SDSU DoArch M.Arch Application: Nathaniel Krueger

NATHANIEL C. KRUEGER Address: 1512 11th Avenue, Manson, IA, 50563

Email: krueger.c.nathaniel@gmail.com or nathaniel.krueger@jacks. sdstate.edu

Phone: cell: (515) 408 - 8603

WORK EXPERIENCE

EDUCATION

CLUBS AND HONORS

Architect in Training

Bachelor of Fine Arts in Architecture

Exhibits at the Student Design Invitational at the Washington Pavillion, Spring 2020

Allers Architects

Fort Dodge, Iowa May 2019 - August 2019

SDSU Student Technician

Yaeger Imaging Center Brookings, South Dakota August 2019 - Present

Construction Laborer

South Dakota State University

Brookings, South Dakota August 2016 - May 2020 Department of Architecture (DoArch) Minor in Studio Arts

High School Diploma

Tauge Construction

Manson Northwest Webster High School

Manson, Iowa May 2017 - August 2018

Manson, Iowa August 2012 - May 2016

Metal Fabrication and Design Cougar Plasma (Originator)

Manson, Iowa January 2014 - May 2014

SKILLS Software: Revit, Rhino, SketchUp, AutoCADD Architecture, Adobe Products (Illustrator, InDesign, Photoshop), Microsoft Office Suite Modeling: Plasma Cutting Machine, CNC Routing Machine, Laser Cutting Machine, Woodorking Tools

Tau Sigma Delta Honor Society in Architecture and Allied Arts, Fall 2019 Treasurer Inaugural Member Recipient of the Outstanding 3rd Year Studio Project Award, Spring 2019 Work Published in Federico Garcia Lammers’ “Labor Atlas: Imaging Construction Labor in the Work of Eladio Dieste,” Spring 2019 Recipient of the TSP Scholarship Award, Spring 2019 American Institute of Architecture Students, Fall 2017 - Spring 2020 Sioux Falls Parklet Competition Finalist, Fall 2016 Dean’s List Fall 2016, Spring 2017, Fall 2017, Spring 2018, Fall 2018, Spring 2019, Fall 2019

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Fig. 1: Back-lit site model with iterative proposal inserted into site Fig. 2: Back of pull apart model Fig. 3: Site plan and levels 2

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Time In Thirds Arch 352: Part B Spring 2019 Robert Arlt

Project Description: By researching the present historical layers of Berlin, the Judengang and the Jewish Cemetery behind the site, John Hejduk’s work, and Maison Bordeax, an infill building needs to be designed to archive and display a specific project, the Wall House series of Hejduk.

By taking the main plan parti of Maison Bordeaux and recreating it sectionally, the main form of the building is created.

The building must touch the ground lightly, include pedestals to display Hejduk models, have one continuous stair, a volumetric light-well, keep the gates functionality, and has the same structural anomalies found in the precedent.

Materials: Wood and MDF Bass wood paper Wire Laminate Sheets Piano wire Paint Paper and Vellum Blue Foam Tools: Rhino Revit Laser cutting machine X-acto knife Glue and adhesive Photoshop Outputs: Pull-apart models Research collage Exploded axon Figure ground Elevations Sections Plans

Collaborators: Joseph Kenny (all work) Location: Judengang, Kollwitzplatz, Berlin, Germany

Using the three parts of the building and the three parts of time, (past, present, and future), an overlay and juxtaposition is formed.

The structural weight and memorial to the Jewish Cemetery is placed in the present, closest to the park, bringing attention to the past.

The building itself acts as the present or gateway to the past or future.

The future spaces being the gallery because constant changing of exhibits.

Recipient of the Outstanding 3rd Year Studio Project Award SDSU DoArch

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Fig. 1: Figure ground and site plan of Judengang in Kollwitzplatz, Berlin Fig. 2: Section images Fig. 3: Model image with pieces removed to show a gallery space 3

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Location: SDSU DoArch

Time In Thirds

Judengang, Kollwitzplatz, Berlin, Germany

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Fig. 4: Exploded component axonometric Fig. 5: Research collage of Maison Bordeaux, the Wall House, and the context of Berlin.

Location: Judengang, Kollwitzplatz, Berlin, Germany

Time in Thirds

SDSU DoArch

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Fig. 1: Close-up of final tas-de-charge Fig. 2: Tas-de-charge combined with the continuation of the gothic vault done by the shops in the future semesters Fig. 3: One assembled drum 2

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Modern Gothic Vaulting Arch 461: Exploratory Shop Fall 2018 Jessica Garcia-Fritz

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Fig. 4: Tas-de-charge assembled Fig 5: Geometric make up of a sexpartite gothic vault Fig 6: Close-up of a drum and detail of CNC routing precision

Materials: 4x8 baltic birch plywood Glue Tools: Rhino Cam CNC Routing Machine Outputs: 1 tas-de-charge for a sexpartite vault

Project Description: Collaborators: John Angulu Jacob Fleming Nathaniel Horn Kyle Kueper Lucien Ngole Sydney Vanwell Jame Van Western Tyson Vogt

Traditional stereotomic gothic vaults have worked in the same way throughout history.

The shop’s goal is to attempt to make a tas-de-charge, or the base of a gothic vault with baltic birch plywood u sing the CNC routing machine.

The focus being how today’s tools can work similarly to past construction methods.

Fig. 7: John Angulu and I setting up the CNC router to the correct height

Exhibited at the Student Design Invitational at the Washington Pavillion SDSU DoArch

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Folding Petals Arch 461: Exploratory Shop Fall 2019 Brian Lee

Fig. 1: Close-up of array with light

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Fig. 2: One module (all folds) Fig. 3: A module and its shadow Fig. 4: Underside of array: main connection points

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Fig. 5: One module (cut, no Folds)

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Materials:

Exhibited at the Student Design Invitational at the Washington Pavillion SDSU DoArch

Project Description:

12-gauge steel sheet metal

Kirigami: a variation of origami that includes cutting of paper and folded without use of glue. The Shop’s objective is to manipulate flat sheets of steel (12 in x 12 in) through strategic weakening and bending in order to give form and add strength in the creation of something that makes a connection. No material should be removed from the sheets. The cutting and making is intended to be a no-waste process.

Tools: Plasma table Vice grips C-clamps Screw driver Elbow grease Outputs: 16 modules, create 4x4 array Stand

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Fig. 6: Final assembled array with stand Fig 7: Close-up petal connection Fig 8: Close-up of underside slot and tab connection

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Fig. 1: Massing model folding from base strip mall orientation to the New Highland Park Village plan Fig. 2-3: Roped models depicting traffic lanes and parking lots Fig. 4: Close-up image of folding massing model

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Urban Understanding Arch 351: Part A Fall 2018 Brian Rex

Project Description:

Materials: MDF Acrylic Blue foam White paint Painters tape Rope and string Tools: Table saw Router Laser cutting machine X-acto knife Knots Illustrator Outputs: Folding massing model Line breakdowns Tape drawings Rope models Sections Plans

Location: Highland Park Village, Dallas, Texas

Specify a specimen in text, draw its geometries and compositional shapes, and model the spaces of extension and duration found in these places.

Continually develop each analysis as one informs and particularizes the analysis.

The catalog should reflect the discoveries of the modeling and drawing.

Discover the utility of this sort of urban design keeping in mind what can be carried away from these places as we move forward designing a town approximately the same size as each study.

Can we build a coherent descriptive narrative in the space of these specimens?

What kind of narratives can we find in this sort of place study?

Which tactics and strategies in analysis have been successful in building or drawing together a descriptive, conceptual, and or narrative sensibility of this place?

Specimen is 960 square ft: Studies are done at same scale and Cartesian orientation

Recipient of the TSP Scholarship Award SDSU DoArch

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Fig. 1: Sections: includes parking Fig. 2: Tape drawing of figure ground massing Fig. 3: Class tape drawings laid out together

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VILLAGE THEATRE

Fig. 4: Close-up image of folding massing model

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Fig. 5: Simple line dissection of movement

Location: Highland Park Village, Dallas, Texas

Urban Understanding

SDSU DoArch

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Digital Dieste Arch 461: Exploratory Shop Spring 2019 Federico Garcia Lammers

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Fig. 1: Historic photo collaged image Fig. 2: Historic image of laborers subtracted Fig. 3-4: Deconstructing the previous shop work to understand the precision of the forms.

Images taken by Federico Garcia Lammers

Project Description:

Published in Federico Garcia Lammers’ “Labor Atlas: Imaging Construction Labor in the Work of Eladio Dieste” Exhibited at theWork Student Design Invitational at the Washington Pavillion SDSU DoArch

The shop focuses on the role of labor and graphical representation as a way to examine historical workflows though contemporary architectural media. The making of computer models and images of the scaffolding systems used to design and construct the Gaussian vaults of six buildings built by Eladio Dieste’s practice in Uruguay.

What is the relationship between low-precision construction and complex forms, and how can labor be represented and explored graphically?

Materials: Historic images 3D models Ink on paper Tools: Revit Rhino Photoshop Collage Collaborators (Model Work): Drew Doyle Joseph Kenny

Outputs: Collaged images

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Fig. 5: Collaged model and historical photograph image Fig. 6: Historical image with the laborers subtracted Fig. 7: Modeled scaffolding

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Steel gusset plates

Steel angle iron and tees

Vacuum-sealed polymer plastic 1

Steel angle iron Fig. 1: Exploded drawing of the kit of parts to assemble one module Fig. 2: Presentation apparatus with half scale faux construction section

Vacuum-sealed polymer plastic

Fig. 3: Map of sky-walks in Minneapolis

Vacuum-sealed polymer plastic

Steel angle iron and tees

Steel gusset plates

Fig. 1: Wall section apparatus presentation of First Avenue

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Geometric Connection Arch 351: Part B Fall 2019 Jessica Garcia-Fritz

Project Description: A focus on the ontological transition from orthographic drawing and modeling to post-orthographic imaging, the impacts of automated processes, and the role of implementing sectional practices in a post-orthographic setting by critically examining specific tools and commands used in Revit with specific site context.

Materials: Plywood Tape White Board Nuts and bolts Glue Tools: Revit Projector Apparatus screen Saws Impact driver Tape Ill Outputs: Faux construction 1/2 scale apparatus Revit model Presentation (animation) Representation (scaled products) Sketch model

Location: First Avenue Night Club, Minneapolis, Minnesota

The Translation focuses on the translation of the previous constructional performance to a new site, a small parking lot behind First Avenue Night Club.

The translation builds and takes away from the first project and works through constructional narratives to build a public space, more specifically the longest continuous sky walk system.

SDSU DoArch

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Fig. 1: Section with First Avenue performance spaces on second level Fig. 2: Basic sky-walk plan geometry Fig. 3: Perspective image of sky-walk with different facade types assembled Fig. 4: Module to column detail

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Fig. 5: Module to module connection detail Fig. 6: Section of sky-walk addition to First Avenue and its connection into the sky-walk system Fig. 7: Bill board in section for faux construction apparatus 6

Location: First Avenue Night Club, Minneapolis, Minnesota

Geometric Connection

SDSU DoArch

South Dakota State University Department of Architecture Brookings, South Dakota, 57007 DoArch Admission Committee Statement of Intent I come from a rural area in Iowa and did not know anyone who practiced as an architect before going to school. Growing up I always had a pencil in a sketchbook drawing anything that came to mind, or I was refurbishing or creating furniture from waste or discarded pieces. When I went into my undergraduate, I did not know if architecture was for me, but soon realized that I enjoyed the visual language of design and how architecture can be broken down simply to create new things. At South Dakota State University (SDSU) my interests grew in architecture, especially in the details scale, material and connections, and in a more zoomed-out scale, like city grids and their functionality.

Through shops I was exposed to fabrication like CNC machine and a Plasma Cutter. I enjoyed learning about these machines and how they collage with past processes. I want to learn more about how fabrication and architecture can work simultaneously together.

I have worked for construction companies, printshops, and an architecture internship. At my internship, I did lots of basic drafting and creating the company’s standards in Revit which showed me some of the intricacies of how a practice works.

The firm, Allers Architects, mainly took existing historic buildings and gave them new life and operability in today’s technology-based world. I found this interesting because the constraints allowed us to collage and puzzle together the new components. I was able to this on my own with smaller consultation projects that they allowed me to do alone.

I am still unclear about my specific career goals, but I want to continue to resolve areas that have some historical context and transform, splice, and collage them into the present similarly to how fabrication can work with the use of a machine and human elements. From this degree I want to learn more about how fabrication can work in today’s world, and how to fix into past constraints. This degree will allow me to further explore how things can intertwine and work together.

If given the opportunity, I look forward to learning from both the faculty and students to expand my perspective and continue my growth in the architectural field.

Nathaniel Krueger