Zachery Terry architecture student portfolio

Zachery Terry

ARCHITECTURE

Student Portfolio

Zachery Terry

Education Bachelor of Architecture Kennesaw State University, Kennesaw, GA

May 2017

Study Abroad Certificate of Architecture studies Dessau Summer School of Architecture, Dessau, Germany

May - July 2014

Graphic Design University of West Georgia, Carrollton, GA

2010 - 2011

Volunteering Trees Atlanta  Planted and Transplanted Trees at designated locations.

2017

Truly Living Well Urban Farming  Assisted in clearing land for future urban farming.

2017

Project Pipeline Architecture Camp 2016  Assisted in introductory architecture workshop to middle school students.

Technical Skills CAD & BIM

Graphic Design

Presentation

Craft

Intellectual

Revit

Adobe Photoshop

Microsoft Publisher

Hand Drafting & Sketching Critical Analysis

Form Z

Adobe InDesign

Microsoft Word

3D Printing

AutoCAD

Adobe Illustrator

Microsoft PowerPoint Model Building

Creative Problem Solving Verbal & Written Communication

Operational Security Systems

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Converted drawings from project managers and engineers to AutoCAD files.

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Created floor plans and detail drawings.

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Conducted site visits for installation and maintenance.

AIA Georgia Student Director 2016 - Present  Served as liaison between AIA GA and KSU Architecture Program .

KSU NOMAS Graphics Chair 2016 - 2017  Designed all digital and print graphics for organization branding and events.

Employment AutoCAD Draftsman

Leadership

2016 - 2016 KSU NOMAS Upper Division Representative  Ambassador of organization to fourth and fifth year students.

2015 - 2016

Artistic Passion Observational and imaginative drawings by Zachery Terry.

Oxygen House, Krakow Poland

The oxygen house is a architectural response to the lung cancer ridden city of Krakow, Poland. This building serves to prepare lung cancer victims a transition between this life and the afterlife and to make that transition as enjoyable and peaceful as possible. This design was inspired by the glowing cube installations of artist Benoit Paille. Just as the box floats midair, the building floats above the ground lifting those inside away from their earthly problems into a space between earth and the heavens. This is accomplished metaphorically by placing the building in a body of water.

Strategically located Light shafts not only provide natural light into spaces away from the sun, but also view portals upward for heavenly focus.

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1. Main Entry 2. Reception 3. Consultation 4. Kitchen 5. Dining 6. Community 7. First Aid 8. Hospice 9. Private Patio 10. Restrooms 11. Staff office 12. Public Patio

Process Sketches

Process Sketch

3D Study of how water can carve stone and earth over time

Final project model

Foam Mold created to make wax model

Sweet Auburn Culinary Institute

Sweet Auburn Culinary Institute Branding Rebranding the Sweet Auburn neighborhood included establishing a new and uniform design language that clearly identifies the neighborhood and infuse it with new life. The site chosen for the SACI is directly across from the historic Sweet Auburn Curb Market. Vacant and neglected lots were located throughout the site to serve set up locations for the SACI branded food trucks. This solves two problems: populating abandoned lots and further establishing a uniform visual presence within the community

Site

Branding poster

Sweet Auburn

Downtown

Curb Market

Connector

Street car branding Component

Iteration Process Models Hand crafted Study Models

3D Printed Study Models

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Thesis Project: Unity Park

In Sensory Design by Author Joy Monice Malnar, she describes 1.The perception of a physical construct. 2. Assessment of its individual composition in relation to a larger characteristic pattern. 3. Memories of prior personal and cultural experiences all play a part in conditioning ones perception and the totality of these factors can be described as a spatio-sensory construct.

The experience of an area built on the foundation of a rich cultural history should be always be dynamic whether to a visitor or resident.

But what do you call a place where none of this is present?

Today, Sweet Auburn Avenue is not nearly as sweet as it used to be. What once used to be a lively, dynamic, prosperous area is now suffering from economic decline, increased crime, and abandonment due to lack of financial investment. Socially the neighborhood has not recovered from the physical division of the I75/85 freeway which was constructed in 1952.

In the span of 16 years (1976 - 1992) Sweet Auburn went from being designated as a National Historic Landmark to recognized as one of America’s 11 Most Endangered Historic Places by the National Trust for Historic Preservation.* The area suffers from lack of social gathering spaces which is a symptom of the existing zoning and programmatic distribution throughout the site. The buildings are nearly all commercial with very little residential housing. This creates an area that makes everyone a visitor as opposed to a place where people stay and dwell. Abandoned and neglected lots and buildings encourage crime and invites the homeless to search for shelter.

Symbolically the site does not reflect the life message of unity promoted by Dr. Martin Luther King, Jr. This unfortunate disconnect is amplified with the King Memorial and burial sites and the King Birth home being apart of this neighborhood. The condition of the rest of the neighborhood does not represent it’s rich history nor give due diligence to Dr. King and his vision.

Revitalizing this area without the traditional means of gentrification will be an additional challenge this thesis looks to overcome while producing an area that connects people with a spatio-sensory construct that overcomes the division.

The DNA of Sweet Auburn still exists, it just needs to be rediscovered, reinvented,

resurrected I believe the spirit that made Sweet Auburn what I once was is still alive - though barely. For decades it has been smothered by lack of investment, lack of financial resources, infill and the inability to stay relevant.

All of these mishaps have led to attempts to recover, however most have at best been band-aids that may or may not connect with the vernacular architecture or aura of the neighborhood.

Architecturally there have been attempt to establish a new language throughout the area. The design style of The Sweet Auburn Research library and The New Ebenezer Church are departures from the existing architecture, however this new design language has not yet been implemented enough throughout the site making these two buildings appear more as isolated structures rather than a model for new construction to follow suit.

Programmatically the development of the past forty years have been primarily commercial and civic. Mixed use has also been implemented and student residence housing for the nearby Georgia State University. While this development is important for commerce and business, it ignores public space.

The addition of the Atlanta Streetcar on one hand stimulates activity as visitors can use it for easy transport into to the area to visit the landmarks and attractions. And it provides an alternative to residents who would otherwise drive outside of the neighborhood to work, school, or to Downtown where Centennial Olympic Park, The Georgia World Congress Center, Philips Arena and the Mercedes Benz Stadium, and many other high profile attractions exist on the other end of the streetcar line. From observations on personal site visits, in regards to Sweet Auburn, since there are only a few destinations within the area of focus the street car is being used more so to go through or out of Sweet Auburn and not to destinations within Sweet Auburn.

The Missing Ingredient: Social Gathering SPace All of these new developments over the past four decades - whether successful or not, have neglected one major typology: public space or the social gathering space. Whether this is a small parks for people to gather or a large park allowing for people to visit, stay and enjoy, the area of focus in this thesis suffers from the lack of the social gathering space.

With no public space within the half mile stretch of Auburn Avenue, A social gathering space that attracts residents and visitors alike through the means of a varied, flexible program and a host of activities.

A place where one can go to meet a friend or two just to chat.

A place where a group of kids gather after school to play or engage in extracurricular activities A place where long time residents and first time visitors intermingle to explore phenomenal interaction A place where one can enjoy live entertainment be it Visually and/or Sonically.

This area should also have a minimal incorporation of commercial spaces as they tend serve as temporary habitation and only encourage those who have money to spend. This distracts from the pure idea of gathering freely.

Material Wood Artifact My concept was based on a hybrid of the De Stijl and Constructivist movements. I took a design approach that began with random types, shapes and sizes of wood materials first and then proceeded to design. There was no predeterminations concerning the dimensions of the members. I felt that taking this approach followed the essence of the Constructivist movement where the general philosophy was materials first, design second. To idea of respecting the material, becoming one with it and understanding its nature can lead to functionality and beauty; as opposed to trying to take the material and manipulate it into something outside of its “comfort zone�.

The design of my artifact was heavily influenced by the style of the De Stijl movement. The geometrical shapes, overlapping and intersecting planes, and simple but contrasting color palette pay homage to the characteristics of the De Stijl movement.

Material Concrete Artifact The process of building the form liner was one of the most enjoyable tasks I have ever taken on. Despite being challenging, there was passionate drive to see the design come to fruition. The form liner called for a certain level of craftsmanship.

Material Concrete Artifact For the concrete artifact I wanted to again do something unusual but not too extreme. The irony of working with concrete is it starts out very malleable but when it sets the finish result is always . . .well. . .concrete. The planning process for this model had to be very thorough and required a process of thinking in reverse when it came to the design of the form liner. During the initial sketching process I could not escape the idea of having a sloped surface. This idea was met with much doubt of reality when initially presented to the woodshop helpers; so much to the fact I aborted the idea and started from scratch with designs . . . only to later be reeled back in by one woodshop worker who believed my design was possible and enthusiastically worked with me to make my initial design a reality.

Sketch up model The next step after sketching was to carefully diagram each piece of the form liner. A sketch up model was developed to ensure construction dimensions piece by piece. Having this digital model as a diagram proved to be a helpful guide for construction and made the process significantly easier.

Material Steel Artifact

Unlike my concept for the wood artifact, I wanted to take the materials of steel and use them slightly out of their element and force them to be uncomfortable yet still maintain a sense of familiarity. This is expressed with the form, which overall is geometric with 90 degree angles throughout. I wanted the familiar aspect to be portrayed with the heavy gage elements such as the steel plates to remain as they were, free of contortion or distortion.

The chain-link perforated piece was used as a transitional piece. It demonstrates steel in it’s solid form being transformed into something malleable, yet this transformational process has been paused in a stage early enough to still identify it as basic geometric form.

This transitions into the lighter gage rectangular copper pieces which have been punched with various sized circular holes and the form has been bent to form a rectangular zig-zag form. The bends are roughly rolled to show the material, though capable of being transformed is not completely comfortable with it’s transformation. Combining the distorted form with the natural color of copper this produces a dramatic and controversial element into the overall artifact design and undoubtedly becomes the focal point.

All of this connected by the familiar connecting / joinery method of bolts and screws.

This is a philosophy I believe was incorporated into the art of Constructivist movement. Abstract forms made of solid materials with a focal point that was atypical.

Detail study through hand drafting and model making Along with making models, this project required me to gain understanding of an existing projects second skin system through drawing a select detail.

I chose the Haus In Milsertor Which was designed by architecture firm Orgler ZT-GmbH and located in Tyrol, Austria. The second skin of the building features a manual and mechanical folding louver system that controls solar penetration into the building. The knowledge gained from this precedent was later implicated in separate studio project.

Wax study model exploring light Wax was used to study and capture how light can penetrate and carve space within an office tower. This information was transferred to a studio project that explored the idea of allowing natural light to penetrate an office tower with offset floorplates and offset atrium space at each level.

TAV Amphitheater Project The small town of Eatonton is searching for a catalyst to spur redevelopment in the downtown with the hopes this inspires redevelopment throughout the town. The town hopes to achieve this by placing an iconic amphitheater at the given site.

Design Solution Inspired by the twin volcanoes literally and metaphorically, the TAV Amphitheater is formed to connect the audience with the performer and create an intimate environment for that connection to take place.

Seating

Speakers

Stage

Simple Clock Project The simple clock project challenged me to be creative and design a unique wall clock. I decided to use the first letter of my name “Z� as the primary form and its material is wood. This was contrasted by the secondary form, a circle that would be made of glass.

The clock hands were to be made of aluminum to complete the triadic material scheme allowing each element to have their own personality, yet blend together in the overall composition.

Lookout Tower Project This exercise was used to experiment with the form and shape manipulation capabilities of Form Z while incorporating a vertical circulation element that allows a user to experience the form from various heights and lookouts.