za c h ar y d a niel miller
architecture & planning por t folio 2020
e x p e ri en c e b . s. in architectu re ke n t sta te u niv ersit y, 2018 - p res en t p rofe ssio nal chair a lp h a rho chi architectu re f ra t er n i t y, 2019 in te rn t. ma n frass & associates a rc h i t ec t s, 2019 - p resen t in te rn c le ve la nd clinic center for d esi g n , 2019 in te rn offic e of the u niv ersit y arc h i t ec t , 2019 in te rn m c le a n architects llc, 2018 - 2019
proj e c t c on t en t s ke n t f a shi on mu se u m page 3-4 cl e v e l an d cl i n i c me di ca l sp a ce s page 5-6 s y n ago gu e d e si g n conce p t page 7-8 ke n t s t at e u n i v ersi t y re nd e ri ng s p a g e 9 - 10 cu bi c d oma i n d e si g ns p a g e 11 - 12 the d ra wd e l p a g e 13 - 14 e x t re me t o po gra p hi ca l re tre a ts p a g e 15 - 16 ke nt me di a hou se p a g e 17 - 18
e ma il zmille27@kent.edu p hon e ( 412) 228 2626 a d d ress 1171 p ol ar is circle, pit tsburg h , p a 15241 in sta g ra m in sta g ra m.com/zaarchitec t ure/
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co n s tru cti on d ra f ti ng p a g e 19 - 20 ha nd d ra wi ng s p a g e s 21 - 26 cl e v e l an d bo a rd wa l k p rop osa l p a g e 27 - 28
photo from presentation of the kent fashion museum, december 2019
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kent fashi o n mu seu m instructor: keyla m. hernandez | fall 2019
the kent fashion museum was the final project of the fall 2019 semester. our studio section followed a very ‘function follows form’ ideology, and really worked on form finding via various physicial and digital exercises. i came upon my form by lofting various shapes derived from zaha hadid’s heydar aliyev center in azerbaijan. that building was my precident, and i studied the concept of utilizing a ‘blanketed facade’ over the structural aspects of a building. what is meant by this is that the aliyev center appears to possess a curved, warped, white roof structure that almost looks as if it is a blanket or towel that has been dropped on the building. utilizing this design idea, i decided to ‘carve out’ my programmatic requirements into the form -- essentially establishing a sense of familiarity within the building, but letting the formal gestures of the facade remain abstracted. the various curves and twists of the form pay homage to the aliyev center, but also acknowledge that the space is indeed a fashion museum. i chose to twist my form as a motif of the threads and strands of material that are often twisted together to create fashion. i believe in utilizing loose design motifs when deemed appropriate, and rather than modeling the form of this building off of an indesputable fashion object (like a dress, sewing machine, or needle), i chose a form that was much more abstracted and symbolic.
FIRST F LOOR P L AN 3 /3 2” = 1 ’- 0 ”
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3 THI R D FLOO R P L AN 3/32 ” = 1 ’- 0 ”
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exterior rendering; perspective from east
to develop the renderings, images, and models of this project, a plethora of strategies were used. in regards to the renderings, i utilized a combination of revit, rhino, vray, and photoshop to produce images that not only connect to our perception of familiarity, but also challenge our notion of possible. the renderings are the first opportunity for a patron to view a building or space as it is proposed to be, and thus is quite an important aspect of representation. in regards to the model, our studio section was tasked with making individual ‘chunk’ models for our projects. a chunk model, in essence, is an extreme version of a sectional model, in which a cut is initiated through two (or more) faces of a building instead of one. we were assigned to make our models at 1/4” scale. generally, physical models within the architectural profession and education are becoming somewhat obsolete due to the advent and development of digital modeling, but i view the act of physically modeling a space to be advantageous to not only the patron/client/professor, but also to the architect/planner, as modeling serves as a ‘reality check’ to ensure that a space can actually be constructed. for this physical model, i experimented with techniques of 3D printing, laser cutting, and hand cutting, along with utilizing many adhesives and chemicals. the construction materials were foamcore board, wooden stick, 1/4” thick MDF wood, plastic 3D printer filament, flexseal spray, hot glue, spackle, and white spray paint.
4 interior rendering; cafe area
c le v el a n d c l i n i c AR/ V R s pace employer: cleveland clinic |summer 2019
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this space within the first floor of the cleveland clinic’s p building was one of the main projects i tackled during my summer internship in cleveland. the space was previously a pharmacy, and was assigned to be a new space for the radiology department. the cleveland clinic radiology department is innovating a way to utilize 3D printing and virtual reality to allow surgeons and medical professionals to practice procedures on artificial organs and body parts. they scan and evaluate the organ in question of a specific patient, digitically model it, and 3D print it with accurate conditions. This space was to be a backfill for their advanced 3D printers, equipment, offices, and a virtual reality room with equipment. as seen from the isometric models on the left and the interior renderings on the right, the program was retrofitted into the existing footprint in the p building on the cleveland clinic main campus. the finishes and materials were brought up to speed in my models and renderings.
interior view 2
interior view 1
interior view 3
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s yn a go g u e c o n c e pt de s ign zack miller |december 2019
just for fun, i decided to experiment with the rhino software and create a synagogue design while paying close attention to facade detail. a rather quick project, i kept the programmatic requirements standard and formally efficient: a large, elongated sanctuary flanked by two symmetrical corridors leading from a main lobby space to a mess hall space. on the second floor, a lounge, classroom, and library are proposed. the form of the building is symmetrical and rectangular, but the most important (and symbolic) aspsect of the design is the centralized sanctuary. in regard to the facade, I digitially modeled the ‘fins’ that are all offset from one another by six inches. each fin is two inches thick -- a standard thickness for wood planks. the planks move and transform from the front to the back of the building, creating inherent movement and a sculptural ode to the typical use of stained glass windows in sanctuary spaces. the roof is flat and minimalist to draw attention to the facade details. the sanctuary space stands at 40’ in height from floor to ceiling.
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perspective view of eastern face
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perspective view of facade pat tern from west
ke n t st a t e u n i v ers it y e s por ts s pace employer: ksu oua |spring 2019
in my semester interning with the office of the university architect, a main project was developing spatial plans and renderings for a proposed esports space within the kent state university library. the space would allow for competative gamining between kent state’s varsity team and an opposing team -- along with support spaces, such as a collaboration hub, coaching booths, and control rooms.
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this project greatly helped me to gain an appreciation for interiors and interior products. i quickly found out that i needed to manage, contact, and coordinate with multiple furniture manufacturers and technology companies to ensure that the most accurate plans were developed. the university had requested very specific interiors products, wall and floor finishes, lighting systems, and technology. i was responsible for scouring through databases of 3D models of products -- and when one wasn’t available, i had to contact the manufacturer directly. these proposed spaces were to be used as a backfill into a previously existing library space, and the finishes are up to the standard of the university.
interior rendering of espor ts varsit y game play space
interior rendering of espor ts collab hub
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c u b ic d o m a i n d e s igns instructor: diane davis-sikora |fall 2018
during my first year design studio, much of my work was an exploration of design techniques, ideas, and management. one such exercise to teach representation was that of the cubic domain: in essence, i was assigned to take multiple abstract figure-ground drawings and overlay them until they could become a 3D cubic form. we then experimented with materiality, modeling the cubic designs using cardstock paper, wooden sticks, and stacked foamcore board. the designs within the cube originate from patterns and motifs seen on page 12. those patterns were derived from an exercise in which i overlaid architectural photographs i took around the kent state campus to interconnect with one another. after that, i selected various regions of the design and developed them into figure ground drawings. the cubic domain designs, though not formally recognized as a building or habitable space, helped to explore the fundamentals of design -- such as void, repetition, movement, shadow, and threshold.
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t he d ra w d el instructor: diane davis sikora |fall 2018
as the final project of my first year of architecture school, the drawdel is a combination of cohesively combining both drawing and model to challenge the standard notions of visual and spatial representation. i was assigned to choose three previous projects from the semester and combine them into a drawdel structure that clearly pulls design ideas from said previous projects. the patterns, shapes, and voids are all from previous exercises, and they are also used as structural elements in the creation. the colors used are derived from an earlier exercise exploring color and its effects on design. i wanted to work in multiple planes for this structure -- and did not rely on the typical ‘stacking’ method that is often seen in architecture. i instead opted to create movement throughout the composition, and utilized wooden stick to act as a seam that transforms from drawn element to constructed element.
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e x t re m e t o p o g raph ical re tre ats instructor: kyle zook |spring 2018
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as the main project in my second semester of architecture school, the extreme topographical retreats project was an exercise to develop the idea of human scale and landscape within compositions. i was assigned an extreme and peculiar landscape in which i was to construct three dwelling spaces: one called ‘my space,’ once called ‘your space,’ and a combination of the two forms called ‘our space.’ the position of the spaces upon the landscape are symbolic in that they represent the different perceptions of how people relax and retreat -- either being grounded, feeling a natural high/adrenaline rush, or somewhere in between. the colors of the retreats are influenced by an activity in which i used unfamiliar materials to construct models. i used blue paint swatches and paint mixing sticks for my compositions. the final model is both digitally produced, as well as hand made from plaster, styrofoam, and 3D printer filament.
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ke n t m edi a ho u s e instructor: keyla m. hernandez |fall 2019
CLERESTORY
CORRIDOR
as the first real ‘architecture’ project i had done in school, the kent media house called for a programmatic space featuring a lecture hall, library, offices, theater, and more. i was assigned a predetermined square footage requirement, and worked in class to develop various forms and components of the design. this project really helped me to develop drafting skills within the rhino computer program. it also helped me to become familiar with working with a 3D printer. we were assigned to produce drawings, sections, an elevation rendering, a massing model, and a sectional model. the sectional model helps to develop the interior conditions of the space.
OFFICE
RECITAL HALL ARCHIVE CAFE
CORRIDOR
SECTION B 1/8” = 1’ - 0”
LECTURE ROOM
LIBRARY DN.
STORE (RECESSED BELOW)
LOBBY/INFO DESK/CONTROL
WOMENS RM.
ELEV. EQUIP.
VESTIBULE
MECH./ELEC. RM.
SET STOR. UP
GALLERY
DN.
SOUND RM.
RECITAL HALL GREEN RM. CORR.
MEDIA EDITING SUITE
TERRACE GARDEN
MENS RM.
DN.
LOADING DOCK
LOUNGE
ARCHIVE
FIRST FLOOR PLAN 1/8” = 1’ - 0”
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BLACK BOX THEATER
front elevation rendering
front sectional model
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c o n s t ru c t i o n d o cume nt draf ting employers: mclean architects, t. manfrass & associates architects|2018-2019
as meaningful and necessary as academia has been in developing my architectural skills, working in firms has arguably given me more technical knowledge than school has. at work, i often complete construction drawings, edit redlines, and re-draft old reference documents into autocad or revit. here, some work from a summer internship is present. i used autocad for these drawings.
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though working for smaller firms in the rust belt region has not yielded incredible design work, i have certainly learned many technical skills -- even from very small or simple projects. pictured above is a floor plan of a western pennsylvania municipal building i drafted in autocad, and to the right is a construction sheet i completed for a bathroom renovation to a community center in ravenna, ohio. the construction drawing process has helped to introduce me to revit in a professional sense, and has thus helped my technical knowledge for jobs in the future. though i do indeed enjoy conceptual design work, i have grown quite interested in technical drawing and construction documenting. i look forward to doing much more of the necessary drafting work to get jobs done in the future.
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h a n d s ket c hes zack miller|2017-2019
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the act of putting pencil to paper and creating something visual is a large part of what inspired me to one day become an architect. i have always found hand drawing a more organic process than drafting online -the imperfect lines, slight distortion of scale, and eraser marks add a human element to the drawing process. pictured above is a side elevation of frank lloyd wright’s fallingwater. i did this sketch for no other purpose than noticing how perfect the structure sits upon its landscape -- it seems to fall and descend along with the hillside, all while retaining its blocky, cantilevered forms.
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tree of life synagogue, pit tsburgh, pa
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taussig cancer center, cleveland, oh
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h a n d d ra f t ed p l an s zack miller|2018-2019
not only do i enjoy hand sketches, but hand drafting also yields an interesting visual concept. hand drafting has allowed me to pay attention to scale, lineweight, representation, and craft. i have generally stuck to hand-drafting spaces with relatively small footprints, as i have noticed smaller spaces allow me to more intimatley make design decisions.
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house fl oor plan concept
speec h therapy center floor plan concept
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c le v el a n d l a kefront boardw alk proposal zack miller|2019
as i was living in cleveland for the summer of 2019, i was fortunate to be able to explore the city and really connect with its architecture, urbanism, and its broader community. unlike my roots in western pennsylvania, i have noticed that the northeast ohio region really emphasizes the idea of urban sprawl turned new urbanism -- my home region does not allow for this ideology due to our geographic constraints (hills). in cleveland, however, the east and west side suburbs seem to take presidence over the downtown area. on both sides of the cuyahoga river, i have noticed numerous new-urbanism lifestyle centers tucked into neighborhoods. however, this concept was never seen downtown. in fact, my main critique of downtown cleveland was two fold: firstly, that the city was almost completley cut off from its beautiful lakefront, and secondly, that there was no main shopping district for all citizens to enjoy. there were plenty of breweries, bars, restaurants, and bowling allies, but there was no main shopping district consisting of shops, grocery stories, family centers, etc. this proposal is an attempt to bring the city of cleveland a much needed central shopping districrt -- right on the lake.
SITE
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boardwalk plan concepts
as seen from the precedent studies below, my boardwalk proposal is somewhat of a combination of navy pier in chicago, and some local cleveland shopping districts. it would connect the city to the lakefront, and develop the lakefront to have a ‘destination’ for residents to enjoy.
boardwalk renderings within cleveland
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t h a n k y ou! e ma i l z mi l l e 27 @ke nt. e d u p hone ( 412 ) 228 2626 a d d re ss 1171 po l ar i s ci rcl e , pi t t s bu rgh, p a 15241