Page 1


Selected Works I 2015- 2019 Steltman Chair 1 3D Printer 3 Sculpture SculpturePark Park 59 Transit Station 19 21 Biophilic Institute 29 31 Art Museum Museum 37 41 Art

An abstract pavilion concept respresenting data streaming and the five Ball Brothers, in celebration of the 100th anniversary of Ball State University. Approved for further exploration by the College of Communication, Information, and Media. In Collaberation with Colleagues Jake Brown and Ethan Talbot

Nicholas Jensen Wesley Architecture I Design I Digital Fabrication Skills Software Modeling/Drawing Rhinoceros AutoCad Revit Grasshopper Sefaira Cryengine




Ball State University

Fall 2015 - Spring 2019

Muncie, IN

Class of 2019

+Bachelor of Science Candidate I College of Architecture & Planning l GPA: 3.6 +Minor in History +IHLA Wood Design Competition - First Place Winner +2 Semester Studio, Research in Robotic Concrete 3D Printing, Exhibit Columbus Pavilion -Thesis by Christopher Battalgia +Tau Sigma Delta National Honor Society in Architecture +Society for Collegate Leadership and Achievement +Prospecting Master of Architecture

Editing/ Post-Production Photoshop Illistrator InDesign Vray Render Microsoft Office

Work Experience

Since Summer 2016

City of Crown Point, IN, Public Works Department +Maintenance of public utilities, equipment, and vehicles

+Assist in on site construction/ repair/ maintanence of streets, public utilites, and water works +Trained 2 employees to ensure attention to detail and adherance to OSHA policy

Production 3D Printing Laser Machine Woodshop Tools CNC Mill

Freehand Conceptual Drawing Field Notes and Sketches Photography/ Photo Editing

Contact (219) - 741 - 8704 13449 Finch Court, Cedar Lake IN, 46303




Anet-A8 Converted to AM8 Frame w/ Marlin Firmware

Showing initiative and genuine interest, I along with a handful of my colleagues have owned and maintained our own 3D-Printers since the fall of 2017. The original brand invested in was the Anet-A8 for its reputation as an inexpensive yet reliable machine. Over the course of the following years, I especially have worked to learn the skills necessary to understanding the hardware, softwire, and maintenance necessary to keeping it pristine. This also means the printer has been given extensive upgrades including, but not limiting to, an aluminum frame, a Bowden indirect extruder feed, and adding numerous failsafe not included in the original design. The 3D-printer I have now is all but unrecognizable from when I first assembled it


Filament Holder


Extruder Stepper

Teflon Filament Guide

Aluminum Frame

Z-Axis Threaded Rod


Heatbed Mosfet

Anet-A8 Mainboard

X Stepper

X-Axis Endstop

Z1 Stepper

Z Heatbed Adjuster


Z-Axis Reinforcement

Bowden Extruder, Indirect Feed

Power Supply

Z2 Stepper


Magnetic Buildplate

LCD Controls

LCD Panel




Being self-taught in this field has had the benefit of reaching a much greater understanding of how the machinery works beyond what is conceptual. It requires a solid understanding of how the software interfaces with the printer, and how all of the individual parts mesh together. More importantly, it demands the ability to refine the ability to problem solve and do the necessary research. Owning this printer has truly been a project of its own and has paid itself off in a variety of ways.

For architectural projects, it allows for much more refined prototypes or models to be made with ease. It has the potential to have very little to be left to the imagination when used for this purpose. With the maximum tolerance being approximately 0.5mm, these machines are capable of detail down to the size of a fingernail. Although the most detailed and fine quality models often take days to complete, it all but eliminates human error from this part of design.

Learning the slicing software commonly used for them allows for being efficiently design around how the models will be produced, as well as experimenting with what its maximum potential in detailing is. The four main variables that have had the most direct effect in micromanaging through trial and error have been the layer height of each printing pass, how hollow the object is, how fast the material is extruded, and whether supports are generated. In the "Cura" program, these are often referred to as "quality", "infill", "flow/ extrusion speed", and "supports".

The models displayed in this section show the level of detail that can be made within a reasonable timeframe. Made entirely from reference photos, these replicas of UNSC spaceships from "Halo" were made in a manner that typifies what can be done through normal use. Even as raw objects, taken immediately from the build plate, the level of detail is produced before further refinement is always exceptional, given the 3D-printer is fully functioning



Indiana Bridge Sculpture Park In Collaboration with Colleague Lauren Hunter


The goal of the studio is to apply research in concrete 3D printing to a design an architectural intervention using research, fabrication, and tectonics of each of three projects. Project one was focused research in four different areas; testing the concrete material, designing an end effector, using software to code the KUKA KR60, and logistical concerns. The goal of Project two was to look at individual building elements and see how these elements could be redefined, all while using research from Project 1. Project three is compilation of Project one and Project two. The chosen site the final project was the remnants of an Indiana Bridge/Midwest Steel Inc. factory. The area was once the industrial heart of the area, housing critical infrastructure for the manufacturing of ammunition during World War II and American Intervention in Korea. The largest of these would produce the alloys needed for material, then it would be brought to the much smaller cold shop, and finally, it would be brought a third on-site structure for refinement into finished parts. What was once a largely important and industrial region of the United States is now a ghost of the past.


The architectural intervention sought to give the site a second life, equally embrace its original purpose, and stimulate the adapted spaces by designing as a collection of light. This stems from the concept of adaptive reuse, which local communities and designers are beginning to recognize During a time when many seem to clamor for the premature demolition of venues such as these, the chance to resurrect an essential piece of history is often overlooked. Returning it to life and purpose has become a main intention not only for this project, but for the local community looking to house their own businesses. The proposed infill engaged with the context by visually engaging with the original layout, function, and program of the site. Existing structures are also returned to life and purpose by restoring part of the site to the original program of a metal shop, while the rest of it caters to how the works produced are displayed. In doing so, the casual observer understands how the structures are formed in a rational manner, as well as the relationships each building have with one another, along with how lighting conditions throughout tie them all together.

existing cooling building

existing finishing building interior exhibition space existing window grid compressive shell

remnants of an old bridge existing open space

wooded area behind site steel i beams

new metal fabrication space

metal decking

existing steel structure concrete footers exisitng roof to remain

through finishing building

double layered brick wall

entry space

excavated area

slope to lower entry


The research focused on the KUKA KR60 model. This tool is mostly used in an industrial setting, therefore, it can perform a broad range of tasks that can be used in design as well. Initial investigations into this demand an understanding of how software and hardware relate to one another, especially when it comes to the limitations of the KUKA KR60’s potential build area, compounded by the workspace that it is bounded by.



A formal language was developed by recognizing patterns in the structure and form, observing existing modular systems, and acknowledging the imperfections which make this site unique. Even in a state of decay, the site still shows the remnants of its previous life. These inspirations were realized through research in robotic 3D concrete printing, investigating traditional building elements, and reapplying the ideas into an architectural intervention. Using the RhinoVAULT plug-in for Rhinoceros 5, a shell-like structure was generated. These structures are unique in that they are designed to be unreinforced solely in compression and unreinforced. The opportunities and limitations of said form are more accurately represented and applied using this program. Each piece of the shell has two different joints and they would be located opposite of each other; one set of joints perpendicular to the piece and one set of joints parallel to the piece. When the modules are assembled, they work together to resist movement in both directions.


The most essential element that was engaged with throughout was the integration of light. The successes of this resulted from the range conditioned spaces that are formed from variation of light throughout the day. By morning, the south side of the building is activated with more flush light, with spaces and visual enclosures being stimulated through shadow. The evening activates the north side of the building, with point light being shown through windows and other openings to highlight key spaces. Exhibiting the site this way emphasizes the more conservative approach that is taken for infill. The focus on on light throughout day and the changing seasons truly respects the notion of bringing new life to this area; conserving the existing structures while delicately placing all other elements in a complimentary approach, without superimposing anything. This method of symbiotic architecture provides visitors with an understanding of the site's history and context, originally circulation and function, along with year-round dynamic through light quality.




Southshore Line Transit Station ACSA, MKM Steel Competition I Gary, Indiana

The basis of this project stems from the urban planning concept of transit-oriented development by maximizing the amount of residential, commercial, and leisure areas within walking distance of public transport. The benefits would include re-duced usage privately owned cars, thus improving public health and promoting a sustainable model of urban devel-opment. In the case of the city of Gary, Indiana, this would theoretically help to bring new life to an area that has lost a significant portion of its population. Along with the expected programming of a typical transit station, it serves to provide an area where commuters can stop and relax to and from their destination, or a rest stop for tourists. The exposure to this sort of urban development also encourage people to move back into this area, snowballing the effects. For the local community, it would serve as a node for gathering and public engagement. By redeveloping the area to provide infrastructure that allows for an easy commute elsewhere or within the city itself, it would help to bring new life to the area and encourage a new generation of people to settle.

Thes proposed station focuses on the vertical contrast between light and heavy. The station itself is lifted above the ground plane, heavily supported by tension-based structures to “levitate� the building off the site. The site is originally a public park, so the intention is to refrain from superimposing a structure on the site, fencing of the park from the public. This both lightens the building by greatly opening views across the entire site, while limiting contact with the ground wherever possible. The superstructure also serves to enclose the space vertically. As visitors move up, the building becomes increasingly material intensive and program-specific. Views are instead directed along the 4th street axis, the two government buildings, and down Broadway as people move towards the main concourse. Space and partitions are also much more defined on this level. Yet, there is still vertical synergy between levels through exposure of circulation paths, and various microclimates.




Main Concourse 1- Ticketing 2- Waiting 3- Restroom 4- News/ Sundries Auxilary Functions 5- Small Retail 6- Restaurant 7- Office Units 8- Recreation 9- Mechanical


8 8












4 5




Institute for the Study & Application of Biophilia New York, New York


32 32

Biophilic design is the theory that exposure to nature itself or the patterns found in nature serve to improve individual and public living standards. Studies of have shown that this method of building can reduce stress, improve mental health, and aid the healing process. Biophilic design is approached using dynamic and diffuse light, material connection to nature, and refuge. These would mainly be accomplished by manipulation of concrete shell massing. Perforations in the shells create edges of light that influence the spaces, and variations of the shell form create multiple kinds of refuge spaces. Overall organization of the institute is also is anchored to two main points: one towards the shore, and the other towards the Statue of Liberty. This arrangement of massings serve to both enclose space at the shoreline, opens itself to views of Lower Manhattan, and pay homage to one of America's most recognizable cultural icons.


The site and building are to be treated as an extension of the Brooklyn Greenway, and the site reflects this in that landscape and structure are intertwined. The first massing becomes a portal condition, a transitional area where the landscape brings itself into the structure before becoming a completely indoor area. It creates a condition that makes the site more approachable to people passing by, provide an area for people to find refuge from city life, and generally better integrate the structure with the rest of the area. Extended shell forms also create opportunities for roof garden conditions and on-site food production. Material connection to nature indoors is achieved using birch wood on tactile surfaces. Meeting the 2030 challenge in sustainable architecture was also crucial goal in the design of this structure. Window and shading system placement provide the best possible lighting, along with the study of various other building components with the aid of Safaira.





1- Direcor’s Suite 2- Library 3- Dining/ Commons 4- Offices 5- Outdoor Pursuits Homebase 6- Conference Room 7- Administration Office 8- Copy Room 9- Director’s Office 10- Snack Bar 11- Entry Lobby !2- Public Restroom

7 6

10 11 5 12 3 1





5 1






3 3


6 7

2 3






Art Museum

IHLA Wood Competition; Columbus, Indiana

Designing to symbolize the transformation of Columbus is shown in the following ways. Sense Columbus is a center for modern architecture, the form always makes some manner of motion around a central courtyard, in which the majority of the views are focused there. The conceal and reveal relationship the structure has with the site also expresses a representation of how Columbus made its own identity over time. At first, the structure is completely concealed by the land that is formed around it, then it becomes more revealed as you progress through the space. Finally, this strategy also meshes well with the overall concept of the building literally transforming as symbolism for Columbus’s transformation. The simplest spaces located towards the entry lobby and are concealed by the land. Intermediate spaces add additional elements to the original form and become a hybrid between land and structure.


The most complex and celebrated part of the building then creates a spacial hierarch which provides the greatest visual experience of the site, representing how far Colum has come to create its identity. Being a submission for a wood architecture competi it was crucial that the use of it in a coherent structural system was obvious. Althoug resulting structure was a simple post and double beam concept, and it was consisten iterated throughout, and acted as a means of decoration through rational structure. are exposed in both indoor and outdoor spaces, evident to all individuals passing thro This same system is also responsible for the concept of obscuring the true perimete the building, along with providing railing systems for outdoor spaces.

hy mbus ition, gh the ntly . They ough. er of

In order to maintain sensitivity to the scale of surrounding context, the museum burrows itself into the ground. This allows the structure to become an “anti-building�, forming itself out land/ topography. Wood beams on the roof plane also obscure the true boundary of the museum, allowing the form to appear more organic. The visual spaces created in within the museum complex are meant to equally display produced works and nature as an art form. This is accomplished by fostering cohesive indoor and outdoor relationships throughout the building that make a view of one area an extension of another.


The intensive focus on introverted architecture is a direct response to the heavy traffic surrounding the immediate site boundary. The design of this building is meant to act as a refuge from amount of activity occuring at what could be called the gateway to Columbus. The burrowing of the building into ground, as well as mounding earth along the perimeter remedies the noise pollution presented. It also creates a world within itself, allowing people to enjoy the artwork presented in relative isolation from the surroundings.



Profile for Nick J. Wesley

Nick J. Wesley Undergraduate Portfolio, Selected Works 3/16/2019  

Portfolio of selected major projects, smaller works, and resume (as of 3/11/2019). Collection of skills accumulated across 4 years of higher...

Nick J. Wesley Undergraduate Portfolio, Selected Works 3/16/2019  

Portfolio of selected major projects, smaller works, and resume (as of 3/11/2019). Collection of skills accumulated across 4 years of higher...