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VALENTINA T. LEONI work

sample

2014

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2018


C O N T E N T S 01_RESUME 02_THE SHELL GROTTO 03_SPATIAL CONSTRUCT 04_DRAWING INVESTIGATIONS 05_THE ART OF SELLING 06_WORKING DRAWINGS 07_MATERIAL CONSIDERATIONS 08_WOOD 09_PROCESS 10_FLIP CITY 11_FURNITURE DESIGN 12_DOMESTIC SCENES


01_RESUME Architectural Intern Kengo Kuma and Associates, Tokyo, Japan

July 2018 - Present Skills

Design team member for various international projects ranging in scale from master plan to interior detail. Responsibilities: Schematic design, detail development, CAD and physical model making, material research.

Campus Design and Construction Graduate Employee January 2015 – June 2018 University of Oregon, Campus Planning, Design, and Construction - Eugene, Oregon Management and administration of LEED Certification process for campus buildings. Project Lead on the integration of energy use dashboards. Responsibilities: LEED project strategy, leadership, and execution through work with project managers, contractors, design teams, engineers, and UO staff members. Dashboard project coordination including the integration of existing building systems into the Lucid Dashboard interface. Content creation.

Architectural Designer April 2013 – June 2014, June 2017 - October 2017 MAD Architecture – Petaluma, California Involvement in all phases of civic, commercial & custom residential projects in a busy 5 person office. Responsibilities: construction documents, schematic design, design development, construction administration, material selection and research, renderings, client presentations, marketing assistance.

Designer / Partner Llongueras Design - California & France

June 2009 – 2017

Mosaic design and fabrication and other various design projects. Design, production, and construction administration of fine art, public commission, landscape, commercial, and residential mosaic projects. Additional design projects include interior and landscape design, product and industrial design, urban furniture design.

fluent: Adobe Creative Suite, REVIT, AutoCAD, Rhinoceros, Microsoft Office, Sketching, Diagramming, LEED, Mosaic proficient: Grasshopper, VRAY, SketchUp, WordPress, Bluebeam Languages: French (proficient) Italian (conversational) English (native)

Education University of Oregon College of Design, School of Architecture and Environment Master of Architecture, 2018 Master of Interior Architecture, 2018 University of California, Los Angeles Italian with a Special Field in Philosophy Bachelor of Arts, 2007

Honors and Awards Donna V. Sundberg Scholarship in Architecture, University of Oregon, 2015-2016, 2016-2017, Brownell Fraiser Memorial Endowed Scholarship, 2017-18,The Gunilla K. Finrow Excellence in Interior Architecture Scholarship, 2017-18 Studio Honors designations for the following studios: Fall, 2015: “The Art of Selling,” Critics: Frank Escher and Ravi Gune-Wardena, Winter and Spring 2017: “SHARE Studio” Critic: Philip Speranza


02_THE SHELL GROTTO Summer 2015, Montecito, California


03_SPATIAL CONSTRUCT The goal of this project was to fabricate a site-specific spatial construct with a performative function. A mapping of my shoulders by measurement and plaster casting provided an understanding of the site’s proportion and scale. An elevation, section, and an unfolded drawing of the site generated an intimate contextual understanding from which the construct, intended to defend and to decorate, was formed. The construct is composed of modules that connect and change scale in response to the contours of the site. The effect of this operation is a shift in perception of the module - a strong geometry is mitigated, rendered lithe and organic.


03_context survey + module study site elevation site section module connection diagram

unwrapped drawing of site elevation following page: unwrapped drawing of spatial construct


04_DRAWING INVESTIGATION Rigorous investigation of a mechanical object led to the discovery of otherwise unnoticed complex spatial relationships. Translating those relationships into orthographic projection introduced the potentiality of the territory between the object and the drawing, changing my understanding of drawing from a means of representation to a tool for understanding, creation, and disclosure.


04_unfolded drawing Using knowledge of the object garnered from its orthographic projection study, a formal logic for its unfolding is generated. The trajectory of the unfolding follows a simple rule and is grounded in the object’s ergonomic characteristics: it is placed on the page at the angle at which you would hold it in your hand and then proceeds to unfold from the top down, surface by surface, alternating between vertical and horizontal unfolded surface representations. Through this exercise, the object is re-presented and re-understood.


05_ THE ART OF SELLING, Fall 2015 Interior Architecture Design Studio

Studio Honors “The Art of Selling” was an Interior Architecture studio focused on conceptual retail spaces. Kiriko, a Japanese american clothing brand was assigned as my client. My design engages a contextual commonality between Eugene, Oregon and Japan: the use of wood. A sculptural boundary of triangulated wood structures defines the retail zone, while programmatic elements including design, fabrication, business offices, stock, and shipping & receiving operate along the edges of the space. The stick intervention filters views into the daily operations of a brand rooted in process. The wood is not treated and fastened so it can be taken apart and recycled. Traditional Japanese wood weathering technique, Shou Sugi Ban, is used to treat the exterior of the wood tunnel entry way, fading from black to clear as you traverse the threshold. Custom black resin display elements contrast with the brand’s highly textured merchandise.


2x6 recycled and scrap lumber various species heights: 4 ft, 6ft, 8ft, 10ft, 12ft

simple three member triangulated structures, made from 8’ 10’ and 12’ lengths members cross at various heights fastened with 3.5” stainless steel wood screws, counter sunk

three member triangulated structures fastened with L clips to the floor braced near base with 4’ members arrayed to create boundary

6, 8, and 4 ft lengths fastened to arrayed triangulated structures, overlayed member lapped to span distances and make form 100% more material added with sculptural intention


06_ WORKING DRAWINGS, SPRING 2016 Interior Architecture Design Studio


07_MATERIAL CONSIDERATIONS,FALL 2016 ARCHITECTURE DESIGN STUDIO Risdall Vineyard Cellars is located on a rocky hillside in Dundee, Oregon. I proposed that the owner capitalize on the wealth of basalt and designed a large gabion wall to screen the production building. This wall acts as thermal mass, filters light, and provides both privacy and visual connection between the public and production areas. The effect is a memorable, textural experience that connects the visitor with the land from which the wine is made. Visitors are able to peer through the gabion wall into the production room as they process along it on their way to the tasting room. The tasting room is set into the hillside and orientated toward a southern, forested view. Characterized by site-sourced rammed earth, the tasting room once again connects the visitor to the site. The rammed earth wall and half submerged building provide passive cooling for barrel storage. With a glass of pinot noir in hand, views through the rammed earth wall behind you and out onto the vineyard in front of you, the visitor finds herself enveloped in place, process, and product.


08_WOOD Through my architectural coursework I’ve developed an interest in tectonics and structural design, particularly the use of contemporary mass timber and engineered wood products. This interest was fueled by coursework in Structures and Enclosures, as well as Advanced Technology Courses: Prototyping Wood Connections and Timber Tectonics. My comprehensive architectural studio project involves the design of an 8 story wood building. The design includes the development of a two-way span structural CLT/LVL floor plate and a CLT panel column system that formally expresses the change in shear forces in the building. While the development of the two-way spanning system may have been inevitable, as far as we know it is currently the first design of its kind.

Above: Full scale mock up of the traditional Japanese joinery used in Kengo Kuma’s GC Prostho Museum, Chidori. Partners: Sean Henderson, Ignacio Moreno Elst, Sam Clagget. Right: form finding, structural analysis (using Karamba) model and full scale mock up for a modular timber gridshell. Partners: Jin Zhengxian, Tygh Parr, Will Searcy, Josh Rosenthal


Mass Timber waffle slab. The principles of concrete flat plate construction technology are adapted for use with cross laminated timber and laminated veneer lumber. This design allows for longer spans, increased cantilevers, improved acoustics, material economization, ease of service integration, and most uniquely, a two way span.


09_PROCESS

Forthcoming Interior Architecture Comprehensive Project

Flip City - Early Formal Exploratio


ons

The Art of Selling - Midterm Model


Sketch model for a double curved modular timber gridshell

The Art of Se


elling - early casework exploration

Circulation Study


Concept Sketches for 2018 Interior Architecture Comprehensive Project

Concept models derived fr


rom sketches

Concept collage and distilled diagrams


Structural explorations: CLT shear resistance capabilities


Mass timber waffle slab


10_FLIP CITY

SPATIAL PATTERNS, SUMMER 2016, ARCHITECTURE DESIGN STUDIO, MARZIAH RAJABZADEH & MOHSEN MARIZAD, UNITED DESIGN

FLIP CITY

The following is an 8 week studio project based on the research of patterns, their design, and their morphology . Two dimensional patterns were constructed and developed according their mophogenic potential, eventually resulting in an urban design proposal for the Eugene Water and Electric Board riverfront site in Eugene, Oregon.


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RECIPE FOR TILING - VORONOI 1. Construct a set of points* 2. Draw a bisector** between each point and the points immediately surrounding it 3. Connect the bisecting lines to create Voronoi˚ cells

RECIPE FOR TILING - DELAUNAY TESSELLATION

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1. Construct a set P of points* 2. Triangulate the points DT(P) such that no point in P is inside the circumcircle of any triangle in DT(P)

* Point generation must be based in a prescriptive, repeatable recipe. Such as extraction of points from a measured polygon or true / false or binary pattern ** The bisector - is halfway between two points at an angle perpendicular to a line that would connect the two points ˚ Voronoi diagrams are of a class of patterns called Dirichlet tessellations, irregular tessellations of the plane the occur spontaneously in nature, at every scale and are used in the study of many fields including biology, anthropology, computer science, marketing, and the growth of crystalline structures - problems that involve opportunistic occupancy of space (Aranda/Lasch, Tooling)

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* Point generation must be based in a prescriptive, repeatable recipe. Such as extraction of points from a measured polygon or true / false or binary pattern

POINTS EXTRACTED FROM

GEOMETRY - VORONOI

BRANCHING - TRIANGULATED

BRANCHING - VORONOI

OFF / ON SHIFTED GRID - VORONOI

BINARY CODE INITIAL TEST TRIANGULATION

ON / OFF SHIFTED GRID - TRIANGULATED

BINARY CODE INITIAL TEST - VORONOI

3 ON / 1 OFF - VORONOI

FIBONACCI SEQUENCE A VORONOI

3 ON / 1 OFF - TRIANGULATED

FIBONACCI SEQUENCE A - TRIANGULATED

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POINTS EXTRACTED FROM GEOMETRY - TRIANGULATED


3D Pattern Prototype: Courtyards

STRATEGY

1. From a Delaunay triangulation, select groupings of points 2. Extrude the selection, and repeat the same operation to create multiple extrusions 3. Copy the field and turn it inside out, creating a field of volumetric negative and positive spaces. ANALYSIS

The negative spaces read as courtyards, the positive building volumes, and the transition spaces terraces and covered walkways. Under the field exists a network of covered walkways connecting to interior open spaces and the exterior. Covered walkways with direct access to exterior, large courtyard spaces, and terraces are well suited to Eugene climactic conditions. Potential for above ground and internal commercial or public spaces is interesting. The scale intrinsic to this strategy is a multi building or neighborhood scale.


STRATEGY

1. From a Delaunay triangulation based on site specific inputs 2. Create volumes that respond to those inputs by pushing and pulling connection points of triangular cells

ANALYSIS

This system exhibits a strong potential for building facades and spaces that have a strong connection to the ground plane. There is also potential for larger scale land form. A facade that integrates into the site such that additional spaces are created, e.g. places to sit along the river, or wildlife viewing or recreational pools, is ideal for a riverfront development.


212’ 85’

125’

165’


PEDESTRIAN LOOP

5th Street

8th Street

Site Plan and Site Section


TOWNHOUSE APARTMENT


PUBLIC PRIVATE


11_ FURNITURE DESIGN STUDIO, FALL 2017


APPROACH warmth texture color material craft The Barberini Tapestries provide a unique opportunity to experience art as environment. This bench is designed specifically for this occasion. It connects the sitter to the warm, textural quality of the tapestries with a comfortable, woven leather seat on a white oak frame. The color of the leather and soap finished wood responds to the rich, natural, and aged colors of the artwork, but perhaps more importantly, they allow the bench to blend in with the existing finish materials of the gallery. Material and craft are essential to the beauty of the tapestries and were a main focus in the making of the bench. Leather, wood, copper, and soap were employed in a process that involved both machine and hand tools. The hand cut leather straps are edged and wrapped down the side of the rail to provide comfort at the back of the sitters’ leg. They are pulled through a slot and tacked in place with cut copper hardware. The piece is connected with structural dominoes, the legs are both hand carved and machine turned.

17�

15-1/2�

Opportunities to incorporate unique details were continually explored throughout design and construction. This process-centric approach is evident in the eye shaped detail at the leg-rail connection. Rather than simply executing a known connection, this detail evolved through a series of drawings, material explorations, and tests. The result is an elegant, unexpected shape that lends a contemporary, almost industrial feel to the piece.


12_ DOMESTIC SCENES SEMINAR, WINTER 2018


THE GLASS HOUSE, LINA BO BARDI, SAO PAULO, BRAZIL, 1950-1951


ENTERING REDESIGNED FOR A 1990S TRACT HOME, RED IMPLIES THE ROOM


COOKING AND LIVING, IN THE TRADITION OF CASTAGNA, ITALY


WORKING AND RELAXING, THERE IS NO SEPARATION BETWEEN THEM, ONLY MOVEMENT


SLEEPING AND BATHING // TRAVELING IN OTHER REALMS

Work Sample 2018  

Work samples from 2014 - 2018 in design and fabrication, architecture, and interior architecture. Recipient of: The Brownell Fraiser Memoria...

Work Sample 2018  

Work samples from 2014 - 2018 in design and fabrication, architecture, and interior architecture. Recipient of: The Brownell Fraiser Memoria...

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