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KYLE J BENEVENTI

ARCHITECTURE PORTFOLIO


SOLEDAD PLAZA

(K)NOT ARCHITECTURE

MATERIALS AND METHODS

DRAWING ANALYSIS

SITE STUDIO .A

SITE STUDIO .B


SOLEDAD PLAZA

OAXACA CITY, OAXACA MEXICO

The Plaza of Soledad is situated between two major streets connecting through the heart of the city. It is the public square for both the Church to the Patron Saint of the City and Oaxaca’s City Hall. Beyond immense cultural significance, this design treats a fourty five foot elevation change from street to street.


Park Llano

- lined with street vendors - interior regularly hosts public events- from political rallys to aerobic classes

Santo Domingo - front of most recognized catherdral in the area - doubles as a museum - thousands of visitors daily

PRECEDENT

As a UNESCO World Heritage site, Oaxaca is a city vastly rich in culture and history. To better understand this significance and typology of Courtyard Buildings, precedent studies were done for the three most used and recognized public spaces in the city. Park Llano, or park for the people, Santa Domingo, and The Zocalo of Oaxaca.

Zocalo

- most dense public space in the city - canopy of trees - commercial vendors and established restaraunts


THE PLAZA


Local Church

City Hall Music School

Soledad

I DEN TI TY

Using gradual elevation changes between datems dramatically opens up the space while maintaining a forecourt for each entity.

POROSITY

A public plaza requires consideration of dynamic movement through just as much as stationary use. A flow diagram informed necessary portals and passage.

VISIBILITY

Wherever possible, elevation changes were kept to 5’. In places this wasn’t possible, the datem was raised and program fit inside.


PRIVATE RESIDENCE

LIBRARY

THE PROGRAM The Exhibition space allows entrance on both sides of the water wall and can accommodate both indoor/outdoor functions, the more restricted upper level provides views to the gallery below and to the impressive facade on the Church of Soledad across the courtyard. The Library is bisected by stairs open to the public at all hours with glass partitions at each floor that can be moved to allow or block entrance depending on the time of day. A house needed to be included for a local historian who has invested much of her life to the study of Solidad and Oaxaca’s history. To maintain a certain level of privacy in a public square, the house was elevated 16’ off ground level, with a screen of vegitation surrounding the garden on the most visible side of the house.


EXHIBITION SPACE

SHADE/WATER WALL


k)NOT ARCHITECTURE

03

ADDING MASS TO THE WIREFRAME FORCES CONSIDERATION OF SPACE

02

GIVING THE PATH FORM VIA WIREFRAME MODEL FORCES CONSIDERATION OF STRUCTURE

01

TRACE THE PATH ROPE TAKES TO MAKE A KNOT


This iterative design project fosters abstract thinking to resolve problems. Tracing the path a rope would take to make a selected knot, a wire frame model was made that formaly expresses this path within the constraints of a 3X3X6 inch ‘box.’

This form was then given density and volume by constructing a massing model consiting of two peices that fold together to make the form.


(k)NOT ARCHITECTURE

The final iteration looked at structure dividing space by way of double frame, or ‘egg crate’ model, forcing adjustments to the form and consideration of scale, path, and light. Though the final product was not a building, the issues addressed in this project are those necessary in building design - investigated in a way that denies assumptions or pre-determined notions of design at the door.


CASE STUDY: RAPSON HALL ADDITION

DRAWING ANALYSIS STEVEN HOLL MEETS RAPLH RAPSON

This series of drawings are intended to gain a better understanding of the moments and mechanics at the connection of Steven Holl’s addition to Rapson Hall. Because the experience of the space lies somewhere in between vision and reality, the combination of mechanical and value drawings a more complete picture is portrayed. Value drawings capture the qualities of light and character of each space while technical drawings illuminate shifts of scale and treatment of materials intended by each architect.


VALUE SKETCHES RALPH RAPSON COURTYARD

STEVEN HOLL ADDITION

WORMS EYE VIEW GHOSTED AXONOMETRIC


MATERIALS MATERIALS && METHODS METHODS TCF BANK STADIUM | HOK SPORT INC.

TCF BANK STADIUM | HOK SPORT INC.

To gain a deeper understanding of contemporary construction techniques and technology, a case study was conducted on the TCF Bank Stadium, designed bydeeper HOK Sport Inc. To gain a understanding

of contemporary construction This project focuses on the entrance techniques and technology, a case from South West corner thethe building, study was conductedofon TCF Rendering a section of the colonade Bank Stadium, designed by HOK that wraps Sport Inc. around the building, and the press box located above. This project focuses on the entrance The massive is supported from South structure West corner of the by abuilding, steel skeleton and thenamasked rendering sectioninof the precast concrete a brickthe colonade that panels wrapswith around veneer. The precast servelocated a duel building, and the panels press box purpose of fireproofing and aesthetic. above. The massive structure is supported by a steel skeleton that is masked in precast concrete panels with a brick veneer. The precast panels serve a duel purpose of fireproofing and aesthetic.


SITE/CONTEXT

PLAN DETAIL

STRUCTURE

NORTH ELEVATION


ROOF DETAIL Roofing System

PRESS BOX

FRONT ELEVATION

FOUNDATION


COLUMN DETAIL


UNDERSTANDING SITE

TE

SI


CONTEXT / ANALYSIS The warehouse district in Minneapolis is a site characteristically and aesthetically unique from surrounding areas. Many of its buildings are massive structures constructed with load bearing brick. These buildings were primarily used for industry in the early 1900’s with connection to rail lines scattered throughout the site. Presently, the buildings are being recycled into condominiums for a new generation of workers. Leaving much of the old brick structure and adding modern steel and glass construction, the Warehouse District has developed its unique character.

Building Massing

Traffic Paths

Site analysis began through traditional means, looking at scale of existing buildings, materiality, topography, movement through and in the site, etc. This site’s proximity to other strong communities, from the urban center of Minneapolis to the University of Minnesota’s twin cities campus, perpatuates its growth and appeal.

Pedestrian Activity


BRINGING PROGRAM TO SIT

JUXTAPOSITION ARTS


CIRCULATION

PERFORMANCE SPACES

SERVICE SPACES

CIRCULATION

LOOR PLAN

EDUCATION / ADMIN

+2

+1

The introduction of Client and Program The client introduced to the site is a local urban arts group called Juxtaposition Arts, or Juxta. They offer inner city kids positive outlets through self expression in a community of artists, breakdancers, and musicians. Community quickly became the driving factor in this buildings design.

0


RING RINGING PROGRAM TO SIT

Circulation as a catalyst for interaction between varying degrees of community Juxtaposition’s focus on community influenced much of the thought process to be Social, not Formal. It is in circulation that people are allowed movement and given choice.

NORTH ELEVATION


Individuals supported by Community, Community made up of Individuals The spaces for Community were given prime real estate at the corner condition of 4th ave and 5th st. The spaces for the Individual and supporting program were placed on the normal city grid, wrapping around the more public spaces with circulation separating the two.

NORTH SECTION


BRINGING PROGRAM TO SIT

SECOND FLOOR STAIRCASE


PARTI MODEL

INTERIOR PERSPECTIVE

EXTERIOR FRONT ENTRANCE


KYLE J BENEVENTI RESUME


I have always been passionate about design. From an early age my drive in life was the art of creating, refining, and presenting – even before receiving my Bachelors of Science from the University of Minnesota’s College of Design. For me, it started with sound. I grew up around music – my mother was a classical pianist and private teacher. I taught myself to play guitar; learning songs by ear and starting bands that grew from practicing in the basement, to opening for national acts, headlining local shows, and fully funding a Midwest tour to promote a self-recorded album. Here I learned the value of collaboration, production, and fostered the ability of bringing vision to reality through trying numerous avenues. In school I continuously strive to pour as much of myself into Architecture as I did with the songs I wrote, redirecting the same skills to a new medium. With a thorough and analytical mind that strives to realize the unseen, and a multitude of computer and graphic skills, I now hope to bring these attributes to work at a firm where I can continue to learn and grow. I am eager to contribute my passion for design, unique perspectives and experiences, and dedicated work ethic to the Architecture profession.

Kyle J Beneventi


Education University of Minnesota | College of Design Bachelor of Science

Extra-Curricular Major GPA 3.6

University of Kansas | CLA

Work Experience Server | The Loring Pasta Bar Property Manager | St. Paul Residence Construction/Plumbing | Self Employed CSA | Northwest Airlines Apprentice Plumber | Clark Mechanical Contractors

Architectural Mentorship Program | HDR Group Architectural Mentorship Program | MS&R Architects Member and Participant| AIAS - Freedom by Design

Skills and Technology Drafting and Sketching Adobe Creative Suite Auto CAD Rhino 3D Modeling Kerkythea Rendering AutoDesk 3DS Max AutoDesk Revit



Architecture Portfolio Undergraduate 2010