Robert Heister Portfolio 2020

Robert Walton Heister

Drexel University B. Arch 2+4 Program Architecture & Design Portfolio 2018-2020

CONTENTS

Profile Resume // 03

Academic Work Arctic Fossil // 04 Undergraduate Architecture Thesis: “How Does A Building Survive?”

Structure 01 - Tumbler // 12 Structure 02 - Alluvium // 20 Structure 03 - Habitaculum // 28

Professional Work Swarthmore University McCabe Library // 34

Interior Renovation for New Reading Spaces & “Color Room”

Lincoln University Amos Hall // 38

Historic Preservation & Addition with Pennsylvania Department of General Services

Furniture U Shelf // 44

Re-presenting the Ordinary

POW Bar // 48

Desiring the Unfamiliar

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ROBERT WALTON HEISTER LEED Green Associate

e: rwh45@drexel.edu | m: 412-225-5144

EDUCATION 2014 - 2020

2017

Drexel University Bachelor of Architecture 2+ 4 Program Minor in Sustainability in the Built Environment LEED Green Associate Accreditation

INVOLVEMENT 2014 - 2016 2014 - 2020 2016 2016 - 2017 2016 - 2020 2017 2017 - 2019 2017 - Present 2020

AWARDS 2014-2016 2018 2020 2020 2020

Men’s Division I Varsity Rowing Team Drexel University Chapter AIAS Netherlands Study Abroad SpaceX Hyperloop Team Drexel Smart House Snøhetta Neighborhood Design Charrette Powelton Village Civic Association Guest Juror + Lecturer at Drexel University Digital FUTURES: “The Sensate + Augmented” Workshop

Multiple Drexel Rowing Team Records & 10+ Gold Medals IZE Prize Architecture Competition - Finalist Swift Fund Grant Recipient Michael Pearson Prize for Best Architecture Thesis - Finalist ARCC/King Student Medal f or Excellence in Architectural + Environmental Design Research

EMPLOYMENT Summer 2017

2017 - Present

SKILLS

Architecture: Graphics: Craft: Misc. Interests:

PDK Architects | Intern Architect Two person setting introduced me to the duties of running a small business and how to be a self-starter.

CuetoKEARNEYdesign | Intern Architect Four person setting taught me how to balance multiple projects and the social and political impact architects can make.

AutoCAD, Sketchup, Rhino, Grasshopper Adobe Creative Suite, V-Ray, MS Office Suite, Z Brush Furniture Making, 3D Printing, Woodworking, Stone Carving Sketching, Writing, Architectural Theory, Human Emotions + Interactions

REFERENCES

Claudia Cueto, AIA, NCARB

Principal at CuetoKEARNEYdesign, claudia@cuetokearney.com Mark Brack, PhD

Drexel University Dept. of Architecture, Associate Professor of Architectural History, brackml@drexel.edu Katie Broh, AIA, LEED AP

Partner at MGA Partners, cbroh@mgapartners.com 3

Arctic Fossil

How Does A Building Survive?

Undergraduate Thesis | 2019-2020 Advisor: Katie Broh Location: Sarek National Park, Sweden, Arctic Circle Awards: Swift Fund Grant

ARCC/King Student Medal

Finalist for Michael Pearson Prize

This thesis investigates the change undergone and incited by remote structures abandoned after rapid urbanization in the 21st century. Set in the arctic landscape of Sarek National Park, Sweden, three different stone structures are designed to both change and be changed by their unique sites. Each structure exhibits change that affects the others, emulating the changing landscape for a profound research opportunity over the next 500 years.

Focusing research on the ground condition, form and material are manipulated differently across the three sites.

Each structure is tailored to respond to one of three types of change in terms of material presence: negative change (loss of material), neutral change (material exchange), and positive change (addition of material). The structures are set in three different landscape conditions that emulate those categories (glacier, river, mountain summit). In these sites, some structures change to act as short-lived parasites while others withdraw into the earth and become sybionts that live on with the mountains. This

change effects the base habitability and programmatic function of each structure, varying between environment research outpost and primal dwelling.

Eventually, research will no longer be conducted here, but the buildings still serve the research experience by exemplifying change through the architecture and site.

As such, this thesis finds that a building survives by withdrawing into the earth with a strong ground connection and giving back to the site.

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Me (left) doing hydrological research with Ilaria Clemenzi (right) at Tarfala

Hiker

Citizen Science

Research Trip + Program:

Researcher

Given the evolution of the structures, the program adapts with the buildings. That program is citizen science - a new form of research common throughout Europe that engages both hikers and environment researchers for an improved learning opportunity for both users. Essentially, hikers share their memorabilia with scientists to focus their research efforts. I learned about this approach during my experience as a citizen scientist at Tarfala Research Station. I did field work with a team of multi-national hydrologists and asked them a series of questions to learn about their experience as researchers in this harsh environment. I asked those same questions to dozens of other hikers and researchers later on my trip and throughout the year.

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Tarfala Research Station Arctic Circle

Sweden

Sarek National Park

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Piellorieppe Massif + Three Structures

Structure One: Negative Change Glacier Melting

Structure Two: Neutral Change River Erosion + Sedimentation

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Structure Three: Positive Change Tree Line Advancement

SAREK NATIONAL SAREK PARK: NATIONAL 761 mi² PARK: 761 mi² PIELLORIEPPEPIELLORIEPPE MASSIF: 45.7 mi² MASSIF: 45.7 mi² PHILADELPHIA: PHILADELPHIA: 141.7 mi² 141.7 mi²

GRANITE GRANITE DOLOMITE DOLOMITE GNEISS GNEISS SANDSTONE SANDSTONE MARBLE MARBLE QUARTZITE QUARTZITE BUILDING BUILDING SITESSITES

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Site Analysis + Material Selection:

Glaciers have carved through a surface layer of granite on the mountains to reveal a base layer of marble and quartz in the valley. I noticed that darker stones (granite) facilitate plant and lichen growth while lighter stones (marble) prevent growth. This inspired me to use black granite and white marble as the primary building materials to aid in representing change.

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FIELDS + MARSHLAND GLACIER LAKE + DELTA RIVERS PROPOSED ROUTE EXISTING TRAILS BUILDING SITES

GIS Tree Line Analysis

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Material Sourcing + Performative Detail:

The Plug & Feather carving process manipulates the sourcing of stone to create a performative detail. The fluted carvings redirect rainwater for localized plant propagation. Though primarily for water management, this detail is slightly modified to fit the needs of each site.

Boulder

Step 1

Step 2

Step 3

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Step 4

Fluted Boulder

Structure One:

Tumbler

One That Tumbles

Tumbler looks at negative change through melting at the glacier. Sinking into the glacier allows for undiscovered caverns to be researched similar to how a Bathysphere studies the depths of the oceans. As Tumbler sinks, meltwater breaches the stone exoskeleton and plucks off the individual panels, exposing the steel roll cage and wood lining within. After the glacier is gone, all that is left are the stone panels marking the ruin of a deceased building.

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2’ Thick Marble Panel

2’ Thick Granite Panel

Material + Thickness Methodology

To encourage a more consistent rate of change, the shell is primarily made of white marble. This rejects inconsistent solar heating by the midnight sun in favor of the potential energy of Tumbler’s 40 ton weight pressing through the ice. Black granite openings prevent snow from blocking the doors.

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Stone Carving Application for Meltwater Management

Stone Panel Shell HSS 10x10 Roll Cage Spring Suspension

Charred Wood Shell Biodegradable Insul.

Pegboard Lining Porthole

Hammock Floor

Hammock Pegboard Operation

Porthole Operation

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Structure Two:

Alluvium

Fertile Sediment Deposit

Alluvium studies neutral change through erosion and sedimentation at the river. Meltwater from Tumbler excavates Alluvium from its earthen tomb and grants access to the interior through a concealed opening.

Varying materials and light levels control plant growth and effectively pause a patch of land in time while the surrounding area thrives. As the earthen shell is undressed, unique plants grow in the ultra-fertile soil unlike the surrounding ground. These plants climb the carved-stone shell to reclaim and withdraw the structure back into the earth.

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Early Concept Sketch

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MARBLE LINING PLAN DIAGRAM

GRANITE SHELL SEDIMENT COAT

SEDIMENT COAT REMNANT

CONTINUOUS GRAVEL FOOTING

Uniform Shape

Materials for Growth

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Form Controls Light

Patterned Carving

The excavation carving is applied to interlocking stone tiles to retain the earthen shell in some areas and reject it in others. The pattern creates a smooth transition of growth that blurs the perception of where building ends and ground begins.

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Before - Research Outpost

After - Hiker Dwelling

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Early on, Alluvium’s exterior can be studied to gauge water levels and flora behavior. As the earthen shell falls, a doorway is revealed that grants hikers access to the interior. Passing through the different material layers reveals thresholds of growth from highly active on the exterior to barren on the interior. All levels of growth from lichen to tree line are displayed through the oculus at the center.

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Structure Three:

Habitaculum

Botanical Nomenclature for Dwelling

Habitaculum promotes positive change through increased vegetation in the harsh environment of the mountiantop.

A series of long-span stone vaults creates an armature that blocks wind and accepts sun and rain. The semi-enclosed area has varying levels of exposure which results in a diverse array of growth conditions. These pockets of growth exhibit plant life that is yet to come via the approaching tree line. Beyond facilitating growth, Habitaculum also accommodates any user or program with a range of room sizes and spatial conditions. These spaces are defined with primal program elements that humans have needed throughout time: bath (water), hearth (fire), burrow (shelter), and stone garden (nutrients). These spaces are arranged according to the different exposures, and will aid in representing change as the exterior remains barren while the protected interior space thrives.

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Initial Concept Sketch

Diagram of Form Response to Site Forces

Diagram of Scripting Optimization Workflow Structural Optimization (Yellow), Solar Optimization (Orange), & Wind Optimization(Blue)

Semi-Optimized Building Form

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1 PROGRAM KEY 1 - ENTRY CHAMBERS 2 - STORAGE 3 - BATHS 4 - BATH TERRACES 5 - HEARTH 6 - STONE GARDEN 01 7 - STONE GARDEN 02 8 - STONE GARDEN 03 9 - CAMPIRE DENS 10 - BURROWS

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APPROX AREA: 34,000 SF

0’

EXTERIOR REJECTION

INTERIOR COLLECTION

ALLUVIUM DETAIL

Following the optimization process, the carving details from the other two sites are combined to facilitate growth on the interior while keeping the exterior camouflaged in lifelessness.

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TUMBLER DETAIL

HABITACULUM DETAIL

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100’

Withdrawn North Entry

Exposed South Entry

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Barren Exterior Approach

Thriving Interior Stone Gardens

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McCabe Library

Interior Renovation For New Reading Spaces & “Color Room” Client: Swarthmore University Location: Swarthmore, PA Status: Complete

Swarthmore University’s McCabe Library is undergoing a phased interior renovation to revitalize the dark reading spaces. CuetoKEARNEYdesign was tasked with the third floor renovation which involved removing existing bookshelves in exchange for an array of reading spaces, new administrative offices, and a “Color Room”. My primary role was to model the design in Sketch Up. I coordinated the model updates by attending client meetings as well as consultant meetings. Following the design and documentation phases, I attended site visits during Construction Administration. On a number of visits, I notified the Project Architect of issues to be brought to the contractor’s attention, most notably loose casework assembly and missing electrical equipment.

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Open Lounge Space

Built-In Reading Bench

Sketch Up Model Iterations

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Reading Room Overview

Construction Administration Progress Photos

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Amos Hall

Historic Preservation + Addition for University Arts and Design School Client: Pennsylvania Department of General Services Location: Lincoln University, PA Status: In-Progress // CD Approval Expected Completion: July 2021

Amos Hall is one of the oldest buildings on Lincoln University’s campus, located in rural Southeastern Pennsylvania. Completed in 1902, Amos started out as a bathhouse and has served a variety of roles since. Now though, the building is being repurposed to serve as the new home of the Art and Design school. The existing 4,000 gsf within Amos Hall will be primarily used for administrative offices. An additional 20,000 gsf will be added to provide classrooms, workshops, exhibit space for the school’s Historic African Art Collection, as well as the campus IT Hub in the basement.

I have played a variety of roles in developing this project.

My first contribution was creating digital massing iterations and site diagrams for the RFP. Since we were awarded the project, I have made both physical and digital models for the design team to conduct facade studies during Design Development. In developing the interior, I aided in material selection during Construction Documentation. Although I have been the primary modeler for the project, my main responsibility has been to document the three proposed stairs: an interior egress stair to the north, an exterior egress stair to the west, and a monumental stair in the atrium to the east. I coordinated with the structural and MEP consultants during in the development of these three elements.

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Section A

Sketch Up Model Design Iterations

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Section B

1/8� Scale Facade Study Model

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U Shelf

Re-presenting the Ordinary Instructor: Nichole Koltick Timeframe: One Week // Design + Build Fabrication: Hand-cut, Interlocking MDF

Books have become a prop withdrawn to our peripheral vision as time once spent looking at them is now spent looking at screens. Abundantly accessible and subsequently made overly familiar, books have lost their allure to the passerby. By revisiting the way books are stored and displayed, their meaning to us can be strengthened, reigniting our once universal passion for reading.

Consider how books are often presented - out in the open, usually high on a wall to be visible from most points in a room. Alternatively, rather than banishing the books to the background, they are now withdrawn to the foreground and only made visible when directly within reach. Initial engagement is accomplished by providing seating for basic relief. It is not until the user sits down that the books reveal themselves. They sit between vertical slots in the surface of the bench and are presented by lifting a handle at either end. This action raises the internal bed and ejects the books like bread from a toaster. It is this process of relief, surprise, and engagement that ensures a unique and desirable connection with the ordinary.

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POW Bar

Desiring the Unfamiliar Instructor: Nicole Koltick Timeframe: Four Weeks // Design + Build Fabrication: Hand-cut Plywood +

Hand-cut/dyed Basswood

Furniture exists in servitude - a means to an end. Rather than amplifying our relationship with the contents, this study interrogates our relationship with the container.

Giving the container an identity different from that of its parts allows it to become a character in its own right; a thing to be sought after and engaged just as the contents are. Breaking from theories like Venturi’s “Duck” and Sullivan’s “Form follows function,” the identity of this piece is based on withdrawal and unfamiliarity.

Withdrawing changes the function from displaying the ordinary to instead hide the desirable behind a new, unfamiliar face. Bright colors attract from afar. Upon approach, the colors are dissected into a radial spectrum of reds, yellows, greens, and blues all orbiting a central push-button. Depressing the button separates internal magnets and activates spring hinges that swing the doors open as though to blow the doors apart. A wet bar awaits inside the main compartment with secondary storage for pillows and blankets on the sides. When the contents are obtained, the top surface echoes the color spectrum through the exposed three-way box joints. The unique haptic experience and repetition of vibrant colors makes this piece a thing to be desired as much as (or more than) the items within.

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