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PORTFOLIO 2019-2020 Pratt Institute 2019 B.Arch graduate with a minor in Construction Management.

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John Walter John recently graduated from the Pratt Institute School of Architecture in the Spring of 2019. Before that he attended HSPVA

Resume

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Education / Work History 2010-2019

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Thesis

ACMA Sponsored Studio

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Domestic Mutations Millennial Commune individual work Fall 2017

TX - NY

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Columbia University

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Pratt Institute Dormitory Project w/ Do Phuong Mai Fall 2016

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human habitats. This led John to pursue his degree at Pratt where he had the privlidge of continuing that interest through various works. The culmination

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Outside School... VG Studio Architectural Intern July-November 2018

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of his studies was realized in his partner thesis with Richard Reyes titled “SYMBIOTIC NOMADS� which was a live/ work marketplace in Manila.

Visual Speculation Punchy Turtle Beach GoGo individual work Summer 2015

Boathouse Project w/ Belen Cavdar Spring 2017

Inflatable Composites w/ Anna S. + Haven G. Spring 2018

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Japan Travel Studio Escape Pod Train individual work Summer 2017

Symbiotic Nomads w/ Richard Reyes FA 18 - SP 19

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(TX) where he studied visual arts with a focus on sculpture and painting. The subject of his work then was urban sprawl and speculations on future forms of

Consultant // Draftsman // Renderer

Previous Work Artwork from HSPVA Senior Exhibition Spring 2014

Wave Hill

Some more about John... Before receiving his professional degree, he made contributions to several projects at VG studio in Houston under the licensed architect Victoria Goldstein who was previously employed at Zaha Hadid Architects. He also worked under Scott Sorenson and Richard Sarrach of the ITL (Interdisciplinary Technology Lab) group at Pratt on the installation for the annual Pratt Design Show. Currently John is collaborating with another licensed architect, Brent M. Porter, on a green roof structure for a commercial strip in the town of Aguas Calientes which rests below the famous site of Machu Picchu. Now John is looking for work that revolves around the design, testing, and realization of collaborative work/ living spaces.

Educational Center individual work Spring 2016

713 - 857 - 4403

jdw.twtx@gmail.com


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RESUME 2019 Pratt Institute 2019 B.Arch graduate with a minor in Construction Management.

John Walter

Consultant // Draftsman // Renderer

Consultant / Draftsman / Renderer / Model Maker

789 Saint Marks Avenue

jdw.twtx@gmail.com

Brooklyn, NY

713 - 857 - 4403

Education

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Pratt Institute ~ Bachelors of Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . 2014-2019 Brooklyn, NY ~ Graduated in Spring 2019 minor in Construction Management

HSPVA ~ Visual Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010-2014 Houston, TX ~ Graduated in Spring 2014 focus in Visual Arts

Academic Work

Research Assistant ~ Brent M. Porter . . . . . . . . . . . . . . . . . . . . . . . . . . . 2019 - Present Assisting on the Aguas Calientes Green Roof Project under Brent M. Porter Traveled to Peru to investigate the site and develop schematics for a green roof proposal.

Fabrication Team ~ ITL (Interdisciplinary Technology Lab) . . . . . . . . .Spring 2018 Working under Scott Sorenson / Prof. Richard Sarrach Assisted with the fabrication of parts and assembly of the installation for the annual Pratt Design Show.

Work Experience

Design Skills

VG STUDIO ~ Victoria Goldstein . . . . . . . . . . . . . . . . . . . July 2018 - November 2018 Architectural Intern Work included rendering, schematic design, construction documents, model making, graphic representations, and 3d modeling.

~ 3D Printing

~ Rhino

~ Autodesk Maya

~ Maxwell Rendering

~ Adobe Illustrator / Photoshop / InDesign

~ Revit

~ Autocad

~ Sketchup

~ Grasshopper

~ Vray

~ Laser Cutting ~ Maxwell

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2 : Symbiotic Nomads Thesis ~ w/ Richard Reyes Manila, The Philippines Critics : Philippe Baumann, Michael Su Fall 2018 - Spring 2019 This was a year long project that began with researching individually different portions of the urban scape of Manila in the Phillipines. The project was designed as a Manila specific work-live that considered the various dynamics surrounding the introduction of a mass transit system to areas of the city that previously were very disconnected. We questioned the initial notion that this project was an immediate benefit to the under-served communities throughout the various parts of the city but specifically to the people in our site which was the fifth stop along the proposed MMSP (metro manila subway project), the East Avenue station. Particular attention was paid to the institutional structures existing on our site (figure 2) and the various modes of land use and occupation that fortify and perpetuate inequality in Manila. The community of roughly 8 to 10 thousand residents

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Figure 1 : Aerial rendering showing “deconstructed courtyard�.

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Figure 2 : Institutional entities on the site.

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Union of Statistics Employees

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in an informal housing cluster on the site we came to call “symbiotic nomads”. This term is what we used to describe informal residents, who in our project, would repossess institutional structures for living and market activity and reclaim undeveloped landscape to create community assets. Community assets are utilities that are useful, beneficial and profitable; pedestrian infrastructure, symbiotic landscape, and nomadic markets. The greatest threat for symbiotic nomads of Manila is private predatory interests; they participate in the monumental takeover of land adjacent to and within informal communities. The Filipino government doesn’t consider possibilities of upward mobility for the lowest class. This leaves land development in the hands of private companies and corrupt government officials. Government agencies attempt to solve an under-development issue by joint venturing with third parties typically but these coalitions have

Figure 3 : Model photo from where the property lines become hard to read.

been unsuccessful mostly because they lack the will to see and address the real cause of inequality in this context which is how land ownership works in the Philippines. So what we designed was the countermeasure or defense. Incremental takeover of land in the opposite direction. The first move we made was to design the train station as part of our project. We wanted that to be the catalyst for opportunity on the site. By directly connecting the symbiotic nomads to the subway and it’s commuter populous we create the space for interaction between these two groups which are typically separated. Symbiotic nomads aren’t taken kindly to in commercial spaces or places where you need money so they’ve usually had to create their own space for that. Providing a market space directly connected to the informal residents and also a wide patch of undeveloped land that they could use to grow crops or products that they can then profit off of is the

Figure 4 : View of residential level which leads into a multi-level courtyard.

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Figure 5 : Abstract site plan showing the specific area of intervention.

quickest route to upward mobility for these people. The ability for them to incrementally make and break new boundaries on the site would lead to a seemingly less organized use of land (figure 5), but we believe that breaking down these walls figuratively and literally would lead to a more inclusive and open way of living. Exemplified by the actualization of these ideas in figures 3 and 4, the red circulation would be a pedestrian infrastructure that allows the informal community more points of access to this space for collaboration and would also lead to the deconstruction of old buildings in the search of a more customized use for these groups. They would create a market on the ground level (figure 6) which reshapes the landscape and connects down to the subway station. Above would be studio and work spaces that service that market (figure 7) and above that social and residential spaces for the “upwardly mobile” symbiotic nomads. The reason we never

show an image of a whole building is because we never set out to design a building, our intention was always to design a set of conditions that could be repeated throughout the site and Manila to create a more holistic idea of what urban renewal can and should be. It is disingenuous in our eyes to suggest that focusing efforts in any one building or place solves issues facing under-served communities elsewhere so we instead proposed a method for creating new “local synergies” for these people that could adapt and grow to serve new needs.

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Figure 6 : The market level. Where nomads and commuters meet.

Figure 7 : The work and cooking spaces that service the market below.

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Figure 8 : The social level that connects each plane in the project.

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Figure 9 : Isometric Render

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Figure 10 : Enlarged Site Plan

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3 : Inflatable Composites Sponsored Studio ~ w/ Anna S. + Haven G. Critics : Richard Sarrach, Jason Lee, Che- Wei Wang Spring 2018 Most studios I’ve taken always involved designing space. This was the first project where I was tasked along with my team to create a methodology and system for working with a material. Specifically fgrp (fiber-glass reinforced plastics) which came with a big learning curve in terms of learning how to set up the working environment that was required to experiment with this material and how to safely play with it and discover new possibilities for the use of it in fields like architectural design. My teams interests varied in the beginning. We set out to create a means by which one could mold forms without all the expensive and time consuming work that 2 part mold systems require. In other words we were experimenting with rapid prototyping of forms through the use of inflatables and then encasing them in fiberglass through an infusion process. We

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Figure 11 : Successfully inflated fiberglass sample.

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would heat seal the inflatable plastics in the form of various patterns (figure 16) to see what kinds of 3 dimensional shapes they would start to take. Then we lay them out in a “sandwhich” of materials (figure 14) and it was crucial to get a completely air tight seal throughout the various layers so that infusing the fiberglass would actually work. A perfect example of this necessity is shown between figures 11, 12, and 13. Figure 12 shows what happened when we began with successful infusion at the start of the experiment but a break in the seal halfway though caused the portions of fiberglass in between entry ports for the resin to not take to the full form we were hoping to achieve. Figure 11 was our most successful complete infusion of an inflatable. Figure 13 was our most successful inflatable pattern because it was when we discovered a geometry that upon inflation could be “programmed” to pop one direction or another. We called this form the

Figure 12 : Largest attempt at an inflated fiberglass panel.

“nipple”. We believe the radial pattern of diamond shapes, as opposed to our earlier linear patterns that created tension and compression in many different axis, is responsible for the form you see here. We thought that this process had a series of applications spatially. One visualization is shown in figure 18 where we proposed that if the technology we created was made on a more infrastructural scale a team could create rapidly deployable structures with minimal materials and tooling. The fact that the material makes contact with itself at certain moments and then is hollow in other moments is where we think these form get most of the structural stability from. If we had more material and time we would have liked to have gone up in scale and fill a whole room with one of these rapidly deployable forms but we lacked resources. Nevertheless we were super excited with some of the possibilities for this material in the realm of architecture and we hope that

Figure 13 : Programmable inflatable prototype encased in fiberglass.

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Figure 14 : Diagram of the material layup involved in the process.

other people may find this work and see some way it could fit into their own speculations on anything from facade systems to whole structures.

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Figure 15 : Early attempt at infusing fiberglass.

Figure 16 : Typical schematic used to plan out inflatable templates.

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Figure 17 : Diagram of the infusion process.

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Figure 18 : Visualization of rapidly deployable inflatable fiberglass bridges.

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4 : Millennial Commune Domestic Mutations ~ indiv. work Los Angeles, CA Critic : Lawrence Blough Fall 2017 The millennial commune was my favorite project I worked on individually. It required me to think about the componentry of the project in different ways than I had been tasked to previously. There was a large emphasis on how the componentry was designed and how that design connected on a macro scale to the use of the project. The program was a collective living space based on tiers of membership. So there were different spaces or “levels of access� that an inhabitant could gain entry to. The first level of access was to the more communal/commercial spaces (figure 25) where everything is more connected and open and you can take part in certain activities like laundry/cafe/ study environments. The higher levels (figures 23, 24) were more extended access private venues for work and collaboration. The ultimate level of membership at one of these sites would be the living

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Figure 19 : Exploded view of the “mega-components�.

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pods (figure 21) that “plug in” to the shared spaces on the main level. The study of other models for commercial co-living inspired this design and the main difference between this model and it’s predecessors like Welive or Podshare would be this idea of “levels of access”. It is more sustainable if the project doesn’t rest it’s survival on the hope that people would just want to commit to this kind of place as their main way of living. People can come or go as they please and can create greater commitments to one of these locations as they wish. A lot of attention was paid to how the people relate to a series of spaces meant to be shared to varying degrees and that becomes manifested in the form of the project. These volumes push and pull, lean and sometimes float. The size of the spaces in section also fluctuates based on designed levels of use. To avoid the project becoming a monolith in form, which to some extent ran in conflict with the message of a completely open

Figure 20 : Early study model. (3D Print)

and collaborative living experience, the spaces were re-engineered to be made of these funky “mega-components” seen exploded in figure 19. The idea was that these components could be pre-fabricated off-site and then flown in and craned into place. This would also make the prototype repeatable and potentially a series of these micro communities could populate Los Angeles or some other major city. Low cost communal living that is actually fun to be a part of is what is needed in isolating mega cities continuing in their unprecedented growth. Designers need to consider the growing reality of less people taking life long jobs at specific locations or having families or buying homes and must design for the future demographics which are freelancing more, more often single and not bearing children, more mobile. This project proposes the kind of organizations that could support that lifestyle. Whether it’s just a matter of how many individual “living pods”

Figure 21 : X ray view showing how private spaces bleed into the group.

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Figure 22 : Elevation

need to be connected to a “collective” or how big the spaces of said collective need to be can be dialed up or down. The main goal of this project was to design a more modern live-work typology for the millennial market. It would be cheaper and less committed than traditional housing and would create new senses of family/community. Imagine if locations such as this existed all over the states with varying types of living pods that could accommodate smalls groups up to 4 but have larger communities that went to upwards of 20 people. A way for people to move in between living situations and to find new families would bring so much benefit to people’s lives. A city like New York wouldn’t feel so big anymore. Don’t like the people at your current collective? Move down the road to the next one. Or maybe they’re gone tomorrow! The unpredictability and the thrill of always finding new experiences or individuals is what could really change the way

we look at our cities and how we want to live in them. With the possibility to live in many locations it suddenly becomes a lot more important to be decisive about why we live where we live and what we’re doing there.

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Figure 23 : Long Section

Figure 24 : Upper Level Plan

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Figure 25 : Main Plan

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5 : Escape Pod Train Japan Travel Studio ~ indiv. work Tokyo, Japan Critics : Richard Sarrach, Chi-fan Wong Summer 2017 This was my first studio that I traveled out of the country for. It was a five week trip to Taiwan and Japan where we saw amazing architecture and people and it really was the first time I experienced a place where things were obviously designed for people who do and need things a different way than myself. The task of this studio was to design a train car for commuters in Japan. It was suppose to be a hybrid between a train car and an art installation. I studied craft and how people from various perspectives in Japan thought and lived out craft. I decided to mix the focus of my work in this case being that it was also an art installation so that it incorporated my own experiences of Japan as well as others. I spent time studying wood joinery (figure 29) and learning how to incorporate it into my work. I chose wood as the main material I would use because the detail and construction using wood

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Figure 26 : Model Photo

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that I was privileged to see throughout Japan and specifically Kyoto inspired me. I decided to make the spaces in my train car about isolation and escape. This was fueled by a sense of immensity that I experienced when I first arrived in Tokyo which was the biggest and most dense city I feel I’ve ever been to. I imagined being someone who had lived their my whole life and how small that would make me feel. Also at some points the crowds just got to be so large in certain populated areas. So it became clear that a space which separates one from their surrounds and their sense of scale would be a feeling of relief compared to the norm. I remembered a time on my trip where me and a friend took a long hike through a forest by the “Silver Pavilion� in Kyoto and the feeling of isolation and comfort we achieved inspired the forest condition I created on my train car. With a series of lumber members cut at different lengths and placed at varying heights

Figure 27 : Rendering of the train in commute to Tokyo.

it helped to create a feeling as if the inhabitant were in a field of these members and getting lost like in a forest. The pods placed in a sort of automated plan (figure 33) furthered the feeling of isolation and removal from the outside world. You could open one of these pod doors (figure 32) and crawl in to meditate. As you do so the train would move while this series of pods would gently rock and sway along.

Figure 28 : Interior Model Photo

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Figure 29 : Componentry Diagrams

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Figure 30 : When the train meets the station.

Figure 31 : Model Photo

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Figure 32 : Cross Section of one of the “Escape Pods”.

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Figure 33 : Overall Plan and Section

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Figure 34 : Overhead Model Photo

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6 : Boathouse Project Columbia University ~ w/ Belen Cavdar New York, NY Critic : Jane Lea Spring 2017 This project was meant to be an answer to Columbia University’s growing problem in relation to how they use a boat dock that is also meant for public use. They had a rowing team which used an old boathouse on the site for many years and so consideration for how they use the site had to be made as well as how you move people though the site that aren’t out there to row with the team. What me and my partner decided to do was to separate the scheme into two separate but connected boathouses. One for the school’s team, and one for the public. It needed to be done in a way that minimized redundancy while at the same time accommodate the individual needs of the administration, the teams, and the public. We made the lockers shared between both boathouses (figure 42) but separated by gender because that was something that the people we spoke to from the school didn’t mind

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Figure 35 : Roof Plan

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and thought made the community feel bigger. The other space we had to consider in terms of traffic was the deck in front of the two boathouses (figure 36). It was required to have enough space to turn the team boats at a diameter of 60’. Being that this element of the scheme was so large it was imperative that both boathouse have their boats pull out and load back in the direction of this space (figure 40). Another element of the design we wanted to clearly emphasize was the public’s access to this space. We distinguished it materially as seen in figures 36 and 37 with the wooden boardwalk. This was a multi-level boardwalk which could bring the public inhabitants throughout the whole site. The only moments the public couldn’t go to were covered by the metal facade panels clearly marking the private zones. This way of breaking up the different levels of program made it so that each inhabitant could have a completely different view of the

Figure 36 : Rendering view from the creek.

site depending on their use. Somebody just walking by may never see this as a boathouse but as the public garden where they take their kids up to look at the river. Whereas administration officials and team members may see this as a place of work and the public rowers may see this as a recreation or community space. The ability for the project to be read in multiple ways goes to the main idea of our project which was to erase the clear lines of division that seemed prevalent before. Which alienated certain users and made them feel as though this wasn’t also their space.

Figure 37 : Rendering view looking out to the creek from the hill.

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ion

Figure 38 : Cross section of one wing in the boathouse.

Design 302

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Ortho Views Ortho Views

Long Elevation Figure 39 : Long Elevation

Long Elevation

Long Section Long Section Figure 40 : Long Section

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Detail Study

Green Roof Planting Irrigation Manifold Root Barrier Drainage Board Roofing Membrane Concrete Topping Insulation Steel Structure Metal Cladding Air Barrier Rainscreen Insulation Steel Structure Insulation Interior Finishes Window Glazing Mullions Glass Door Metal Handrail U Chanel Drain Pipes Planting Steel Beam Wood Decking Flooring Beams Substructure Main Beam Steel Column Steel Studs Foundations Wood Platform

Plan Detail

Figure 41 : Technical Section

SP-17 Prof. Jane Lea

Design 302 Selected Works 2019

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Figure 42 : Main Level Plan

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7 : Dormitory Project Pratt Institute~ w/ Do Phuong Mai Brooklyn, NY Critic : Andrew Lyon Fall 2016 This was my first housing project which was designed as a replacement for Pratt Institute’s freshman dorms. Having also lived in one of the freshman dorms it provided a unique perspective on the requirements for such a building and how personal views inform design proposals. Me and my partner studied Paul Rudolph’s “Colonnade Condominiums” as precedent which fueled one of the main elements of our design. This element or elements were a series of unit types (figure 45) which interlocked in section to produce tertiary spaces to be occupied collectively. The variability in unit types also created a facade with a lot of form and allowed us to use it as outside circulation between units/communal spaces (figure 43). We wanted the project to have a connective network of spaces. The main reason for this was the previous dorms lacked connectivity and were very tiny. The

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Figure 43 : Model Photo showing the exterior circulation.

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little amount of communal space that was offered often was poorly lit and didn’t have expansive views. Our design allowed for large group study and recreational spaces (figure 44) that had big window walls to let plenty of light through and were connected to both sides of the building which activated cross ventilation. So passive cooling also became an integral component of the design in section at many points between communal spaces. Figure 46 shows the previously discussed unit-type stacking and how that relates to the ground. We thought it was really important that each unit type be multi-leveled to some extent and that resting and gathering on the micro level be separated. There was a lack of private resting spaces in the old dorms so since we had the space to accommodate that feature and fulfill the rest of the program requirements dictated to us we integrated it. It was important in our eyes to have resting spaces that were private, semi-private,

UNIT TYPE 1

Figure 44 : Interior model photo of a common space.

UNIT TYPE 2 DN UP

Figure 45 : One of the 3 unit types that interlock in the project.

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and then communal. This breakdown created a “gradient of isolation” which most freshmen students entering college life don’t expect to get. Another challenge of this project was designing a complete facade system which integrated with the various lighting and use conditions throughout the structure (figure 49). Some dilemmas the facade needed to overcome were; changes in slope, differing levels of privacy, doorways and other openings. At one point we completely redrew the project on a more regular grid (figures 47, 48) so as to make the facade design easier to integrate. Being that this was a corner site (figure 50), with one very busy street side and one quite street, we decided to treat the two facades differently. The street facing the traffic we made closed off and flat, while the street side that was less crowded was given more open spaces and connectivity to promote hanging out outside and not being alone. The other accommodations we had to make were


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Figure 46 : Short Section

for open space on the ground level and parking. Those issues though were nonexistent for us because we efficiently stacked and designed the units and this made it easy to design an open and public garden on the ground level and create the necessary space for an entrance to the underground parking. This project was very valuable for me personally because it made me aware of challenges on the micro and macro scale that need to be overcome when designing a building that functions for a huge body of people.

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Figure 49 : Technical Details

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Figure 50 : Model photo sitting within the site.

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8 : Educational Center Wave Hill ~ indiv. work New York, NY Critic : Chi-fan Wong Spring 2016 Wave Hill was a site in the Bronx which was my first time dealing with intense topography. Designing on a hill was a challenge that required thinking about more than just lighting or program requirements alone. What do the entry steps look like when you’re not entering a building on a flat plane? What does a building designed on a hill respond to? I was curious about issues like this and the decisions I made later on were directly effected by this kind of guarded approach. The program being an educational center made me want to think of the building itself as teaching the inhabitant about itself and the surrounding site. So a big part of creating that effect was how I treated the building with regard to the site, the ground plane, and the views one experiences. I thought the site had some really nice views across the river because the site sat on the Hudson looking over to the Palisades. I

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Figure 51 : Main Plan

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wanted to privlidge certain views like this (figure 52, 54) with large viewing window walls that brought in nature. The risen roof in figure 53 illustrates how the entry to the building is below a new ground plane. I decided that the building would have this uninterrupted cliff moment looking across to the Palisades and that the entire building should sit below this plane in a sense to make the building one with the hill as opposed to a building on the hill.

Figure 52 : Interior Model Photo

Figure 53 : Exploded Isometric View

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Figure 54 : Model photo on the site.

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Figure 55 : Model photo of the main lecture space.

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9 : Punchy Turtle Beach gogo Visual Speculation ~ indiv. work Miami, FL Critic : Nathan Hume Summer 2015 This project was a more playful approach in design and displaying an object. So I experimented a lot with a modeling software called Maya which opened me up to a whole new way of designing forms. I also spent a lot of time working with rendering software like Maxwell for the first time and I play a good deal in these representations with color. I thought it was always boring flipping though my friends portfolios and only seeing black and white plans with no life in them. So I had a lot of fun messing around with palettes. This was also a really new way of designing for me because a lot of that process lived in the drawing which usually happened in post. Typically I would model everything in the 3d with as much detail as time could permit. Here was a different story because it required me to tell more of the buildings story through drawings and less through my actual ability

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Figure 56 : Exterior Rendering

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to model it. That’s also a big way in which color came in. Like in figure 57 and 58 I used complimentary pallates to codify between inside and outside in the cutaway drawing. It really helped to pop the drawings’ elements into two clear planes to be read separately. I really liked using this technique as well as the experiment in figure 59 where I managed to create a sort of mesh tissue x ray of the form and the overly simplified tonal drawing that it blends with. This way of combining views was an interesting juxtaposition to see because it compared the most dense reading to the highest simplification of a reading with regard to the form.

Figure 57 : Main Plan

Figure 58 : Cutaway Drawing

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Figure 59 : Hybrid drawing blending between ghost mesh and flat tones.

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10 : VG Studio Architectural Intern Principal : Victoria Goldstein July-November 2018

I made contributions to several projects at VG studio in Houston under the licensed architect Victoria Goldstein who was previously employed at Zaha Hadid Architects. One of my tasks was a competition to design a public theater in Spain. It required two venue spaces, one for film, and another for the flamenco dancing classes and performances that would take place there. There is a diagram in figure 63 that shows how the program would have been broken up in my scheme. I Decided to separate the two main venue spaces into individual structures. Mainly because we had the space for it and it would have allowed for the rest of the site to remain as public park and additional parking spaces which were considerations the competition guidelines asked to accommodate. During my time at the studio I was also asked to handle a lot of interesting residential work. My favorite stuff to do

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Figure 60 : Competition Massing Model

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in an office setting was the rendering work as seen in figures 61, 64, and 65. I worked closely with Victoria in getting these renderings to read materially like the client wanted and making sure they really conveyed the space. The rendering in figure 64 is my favorite because I got to play a lot with textures and really dressing up a scene which was not something I was used to people wanting to see. I thought it was funny that I didn’t realize how students tend to neglect materiality and detail in renderings to focus on the space but that wasn’t necessarily what people in the client world cared about. In figures 66 and 67 is the drawings I spent the most time developing for Victoria. The Haddon House was a development that had been halted because of a code issue in regards to a cable clearance on the site that needed to be accounted for. The structure intersected the restricted 10’ clearance space required for the length of the property which, until that point, had not been noticed in the

Figure 61 : Section Render

approved construction documents. I had to go in and re-design the steel structure (figure 62) in some parts completely to be reconfigured in a way that satisfied the clearance, but also created spaces on the interior that still were in accordance with the building code in Houston. This was a lot more work in 3d design than I can really show in images because it required reworking major elements of the roof design, which at that point had already been finalized, and the stair way as well which had a huge effect on the way the main level plan flowed.

Figure 62 : Detail Modeling

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PRIVATE OFFICES

Figure 63 : Competition Massing Diagram

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Figure 64 : Interior Render

Figure 65 : Front Perspective Render

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Figure 66 : Haddon House Section

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Figure 67 : Haddon House Plans

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11 : Artwork from HSPVA Senior Exhibition Previous Work Houston, TX Spring 2014 My work from back in high school I hold close to my heart mainly because it informed what I wanted to do and where I wanted to go in life with my talents. I studied visual arts in Houston for four years and the more time I spent painting, drawing, and sculpting the more I realized I couldn’t go into any line of work that didn’t incorporate those activities. I really love painting mainly because of the world’s I could create with just my imagination. A lot of my work towards the end of my career at HSPVA was centered around urban sprawl and speculations on future forms of human habitats. With visualizations that showed overcrowding (figure 68, 73) I was wondering what happens when we run out of ground space. I hadn’t really had a concept in my head back then of the kinds of housing developments I would learn about like informal housing in my thesis work and I find it

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Figure 68 : Congestion (digital)

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interesting that this is what I came up with. It reminds me that certain architects look at the way humans build without architects involvement as the future of the practice and that things we look at as the problem are in other parts of the world what new architecture is becoming. So my romancing in this work sometimes about the artifacts of construction (figures 69, 73) was not so premature in fact it was really late. People have been abandoning traditional routes to raising structures and are going about it in much more personal radical way. So to try and control it almost seems without point. Should architects be spending their time trying to change a discipline that, in a world with more and more people, is going to become irrelevant? Most of the buildings built today are designed by engineers and people taking things into their own hands so shouldn’t we instead focus efforts on creating more universal repeatable kinds of architecture that

Figure 69 : A Piece Remains (8ft tall)

those actors can emulate? Why spend time trying to define new styles and building taller when that only serves a small elite group of users? The work that interests me at the present considering what I’ve learned is architectural solutions for working and struggling people. What are the kinds of ways in which architecture can solve issues of overcrowding and under-performance and become a tool for uplifting people? I look back on the work I did here and went on to do in college as the precursor to that pursuit.

Figure 70 : New Neighbors (wood and plexi)

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Figure 71 : Growth (wood and metal)

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Figure 72 : Vacancies (digital)

Figure 73 : Grab a Weapon (mixed)

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Figure 74 : Row 263 (acrylic on 4’x6’ canvas)

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John Douglas Walter jdw.twtx@gmail.com 713 - 857 - 4403

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Thanks!

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JW

TX - NY

713 - 857 - 4403

jdw.twtx@gmail.com

Profile for John Walter

John Walter 2019 Portfolio  

John Walter 2019 Portfolio  

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