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portfolio zachary lundgren


ZACHARY L UNDGREN

1316 Tennessee St. Lawrence, KS 66044 Phone: 402.709.9721 Email: zdlundgren@gmail.com

EDUCATION University of Kansas, Lawrence, KS

Masters of Architecture I, May 2018 Class: 4th year Cumulative GPA: 3.51 Studio GPA: 3.77

SKILLS Autodesk

AutoCAD, Revit, 3DS Max Adobe InDesign, Photoshop, Illustrator, Acrobat Other Rhinoceros, Lumion, SketchUp

ORGANIZATIONS AIAS KU Chapter VOULENTEER Historic Greens Spring Greening, New Orleans, LA (March 2015) INVOLVEMENT • Restoration project of a house in the lower 9th ward in New Orlean’s

• Built a deck, compost bins, installing hurricane resistant windows, and landscape work. Freedom by Design AIAS KU, Lawrence, KS (Fall 2015) • Design build project through AIAS KU of a garden shed for the students of the Lawrence, KS New York Elementary School.

PROFESSIONAL ASD Stanley J. How Architects, Omaha, NE EXPIERIENCE (Summer 2014, Summer 2015, Dec. 29th- January 8th 2016)

• Worked as draftsman using AutoCAD to produce floor plans, site plans, demolition plans, sections, elevations, details, and mechanical plans under the supervision of a licensed architect. • Doing preliminary measurements of job sites to verify existing conditions. • Scanning and archiving the companies hand drafted plans into an electronic folder. • Running copies and prints on a plotter. • Sitting in on meetings with clients. NCARB Membership Total IDP: 890 hours


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contents

West

North

3......................... s t u d i o D I S

7......................... s t u d i o 5 0 8 17....................... s t u d i o 5 0 9

Summer Solstice

Fall Equin

21....................... s t u d i o 2 0 9 29....................... s t u d i o 2 0 8 35....................... s t u d i o 1 0 9

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studio DIS

Carlsberg Kunsthal

In my semester at the Danish Institute of Study Abroad in Copenhagen, my studio was instructed to design a kunsthal. A Kunsthal is a form of art gallery that only holds temporary art exhibits, and are often free to the public. The site which the Kunsthal sits is located in the center of Copenhagen’s Carlsberg Development, and a major emphasis of the project is for the kunsthal mesh with this masterplan. More specifically the project seeks to engage a plaza which is adjacent to the site. This is done by the building detaching itself from the existing building on the site, which creates a node for the plaza which is attached to the kunst hall, and also an access point in and out of the square.

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Credit: Entasis Architects


Art v. Public

Urban Room

To engage the future square, the kunsthal is elevated one story, to allow for a transpaent base level to hold the social programs. Also the mass provides a opening with the adjacent opening to provide a portal into the square.

For visitors to enter the kunsthal, they must ascend to a elevated urban platform, which can be accessed through a extended ramp from the square, or a more immidiate stair from the street.

Circulation

Fire Egress

Inside the Kunsthal the visitors then circulate up in a spiral upwards. This space is entirley day lit and provides a contrasting envirementart, from the galleries which are entirely enclosed to provide a healthy setting to hold art.

Once the visitor reaches the rooftop sculpture garden, they have the option of exiting from 2 elevators located at opposite corners of the building. These towers also provide fire escapes from all floors.

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Gallery

Circulation

North Elevation

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Floor 0

Section

Floor 1


Sculpture Garden

South Elevation

Floor 2

Floor 3

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studio 508 Dallas Museum of Slow Violence Slow Violence is a negative phenomenon in which small-scale violent activities occur over a large extent of time, resulting in an accretion of violence over time. Due to their slow and small-scale occurrence, they go unnoticed and unattended by the public, causing situations that are difficult to mitigate or rectified. Some examples of this include deforestation, climate change, and toxic drift. The goal of this project was to design a museum that lets its visitors be informed of the notion of slow violence, through both its architecture and exhibits.

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Site Context The priority in selecting the site was to tie this proposed museum into the existing Arts District in downtown Dallas. The solution was to locate the museum along the Flora Street in which other prominent arts buildings including the Nasher Sculpture Center and the Winspear Opera house are located. The formal mass of the museum mimics that of the Nasher, which is adjacent to the northwest side of the selected site.

N.

St. ive

Ol

Flo ra St.

N.

r Pea

. l St

Program Organization A visitor will enter from the Flora Street. Designated space for the main exhibit (shown in red) is located in the back of the site, while all other programming in the building (shown in yellow) are located adjacent to Flora and Pearl Streets for easy public and service access.

Main Exhibit

t. eS liv

Other Program

N

.O

Flo ra St.

N.

r Pea

. l St

Two Kinds of Galleries The main exhibit consists of two types of galleries. One (shown in blue) is a ‘linear, continuous gallery’, which meanders switching back and forth and gradually changes direction to create a sense of disorientation for the visitor. The second type of galleries (shown in red) are ‘triangular static galleries’ that fill the spaces in-between the continuous gallery, created through the shifts in its directions. These galleries create a fragmentation in the story/ journey, which allows the visitors to analyze a specific event or theme more in depth.

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Fragment Gallery Linear Gallery


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Gradual Decent Along with the gradual shift in direction, there are several other features in the main continuous gallery that evoke a sense of slow violence. One is the change of grade: the continuous gallery has a consistent slope down, which creates a gradual change of the height of the space, in turn creating an increased experiential tension as visitors move through the gallery.

“Violence” Intensified This decent is accentuated with the gradual change of natural light coming from the top through a glass roof, which results in the gallery spaces naturally getting darker as the visitor walks down. Finally, as the visitor descends, the smooth concrete walls found at the start of the gallery begins to become rough and less pleasant to the touch.

Reflective Destination The continuous gallery leads into the final gallery space, a very dark voluminous space, in which the natural light from the ceiling is completely cut off. This exhibit is representational of the point of ‘no return’ for a slow violent event. Visitors then walk through this last exhibit to an elevator, which is located on the axial center on which the galleries are pivoted. This then takes visitors back up to the ground level and opens up to a viewing gallery, which gives a panoramic view of all of the continuous gallery at once and of the journey one has just gone through. This space provides a sense of transparency and reflection for the visitor.

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Storage/ Loading

UP

UP

Storage/ Loading

-21’

-27’

Gallery 3

Store

Store UP UP

-13’

Final Gallery

Gallery 2

Store

Store

-24’

-24’ -18’

Elevator Lobby

UP

UP

Class 1

Mechanical

Class 2 Store

UP

UP

Clos. Storage

Lobby UP

UP

2

N

N

Subfloor 2 Subfloor

Subfloor 1 1 Subfloor


AA

UP UP

Loading/ Storage

Break Room

-21’

Gallery 3 UP

-13’

BB

Gallery 2

Temp. Gallery

-24’ -18’

Gallery 1

Reception

UP

-8’

-4’

UP

UP

-0’

Kitchen CC

Lobby

Cafe

CC

Research Lab UP

UP

BB

AA

N

N

Floor 1 1 Floor

Floor 2 Floor

2

14’

UP


3

Section 10 1/16" = 1'-0"

Admin.

2

Admin. +24’-0”

+14’-0”

Temp. Gallery

Gift Shop -0’-0”

Loading/ Store

Temp. Gallery -0’-0”

Storage -14’-0”

Gallery 4

-14’-0”

Gallery 4

Mech. -27’-0”

-27’-0”

Section AA 1:20

13 23

Section BB 1:20

Section 11 1/16" = 1'-0"


1

Section 9 1/16" = 1'-0"

Research

Research

Admin.

+24’-0”

Gallery 3

Gallery 2

Gallery 1

Cafe

Cafe

Lobby

Gift Shop

-0’-0”

Auditorium

Auditorium

Storage

-14’-0”

Mech. -27’-0”

Section CC 1:20

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15


5

32

ft

185 ft

325 ft

530 ft

105 ft 184 ft

Egress and Accessibility Egress Stariway (Fire Rated) Egress Access Corridor (Fire Rated/ Sprinkled) Exit Discharge Accessible Vertical Circulation Accessible Restrooms

Structural Grid

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studio 509

Site

Spitlog Farm Garden Shed

Studio 509 was asked as a whole to design and build a garden shed on Splitlog farm, which is an urban garden located in the center of Kansas City Kansas. The farm has close ties with M.E. Pearson Elementary School, which is located just west of the site. This involvement with the elementary school and its kids, molded the shed into both a place for holding gardening supplies, and an optimal place to educate kids on gardening. This led to the adding of a large bifold door, to create a classroom platform, butterfly roof to provide rain collection and education of sustainable practice, and a large conc. work bench.

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Plan


Roof Study

Fascade Study

Door Study Exploded Axonometric

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Prefabrication As a studio, we decided that the most efficient method of construction would be to prefabricate the shed in components (Wall Panels, Roof, Doors), and then later assemble on site. In this portion of the process I was heavily involved in the faรงade of the shed, coming up with different prototypes to come up with the eventual solution of using a 2x2 wood slats furred out from plywood sheathing on steel tube framing. I was then involved in the preassembly of the steel frame, then installing the different components of the fascade onto the framing.

On Site Construction Before the prefabricated pieces could be brought to the site, a team of five of us completed the critical step of pouring the foundation. In this phase of the project I learned how to use batter board and string to insure the piers of the shed were poured at the correct dimensions. After the piers were poured I worked with the team fastening the prefabricated pieces together. What I learned most from this experience is the importance of accuracy in all aspects of the construction process, and beginning to think of this in the early design phases of the project. 20


studio 209 Kansas City Grocery KCG or Kansas City Grocery is a project located in the heart of downtown Kansas City, KS. The Big Eleven Lake and Minnesota Ave. area currently is not a attractive area economically, and sits in an area registered as a food desert. Although the area has great historical context, and great potential for social interaction for the community. This studio sought to create a grocery that serves outward to the community of Kansas City, KS by offering a variety of programs, including a farmers market, classrooms, a communtity indoor futsal field.

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SITE Site: Selection There are 2 major urban moves that the master plan for the big eleven area shows. A connection between Big Eleven Lake, and Waterway park. Also a rejuvenation of Minnesota Ave. through street front business. These two urban moves intersect at 11th and Minnesota Ave. which is where I have chosen for the site of the grocery store. The goal of my project is to integrate these urban moves into the concept of my design.

SITE

Site: Street Adjacencies The grocery store is placed on the south side of the site to insure the creation of a commercial street front, and the scale of a urban pedestrian walkway. The west side of the site, adjacent to 11th street, has the farmers market and gardens, which creates a corridor of community activity along a pathway used too walk between the two parks.

SITE

SITE SELECTION

Their are 2 major urban moves that the master plan for the big eleven area shows a connection between Big Eleven Parking is located on the northLake, partand ofWaterway the site park. withAlso a rejuvination of Minnesota Ave. through street 2 sources of access. One for customers coming in front business. These two urban moves off State Ave. and another onintersect less busy Waterway at 11th and Minnesota Ave. FM which is where I have choosen for the drive that would be designated for delivery trucks site of the grocery store. The goal of my projectcreates is to integrate these urban moves to unload. Parking in this location a large into the concept of my design. GROCERY

Site: Parking

SITE SELECTION

STREET ADJ

Their are 2 major urban moves that the master plan for the big eleven area shows a connection between Big Eleven Lake, and Waterway park. Also a rejuvination of Minnesota Ave. through street front business. These two urban moves intersect at 11th and Minnesota Ave. FM which is where I have choosen for the site of the grocery store. The goal of my project is to integrate these urban moves into the conceptGROCERY of my design.

The grocery sto side of the site a commercial of a urban ped side of the site, has the farmer which creates activity along a between the tw

STREET ADJACENCIES

PARKING

The grocery store is placed on the south side of the site to insure the creation of a commercial street front, and the scale of a urban pedistrian walkway. The west side of the site, adjacent to 11th street, has the farmers market and gardens, which creates a corridor of community PARKING used too walk activity along FM a pathway between the two parks.

Parking is loca the site with 2 customers co another on le would be des to unload. Pa a large setba site complime Big Eleven Lak

GROCERY

setback on the north side of the site complimenting the open space of Big Eleven Lake.

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SITE SELECTION

STREET ADJACENCIES

PARKING

Their are 2 major urban moves that the master plan for the big eleven area shows a connection between Big Eleven Lake, and Waterway park. Also a rejuvination of Minnesota Ave. through street

The grocery store is placed on the south side of the site to insure the creation of a commercial street front, and the scale of a urban pedistrian walkway. The west side of the site, adjacent to 11th street,

Parking is located on the north part of the site with 2 sources of access. One for customers coming in off State Ave. and another on less busy Waterway drive that would be designated for delivery trucks


SITE

FUTSAL FIELD

LOCKER

FM

REENHOUSE

GROCERY


PROGRAM E AT

Program: Adjacincies W

AT

ST

M

11

TH

ER

W

AY

ST N.

IN

M

DR

E

AV

SITE ADJACINCIES

DR

E

AV

asy aca car. Y DR to

cated d the

1th ridoor. VE h. A ridor

e. A n the main a is for

E

E

E AV

VFacing parking lot for easy access ofAVcustomers who Aisles: E EA W W AT AT AT AT T ST ER S ER parked a car. W W AY AY DR DR POS: Located along Minnesota to create a commercial front. Misc.: The back of the house, located closest to the loading 3 area, and the aisles. 16 4 1 Social: Stretched linear along 11th street to create communal 2 11 11 TH TH 5 15 14 ST ST corridor. 13 E E 6 9 V 12 A AV 8 11 N. 11th street to create communal N. 10 Education: Also located INon N I 7 M M corridor (inside).

ENTRIES

Aisles: Facing parking lot for easy acVE E A customers who parked W cessTATof a car. AT S ER POS: Located along Minnesota to W AY DR create a commercial front. Misc: The back of the house, located closest to the loading area, and the aisles. Social: Streched linear along 11th street 11 to create communal corridoor. TH Education: Also located on 11th ST VE street to create communal corridor .A N IN (inside). M

ENTRIES

VE E2A diffrent T are A ST

W store. A There fronts to the AT ER entrance off Minnesota, and one W on the AY DR North side facing the parking. The main objective for the entry on Minnesota is for the in-an-out customer who come to the 3 store for the specific POS program (Cafe, Bank, Pharm.). 4The North 1entry16is designated for 2 who is going to 11 the customer TH park, and at the5 store longer.1415 Also for Sstay T 13 6 9 VE 12 foot traffic coming down8 11th street. .A 11 7

10

N

IN

M

SPECIFIC

Program: Entries

1. Aisles 9. Admin. There are 2 diffrent fronts to the store. A E AV Minnesota, and one on the 2. Checkout 10. Customer Service entranceTE off W A A ST ERfronts There are 2 to the store. Aplots entrance 3. Greening 11. Bankoff North side facing thedifferent parking. TThe W main AY 4. Farmers Market 12. Pharmacy objective for the entry on Minnesota is for Minnesota, and one on theDRNorth side facing the parking. The 5. Classes 13. RR the in-an-out customer who come to the objective forprogram the entry on Minnesota is for the 14. in-an-out 6. Wellness Center RR storemain for the specific POS (Cafe, Cafe Prep Bank, Pharm.). The North entry desig3 customer who come toisthe store for 7. the specific POS 15. program 8. Breakroom 16. Storage nated for the customer who is16going to 4 1 Bank, and Pharm.). The for North entry is designated for the park,(Cafe, and stay at the store longer. Also 2 11 THc coming down 5 is going 15 footcustomer traffi 11th street. who to 14 park, and stay at the store longer. S T

9

13 12

7

M

6

VE

8 . Adown 11th street 11 Also for foot traffic coming 10 NN

SPECIFIC Program:

I

Specific

1. Aisles 9. Admin. 9. Admin. 1. Aisles 2. Checkout 10. Customer Service 2. Checkout 3. Greening plots 11. Bank 10. C. Service 4. Farmers Market plots 12. Pharmacy 3. Greening 11. Bank 5. Classes 13. RR 4. Farmers 12. Pharmacy 6. Wellness CenterMarket 14. RR 7. Cafe 15. Prep 5. Classes 13. RR 8. Breakroom 16. Storage

6. Wellness Center 7. Cafe 8. Breakroom

14. RR 15. Prep 16. Storage

SPECIFIC 1. Aisles 2. Checkout 3. Greening plots 4. Farmers Market

9. Admin. 10. Customer Service 11. Bank 12. Pharmacy

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PERSPECTIVE PERSPECTIVESECTION SECTION

The The ideal location for the futsal pavilion is onis the northen ideal location for the futsal pavilion on the northen Topography: Pavillion side of site, alongside the 11th street community corriside of site, alongside the 11th street community corriTheThis ideal location for the futsal pavilion is on the northern door. location would have a clear view of the lake. door. This location would have a clear view of the lake. side of site, alongside the 11th street community corridor. The The issue is ofisthe exsiting slope of the grade thatthat causes issue of the exsiting slope of the grade causes location would have a clear view of lake. The issue forThis a big diffrence in elevations fromfrom front to the back. for a big diffrence in elevations front to back. is of the existing slope of the grade that causes for a big difference in elevations from front to back.

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By building the pavillion in the lower grade, it creates a a Program: Stair By building the pavillion in the lower grade, it creates

volume space forinthe soccer figrade, eld, along withwith cre-a Bydouble building the pavillion the lower italong creates double volume space for the soccer field, cre ating a set of steps that create a area for spectators to double volume space for the soccer field, along with ating a set of steps that create a area for spectators to sit. sit. a set of steps that create a area for spectators to creating back.


PERSPECTIVE SECTION The ideal location for the futsal pavilion is on the northen side of site, alongside the 11th street community corridoor. This location would have a clear view of the lake. The issue is of the exsiting slope of the grade that causes for a big diffrence in elevations from front to back.

By building the pavillion in the lower grade, it creates a double volume space for the soccer field, along with c ating a set of steps that create a area for spectators to sit.


West

West West

North North

East East

South South


studio 208 North Phase I: Underground Pavillion

In a individual investigation of East Lawrence I found that there were not a lot of public spaces for the community. So my response was to create an open structured pavilion that would create opportunities for social interaction in the neighborhood. To develop the philosophical foundation for the project, I experimented with an abstract landscape using a variety of multimedia materials. First I spray painted an intriguing pattern on to the canvas, representational of the spaceZ. Then covered it up with magazines, representational of the site context, and then excavated the magazines until the pattern below was revealed. By then covering the excavated space with the torn magazine pieces, the pattern starts to blend in with the site again, although disturbed enough to give the viewer a sneak peak of what lies below. This resulted in the creation of an underground pavilion. As a visitor proceeds down a series of four ramps 2 actions occur. One, as the ramps descent the pavilion ceiling starts to enclose over the visitor. Then at the same time the inner wall of the pavilion gradually opens up revealing what is inside. The ramps then lead to a large open space that becomes a canvas for the intriquit pattern produced by the sun.

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Phase II: Art Gallery The next phase of the project was to create an enclosed building out of the existing structure from phase 1, and come up with an entirely new program. East Lawrence has a very lively art scene, and holds a number of galleries which are located in historic brick buildings. The goal of this project was to produce a gallery that would bring a loud exterior presence of art to the area, while still holding on to the characteristics of the traditional galleries found in the East Lawrence neighborhood. To start the project off I went back to the abstract landscape to investigate initial conceptual ideas. To start I took off most of the magazine cover accept for 5 pieces that would act as art pieces, then I took paint to investigate different ways each piece could be framed. What I got out of this was an idea of a gallery that showed art in two spaces that contrasted each other. The ramps and the sublevel room remained in this next phase of this project, the additions included a brick wall enclosing the sublevel, and an another room built directly on top. The exterior facade contains vibrant colored panels situated in a pattern reminiscent of a Piet Mondrian painting (a famous artist part of the De Stijl movement), to bring that outward presence of art to the area. The visitor although does not directly enter into the ground level space, but proceeds down the ramps into a less vibrant brick basement that captures the rustic vibe of a typical Lawrence gallery. Then visitors continuing in a spiral pattern, initiated by the ramps, go up a spiral stair located where the oculus was previously into the space above. This gallery space has a very clean modern aesthetic that contrasts greatly from the spaces below.

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Phase III: Mausoleum

For the final phase of the project the program shifted to a mausoleum. Going back to the abstract landscape, creating contrast was again something I wanted to explore. This time it was through expressing life and death. The first move was painting black around the 5 pieces of magazine, symbolically killing them off, and creating 5 sources of mourning on the canvas. To bring them back to life, vividly colored paint was tossed and splattered across to create a high energy filter that brings life back to the five sources of depression. This translated into again creating two contrasting yet complimenting spaces. The top floor acts as a space to celebrate the life of the fallen individuals. This is done with stained glass to add a sense of liveliness and happy energy to the space. 3 monolithic marble forms extruded from the ceiling act as monuments for loved ones occupying the tombs below. The bottom level is accessed through a spiral staircase in the center. Below is a very somber spiritual space, where it is revealed that there are light tunnels coming down from where the marble monuments are located. This brings down light in front of the deceased and would provide a confronting warmth to where family members may stand, and create a spiritual atmosphere in the room.

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studio 109

Spaitial Journey

The objective of this project was to illustrate a journey. This was done through a physical model, orthogonal plans, and a set of drafted perspective drawings. The first step was to construct the physical model through a preselected kit of parts. This preselected kit of parts was assembled into a jouney with the simple concept of a rapid ascent (stairs), and a gradual descent (ramps).A set of plans was then drafted to use to project the 3 perspective views of the model that best narrate the journey. One showing the rapid ascent or the stairs, one showing the middle portion of the journey or the elevated platform, and lastly the gradual descent of the journey or the set of ramps.

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