__MAIN_TEXT__

Page 1

WILLIAM BECK

Portfolio


WILLIAM BECK

633 Muir Station Road Lexington, KY 40516

Curriculum Vitae

EXPERIENCE Fall 2018 - Current New York, NY

Summer 2018 Lessac, France

ALLIED WORKS ARCHITECTURE JUNIOR ARCHITECT Responsible for model production for all New York office projects, contributed visual assets for client presentations, undertook design studies, generated a set of as built drawings for the library. DOMAINE DE BOISBUCHET GENERAL STAFF & WORKSHOP Workshop lead by Timur Ersen concluded with the construction of a rammed earth bonfire space designed by Alvaro Siza.

Spring 2018 Charlottesville, VA

REFUGEE HOUSING SOLUTIONS RESEARCH ASSISTANT Assisted Associate Professor Earl Mark in conducting research, design and development of a tensile refugee shelter.

Fall 2017 Charlottesville, VA

“LESSONS IN MAKING” TEACHING ASSISTANT

Summer 2017 Denver, CO

Spring 2017 Charlottesville, VA

2015 - 2018 Charlottesville, VA

Summer 2016 New York, NY

Co-led a 20 student section – I’d explain and demonstrate project assignments to reinforce lecture materials covered in Sanda Iliescu’s foundational design course.

THE MULHERN GROUP ARCHITECTURAL INTERN Full-service architecture, interiors and planning group I worked on construction documents and Photoshop renderings for. ARCH OUT LOUD - BORDERS COMPETITION

Open ideas competition probing the design of an underground bath house within the Korean Demilitarized Zone which responds to the surrounding geopolitical conditions.

RADICAL ADVERTISING

DIRECTOR OF BUSINESS DEVELOPMENT, STRATEGIST, DESIGNER Brand strategy & design firm in Charlottesville, VA.

PALMER SCHWARTZ AGENCY INTERN PSA is a NYC based strategy, art direction and design agency. Over a summer I assisted with set design, photo shoot art direction and logistics.


EDUCATION 2010 - 2014

DEERFIELD ACADEMY

Graduated top 10th percentile 2014 - 2018

UNIVERSITY OF VIRGINIA

Economics Major with concentration in International Economics Architecture Minor | GPA 3.68/4

Fall 2018

LEED GA CERTIFIED

SKILLS Adobe Suite

CAD

Misc.

INDESIGN ILLUSTRATOR LIGHTROOM PHOTOSHOP PREMIERE

AUTOCAD MAXWELL RHINO SKETCHUP VECTORWORKS

CARPENTRY LASER CUTTING STUDIO PHOTOGRAPHY


CONTENTS pg. 1-12

COMPETITIONS

Korean DMZ Subterranean Bathhouse | ArchOutLoud Latvian Stone Barn Meditation Camp | BeeBreeders Spring 2017 pg. 13-14

MATERIAL RESEARCH: RAMMED EARTH Rammed earth construction workshop Summer 2018

pg. 15-18

“AUTONOMOUS MEMORY”

Paintings derived from photographs Fall 2019 pg. 19-28

FOUNDATIONAL DESIGN “LESSONS IN MAKING”

Proun Sculpture | Pavilion Fall 2016 pg. 29-30

DESIGNED OBJECTS

Chair Objet Trouvé Summer 2018 pg. 31-42

ALLIED WORKS MODELS

Pratt Institute School of Art | Brooklyn Public Library Fall 2018 - Summer 2019 pg. 43-48

PHOTOGRAPHY

Selected photography Summer 2017 - Fall 2019 pg. 49-52

DRAWINGS

Studio art charcoal drawings & travel sketches Spring 2016 - Summer 2018


1

Competitions

Korean DMZ Subterranean Bathhouse

SUBTERRANEAN BATHHOUSE ARCH OUT LOUD challenges designers to explore the possibility of creating an underground bath house within the Korean Demilitarized Zone that responds to the surrounding geopolitical conditions. The bathhouse intends to serve as a forum for reunification conversations between visitors from North and South Korea. Stumped in geopolitical hostility along the 38th parallel, the bathhouse is designed to reveal and elevate commonalities between North and South Korean visitors as an experience encouraging reconciliation. The only visible structure on the ground surface is exactly that which denounces an arbitrarily drawn border. The sundial is a reminder that the two opposing socio-political contexts are both governed by a higher natural order.

Demilitarized Zone De ma

rca

t io nL

in e

Site South Korea

North Korea

Site Plan

Sundial Aerial


Spring 2017

1. Approach

2


Competitions

3

1. Approach

Korean DMZ Subterranean Bathhouse

2. Lobby

2. Changing Room

5. Hot Bath

RELIEVING COLLECTIVE

+ – OPPRESSIVE ISOLATED

Processional Diagram The bathhouse was conceived as a matrix of spaces, each composed of some combination of parameters: RELIEVING & OPPRESSIVE, COLLECTIVE & ISOLATED

are meant to abstract from characteristics representative of conditions found in Korea as a whole. Processing through the bathhouse, visitors oscillate between the four possible combinations. As an arrangement of contradictory extremes, spaces disorientingly oppressive and scaleless flow into areas

suspiciously utopian, achieving a sense of resolve somewhere in between. While Northerners come from a tyrannical autocracy, the bathhouse is a forum that suggests that maybe the democracy in the South isn’t necessarily correct either. The bathhouse separates

and gathers visitors, establishing conditions for individual cogitation as well as social exchange. This is a space where healing conversation can germinate.


h

Spring 2017

6. Cold Chamber, 7. Sauna

8. Changing Room

9. Lobby

10. Sundial

4


5

Competitions

Korean DMZ Subterranean Bathhouse

Context

Cardinal Axis

Obeying the demarcation line emphasizes the border’s presence and reinforces socio-political stigmas.

A reorientation along the cardinal axis equates spatial relationships between the countries, denouncing the arbitrary border.

Bridge

Blurred Boundaries

Trespassing the boundary demarcation line to unite visitors from both sides.

The ground becomes a permissible membrane when occupying the subterranean.


Spring 2017

6

5. Hot Bath

5. Hot Bath

6. Cold Chamber

4. Cold Bath

7. Sauna

Elevator

3. Changing Room

2. & 9. Lobby

8. Changing Room

N Female

Male


7

Competitions

3. Changing Room

Korean DMZ Subterranean Bathhouse


Spring 2017

Non-Directive Play Therapy Below ground, navigation through the bathhouse’s processional program relies completely on human intuition. The design is devoid of rhetoric, color, imagery that could be sympathetic to either visitor’s country over the other’s. This method of no-wayfinding is informed by non-directive play therapy founded on the notion that if given the chance to speak and play freely under optimal therapeutic conditions, troubled people will be able to resolve their own problems and work toward their own solutions. Visitors are ushered through the bathhouse by their own intuitions, engaging with the processional program at their own discretion. 6. Cold Chamber

7. Sauna

8


9

Competitions

Latvian Stone Barn Meditation Camp

STONE BARN MEDITATION CAMP VECKALSNAVA, LATVIA — Tasked with re-purposing an old stone barn from 1875 that operated as a sawmill until the late 1990’s in the heart of Latvia, the Stone Barn Meditation Camp is intended to serve as a wellness complex that encourages ecotourism to the region. The existing building wasn’t to be demolished, only added to or enhanced. The sponsor wishes for the building to serve as an example for green building practice, focusing on eco-friendly and cost-effective design to align with the theme of ecotourism. Situated on the footprint of a demolished segment of the barn, the proposed re-addition is intended for meditation and other recreational activities.

Site

Model Aerial

Model South Elevation

Riga

Site


Spring 2017

Exploded Axonometric

10


11

Competitions

Latvian Stone Barn Meditation Camp

Section A

Section B

A

B


Spring 2017

Project Statement Conceived as a space primarily for group meditation, the addition accommodates a flexible program. Formally, it’s designed as a joining of contradictory bodies. The 19th c. stone barn, regarded as a heavy cavity, is met by the light timber and glass addition. A common practice of meditation is isolating attention to a particular object or thought. The roof serves as the singular tissue uniting the two structures. When passed beneath, space expands and contracts, mimicking the action sequence of lungs taking a breath. Simple gestures carve out spaces of the barn, which grow increasingly intimate in program the further one ventures from the abundant daylight of the addition. The use of wood for the facade, structure, and roof draw from the local vocabulary.

12


13

Material Research

RAMMED EARTH WORKSHOP LESSAC, FRANCE – As compensation upon completion of a workfor-stay at Domain de Boisbuchet, I participated in a rammed earth workshop led by French/Turkish architect Timur Ersen. The three walls we rammed comprised the fire-place designed by Alvaro Siza. This was my introduction to this building technique, and I look forward to incorporating rammed earth in future projects for its aesthetic properties but also sustainability benefits.

Aerial

Rammed Earth Workshop


Summer 2018

Removing Formwork

Rammed Earth Test

14


15

Photographic Translation

AUTONOMOUS MEMORY At its essence, a photograph is a recording of information: location, time of day, cloud cover, figures and grounds, etc. The quantity and quality of information are limited to what fits in a frame. With the introduction of additional peripheral information as well as scaling back or articulating captured information, these paintings challenge this confine. This culminates in an effort to regain authorship of the composition where, aside from a studio setting, photographers inherently surrender a considerable degree of artistic decision to chance. Fundamentally an exercise in representation, these paintings establish a graphic language to communicate the information deemed necessary for interpretation. Sandpaper and vellum were introduced to expand the tactile qualities of the canvas.

Autonomous Memory


Fall 2019

Composition 1

16


17

Photographic Translation

Composition 2

Autonomous Memory


Fall 2019

Composition 3

18


19

Foundational Design

LESSONS IN MAKING The Proun Project originates as a form of procedural art inspired by El Lissitzky’s proun compositions. Beginning with an orthogonal color composition, a 3”x3” region is selected and translated into an achromatic three-dimensional representation of that region. Color volumes are extruded upwards according to their value level then downwards representing their degree of chromatic purity. Subsequent iterations employ transformations and interventions which are left to the discretion of the student.

Color Composition

Proun


Fall 2016

20

Color Properties:

Value

0

0.5

1

1.5

2

2.5

3

Chromatic Purity

0

0.5

1

1.5

2

2.5

3

Selected Region

V =1.5

V =2 . 5

C=3

C =1

V = 0.5

V=1

C=1 C=2 .5 Axonometric Projection


21

Foundational Design

Proun

Planes

Volumes


Fall 2016

Proun Iterations (From left to right) The first iteration directly represents the axonometric extruded from the color composition. With the second, I explored alternative ways of representing the same geometry with corrugated cardboard. The third image illustrates the second iteration model reorientated, which I would maintain into the next. Reorientation

Planes & Volumes Doubling the scale for the third iteration model to 1’=1/4� allowed the material selection of the proun to expand to continue developing ways to represent the varying light permeability of volumes.

22


23

Foundational Design

Site Plan Adopting the program of pavilion, the site’s topography and landscape features were brought into the conversation. The entire project’s evolution culminated with this 1/8”:1’ model. Navigating around existing trees and orienting to the site’s cistern informed the placement of the pavilion.

Pavilion

Aerial Perspective The pavilion sought to achieve the lightest presence on the site imaginable.


Fall 2016

Aerial

As light was to pass through the lattice structure, water was also given a route through.

West Elevation The lifted floor plate appears to hover above the ground plane, while the steps are embedded in the terrain forging a cohesiveness with the site.

24


25

Foundational Design

Model Perspective

Pavilion


Fall 2016

Sl Pi

ide

vo t

Joint Detail The hand-drafted axonometric drawing illustrates the deploying of a table designed for the pavilion. It pivots out of the wall face then slides along the track into a locked position under the canopy.

26


27

Foundational Design Lessons in Making

Pavilion

Project Statement Transparency is the theme. The idea was to conceive a way for light to permeate the volume, just as the white of the paper does on the color composition. Each transformation intended to amplify the theme of transparency through subtracting to imply volumes and extensions. When considering the location of the pavilion on the site, I extrapolated the purpose of transparency in the literal sense to instead mean non-intrusive. The protruding figure facing the site’s cistern is a water feature which allows water to pass through without inhibiting the natural flow in a non-intrusive fashion. This hints at the purpose of the pavilion. It is not necessarily a destination or an end, but a place to pass through, whatever the duration, for the purpose of stimulating thought.

Perspective View


Fall 2016

28


29

Made Objects

Objet Trouvé Chair

OBJET TROUVÉ CHAIR LESSAC, FRANCE — Domaine de Boisbuchet was founded by Alexander von Vegesack, the previous curator and managing director of Vitra Design Museum. On the Domaine, Alexander showcases an extraordinary furniture collection. During my final week at Boisbuchet, I decided to build a chair for his collection as a thank you. All raw materials had been discarded from previous workshops, while the tractor seat was found in a nearby field. The large bamboo member provides lumbar support while the thinner pieces flex to ergonomically give to the body. Cork feet give the chair a suppressed sound when sliding across the floor.

Side View


Summer 2018

Chair in Situ

30


31

Allied Works Models

Pratt Institute School of Art: Sketch Models

PRATT SCHOOL OF ART This early SD model series supported the work being done in plan studying formal strategies of carving varying proportions of space that might accommodate the different program. This was a crucial study beginning to look at potential ways of drawing vertical connections floor to floor.


Fall 2018

32


33

Allied Works Models

Site Model Aerial The site model was an important tool to evaluate our two early massings in relation to the Brooklyn campus.

Client Meeting Relying on the client’s familiarity with the site allowed us to propose our schemes more effectively.

Pratt Institute School of Art: Site Model


Fall 2018

Site Approach This frames the view along a pedestrian walkway, which serves as the main connection to the rest of Pratt’s campus.

34


Allied Works Models

35

Massing Aerial Southern facing clerestory windows were adapted to the roof form.

South Elevation

Pratt Institute School of Art: DD Massing


Fall 2018

36

Roof Detail A view accross the roof plane presents the intricate folding geometry, designed to accommodate a clerestory condition in the upper floors.

East Elevation


37

Allied Works Models

Section Model View This model bisects the previous one to shows the interiors of these “bars.� It reveals an interesting contradiction where the wider the bar, the darker the space.

Model Perspective This view shows the light wells formed from peeling back the wall of a higher floor from the one below.

Pratt Institute School of Art: Section Model


Fall 2018

Interior Light The light well is the method selected to introduce additional light into the deepest areas of the bars.

38


39

Allied Works Models

Pratt Institute School of Art: Structural Concept

Structural Concept Model This model was conceived in response to the sketch passed to me to translate into the structural concept we were proposing for the building. Weaving two bands types, thicker bands represent floor plates while thinner bands represent interior walls. This model explored moments where one may peel away from the other methodically carving connections floor to floor. The dowels don’t imply columns but only the plan boundary, suspending the structure in space. From above, the density of bands indicates opportunities to transfer loads while open areas accommodate the program. Sketch by Brad Cloepfil

Model Aerial The web of bands provide distinguish dense and open areas.


Fall 2018

Model Elevation The system of lateral connections planes out in elevation.

40


41

Allied Works Models

BROOKLYN PUBLIC LIBRARY BROOKLYN, NY — This branch of the Brooklyn Public Library underwent renovations in the 80s adding a second floor. This was accomplished by bisecting the original double-height space. Our proposal seeks to revive the grandeur of the original space by carving away the invasive floor plate. The purpose of this model was to study daylight conditions of interior views in an effort to convince the client of the benefits of the sacrificed square footage.

Brooklyn Public Library: Daylight Model


Fall 2018

42


43

Photography

PHOTOGRAPHY I enjoy photography as a medium in which to document and present scenes of life in a way that challenges the viewer to rethink what they’re seeing. Photography forms my foundational understanding of composing in three dimensions. When designing spaces, I rely heavily on empathetically considering a photographic sequence of views one would encounter.


Summer 2017 - Fall 2019

44


45

Photography


Summer 2017 - Fall 2019

46


47

Photography


Summer 2017 - Fall 2019

48


49

Drawings

STUDIO ART

Studio Art


Spring 2016 - Spring 2018

50


51

Drawings

TRAVEL SKETCHES In the Summer of 2018, a friend and I backpacked through much of Europe, technically stepping into Asia at one point, over three months. The idea was to visit as much architecture as possible. We each compiled a sketchbook of drawings and observations as well as photographs. These are excerpts from the sketchbook I travelled with.

Travel Sketches


June 2018 - August 2018

52


Profile for William Beck

William Beck CV & Portfolio  

William Beck CV & Portfolio  

Advertisement