Design Portfolio

JOHN BAGAROZY

SELECTED WORKS 2012- PRESENT

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JOHN BAGAROZY

913.907.5820 jbagarozy@gmail.com

It’s not what you look at that matters, it’s what you see.

-Henry David Thoreau

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TABLE OF CONTENTS 2028 OLYMPIC TRANSIT HUB

FLINT HILLS CENTER FOR

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CRAFT

SOL LEWITT FINE ART

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MUSEUM

WHOLE BODY CENTER

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LATVIAN TREKKING CABIN

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ARCHITECURE AND FILM

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2028 OLYMPIC TRANSIT HUB The transit hub design aims to rethink transit hubs and their impact on the surrounding communities. The addition of the mixed use program to the transit hub creates a destination to shop and spend time at instead of quickly passing through. It was important to create a building that people would enjoy going to before adding in the element of transportation.

The hub not only attempts to bring the surrounding community together, but aims to organize traffic flows by using various levels to break it down.

A lower level encompasses all the train

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functions. This frees up the main level for those who are just traveling through the station. The program of the building reacts accordingly, with quick stop retail on the main level and destination retail spaces on the bottom level. The angled floorplates peel away to allow for a view of the train, which allows travelers to gauge the train arrivals and departures. Even though the station has its own identity apart from the train, on further inspection the train is the main event.

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Two Meter Topography Change

Proposed Site Condition Topography Changes

SITE CONDITIONS As part of the master plan, there will be a two meter rise in topography around the site to prevent future flooding. This raises a problem for Pacific Central Station due to its historic significance.

The proposal above seeks to fold the landscape down to the entry of Pacific Central Station while also providing retention ponds to collect runoff.

The folding landscape connects the new transit hub to Pacific Central.

Overlaying the paths (shown below) creates important anchor points where

Path Overlay 8

paths collide. These connections set up control points for the folding of the landscape. The folds form outdoor spaces along the transit hub and in the park, bridging the gap formed by the road adjacent to Pacific Central Station.

The current park paths will serve as a basis for the new pathways, due to their efficiency.

RETAIL AND RESTAURANTS Different program types exist within the mixed use spaces. Adjacent to the street, a cafe and clothing store, and a visitor’s center helps draw customers and orient people within the city. A sunken plaza next to the hub becomes a small beer garden, and it adds a direct outdoor connection to the lower level. This will help distribute users onto another circulation path that provides waiting for travelers.

HUB FUNCTIONS

Program - Retail and Restaurants

Private administrative offices occupy the second floor. The lower level offices will handle sales and inventory control for the station. The placement of these functions allows for privacy while still feeling connected to the station, as the lower level offices view the hub activity and a balcony lookout area is provided for the second level offices.

SERVICE CORES

Program - Transit Hub Functions

The three service cores in the building serve various purposes. The core adjacent to the cafe and second level offices provides storage and includes an exit stair. The elevator core connects all levels of the building and allows for access to the train level. Additional security is provided on the train level as well as ticketing. Finally, the lower level core provides an employee break area and restrooms for the public.

Service Cores 9

Aerial Perspective

DESIGN KEYS The transit hub provides several different types of program with its mixed use areas. Adjacent to the street will be a cafe and clothing store along with a visitor’s center to help orient those new to the city within the transit hub and the city in general. A sunken plaza is created next to the hub to give a small beer garden back to the city of Vancouver and it adds a direct outdoor connection to the lower level of the hub. This will again help distribute users onto another circulation path

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while also providing a nice experience as you wait for long distance train and bus travel. The second level of the transit hub is used for private offices, which will be used for administration purposes. Te lower level offices will handle sales and inventory control for the station. The placement of these to functions allows them to be private while still feeling connected to the station, as the lower level offices will have direct views of the hub activity and a balcony area is provided for the

second level offices to view down into the station.

The circulation within a transit hub has to be clear so that new users can quickly understand how to get to the metro and it needs a level of complication, where multiple ways of getting to each level become apparent over time. The main circulation path breaks down at access points to form new routes as one navigates the building.

CIRCULATION The main circulation path subdivides at access points as one navigates the building. This distributes users evenly as they move through the building to their particular destinations thus minimizing traffic during peak hours.

This helps mitigate pedestrian traffic during the Olympics as the lower level controls the distribution of pedestrians to the trains, taking them off the ground level. The width of circulation paths relates to the heaviness of use.

STRUCTURE

Transit Hub Circulation

A parametrically-driven structural diagram drives the building’s expression. The frames spread apart toward the center of the space, opening up in the most circulated spaces. The metro tracks are easily visible because of this, thus making it easier for those new to the city to find their way around the transit hub. The lateral bracing is necessary within the larger structural members due to the overall height of the columns.

STRUCTURAL FORCES

Parametric Structure

The long-spanning beams serve as the primary structure, carrying the load of the tertiary cable system that holds up the second level. Cross bracing provides support for the primary columns against lateral loads. The secondary train platform structure also connects back to the primary structure columns, creating a holistic system.

Structural Forces 11

Section Perspective

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Section Perspective 14

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Ground Floor

FINAL DESIGN The final transit hub design incorporates the previously mentioned conceptual ideas to create a new way of thinking about transit hubs and their impact on the surrounding communities. The addition of the mixed use program to the transit hubs help make it a destination instead of a space for passing through. Even though transportation is the main function, it shares importance with the rest of the public building program. Connecting multiple levels within this station was

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another important design factor. The clarity of the circulation allows new users to quickly understand how to get to the metro. However, multiple ways of getting to each level become apparent over time. The lower level plaza helps with this, granting a more private entry to the lower level. These ideas create a successful center for the surrounding Vancouver neighborhoods.

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Second Level

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Lower Level

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Train Level 17

3D Wall Section 18

Roof membrane Metal coping Wood blocking 4” insulation Min. 6” rigid insulation sloped to drain Composite decking Steel beam Steel column Wood louver system Steel louver structure

Glass curtain wall system

Concrete Soil Roof membrane Waterproofing layer Min 6” insulation sloped to drain Steel beam

Concrete platform Drainage gravel Foundation footing

CONCLUSION Transportation has quickly become one of the most important elements of our society. We are not just thinking about how to get from point A to point B but also how much it will cost its environmental impact. With this in mind we must also understand how the built environment can assist in this, especially when it comes to public transportation. Many transit stations are bland, only focusing on getting the users to the metro platforms, often at the sacrifice of an architectural impact. Waiting spaces are one of the few places where people stop and observe their surroundings. Rethinking transit hubs as a destination can help make the daily transportation needs of people a much smoother and enjoyable process. This idea was used to transform this transit hub into a building that not only can be a destination for the citizens of Vancouver, but also a place that can give back to the community through additional functions such as the cafe and beer garden.

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FLINT HILLS CENTER FOR CRAFT The Flint Hill Center of Craft sets up three studios on a large site meant to bring the artisans back to the nature of their particular craft. Learning the crafts of pottery, glass blowing and sculpting requires not only studios for hands-on experience, but a generous library and lecture hall to accommodate study outside of the studios. An artist-in-residence will teach a particular craft each year; a small apartment is included in the program to accommodate this guest. Finally, a display gallery is incorporated into the program to showcase the work of the students. This element of the

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program became a key piece to design for, as it shows the final work of the craft. By splitting the program into three elements and then sculpting those spaces to suit the function of their program, the building complex became similar to the process of the crafts. It produced distinct steps (study, experimentation, and final product) that, when, followed, help lead to a successful creation.

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Exterior Perspective

DESIGN KEYS The program is split into two large buildings to break up the study and creation of the three crafts. In the middle of these two elements sits the final product of the artisans, placed in small display rooms that are sprinkled down the site. Each display room is created specifically for a certain craft and is designed to let light into the room through skylights and windows that complement the materials of the craft. Rough limestone display volumes allow light and texture to offset the

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smooth finishes of the crafts. The splitting of the buildings gives, on a diagrammatic level, the complex a very distinct order and process. the user moves from the first building, where they study the craft, through the rooms of finished product which allows them to further study the crafts. they are then tasked with experimenting with the crafts in the studios. finally, their work will eventually be added to the displays, which completes the cycle of creating an artisan craft.

BUILDING BREAKDOWN The three phases of the craft process are broken down into each building of the craft center. The building depicted in light grey contains the initial learning pieces of the program, the darker grey contains the workshops, and the orange buildings are galleries to display the crafts.

Building Breakdown

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Site Plan

DESIGN KEYS The program is split into two large buildings to break up the study and creation of the three crafts. In the middle of these two elements sits the final product of the artisans, placed in small display rooms that are sprinkled down the site. Each display room is created specifically for a certain craft and is designed to let light into the room through skylights and windows that complement the materials of the craft. Rough limestone display volumes allow light and texture to offset the

Craft Gallery 24

smooth finishes of the crafts. The splitting of the buildings gives, on a diagrammatic level, the complex a very distinct order and process. the user moves from the first building, where they study the craft, through the rooms of finished product which allows them to further study the crafts. they are then tasked with experimenting with the crafts in the studios. finally, their work will eventually be added to the displays, which completes the cycle of creating an artisan craft.

GALLERY LIGHTING Each gallery features a custom skylight and punched openings that accommodate and enhance each specific craft. Filtering of the light will depend on the material used in each craft. The galleries are spread throughout the site to allow for diverse backgrounds from the surrounding landscape and lend a processional quality to the experience of these structures.

Gallery Roof

Gallery Lighting 25

Craft Studio 26

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Floorplan 28

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SOL LEWITT FINE ART MUSEUM Located on the Lower East side of Manhattan, the project intends to celebrate the art of Sol Lewitt, a prominent figure in New York art in the 1960’s until his death in 2007. Sol Lewitt started his career working at the MoMA, setting up exibitions and finding local artists, which is how he entered the local art scene. He also began teaching around this time at New York University.

Lewitt worked in many different medias, including painting, photography, and sculpture. All of his work held the same standard for

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minimalism and conceptualism. He used many simple shapes and patterns that combined to form the larger wall drawings and paintings. Lewitt created simple wall drawings and sculptures that fit within the guidelines he set at the beginning of each piece. He also began to teach young artists in the area, passing on his style to them. This has allowed for pieces like his to be made even after his death. Thus, the creation of a building for Sol Lewitt became about his establishing of rules and conceptual framework.

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Longitudinal Section

DESIGN KEYS One of the main issues for the design of this museum was the necessity of taking Sol Lewitt’s pre-existing walls and locating them within the gallery.

A grid is set up within the floor plan to accommodate the different scales of the wall drawings. A variety of multistory spaces are necessary to house his sculptures. This is accomplished by shifting the atrium within the building and creating a sunken exterior courtyard within the outdoor sculpture garden adjacent to the building.

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Sol Lewitt creates a rigid set rules through which he derives his artwork.

Similarly, an underlying grid creates a structural and spatial arrangement throughout the building. This embodies the same idea as Lewitt’s grid. An atrium is normally one large vertical element in the building; however, by fracturing and shifting it, an additional large volume space is created to exhibit Sol Lewitt’s larger sculptures.

The vertical circulation preserves its connection with the atrium as

it shifts. This allows for clarity of movement for the museum visitors as well as placement for his sculptures in the indoor galleries. This strategy results in three voids, two indoor and one exterior. The sunken courtyard is surrounded by the offices of the building, granting them light and exterior space.

BUILDING GRID

Service

Sol Lewitt creates a rigid set of rules through which he derives his artwork. Similarly, an underlying grid comprised of 3 x 3 squares creates orders the building structurally and spatially. This grid designates service and served space and is used throughout the floors to create a clarity of movement. The exterior grid visually breaks down the facade. Punch openings allow for light but the external screen filters direct light to protect the artwork.

Two exposed outdoor areas allow passersby to enjoy his art as well.

Served Building Grid

ATRIUM SHIFT

Exterior Grid

An atrium is normally one large vertical element in the building; however, by shifting it, an additional large volume space is created to exhibit Sol Lewitt’s larger sculptures.

The vertical circulation preserves its connection with the atrium as it shifts. This helps with the clarity of circulation for the museum guests.

Atrium Shift 33

Section Perspective 34

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Initial Building Views

INITIAL DIAGRAMS These initial diagrams explore how the art could be viewed from different points and how to create diverse space.

The diagram above shows how art in the exterior plaza can be viewed from the museum. The sunken courtyard is adjacent to the building so it can be viewed from the first level, enticing guests to explore the lower level exhibits. The second level contains an outdoor area that reinforces this idea as well as allowing a clearer view to the other artwork in the plaza. Both the

Initial Atrium Wall Connection 36

outdoor area and courtyard align with the grid.

The second diagram shows a wall connecting the art to the atrium. A large wall drawing would span the entirety of the atrium, facing the gallery spaces, vertically unifying the space and shielding the service space from the galleries. Even though the atrium was eventually split in two, the original concept of using the artwork to vertically connect the galleries remains.

Study Model

WORKING THROUGH MODELS The use of study models was important to the development of this project.

The class built a small scale site model to work through many studies.

The one shown above is exploring the penetrations within the facade of the building. It eventually became wrapped in a screen but these initial penetrations stayed in the design. The picture shown below is the larger, more detailed final model. It shows the final idea for the metal screen that wraps the building, the atrium within the building

as well as the courtyard connection on the exterior. Building models helped when working through the concept of the project as, even with the final model; I learned new lessons about the structure and flow of the building.

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WHOLE BODY CENTER The Whole Body Center is located on the corner of Broadway and West 17th street in Kansas City, across from the Kauffman Center. The project is meant to give the residents of the area a sanctuary for their body and their mind. This is why a variety of spaces are created, ranging from less to more private. This allows for many different types of classes to be experienced throughout the week, encouraging return visits from fitness enthusiasts. An outdoor area is also provided adjacent to one studio to allow for classes to take place outside on nice days or at least open up to

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the exterior using sliding glass doors.

The project contains workout areas, a pool, and several studios of varying privacy to accommodate multiple activities such as yoga, pilates, and meditation. Finally, a rock wall adds the main vertical element of the design and must be carefully addressed in regards to how it affects the space around it, as it requires a large amount of space at the base to accomodate for safety equipment and waiting space for climbers.

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Aerial Perspective

DESIGN KEYS The Whole Body Center has two large programmatic elements, a pool and rock wall, and understanding their connection to one another became the main design problem. The pool is placed below ground to allow for more floor space on the upper floors and the challenge became getting natural light into the pool area. Sculpting out the inside of the rock wall accomplishes this, allowing light down to the belowgrade pool. The plan of the building responds, forming around these two

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linked elements. The building is a limestone mass, alternating on between smooth and rough finishes depending on the intention of mood in each space. Thin steel columns contrast the massive limestone building. Finally, the facade of the building is determined by a grid of stone blocks with openings strategically punched to frame views of both the Kauffman Center and the rest of Kansas City. These strategies create a variety of experiences within the spaces of the Whole Body Center. The

whole Body Center combines two large programmatic elements, one vertical and one horizontal, to create unity within the building. These elements help form all other spaces within the building and recall the archaic, sculptural feeling of precedents like the Roman bathhouses, which play with the ideas of light and darkness to create mood for different rooms throughout the complex.

LIGHT WELL The central chasm bathes the pool area in natural light. Openings in the wall allow light to permeate the second floor studios and the wellness area on the first floor. It becomes the main source of natural light for the entirety of the building. The interior of this light well as also used as a rock wall for those who have passed the beginner and intermediate courses. This more difficult course allows for the unique thrill of dropping into the pool from marked heights along the wall.

WRAPPING FACADE

Afternoon Evening Morning

Light Well

The limestone facade wraps around the entirety of the building before folding and piercing the interior to form the rock wall. Small punch openings are the placed along it, with more being concentrated in workout areas that require the most light, while allowing for less breakthrough in areas such as the meditation studio.

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Initial Study Model

INITIAL STUDIES The inital study models for this project explore how the facade could work. The idea quickly became about connecting the rockwall to the exterior facade in some way. The first model (shown above) brought the atrium light well to the front of the building, also connecting it to the street. This eventually led to the idea of folding the atrium into the building to create an entry off of Broadway, as it is the busier of the two streets.

Study Model With Folded Entry 42

Both models also looked into penetrating the facade. My initial thought was to create a uniform grid with small penetrations placed evenly along it. I then decided to disperse these penetrations, allowing them to build into larger ones within the grid if necessary, which allowed for more diverse lighting within the building. I also looked at how this would affect the light well and decided that it could actually help provide light to more interior spaces from within the well.

Rock Wall and Atrium

EXPERIENCING EACH ROOM Diverse wellness spaces are a key part of the project, and the qualities for each were studied through sketches and renderings. These two renderings provide initial concepts for the wellness rooms. The top one is a more public wellness room for a variety of classes.

This space is also the largest wellness space as it is anticipated that these classes will fill up quickly and this area will be used all day.

The rendering below explores the concept of the private wellness room.

This room will be used for smaller classes that focus more on meditation.

This room is covered on all four sides by limestone with a variety of finishes, from smooth to rough. There is also only one large window on the exterior of this room that frames a view to the Kauffman Center across the street from the center.

Meditation Room 43

LATVIAN TREKKING CABIN Partner Competition done with Kelly Weckman The trekking cabin is located along the Amber road hiking trail which runs along the Latvian coast. This cabin is meant to help the hikers enjoy the beautiful views. Hiking is about the immersion of one with nature; a trekking cabin should encapsulate this feeling, providing a place to restore body and mind. The proposed shelter is raised off the ground to minimally disturb the landscape and either nestle into the dense pine forest along the beach, or become a stand-alone beacon on less forested sites. The elevated structure provides hikers with excellent views of the Latvian coast.

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The sky is a revered celestial element in ancient Latvian culture and beliefs, and this cabin evokes this sentiment with a light well in which the user travels through to reach a sublime resting spot. The shelter can be thought of as three spaces, yet still feels like one unified whole. Traditional Latvian homes feature large, heavy roofs.

Similarly, the shelter’s light well allows the roof to become an expressive element of the architecture, an iconic roof form which unifies the spaces.

This quiet beacon grants hikers a unique way to experience the natural beauty of the Latvian coast.

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Coastal View 46

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ASSEMBLY Wood is chosen as the primary building material due to its extensive regional use, natural finish and patina over time, ease of sourcing and assembly, and low cost. A timber frame structure on a 1.4 meter module provides rhythm in the spaces and becomes the armature for a panelized wall system.

Factory-made panels of fiber board shething, mineral wool insulation, and pineboard interior siding adhere to

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the timber frame and are clad with a wood rainscreen. The orientation of the boards change from the first floor to the second to evoke historical home and barn buildings in the region, and are sized to relate to the slender pine trees.

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Forest View 50

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Living Space 54

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Porch Level

Main Level

Loft

Sleeping Loft 55

ARCHITECTURE AND FILM While on internship, I was tasked with giving a presentation to the office about anything I was interested in. I presented about architecture, film, and the relationship between them through the creation of design and film, space and scene, and narrative and story.

Each section explored these topics, which range from broad to specific, and how they intertwine. As architects, we can learn valuable tools from the process of filmmaking to apply to our own projects. The similarities in both crafts allow us to easily borrow ideas and processes from each other that can help revolutionize how we look

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at designing buildings in the future.

Both crafts spend the majority of their time trying to make sure that their big idea can be seen in various ways throughout the project and this above all is what strengthens the relationship of architecture and film to each other.

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Louis Kahn Sketching Design Ideas

Initial Storyboard Sketches for Star Wars

DESIGN AND FILM In the exploration of design and film, I looked at the design process in architecture and compared it to the process of creating a film. I compared Louis Kahn’s design of the Kimbell Art Museum to George Lucas’s Star Wars: A New Hope. In both architecture and film there is reliance on hand drawing, especially when creating initial ideas for a project. There is also a need for drafting of certain details within both architecture and film. Architects draft the details of a building while

filmmakers draft the creations within the film (R2-D2 in Star Wars). Both require site or set visits to make sure their vision is being followed through in each step of the project. Finally, both architect and filmmaker look to set up moments of varying emotional impact, awe of a space or particular shot or heroic moments of light and vast space.

Detailed Section for the Kimbell Art Museum

Detailed Drawing of R2-D2

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Kimbell Interior

A Change in Perception Through Size

Grand Ending in A New Hope 59

Kunsthaus Bregenz

SPACE AND SCENE Creation of space and scene is one element that I looked into further.

Architects and directors use similar elements to illicit specific feelings. One element important to both is the use of light within a space or a scene. This helps determine the mood of the room or apprehension of a scene. It creates moods such as suspense or calm, awe or suspicion.

Blade Runner 60

Nelson Atkins Museum

Clockwork Orange

Moonrise Kingdom 61

Exploration of Circulation

NARRATIVE AND STORY The use of narrative and story is also important to both architecture and film.

This is true when designing a building at a conceptual level and a film in its early stages. Both architects and film directors use storyboards as a way to design or present a particular element of their project. Story boarding is used in the presentation process for architects to help show the client how their idea is resonating throughout the project. Film directors use storyboards to set up specific scenes in the film,

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which also helps convey the overall message of the film. This also helps at a diagrammatic level in a building as it easily explains the idea of the project through a drawing or series of drawings.

Realization of Storyboard

Realization of Storyboard

Inception Storyboard

Circulation Storyboard 63

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Thank You

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