_CONFLUENCE RESPONSE, ENGAGE 15TH ST WITH ANGLE/VOID

      

     

 

      

05_PORTAL CONNECTION FROM EXISTING BUILDING OPENINGS

06_MASS SUBSTRACTION PER PORTAL CONNECTION; ACTIVATE UPPER LEVELS

05_PORTAL CONNECTION FROM EXISTING BUILDING OPENINGS

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







   



         

      

          



 

           

                                       

 

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          

08_COMPOSITE FORM        

07_SOLAR SHADING SCREEN; OPENINGS PER PORTAL CONNECTION TO EXISTING

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   



07_SOLAR SHADING SCREEN; OPENINGS PER PORTAL CONNECTION TO EXISTING

06_MASS SUBSTRACTION PER PORTAL CONNECTION; ACTIVATE UPPER LEVELS 







  

08_COMPOSITE FORM

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

 

 



JOHN COATS | WORK SAMPLES

 



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

 





 





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

  

JOHN COATS | WORK SAMPLES



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   



 

 

 



 





   



 



  

 

  

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  



 

  

 











 

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

  

  







 



  

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









 

 





 







 







  

 

 



 













  







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  

 



Denver, Colorado



  



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





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 

  

 





  



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















 



 

 









09

RIVERPOINT

DESIGN CHALLENGE An office space will wrap an existing historical building in downtown Denver. The challenge comes from the incorporation of the existing building into the new modern building for the client, which will more than double the existing sqft.

 



 



OZ ARCHITECTURE

Column order, wall thickness, and materials all interact with the historical portion of the building.

Glass is introduced in the addition and it plays a role in highlighting the existing structure while opening up to the surrounding site.

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//1ST FLOOR PLAN

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 

     

37

   

 

 



 





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



SketchUp + Illustrator

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

 

 

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 

 



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 



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 

  

 

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   

       

//SITE MOVEMENT

        

 

     

        

     



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

  

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

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 

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 



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 



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









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



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







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  LOT 1

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

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







       

 

P

 

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 







 

 



 





 

 

 









 













 









 







 

  































 



 

















  



































    













     





        



















  



  



P

     





P

    





  





 







 









 

  







 















LOT 18



      

 



LOT 17



   

LOT 16









LOT 15

 

 

   

LOT 14

 







LOT 13

P



 



LOT 12

 





LOT 11

   

        





LOT 10

 

          



 

     

LOT 9



 



LOT 8

 



LOT 7

P



 

  

 

LOT 6

P

     

 





LOT 5

     



 

LOT 4



   

     



LOT 3



   

   

 



LOT 2









 

 

 











 



 

 

 



  







 





With the new structure the site opens up and people are able to access areas and paths like never before. Green zones and new connections create more interesting walks for pedestrians.

   

     



  

























 











 

      

 











 







 







 



 

  



















     





















































   



  

 























































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  

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  

  

 

 

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  

 

   

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   

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   

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 

  

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     

 





  



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  

 

 The window modules are based on the existing windows around the brick facade. Dimensions from the windows are used in the concrete  panel modules and the curtain wrapping the envelope of most the facade. Fins used to shade were implemented in the south facing facade to help building system performance. 

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 

//ELEVATIONS

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  

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  

   

 

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  

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Enscape + Revit + Photoshop

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