Undergraduate Architecture Portfolio

J O N AT H A N W I L K I N S O N Portfolio of Academic Works - August 2015 Bachelor of Science in Architecture University of Cincinnati

RESUME jonlwilk8@gmail.com +1 (614) 598 2469 jonathanlwilkinson.com

E D U C AT I O N

P R AC T I C E

University of Cincinnati Cincinnati, Ohio. September 2011 - May 2015 Bachelor of Science in Architecture, Magna Cum Laude.

School of Architecture and Interior Design, DAAP, University of Cincinnati. University Honors Program Graduate.

Worthington Kilbourne High School Columbus, Ohio. August 2007 - May 2011 Graduate with highest honors.

EXHIBITION

Adrian Smith + Gordon Gill Architecture Chicago, Illinois. May - August 2014, December 2014 January 2015 Responsible for advancing two commercial pavilions for the Expo 2017 in Astana, Kazakstan, from concept to schematic design while making use of computational tools for Rhino to Revit interoperability; produced design options for surface panelization and a central atrium; contributed to drawing set for BIE approval, assisted in the production of physical models for client presentation.

Fearon Hay Architects Auckland, New Zealand. September - December 2013 Worked within a concept design team on private dwellings, hospitality, and commercial projects; created concept drawings and physical models; performed field verification and produced as-built drawings; assisted in production of competition renderings.

2015: DAAPWorks. Cincinnati, Ohio.

2015: Rethinking Burnet Woods. Niehoff Studio, Cincinnati, Ohio.

2015: Final Friday: Brick Flicks. Over the Rhine, Cincinnati, Ohio.

2014: 014 Storefront Studio. Cincinnati, Ohio.

2013: Photographer’s Forum Magazine: Best of College & High School Photography.

SKILL

Software Revit; Auto CAD; Rhinoceros; Grasshopper; SketchUp; 3D Studio Max; V-Ray; Maxwell Render; Arduino IDE; Adobe Photoshop, Illustrator, InDesign, Premiere, After Effects.

Hand Model building, wood working, metal working, sewing, lost wax casting, sketching, rendering, book-binding, watercolor, gouache, drafting.

Gensler Chicago, Illinois. January - April 2013 Collaborated with modeling consultants and produced laser cut and 3D print files for physical models; produced design options and schematic design renderings, collected research on Chicago building stock for adaptive reuse initiative.

COMPETITION

2015: Departure, 48 Hour Film Project.

2015: Wienbola, Wien Musuem Neu. Vienna, Austria 2014: Faux Forest, Nature Observatory of Amazonia.

2014: Architectural Congress of Ohio Pavilion. Kent, Ohio. Awarded Honorable Mention

Rapid Prototypying 3D printing, laser cutting, vacuum forming.

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PROJECTS

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10

WIENBOLA

T H E WA L L

Wien Museum Neu Competition Entry

A proposal to re-organize the Berlin Wall Memorial site.

Vienna, Austria.

Bernauer Strasse, Berlin, Germany.

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POOLHOUSE

A PERISCOPE CINEMA

A tectonic exploration in section.

Architectural construction

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CIRCUIT

LANTERN

Public installation

Temporary construction

Burnet Woods, Cincinnati, Ohio

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WIENBOLA vienna, austria

Wien Museum Neu Competition: Entry No 88077

01 | view from LothringerstrĂ&#x;e

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02 | Karlsplatz plan

03 | Karlsplatz elevation, propsoal on left

URBAN RESPONSE

Karlsplatz today represents an inherent shift in the framework of the city; a meeting of spatial, institutional, and social ideals.

This proposal draws upon the landscaped ellipses in Karlsplatz and their ambiguous relationship to the adjacent buildings. Our goal is to subvert this opposing relationship to create a legible interaction of landscape and built environment, people and institution, and engagement of the past, present, and future. A sunken plaza seeks to establish the museum’s presence on the square, creating a programmable extension of the museum into the public sphere.

04 | 1:500 physical model-oak, cedar, chipboard, spray paint

Work completed with Ryan Ball and Kyle Winston.

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07 | facade downshot

08 | gallery interior

05 | louvre detail

FAC A D E

Algorithmically oriented louvers on the addition respond to varying solar exposure on the building’s rounded façade, offering even, diffused light to the gallery and exhibition spaces.

06 | sun angle diagram

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C I R C U L AT I O N

The elevated pedestrian bridge allows for movement between the Haerdtl building and proposed addition. Inside the addition, the bridge is registered as a slice through the building volume and provides vertical circulation and access to the temporary exhibitions as well as art display.

Patrons ascend through the slice to a framed view of Karlsplatz before being turned to face the Haerdtl building and permanent collections.

10 | view through to Karlskirche

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09 | lobby

11, 12 | 1:500 physical model

13 | grand stair

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01 | no man’s land: the wall and the death strip

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THE WALL berlin, germany

“n e i g h b o r s , f r i e n d s , a n d r e l a t i v e s w e r e s e p a r a t e d f r o m o n e a n o th e r. th e h o u s e a c r o s s th e s t r e e t w a s s u d d e n l y p a r t o f a n o th e r p o l i t i c a l s y s t e m . ”

1

Project completed following a travel abroad studio in Western Europe.

1961 - 1989: The Death Strip divided a city into East and West.

1 http://www.berlin.de/mauer/gedenkstaetten/berliner_mauer/index.en.php

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2015 The current Berlin Wall Memorial site is littered with artifacts as a factual preservation of history but does little to evoke an emotional response. An insertion, a circle, bounded between two walls, attempts to capture the tension the wall created.

The effect of registering the presence of others without direct contact is achieved by using a one-way mirror.

02 | site plan

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03 | cross section + cross vision

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is there anyone there?

WEST

04 | seeing and being seen

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After the wall was erected, its presence disappeared into the Everyday of the life going on around it. This feeling of “sameness� lasted until demolition in 1989 and only then was the impact the wall had on life in its city fully realized.

In a sequence marked by a beginning, middle, and end, the magnitude of this psychological scar is realized without knowing it.

EAST

05 | plan diagrams

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POOLHOUSE tectonic exploration

01 | tectonic study model

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02 | plan

PLUNGE

A pool house is multi-sensory: incorporating a sensual program with changes in temperature, clothing, lighting, and acoustics.

A series of distinct spaces are threaded together with a corridor that acts as a lens to the program with a specific focus on the plunge experience. The pool house becomes as much an exhibition of its own program as well as the human body.

The corridor’s structural grid creates a rythym reinforced by the movement of visitors passing in and out of the ground plane as they move between pools. The structural grid overexerts itself as visitors approach the plunge pool.

03 | plunge experience

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04 | longitudinal section PROGRAM 1 2 3 4 5 6 7 8

corridor women’s changing men’s changing aromatic pool sauna plunge deck plunge pool lap pool

05 | axon

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06 | 1/2” = 1’-0” sectional model (paper, fabric, wood, mdf, acrylic, steel)

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07, 08, 09 | model details

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A PERISCOPE CINEMA a n d th e s t o r y o f l i t tl e r e d r i d i n g h o o d

01 | architectural construction

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an exercise exploring architecture as frame b e g a n by p u r c h a s i n g a p r i n t f r o m th e th r i f t s t o r e , $ 2 0.

02 | original - the image of grandma’s cottage is saccharine

V OY E U R

A Google image search of the words “Grandma’s Cottage” led me to images of the story of Little Red Riding Hood in which the wolf succumbs to his temptation for Red and what is inside the cottage, Grandma. Looking through the periscope, you are the wolf, a voyeur, seeing the figure [of Red] standing before the house. When viewing under the cloth, you are safe from being discovered.

03 | process images are pasted onto the sides of the construction

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04 | extruded from the front face of the box is the projection apparatus and periscope

C I N E M AT I C

The first manipulation of the original print (not shown) represented the cottage as a box with its top face hinged open to reveal a darkness inside. As it evolved from painting to drive-in to cinema (fig. 05), the image of Grandma’s Cottage is projected onto the inside of the box.

05 | representation - grandma’s cottage reveals itself to the viewer at a drive-in cinema

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06 | diagram - the inner workings of the box

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07 | image - a slide projection of the original painting appears through the periscope

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CIRCUIT between presence & absence

An installation in Burnet Woods, Cincinnati, Ohio April 2015

01 | installation: South entry

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“you feel a s if you’ ve touc h e d th e h e a r t o f th e p lace. th at’s a way o f u n d er s t a n d i n g. se e i n g so m e th i n g th at you n eve r saw b e fo re, th at was a l ways th ere, bu t you we re bl i n d to i t .”

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a n dy g o l d s wo r t h y

02 | installation: South elevation

I N S TA L L AT I O N O N T H E WAT E R

The project celebrates the simplicity of a floating white balloon with a focus on an installation around the water in Burnet Woods, Cincinnati, that marries the flâneur with the walking path around the pond. A five month process of on-site prototyping became a way to read the site and understand the transformative power of the balloon as it relates to site and self.

Work completed with Arian van der Aar and made possible with the efforts from close friends and generous volunteers.

03 | the setup for the installation became a catalyst to generate conversation

with locals who were passing through or fishing at the site.

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04 | site plan - design for the area around the water

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T H E I N S TA L L AT I O N WA S O P E N T O T H E P U B L I C , A P R I L 1 0 -1 1 , 8 -1 0 P M

Low-height balloons placed at the water’s edge created a strong reflection visible from the path across the water.

Artificial lighting around sections of the water was not able to be turned off. Earlier prototypes determined the lights were too bright and challenged the illumination from a balloon. Balloons were placed so as not to compete with these lights and to create a connection across the water.

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05 | installation: West elevation

06 | installation viewed from the adjacent road, April 11, 2015.

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07 | concept visualizations were used to help communicate

the project intent to the Cincinnati Park Board.

08 | prototype - March 02, 2015

ON-SITE PROTOT YPING

Design decisions relating to balloon placement were made based on a series of on-site prototypes. Prototypes explored how balloons could articulate a relationship between the individual and the site.

The conditions in our permit prohibited us from placing balloons on the water during the installation. Later prototypes engaged with the pedestrian path around the water and responded to conditions along the water’s edge.

09 | installation - counterweight

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10 | wired balloons were controlled by an Arduino

11, 12 | sandbag counterweight and LED assembly (LED, resistor, 30 gauge

Uno mounted to a wooden switchboard

wire, rubber stopper)

13 | LED prototype

14 | balloon seal

15 | wiring diagram

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LANTERN cincinnati, ohio

The documentation on the following pages examines one of the spatial constructions created for the project entitled “Circuit.�

01 | upshot - lantern interior

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02 | frame - the top is open to the trees and sky

L ANDSCAPE OB JECT

Four aluminum posts were anchored to the existing boardwalk structure. The hoop was lifted into place then hung from these posts with metal chains.

The metal frame that supported the curtain was constructed from two 9’ semi-circles of rolled steel and one 3’ inner circle. Each semi-circle was laid into a wooden form and then welded together.

03 | welding the steel frame

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04 | the frame is hoisted into place

05 | the construction stands out against the natural landscape of Burnet Woods

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FIGURE

The lantern becomes an object on the water, framed by its own reflection. The fabric enclosure is animated by the movement inside and an occupant becomes part of the installation, backlit by the illuminated balloons.

06 | voyeur - a silhoutette is visible on the fabric enclosure

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jonlwilk8@gmail.com +1 (614) 598 2469 jonathanlwilkinson.com